The Panavision Group Celebrates Women’s History Month 2025

Last year’s Women’s History Month saw the launch of Panavision’s Women Making History interview series, spotlighting women working in a variety of roles across the motion-picture industry and sharing their journeys, inspirations, and words of wisdom and encouragement. This year, we continue the series with a new roundtable of women filmmakers with whom we’ve been proud to collaborate across our camera and optics, lighting, studios and post-production divisions.

Our 2025 roundtable comprises cinematographers Carolina Costa AMC, Sky Davies ACS, Alison Kelly, Simona Susnea, Kat Westergaard and Kaayla Whachell, 1st AC Kingslea Bueltel, lighting technician Viola Wyszynska, and production manager Chanel Parkinson. The conversation begins with the early inspirations that drew them toward the industry; in Part II, the participants reflect on particularly meaningful moments in their careers; and in Part III, they each share some of the advice that’s helped them on their journeys. You’ll find all three parts below.

PART I

Panavision: What sparked your interest in your career, and what keeps you inspired today? 

Alison Kelly: I have always been fascinated by light. I remember as a kid noticing dust in a beam of sunlight and the cool way certain windows reflected hard light on summer afternoons. In high school, I had the good fortune of taking photography classes at the Cleveland Institute of Art and getting into optics and chemistry. I remember the exhilaration of looking through a lens and, for the first time, having the awareness of what it made possible. When I learned through a wonderful high school teacher what a cinematographer does, it was like a door opened to a dream to be realized. I knew in that moment it was for me. Collaborative storytelling, evocative visual language and creative problem solving on a daily basis all appeal deeply to me.

Alison Kelly

Chanel Parkinson: As a kid I was obsessed with watching TV, and I would watch as much as I could. I was so curious about how programs were made — a longstanding curiosity about imagery, my first word was ‘photo’! As soon as I was old enough to realize filmmaking was an actual job, that was it.

Kaayla Whachell: Growing up without a television at home, my exposure to film was limited to visits to my grandfather's house. His collection of ’80s spy thrillers and Jackie Chan VHS [tapes] left a lasting impression on me.

Sky Davies ACS: My fascination with filmmaking has always been in my blood. As a 9 year old I started to storyboard my favorite novel without understanding that was what I was actually doing. This fascination developed into a love of photography when I was in high school, and finally, when I reached university, I was able to explore filmmaking as a medium.

Sky Davies ACS

Simona Susnea: I started with an interest in journalism and photography. I worked in stills for a few years, and it was always the storytelling aspect that appealed to me. This led me to film, where you can express that further than perhaps in stills, although both mediums have their own unique way of expressing emotion and telling a story.

Carolina Costa AMC: I've always loved movies — especially horror and thrillers — and I’ve been drawn to storytelling for as long as I can remember. I actually started in photojournalism because I was fascinated by the idea of capturing a single moment in time, preserving it forever. But when I was studying journalism, I didn’t even realize that being a cinematographer was a career option. It wasn’t until I heard someone mention it as an actual job that something clicked inside me. The first time I stepped onto a film set was a moment I’ll never forget. I try to carry that feeling with me on every project — staying curious, open and ready to explore. 

Kat Westergaard: I had always been interested in photography — specifically documentary photography — and aspired to be a photojournalist when I was in high school. I bought a medium-format camera and built a darkroom in my basement and basically experimented. Looking back, I think what I gravitated towards in photojournalism had to do with striving to capture an entire story in one image. I went to graduate school for film, thinking I would direct, with a focus on documentaries. I quickly realized I was drawn to cinematography — how the balance of light and dark could radically alter the impact of a scene and how framing and movement have so much influence on how the audience experiences a moment.

Kat Westergaard

Viola Wyszynska: My journey into lighting has been shaped by a series of experiences over the years. It wasn’t a straightforward path, and it took me a long time to find the confidence to pursue it full time — after all, this industry demands resilience and dedication. Looking back, my passion for photography and collaborating with others has always been the driving force behind my career choices. Every creative role I’ve taken on, including my degree, has involved photography and moving images, which have kept me inspired and motivated. Over time, this passion naturally led me to lighting, where I found a deeper connection. Seeing lighting as more than just illumination — as a powerful tool for expression — is what truly sparked my dedication.

