Vale Ronald Geoffrey Johanson OAM ACS 3/9/1949 - 28/06/2025 The NZCS honours the life and legacy of Ron Johanson ACS OAM, a true giant of our craft.
Ron’s contribution to cinematography was not only marked by his immense technical skill and artistry, but also by the generosity with which he shared his time, his knowledge, and his belief in the next generation. He lifted others up, always with humour, warmth, and that unmistakable Aussie grit.
Here in Aotearoa, many of us had the privilege of working with Ron, or being mentored by him, or simply being inspired by the way he championed the art of storytelling through images. His impact crossed borders and shaped the landscape of screen production across Australasia, as well as resonating on an international level through his work with IMAGO in Europe.
On a local level, we brought Ron to New Zealand around 10 years ago, to advise us on the practicality of hosting our first Annual NZCS Cinematography Awards. He was highly enthusiastic from the get-go and inspired us to take the plunge and assured us the society would never look back. Of course he was absolutely right and in October we host our 8th Annual Awards and celebrate substantial growth in the NZCS since his visit.
Ron leaves behind a powerful legacy, not just in the images he helped create, but in the people he nurtured, the standards he set, and the unity he helped build between our international and trans-Tasman screen communities.
From your friends and colleagues across the motu, and from the New Zealand Cinematographers Society — thank you, Ron.
Moe mai rā, rest well.
We’re pleased to confirm that the per diem threshold for the screen sector has now been lifted to $100 per day, a long-awaited update that better reflects real-world costs for crew working away from home.
This change is now live on IRD’s updated screen production tax guidance page.
If you're working away from the town where you normally live and incurring your own daily expenses, the first $100 of any per diem is now considered a deemed deduction. That means:
No tax needs to be withheld by the production company on per diems up to $100
You don’t need to keep receipts to claim the $100 in your tax return
You’ll still need to include both the per diem and the $100 deduction in your income tax return
If you're claiming more than $100, you’ll need to retain receipts for the full amount
If the production provides meals (like set catering), the deemed deduction doesn’t apply - the entire per diem becomes taxable, and WHT must be deducted.
If you are working in your home town, per diems are fully taxable and cannot be claimed as a deduction.
If you are paid more than $100, only the first $100 is covered by the determination, the rest is taxable unless you claim actual expenses with receipts.
If you’re GST-registered, note that the $100 is a GST-exclusive amount. That means:
You’ll need to charge GST on top of the per diem when invoicing a production
The total amount becomes $115 per day (100 + 15% GST)
You must retain taxable supply information and include per diems in your GST returns
Thank you to NZCS Treasurer, Murray Milne, for his ongoing work with IRD to secure this win for our members.
Want more detail or help applying it to your next job? Visit the IRD screen production guidance page.
Mā te wā, The NZCS Team
The NZCS was privileged to have NZ-born, internationally renowned cinematographer, Denson Baker ACS NZCS , run a lighting masterclass in Auckland on Sat June 14th, in association with sponsor APUTURE - manufacturer of a wide range of LED lighting units.
Photo by Mark Lapwood ACS NZCS
We were fortunate to collaborate with Unitec Screen and use their facilities and new studio, which had a standing set, that could be adapted and redressed for the Masterclass. A full house of 31 attendees were present and a crew of around 12 with camera gear provided by Imagezone, DIT and monitoring from Halcyon Digital, lighting truck from Filmlights NZ, APUTURE lights from local dealers Photogear and FAT lighting, grip gear from Moana Grips and set decorations and props from Propellor.
The day commenced with a presentation by Denson, reviewing some of his past projects and showing a selection of BTS stills to illustrate his various lighting set-ups. There was a great deal of good wisdom, tips and tricks passed on in this session, and some of Denson’s personal philosophies on how to succeed in the craft of cinematography.
