Last year at the NZCS Cinematography Awards, while celebrating the industry’s finest work, a stark reality became evident—award after award was being presented to men, with very few women making it to the stage. This highlighted an ongoing issue: gender imbalance in New Zealand’s camera departments.

Each year, NZCS works closely with sponsors like lighting manufacturer Creamsource, who generously purchase 20 tickets and gift them to WIFTNZ (Women in Film and Television New Zealand), ensuring that women in camera have no financial barrier to attending. However, the issue runs much deeper.

At the 2024 NZCS Cinematography Awards, only 17 out of 200 entries came from women—just 8.5%. While female entrants had a similar success rate to their male counterparts (29.4% vs. 31.5%), the low number of submissions remains a significant challenge. This is particularly disappointing considering the rising trend we saw in 2023, when women took home 11 of the 58 awards—just under 20%.

NZCS has been committed to addressing this imbalance for years. In 2018, we launched the Gender Diversity Program, which has since driven a 700% increase in female membership, growing from 6 to 48 members. This program creates paid internships and camera trainee roles on productions, ensuring that women can gain the hands-on experience needed to progress in their careers.

Recognising the need for further action, WIFTNZ reached out to NZCS with an idea: a showcase event where key decision-makers could meet women working in camera and see their work firsthand. Tammy Williams, a cinematographer, NZCS member, and WIFTNZ Board member, was instrumental in driving this initiative. She pitched the idea to both WIFTNZ Executive Director Patricia Watson and NZCS Executive Officer Amber Wakefield, and together, we made it happen.

From left to right: Niki Winer, Nina Wells, Tammy Williams, Daniela (Nani) Conforte, Laetitia Belen, Juedi (Kioko) Wang.

On April 1st, the vision for greater representation in cinematography came to life at the Women in Camera Showcase. The event brought together 22 talented women from across the camera department, giving them the opportunity to present their reels to a room full of producers and line producers—the key decision-makers when it comes to hiring.

Hosted at Department of Post’s state-of-the-art theatre, the showcase was a celebration of skill, artistry, and opportunity. Department of Post has long supported cinematographers on set through dailies colour and monitoring packages, and this event was a natural extension of that commitment—helping to elevate and highlight the talent working in our industry.

The night was filled with energy, camaraderie, and enthusiasm. Cheering and encouragement filled the room, reinforcing a real sense of progress. And long after the reels stopped playing, the conversations continued—sparking new connections and potential collaborations that will help shape the future of the industry.

Patricia Watson, Executive Director WIFTNZ, addresses the audience.

Patricia Watson addressed the room, reinforcing why events like these matter. She pointed out that women in camera are often paid less than men, work on lower-budget projects, and as a result, have less financial capacity to submit their work for awards and less work to even submit. She urged those in attendance to be active participants in change: “While you might not be directly in control of who is hired in the camera department, you do set the tone. By simply asking that a woman be hired in camera on your production, you can help shift the balance. We are not trying to replace men—there’s room for everyone—we are just striving for more equality.”

And the work doesn’t stop there. In the coming days, WIFTNZ and NZCS will follow up by sending an extensive directory to producers across the industry. This will include contact details, experience levels, websites, and reels of women working in camera—putting the talent directly in front of decision-makers and eliminating the excuse of “we couldn’t find any women.”

Additionally, NZCS is relaunching its website this year, which will include a comprehensive ‘Camera Crew’ directory. This resource will allow both local and international producers, cinematographers, and studio executives to filter their requirements and access clear information about skills, expertise, and experience for potential hires. We hope this will not only help create a more balanced camera department landscape but also promote local crew over international hires when those roles can be filled right here in New Zealand.

The Women in Camera Showcase was a night of action, connection, and optimism—proof that the industry is ready for change and that together, we can make it happen. This event was an important step, but it’s just one piece of the bigger picture. By continuing to work together—NZCS, WIFTNZ, and the industry at large—we can create meaningful, lasting change.

