November Newsletter
04/11/2026
Australia’s Most Experienced Audio Visual Supplier
Australia’s Most Experienced Audio Visual Supplier
NEED HELP? 1300 287 867
Australia’s Most Experienced Audio Visual Supplier
Australia’s Most Experienced Audio Visual Supplier
NEED HELP? 1300 287 867
How Did You Start Out In The Industry?
Broadcast was something I had always wanted to do. I remember watching Hey Hey It’s Saturday growing up and seeing Lucky Phil, thinking, that’s what I want to do. I was so certain that in my Year 12 yearbook, I wrote that I wanted to be a cameraman.
I went on to study Screen Studies at Flinders University, but at the time the course wasn’t very hands-on, so I decided to leave and find a more practical pathway into the industry.
Eventually, I landed a job in Whyalla at GTS/BKN as a salesperson. While I was there, the station was struggling to find a commercial producer. I put my hand up and was fortunate enough to win the role. From there, I trained one day a week for three months with Paul Oborn, who was based in Port Pirie. There was an extraordinary amount of trial and error, and a great deal of learning on the job.
After a few years, I headed to Western Australia to work at GWN TV, before eventually returning to Adelaide to take up a role as an editor at Channel 7 News.
A few months in, some of the cameramen discovered that I could shoot as well. They encouraged me to apply for a position at Channel 9 — and I’ve never looked back. I watched and learned from my peers, and when it was time to move on, I grabbed the next opportunity with both hands. I worked at the ABC before taking a role at News Limited, creating my own videos — which brought me back to my happy place of filming, editing and telling stories.
When it was time for another change, I moved into Public Relations. Finally, about ten years ago, I decided it was time to go out on my own.
Since then, I’ve worked with many incredible corporate clients while still keeping a hand in broadcast television productions — continuing to do what I always set out to do.
What Was Your First Job on a Set?
I won’t try to recount my very first day on set—that was so long ago I can barely remember it. But I’ll never forget the first time I filmed a news story for Channel 9 News in Adelaide, where I was the first—and, at that time, only—female news camera operator.
I was sent to cover a siege with journalist Ray McGhee. Sounds straightforward, right? Except the police staging area was on Channel 7 property. I was new, green, and completely unsure of what I was supposed to do. As I was organising my gear, Ray suddenly took off across the parking lot, racing onto the grass near the police. Behind him, security from the station—where I also did some freelance editing work—gave chase, and I had one guard hovering nearby to make sure I didn’t accidentally follow him onto “their turf.”
In that moment I was half-panicked, half-amused. It was a baptism of fire. I could feel the adrenaline, and remember seeing the other camera operators from nearby stations approaching, checking I was okay. We all laughed about it later, but that chaos stuck with me—just like the first time I filmed a fatal car accident, or the first time I flew in a helicopter filming from the skids.
What has stayed with me most, though, is the feeling of being treated like any other news cameraman. In those moments, I realised it wasn’t about being “the first woman” on set—it was about being a camera operator, and earning your place, one story at a time.
Do You Have Someone You Look Up to In The Industry? What Do You Like About Them?
To be honest, there have been so many mentors throughout my career that it’s hard to choose just one. Many of my peers have helped shape me into the operator and storyteller I am today.
But one person I have always deeply admired is fellow female news camera operator and exceptional storyteller, Rachel Thornton. She truly championed me when we worked together at Golden West Network. She was the first female I ever saw confidently swing a news camera onto her shoulder, and her tenacity and genuine love for the craft inspired me to strive to be my very best.
Rachel has built an incredible career telling meaningful stories — and even more impressively, she has continued to do so while also becoming a mum of two. Her dedication, both professionally and personally, has always inspired me.
What’s The Best Advice You Ever Received During Your Career?
Be prepared to start at the bottom and work your way up. Always keep learning, watch what others are doing, and, most importantly, when filming news, remember the basics: capture a wide shot, a mid shot, and a close-up. Then move and do it all again, adding the occasional tilt, pan, or zoom—but focus on getting the fundamentals right first.
Do You Have a Project You’re Proudest Of? Why?
