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WATERFORD CITY COUNCIL
FILM REPORT – 2002
Authored by Pat Hodgkins
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CONTENTS
1. Introduction
2. Who’s Out There?
Waterford Youth Drama
Waterford at Eight
Waterford Film For All
Waterford Film Production Group
WAVE
Garter Lane
Waterford Institute of Technology
Vocational Education Committee
Independents
3. What is a Resource Centre?
Cork Film Centre
Galway Film Centre,
FilmBase
A Model for Waterford
4. Attracting Production into the Area
Local Production Companies:
Nemeton
Lye Prod
City & County Enterprise Board
5. Waterford Profile
A Short Film Festival for Waterford
6. Links
Other Organisations
7. Recommendations
8. Appendix
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INTRODUCTION
During the Sean Dunne Festival 2001 a seminar on the future of a film sector in Waterford took place. A
number of local people attended - artists, filmmakers and students – and the seminar was hosted by Triona
Campbell and Avril Ryan, producers of the Irish digital feature, The Crooked Mile. (The Crooked Mile was
an interesting project because, despite being set in Tramore, Co. Waterford, filming took place in Jersey as
the cost of filming in Waterford was prohibitive.)
The seminar addressed the central issue of what needed to be done to develop a creative focus around the
art of film making in Waterford, similar to what exists in other urban centres in Ireland, and possible means
to attract production into the area. There was unanimous agreement that a Resource Centre along the lines
of The Galway Film Centre or FilmBase would be beneficial in terms of providing resources for aspiring
film makers, lobbying for the sector, and providing a focal point for those working in this area.
An approach was made to Conor Nolan with the idea that a Resource Centre would an achievable goal for
Waterford and that this would be an area warranting further research and development. After a number of
meetings a course of action was decided on and Conor subsequently commissioned this report.
The aim of the report is to outline existing resources and activities, and to research areas for potential
development. A number of local people and organisations were interviewed for this report. All parties were
asked to outline their activities in the area, or the activities of the organisation they represent, to discuss
their needs, how they felt this area could be further developed and whether or not they felt a Resource
Centre would be beneficial to their activities.
This Report is intended to be a discussion document.
WHO’S OUT THERE?
Overview
This sections outlines the various organisations and individuals who are currently working in the area of
film and video in Waterford. There is a wide range of activities – from production, to training, to
presentation. There is a common thread throughout – all these groups experience some difficulty in
accessing resources and/or finance. Overall however, in comparison to other regions, the level of activity is
not huge. Despite this, the commitment to working in film/video is strong amongst these groups.
Background
In a previous report commissioned by Waterford City Enterprise Board in 1994, the Waterford Film
Production Group profiled a number of companies and voluntary and/or community groups operating in the
audio-visual sector in the Waterford region. These included Lyre productions, Nemeton, Riverside TV,
SouthEast Media Arts, Video Tech Media, Waterford Access Media and Waterford Film Production Group.
The activities of these agencies ranged from training and local TV production to corporate video and
broadcast production.
Many of these groups have since disbanded, however from this base a small but vibrant sector has
developed. The companies and groups currently active in this area are profiled in some detail below.
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Waterford Youth Drama/WYD Eye Film & Video Unit
Summary
Key Staff: Ollie Breslin Artistic Director
Cathy Hanrahan Development and Administration
Katie MacCarthy WYD Eye Co-ordinator
Ailaig Moison Video Youth Worker
Jackie Nevin Training Co-ordinator
Maria Cullen Administrative Assistant
Ken Coleman Technical Manager
Additional Staff
Dance Workers: Libby Seward
Lisa Murphy
Drama Tutors Marcus Quinlin
Keith Grogan
James Rockett
Jenni Graingel
Catchment: Waterford Area
Young People, ages 13 - 19
Activities: Workshops and Courses
Technical support for short film makers
Advice
Record: Thomas Deirdre Burke
Clash Daire O’Neill Fresh Film Fest, 99 Highly Commended
Award
As Luck Would Adam Wallace Fresh Film Fest, 99
Have It Cork Int. Youth Runner Up (Fiction)
Busted Group Project Screened: Irish Film
Institute Education
Outreach Programme
Shush Giles Reid Fresh Film Fest, 99
Adam Wallace
Switch Giles Reid Fresh Film Fest, 01
Traitor Willy Burke Fresh Film Fest, 01 Special Commendation
Brand New Day Group Project
Games We Play Katie Bradley Screened: Hallabaloo,
McCarthy Garter Lane, 01
The Mystery of Group Project
Moincoin
The Trip Group Project
Work in Progress:
Shooting the Breeze Group Project
Sweeney’s Bread Group Project
Troubador Dean Carroll
Take 2 Trevor Burke
Breakfast Trauma Group Project
Continuity Group Project
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Rendezvous Paul Power
Starvin’ Mark Costine
Equipment: Canon XL1S Digital Camera *
(Mar 2002) S VHS Camcorder & Tripod
VHS Camcorder & Tripod
Canon MV450/MV450I*
2 X Microphones
Apple Power Mac G4 (edit system) + Final Cut Pro 3 Editing software + Matrox RTMac*
S VHS Editing System: Player, recorder, controller, vision mixer, sound mixer, 3X
Monitors, DEC player & minidisc player.
Lights: 3 X Redheads, 1 X Blonde
(*Equipment owned by Waterford Voluntary Youth Council)
Funders: The Arts Council
City of Waterford VEC, Waterford Youth Committee
Waterford Corporation
Waterford County Council
FAS
The Ireland Funds
Bausch & Lomb, Ltd.
Premises: Video Room
Meeting Room
Costume Room
Kitchen
Office
Needs: Recognised Qualification
Established Film Culture
Detail
In 1997 the WYD Eye was established in response to member’s interest in video as a means of expression.
Utilising an AIB Better Ireland Award the group purchased equipment and organised workshops, resulting
in the production of a number of short films (see above). In 2000, The National Council for Vocational
Awards (NCVA) accepted WYD Film & Video Unit as an accredited training centre for Video Expression.
WYD Eye is now accredited by NCVA to level 2 – a post Leaving Certificate accreditation. This year
WYD Eye has also expanded it’s remit for youth work to include a ‘20 something’ workshop.
In June 2000 Katie Bradley MacCarthy joined the Film Unit as Co-ordinator, with Ailaig Moison joining
WYD EYE as a Youth Worker later in the year. Both Katie and Aelaig have brought with them a wealth of
experience and new perspectives to WYD Eye. Despite their heavy workload however, both are employed
on a part time basis.
Courses
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Three times a year WYD EYE run workshops for beginner, intermediate and advanced levels, each
workshop having six to eight places. Beginners are introduced to basic equipment use and filmic techniques,
and are encouraged to view and discuss work by established directors. They are then given the opportunity
to make a short film, rotating through the various ‘on set’ roles. Intermediate students are given broader
scope in terms of practice, being given access to and tuition on an edit suite. Advanced groups, usually
graduating from the above courses, embark on a summer project that entails a full production of a short
film.
As evidenced from the Track Record above, many of these short films have been exhibited in festivals and
have received awards.
In addition, WYD EYE run a number of outreach projects, with a structure similar to the above.
Tutors are usually ‘in house’ – i.e. – Katie McCarthy Bradley or Aelaig Morrisson, both of which have
professional film qualifications. Where funds permit, external tutors who are full time industry professionals
are also hired for seminars and Q & A sessions.
Equipment
Through sponsorship by The Waterford Voluntary Youth Group, WYD EYE this year upgraded their
equipment base, giving them a full digital production and post -production capacity. The equipment
purchased through this support is of broadcast specification. This equipment has proved popular and is
providing students which essential skills with ‘state of the art’ equipment.
In addition, WYD EYE has VHS cameras for training and an S VHS package (production and post
production) for beginner and intermediate students. (Traditionally S VHS is described as an analogue
"industrial format" - i.e. - it has been used widely in the past for the production of corporate video's and
community projects which demand a high but not necessarily broadcast technical standard.)