From left to right: Julie Zhu, Nicole Ashley, and Pia Sidhwa introduce themselves.

This wouldn’t have been possible without the generosity of our industry allies. Aliesha Staples, owner of Staples VR, knows firsthand the importance of lifting other women up. She stepped in to offer editor services—free of charge—so that women in the earlier stages of their careers, who didn’t yet have a showreel, could have one put together to showcase their work. Likewise, James Brookes and James Gardner, co-owners of Department of Post, continue to be treasured supporters of NZCS. Their unwavering generosity, from offering their venue to wrangling footage, has been invaluable.

The showcase also highlighted the incredible diversity of women working in the camera department. The 22 women presenting their work represented a broad spectrum of backgrounds, including different ethnicities, gender identities, and experiences. It was a true celebration of the rich and varied voices that make up New Zealand’s camera community. 

The audience sits back and relaxes for the showcase.

Equally, the showcase highlighted the wide range of genres and areas of the screen industry represented by the producers and line producers in attendance. From online content creation to large-scale scripted dramas and local broadcasters, the diversity in the types and scope of productions was remarkable. Representatives from companies such as Warner Bros, Sky, South Pacific Pictures (SPP), Greenstone, Sunpix and others were present, along with many independent producers. Some of these independent producers are responsible for bringing in the high-profile, large-scale international productions to New Zealand—further emphasising the global nature of our industry. Their presence underscored just how vital it is for women in camera to be part of this storytelling landscape across different platforms and productions.

We often hear, “Men want placements and paid internships too.” And yes, of course they do—but the reality is, they’re not on the back foot. According to the ACS report A Wider Lens, only 9% of Directors of Photography (DOPs) on Australian feature films and TV dramas between 2011 and 2019 were women. Men dominated 91% of those roles. This stark disparity highlights the systemic barriers women face in advancing to leadership positions. Additionally, the report found that no women DOPs worked on big-budget features (USD 10M+) in the year prior to COVID-19, while men had full access to these high-profile opportunities. These findings mirror what we see in New Zealand, reinforcing why programs specifically supporting women in camera are essential. We are not asking for a handout—we are creating pathways to correct a long-standing imbalance.

Cinematographer, Zyanya Jackson connects with producer Katie Kempe.

A huge thank you also goes to Donny Duncan NZCS, an accredited NZCS member and the society’s Professional Development Manager, who was there on the night to support this initiative. Donny oversees our Gender Diversity in Camera Program, which has created over 30 camera trainee internships and DP attachments since 2019—tangible proof that targeted action makes a difference.

Also, a huge thank you to Patricia Watson and the entire WIFTNZ team for their unwavering support and collaboration with NZCS. Patricia’s leadership is a constant source of inspiration, and we truly appreciate her energy and commitment to driving positive change within the industry.

None of this would be possible without the ongoing support of the New Zealand Film Commission (NZFC). Their core funding enables WIFTNZ to take on initiatives like this, and they also provide some funding to NZCS to continue our highly successful Gender Diversity Program. Their support underscores the industry’s commitment to lasting change.

Call to Action: If you’re hiring, mentoring, or producing—ask yourself: “Who am I giving opportunities to?” The future of our industry depends on it.

~ Amber Wakefield, Executive Officer NZCS ~

The first NZCS Professional Development Masterclass for 2025 was held on Sunday, March 2nd, at Xytech Lighting Rentals in Auckland.

We took advantage of a narrow window of opportunity, where NZCS President, Aaron Morton NZCS was in Auckland prepping for an upcoming film, but was able to take time to share to our members, some of his wisdom and expertise as a seasoned cinematographer.

Aaron Morton NZCS

This was a practical masterclass, where Aaron and gaffer Scott Harman demonstrated a variety of lighting units and techniques to the participants, and showed behind-the-scenes stills and excerpts from movies to illustrate points along the way.

Another of Aaron’s tricks that he demonstrated, was the placement of an eyelight, right below the lens in order to maximise reflection back from the eye with minimal lighting levels.

