“I didn’t always know I was going to be a cinematographer; I thought I was going to be a production designer,” reflects Martine, whose cinematic career evolved in unexpected and inspiring ways. Her early obsession with the behind-the-scenes elements of film led to a pivotal realization: “I can do this.”

Martine’s journey took her to Goldsmiths, University of London, where she completed a Master’s in Cinematography. Her initial fascination with nature documentaries sparked her interest in film. She was drawn to the interplay between the technical and creative aspects of cinematography, seeing the technical as a tool that supports rather than obstructs the creative vision.

For Martine, cinematography is a collaborative process. “I love that it’s a team effort, when we go through everything together to find the essence of the scene.” Each project begins with understanding the director’s references and the emotional context of the scene. “

Her recent project, Sunflower, proved to be especially rewarding. Working with Gabriel Carrubba, known for his collaborative approach, was a highlight. The film presented unique challenges, from shooting in full sunlight to managing confined spaces. “ Exposure was something to counteract and it’s a challenge a lot of people are afraid of but I was really happy to take it on,” Martine explains. She was thrilled to film on location in Berwick, where the story is set, rather than pretending to be elsewhere.

Her most recent project involved shooting on 16mm film, which she finds particularly rewarding. “The body is tired but the soul is happy,” she says, reflecting on the demanding but fulfilling nature of the work. She loves the precision required in shooting on film. “I have so much respect for that process!” Martine finds the process calming.  “You have to remain present and focus on what you’re doing. Everyone has to be really focused in that moment.”

Martine acknowledges facing challenges in the industry.  “I feel that people underestimate what I can do,” she says. “One thing I noticed is a lot of people comment on my role as a cinematographer and a woman.” Between 2011 and 2019, the Australian Cinematography Society’s A Wider Lens study found that only 9% of Directors of Photography on Australian feature films and TV dramas were women. Martine really loves the supportive, fast paced and collaborative environment gender balanced crews create. She works towards more diversity and inclusion on all of her projects.

Martine’s advice to aspiring cinematographers includes gaining experience on larger sets, even in other roles such as a trainee, internship, runner or Production Assistant. She values short films and student projects for their creativity and constraints but emphasizes the importance of professional experience. There are initiatives around and production companies looking to bring people on but her advice is to never underestimate the power of ‘coffee meetings’.

With two features still in post-production and a recent short film, FIFO, sent to London for processing, Martine eagerly anticipates the final results. Her favored formats remain long-form narratives, whether feature films, documentaries, or series. “I love to immerse myself into the story fully!” Her dedication to blending artistic vision with technical expertise ensures that every story she tells is brought to life with vivid clarity.