One of my proudest projects was working on a deeply personal series, You Are Not Alone. It was a short form documentary series about women experiencing pregnancy loss — something I had also been through myself.
We were incredibly fortunate to receive funding from Screen Australia and the South Australian Film Corporation, which was an amazing achievement. But more than that, being trusted by the women and men who shared their stories with us — myself and my producers — was a true honour.
I still remember launching the series and reading the messages from viewers who were going through similar experiences. Their words broke my heart, but they also reassured me that by telling these stories, we had helped others feel a little less alone in their grief.
Do You Have Any Projects Coming Up?
I’m currently working on a couple of personal projects.
The first is Drift Her, which I am producing and directing alongside producer Daniel Clark. This documentary tells the story of the Glitter Gang — an all-female drifting crew who have created a safe space for women to be part of the motorsport community, while also mentoring and teaching the next generation of female competitors.
The second project is Geltwood, the story of a 150-year-old shipwreck that was lost to the ocean for more than a century before being rediscovered and its history preserved. This project is particularly personal, as my father was one of the divers in the 1980s who helped recover relics from the wreck, including an anchor that now sits in the Millicent Museum.
The idea came about after I stumbled across historical footage my dad had filmed in the ’80s on his old video camera — footage that reignited the story and inspired me to bring it to life.
Alongside these passion projects, I continue to work with my amazing clients, helping bring their stories to life.
What advice would you give to other women in the industry, whether they are starting out or taking a step up in their careers?
My advice to any woman starting out in this industry — whether in news, corporate, or documentary — is this: you absolutely can do it.
When I began, the cameras were heavier, the crews were smaller, and there were far fewer women behind the lens. Today, the gear may be lighter, but the opportunity is so much greater. There are so many more opportunities.
Be prepared to start at the bottom. That’s not a setback — it’s your training ground. Learn from your peers. Watch how others frame a shot, tell a story, solve a problem under pressure. Every job, every shift, every challenge is building your confidence and your craft.
And remember this: as female filmmakers and camera operators, we bring something powerful to the industry — a unique way of seeing. A different sensitivity to story. A perspective that hasn’t always been represented.
Everyone has a story. The way you choose to tell it matters.
How did you start out in the industry?
As a teenager I always loved storytelling through photography and creative writing, but I never really considered there would be a career path that married the two so perfectly for me. I studied Film and TV at the University of South Australia and my final year Uni film won the Best Short Film at the SA Youth Filmmaker’s Festival. The award gave me the confidence (all bright-eyed and bushy tailed!) to pursue a career in the film industry, I had no idea about the challenges and complexities of trying to be a filmmaker and how resilient you need to become.
What was your first film?
My first documentary was titled The Love Market (2009) which I filmed over 4 years on the streets of remote Northern Vietnam following a small group of hill tribe girls who’d left their villages to sell embroidery to tourists on the streets – and then faced big decisions about leaving their traditions behind. I couldn’t get any funding to make the film due to the international storyline and the fact that I had no doco credits to my name, so I decided to make it on my own. I’ve also never used a camera before, but I didn’t care. I just knew I had to make this film. The Media Resource Centre (now Mercury) kindly lent me a Mini DV Camera and I maxed out my credit card every year to cover the travel and accommodation. Down the track, my passion for the project started to attract tiny bits of funding which allowed me to hire an editor to finish the film. Finally, I finished the film with a post-production pre-sale from National Geographic and it went on to win a slew of awards, including being nominated for 2 AACTA Awards. 25 years later making The Love Market is still one of my favourite experiences.
Do you have someone you look up to in the industry? What do you like about them?
During the making of The Love Market I was introduced to Story Editor Lauren Drewery, who helped me shape the film in the final stages of the edit. She had a such a sensitive and deeply thoughtful way of approaching the story and film’s participants (who were vulnerable children), and we formed such a lovely collaboration. Lauren has continued to work with me on all of my documentary projects since as a Story Editor and / or EP. Her advice and ideas are always driven by what’s deeply best for the film, it’s never about ego or politics.
What’s the best advice you ever received during your career?
When I was 21 years old I won quite a prestigious cash prize award for a short drama I’d make. At the Awards after party a stranger came up to me and said “I’m going to give you a piece of very good advice. Don’t spend a dollar of this money making a film. Buy a house. That’s the only way you’ll make it long term in this industry.” She was right.
