Thursday, October 1, 2020

Course Evaluations and Appraisals

 This course gave an overview of aspects involved in running a sustainable creative practice. Seminars covered a range of relevant topics – from Personal Branding to Tax - which gave me an insight into the concrete steps required to establish a career. I learned many key business terms which I had never been exposed to before (i.e. Unique Selling Point and "Always be Closing") which I will carry forward when considering how I market myself.  As a sculptor, I work in a specific field which does not follow conventional procedures for generating work. However, this course gave me practical methods to capitalise on my talent including quoting and charging for work, which type of employment contract works best for specific projects, tapping into the hidden job market, and finding my niche.

The emphasis on planning our vision, and  how our personal values flow into our creative work was a key takeaway for me. This course instilled a sense of possibility that establishing my own career is completely achievable.  

- Participant (sculptor) from 2019

"I wanted to attend the course to find a better way to present my credentials to prospective creative employers as my CV/Resume was a boring laundry list that rarely got me an interview. I knew that when I DID get that interview, I would do well and get the job. But getting to that point was arduous.

This course not only showed me options to re-package my credentials, but also to re-focus and re-present them in a totally new way. I have since ditched my paper resume in favour of an on-line friendly format that instantly allows links to my work on lline. I also have the ability to prepare a website or blog to allow potential free-lance employers to see my bio, see my talents, and click on exactly what they want to hear/see. (Work in progress!)

My business cards were exactly what the course said they should be and looked great, but there was no 'next step' for them to pursue my work. There is now on my LinkedIn page updated with all my links, and soon will be on my web-version of my resume, allowing a 2-in-1 promotional statement with backing show reel.

This is EXACTLY what I needed!"
 
- Participant (Santa persona) from 2019
 

Hi Paula thank you so much for all your effort during the course I found it fantastic. It was really informative thorough and such such a welcome space for learning. 


In particular I enjoyed the module on self employment, it was a real eye-opener into the challenges / extra tasks to take into account one would face when going out on their own. With this in mind I have to rethink if that is what I want to do 🤨… Or whether it’s actually a lot less hassle to just work for an established organisation (that has an accountant, Kiwisaver sorted already  etc). 


The other module I found of great use was the interview coaching techniques that really allowed me to gain a better understanding of what employers may or may not be looking for - some pro tips! 


Last but not least my next favourite was employment law… A lot of information is food for thought, and great for all of us to be more aware of. 


Some exciting news for me, I have been asked back for a 2nd interview for the Lord of the rings filming production … I am hoping to get a production assistant role on this picture and working with Tina from Work and Income so fingers Crossed.


Once again thank you so much for all your time and effort it really has been a pleasure. All the best with the rest of the course.
 
-  Participant (freelancer) from 2019

 



Thursday, August 20, 2020

Film and TV Information Update

 

Check out these film industry services:

·       Crewlist: https://crewlist.co.nz

·       Filmcrews: http://www.filmcrews.co.nz

·       The Databook: http://www.databook.co.nz

·       Crew Auckland: http://www.crewauckland.co.nz/

·       Crew Wellington: http://www.crewwellington.co.nz/

·       Showtools: https://www.showtools.com/

·       ScreenSafe https://screensafe.co.nz

·       SWAG – Screen Women’s Action Group http://www.swag.org.nz

·       The Blue Book:  https://screenguild.co.nz/page-18106

Facebook film community groups:

·        New Zealand Film Makers: https://www.facebook.com/groups/nzfilmmakers/

·        NZ film Industry Forum https://www.facebook.com/groups/181906258662608

·        NZ film Makers Collective     https://www.facebook.com/groups/NZFMCollective/

·        Film Community NZ https://www.facebook.com/groups/816339001717925

·        New Zealand Theatre and Film Scene  https://www.facebook.com/groups/273395306054861

·        Film Production Group NZ https://www.facebook.com/groups/6342616965

·        Aotearoa Costume Alliance https://www.facebook.com/groups/2159210077538556

You can monitor these more general sites for jobs:

·        https://www.seek.co.nz/film-or-television-jobs

·        http://www.trademe.co.nz/jobs

Screen Auckland and NZ Film Commission :

·        https://www.aucklandnz.

