Murray Milne NZCS and Donny Duncan NZCS attended the Government’s announcement on behalf of NZCS. The event provided a valuable opportunity to connect with key industry figures, including NZFC CEO Annie Murray, and to hear directly from the Minister about the future direction of New Zealand’s screen rebate settings.
The Government has introduced a suite of important changes to the International Screen Production Rebate. These updates are intended to strengthen Aotearoa’s ability to attract and retain international production, restore confidence and consistency across the sector, and ensure New Zealand remains competitive as incentives rise rapidly in other jurisdictions.
Minister Nicola Willis noted that the changes respond directly to industry feedback and address concern that New Zealand was falling behind international markets. She stated:
“The global fight for large scale productions has intensified, and the settings we inherited were putting New Zealand at risk. These updates will attract more productions, create more consistent work for New Zealand crews and businesses, and encourage greater foreign investment in our creative industries.”
NZFC representative Philippa Mossman noted that these adjustments could have positive impacts for local Directors of Photography. With New Zealand’s rebate now more competitive and easier to access, productions may be more inclined to hire local HODs rather than bringing in international leads.
This may support:
more consistent work for New Zealand cinematographers
strengthened career pathways
deeper involvement of local crew in creative decision making
broader economic flow into the New Zealand screen sector
NZCS knows these changes did not happen because of one organisation alone. They came from many people and groups across our screen whānau stepping up, sharing data, opening doors, using their connections, and keeping the kōrero moving even when things felt tough. We may not have captured everyone involved, but we want to acknowledge that it was truly a collective effort.
From what we understand, the following rōpū carried much of the heavy lifting in this mahi, and we want to offer a heartfelt ngā mihi nui for the time, advocacy and persistence they put in:
Screen NZ International
Visual Effects Professionals Guild
Studio Infrastructure Group
New Zealand Film Commission
Your work helped shape and advance these changes in a very real way. He mihi maioha ki a koutou katoa.
Read the press release on the NZFC website
NZCS is proud to celebrate the outstanding achievements of three of our members who were honoured at the 2025 New Zealand Screen Awards | Ngā Taonga Whakaata o Aotearoa. Their work continues to showcase the artistry, dedication and world-class cinematography of Aotearoa’s screen sector.
Live and Let Dai South Pacific Pictures / Three and ThreeNow Fryer’s sensitive and nimble camerawork brings authenticity and heart to this compelling factual series.
Marlon Williams: Ngā Ao E Rua – Two Worlds Monsoon Pictures International / Whakaata Māori / 2025 A beautifully observed and deeply crafted piece of documentary camerawork that captures both intimacy and scale with sensitivity.
A Remarkable Place to Die Screentime New Zealand and Real Film Berlin / TVNZ 1 & TVNZ+ Cameron’s work continues to set a high benchmark for dramatic storytelling through impeccable visual craft.
The Convert Jump Film and Television / Brouhaha Entertainment / 2024 Loane’s atmospheric and powerful cinematography played a central role in bringing this landmark feature to life.
NZCS extends a huge mihi and heartfelt congratulations to Tim, Dave and Gin for their exceptional contributions to New Zealand cinematography. Their achievements reflect not only personal excellence but also the strength and talent of our wider cinematography whānau.
A quick look at what’s on the boards this spring: a few familiar favourites are returning, some exciting new projects are gearing up, and there’s a flow of work for NZCS members to keep an eye on.
Feature Films and International Projects
Evil Dead Wrath will shoot in Auckland, following the back-to-back filming of Evil Dead Burn.
Legend of Zelda is preparing for a 19-week shoot at Kumeu Film Studios starting around November.
The Lord of the Rings: The Hunt for Gollum is gearing up for pre-production in Wellington.
Terbang, a Malaysian feature film, is coming to the South Island this month to shoot the final seven days of their production, continuing from a 45-day shoot completed in Malaysia.
Domestic Drama and Series
A Remarkable Place to Die Season 2 is gearing up to shoot late October in the South Island.
God Bless You, Mr Kopu will film in Auckland from November to mid-December.
NZ Spy spans both Auckland and Queenstown locations from mid-November to mid-December.
This is Home, a pilot episode for Whakata Maori, is filming in Auckland across November–December.
Let’s Marry, a one-episode Netflix dating show, will shoot in Tasman in November.
A Dog’s Show, a domestic feature, will shoot in Wellington across November and December.
Good Bones is scheduled in Auckland from mid-January to February 2026.
The Sanctuary, a scripted comedy TV series, will shoot in Auckland early 2026.
Secrets At Red Rocks Season 2 will shoot in Wellington early 2026.
Deadpoint, a domestic feature film, is scheduled for Wellington early 2026.
Unconfirmed Productions
Spartacus
Peter Pan / The Lost Boys
Commercial Work There has also been a steam of Auckland TVC production companies booking recently, including Exit, Flying Fish, Fish and Clips, Finch, Good Oil, Motion Sickness, Scoundrel, Sweet Shop, Eyes and Ears and more.
This summary reflects a snapshot of the productions on my radar. There will no doubt be more work out there, but hopefully it gives our NZCS members a general picture of what’s happening. Wishing all productions a successful shoot!