Future
There are a number of future aspirations for WYD EYE. FAS and the Waterford Area Partnership are
interested in working with WYD EYE to develop “a more rigorous training strategy”.
Despite the 'youth' limitation, WYD EYE is providing a service, which is similar to that which would be
provided for by a Resource Centre.
Needs
Despite NCVA accreditation, WYD EYE continues to seek further accreditation for it courses. Another
problem is the lack of ‘film culture’ in the region. Most students who graduate from WYD EYE’s training
programme find there are few opportunities in the region to further develop their skills – there is no
commercial or industrial base in which to find work placement, and there are no third level educational
opportunities in this area.
Waterford at Eight
Summary
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Staff: Gabrielle Cummins Producer
Liz Reddy Presenter
Anthony Kelly Camera/Video Editor
Ray Scott Sports Presenter
Ashling McCardle Sales Exec TV
Catchment: Waterford Area
Activities: Weekly 40 mins TV programme
Record: Been producing above for 18 months
Equipment: JVC 500 Mini DV Camera
Media 100 Editing system
Funders: Owned by WLR FM
Sponsors: ntl, Waterford Corporation, local business.
Premises: WLR FM
Detail
Waterford at Eight is a weekly TV half-hour magazine programme broadcast on ntl to the greater Waterford
region. The programme, which includes local features, news and sport, is broadcast on Thursday night, and
repeated on Friday, Saturday and Sunday night. The programme is also available in Dungarven through
Casey Cablevision, and also on Mon and Tues nights on ntl’s MMDS system.
Waterford at Eight is owned by WLR and has been broadcasting for eighteen months. Waterford
Corporation, ntl and local business sponsor it. Because current legislation precludes advertising on local or
community TV, local businesses sponsor specific items, this sponsorship being communicated to the
audience through “infommercials”. This is a common 'work around' advertising revenue used by other
community TV networks - i.e. - Navan TV.
Equipment (JVC miniDV & Media 100) was purchased by WLR, and the programme is produced in WLR's
premises and by their staff. Waterford at Eight also has a good relationship with TV3 & RTE, covering
local events for news when the need arises.
There are numerous enquiries regarding job opportunities in this area, in particular from students.
Waterford Film For All
Run on a voluntary basis by a group of cinema enthusiasts Waterford Film Society has been in existence
since the late '70s. As a member of Access Cinema – a resource centre and booking agent for arts groups
wishing to access cultural cinema - WFFA host weekly screenings of “arthouse” cinema in Garter Lane Arts
Centre. With over twenty-two members Access Cinema (formerly The Federation of Irish Film Societies)
access a print from distributors in Dublin or London – the cost of access is then shared between all groups.
In addition to their weekly screenings, WFFA have also hosted screenings at Waterford Pride and Westend
Live.
Films are currently screened in Garter Lane Arts Centre using an in-house 35mm projector. In theory this
allows them to screen as wide as possible range of cinema from around the world. They operate a
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membership system, which restricts entrance to those over 18s - this is the same mechanism used by the
Irish Film Centre. Last year they had over 480 members.
Over the course of a year WFFA would screen up to 25 films over two seasons – from September to
December and from January to the end of April. The regular screening day is Tuesday with one film
showing at 8.15 pm – more recently they have attempted to expand the screenings by putting on a teatime
screening at 6.15 pm and intend to continue with this option should feel that a film has the box-office
potential. Tuesday has proved to be the most popular day for screening
Last year, in June, they also screened a series of four films that had been nominated for various awards
during previous twelve months under The Big Screen banner and these screenings were open to the general
public. This proved to be a limited success and may be repeated next year if they can put together an
attractive programme.
As a ‘not for profit’ organisation finance they are totally reliant on some small commercial sponsorship and
box office revenue - this has imposed financial constraints and influences their choices when programming
seasons.
Costing:
(Mar 2002)
Cost of screenings depends on whether its Dublin or London based.
Dublin:
Film Hire E178
Transport E41
Room Hire E89
Advertising E51
Total E368
London:
Film Hire E228
Transport E101
Room Hire E89
Advertising E51
Total E470
With an average attendance of 60 people and an admission charge of E6 per person, box-office revenue just
barely covers the cost of screening a Dublin based print.
Their cost base had also increased since September when Garter Lane has imposed a 5% box-office tax.
An example of how these costings influence their programmes comes in their decision to include more
London based titles in their autumn programme – the continuation of this ‘adventurous’ programming will
depend on audience reaction.
Waterford Film For All are very open to future collaborations.
WAVE (Waterford Amateur Video Enthusiasts)
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WAVE was founded in February 2001 with the intent of setting up a small organisation of dedicated film
and video makers who will work together to produce short films. They have eight full time members and a
smaller number of part time members who regularly attend meetings. To date they have produced a 25’
drama entitled Late Night Poker which is nearing completion and was screened in Garter Lane (supporting
Hard Days Night) in December 2001. This film was shot on Hi8 video, will be screened on VHS, and will
be completed on a total budget of £400. This money was raised in part by local business sponsorship and
personal investment.
WAVE continues to write scripts in hope of attracting investment/sponsorship, and are working on two
new projects this year. They are now part of the Arts Incubator Unit based in Lombard Street, and
supported by Waterford City Council.
WAVE would welcome the establishment of a Resource Centre – both in terms of equipment hire and
training, but also in terms of support, advice and information.
Garter Lane Arts Centre
Artistic Director: Caroline Senior
Funded by The Arts Council, FAS, Waterford Corporation, The British Council and private sponsors,
GLAC promotes and develops creative activity in theatre, literature, film, music and dance. The centre
houses a two hundred-seat theatre that also doubles as a cinema for regular screenings.
GLAC has hosted an initiative by Waterford Film For All to screen “Arthouse” films on Tuesday nights –
these are films that would be precluded from the schedule in the Cineplex because of their ‘specialist’ or
arthouse nature. This has proven to be a successful venture, with attendance’s ranging from good to
excellent. (See above) GLAC’s contribution to this venture is to provide a venue for screenings.
In addition to this GLAC has presented screenings in association with The Film Institute of Ireland. In total
this year GLAC has screened 37 films – this marks a 50% increase on the number of screenings three years
ago.
GLAC has a valuable resource in a 35mm projector. This projector cannot be easily moved, and despite
GLAC’s recent investment in a new screen, the theatre space is still a difficult venue for cinema screening.
Caroline Senior has been instrumental in developing links with local organisation, in particular Waterford
Film For All, responsible for the Tuesday night screenings. She would welcome any innovations in this area
to further promote ‘non mainstream’ cinema to a Waterford audience. Furthermore, given GLAC’s mission
statement “to promote and develop creative activity”, GLAC would welcome and support any initiatives to
develop and encourage indigenous film production in Waterford.
*
In addition to the above groups and organisations, there are two educational institutes which provide
training and instruction in the audio-visual area.
Waterford Institute of Technology
The Waterford Institute of Technology runs two courses in the Department of Humanities which use video
production as an educational tool. These are – Diploma’s in Design and Communications, and in Art. Dr.
Michael Howlett directs both these courses.
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The college also has an audio-visual unit that can be accessed by all registered students for student
presentations. This facility is also used to produce an annual video promoting WIT. Cian O’Connell
maintains these facilities, outlined below.
Equipment: JVC KY17 Camera
(Mar 2002) Beta Camera
Panasonic MV5 SVHS Camera
UVW 1400 Beta Player/Recorder
Non linear editing system - Speedware Software
Small production studio
These facilities have been accessed in the past by independent projects whose association with the college is
tenuous and who have depended on the goodwill of the college and tutors for assistance. However as a
general rule this equipment is not accessible for creative projects developed either within the college’s
activities or from outside groups. There is a high level of activity within this facility during term time.