·        https://www.nzfilm.co.nz/node/51/#block-block-23

The film guilds of New Zealand also run workshops and generally help filmmakers find their way in the industry. Check them out here:

·       Screen Industry Guild Aotearoa New Zealand (SIGNZ) https://screenguild.co.nz

·       Women In Film and Television (WIFT) https://www.wiftnz.org.nz/home.aspx

·       New Zealand Film Commission (NZFC) https://www.nzfilm.co.nz 

 

Also Actors Agents Association -  http://aaanz.co.nz/

Thursday, March 5, 2020

New Zealand Film Contacts

Check out these film industry services:
·         Crewlist: https://crewlist.co.nz/
·         Filmcrews: https://filmcrews.co.nz
·         The Databook: http://www.databook.co.nz/
·         Crew Auckland: http://www.crewauckland.co.nz/
·         Crew Wellington: http://www.crewwellington.co.nz/  
·         Showtools: https://www.showtools.com/

For casting/extras work inquiries:
·         AAANZ – Actors Agency Association New Zealand http://aaanz.co.nz

To join suppliers to the screen industry :
Also check out the range of existing Facebook film community groups to see if there are any positions mentioned. These are often specific to a region, so have a search for wherever you plan to base yourself.


Plus you can always monitor these more general sites for jobs:

·         http://www.trademe.co.nz/jobs

Plus Screen Auckland’s and NZ Film’s newsletter provide updates on what is happening in the local film industry, events you can attend, job opportunities and filmmakers/films being funded. Subscribe on the links below:
 

Film and Screen Industry Lingo

For those who are unsure about all the lingo out there:

