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South Australian Emerging Talent Spotlight: Sonja van Bavel and Clare Elvia
21 October 2024

New SA made and SAFC supported Netflix series Territory premieres this week on Thursday, 24 October. The biggest Netflix series ever made in South Australia, with both production and post production taking place here as well as filming in the Northern Territory, the neo-western drama follows a fight for power in the remote and unforgiving Australian outback, in an epic and dangerous battle for land, and legacy.
Emerging South Australian screen creatives Sonja van Bavel and Clare Elvia both undertook attachments on Territory as part of the majority South Australian crew on the production. We sat down with them to ask about their experiences on set, what it’s like to work in the screen industry, and their advice for other emerging screen creatives.
Sonja van Bavel is an emerging set decorator and art department crew member. She previously completed an SAFC Professional Crew Attachment in set decorating on Talk To Me, and has worked in the art department on SA made and SAFC supported films The Royal Hotel and The New Boy.
Sonia was selected for an SAFC Professional Crew Department in the Art Department on Territory, working with a team that included South Australian practitioners Assistant Set Decorator Daniel Wilson, Set Dec Coordinator Morgan Wright, Senior Buyer/Dresser Jen Drake and Buyer/Dressers Shona Hannagan and Ben Conroy.
How did you get started in the screen industry?
I always had a passion for film and production design. With a background in visual art curation, I developed a natural curiosity in combining the two and began to explore working in the film industry. After moving back to Adelaide from Alice Springs in 2020, Art Director Laura Ockenden connected me with filmmaker Kahli Gaskin, who was generous enough to give me my first gig as Art Director on her indie film, Venus Butterfly.
What do you love about working in the screen industry?
To be a small part of helping make Australian stories come to life in my hometown with the SA Film Corporation has been a dream come true. I used to walk past Glenside before it was Adelaide Studios (but by then had been featured in the acclaimed film Shine) promising myself I’d pursue my dream of working in the industry one day.
I feel so alive and energised working with so many moving parts and exceptionally creative people on a final product. To be amongst the inner workings of the Art Department and translate the Production Designer’s vision into sets, props and costume is a language I understand!
Particularly rewarding has been the opportunity to draw on my background curating First Nations artwork, incorporating paintings, sculptures, and textiles from art centres across the country for productions including Territory (Netflix) and most recently Top End Bub (Amazon Prime).
What was it like working as an Art Department Attachment on Territory? What was the biggest highlight?
Amazing!
Learning from and working alongside creatives who are at the top of their game gave me insight which I would’ve never had otherwise. Designers, Set Decorators and Buyer/Dressers who put an awe-inspiring amount blood, sweat and tears into what they do, with incredible attention to detail. It was an incredible process to be a part of and has served as a touchstone of calibre to strive for.
I also enjoyed (and continue to enjoy) meeting suppliers, makers, and members of the community, creative or otherwise, who have an enormous amount of knowledge, wisdom and generosity to contribute to filmmaking!


What was the biggest challenge?
Time is a looming threat in film, and for crew to have someone who is learning on the job can be a real challenge! So much respect for those who have taught me with patience under pressure. Lots of ducks paddling furiously underwater, producing exceptional results!
But I have to say, finishing the job and leaving so many new film friends and family was really the biggest challenge.
What was the most useful or surprising thing you learned during your attachment?
From building a “kit”, to understanding “on set” protocols and discovering the many cogs of different departments, the learning is vast and never stops! The more you look in your peripheral vision and discover how other departments outside your own operate, the better.
That, and thin magic tape for petty cash.
Do you have any advice for up-and-coming crew members who are considering applying for an attachment?
Absolutely do it!
Working as an Attachment is a lot like an apprenticeship for film. There is a level of freedom that allows for “testing the waters” and helping you find the right fit. Learning never stops… Keep an open mind, work hard, enjoy the process and make sure you stay well caffeinated!
Why do you think initiatives like the SAFC’s Professional Crew Attachments are important?
There aren’t really any other opportunities to have such hands-on experiences in the industry at such a high level. With so many productions in South Australia, fostering emerging talent is crucial to maintain the standard of creativity and that is currently alive and thriving in our state.
I feel the industry here in SA has always been encouraging and embracing, fostering an encouraging environment for growth.
Where would you like to see yourself in 10 years?
It sounds a little clichéd, but I hope I’m still trying to better myself, keeping an open mind, learning, dreaming, creating, challenging, and living out = an energising, rewarding career. That’s success.
Clare Elvia is a proud Badimia Yamatji woman and emerging editor. She currently works as a part-time editor at Adelaide’s community broadcaster Channel 44 and also edited the SAFC’s First Nations Showreel.
She was selected for an Editing Attachment through the Screen Territory First Nations Production Ready Bootcamp, delivered in Darwin in partnership with Netflix, working with SA editor Sean Lahiff to get hands on experience with post-production on a major streaming service series.