Vocational Educational Committee/Media Production
This course is a post Leaving Certificate course with Fetac level 2 certification. The course covers all
aspects of media production, including print, radio and photojournalism, however it has small emphasis on
video or TV production. Accessing a small equipment base (S VHS camera’s & editing), students produce a
five minute journalistic film each year which is broadcast on Waterford At Eight.
Vocational Educational Committee/Adult Ed/Video Production
At the time of writing this course is no longer in operation, but it is worth noting the details of this adult
education course.
Summary
Staff: Harry Dunphy
Catchment: Waterford Area
Adults
Activities: NCAB Certificate in Radio Presentation and Video Production
Equipment: S VHS Camera & Tripod (ENG package)
S VHS Studio Camera
S VHS Editing System: Player, recorder, controller, vision mixer, sound mixer, 3X
Monitors, CD player & minidisc rec/player.
Lights: 3 X Redheads,
Funders: VEC
Detail
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Since 1994 the VEC Adult Ed/Harry Dunphy have run a two year daytime course in Radio Presentation and
Video production. Last year (2001/02) the course did not run as the level of interest in the course was too
low.
The course covers radio presentation, newsgathering, radio documentary and radio drama. The course is
internally assessed and there is also an NCVA assessment in Dublin.
Harry Dunphy retired at the end of this academic year.
Independent Productions
Outside the remit of these organisations there has been a small number of independent films/video’s
produced in Waterford over the past ten years, however overall the level of activity has been low.
All of these productions have had one thing in common – they have been produced under circumstances of
little or no budget, and despite support from many of the organisation profiled above, these short films
would not exist were it not for the commitment and passion of the producers/directors. Furthermore, the
main reward is creative and personal – there is little remuneration or even exposure for such projects. There
very existence however indicates a small but dedicated core of people who wish to pursue either creative or
career objectives through the medium of film.
A brief profile of one such film “Tales of the Seaside” by John Moloney is contained in the appendix.
Business Sector
Two Waterford based companies have in house video production facilities – MKV and Waterford Crystal.
Michael Kenny supervises the video facilities and all in house production for Waterford Crystal. These
facilities include:
DSR 300 Sony Digital Camera
Avid MC Express Edit Suite
The facilities are used to produce in house presentation, recording of industrial tests for future reference,
communication video’s for employees and marketing and promotional video’s for the company’s product.
Much of this work is for CD ROM application and is used for conferencing. There are plans to further
develop this area in Waterford Crystal.
To date there have been few enquiries from community groups to access this equipment, however
Waterford Crystal would view such requests positively, and would welcome greater involvement in the
community at this level.
Michael Kennedy undertakes video Production in MKV.
Section Summary
The Waterford Film Society screenings have been very successful, and important to promoting an
awareness of film as an artistic medium, in that they bring a specialist or ‘arthouse’ cinema form to a
Waterford audience. They are unhappy with the venue of Garter Lane as it is not a cinema per se – however
it is a difficult venture to re-locate, and it would be a shame to lose the support and assistance of Garter
Lane. Given that attendances are good at these screenings, perhaps there is room to develop this venture
further.
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In terms of production there has been a consistent level of activity over recent years, however in comparison
to the two other regions associated with film production (Galway and Dublin) this activity is still low.
WYD Eye are the most active in this area, and the service they provide for young people is similar to that
provided by resource centres such as Galway Film Centre, Cork Film Centre and Film Base. Their
commitment and expertise in this area is excellent.
Education and Training: WYD Eye is providing training at NCVA level for young people, however there is
no natural progression for people who have attended these courses. WIT do not run a dedicated film/video
course and the future of the Adult ED VEC course is uncertain.
It is interesting that perhaps the most sophisticated equipment based in Waterford (Avid MC Express in
Waterford Crystal) is seldom accessed by community and/or voluntary groups.
The idea of establishing a Resource Centre to provide training, advice and production equipment was put to
all organisations above and the response was very positive.
WHAT IS A RESOURCE CENTRE?
The Dublin, Cork and Galway regions are all serviced by Resource Centres that provide training, advice,
networking and equipment for young and independent filmmakers. These centres are profiled below:
The Cork Film Centre
(www.corkfilmcentre.com)
Originally CAVERN (Cork Audio Visual Education & Realisation Network), the resource centre was
founded in 1993 and operated for three years on little or no budget and no premises, dedicated to the
development of film and video in the Cork City and County region. In 1996 an Arts Council grant of £2,500
enabled CAVERN to open an office, staffed by a CE worker and in 1998, in order to enable recognition
and raise their profile, they changed their name to The Cork Film Centre.
Key Staff:
Chris Hurley Manager
Angela Jones Administration Officer
Pat Coughlan Information Officer
Stephan O’Connell Animation Facilitator
With two full time staff (manager and administrative assistant) and two part time staff (information officer
on FAS job initiative, animation facilitator is part time self employed), CFC have a broad focus covering
drama and documentary production, video art and animation.
Video Art
CFC recently organised exhibitions of work by video artists such as Nigel Rolfe, Pauline Cummins and
Clare Langan at the Fenton Gallery, and has set up two annual Video Art Awards for use of facilities. The
Centre has also established the Arts Council funded VAMP (Video Art Monitoring Project) whereby an
Artistic Mentor engages in hands-on projects and a series of workshops with a number of emerging artists to
assist them in the production of new work, culminating in the public exhibition of their works.
Animation
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CFC is emerging as potentially the principal animation facilities provider in Ireland. The Centre envisages
an output of four quality independent animations per year and has invested in a suite of digital animation
creation stations. Stephen O’Connell (winner of the CFC Animation Award 2000) has recently been granted
a Frameworks award, which will be completed in CFC, and Anthony Ruby (winner of the CFC Student
Animation Award 1998) has completed ‘No Homework’, also under Frameworks.
Education & Outreach
Cork Film Centre run a number of film educational courses, master classes and workshops for members
throughout the year in order to transfer skills to those wishing to use the moving image creatively. CFC
supports second level schools by running a number of competitive award programmes and film workshops.
The Centre facilitates arts and community groups in documenting activities, and collaborates with the Cork
Film Festival in organising workshops and seminars during the festival week.
The Centre’s Awards scheme is comprehensive, covering all areas of production activity and their outreach
work, and these awards are seen as a way to encourage entry level participants and ensure future
development. Despite their broad appeal, the schemes are relatively inexpensive to run in terms of
administration, however they do put pressure on the equipment base.
Like other Resource Centres, income is derived from equipment hire, training and membership.
Recent Productions
Over the last year eleven short films were selected for screening in ‘Made in Cork’ at the Cork Film Festival
2001, with nine of these being made with the assistance of The Cork Film Centre. (For full filmography see
Appendix)
Awards
The Centre has broad based award scheme encourages and develops local production:
Cork Film Centre/RTE Short Script Award
Video Art Award
Animation Award
Creative Documentary Award
Short Video Award
Graduate Video Art Award
The Cork Film Centre/Crawford College of Art & Design Animation Award Best Transition Year Video
Award for Schools
Equipment
(See Appendix)
Funders: Arts Council: Direct Revenue: E46,345
Grant: E10,157 VAMP
(Video Art Mentoring Project)
Cork Corporation E12,062
Cork County Council E3,809
No sponsors
Running Costs: Approx.: E101,579
The Galway Film Centre
(www.galwayfilmcentre.ie)
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The GFC was set up in 1988 as a registered charity, dedicated to the development of film and video as a
medium of artistic expression. A membership-based organisation, with a Board of Directors elected
annually by members, the centre provides equipment, training, information and production facilities at non-
commercial rates to independent filmmakers, artists, community groups and schools. Recent financial
difficulties have meant that this GFC cut back on their staff and the overall level of activity in the
organisation.
Staff
Anna O'Sullivan Manager
Shea Dooher Technical Supervisor
Brian Rossney Technician
Felim McDermott Education and Training
Training
There are three aspects to GFC’s training programme.