Some of the highlights were the use of multiple 4 x 4 mirrors to “rifle” the light beam from a large 18K HMI into tight and difficult spaces, and thus increase the overall distance from source to subject and create harder light beams. 

We were also treated to a demo of Aaron’s light metering techniques, and discussion as to why he considers it to be one of his most essential lighting tools.

Another gem of information, which could be applied to any project, big or small, was the “Ronnie Light” rig demo - which aligns two lighting units vertically to minimise multi-directional shadows on the ground (which happens with conventional side-by-side rigs).

Aaron also showed scenes from “The First Omen” and his innovative approach to filming in a historic Italian cathedral, with a minimal lighting footprint in a highly sensitive location. One of his favourites lighting units for speed and versatility in situations like this, is an LED moving head fixture which can instantly change beam shape, direction, color, intensity and gobo effects.

We were also shown a breakdown and demo of a car interior night driving scene from the film  – shot against greenscreen with rows of programmed Astera tubes in chase mode to give the very real illusion of moving past streetlights.

Another of Aaron’s tricks that he demonstrated, was the placement of an eyelight, right below the lens in order to maximise reflection back from the eye with minimal lighting levels.  Aaron and Scott also demonstrated  some new  lighting technology provided by Xytech  –  such as the Hyper-Optic multi-lens accessory for the Skypanel X range, and wrapped up the session with a lively Q&A

Aaron discusses blue-screen set-up for boat sequences on "Lord of the Rings: Rings of Power" tv series

This masterclass was attended exclusively by NZCS members, of varying experience levels. It was gratifying to pitch something at our more experienced, accredited members too and the feedback has been very favourable  - even those cinematographers with many year’s experience walked away seeing some concepts in a completely new light. 

Many thanks to our Major National Sponsor, the Xytech Group, for providing a location and lighting equipment, ImageZone for supplying cameras and lenses, Halcyon Digital for Qtake and DIT, Samsung for the OLED monitors, Moana Grips for the dolly, and our NZCS volunteers for helping make this a great day!

Photo credits: Murray Milne NZCS

~ Donny Duncan NZCS, Professional Development Manager

Our Gender Diversity in Camera Program is in full swing for 2025, and we will have some internships for camera trainees and DP attachment opportunities to announce in the near future.

We also have some left over funding for our Diversity and Inclusion Program which is open to under-represented groups in our industry.

2024 had eight placements in both programs – 3 camera trainees and 5 DP attachments and we are most appreciative of producers and the NZFC who have joined the NZCS in this initiative which is now into its 6th year. 


Paris Manning – NZCS Camera Trainee, on TV series “Red Rocks” in Wellington

Grace Jamieson – NZCS Camera Trainee on Spartacus- House of Ashur


Bharati Sonu – DP attachment on “Backpack” with DP Jeff Cutter

The NZCS Gender Diversity Program invites applicants who identify as female to apply for a Camera Trainee position on a local Feature Film, prepping in Auckland from 30^th September 2024.

The Internship provides the opportunity to work under the guidance of the camera team in a fast-moving shoot, with a hands-on, full-time work role anticipated, as a Camera Trainee.

This will be a paid Internship for a 7 week prep/shoot from 30^th Sept  – 18^th November, working 5 day weeks. E-mail pd@nzcine.com for specific details.

This is an exciting short-notice opportunity on a locally funded low-budget NZ feature film with a first-time feature, female cinematographer, Bayley Broome-Peake, at the helm of the camera department. Apologies for the short lead-up time for applications.

The placements are open to female candidates, throughout New Zealand, but the successful candidate will have to work ex-Auckland, as no travel or accommodation will be provided. Successful applicants will have to agree to join the NZCS, for a 1 year minimum as an associate member.

The selected candidate will be issued a standard contract by the Production Company, will join the payroll per other contractors, and will also sign an agreement with the NZCS.