How did you get started in the screen industry?
I found my footing in the screen industry through the SAFC and Channel 44’s First Nations Internship Program back in 2022. Interning at Channel 44, I received valuable mentorship and support to cultivate my passion for editing and shortly upon completing my internship I was fortunate enough to obtain a part-time editing position.
I get to work on some really exciting projects at Channel 44 with some cool creative partners, along with a team of wonderful, hard-working people who I am constantly learning from and who make me feel valued. I’m very grateful to have found my start through Channel 44 as it has led me to some pretty amazing opportunities and experiences.
What do you love about working in the screen industry?
It’s very rewarding to be a part of the process of creating interesting and diverse stories for screen which bring different emotions, experiences and perspectives to life, and then to see how those stories resonate with the people who watch them.
I also love getting to meet and collaborate with some amazing and insanely talented people. I am very fortunate for all the friendships I have made so far in this industry.
What was it like working as an Editing Attachment on Territory?
My attachment on Territory was super exciting and fulfilling! I learned so much and getting to see how a production of this large a scale runs just completely blew my mind.
What was your biggest highlight working on Territory?
There are so many highlights to choose from! I just really enjoyed working with and learning from the whole post-production and editorial team. Being able to sit in with editor Sean Lahiff while he was working and pick his brain about his processes was very cool and I’m super thankful for it.
I also got to visit the set for a day while they were filming some simulated travel scenes, so that was a lot of fun to watch. It was nice getting to meet some of the cast and crew who you wouldn’t normally get to meet when working in post.
What was the biggest challenge?
I think the biggest challenge for me was getting over my impostor syndrome and fear of being in the way. However, I quickly realised that I absolutely deserved to be there, and I deserved to make the most of my experience by learning all that I possibly could. I felt very welcomed by everyone I met during my attachment and was encouraged to ask all the questions, no matter how silly I thought they might come across.


What was the most useful or surprising thing you learned during your attachment?
Probably learning to work with Avid Media Composer for the first time. It initially took me a while to wrap my head around it, but I’m glad to have the experience using it as it’s the industry standard for these larger-scale projects and I’ll feel more prepared for the future jobs (fingers crossed!) that might require it.
Do you have any advice for up-and-coming crew members who are considering applying for an attachment?
Do it, do it, do it! If there’s an attachment position available in the department you want to work in, absolutely apply for it and express a keen interest. Then, if you’re successful in getting the attachment, make the most of it and learn all that you can – it will be immensely worthwhile.
Why do you think Attachment initiatives like the one you participated in are important?
It’s crucial for the industry to foster these kinds of initiatives for emerging creatives, especially for First Nations people and other underrepresented groups. They allow for skill development and an invaluable hands-on learning experience, while getting to connect and work closely with industry professionals. These attachment opportunities can be a major stepping stone in advancing the careers of up-and-coming screen practitioners, and also encourage upskilling and diversity across the various departments.
Where would you like to see yourself in 10 years?
In 10 years I would love to see some more production credits under my name and to be more established as an editor, working on bigger series and films. We’ll see!

Story by Alex Knopoff