Do you have a project that you’re proudest of? Why?
I’m pretty proud of my latest feature documentary Songs Inside. I spent 8 months on my own in the Adelaide Women’s Prison following a group of incarcerated women who sign up for a unique music program, which for some opens up deep scars and for others proves to be life changing. The film was been so well received by diverse audiences across the globe from prisons to communities to film festivals. It was truly a joy and a privilege to make it.
Do you have any projects coming up?
Not yet! I’m currently taking a break and enjoying the summer with my children before the next project takes over my life!
What advice would you give to other women in the industry, whether they are starting out or taking a step up in their careers?
Advice is a tricky one! I think what always sends me along is a fierce belief that this particular story needs to be told, and this drives me to back myself and my ideas endlessly.
Resilence has also become key for me over the years. The process of getting a project up can mean many setbacks and rejections along the way, so you’ve really got to learn to roll with the punches, develop a thicker skin and use them to give you the momentum to keep going.
How did you start out in the industry?
I studied a Creative Arts degree at Flinders University. In my final year (2007), the university arranged an industry placement with Oasis Post, now known as KOJO, which led to an assistant editor role. I eventually worked there as an editor, motion designer and colourist.
What was your first job on a set?
My first paid editing job was while I was studying. It was a multi-camera edit of a recorded stage play, and the project’s hard drive died right before delivery. I’d put countless hours into the edit, subtitling, and DVD special features, and the data recovery fee cost me more than the job paid.
Since then, in nearly 20 years there have been very few days where I haven’t made manual backups – and it’s saved a few projects.
Do you have someone you look up to in the industry? What do you like about them?
I’m fortunate to have had many wonderful mentors over the years – producers, directors, editors and colourists. Two influential women are producer Kate Butler and director Molly Reynolds.
Kate was a real guiding light and advocate for me in the formative part of my career. I greatly admired her work ethic and no-nonsense leadership style, combined with her approachability and sharp sense of humour – a rare combination.
Molly is delightful to work with. I’ve had the great pleasure of helping on two of her feature projects – My Name is Gulipilil and A Portrait of Love. She is unwavering in her positive energy, always keen for creative experimentation, and she consistently pushes me as an editor to grow and think outside the box.
What’s the best advice you ever received during your career?
One from recent memory is “be bold” – thanks, Molly! To paraphrase: why go to the immense effort of making films if we simply parrot what everyone else is doing? I think it’s a great principle to keep in mind for any creative role. Once you accept that you can’t please every audience, it frees you up to push boundaries and craft something that truly feels different.
In the early days, some great advice came from Dale Roberts (CEO at KOJO and former film editor), who told me that part of an editor’s role is to have a fun and relaxed bedside manner. I’ve found that many people entering the industry underestimate what soft skills can do for your career – it’s not all about the tech or craft, but also the ability to help others enjoy the process.
Do you have a project that you’re proudest of? Why?
In 2017, I took a few months out from post production (my happy place) to direct Unboxed – a web series for ABC iview. The project, about six transgender artists of different ages, genders, and artistic disciplines, was a collision of my personal identity and professional life. For a long time (up to 2013) I thought that being myself and pursuing my career ambitions were mutually exclusive – but here I was, helping to tell the stories of trans people like me with help from my mentors and colleagues. It was deeply cathartic and a huge honour.
Do you have any projects coming up?
I’m currently working on a new short documentary and helping in post-production on several short films and music videos. This year is something of a blank slate as I map out my next move, or until a bigger project sweeps me up.
What advice would you give to other women in the industry, whether they are starting out or taking a step up in their careers?
It’s not quite my place to give this advice, as I began my career when I was trying to be a man. So, perhaps women should do that? … Jokes aside, from my perspective, the most important thing for entering the industry is to find allies, mentors and collaborators who will back you and your skillset. Build your network and stay front-of-mind with your contacts. Female perspectives on-screen are still vastly underrepresented, and you deserve to be in the room – quotas or otherwise. Aim high, but remember that finding ways to have fun and feel creative around good people is what will sustain you in the long run.