~ Amber Wakefield Executive Officer, NZCS
Despite decades of film production, women still make up only a small fraction of cinematographers both in New Zealand and internationally.
In Europe, women accounted for just 14% of feature film cinematographers between 2020–2024, with most films led by male DOPs. Documentary work saw slightly higher representation at 18%, while live-action fiction and animation continue to be largely crewed by men. In New Zealand, while the numbers are similarly low, steady progress is being made.
This August at our NZCS AGM, we welcomed two new committee members, Tammy Williams and Niki Winer, to oversee our Gender Diversity Programme. Their role is to conduct a complete review of the programme, update it where necessary, and make recommendations for how NZCS can best support women in cinematography going forward. Having two women actively shaping this initiative ensures that the programme reflects real industry experience and ambition.
The upcoming NZCS Awards on Saturday 18 October also provide a moment to reflect. Once again, there are women among this year’s winners, visible evidence that female cinematographers are making their mark, even in a profession still dominated by men. It’s important to note that the awards are based on submitted entries, not nominations, so entrants must actively put themselves forward to be considered. This means the lower proportion of women winners mirrors the current gender distribution in the profession, rather than any bias in the judging process.
Since 2018, women’s membership in NZCS has increased seven-fold, and thanks to support from the NZ Film Commission, the Gender Diversity Programme has placed numerous women in meaningful on-set positions. Initiatives like the Women in Camera Showcase, a collaboration with WIFT New Zealand, celebrate female and gender-diverse talent who are making waves in the industry.
This year also marked a significant moment in cinematography history. Sinners, directed by Ryan Coogler, was shot on large-format IMAX film by Autumn Durald Arkapaw, making her the first female cinematographer to shoot a feature on IMAX film. Arkapaw recently worked in New Zealand on a local shoot, highlighting both the global reach and the growing presence of women in cinematography. This milestone underscores the importance of representation, creative choice, and the cinematic experience, even in an era increasingly dominated by streaming.
Of course, change takes time. Cinematography is a craft that requires years of experience to reach senior levels, and building sustainable pathways for women requires patience and ongoing effort. NZCS remains committed to this journey, combining local insight, membership data, placement records, and international research to shape our strategy.
Data and Research Sources:
A Wider Lens, Australian Cinematographers Society
Female professionals in European film production 2015–2024, European Audiovisual Observatory / LUMIERE
WIFTNZ Gender Pay Gap report 2023
NZCS internal membership, placement, and programme statistics
As we continue to collaborate internationally and draw on these findings, NZCS is dedicated to fostering inclusion and representation within the cinematography community, ensuring that more women have the chance to create, lead, and be celebrated on and off the screen.
It is with deep sadness that we acknowledge the passing of John Daniel Barnett, a towering figure in New Zealand’s film and television industry. John passed away unexpectedly on 24 August 2025, just days after celebrating his 80th birthday.
John began his career in the early 1970s, originally producing projects like The Games Affair during the 1974 Commonwealth Games. In 1988, he founded South Pacific Pictures (SPP), which he led from 1992 to 2015. Under his guidance, SPP produced industry-defining content such as Shortland Street, Whale Rider, Footrot Flats: The Dog’s Tale, Sione’s Wedding, and Once Were Warriors, many of which became cultural touchstones.
He later founded Endeavour Ventures, continuing to develop feature films and international TV series into his final years. His leadership, entrepreneurial spirit, and passion remained undimmed, he even produced the recent crime series Dark City: The Cleaner.
Over a career spanning more than five decades, John delivered some of our most beloved screen stories. Four of the country's ten top-grossing films: Footrot Flats, Whale Rider, Sione’s Wedding, and What Becomes of the Broken Hearted? bear his imprint. His proudest professional achievement was Whale Rider, a globally acclaimed film that won a BAFTA, earned Oscar nominations, and grossed over US$50 million.
In recognition of his services to film and television, John was appointed Officer of the New Zealand Order of Merit in 2003, and promoted to Companion of the New Zealand Order of Merit in 2019.
Barney was always a force to be reckoned with. He was highly opinionated about what he thought was good and bad about the New Zealand screen industry. His vision sometimes ruffled feathers, but it came from a deep and undeniable passion for film and television.
Tributes have poured in from across the industry. Keisha Castle-Hughes, star of Whale Rider, remembered him as “Uncle Barnie,” thanking him for his extraordinary vision and generosity.
Teuila Blakely, star of Sione’s Wedding, reflected on his unwavering kindness, talent, and mentorship. Colleagues described him as “a mensch,” whose gruff exterior belied a generous and caring heart
He was also praised for championing Pasifika and Māori stories, and supporting Dawn Raid Records (a New Zealand-based record label, best known for its role in promoting hip-hop and urban music, particularly from Pasifika and Māori artists) in tough times.
He contributed far beyond production, founding OnFilm magazine, launching the Sundance Channel in New Zealand (now Rialto), and serving on numerous boards including the NZ Film Commission and SPADA.
A Legacy That Endures
John Barnett embodied the spirit of New Zealand storytelling. His influence touched countless careers, projects, and lives. He combined entrepreneurial boldness with heartfelt mentorship, leaving a legacy of creative excellence that will continue to inspire.
Mōre mai rā, John Barnett. Your contribution to our culture, creativity, and community will not be forgotten.
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.
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.
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