Kingslea Bueltel: My career in camera began with a happy accident 17 years ago. I was fresh out of film school, had just moved back home to Dallas, and spent every second scouring the internet for available crew positions on little nonunion gigs. I got incredibly lucky and was offered the operator job on a $200K indie feature that would shoot in Austin. It was basically an unpaid gig; there was a tiny stipend, and I had to put myself up, but I was so excited for any opportunity to be on a set. A week before I was set to travel down there, the show called and said the DP really wanted to operate for himself, but they had liked me in my interviews and didn’t want to lose me, so would I have any interest in being the 1st AC? I was a little intimidated to take on a job I hadn’t really prepared myself for, but I said yes and started doing my homework right away, researching the gear I wasn’t familiar with and reading books by David Mullen [ASC], Doug Hart and David Elkins cover to cover. It was full-on ‘fake it till you make it’ mode. The show went really well; there were some wonderful people on the crew who mentored me and helped me when I got stuck, but I learned quickly and fell in love with pulling focus, and by the end I was hooked!

Parkinson: What keeps me inspired is the mutability of filmmaking — there are always variables in the process, and I am constantly learning. It’s very humbling, most of the time it feels like I’m starting from scratch, and by the end I’m in awe watching the final cut knowing how many challenges I’ve overcome to get there. 

Chanel Parkinson

Westergaard: One of the things I love about the job is that you are constantly learning. With every new project and every new director, I feel as though I learn more of the craft and how to better realize a vision. I have traveled a lot over the years for work, so it’s not only a new story to tell with each project but new people to work with and places to shoot, so you are always evolving and learning from each new experience.

Costa: Inspiration comes from many places: watching films, seeing art, or even something as simple as a strange, beautiful light while scouting, or an actor making an unexpected choice on set. For me, it’s all about staying present and keeping that sense of wonder alive.

Davies: Today my love of the craft is kept alive when I am moved by a piece, whether that comes via the story, the beauty of the image or the creativity in its execution. Sometimes the simplest, most pared-down image can be the most profound, and sometimes it is the mind-melting images that can be transformative. Whichever way it comes, those moments inspire me to chase that feeling in my own work.

Susnea: What keeps me inspired is the human experience and connection across the world, and the power of filmmaking to capture those and share them with the audience. And a passion for lighting and camerawork, for creating beauty and putting positive things into the world.

Simona Susnea

Bueltel: What keeps me inspired today is that I get to be part of a community that tells stories. And I think storytelling is more important now than it’s ever been. The arts used to be called ‘humanities’ in school curricula, and that’s what they are. Our stories, our shared experiences, our differences or commonalities or struggles or triumphs — those are the things that give our lives meaning and purpose. The things that define, inspire and teach. Movies have always served me in positive ways, whether it was educating me about a culture or event I didn’t know about, or making me cry from an empathetic connection to a character suffering through something, or even just making me laugh.

Kelly: Now more than ever, cinematography matters. There is a magic to thoughtful images that allows them to bypass preconceived ideas and land in a way that is visceral and momentous. I want to keep telling stories that open minds and access emotions. We are in a time that is both thrilling and terrifying in the sheer quantity of images inundating us. Artful and elegant imagery will always have an important place.

Bueltel: I worked on a really unique, weirdly beautiful movie called Nightbitch that was recently released, and reading comments from so many women and mothers who say that it made them feel seen and represented has been so moving, seeing that something we did touched a lot of hearts and minds. It’s a privilege to create a product that can impact the people consuming it in profound ways. So I still love what I do, and I’m so proud that I get to use my skillset to assist cinematographers and directors in the telling of their stories.

Wyszynska: What keeps me inspired? It's always people. The creativity around me I encounter on a daily basis is a constant source of motivation. On every project, there's someone who challenges my thinking, sparks my imagination, or introduces me to a new way of approaching things. The best part of any job is building connections and being part of something that has the potential to shift perspectives and enrich people’s understanding — hopefully for the better.

