Tag Archives: Katie Hinsen

Production begins again on New Zealand’s Shortland Street series

By Katie Hinsen

The current global pandemic has shut down production all over the world. Those who can have moved to working from home, and there’s speculation about how and when we’ll get back to work again.

New Zealand, a country with a significant production economy, has announced that it will soon reopen for shoots. The most popular local television show, Shortland Street, was the first to resume production after an almost six-week break. It’s produced by Auckland’s South Pacific Pictures.

Dylan Reeve

I am a native New Zealander who has worked in post there on and off over the years. Currently I live in Los Angeles, where I am an EP for dailies and DI at Nice Shoes, so taking a look at how New Zealand is rolling things out interests me. With that in mind, I reached out to Dylan Reeve, head of post production at Shortland Street, to find out how it looked the week they went back to work under Level 3 social distancing restrictions.

Shortland Street is a half-hour soap that runs five nights a week on prime-time television. It has been on air for around 28 years and has been consistently among the highest-rated shows in the nation. It’s a cultural phenomenon. While the cast and crew take a single three-week annual break from production during the Christmas holiday season, the show has never really stopped production … until the pandemic hit.

Shortland Street’s production crew is typically made up of about 100 people; the post department consists of two editors, two assistants, a composer and Reeve, who is also the online editor. Sound mixes and complex VFX are done elsewhere, but everything else for the production is done at the studio.

New Zealand responded to COVID-19 early, instituting one of the harshest lockdowns in the world. Reeve told me that they went from alert Level 1 — basic social distancing, more frequent handwashing — to Level 3 as soon as the first signs of community transmission were detected. They stayed at this level for just two days before going to Level 4: complete lockdown. New Zealanders had 48 hours to get home to their families, shop for supplies and make sure they were ready.

“On a Monday afternoon at about 1:30pm, the studio emptied out,” explains Reeve. “We were shut down, but we were still on air, and we had about five or six weeks’ worth of episodes in various stages of production and post. I then had two days to figure out and prepare for how we were going to finish all of those and make sure they got delivered so that the show could continue to be on air.”

Shortland Street’s main production building dressed as the exterior of the hospital where the show is set, with COVID workplace safety materials on the doors.

The nature of the show’s existing workflow meant that Reeve had to copy all the media to drives and send Avids and drives home with the editors. The assistant editors logged in remotely for any work they needed to do, and Reeve took what he needed home as well to finish onlining, prepping and delivering those already-shot episodes to the broadcaster. They used Frame.io for review and approval with the audio team and with the directors, producers and network.

“Once we knew we were coming back into Level 3, and the government put out more refined guidelines about what that required, we had a number of HoD meetings — figuring out how we could produce the show while maintaining the restrictions necessary.”

I asked Reeve whether he and his crew felt safe going back to work. He reminded me that New Zealand only went back down to Level 3 once there had been a period with no remaining evidence of community transmission. Infection rates in New Zealand had spent two weeks in single digits, including two days when no new cases had been reported.

Starting Up With Restrictions
My conversation with Reeve took place on May 4, right after his first few days back at work. I asked him to explain some of the conditions under which the production was working while the rest of the country was still in isolation. Level 3 in New Zealand is almost identical to the lockdown restrictions put in place in US cities like New York and Los Angeles.

“One of the key things that has changed in terms of how we’re producing the show is that we physically have way less crew in the building. We’re working slower, and everyone’s having to do a bit more, maybe, than they would normally.

Shortland Street director Ian Hughes and camera operator Connagh Heath discussing blocking with a one-metre guide.

“When crew are in a controlled workspace where we know who everyone is,” he continues, “that allows us to keep track of them properly — they’re allowed to work within a meter of one another physically (three feet). Our policy is that we want staff to stay two meters (six feet) apart from one another as much as possible. But when we’re shooting, when it’s necessary, they can be a meter from one another.”

Reeve says the virus has certainly changed the nature of what can be shot. There are no love scenes, no kissing and no hugs. “We’re shooting to compensate for that; staging people to make them seem closer than they are.

Additionally, everything stays within the production environment. Parts of our office have been dressed; parts of our building have been dressed. We’ll do a very low-profile exterior shoot for scenes that take place outside, but we’re not leaving the lot.”

Under Level 3, everyone is still under isolation at home. This is why, explains Reeve, social distancing has to continue at work. That way any infection that comes into the team can be easily traced and contained and affect as few others as possible. Every department maintains what they call a “bubble,” and very few individuals are allowed to cross between them.

