Student Success: Zoe Hertz’s Dive Into Cinematography Takes Her Around the World

Since graduating from InFocus Film School Film Production Program graduate, Zoe Hertz has built a remarkable career in the camera department, specializing as a Steadicam and underwater operator. Her work spans from music videos with Yo-Yo Ma in Montana to ice diving shoots in Banff, and most recently a documentary on disability rights in Kenya. 

Known for her technical skill, professionalism, and unwavering passion for storytelling, Zoe has navigated the competitive world of cinematography with persistence, creativity, and a knack for finding opportunities in unexpected places. In this interview, she shares how her journey began, the experiences that shaped her path, and the lessons she’s learned along the way.

 

 

Can you tell us about the most recent project you worked on? What was your role and how did you get the gig?

The most recent project I worked on as a cinematographer was a documentary shooting in Kenya; the doc was on disability rights in remote areas of Africa. As a cinematographer with a hearing disability that has always been passionate about human rights, this project was extra close to my heart. My role on the project was B-camera operator and 2nd Unit DP. Surprisingly, I got the gig by meeting the director in Steadicam training in LA, hosted by the Steadicam Operators Association. 

When I heard about the type of films this director works on (about disability rights), I knew I wanted to acquaint myself with him. We instantly vibed and I got to fly out east to shoot a commercial for him a month after the training ended, he was happy with the work I did for him there so he hired me back for his next gig to Africa – you never really know how you’re going to land your next job and sometimes it’s in the most unexpected of ways!  

 

 

On that note, what do you think has been the coolest experience you’ve had in the industry post graduation?

This is hard, Africa is up there for sure. But a couple other amazing opportunities I’ve gotten to do is an underwater camera operating job beneath ice in Banff and Steadicam operating on a Yo-Yo Ma music video in Montana. 

The underwater doc was about a woman who freedives under ice without a wetsuit to find peace of mind after traumatic experiences and loss. The project in Montana was a music video where Yo-Yo Ma plays to a field of wild buffalo in honor of the reintegration of them back to the lands after being intentionally killed off by the US government to supplement its genocide against the Indigenous. It means the most to me when the experience is not only fun and ‘cool’, but when there is deep meaning in the story being told as well. 

 

You’ve been working mostly as a Steadicam and Underwater Operator recently. How did you first get into Steadicam/Underwater work specifically? What drew you to it?

I remember first learning about Steadicam from Devan Scott, my cinematography teacher when I studied at InFocus. I remember him showing us a scene from Moonlight and I was instantly drawn to the fluidity of the movement and how dynamic it makes a scene feel.

I am especially interested in shooting music videos and when I learned how integral Steadicam is to those productions, it was another reason for me. I also love the physicality of it, having been an athlete all my life. Underwater sort of fell into my lap on accident, I only started shooting it as a hobby because I wanted to film my friends surfing, then I thought to myself, “hey, I love being in the water, I should try diving!” 

Not long after getting my open water PADI certificate I applied to the Canadian Society of Cinematographers mentorship program where I ended up getting paired with Braden Haggerty who is a union underwater DOP. Since then I never really looked back. Under her mentorship, I’ve gone from not knowing how to dive to shooting music videos, short films and even commercials underwater now. I even shot a project while ice diving in Calgary earlier this year. 

 

Music Video for Silicone by Prem Dhillon. Director of Photography: Zoe Hertz

 

You’ve found remarkably steady work in such a competitive field. What do you think helped you break in and stay busy?

I think the foremost thing is not waiting for the phone to ring. That, (in my humble opinion) is the biggest mistake you can make in this business, at least for the camera department which is what I can speak to. There are a wealth of opportunities out there but in order for them to find you, you also have to find them. 

Reach out to people whose work you are inspired by, follow up with those you enjoyed working with, keep in touch, make phone calls, have time set aside each day for outreach, all of these little things will add up and make a difference. Also your attitude and professionalism will take you a lot farther than one might realize. 

For camera operating specifically, it’s one of the most competitive jobs on set and everyone wants to do it, so if you’re coming up through the ranks try to find ways to stand out, whether that’s working a little harder than the person to the left and right of you or even taking up a specialization such as Steadicam. Being a successful operator is more than just moving a camera around at the right beats, it requires a lot of emotional intelligence and leadership skills that [I think] takes years to learn and master.

 

What’s been your proudest moment in the industry thus far? 

Hands down, getting into IATSE 669 as a camera operator. It’s been on the back of my mind for years, pretty much since I graduated from film school years ago. It’s likely not going to change much in regards to the amount of work I’m getting, given how things are in the industry at the moment and being such a green operator, but it’s still nice to have made it in and to know that I’ll be eventually operating on the same playing field as some of my mentors and bigger shows. 

 

Looking back, what were the most valuable skills you learned at InFocus that still help you today? Or at least helped you get your foot in the door?

The importance of keeping a proper folder structure for file organization in post. Just kidding. For me, I think it was realizing that to become a cinematographer, and especially landing jobs, it’s less about your technical skillset and more about how you work with people. It’s a technical job no doubt, going into film school I thought that would be the hard part, but it’s actually relatively easy to learn especially in an environment like InFocus. 

I remember teachers at InFocus mentioning the importance of character and maintaining professionalism at all times, I try to embody that with every set I walk onto and I think that has really helped me to continue getting called back. 

 

Was there a particular instructor, class, or project at InFocus that shaped your path?

Unsurprisingly cinematography class with Devan Scott. I really appreciated his intellect and the way he would unpack the films we watched for film theory class. He’s an excellent lighter and his passion for the technical side of filmmaking is unmatched, and it definitely wore off on me. I even went on to continue learning from him post-graduation in his Davinci colour grading courses that he offered through Vivo media arts and I still listen to his podcast “Film Formally” from time to time on Spotify. Plus, he was the one I first learned about Steadicam from, ha! 

 

What advice would you give to current students or emerging filmmakers who want to work in the industry?

Collect the no’s. You’re going to be told it a lot in this industry, especially as a woman or minority. Remember that the yes’s and the opportunities that are going to get you places you want to live amongst the no’s, so don’t be discouraged by them.