Kelly: I also enjoy being in a community of cinematographers and filmmakers. The kinship is inspiring. I love being on set in conversation with both new and seasoned crew. I try to let everyone feel the importance of each individual contribution to a production. Film crews are beautiful collaborative teams when that is encouraged. I have been mentoring younger DPs and trying to give back in other ways. I am teaching photography to kids. Knowing how to read images is such a critical skill these days, and we should start teaching it early. Conversations about cinematography are wonderful because it is a deeply personal, subjective thing, and talking about it often leads to unexpected connections and insights.

Whachell: As my interest in film deepened, I became aware of the lack of female representation in filmmaking. This motivated me to find a way to contribute to changing the industry that created the films I loved so much. Unfortunately, today, there are still too few female cinematographers who are recognized for their accomplishments. I am inspired by the perseverance of my peers, who continue to push the limits through their art while facing systemic barriers within this industry. 

Kaayla Whachell

PART II

What are some highlights from you career that you are particular proud of? What made these moments so special?

Wyszynska: There have been so many highlights, even though I’m still early in my career in lighting. One moment that really stands out is the first time I was asked to gaffer a short film. It was a huge deal for me, especially because the offer came from a well-established DOP. Excitement and absolute fear: ‘Am I ready for this? Do I actually know enough? What if I mess it up?’ I even found myself double-checking with the DOP, asking, ‘Are you sure?’ more times than I’d like to admit. But there’s something special about being trusted by another creative. Even though I was terrified, I knew that trust meant something, it meant they saw some potential. Stepping into that position, I quickly realized how many responsibilities and skills I had yet to learn, and to this day, I’m still growing with every project. That moment taught me that fear is just part of the process, and the only way to prove to yourself that you’re ready is to step up and do the work. 

Taking on that role also completely changed my perspective on what it means to be a gaffer. As an electrician, I’d show up, do my best, and the job ended when I got home. But stepping into the role of a gaffer made me see just how much more responsibility it carried. It’s not just about setting up lights — it’s about leading a team, problem-solving under pressure, and understanding how every decision affects the final image.

Viola Wyszynska

Bueltel: Having been an assistant for almost two decades, I’ve had so many cool experiences. I’ve been so fortunate to work for many amazing DPs that I admire. It’s always a thrill to meet someone you look up to, so that’s an ongoing source of pride and excitement in this business.

Susnea: I have been lucky to work on incredible projects and with lovely and talented people. It’s hard to pick because I’ve been involved in work which resonated with my sensibility, and all of these projects and connections with my fellow filmmakers have transformed into beautiful achievements creatively and also meaningful life experiences. From the most recent years, I will mention Heartstopper seasons 2 and 3 for Netflix, The Buccaneers for Apple TV, Nowhere, a short made with the support of the British Council, and Audrey, a creative feature documentary about Audrey Hepburn.

Simona Susnea

Davies: As a cinematographer, one career highlight was shooting House Of Gods. It had a low to middling budget, and we were able to visually elevate it to compete against the premier Australian dramas. We created something really special and unusual with the look of the piece, which I felt beautifully reflected the story. Working with that team and that community was an incredible experience.

Kelly: Naturally the magic of what we do is delightful. Finding the right look for the emotion of a scene is so satisfying. Recently on Marvel’s Ironheart, I had the opportunity to collaborate with my dear friend Angela Barnes, and we had such fun making that series special. We had the support and time to dream up some great scenes, montages and transitions, which isn’t always possible on a tight television schedule. Every department brought its A game, and collaboration was fostered and encouraged. What a joy to build giant sequences with artists who put the characters and story at the forefront. Taking these scenes from conception to execution and finally seeing them complete with VFX was incredible.

Westergaard: One of my favorite jobs recently was a TV series called Wilderness with director So Yong Kim. I had worked with So 10 years earlier on her film Lovesong as well as a few episodes of TV where she was a visiting director. On Wilderness, it was just her and I for the entire limited series. We block-shot six hour-long episodes over 83 days and got to work in some amazing outdoor locations in Canada and the U.S. — the mountains in Banff Springs, white-water rafting in Whistler, and the depths of the Grand Canyon. Being given the opportunity to create an entire show with one director — and a director whom I admire and share similar styles and taste with — was such a rewarding experience. 