Actors are doing their own hair and makeup, and there are no kitchen or craft services available. The production is using and reusing a small number of regular extras, with crew stepping in occasionally as well. Reeve noted that Australia was also resuming production on Neighbours, with crew members acting as extras.

“Right now in our studio, our full technical complement consists of three camera operators at the moment, just one boom operator and one multi-skilled person who can be the camera assist, the lighting assist and the second boom op if necessary. I don’t know how a US production would get away with that. There’s no chance that someone who touches lights on a union production can also touch a boom.”

Post Production
Shortland Street’s post department is still working from home. Now that they are back in production, they are starting to look at more efficient ways to work remotely. While there are a lot of great tools out there for remote post workflows, Reeve notes that for them it’s not that easy, especially when hardware and support are halfway across the world, borders are closed and supply chains are disrupted.

There are collaboration tools that exist, but they haven’t been used “simply because the pace and volume of our production means it’s often hard to adapt for those kinds of products,” he says. “Every time we roll camera, we’re rolling four streams of DNxHD 185, so nearly 800Mb/s each time we roll. We record that media directly into the server to be edited within hours, so putting that in the cloud or doing anything like that was never the best workflow solution. When we wanted feedback, we just grabbed people from the building and dragged them into the edit suite when we wanted them to look at something.”

Ideally, he says, they would have tested and invested in these tools six months ago. “We are in what I call a duct tape stage. We’re taking things that exist, that look useful, and we’re trying to tape them together to make a solution that works for us. Coming out of this, I’m going to have to look at the things we’ve learned and the opportunities that exist and decide whether or not there might be some ways we can change our future production. But at the moment, we’re just trying to make it through.”

Because Shortland Street has only just resumed shooting, they haven’t reached the point yet where they need to do what Reeve calls “the first collaborative director/editor thing” from start to finish. “But there are two plans that we’re working toward. The easy, we-know-it-works plan is that we do an output, we stick it on Frame.io, the director watches it, puts notes on it, sends it back to us. We know that works, and we do that sometimes with directors anyway.

“The more exciting idea is that we have the directors join us on a remote link and watch the episodes as they would if they were in the room. We’ve experimented with a few things and haven’t found a solution that makes us super-happy. It’s tricky because we don’t have an existing hardware solution in place that’s designed specifically for streaming a broadcast output signal over an internet connection. We can do a screen-share, and we’ve experimented with Zoom and AnyDesk, but in both those cases, I’ve found that sometimes the picture will break up unacceptably, or sync will drift — especially using desktop-sharing software that’s not really designed to share full-screen video.”

Reeve and crew are just about to experiment with a tool used for gaming called Parsec. It’s designed to share low-latency, in-sync, high-frame-rate video. “This would allow us to share an entire desktop at, theoretically, 60fps with half-second latency or less. Very brief tests looked good. Plan A is to get the directors to join us on Parsec and screen-share a full-screen output off Avid. They can watch it down and discuss with the editor in real time or just make their own notes and work through it interactively. If that experience isn’t great, or if the directors aren’t enjoying it, or if it’s just not working for some reason, we’ll fall back to outputting a video, uploading it to Frame.io and waiting for notes.

What’s Next?
What are the next steps for other productions returning to work? Shortland Street is the only production that chose to resume under Level 3. The New Zealand Film Commission has said that filming will resume eventually under Level 2, which is being rolled out in several stages beginning this week. Shortland Street’s production company has several other shows, but none have plans to resume yet.

“I think it’s a lot harder for them to stay contained because they can’t shoot everything in the studio,” explains Reeve. “Our production has an added advantage because it is constantly shooting and the core cast and crew are mostly the same every day. I think these types of productions will find it easiest to come back.”

Reeve says that anyone coming into their building has to sign in and deliver a health declaration — recent travel, contact with any sick person, other work they’ve been engaged in. “I think if you can do some of that reasonable contact tracing with the people in your production, it will be easier to start again. The more contained you can keep it, the better. It’s going to be hard for productions that are on location, have high turnover or a large number of extras — anything where they can’t keep within a bubble.

“From a post point of view, I think we’re going to get a lot more comfortable working remotely,” he continues. “And there are lots of editors who already do that, especially in New Zealand. If that can become the norm, and if there are tools and workflows that are well established to support that, it could be really good for post production. It offers a lot of great opportunities for people to essentially broaden their client essentially or the geographic regions in which they can work.