Professional Courses
These courses aim to meet the training needs of industry personal. They are professional courses run by
GFC in conjunction with Screen Training Ireland (STI) and they enable Irish industry professionals to
upgrade or expand their skills with the aid of international professionals. The courses are designed by GFC
staff, and provide important revenue for the film centre in terms of design and facilitation fees. Often this
revenue can provide the core funding for the centre’s training strategy.
While STI are increasingly assessing the needs in this area and putting course profiles out to tender, they
have a flexible ‘roll on’ approach in that good course ideas which meet the needs of the film community are
often realised through an approach from the film centre.
This year GFC are running a number of these courses including Camera and Dramaturgy, Digital
Multiskilling and Digital Post Production.
Courses such as these are expensive for the participant, however in most cases they in part subsidised by
STI.
GFC Courses
These are theory and practice based training courses aimed at new entrants, trainees and to some degree
working professionals. They are designed, administrated and technically supported by GFC staff, and
because of running costs and a low entrance to enable access for trainees, this activity tends to be ‘low
revenue’.
Courses running this year include Script Development, Idea to Treatment, Directing, Introduction to Digital
Editing (Avid & Final Cut Pro), Acting for Camera, Screen Test and Audition, Make Up and 3D Studio
multi media course.
ID FILMS
ID FILMS are locally based projects initiated by GFC designed to encourage and enhance knowledge of
video making in the community. This year four groups were chosen to make a documentary about their
unique identity, and they received training and support from established documentary makers. The four
groups who benefited from this activity were an Asylum Seekers Group, The Irish Wheelchair Association,
East Galway Sunflowers (Friends of the Children of Chernobyl) and a Young Mothers group.
(See appendix for details)
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Film West
This year, the GFC publication Film West - a national film quarterly looking at international and national
film from an Irish perspective – ceased publication due to financial difficulties. With a readership of
approximately 6,000 and a recognised independent voice in the film sector, this is a loss, leaving only one
other such voice in the market – Film Ireland (see FilmBase).
Awards
The GFC/RTE Short Script Awards fund 3 short films per year, each production receiving E8,888 cash and
the same in facilities from GFC. The scheme, now in its sixth year, is designed to encourage film-making
throughout the regions and is open to emerging film-makers with original scripts which display strong
cinematic visualisation and a fresh Irish perspective.
GMIT/GFC
In 1996 Galway & Mayo Institute of Technology (GMIT) designed and ran a one-year film and video
course. When GFC, originally located in the city centre of Galway, moved to the GMIT campus, part of the
deal was that they provide technical support for this course.
Initially GFC supplied all equipment for the course, however between 1996 and 2001 GMIT built up it’s
own equipment base. Now both organisations pool their resources in this area, with GFC owning 70% of the
equipment pool, and GMIT paying for all technical back up required by the course. The course has since
expanded to a 3-year diploma and the uptake is high, with 100 students currently on the course. In addition
to this, students from Art and Design also access video equipment.
The relationship between GMIT and GFC is mutually advantageous. GMIT can provide their students with
a well maintained state of the art equipment base, and GFC can accurately predict a regular income from
equipment hire to the college, and, as all students have associate membership of GFC (retained for 1 year
after leaving college), maintain it’s membership profile.
This relationship has been in part responsible for GFC’s rapid growth over the last five years.
Funding
The GFC are currently under a 3 year funding scheme with the Arts Council, with this revenue breaking
down to approximately E126,900 annually. In addition GFC have successfully applied for Arts Council
capital grants (for equipment) in the past, and also receive financial support from Galway Corporation and
County Council – in particular for ID FILMS. The Arts Council core funding accounts for approximately
50% of running costs. Sources of revenue are membership, equipment hire, and the RTE awards.
Equipment
(See appendix)
FilmBase
(www.filmbase.ie)
Established in 1988 FilmBase was the first support organisation for independent film and video makers in
Ireland. The Dublin based resource centre continues to fulfil this role by facilitating Training &
Development; Production Equipment Hire, Information Services; Representation & Lobbying for the low
budget film sector.
It is a membership driven organisation with a board of directors elected annually by members.
Staff
Seamus Duggan Manager/CE Supervisor
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Ray McKieran Financial Controller
Vanessa Gildea Information and Training
Barbara Henkes Technician/Equipment
Tony Kiely Editor Film Ireland
Training
FilmBase run an extensive range of technical courses – administrated, financed and technically supported
by their staff. These courses are targeted at different groups, from entrant level to professional. Their
schedule for 2001/2002 includes:
Film Foundation Course
16mm Camera & Lighting
Producing a Short, Scriptwriting (level one)
Acting for Screen
Camera & Lighting -Shooting on DV
Making a Documentary
Making a Music Video
Directing for Screen
Lightworks Editing
Final Cut Pro for Editors
Final Cut Pro for Beginners
Script to Screen (Vinnie Murphy)
Acting Workshops Introductory and Screen Acting Class
These courses do generate revenue, but it tends to be low. In addition FilmBase runs courses and workshops
in conjunction STI. Last year these higher revenue events included a Director's Masterclass with Albert
Maysles (in association with Doclands) and an Editing for Film Internship (course includes a placement on
a feature film)
FilmBase also runs a Third Level Education Programme This is an initiative whereby members of staff
provide third level final year students with the information and support they need to embark on a career in
film. This programme includes guest lecturing and information seminars in conjunction with the third level
institutions of Dublin
CE Scheme
This project supports the long-term career development of writers /producers / directors. There are currently
14 people on the scheme, of which two are employed on a part time basis in FilmBase. Participants pursue
their own projects, sometimes individually or in teams, with FilmBase providing technical support, advice
and training. This activity is quite ‘high revenue’ for the Centre.
Awards
FilmBase has two award schemes – The FilmBase/RTE Short Script Awards which funds six short films a
year (£E9,523 cash and E9,523 in facilities approx. per film) and Lasair – a short drama award with TG4
which funds 3 short films a year (E9,523 cash and E9,523 in facilities approx. per film).
These awards generate revenue and also raise the profile of the organisation, with festival screenings,
broadcast and many past winners going on to international success (Kevin Liddy, Damien O’Donnell)
Film Action Plan
17
The Film Action Plan was created to facilitate low budget indigenous films, which would not otherwise
made. Through the Film Action Plan producers of low budget films can apply for derogations to the main
union agreement. FilmBase negotiates on behalf of producers with The Film and Television Branch of
SIPTU.
Film Ireland
Film Ireland Magazine is a national bi monthly magazine providing information, news, reviews and in depth
features for the independent sector. Financed and published by FilmBase it has an estimated readership of
over 3,000. Subscription Rates are IRELAND E64, BRITAIN E28 and REST OF WORLD E38. In
addition FilmBase also publish Ireland On Screen every two years – a definitive listing of Irish production
companies, facility houses and services to the Irish production sector.
Equipment
(See Appendix)
Funding
Accounts unavailable. FilmBase however receives core funding from the Arts Council of approx. E120,000
and this meets close to 50% of total running costs. Remainder of revenue is made up from membership fees,
training courses, equipment hire and equipment subsidy.
Section Summary
The three resource centres profiled above all arose through a perceived need to develop film and/or video
production within their own constituency. In each instance the level of local activity was low, and it was
through the commitment and dedication of a small core of people that the sector was developed.
In the case of FilmBase, in 1986, the founding members not only wanted to develop film production, they
wanted to complete their own productions (many of these features which did reach completion), and they
also felt the need to lobby for the reinstatement of the then disbanded Film Board. Much has changed since
1986 and we can now boast of a national film culture – a culture that has benefited greatly from the decision
by Micheal D Higgins in 1992 to reinstate the Film Board.
Despite achieving one of it’s central goals, FilmBase remained in the arena as a powerful lobbying force
and it’s continued work with SIPTU through the Film Action Plan is testament to it’s commitment to low
budget film production. In addition, the organisation provides valuable training, advice and low budget
equipment for aspiring/young filmmakers and the independent sector.