Costa: I'm proud of everything I put my name on — that’s the honest truth. But recently, I’m especially proud of my work with director Max Winkler on Ryan Murphy's show Grotesquerie. Max and I first met years ago when we worked on Flower, which was our second feature film. Coming back together after all this time — both more experienced, both having grown as artists and as people — was incredibly special. It allowed us to work with a sense of freedom and trust, to truly ‘jazz,’ making bold creative choices with confidence. The visual grammar we developed for the show is unique yet deeply rooted in references we both love. One of the highlights was shooting a oner episode, which was both thrilling and technically challenging. Another standout moment was a fight sequence that takes place entirely inside a character’s mind — a visually and narratively exciting challenge. Moments like these, where we push boundaries and take creative risks, are what make me proudest.

Carolina Costa AMC

Wyszynska: One of the most unexpected but rewarding highlights was the first time on my job an 18-ton truck rolled onto set. It was the first time I had a full crew, more than just me and one other person. But what made that moment so special was the fact that I could hire people who had once given me opportunities. Being able to give back in that way — to create opportunities for others, and to share the same generosity — is one of the most fulfilling parts of this industry. This industry is built on relationships, on people lifting each other up. Knowing that I can be a part of that cycle, even in small ways, is something I’ll always cherish.

Bueltel: One thing that really stands out for me was getting the opportunity to teach camera workshops at the Moscow Film School. In 2011 I was the first woman hired by RED to be an instructor for their REDucation events. In between film jobs, I taught on and off at RED Studios for three or four years. In 2014 they arranged to do a weeklong course in Moscow. I minored in Russian in college, so RED thought I’d be a good fit to send as their instructor. My paternal great grandparents emigrated from Russia at the turn of the century, so it was very personal and meaningful to be able to visit a place of my own heritage. It was a life-changing experience — they have a top-notch program there, and the students were wildly gifted and motivated — and I loved learning from them about how our industry functions in another country. The school invited me to do an intensive camera-assistant workshop on my own about six months after the RED event, and it was such an honor to be asked back.

Kingslea Bueltel

Westergaard: I think one of the things I love most about working in the industry are the relationships I have formed along the way. When I first started out, I worked a lot in documentaries, which I love because of the instinctual nature of the job. You have to be really connected to the subject you are filming and remain truly in the moment. One of my favorite jobs was early in my career, a three-month documentary in Zambia about the fight against the transmission of HIV from mother to child called The Carrier. This was a life-changing experience for me as we lived with a tribe in sub-Saharan Africa for weeks at a time and really embedded in the community. On a personal level, I learned so much about the shared humanity of people from completely different backgrounds and lives. I also learned how to create consistent, emotional images with very limited resources, through movement, framing and tracking the sun. This experience was incredibly valuable in shaping my approach to my first few indie film projects, where resources where extremely limited. 

Kelly: I have worked in many areas of the business — big-budget series, indie films and documentaries to name a few. I feel grateful to have been on many different kinds of sets. I thrive on the diversity of people and places. Some of the joy is from the sheer adventure of what we get to do for our craft. I have been lowered on a construction crane to traverse a Roman qanat 100 feet below the surface, filmed whales from a blimp window, and hiked the northernmost mountains in Sweden with a camera package in never-ending daylight. I have learned how to traverse the New York City subway tracks safely, get gear through the tsunami-ravaged landscape of Banda Aceh, and how to plan for filming at sea in Hawaii. There are far-flung places I worked where I was welcomed as a friend and fellow filmmaker, and that unique kinship is golden. One of my takeaways from decades in the business is that I enjoy people, and it is a gift to travel, work with and learn from so many of them.

Alison Kelly

Whachell: I am particularly proud of my first feature film, Portraits From a Fire. We filmed in Tsihqot’in territory, eight hours away from any major city and without cell reception. While shooting an exterior scene, two young girls walked by the set and asked what we were doing. Instead of turning them away, our 1st AC, Diana Parry, invited the girls to watch the monitor while she was pulling focus. The director captured a photo of us mid-take. Every time I look at the photo, it reminds me of the importance of creating a welcoming filmmaking environment, and it motivates me to foster inclusivity and diversity in any film set I’m a part of. 