The aim of the Attachment is:

To provide an opportunity for a female camera trainee to increase their confidence and skill -set through a hands-on role with an experienced drama camera team, and to provide another training pathway to the limited opportunities currently available. This is not a creative input role, but as the junior member of the camera team there will be the chance to upskill in professional

work practice, technical gear knowledge and observe the creative decision making process in the field.

This mentorship is made possible with sponsorship from the New Zealand Film Commission  Strategic Development Fund, the NZCS and the production company. We remain committed to a mandate to grow and diversify the pool of upcoming camera talent in New Zealand, to redress the current gender imbalance, and to encourage young women to pursue a goal of becoming recognised cinematographers.

To be eligible, applicants must:

• Be a member of the NZCS, or be prepared to join if successful.
• Have a track record of working as an up-and-coming camera trainee/camera assist on web series, short films, music videos, or other genres. The applicant may not necessarily yet have a full-time career as a camera assistant/trainee.
• Be prepared to abide by all Health and Safety protocols on-set where indicated
• Preferable to have a current clean, Full Drivers Licence
• Be a NZ citizen, or have Permanent Residency Visa 

To apply:

Please submit the following in attached electronic documents (Word file or PDF) – do not include the below in body of email to Donny Duncan, NZCS Professional Development Manager at pd@nzcine.com  with “Auckland Camera Trainee Attachment” in the subject line:

 Closing Date for Applications:  5.00pm, Sunday, 22^nd September

       •     Your NZCS Membership Number (or intention to join if successful)

•  A CV of industry experience, and any tertiary education highlights, including your normal place of residence, ethnicity, residential status,

• A written reference (from a screen industry professional or tutor)
• A proposal (maximum of 1-page) outlining why you want to apply for the Attachment and what you look to achieve from the opportunity.
• A copy of your Driver’s licence

A shortlist will be developed from applications and an interview (in person, phone or Zoom) may be required, at which time further details of the production itself will be provided.

We will endeavour to inform applicants of a decision by 7.00pm Tuesday 24^th Sept, 2024

NZCS Members with lens array - Photo by Jon Waters

NZCS was recently offered the chance to host a Lens workshop led by Panavision Australia’s Nic Godoy, which included ‘live’ on-set demonstrations using Panavision cameras and an array of vintage and modern lenses.

Delivered in two parts, the program was  developed with the nuances, challenges, and specific requirements of creative and technical roles in mind.

Presented at Panavision NZ, Behind The Lens was a day of hands-on practical sessions in which screen practitioners gained a greater understanding of how camera lenses and technology influence visual storytelling.

Nic Godoy - Photo by Jon Waters

The morning was for practitioners working in creative roles (Directors, Producers, Writers, DP’s etc) and included demystifying lenses and the lens testing process, and how to use terminology for effective communication between Directors and Cinematographers.

A networking lunch then followed, where participants from both sessions got together to make new introductions and bring together the wider film making community. 

The afternoon was for practitioners working in advanced technical roles (Cinematographers, AC’s, post-production, etc) and included a showcase and a technical breakdown of motion picture lens characteristics of Spherical, Anamorphic, Large Format and S35 lenses, including the evolving advancement of lens modification and customization.

Nic presenting to audience - Photo by: Jon Waters

On this occasion the NZCS reached out to other screen guilds including WIFT, PISA, PASC, DEGANZ, SGANZ and Ngā Aho Whaakari  and offered discounted entry fees, as we are keen to have more collaboration with practitioners beyond camera, in our Professional Development sphere.

We were very encouraged by the Guild participation, and had an excellent mix of directors, actors, writers, producers,  DPs and AC’s in the first creative session, and a great mix of DPs, and camera assistants in the afternoon technical session. About 20-25 people attended each session, and a full house for the networking lunch.

We have already had some excellent feedback - for example:

“As a member of both DEGANZ and WIFT the workshop 1000% enhanced my understanding of what camera department is doing. Would love more cross guild workshops, as we work together after all ! It would also provide a great networking opportunity.”

