CREATIVE SPARK

Selected filmography (as camera operator, unless otherwise stated)… 

Black Doves (TV Series 2024) 
Quarter Life (TV Series 2025) 
Neuromancer (TV Series 2026) 
Snow White (2nd Unit) (Feature) 

What inspired you to become a camera operator? Did you always want to work in film? 

I grew up in a film family—Mum was a make-up artist, and my late Dad, a production designer. As a kid, I was incredibly shy—too anxious to speak in class, let alone assert my own direction. Visiting sets with Dad gave me an early glimpse into the industry, especially the pressures he faced as a person of colour and an HOD. I knew I was creative but didn’t see a clear path for myself. 

In the mid-90s, as a teenager in South London I was unsure and stuck. A change of school brought me to The BRIT School. I stumbled into camera operating by chance when my original course was dropped and I studied Media. Using a camera to frame and capture a performance and the energy in a room sparked something in me. 

It still took over a decade to break into the camera department. I feel strongly that you can’t be what you can’t see. Representation matters. 

How and where did you learn the craft? 

I’ve been learning on the job for over 18 years—asking questions, learning from colleagues and rental house techs and self-study. In 2018, I took the GBCT Steadicam course and rented rig to practice with. I had stints borrowing geared heads and the practice wheels and absorbed all the webinars the ACO and SOC offered. As peers began DP’ing, they brought me onto shorts and promos which helped me transition to full-time operator in 2021. Since then, I’ve continued training through workshops, mentoring schemes, ongoing self-development and staying creatively inspired. 

Who or what are your biggest inspirations or mentors? 

Spencer Murray, Shaun Cobley ACO Assoc. BSC, and Danny Bishop ACO Assoc. BSC SOC have been key mentors, and I’m constantly inspired by my circle of female camera friends—it’s a recent development connecting with female counterparts and our community has become a support system. I find inspiration from paintings, architecture, photography, nature, light and, of course, film and TV. I love old film screenings at The Prince Charles Cinema. 

How did you get started in the industry and what was your career progression?  

I grew up in a creative home which helped shape my visual eye early on. I studied media at college and university but with few role models and facing an industry where many roles were shaped by gender, I struggled to see a place for myself—I recognise now that held me back. After briefly working in post-production and at RSA Films, losing my dad in my early 20s pushed me to follow my heart. 

I landed my first trainee job on a short film and gained work experience on commercials, eventually getting a break from Ben Davis BSC that led to my first feature. Two years later, I stepped up to loader just as digital was emerging. 

Though I didn’t pull focus as a career, I spent several years as an A camera loader on large productions, working closely with focus pullers like Tom Taylor, Spencer Murray, and Peter Byrne. On digital shoots, both Spencer and Pete trusted me to watch their monitors while they sharpened by eye at the camera—the film way. It was a responsibility I valued and learned a lot from. A turning point came on A Private War in Jordan, when Shaun Cobley encouraged me to try Steadicam—that moment sparked my path into operating. 

What do you believe are the key qualities of a star camera operator? 

What I admire are those who communicate clearly, share their knowledge, support collaboration and lift up the whole crew. They’re prepared, know the script, anticipate issues, solve problems creatively, and bring a sense of fun and generosity to the set. Not forgetting their peacemaker and leadership skills, visual sensibilities and ability to accent a scene. 

What is at the heart of a successful camera operator/DP relationship? 

Trust, clear communication, mutual support and the freedom to follow instincts without second-guessing. 

What role do you believe standout camera operation plays in enhancing a production? 

Camera operation enhances storytelling by anticipating the audience’s curiosity and guiding their focus. Framing, movement, and timing all shape the emotional impact—sometimes subtly, sometimes boldly. When done well, it becomes an invisible character that brings the story to life. 

Which have been your favourite productions to work on? Which are you most proud of? 