Parkinson: There are two pieces of work that I am particularly proud of. The first is Festival of Slaps, which was nominated for Best British Short Film at the BAFTAs last year. The film is about the misconceptions of Pan African parenting through the relationship between a Nigerian mother and her son who is raised in London. I remember the feeling I had when I first read the script — the feeling of connection, that I could relate to the story, that I, Chanel Nneamaka Ifeanyichuwku Parkinson, a British-born Irish-Nigerian, could relate. There are many things I have watched and read where I could say I related to aspects of the material but not in their entirety like this script. This profound feeling was a first for me, and it reminded me how important it is to make films that make people feel seen, and to create a diverse body of work beyond my own personal experiences that can make many people feel that way.

This brings me to my second piece, also a short film, called Borscht, which is due to be released later this year. The film follows a young woman’s attempts to follow her Russian grandmother’s Borscht recipe, and her ancestors — hailing from all corners of Eastern Europe — materialize from the soup pot to claim the dish as their own. What I love about this script is how relatable it is. This can be a difficult balance to achieve, representing a specific culture or cultures and making the material accessible to audiences beyond the people the film represents. I think both of these films do that successfully.

Chanel Parkinson

PART III

What’s the best advice you’ve received? How has it helped you on your journey? 

Davies: ‘Make sure your ladder is on the right building,’ which also speaks to the other piece of advice that has informed my career: ‘Don’t work on shows that you don’t connect with.’ I have tried to ensure that I am always working towards where I aspire to be as a cinematographer — there’s no point doing really well in a sphere or genre that I don’t want to be in. Sure, we all have to pay the rent, but keeping that focus is super-important to me. Also, I have to connect with the piece in some way, otherwise I can’t find that creative spark or flare in the work to make it really sing. I want to put work out in the world that reflects me and my values in some way.

Sky Davies ACS

Costa: I believe adaptability and flexibility are essential for a long and successful career. At the same time, it’s just as important to stay true to what makes you unique — the perspective and storytelling only you can bring to the table. As storytellers, our personal experiences set us apart. Embrace and appreciate that uniqueness.

Bueltel: I’ve had the benefit of learning from people who are both exceptionally talented and generous with their knowledge, so I’ve gotten fantastic advice over the years. The first bit is something we were told by a beloved professor in film school, and it's probably almost a cliché at this point, but it’s made all the difference in my life and career: Say ‘yes.’ When an opportunity presents itself, take it! We’re all subject to feeling anxiety or self-doubt, but when someone offers you a chance to try something new or out of your comfort zone, jump at it and trust that you can meet the moment! Any time that I’ve pushed past my nerves and taken on a new challenge, whether I nailed it or learned from it, I’ve never regretted it.

Whachell: Some of the best advice I received was to take on as many projects as possible early in your career. Each project has taught me something new, not just about the filmmaking process but also about myself as a cinematographer. Working with different directors and crews has led to the continuous development of my style and taste. Keeping a busy schedule and stepping out of my comfort zone has given me the confidence to go after the next project, even when it may seem intimidating.

Kaayla Whachell

Wyszynska: I have a vivid memory of a piece of advice that grounded me. As a female spark, I often carried a quiet doubt — a feeling that I had something to prove, that maybe I wasn’t strong enough, or that I somehow stood out in a way I wasn’t sure I wanted to. One day, I shared that with another electrician on set, and I’ll never forget his response. He simply said, ‘You’re here because you were hired to do the job. This is your spot, and that means you belong here.’ There was no grand speech, no over-explaining — just a simple, undeniable truth. I've always considered myself a logical person, and his words had a beautiful logic and simplicity to them. It wasn’t about proving anything or justifying my place. I was there to do the job I’d been entrusted to do, and that was enough.

Since then, I’ve carried that mindset with me. This industry can be tough, and self-doubt can creep in, but that piece of advice has been like an anchor. It helped me to focus on the work, on showing up and doing my job. And over time, that shift in perspective has not only strengthened my confidence but also my sense of ownership over my craft. I stopped seeing myself as someone trying to prove something and started seeing myself as a vital part of the creative process and an integral part of the department. Because that’s what a great crew is — a group of people who trust each other, rely on each other, and know that every role, no matter how big or small, is essential in every department.