Given the positive feedback from the event, Panavision is keen to entertain future collaborations, and there has already been interest to bring this lens workshop to Wellington in 2025. 

A big thank you to Paul Lake and Lucas Chiappella from Panavision New Zealand, Nic Godoy and PV Australia, Michael Paletta from the NZCS for admin/organisation and the NZCS committee volunteers who helped out. 

~ Donny Duncan NZCS

Motion Camera Equipment Hire opens in Ōtautahi Christchurch allowing for better accessibility for major film production in the region. 

We are thrilled to announce the launch of South Island Cameras, a new motion camera equipment hire company founded by industry veteran Brett Mills, owner of Queenstown Camera. This exciting development marks a significant step forward for Christchurch’s screen industry.

South Island Cameras aims to revolutionise film production in Christchurch by offering top-tier motion picture cameras and accessories locally. Brett Mills, a well-respected figure in the industry, sees Christchurch as a hidden gem within New Zealand's growing film sector.

“Auckland may be the hub of production, but we believe Ōtautahi has untapped potential,” says Mills. “By establishing South Island Cameras, we hope to redirect inquiries to Christchurch and position it as the premier filming destination for the South Island. Christchurch’s stunning location deserves greater representation on screen, both locally and internationally.”

The launch of South Island Cameras coincides with Screen CanterburyNZ’s ongoing efforts to strengthen Christchurch’s creative economy. A subsidiary of ChristchurchNZ, Screen CanterburyNZ has secured over $500,000 in incentives to enhance the local screen sector and promote Canterbury as a prime filming location. This follows a successful pilot scheme, which saw over $1.5 million in grants from 2022 to 2024, resulting in a $14 million spend in the region from production activities.

Brett Mills underscores the importance of robust production infrastructure to support industry growth. “For the film industry to thrive, it needs solid infrastructure. South Island Cameras will facilitate access to high-quality equipment and streamline the process for local crews, eliminating the costs and complications associated with transporting gear.”

With over 35 years of experience in the South Island screen industry through Queenstown Camera Company and Local Action Film Equipment Hire, Mills is committed to elevating both Queenstown and Christchurch as film production hubs. He envisions Christchurch as the ideal location for a major South Island studio, given its strategic position, scenic beauty, and supportive infrastructure.

“I’ve always believed that Christchurch is the perfect place for a South Island studio. The city’s location, scenery, and facilities make it an ideal setting for a thriving film industry. With funding in place and increased accessibility, our next step is to focus on upskilling local talent.”

Mills’ vision for South Island Cameras includes offering camera training courses and providing aspiring film students with the resources they need to succeed. The company will offer all equipment for hire exclusively from Christchurch, with a comprehensive inventory available on their website.

South Island Cameras is set to become a cornerstone of Christchurch’s film industry, driving local production growth and showcasing the city’s unique offerings to a global audience.

You can check out the South Island Cameras website here: https://southislandcameras.nz

As we look ahead to the 7th NZCS Awards, it’s a wonderful opportunity to reflect on the individuals who make significant contributions to cinematography beyond the role of Director of Photography.

If you know someone who exemplifies this spirit—much like the late Ian (Turtz) Turtill did—consider nominating them for this year’s Turtz Award.

Simply send us an email with the nominee’s name and a brief description of their contributions, whether they’re from the past year or span a lifetime of work.

Any NZCS Member can make a nomination. The deadline for submissions is 31 August. The NZCS Committee will review the nominations, and the award will be presented at the NZCS Awards dinner on Saturday 26th October.

Let’s celebrate those who truly make a difference!

June was a busy month for NZCS Professional Development. We currently have four interns under our Gender, Diversity and Inclusion programs on set and Bharati Sonu is about to start as DP intern on feature film “Backpack”. 

The very good news is that the NZ Film Commission has approved another year of funding for our Gender Diversity Intern Program so this will take us through to June 2025 with an estimated seven new placements available in the coming year, and three still to place from our 2023/24 funding. 

