Information for companies on becoming a corporate partner with WIFT NZ.
From 1993, when WIFT Wellington was established, to now. We've come a long way WIFTers!
These guidelines, prepared by NZ Casting Directors in consultation with NZ Actors Agents, outline reasonable expectations in the casting process in the context of the New Zealand screen industry.
Past WIFT NZ administrator Emma Blomkamp has kindly made available her MA thesis for reference on our site. It may interest researchers, students, and anyone seeking to gain an understanding of New Zealand's recent history of short films (especially 1997-2007) and NZFC film funding policy.
The New Zealand Writers Guild Collaboration Advanced Agreement.
This directory of international feature film sales agents is compiled by Screen Australia, and provides a snapshot of companies representing Australian films around the world.
Included within are details of each seller’s acquisition policy, which markets they attend, at what stage they prefer to be approached and whether they pay
advances.There’s also a list of the Australian films that agents have handled.
Last updated December 2020.
A poster or trailer is an audience’s first introduction to a film or series. Carnival Studio has produced a no-nonsense guide to creating great key art, so your project gets the amount of eyeballs and bums on seats that it deserves!
There are a lot of job titles listed in The Great Gender Pay Gap Survey, and you may hold several of them. Here is the full list for you to more easily find where you fit in the survey. Note this is for people in Production roles.
Published 20 November, 2021
The AS/NZS 4249 is the Electrical Safety Standard that productions in Australia and New
Zealand work to.
It opened for Public Comment on 27 October 2021 and will close for comment 29 December, 2021.
It makes reference to other Standards in particular AS/NZS3000 Electrical Installations
(Wiring Rules) and AS/NZS 3002 Electrical Installations Shows Carnivals and Events.
The last revision to this document was 1994.
Published 23 November, 2021
This 15-week programme is designed for female, female-identifying or non-binary people of all ages and
experience who identify as Pasifika and want to write long-form stories for the screen.
There is no fee to attend. Information on how to apply is on page 2 of this document.
There are a lot of job titles listed in The Great Gender Pay Gap Survey, and you may hold several of them. Here is the full list for you to more easily find where you fit in the survey. Note this is for people in Post-Production roles.
Published 20 December, 2021
This timeline, researched and written by Helen Martin, traces the history of Women in Film and Television, from the establishment of WIF in Los Angeles in 1973, through the founding of WIFT Wellington in 1994, to the tenth anniversary of WIFT Auckland in 2005.
This recent Film Industry Study by Dr. Martha Lauzen, a professor at San Diego State University, details the small - and in some fields declining - proportion of women directors, executive producers, producers, writers, cinematographers, and editors working on American films.
Following on from the WIFT Documentary Hui in 2007, Creative NZ and NZFC commissioned a report researching New Zealand’s independent documentary sector. The report identifies current barriers and opportunities and presents the views of documentary makers on ways to support the career paths of those in the sector and enhance documentary making opportunities in New Zealand.
In 2009, the NZ Government announced a review of the New Zealand Film Commission to be led by New Zealand film-maker Peter Jackson and David Court, Head of Screen Business at the Australian Film, Television & Radio School. WIFT NZ was one of 57 submitters whose submissions to the review team cam be read in this document.
The New Zealand Film Commission's list of feature films made in NZ from 1939-2013.
The New Zealand Film Commission's list of feature films made in NZ from 2013 to October 2020.
This report examine relationships between diversity and the bottom line in the Hollywood entertainment industry. It examines 453 scripted broadcast, cable and digital platform television shows from the 2017-18 season and 463 such shows from 2018-19 in order to document the degree to which women and people of colour are present in front of and behind the camera. It discusses any patterns between these findings and conventional and social media audience ratings.
This Best Practice Guide provides guidelines for screenwriters and producers to work
together in a way that is productive, collaborative, and constructive.
Young New Zealanders are continuing to lead a march away from traditional media, Netflix is still growing at pace, but TV is still the media New Zealanders spend the most time with overall in a day.
The latest results from the series survey Where Are The Audiences? reveal audience behaviour in 2021, and how this compares to the 2020 survey which was carried out after the country’s first COVID-19 nationwide lockdown*.
'Celebrating Women Changing the World One Frame at a Time.' Features updates from the Executive, President and Vice President of WIFT NZ, profiles on Claudia Pond-Eyley and Marian Evans as well as information about the WIFT Awards 2010 finalists.
Video piracy and Intellectual Property: the debate; Patsy Reddy: the woman at the helm of the NZFC Board; WIFT mentors making a difference; Matchmover and 3D tracker Marzena Zareba fleshes out her job description.
WIFT Going National; Women on Boards; Making Movies with Pietra Brettkelly; Mediascape - watching the watchers; promo producer and motion graphics artist Karlie Fisher explains what she does.
This issue features Grass Roots News; Sorting out the Big Stuff with Sian Jaquet; an up date on the 48HOUR Film Festival, and Anna Marbrook's Table Plays.
This issue has a feature on US filmmaker Alexis Krasilovsky, scriptwriter Caley Martin outlines a normal week on the storyboarding team for Shortland St, Mary Anne Bourke and Sophie Cherry explain how the Robin Laing Scholarship has boosted their careers and in What I Do, key grip Annie Frear outlines what her job entails.
This issue has a feature on Caterina De Nave, a history of WIFT in New Zealand, Zen And The Art Of Documentary by camera operator Samara McDowell, and in What I Do, colourist Kim Hickey outlines her job.
Information for the screen industry on saliva surveillance testing.
Published 11 October, 2021
These guidelines from ScreenSafe set minimum recommended standards for the screen sector to
create and maintain child safe environments, free from abuse, exploitation and hazards.
Click here for the ScreenSafe Code of Conduct
Click here for ScreenSafe Reporting guidelines
Published 8 March 2022.
The ScreenSafe COVID-19 Protocols have now been updated. New Zealand has been through the peak of the Omicron outbreak, the Government has eased many restrictions and the borders are now opening up to the outside world.
Screensafe COVID 19 Protocols 4.0 Key Updates 17 May 22
ScreenSafe's updated guidance to New Zealand's Covid-19 Traffic Light Protocols, for the screen industry.
Published 19 May, 2022