The masterclass then moved on to a series of practical demonstrations, where Denson recreated some of the iconic lighting from his Victorian-period TV series The Luminaries, with gaffer Thad Lawrence collaborating once again, and Unitec Screen acting students modelling in full costume. The lighting set-ups used exclusively Aputure lighting units, including the Spotlight Max with 19˚ lens kit, the ElectroStorm XT26 powerhouse lamp (only running at 30% of output in the studio situation!), the very popular Storm 80C unit and a variety of OctaDome softboxes.
Photo by Mark Lapwood ACS NZCS - The ElectroSTORM XT26 Lamp in action
The set was beautifully dressed by set decorator Tane Jarrett using many of the original dressing and props from The Luminaries, and included candles, oil lamps and the ever-present hazer to accentuate light rays.
Photo by Murray Milne NZCS
The practical sessions were interactive, with camera operators being chosen from the attendee group, and everyone gathering close around camera and monitors and discussing the detail of the set-ups with Denson. Camera-related demonstrations included the comparison of spherical and anamorphic lens, different filter packages and an extreme close-up using a probe lens. We were fortunate to have been supplied with one of the only sets of amazing Hawk class-X Anamorphic lenses in the Southern Hemisphere, courtesy of Imagezone.
Photo by Mark Lapwood ACS NZCS - Probe lens for ECU of eye demo
The last session of the afternoon moved to a contemporary kitchen set where Denson demonstrated some moody and tone-rich night lighting set-ups.
All and all a very successful day, with some attendees flying up from the South Island to join in, and a wide range of experience represented, from newcomers through to seasoned professionals.
Many thanks to Marco Lazaro from Aputure Asia/Pacific, Dan Wagner and Larry Justice from Unitec Screen, Stephen Baker and Dean Thomas from Imagezone Camera Rentals, Jay Zhou from Photogear, Tracey Cochrane from FAT Lighting, Johnathan Guest and Nick Burridge from Halcyon Digital and Corey Moana from Moana Grips for kindly sponsoring all the gear for the Masterclass.
Production activity in Aotearoa feels steady, but not nearly as busy as many local crews would hope. The pace varies depending on what part of the industry you work in.
On the international front, Legend of Zelda is prepping to shoot around October at Kumeu Film Studios. Evil Dead Burn x 2 will film back to back in Tāmaki Makaurau from July through October. Tenzing, which began in Nepal in May, will shoot at Aoraki / Mt Cook across July. There is talk that The Lost Boys, a Peter Pan inspired feature, may head into Auckland Film Studios, though that is unconfirmed.
Ms. X is expected to shoot now until the end of August, and Bust Up, a domestic feature set in the Bay of Islands, is currently filming.
Long-running series The Brokenwood Mysteries is ticking along in preparation for season twelve. New domestic work like Good Morning Mr Kopu is progressing, with others such as a possible second season of A Remarkable Place to Die and Blue Murder Motel in development or early prep.
Spartacus remains in limbo, with production decisions expected after San Diego Comic Con in July.
All told, this is a mixed bag. Some crews are flat out while others, especially in advertising, are feeling the slowdown. Many reckon commercial work might not return to previous levels as ad formats and budgets shift globally.
Internationally, the picture is similar, although Australia seems to be holding its own more firmly with big projects such as Godzilla x Kong: Supernova. And there is buzz around a new $127 million Oran Park studio near Sydney, designed to draw more blockbusters to Australia’s South West. I received a call from a member this month who is seriously considering packing up their whānau and heading across the ditch to what appear to be more fruitful waters. It raises fair questions about whether our current incentive settings are doing enough to attract work here, especially when so much seems to be heading to our neighbours.
Globally, from what I am hearing, the US and UK are still recovering post strikes. Hollywood is gradually restarting, but crew report job gaps, especially in commercials and indie. The UK is seeing more high-end TV bookings, though financing still weighs heavily. And across the board, ad production remains quieter, with reduced budgets meaning fewer short form roles.
So what does this mean for New Zealand?
We are not booming, and we are not idle, just somewhere in between. There is a reasonable amount of work for some, while others wait for the next gig.