Productions are going to have to make their own sort of health and safety liability decisions, according to Reeve. “All of the things we are doing are effectively responding to New Zealand government regulation, but that won’t be the case for everyone else.”

He sees some types of production finding an equilibrium. “Love Island might be the sort of reality show you can make. You can quarantine everyone going into that show for 14 days, make sure they’re all healthy, and then shoot the show because you’re basically isolated from the world. Survivor as well, things like that. But a reality show where people are running around the streets isn’t happening anymore. There’s no Amazing Race, that’s for sure.”


After a 20-year career talent-side, Katie Hinsen turned her attention to building, developing and running post facilities with a focus on talent, unique business structures and innovative use of technology. She has worked on over 90 major feature and episodic productions, founded the Blue Collar Post Collective, and currently leads the dailies & DI department at Nice Shoes.

Post vet Katie Hinsen now head of operations at NZ’s Department of Post

Katie Hinsen, who many of you may know as co-founder of the Blue Collar Post Collective, has moved back to her native New Zealand and has been named head of operations at Aukland’s Department of Post.

Most recently at New York City’s Light Iron, Hinsen comes from a technical and operations background, with credits on over 80 major productions. Over a 20-year career she has worked as an engineer, editor, VFX artist, stereoscopic 3D artist, colorist and finishing artist on commercials, documentaries, television, music videos, shorts and feature films. In addition to Light Iron, she has had stints at New Zealand’s Park Road Post Production and Goldcrest in New York.

Hinsen has throughout her career been involved in both production and R&D of new digital acquisition and distribution formats, including stereoscopic/autostereoscopic 3D, Red, HFR, HDR, 4K+ and DCP. Her expertise includes HDR, 4K and 8K workflows.

“I was looking for a company that had the forward-thinking agility to be able to grow in a rapidly changing industry. New Zealand punches well above its weight in talent and innovation, and now is the time to use this to expand our wider post production ecosystem,” says Hinsen.

“Department of Post is a company that has shown rapid growth and great success by taking risks, thinking outside the box, and collaborating across town, across the country and across the world. That’s a model I can work with, to help bring and retain more high-end work to Auckland’s post community. We’ve got an increasing number of large-scale productions choosing to shoot here. I want to give them a competitive reason to stay here through Post.“

Department of Post was started by James Brookes and James Gardner in 2008. They provide offline, online, color, audio and deliverables services to film and television productions, both local and international.

Blue Collar Post Collective gets new co-president, expands leadership

One of the founding members of the Blue Collar Post Collective, post pro Katie Hinsen, is moving back to her native New Zealand and, as a result, is stepping down from her post as co-president. She will remain active in the organization as a member of the board.

The group’s other co-president, editor/assistant editor Janis Vogel, will now be joined by Felix Cabrera, who will transition from board member to co-president. Cabrera is a senior producer at Black Hole/Lost Planet Editorial and has been an active member of the BCPC since its inception.

The BCPC is also expanding its leadership, welcoming filmmaker Grace McNally and John Gallagher, who is director of technology for BMCC’s Media Arts & Technology program. McNally is transitioning from board chairperson to the executive committee role, where she will work alongside industry veteran and educator John Gallagher to strengthen relationships, secure funding and enable the organization to expand its programs.

“I’m excited to have the opportunity to serve on the board of an organization that will be more effective in making positive change to our industry without me at the lead,” says Hinsen. “Sometimes it takes a catalyst for change to make you consider how you could run things more effectively, and I really believe that this new leadership, alongside our board, is going to make the BCPC the best it can possibly be.”

The Blue Collar Post Collective is grassroots organization supporting emerging talent in post production.

Main Image: L-R: John Gallagher, Janis Vogel, Grace McNally and Felix Cabrera.

BCPC gains non-profit status, names board

Two years ago, the Blue Collar Post Collective (BCPC) formed in New York City. It was created by young post professionals who wanted to promote a feeling of community and camaraderie. They started small with meet-ups in local pubs, and then they grew by inviting manufactures to take part and share info about their tools. Then came tech panels. Now they are expanding further with the appointment of an executive committee, various sub­-committees and a board.

In addition, the group has also been awarded not-for-profit status as an organization, which allows the BCPC to accept funding and donations to develop additional programs that will assist low-income post pros in accessing resources.