We’ve successfully held two one-day workshops/masterclasses in June - An Introduction to Cinematography for Drama with Waikato Screen in Hamilton, tutored by Donny Duncan NZCS and well attended by over 20 participants.

Our Gimbal Workshop with Jono Drew at Panavision in Auckland was also a great success with 23 participants from all levels of experience and background.  Many thanks to our tutors Jono Drew, Michael Paletta, Will Prosor, Levi Keddy and Ainsley Calderwood who ensured everyone was kept busy and had the chance to demo a variety of different rigs, and Panavisoon for supplying a venue and camera gear. 

~ Donny Duncan NZCS

In memory of Chris McKenzie

Known for his calm demeanour, witty humour, and unparalleled skills in lighting, Chris embarked on a distinguished film lighting career that began in Wellington in the late 1960s.

Over five decades, he mastered the art of being a great Gaffer, contributing to numerous iconic productions in New Zealand and Australia. Chris was not just a master of his craft but also a mentor and supporter to countless camera crews, serving as the face of PLS (Professional Lighting Services) for over 35 years.

In 2023, Chris retired to the Nelson region, closing a remarkable chapter in his career. His dedication to our society and the wider camera community was unparalleled. Chris generously offered his time, wisdom, and essential equipment to enrich the work of cinematographers across New Zealand. His contributions went beyond sponsorship; they were a testament to his unwavering commitment and passion for cinematography.

Chris was known for his support of film students, emerging cinematographers, and professionals on tight budgets, often providing generous discounts from PLS on lighting and grip equipment for short films, music videos, and passion projects that demonstrated genuine filmmaking potential.

From the inception of NZCS to the establishment of our annual Awards, Chris's support remained unwavering. He played a pivotal role in shaping our community, providing invaluable advice and dedicated efforts through PLS. His kindness and humour brightened every interaction, leaving an indelible mark on all who had the privilege of working with him.

We extend our deepest sympathies to Chris's family, friends, the PLS team, and everyone whose life he touched. His legacy will forever be cherished within the NZCS community.

PHOTO: Selfie taken by Kelly Chen, with international cinematographer Carlos Gonzáles, SVC, during her placement as DP intern on 'Zombies 4: Day & Night’

DP intern, Kelly Chen, has completed her 4 week mentorship with DP Carlos Gonzalez SVC on “Zombie 4: Day and Night” under the Gender Diversity Program and reports an extremely valuable experience where she gained awesome insights into big-scale setups and equipment, which are often hard to come by on low-budget productions. 

NZCS is pleased to report that two candidates have been chosen for our intern placements on “Spartacus House of Ashur,” TV series, under our new Diversity and Inclusion program, aimed at those from under-represented communities.

The camera trainee intern role went to Grace Jamieson, who recently graduated from Youbee Colleges, South Seas Film School and who qualifies as a member of the neuro-diverse community. The mid-career, DP intern role was awarded to Ben Marr (Ngai Tūhoe, Ngāti Rangitihi, Te Whānau a Apanui) who is a Rotorua based cinematographer  of Maori ethnicity.

The competition for these roles was very intense and Grace and Ben are stoked to be given the opportunity to join the production with the assistance of the NZCS, the NZ Film Commission and Spartacus Productions NZ Ltd, and are both well into the shoot gaining valuable experience.

Another 15 day DP internship on “Spartacus House of Ashur” has gone to Nina Wells, under the Gender Diversity Program, where she will be mentored by DP Andrew McGeorge, commencing late June.

We’ve also awarded an internship to Paris Manning, who has already started as Camera Trainee on the TV series “Red Rocks”  in Wellington, under the tutelage of 1st AC Garth Michael.

The most recent of our 2024 internships has gone to Sofi Isaak-Zade, who will take on a hybrid role as 1st AC/2nd Cam operator on 6-part doco series,  “Fangirl Revolution” with DP Daniela (Nani) Conforte.

We are currently advertising a DP intern position in Auckland on feature film “Backpack” with DP Jeff Cutter,