Likewise, The Cork Film Centre and The Galway Film have developed these sectors locally. In Galway the
establishment of TG4 (then TnaG) and Roger Corman’s Concorde Anois studio’s in Inverin has encouraged
rapid growth in the sector throughout the west. Today GFC attracts premier funding from The Arts Council,
and provides a vital service that maintains a healthy level of local production and skills feeding into this
local production sector. GFC also benefits greatly from its relationship with GMIT – and this is a strategy
that may be taken on board by other regions.
In Cork, the situation was somewhat different, with very low level activity on the ground. Chris
Hurley established the CFC (then CAVERN) because there were no local presentations in the Cork Film
Festival, there being one Cork entrant to the Festival in 1996. By 2000 this figure had risen to 15
selections, out of 40 entrants, and in the view of Charlie Hennessy, Chairman of the Cork Film
Festival, the increase in local work submitted and also the ‘quantum leap’ in artistic practice is
due in no small part to the establishment of the Cork Film Centre. Today there is an estimated
local spend of £60,000 in ‘no-budget’ films and video art in the region.
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What is evident is that development can take place in areas where here is a low level of activity. In
Waterford, while activity in the sector is relatively low, it is not as low as previous levels in other regions
and the potential for development is good. A small Resource Centre in Waterford would have the effect of
focusing existing efforts and giving independents (such as WAVE, John Moloney) access to quality
equipment. More importantly, however, it would create an environment where a cohesive strategy for
further development could be established and structures could be put in place to realise this strategy. Such
structures, in addition to equipment hire, would necessarily have to be advice, lobbying and training. As
such, any proposed centre should recognise the importance of human resources in addition to technical
resources.
Perhaps the greatest obstacle to local development of a film/video sector in Waterford is a lack of
third level training in this area, with young people who wish to pursue a career in this area travelling to
Galway or Dublin to attain this ambition. These are the young people whose presence is needed in
Waterford to develop a grassroots indigenous culture. While it may be said that a Resource Centre would be
severely limited by this absence, it should be noted that without a Resource Centre there would less of a
focussed lobby for the establishment of such a training facility.
A Model for a Waterford Film Centre
Goals:
Short term
To provide:
Access to broadcast quality video equipment at non-commercial rates.
Training in all aspects of video production – from scripting to sales.
Information, advice and networking for members.
Outreach programme for schools and communities.
The establishment of a Waterford Film Commission to attract production to the area and
promote Waterford as a film location (see Location Services pg. 22)
To lobby for:
Staff for Film Commission
A third level communications and/or film production course based locally.
The establishment of a national niche Film Festival located in Waterford.
.
Long term
To expand the Centre’s activities to include a full film production service – both in terms
of technical access and training.
To create a centre of excellence for filmmaking in Waterford.
Management
A board of directors would be elected, with representatives from all interested parties – it would be essential
that all the groups mentioned in the beginning of this report be represented on the Board of Management.
This would be a voluntary Board and would operate under standard Company Law.
Human Resources
Realistically a small resource Centre would need a Manager and a Technical supervisor. The first of these
positions could be a full time position (open to job share) and the second a part time position. Initially the
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manager would have to undertake the role of lobbying for the establishment of a local Film Commission and
liasing with Location Services Manager in the Irish Film Board.
In addition to staffing posts, there would also be members. Services provided by the Centre would only be
accessible to members, and while there would be a membership fee, members would also play an active role
in lobbying activities.
Film Commission
The Resource Centre should be instrumental in lobbying for and establishing a Waterford Film Commission
with responsibility for attracting foreign production into the region. A good example of a successful Film
Commission is the Wicklow Film Commission*. The Film Commission should be headed by local council
staff of at least grade 8 level, however, the day to day running of the Commission could be staffed by the
Resource Centre and/or individuals affiliated to the Centre.
While the establishment of a Film Commission is the role of the local authority, the Irish Film Board is
anxious to support and develop such ventures. (See Location Services, pg. 22)
*(Wicklow Film Commission can be found at www.wicklow.ie – click on county agencies, click on county
agencies again in side menu to open strip menu for Film Commission)
Technical Resources
The aim would be to provide broadcast digital video equipment at an affordable rate – this would include
camera, mics, and editing system. As such there would be different investment options ranging from a
maximum of E21,500 to E31,750.
Training
A comprehensive training programme could be set up, targeted at entrant level trainees. While this would
include individual workshops and courses in specific areas, it should also include an overview, possibly
based on the FilmBase Foundation course. In addition seminars and lectures from industry professionals
could be organised – these events should be open to the public and would serve to increase public
awareness and interest in film/video as an artistic medium.
Revenue
Sources of revenue would include membership and equipment hire. Potential sources for core funding
however would come from applications to the Arts Council for both core funding and capital grants, and
RTE/TV3/TG4 for an award system.
Support
All organisations profiled in this report are supportive of establishing a film resource centre in Waterford.
Of these, FilmBase in Dublin suggested a practical working relationship with any such centre.
Through their Manager, Seamus Duggan, FilmBase propose that:
Members of a Waterford based Centre would also receive co-membership of FilmBase, in return for
FilmBase receiving a percentage of the membership fee. This would entitle members to access FilmBase
equipment (see appendix) at members rates, access to FilmBase training programmes and workshops, free
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subscription to Film Ireland (6 issues per annum), access to FilmBase’s information services and eligibility
for FilmBase’s award schemes with RTE and TG4 (totalling 9 short films per annum).
This is an attractive proposition, no only in terms of access to FilmBase facilities and activities, but also in
terms of having a working relationship with an established Resource Centre. FilmBase would undertake to
promote the Centre in their literature and in Film Ireland, and would also be happy to accept people on
work placement in their premises in the IFC.
Advantages accruing to a regional centre such as the one proposed can be summarised as access to
equipment, training, information, publicity and expertise which has been built up over fourteen years.
Advantages accruing to FilmBase would be income (percentage of membership fee) and increased
membership.
Existing Local Initiatives
It is evident that there are a number of areas where already existing groups have expertise in the areas
outlined above. For instance WYD Eye has on the ground experience of training and could bring much to
this area. Waterford at Eight has both production experience and an established relationship with national
broadcasters. Waterford Film For All have been promoting awareness of film as an artistic medium since
the late seventies through their screenings in Garter Lane – they may be well placed to organise seminars
and lectures in the same venue.
The input which these organisations will have into any venture cannot be underestimated.
Perhaps there are activities that could be tendered to other organisations – in this situation a local film
centre would undertake a role of co-ordination, publicity and promotion. This would also allow any
proposed centre to focus on other activities such as lobbying and promotion of the region as a location.
ATTRACTING PRODUCTION INTO THE REGION
There are two aspects to developing local commercial film activity – incentives for Irish production
companies, and incentives for foreign production companies to shoot in the area.
Local Production Companies
The majority of Irish production companies locate close to facilities and studio’s – this means that here are
clusters of activity in Dublin and Galway, with more disparate activity throughout the country.
There are incentives for local business from both the City and the County Enterprise Boards, and also
incentives from Udarus for commercial activity in the Gaeltacht – in this case The Ring.
Two Production Companies already existing in this area are profiled below.
Nemeton
Nemeton is one of the largest Television Production Companies in the country. Founded in 1993, it now
boasts a 25-strong team of full-time workers, with the same number again working on a regular part-time
basis.
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Nemeton possesses its own technical facilities. As well as production offices, there is a modern broadcast
studio, an Outside Broadcast Unit, a satellite unit, four editing rooms and graphics facilities based in the
company’s premises in the Ring Gaeltacht.
The company produces a wide range of programmes for different broadcasters, with the majority of these
being produced for TG4 - most of these being in the live sport sector: GAA Beo, Rugbaí Beo, Ard San Aer,
horse racing, basketball etc. Nemeton’s coverage of the TG4 Ladies Football All-Ireland Finals provided
the station with its largest viewing figures ever.
