Posts

It’s Mother’s Day this Sunday! In the lead up to Mother’s Day, Noel Leeming’s campaign is making the rounds on TV, digital, and social platforms. The offline edit for the 30-second spot was done by our member Ben Chesters.

Created by TBWA\NZ, the campaign aims to continue to build on the ‘Always happy to help’ brand Noel Leeming has been pushing.

The commercial spot joins Ben’s large portfolio of advertising work, including the recent Lotto NZ Imagine On Ice campaign.

Read more

Award-winning editor and DEGANZ member Luke Haigh has joined ARC EDIT, a boutique post-production company, for Australian representation.

Luke joins a diverse roster of editors at ARC. His editorial range in film, TV and commercial work makes him a “perfect addition” according to Peter Sciberras, a fellow editor on the roster.

The easing of border restrictions between Aotearoa and Australia has allowed Luke, who is based out of Auckland, the availability to work from ARC’s Australian studios in Sydney or Melbourne as well as remotely.

Congratulations to Luke and the team at ARC, it will be exciting to see your future work and collaborations. You can view Luke’s previous work here.

Ready, set, go… Now what? Navigating the TV and film industry can be a confusing and challenging process; who can you trust? What are your options? But you’re not alone.

Join us for a Q&A panel with established filmmakers as they share their career experiences and how they navigated their entry into the screen industry. Director/editor Charlotte Evans (OK Chlöe, Give Kate A Voice), director Jeremiah Tauamiti (For My Father’s Kingdom, Liliu) and editor Jack Woon (Three Wise Cousins, Hibiscus & Ruthless) will join DEGANZ to discuss the ups and downs of trying to get a foot in the door.

If you’re at the start of your filmmaking journey, or looking to embark on one, you don’t want to miss this honest Young Creators session.

WHEN: Wed 4 May, 7pm – 8:30pm. Talk starts at 7:15pm.
WHERE: Horse & Trap – Loft, 3 Enfield St, Mount Eden, Auckland

Cash bar

Because of liquor license conditions, under 18s must be accompanied by their parent/legal guardian.

Face masks are required to be worn indoors by all attendees. We may shift the event to Zoom at the same date and time if COVID-19 cases are a concern and will notify all registrants.

Parking: Horse & Trap customer carpark and free on-street parking nearby.

DEGANZ members – Free
Non-members – $5
Please register below

Our Payment and Cancellation Policy

Panellists:

Charlotte Evans is a film director based in Auckland, New Zealand. She started her film career in London in 2008, where she trained as an editor under Rick Waller. Since returning to NZ, Charlotte has worked as a freelance director and editor on various projects ranging from TVCs, music videos, TV series, documentaries and short films. She is currently in the final stages of post-production for her soon to be released documentary Nowhere To Be.

Jack Woon is a Kiwi-Malaysian multi-hyphenate filmmaker with over a decade of cross-cultural experience in New Zealand, China, Samoa, India, Czechia and Canada. He has edited three commercially successful micro-budget Pacific Island comedy features, including Three Wise Cousins and Hibiscus & Ruthless.

Jeremiah Tauamiti is a Kiwi Samoan who started his career as a camera operator on television show Fresh. He then went on to direct films of his own, including shorts Maria and Liliu. In 2019 he co-directed his first feature, For My Father’s Kingdom, with partner Vea Mafile’o. The documentary, which premiered at the Berlin Film Festival, is about Mafile’o’s Tongan father, Saia.

 

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DEGANZ Young Creators is a programme of events with a mission to inform and inspire younger or emerging directors and editors to build successful, sustainable careers in the screen industry.

Documentary shorts Ultimately Lacks Polish and Nathan Joe: Homecoming Poems have premiered on the streaming platform Vidzing. Commissioned by the Going West Writers Festival, both documentaries focus on poets who take a radical approach to performance. Congratulations to our members who worked on these films!

