MEET THE CLASS OF ‘24

The Academy’s call out for 2023/2024 had over 300 applicants globally. Two were chosen with demonstrable skill and passion, but who faced clear obstacles to their ambition. 

Kiki Wang

Kiki Wang is a shooting researcher/assistant producer from northern China. She has a background in broadcast journalism, but wanted to make the move into natural history television.  During her time with the Academy so far she has worked as a researcher on two major productions; from preparing research documents, setting up shoots, joining casting calls, to assisting on location; she’s gained experience across the breadth of production. She is being mentored by producers and the series producers of both series, and Executive Producer Anwar Mamon. 

“I've had the privilege of engaging with people who were incredibly generous in sharing their experiences and advice. I’ve also enjoyed the diverse range of production experiences, including having drone and dive masterclasses, researching and developing stories, as well as setting up international shoots and going on wildlife shoots!” Kiki Wang 

Diana Kanweri

Diana Kanweri is a specialist chimpanzee field guide and camera operator. She was the first Ugandan woman to work at the Ngogo Chimp Project - during her time there she worked as a field assistant on the Netflix Chimp Empire series and developed a passion for camera work, going on to shoot footage used in the series. As part of the Wildstar Academy she has been offered three international shoots as a camera assistant. Her first shoot was to film macaws with world-renowned wildlife cinematographer Martyn Colbeck.  

“The Academy has broken the barriers in my way, this opportunity to camera training and mentorship is so much helpful,  I have been learning all about long lens operating and camera settings, I believe I can take this one on. Martyn Colbeck, my mentor made this all easy for me, teaching me not only to operate cameras but all also the art of filming, shot sizes, composition, framing and timing and also how the editor would use the footage.” Diana Kanweri