In addition, Nemeton is in the process of producing a number of documentaries for TG4: Éire Fo-Thoinn,
Laochra Gael and Mo Cheol Thú Scéal Chiaráin Mhic Mhathúna.
The Health Show is another programme produced by Nemeton. This is a live health series broadcast once a
week for RTE 1 from the Nemeton’s studio in Ring, and is the first live series produced by an Independent
Company for RTE outside Donnybrook.
Lyre Productions
Essentially a video sales company, Lyre Productions are best known for their series ‘Bachelors in Trouble’.
The company was de-registered last year as they felt they had exhausted their market with ‘Bachelors’ and
were experiencing difficulties with video sales as a result of piracy.
The ‘Bachelor’ series was very popular and sold well. The series was produced on an amateur basis, with
local cast and crew working without fee. The company never received funding from any source.
Waterford City and County Enterprise Board
With a remit to create employment in the local area, there are three types of grant available through the
Enterprise Boards – feasibility, capital and employment grants.
A Feasibility Grant contributes up to 50% of the cost of a feasibility study, with a ceiling of E5,078. From
this a business plan is developed and submitted to the Board. They then decide whether a Capital or
Employment Grant is more suited to the companies business needs. An Employment Grant usually
contributes up to E6350 per person employed.
There is no limitation on the type of commercial activities – however activities are usually divided into
International Traded Services (film would qualify in this category), Tourism and Manufacturing. There is
also no limit on the number of companies that can be funded through these grants, excepting an overall
budgetary limitation. The best time to apply for a grant is when annual budget is renewed in January.
Contact:
Waterford City Enterprise Board: Micheal Barry [email protected]
Waterford County Enterprise Board: Contact: Gerard Enright [email protected]
Údarás na Gaeltachta
Business activities in the Gaeltacht range from engineering, IT technology and fish farming to film and TV
production. Údarás provides financial incentives for these businesses, including grants for equipment,
building and training. Prospective investors are assisted through all stages of start-up, from location
identification to help with recruitment, training and legal requirements.
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General Financial Assistance includes Employment Grants, Capital Grants on new equipment and buildings
and Training Grants with levels of financial assistance negotiable and depending on location, skill levels
and employment potential.
Financial Assistance towards technological advancement includes Feasibility Study Grants (payable up to
50% of costs incurred during investigation stage), Research and Development Grants and Licensing Grants.
In addition there is non-financial incentives such as Accommodation, ready-to-occupy factories and offices,
business advice and start up advice.
Projects in manufacturing, internationally traded services and natural resources are the priority for
assistance from Údarás na Gaeltachta, with the amount of grant or subsidy taking into account the number
and quality of jobs to be provided. All new business proposals must demonstrate their viability, funding,
market potential, and the Promoter is required to provide equity investment at least to the total amount of
grants sought. Furthermore, all new business are required to promote and develop the use of Irish in their
activities.
The Arts Council
The Arts Council provides revenue funding to help meet the operating costs of various resource centres or
facilities based organisations. This funding can be annual or multi annual (over a three-year period).
Applications are usually at a set time during the year (September/October), and are assessed on criteria
which range from organisational factors, capacity to deliver, quality and “purpose” (does the organisation
reflect the aims of The Arts Council?). The grant is usually a percentage of total running costs, and can
range from below E25,000 to over E120,000.
In addition The Arts Council encourages organisations to apply for individual schemes such as bursaries,
travel, professional development and art management.
Foreign Production Companies
The most celebrated foreign company to locate in this region was DreamworksSKG with Saving Private
Ryan, the opening sequence of which was shot on Curracloe Beach in Co Wexford. It is estimated that this
production saw a local spend of 3 million.
There are basically two incentives for a foreign production company investing in Ireland – location (what
would make a company want to locate) and section 481 and tax relief (what makes it possible).
Section 481 /Tax Relief
Section 481 is essentially a tax relief scheme that allows an Irish investor to write off 80% of the investment
for tax purposes – this usually contributes to 12% of the budget. In addition, Ireland has an EU approved
reduced tax rate of 10% for foreign investors. This applies to manufacturing (inc. film production),
international service companies in the Custom House Docks area of Dublin (inc. film finance companies)
and companies which trade from the Shannon Free Zone (inc. film distribution and licensing). Ireland also
has a double taxation agreement with a number of countries, including the United States, which allows
dividends, interest or royalties paid to an Irish company suffer minimal, if any, withholding tax.
More details on these schemes can be found on the Irish Film Boards website – www.filmboard.ie.
Location Services
Originally this area came under the remit of The Irish Screen Commission – but the ISC has since been
subsumed by The Irish Film Board, with the Film Board have appointing a Location Services Manager,
Naoise Barry.
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Location Services within the IFB receive at least one serious enquiry from major film productions to find
suitable locations in Ireland per week – this is in addition to larger number of smaller enquiries for TV
Drama, Corporates and Photographic shoots. As many of these enquiries cannot be fully researched because
of a lack of resources, the IFB is very anxious to establish a network of local Film Commissions and/or Film
Officers to promote their own areas and to respond to international enquiries.
It is envisaged that a local Film Officer/Film Commission would build a database of locations (beaches,
towns, cottages, railway sidings, etc) in addition to information on local services and accommodation for
each location, and make these available to foreign producers on a dedicated internet site. Furthermore, the
Officer/Commission would have to respond to foreign enquiries with an industry standard level of expertise
– i.e. – a working knowledge of what criteria are used by professional location managers in assessing
potential locations. This would entail travelling to suitable locations, photographing them, and emailing
shots, information on services and profiles to the production company.
While the IFB feel that financial support for this service should fall to the local authority, it would invest
training, marketing and promotion in this venture. The aim of the IFB is to establish a working network of
Film Officers/Film Commissions to enable the Film Board to market professionally Ireland as a film
location to foreign investors. At a recent seminar delegates from Waterford, Cork, Limerick and Galway
expressed keen interest in Location Services, and currently the IFB are hoping to run a course in
conjunction with Screen Training Ireland to bring Film Officers/Commission staff up to industry standards
in location services.
At present there a number of local Film Commission’s operating – in particular the Wicklow Film
Commission. Their website is an impressive tool in marketing and providing relevant information on
Wicklow as a location. There is also a Wexford Film Commission.
This area is wide open for development and the time is right for an approach to the IFB to create a working
strategy to market Waterford as a film location.
Irish Production Companies
Irish Productions: SIPTU Zoning
Zoning is a SIPTU (Film and Television Branch) ruling that ensures travel and relocation expenses (‘per
diems’) are paid to SIPTU crew members working more than forty miles outside a designated zone. This
zone has a ‘0’ centre at O’Connell Street in Dublin and in Ardmore Studio’s in Bray. This situation has
meant it is financially prohibitive for Dublin based producers to locate shoots outside these zones. This
applies to all areas of production – from feature films to shorts to commercials to corporates.
Last year both Cork and Galway producers lobbied unsuccessfully for the establishment of a Zone ‘0’ in
their region. The establishment of a Zone ‘0’ in any region however will only be of benefit to the producer
and the region where there is a substantial crew base in that region. In the case of Waterford it is probable
that the crew base is too small to justify a Zone ‘0’ lobby. Even if Dublin based production companies were
to locate a shoot in Waterford, it would still have to hire crew from Dublin or Galway and pay the relevant
expenses and ‘per diems’.
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RAISING THE PROFILE OF WATERFORD AS A PRODUCTION REGION.
While the establishment of a Waterford Film Commission will greatly raise the profile of the area, a
specific film related event located in Waterford attracting submissions, contributors and participants
nation-wide would achieve much in putting Waterford ‘onto the map’ in film terms.
One option would be to set up a small niche film festival in Waterford. Currently there are 12 Irish film
festivals available to Irish producers - 10 in The Republic of Ireland and 2 in Northern Ireland. Some of
these are niche festivals – i.e. Darklight (digital and graphics), Lesbian and Gay Festival, Fresh Film
Festival (youth), Doclands (documentary) and the Cork Youth International Film Arts Festival. The
remaining festivals feature a broad mixture of feature films, shorts, animations and documentaries – from
both Irish and international producers. The emphasis however is usually on international and Irish feature
production.