  • Art director. The person responsible for the look of a film's sets, he or she is also responsible for their construction.
  • Assistant director. Most of the time this is an administrative position rather than truly directorial. The assistant director helps break down the script and make decisions about the shooting order.
  • Associate producer/production manager. 1) The next-in-charge of a film after the producer. Depending on the relationship with—and the working style of—the producer, the assistant producer can have a greater or lesser say in creative as well as administrative decisions. 2) The actual administrator for the daily operations of the film.
  • Best boy. 1) A person in charge of the paperwork for administering the head grip's or gaffer's crew. Can take care of timesheets, salaries, and so on. 2) The head grip's or gaffer's gofer. An apprentice to the gaffer or key grip. So called because he (or now she) is the "best" person available for the job.
  • Boom operator (or boom man). The technician who handles the boom microphone and its paraphernalia, making sure that it is in position to record sound to the best advantage. Requires a steady hand to hold the mike over the heads of the actors.
  • Cable person. This person makes certain the sound cables are efficiently and inconspicuously placed.
  • Camera operator (or second cameraman). The technician actually operating the movie camera. Of course, this person is under the careful supervision of both the director and the director of photography.
  • Carpenter. The person whose crew physically builds the set.
  • Casting director. Often in collaboration with the director and/or producer, the person who actually picks the "talent," or actors who will appear onscreen. This means not only the stars, but supporting players, bit players, and so on. At one time studio employees, most casting directors now work independently, though often regularly with the same directors and producers.
  • Cinematographer (director of photography). This is the person who literally brings the director's vision to light. Sometimes the cinematographer is almost as responsible for the look and feel of a film as the director. It is impossible to think of Citizen Kane (1941) without Gregg Toland, or Charlie Chaplin films without Rollie Totheroh. Other major technicians—art directors and gaffers, for example—consult with the cinematographer who, with the director, actually decides on mood, angles, and composition.
  • Compositor. Really one of a host of computer programmers now involved in film production, the compositor creates layers and textures for the film image in order to lend it a greater impression of reality.
  • Computer animator. The computer programmer in charge of digitally creating special effects that will be transferred back to celluloid. Images can be transformed live-action sequences, or completely computer-generated.
  • Construction coordinator. Answerable to the art director, the construction coordinator is responsible for the actual construction of the film set.
  • Continuity clerk (continuity girl, script girl, script supervisor). Traditionally a woman, this person makes sure that, if an actor is walking toward the sun in one shot, he is walking in the same direction in the next shot, though the camera may be set up at a different angle. Or, if there is a cat in the room in one shot, that cat is still scratching up the furniture and coughing up hairballs in subsequent shots.
  • Dolly grip. The technician who operates the dolly, a wheeled and motorized platform on which the camera is placed for "dolly" or "tracking" shots.
  • Executive producer. As the job title suggests, an executive, and administrator in charge of the business end of production, issues such as raising money for the budget. Rarely involved in the day-to-day operation of the film, the executive producer may be involved in the business of several productions at once.
  • Gaffer. 1) The chief electrician, responsible for lighting the set. 2) More generally, the technician who makes the set run smoothly, from scouting locations to streamlining the set. Legend has it that the term originally applied to the European carney who herded, or "gaffed," audiences into the circus tent.
  • Grip. 1) A jack-of-all-trades on the set, responsible for physically moving and setting up equipment, sets, and so on. The "muscle" on the set, the grip must also be able to do a bit of carpentry. 2) The grip is in charge of all physical work except electrical.
  • Key (or head) grip. The person on the set in charge of the other grips, or the crew of workers.
  • Lamp operator. Person in charge of operating film lamps.
  • Lead man. The set scrounger, responsible for finding objects to make the set more atmospheric or realistic.
  • Line producer (production manager). This executive oversees the day-to-day operations of a film's production.
  • Location manager. The person who finds locations at which to shoot.
  • Mixer. The sound technician who assimilates—or "mixes"—sounds together for each of a film's sequences, determining the relative values (volume, pitch, and so on) of the background music, dialogue, ambient noise, and so on.
  • Model. The actor filling in for close-ups of a portion of the principal actor's body; a "body double."
  • Modeler. Originally, a technician who makes the small-scale models that are photographed as if life-sized. Now more often applied to the computer programmer who creates 3-D digital images that are then transferred to film.
  • Nursery man. The worker who provides the appropriate plant life for a scene.
  • Producer. The chief administrator for a film; the producer's duties can vary widely. The producer is at the beginning of the process: buying the rights to the original book on which a movie is based. He or she considers various "treatments" of the original "property," selects the director, and consults on creative aspects and budgets. Sometimes the producer has little visible effect on the product. Other producers, like Arthur Freed at MGM, are almost auteurs themselves.
  • Production designer. The person who decides how the film is going to look, based on the needs and vision of the director and the script.
  • Prop man (property master). The property man keeps track of, cares for, and places the props on the set.
  • Publicist. Promotes films and stars through press releases, publicity events, contacts with newspapers, distribution of publicity stills, and so on. This job overlaps with that of the public relations executive. The "unit" publicist publicizes a particular film.
  • Screenwriter. The craftsperson who writes the scripts. The writer may adapt a literary work, produce an original script, or revise ("doctor") an already-existing script. Like most of the rest of filmmaking, screenwriting tends to be a collaborative effort.
  • Second unit director. The director of the "second unit." The second unit is the film crew that photographs sequences for which the director and principal actors are not required.
  • Set decorator. On instructions ultimately from the art director, the set decorator actually furnishes a set with the items that create the appropriate atmosphere and ambience: rugs, lamps, and potted palms.
  • Set dresser. Related to set decoration, set dressing is the art of making the set look as if it has always been inhabited, rather than new and artificial.
  • Sound crew. The technicians on the set responsible for audio recording. This crew is sometimes a single person: the sound man.
  • Sound designer. The production designer for sound, the sound designer oversees all aspects of sound recording for a film project.
  • Special effects supervisor. The special effects team is now most often an independent company rather than a division of a major studio, so the effects supervisor can be either an administrator or a supervisor of the day-to-day operations of the special effects team.
  • Stand-in. Chosen for their physical resemblance to the main stars, stand-ins are the people who substitute in place of the stars during the often time-consuming process of readying the set for actual photography.
  • Stand-by painter. The set's "touch-up" painter who makes any last-minute adjustments in the set's color and sheen, subduing glare or changing hues when necessary.
  • Story analyst/reader. This is the person who considers whether a script or a literary property is worth considering as a film.
  • Stunt coordinator. Determines where, in the film script, stunts will take place.
  • Stunt person. The stunt people take all those falls, dives, crashes, and punches that make a film "action-packed." The stunt person can play a distinct, if minor, character: the yeoman in the landing crew on the original Star Trek series you know is going to die upon landing on the hostile planet. Or she can double for the star in the automobile crash that no one could actually survive in real life.
  • Supervising editor. The person in charge of film editing, this technician works closely with the director and, if budget allows, supervises a team of editors.
  • Swing gang. The grunts who fetch and carry props and other equipment to and from the set.
  • Talent. Vernacular expression of the people in front of the camera; the actors. Occasionally used ironically.
  • Unit. The designation for the technical crew actually working on the set.
  • Unit photographer. The still photographer who takes publicity photos on the set for the film.
  • Visual effects supervisor. The person who oversees the team that actually creates special effects.
  • Wrangler (animal wrangler or audience wrangler). The person responsible for the animals acting in front of the camera, whether dogs, horses, mice, or fish. Cares for the animals. Job can overlap with that of the "animal trainer," who actually owns and prepares the animal for movies. Audience wrangler greets, organises and bring the audience to the studio.