Here is hoping for a spring lift. In the meantime, let us keep the kōrero flowing and continue to manaaki one another through it.
~ Amber Wakefield Executive Officer, NZCS
Working on set is exciting, but let’s be honest, it’s also bloody hard. Camera crew are often carrying heavy gear, crouching in odd positions, and hustling under time pressure. In Aotearoa’s screen industry, we’re slowly getting better at recognising that safety and wellbeing aren’t extras. They’re essentials.
Camera departments face a unique mix of physical and mental strain. Long hours, repetitive motion, high-pressure environments — they all add up. Burnout, back injuries, and stress-related issues are real risks, and they don’t just impact work — they impact whānau, health, and the future of a sustainable career.
That’s why it’s great that ScreenSafes Mental Health Survey is now open. It’s an anonymous opportunity to kōrero honestly about what’s working (and what’s not) when it comes to wellbeing on our sets.
Whether you're a DP or 2nd AC, you help shape the tone of your team. Speak up if something feels unsafe. Encourage breaks. Back crew who need a breather. If you're in a leadership position, model healthy boundaries.
And please (if you haven’t already) take the ScreenSafe Mental Health Survey. It helps all of us push for safer, healthier conditions across the board.
Why this moment matters & why we’re celebrating it on both sides of the Tasman.
After her breathtaking work on Disney’s Mulan, shot here in Aotearoa back in 2018, we’re more than happy to claim Mandy Walker as one of our own. The Australian cinematographer (or Aussie cousin, really) has long been behind some of the most beautifully composed, emotionally rich images on screen. From Lantana to Australia, Hidden Figures to Elvis, her work moves between character-driven intimacy and sweeping cinematic scale with signature strength and grace.
Now, Mandy has made history again, being named President of the American Society of Cinematographers (ASC) as the first woman to hold the position in the society’s 105-year history.
Founded in 1919, the ASC is one of the oldest and most influential professional organisations in global filmmaking. Its membership is invitation-only and includes many of the world’s most respected cinematographers. Being named its president is not just a career milestone, it's a signal of esteem from the very top of the craft.
And while it might seem long overdue for a woman to take the helm, Mandy’s appointment is a landmark moment in a field where women have historically been underrepresented, particularly at the top levels. As of 2023, only around 5% of ASC members were women, and even fewer have held leadership roles.
Her appointment is not only richly deserved, but symbolic of the evolving face of cinematography, one that values mentorship, inclusion, and storytelling from every perspective.
“My very first attachment was on a feature film called Tracks in 2012, shadowing the camera department. I was introduced to slates and all sorts of camera department wizardry — and Mandy made a huge impression on me. In 2023, I flew to Sydney for the ACS National Awards, where I had a music video in the national lineup after winning Gold at the regional level. I saw her again, 11 years later, and I’d gone from a newbie to an emerging DP in New Zealand. She was a really huge inspiration to me from when I first started out, and she still is inspiring to me today.”
Bayley’s experience echoes what many in the industry feel. Mandy’s combination of technical excellence and generosity toward the next generation is what makes her leadership so meaningful.
Mandy has always been a bridge between worlds, not just between Australia and the U.S., but between studio blockbusters and arthouse films, between analogue and digital, between tradition and innovation. As ASC President, she’s now helping shape the future of cinematography at a global level.
We’re celebrating this win from Aotearoa and raising a toast to her continued trailblazing. From Mulan beneath Aoraki to the president’s seat at the ASC, it’s clear that Mandy Walker isn’t just behind the camera — she’s leading the way.
Photo left: Mandy filming Mulan with Director Niki Caro on location in Aoraki/Mt Cook, taken by Script Supervisor Kath Thomas Photo right: Mandy and Bayley on the set of Tracks (2012)
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 30th 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 30th Sept – 18th 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:
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, 22nd September
• Your NZCS Membership Number (or intention to join if successful)
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 24th Sept, 2024
Prices include GST© 2008- 2021 New Zealand Cinematographers Society