One niche yet to be explored is Short Film. The Kerry Film Festival – though not dedicated exclusively to
this genre – relies heavily on the genre within its programme, this year featuring 33 Irish shorts and 2
international shorts. Given that during the last decade there were over 310 short films made in Ireland, it is
probable that the genre could support a dedicated festival. What could make a Short Film festival different
to what is currently on offer, would be the concept of a ‘working’ festival dedicated solely to this genre.
In Ireland the short film is considered by many producers and directors to be a ‘stepping stone’ toward
their first feature – a standard and accepted route being FilmBase/GFC/CFC short film award - Irish Film
Board Short Cuts Award - first feature. In this sense the short film has become a ‘calling card’ or CV for
aspiring producers and directors, as opposed to be a genre in its own right.
Outside Ireland however, the Short Film has a better reputation – it is a widely accepted genre with film
practitioners specialising in this area. If Waterford were to host a dedicated Short Film Festival with a
strong international element and workshops and masterclasses exploring and developing the genre, it
would be providing a service presently not available to Irish practitioners.
An Event Management company in Dublin, Ion Entertainment, have expressed interest in such a project,
and would be of the opinion that there is a need for such a festival, and that a regional location would be
preferable to a Dublin location.
LINKS WITH OTHER ORGANISATIONS
There are a number of organisations dedicated to supporting and developing film production in Ireland.
These are listed below.
The Irish Film Board
Filmmakers Ireland
Film Institute of Ireland
Screen Training Ireland
The Arts Council
RTE
TV3
TG4
Media Desk/Antennae
Resource Centre’s: FilmBase
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Cork Film Centre
Galway Film Centre
RECOMMENDATIONS
There are possibly two agenda’s competing in any strategy to develop film and video in Waterford. One is
a business agenda - how to encourage production and therefore financial investment into the region, and
the other an artistic agenda – to develop indigenous film and video making as an artistic tool.
While traditionally these two approaches are often seen as being ‘in competition’ with each other, the
reality is somewhat different. Strategies to encourage the development of a production base in the region
will be undermined by a lack of training and grassroots activity – and the reverse is true – local activity (in
particular training) will be compromised by a lack of commercial and financial activity.
While the possibility always exists of another ‘Saving Private Ryan’ or ‘Reign of Fire’ locating in the area,
to rely on Hollywood coming to south east as part of a business or creative strategy is not realistic. A
more positive approach would be to create a strategy for audiovisual development in order, not only to
encourage such business, but also to be in a position where maximum rewards can be reaped from such
business potential.
As previously indicated, there is a consistent but low level of activity in the area – both creatively and
commercially. However this activity is very disparate – there is no unifying body and there is insufficient
communication between commercial and creative endeavours. In essence the small level of activity lacks
infrastructure.
Without this infrastructure it is more difficult to exploit potential opportunities. In terms of training, one
of the biggest production companies in the country, Nemeton is based in the Ring Gaeltacht. Many of the
young people presently training with WYD Eye could benefit from job placement in this facility, as they
could do in a smaller but no less viable venture – Waterford at Eight. In terms of attracting foreign
production, there is no recognised Waterford Screen Commission to liase with the location services
manager in The Irish Film Board. In terms of production, and in a particular attracting outside companies
to locate shoots in the area, much has made of the SIPTU Zoning. The reality however is that it is not the
zoning which is a problem, it is the lack of a crew base in Waterford. Hence rather than lobbying for a
Zone ‘0’ in Waterford, a more realistic approach would be to seek out a SIPTU waiver on ‘per diems’
under certain circumstances. (This has already been done with union rates through the Film Action Plan –
while there is no guarantee of success it is worthy of investigation.) What is evident is that without a
unifying body or an infrastructure on existing activity, many of these opportunities may be missed.
Hence this report recommends the establishment of A Film Resource Centre and/or Film Office which
would develop:
1. A cohesive training strategy from entrant level to industrial training.
Entrant level: Currently WYD Eye is undertaking training at entrant level. While this should continue,
with additional support where necessary, it should be augmented with a Foundation Level Film course
aimed at introducing students to technical film skills. Given that film equipment is not available in
Waterford, this course could be run in conjunction with FilmBase.
Third level Training: There is no recognised third level film or video training in Waterford. A Resource
Centre would have to be proactive in lobbying for the establishment of such a course.
26
Industrial Training: Training for professionals and/or semi professionals could be undertaken through
tender with Screen Training Ireland.
2. A strategy to encourage and support the use of film and video as a creative tool
Equipment: A ‘one stop shop’ for shooting and editing should be created. This should be digital ‘state of
the art’ equipment, accessible, but capable of producing broadcast quality product. The equipment should
be hired at non-commercial rates, negotiable in some instances, and maintained by a part time technician.
Services: Networking sessions, seminars and lectures would be organised to bring together those working
in this area. The aim would be to have these sessions on a monthly basis, perhaps co-ordinated by or in
conjunction with The Waterford Film For All.
Information: Collate relevant information, in particular in relation to production grants and awards, and
make this accessible to the film community.
3. Location Services Sector/Film Commission
A Waterford Film Commission could be established which would develop a working relationship with the
locations services manager in The Irish Film Board with a view to marketing Waterford as a film location,
and responding in a professional manner to location enquiries from international companies. This is a key
area, as it requires low investment but potentially can generate high revenue.
4. A lobby to encourage local business in film and video.
While there are financial incentives in place through the County and City Enterprise Boards and Udarus,
further non-financial (ie accommodation, premises, business advice) would be sought. More importantly, a
relationship would be established with The Film and Television Branch of SIPTU, and a lobby created to
address the issue of zoning and Dublin based crew ‘per diems’.
5. A strategy to raise the profile of Waterford in the film community
This would entail as priority the establishment of a working film festival in Waterford that would be a
high profile annual event attracting international contribution. In addition a Resource Centre and/or
Officer would issue regular press releases to local and national media on film and video activity in the
area.
Whatever form this body would take – be a Resource Centre of a Film Office – it would differ from
similar centre’s in other regions in two key areas:
A. It would welcome a business strategy for film and would actively promote commercial and
creative endeavour.
B. Where resources already exist it would support and co-ordinate these resources rather than
replace them or enter into competition with them. This has particular relevance to WYD Eye,
Waterford at Eight and the Waterford Film For All.
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Appendices
1. Cork Film Centre Equipment List (Mar 2002)
Cameras: Panasonic AJ D200 DVC PRO
Sony DV Camera
Panasonic EZ35 (3CCD Mini DV)
Panasonic EZ1 (3CCD Mini DV)
Aaton 16/Super 16 Film Camera Kit
Bolex EL 16mm
Krasnagorsk III 16mm clockwork camera
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Lighting: Arri redhead kit
Arri Blonde
500w Mizars
150w Peppers
Editing: Media100 XS on line edit suite
Final Cut Pro digital edit suite
Pro Tools audio edit suite
Lightwave 3D/2D animation suite
Sound: HHb PDR-1000 Portadat Recorder
Sure FP 33 stereo field mixer
Sennheiser Rifle mic kit + boompole
Beyer Dynamic rifle mic kit + boompole
Sennheiser EW 100/500 radio mics kits
Tripods/Grip: Ronford Legs w. Sachler 20 II Video Head
Sachler DV8 Tripod
Manfrotto 501 DV Tripod
Camcorder tripods
2. Cork Film Centre Filmography
The Night Sweeper by Jason Browne
The Headstones of Seamus Murphy by Padraig Trehy
Love’s Elusives by Cathal Condon
The Making of Scared Stiff by Kevin Lehane
Dream Dance by Gunther Berkus
Hard Shoulder by Chris Hurley
Morphine Trampoline by Myles Horgan
Dancing On Air by Hugh Crean
This Is Al by Kieran Fitzgerald
Santiago by Deirdre Morgan and Sophie Turaud
Gangs of Waterfall by Ronan Phelan
3. Galway Film Centre ID Films
ASYLUM SEEKERS GROUP
Project Leader: Theresa Daly
Editor: Florence Brument
Project Advisor: Fergus Tigh
A group of predominantly African asylum seekers who want to break down stereotypes and misconceptions
people have regarding their origins and intentions. One of their group is a professional football player from
Nigeria, presently training a young team in Galway's Westside. Using this as a backdrop they hope to
provoke thought by providing a positive image of an asylum seeker who is doing good and integrating well
into Irish society.