“It is part of our mission to make sure we never charge for membership or entry to our events,” explains BCPC co-president Janis Vogel. “Although there is increasing support for freelancers and inclusivity in the film and television industry, there are still significant challenges to finding a financially sustainable career path in post production. By achieving not-for-profit status for BCPC, we are able to receive grants and funding to launch programs that directly benefit those in the post industry who need it most.”

The BCPC board members for the coming year are: freelance producer at Radical Media, New York, Grace McNally; DI assistant at Light Iron New York James Reyes; workflow supervisor at Bling Digital, Los Angeles Kylee Peña; producer and editor Julie “Bob” Lombardi; workflow producer at Bling Digital, New York Leo De Wolff; VFX/motion graphics and senior producer at Black Hole/Lost Planet Felix Cabrera; editor Zac Stuart-Pontier; film writer and historian Bobbie O’Steen; managing director at Deluxe/Company 3 New York Domnic Rom; director of production R&D at HBO Rod Bogart.

“We aim to have a board that represents the post community at all levels, to oversee and advise us in our work to bring the community together. We are truly honored to have such an incredible team,” reports co-president Katie Hinsen (who is pictured with Vogel in our main image).

BCPC hosting documentary editing panel as fundraiser

The Blue Collar Post Collective (BCPC), a grassroots organization that supports emerging post talent, is presenting “Editor Conversations v1: Cutting and Recutting the Documentary Scene,” a four-person panel discussion featuring experienced documentary editors such as Mona Davis (Frontline), Dena Mermelstein (Strickland), Mariah Rehmet (Stretch and Bobbito) and Zac Stuart-Pontier (The Jinx).

“We’re excited to announce this as the first of a series of editor conversations that will give people access to masters of the editing craft, in the intimate and friendly environment that the BCPC is known for,” says BCPC co-president Janis Vogel.

The event takes place on March 17 at Technicolor Postworks in New York City. Get tickets here.

“This event is a fundraiser to support the Blue Collar Post Collective Professional Development Accessibility Program, which will enable low-income members of the post community to have equal access to important industry events that are otherwise inaccessible due to cost,” says Vogel.

   zak image3 cropped   
Panelists Mona Davis, Zac Stuart-Pontier and Mariah Rehmet.

Each panelist will screen a short scene from their body of work; first, they will show something from the early rough-cut stage and then the same scene at a later fine-cut stage.

They will also discuss the process of scene revision: how to talk about it with your director, how to see a scene with fresh eyes, how to reshape content, what that means for the overall narrative and how to make this a successful process.

All four panelists have a deep well of experience in theatrical, broadcast and web post, and will take questions from BCPC members in the audience.

Quick Chat: Blue Collar Post Collective’s Janis Vogel

By Randi Altman

Heidelberg, Germany-born and Martha’s Vineyard-raised Janis Vogel (@didyoumeanjanis) now resides in Greenpoint, Brooklyn, making her living editing documentaries, television documentary series, experimental films, fiction, music videos and promos.

Her academic background is interesting — she came into filmmaking with a fine arts perspective. “My favorite film teacher was experimental film and sound artist Ann Steurnagel at Wellesley College.” Vogel then went to graduate school to earn an MFA in directing Continue reading

Behind the Title: Light Iron finishing artist Katie Hinsen

Katie Hinsen, finishing artist at NYC’s Light Iron, brings a diverse creative and technical background to her job, and a background that includes offline and online editing, visual effects, stereoscopic 3D and color.

A native New Zealander, Hinsen began her career in the late ‘90s as a lead DI editor at Park Road Post in Wellington, working on Knowing, The Lovely Bones and Don’t Be Afraid of the Dark. She was also part of the Oscar-nominated team for Best Achievement in Film Editing and Best Achievement in Visual Effects on District 9.

In 2010 she moved to New York, taking a position at Goldcrest Post where she worked on feature films and documentaries as a finishing and visual effects artist. She landed at Light Continue reading

Giving back for the common good

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CHRISTCHURCH, NZ — Katie Hinsen is a Quantel artist, among other things, at NYC-based Goldcrest Post. She is also a native New Zealander. On a recent month-long trip home, she started a mentoring project, along with her mother Mary Hinsen, who runs a non-profit that facilitates anti-bullying projects in New Zealand schools.

“Her unique strategy is that she has the students come up with ideas, and her organization puts the kids with the right professionals to help them make their ideas happen,” explains Hinsen.

Continue reading