I’m proud of the personal and professional growth that’s brought me to where I am now. Quarter Life was a special project—challenging Steadicam work that really pushed me physically and I’m proud of what we accomplished. 

Being part of Black Doves, which was nominated for a BSC Award for camera operation, was an honour. While I find it hard to celebrate my part, I’m aware of how much was made possible through hard work and the support of those around me. 

What is one of your most treasured on-set memories? 

As a new operator, framing Tim Robbins on Silo was a real ‘pinch me’ moment. And as an AC, Helen Mirren secretly photographing me to post in support of women in camera was incredibly special. 

Which production has been your biggest challenge?  

The biggest challenges have often come with ‘firsts’—new roles and stepping into spaces without much support. At times, I’ve experienced mistreatment and felt isolated which unfortunately isn’t uncommon in the industry. Those moments were tough but have shaped me and given me an understanding of the kind of environment I want to help create for others. 

What is your must-have piece of kit and why? 

I’d say a strong body and good mental health are essential kit. Steadicam requires consistent physical fitness so understanding my nutrition and managing blood sugar has been a game changer. I also rely on a daily routine of breathwork and vagus nerve stretches to manage anxiety and stay grounded. 

How do you keep up with the latest technology? What new innovations have you been impressed by? 

The shows/expos and festivals are good ways to keep an eye on new technology.  

Rexy Wheels have been a brilliant way for people to engage with and learn a specialist skill that previously was inaccessible. 

What I am really excited by are the initiatives like Kit Start and CineCertified, designed to build a stronger foundation, education and create opportunities for learning and diversity.  

What do you enjoy most about your job? 

I love collaborating and bringing a story to life—connecting with the action and emotion of each scene. Making the day enjoyable with my film family, adjusting as things evolve and using my instincts and creative eye to create an emotional impact. 

What obstacles do you face in your career and how do you overcome them? 

I’ve faced both personal and professional challenges. Support through coaching, mentoring, therapy and self-care was essential. Working for many years without female colleagues shaped a fear of both success and failure. Standing out in a way didn’t feel accepted. Over time, understanding how I learn and process information, including navigating anxiety and ADHD has significantly strengthened my confidence and resilience. 

What advice would you give aspiring camera operators? 

Learn the different camera disciplines and if keen on an area, specialise in it to help keep you employed—Steadicam, for example, is a lifestyle that takes years of practice and patience. Set goals and self-learn: watch films critically and study framing techniques. Keep track of lessons and mistakes as you go. On set, be proactive, listen and trust your instincts. Lean on your grip and ACs as creative collaborators, not only as technicians. 

Cinematographer Mark Patten BSC says: 

“Kat epitomises tenacity, professionalism and kindness. We first met while both working on projects at Ridley Scott Associates, her hunger for all things camera was very apparent, and soon Kat was getting involved in short films assisting directors that I was shooting for. Kat has a strong visual sense and it has been wonderful to see her confidence grow as she has progressed to operating within the camera department. Kat understands the ebb and flow of a long drama and her pace and drive, is always underlined with a sense of listening to all members of all departments to make the experience of working with her super collaborative.” 

Cinematographer Benedict Spence BSC says: 

“I am currently in the middle of shooting Neuromancer for Apple TV, with Kat Spencer. This being my first job where I wasn’t operating camera at all, I was very nervous about my choice of operators. Luckily Kat is an absolute dream to work with. Whether her hand is on the post of a Steadicam, the wheels of a crane or the pan handle of a fluid head, you know she’s going to offer up a brilliant frame every time. She listens, takes notes but also works off her own initiative without blinking. And her energy as part of the camera team is calming and generous, from the dailies trainee to key cast, everyone enjoys a bit of a chat to Kat!” 

Cinematographer Alice Brooks ASC says: 

“Kat joined us on Wicked as one of our C camera daily operators. What I loved about working with Kat was that she was so adaptable to whatever environment we put her in and she was able to find beautiful shots that told the story from really obscure angles.”