Viola Wyszynska

Bueltel: A second enduring piece of advice came from the department head on my first union show, a hysterically funny series called The Good Guys. I was the greenest little day-playing 2nd AC imaginable, and this whole crew was really welcoming and supportive. The key knew that I’d come from several years of assisting in the local indie, music video and industrial world, where a lot of the time the camera ‘crew’ was basically just me and a DP-operator, so he told me now that I was in the union and would be working on larger shows and with bigger crews, I should always remember that I was part of a team; that the camera team was a family and had each other’s backs; that we represented our department and our boss and presented a united front on set even when we might not be having the best day; that if I made a mistake it was okay, and that I should just come to them right away and we’d figure out a solution together. 

He and I are still friends, and I try to live up to his example every day. We can all learn new equipment and master new techniques, but having that elite crew take me under their collective wing and really impress on me that how we did our job was just as important as the work itself has served me so well and made me really happy to do what I do and be part of the teams I've been on. That emphasis on building lifelong relationships and striving to make new additions feel as welcome and valued as I felt on my first jobs, keeping in mind that everything I do reflects on my department and my DP, and giving myself and others grace when mistakes happen were the absolute best lessons to have learned all those years ago.

Kingslea Bueltel

Kelly: Ellen Kuras, ASC told me many years ago to always trust my gut. This has proven true — both when I have and have not! I find that my instinct is almost always right about situations. The challenge has been to learn to listen to it, which becomes easier with experience. She also is very clear that the story comes first with imagery, which I have taken to heart. I try to start with the director’s vision of the script and work from there, always tying my photography to character and story.

Ellen is a wonderful role model of someone who puts people and character ahead of ego and hierarchy. I remember when I was an AC that, even after a long night shoot, she would stop by every truck and thank the crew for the good work. It really stood out to me as an example of a DP being a caring leader. I try to make any set that I am on a place where crew are happy to show up in the morning and feel appreciated. I believe that energy expands and spreads. 

One of my fonder memories is of an extras casting director reaching out to say that all of the background artists wanted to be on our show because the set was so nice and crew was so kind. That is high praise! I also have felt grateful that crew members felt I was someone they could turn to with their concerns and I could get them addressed. At the end of the day, we are a community, and investing time and thoughtfulness improves it for all.

Westergaard: The best advice I ever received was from John Sayles, who gave me my second narrative feature. On our tech scout, he took me aside and said, ‘You’ve got great instincts; you just need to trust them.’ Over the years I have realized how invaluable this has been to me. I understand now that your first instinct when reading a scene and your last instinct — like turning off a light in the background right before you roll — is what makes your eye unique. At times, not everyone is going to agree with you, and that is okay. He also told me that all the great cinematographers he had worked with had their own process, and he learned early on there was not one ‘right way’ to work when it comes to lighting, shooting and directing. Being a filmmaker sometimes means forgetting the ‘correct’ way to do something and thinking outside the box.

Kat Westergaard

Parkinson: When I was a runner at Rattling Stick, before my first shoot with them, the head of production at the time said to me, ‘If you’re 10 minutes early, you’re late,’ and it has stuck with me ever since. For a long time after, I’d get to set an hour before my call, sometimes more, and just anxiously wait for the day to erupt. Eventually I came to find those moments really peaceful because they helped clarify my thoughts about what needed to be done to push the shoot along. Ever since, I’ve tried to approach shoots with a sense of calmness that I hope other people feel.

Susnea: Focus on the work and don’t take things personally. These two pieces of advice remind me to focus on what I like to create and not take things personally when some projects don’t work out. The industry is so intricate, and keeping focus is very important.

Costa: It might sound simple, but one of the best pieces of advice I ever received was, ‘If you’re making the coffee, make the best coffee they’ve ever had.’ When I first started in the camera department in London, I took that to heart — I made sure I knew exactly how everyone liked their tea. That mindset stuck with me. No matter the size of the project, I believe in always giving my absolute best — whether it’s crafting the strongest visual language for a story or being the best leader I can be as a head of department. The most important job is always the one you’re doing at that moment. I’ve never liked the attitude of ‘that’ll do.’ I believe we should always strive to raise the bar, to push ourselves and to chase excellence — right up through the very last shot. 

Carolina Costa AMC