IRISH WHEELCHAIR ASSOCIATION
Project Leader: Paul Kelly
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Editor: Cliona Nolan
Project Advisor: Johnny White
A group of people with mobility impairments, their identity is focused on depicting a more social model of
disability. They would like to show people with disabilities who have aspirations and desires the same as
everyone else and want to be fully included in the life of the community. They wish to challenge themselves
and empower themselves with a tool of self-expression while changing the media's representation of them.
"Our focus is on ability not disability".
EAST GALWAY SUNFLOWERS
Project Leader: Barra de Bhaldraithe
Editor: Tadhg O'Sullivan
Project Advisor: Pat Collins
The East Galway Branch of the Friends of the Children of Chernobyl was founded in 1998. This voluntary
group is totally committed to helping the children of the contaminated areas of Belarus, having hosted 40
children and 4 adults to date.
While in Galway they receive dental, medical and optical treatment. The host families provide a long-term
supply of vitamins, footwear, clothing and financial aid to the children and their families. The
South East Galway Sunflowers group wants to show the effects of the month long stay in Ireland on the
children and their host families. They want to highlight the effects on their community and show the bonds
that are created between two very different cultures. They also hope to encourage others to get involved in
such a worthwhile project and would use ID films to achieve this aim.
YOUNG MOTHERS
Project Leader: Paddy O'Connor
Editor: Lee Davis
Project Advisor: Donal Haughey
A group of young mothers between the ages of 18 and 20 aim to foster self-esteem and confidence by
providing access to information and a chance to learn new skills while providing a social outlet.
As young people with very adult responsibilities they have had to grow up very quickly, often with little or
no support. These young mothers feel the image of lone parents portrayed in the media is largely negative
and inaccurate. They want a voice.
Their documentary would present an alternative picture to the traditional notion of the Irish family unit
while changing perceptions of them as a drain on society.
4. Galway Film Centre Equipment List (Mar 2002)
Cameras:film Aaton XTR Super-16
Bolex 16mm
Super-8 - various models
Cameras:video Sony Digital Beta Cam DVW 709WSP
Panasonic DVC
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JVC DY-500 Professional
Canon XM-1
Sony Beta SP
JVC KY19 S-VHS
Grips Ronford-Baker - Fluid head, three-stage full floor spreader
Vinten 12 - Fluid head, three-stage full floor spreader
Manfrotto - mechanical head, 2 stage lightweight aluminium construction
Tracks and Dolly - flatbed dolly, 4x straight, 4x curved sections, total length : 20m
Lights 10K Halogen
2K Arri Blonde
800w Arri Redhead
650w Arri
100w Arri peppers
300w Arri
Sound Sennheiser 416T half-rifle
Beyerdynamic ME67 shotgun
Sony ECM-77 tieclip
Sennheiser radio mics
HHB portable DAT recorder with timecode
SQN-4S portable stereo mixer
TLA portable mixer
Fostex DAT recorder
Editing Avid Film Composer
Avid Express
discreet edit* and combustion*
Final Cut Pro 75
3 machine Beta
3 machine S-VHS
Steenbeck 16mm & Super16mm
Services tape duplication
format conversion
5. FilmBase Equipment List (Mar 2002)
Cameras:Film Aaton XTR S16mm –incl. telephoto 12-120mm set of primes, Follow Focus,Video
Assist. and filters.
Minolta Flashmeter V
Bolex 16mm
Canon 1014 XL Super 8mm camera
Cameras: Video Sony PD150 DVCAM
Sony DSR 200AP DVCAM
Grip TGV Dolly & Steel Tracks ( 2x8ft straight & 2x8ft curved)
C-Stands with attachments &Flags
F4 Fluid Head with Ronford Long & Short Legs & Top
Satchler DV12 video tripod system
Satchler DV8 video tripod system
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Editing FINAL CUT PRO 1.2.5 Online Edit
Lightworks Turbo Offline non-linear Edit Suite
Avid Express
Steenbeck 6plate or 4plate, S16mm/16mm
Available with the edit suites only:
Sony Beta UVW 1800 rec/play
Sony DSR 40P DVCAM play/rec
Panasonic VHS play/rec
Lights Bambino portable lighting kit, incl 3x Fresnel (available in 300W or 500W)
Budget Lighting Kit ( incl. 5 Lights)
Blondes 2K
Readheads 800W
Fresnels 650 W
PAG Light, on board camera light incl. batterybelt
Sound Fostex PD4 Portable timecode DAT recorder
Nagra 4.2 portable ¼" tape recorder
Marantz portable minidisk recorder/player
Sennheiser MKH70
Sennheiser 806
Projectors Magnaflex 16mm projector sep-mag, co-mag & optical
6. Tales from The Seaside
The 20 minute documentary-style film was titled "Tales From the Seaside" and was originally based on a
series of humorous articles - also called Tales from the Seaside - that appeared in the Tramore Strand, a
local community magazine. The stories were written by Danny McNieve and purported to be about various
aspects of Tramore history. A cult following arose.
After hitting on the idea of making a film version of Tales in January 2000, a script was composed. We
borrowed a camcorder here and there and after 6 months we had enough footage to begin editing. It should
be noted that filming was sporadic, loosely organised and very dependent on the spare time and goodwill of
the "actors" (who it also should be said, adhered very loosely to the script).
By the time we had reached the stage of editing (summer 2000) the only resource open to us were some old,
gnarly and very unforgiving analogue machines in the Creative Technology Studio in Waterford Institute of
Technology. Working amateurishly under very limited conditions (2 players, no mixers) of copying, re-
copying, re-re-copying and so forth. In the end we were left with a composition of obvious inspiration but
appalling picture and sound quality. (Much of this was down to my own relative lack of experience)
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All post-production attempts to better the sound quality -as well as put some coherent text at the end of the
picture -were in vain, despite the extremely helpful and enthusiastic efforts of some of the Waterford Youth
Drama people. We finally decided to stick with what we had and request that it be given a public showing in
the Victoria House pub in Tramore - otherwise known as the Vic - in December. The owner Paul Jackman
was very accommodating and agreed to three separate showings on Tuesday 21st December 2000. In spite
of the sound/picture quality, the film was received very well and elicited a pleasing amount of laughter from
the audience who, in spite of some apprehension on our part, got the joke.
I would like to mention at this point that "Tales from the Seaside" was almost nothing like the press release
claimed it was although this scarcely mattered to us given the facetious nature of our project. Both the
Evening Herald and The Irish Examiner ran a feature based on the information in the press release. The
Evening Herald took it all with an appropriately sceptical pinch of salt while the Irish Examiner simply
printed a straight faced, abridged version of the press release without a speck of irony. It was all weirdly
amusing, not to mention good to read lines like ..."two young Irish film-makers John Moloney and Danny
McNeive" in the papers. We were even asked to do an early morning interview on TV3!
I've tried to make this as short as possible, but telling a story about the making of the movie has required
that I write at length. At the moment, I'm almost finished the digital re-edit of "Tales" minus appalling
sound/picture quality. And as we speak, Danny and another accomplice have just completed another short
film for America On Line (obviously much more serious than "Tales") with newer and far more superior
(but still borrowed) equipment.
John Moloney