Ultimately Lacks Polish was directed by DEGANZ Wellington-based member Kathleen Winter. Following New Zealand poet Freya Daly Sadgrove as she dares to combine poetry, punk, sex, and theatre, Polish also explores Freya’s mindful reflections on her artistry. Kathleen’s frequent collaborator Amanda Mulderry (DEGANZ) edited the documentary.

Auckland member Nahyeon Lee directed Nathan Joe: Homecoming Poems, where poet Nathan Joe explores his feelings about being caught between queerness and being a Chinese-New Zealander. In this magnetic three poem meditation, Nahyeon brings Nathan’s words to life with striking visuals.

Both documentary shorts are now available on-demand on Vidzing. The Going West Writers Festival is operating a pay as you want option, where viewers can watch for free or support their kaupapa with a donation.

I should preface by saying that I never planned to be working in the film and television industry. The honest truth is that when I finished school and decided to go to university, Film and Television papers seemed like a fun choice in amongst English, Sociology, Philosophy, and Art History. As it turned out, the Film and Television papers were the most engaging and fun, and that drove me into doing a Masters in Creative and Performing Arts, specialising in writing and directing for film. After graduation, my first paying gig in the industry was a small assistant editor role through one of my tutors. She connected me with a post-production supervisor who was helping facilitate a short film cutting from his house. It was exciting to be working on something film-related and I got paid a sweet $100.

Meanwhile, another contact through the same tutor, got in touch looking for an assistant editor on a children’s television drama. This would be my first dip into a longer form of drama, as well as a show that had quite a few VFX to contend with. It was at this point that I really began to get hooked into post-production. Even though pickings can sometimes be slim in our industry, I made the conscious decision to only do drama work which is where my passion lay. I was in a position in my life where I had very little financial out-goings and personal commitments so I let myself be open to opportunities, even if they weren’t my original plan. I was in no hurry to make the leap into editing and was hungry to get as much experience as I could.

Editor Jochen FitzHerbert editing Emmy Award-winning series ‘INSiDE’ from his home / Photo: Supplied

It was about five years of assisting work before my break into editing happened. I had assisted on a couple seasons of Power Rangers and one of the regular editors was starting back late due to a scheduling conflict. The returning producer offered me those blocks and I made the quick decision to make the official move to being an editor. Power Rangers was a great first show to cut as I was familiar with it from my assisting time there, but also it had the resources to have a big post team and manageable schedule.

The jump from assistant to editor is one of the trickiest things to manoeuvre. You forge a career as an assistant and work with a bunch of people around town, building a reputation only to have to turn on that and say that you are not that thing any more. Work can be slow in this transitional period but if you dig around enough there are little jobs you can flex your muscles on like low-budget web series or assemble editing.

As the Power Rangers season was finishing, Spartacus started shooting in Auckland. No, I did not get hired for Spartacus, but a lot of great local editors did which meant there was a gap in the industry. It was a perfect storm where the industry was booming and everyone was busy so there was room for people to step up. One of the directors I had just worked with on Power Rangers was going onto one of the said local dramas and he thankfully took me with him. From here, I felt I had my foot in the door.

My advice to anyone starting out now is don’t feel like you have to hurry. Make every job a learning experience and forge lasting connections with people you work with. You never know where or who your next job might come from.

 


About Jochen FitzHerbert

Jochen is an award-winning film and television editor with a long list of credits including Creamerie, Mystic, Power Rangers and The Gulf, for which he won an NZTV Award for Best Editing in a Drama in 2020. He also edited the international Emmy winning series INSiDE, which also won him a Webfest Award for Best Editing.

jochenfitzherbert.com

How I Got Started in the Industry is a guest blog series from the Directors and Editors Guild of Aotearoa New Zealand (DEGANZ). Our members reflect on how they made their way into assistant editing, editing, and directing—with no two stories the same. They offer advice for those starting out. Get in touch with admin@deganz.co.nz if you’re a member and would like to share your story.