Mark Wareham’s extraordinary list of Cinematography credits span across all forms. More recent productions have been Preacher, Mystery Road, Cleverman and feature films Don’t Tell and Jasper Jones. We talk about his journey to becoming a cinematographer, philosophy of his work and his visual approach to his more recent projects.

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Storm Ashwood has over 15 years experience in the film industry and has worked on feature films, short films, TVC’s, branded and digital content and music clips. He has directed 2 feature films The School & Escape and Evasion. We talk about his experience as a gaffer and becoming a director.

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This episode I talk to David Russell about his experiences on becoming and working as a story board artist and conceptual designer and the importance of having a strong visual understanding before even filming the first shot of the film. He has collaborated both with a wide range of directors like George Lucas on Return Of the Jedi, Peter Weir on Master and Commander, Phillip Noyce, Terrence Malick and worked on lots more amazing films.

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Jacinta is a highly skilled technical and creative Production Designer and Art Director who has worked on Alien Covenant, Mad Max Fury Road, Nightflyers Netflix Series and up and coming Australian science fiction film 2067. We talk about her career and deep dive into a couple of her projects she has recently worked on.

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Spanning 40 years in the film industry he has made his mark in the world of cinema in Hollywood with the unique voice and vision of scifi and fantasy films like I,Robot, Dark City, The Crow and Gods of Egypt. We discuss the current global situation and the future of cinema.

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Sue Maslin AO continues to discuss the production of The Dressmaker the The Show Must Go On and more insights into the future of the Australian film industry

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Sue Maslin AO is one of Australia’s most successful film, television and digital content producers with a track record of creating award winning feature and documentary films. Her most recent is the smash hit The Dressmaker, starring Kate Winslet and Judy Davis. It grossed more than $20 million at the box office and garnered the highest number of nominations at the 2015 Australian Academy of Cinema and Television Arts (AACTA) Awards, winning five including the coveted People’s Choice Award for Favourite Australian Film. In part 1 we talk about her beginnings and the industry.

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Earle Dresner is an up-and-coming cinematographer in Australia, having recently won two Gold Awards at the Australian Cinematographers Society (Victoria and Tasmania) Awards for his work on Sisters and season two of Glitch, which he shot for Netflix and Matchbox Pictures. His other television work includes Little Lunch and Upper Middle Bogan for ABC. Earle recently wrapped on his first narrative feature, 2067, a “cli-fi” dystopian thriller starring Ryan Kwanten and Kodi Smit-McPhee.

In 1996 Anna began working as a cinematographer. As a Director of Photography she has worked with many top directors including Ray Lawrence, Gillian Armstrong and Garth Davis. Anna is known for her subtle but expressive lighting and her ability to work with actors.

Anna was awarded an ACS Accreditation in 2004 For the past 20 years Anna has worked on many films, documentaries and commercials in Australia and overseas, winning awards for her lighting and images.