Live and updated between issues What’s shooting across Asia-Pacific Every production I can verify in ANZ and ASEAN, on one map. Click a pin to see who is shooting where. →
Dear friends,
Nearly twenty years ago I started my first newsletter from a flat on Mt Eden Road, Auckland, New Zealand. I was two years into my career and I wrote back then: “I am here to stay.” Still true. The map just got bigger! I’m now based in Singapore, working across Asia-Pacific, and this letter restarts here.
Before the notes, a quick word to honour Sam Neill. Every morning on Hunt for the Wilderpeople my first job was wiring Sam, he was my grounding cue for the day ahead with his classic stoic manner. The best people give so much to those around them without seeming to try and Sam was one of the very best.
Lord of the Flies is out, and Emmy-nominated for sound. Our BBC adaptation, shot almost entirely on location in the Langkawi rainforest, is streaming now across our region: Stan (Australia), TVNZ+ (New Zealand), Rock Entertainment (ASEAN) and Netflix (US). The show earned two 2026 Emmy nominations for sound. I’m one of six named on the Outstanding Sound Mixing nomination and the only one of us who was on the ground. Everything after I delivered the tracks was post, led by supervising sound editor Niv Adiri, who is nominated twice this year, for the mixing and the editing both. On the ground I mixed with my crew, Adyt Santoso on boom and Reza Feryanto on utilities. Without them I’m a head without arms. Four months of monsoon storms, hunting frenzies, and boys who never stood still. How did we keep the dialogue clean? See below.
The work is heading our way. Thailand alone took 302 foreign productions in the first half of 2026, worth over 4 billion baht (124 million USD) with more unnamed shoots prepping for the back half of the year (Nation Thailand). Across ANZ and ASEAN the ‘floor’ is busy. I keep a running map of what’s shooting or prepping our region. Take a look below.
Jakarta has opened a door. Permits there used to mean four offices and a lot of waiting. Since 26 June it’s one team, and if you’re shooting from overseas they’ll scout locations for you free, halve the fee on any government-owned location, and discount your accommodation, catering and gear hire (Screen Daily). One thing to know before you budget: the 50% rebate everyone’s quoting is for Indonesian producers only, not foreign shoots. Netflix spent about 50 days in Kota Tua on Tygo: Extraction this year and there are at least three more titles in planning (Variety). Jakarta Film Summit is in October.
Melbourne and Sydney, in person. I spent a week on the ground this month reconnecting with the Aussie scene: producers, directors, the rental floor. Australia and New Zealand, you’ll be seeing more of me. I’m on the ground more in both countries now.
A running map of what is shooting and gearing up.
Australia, New Zealand and Southeast Asia are a few hours apart, yet nobody seems to track their shoots as one region. So I do. Everything below is either publicly sourced or clearly marked as something I have only heard from my own network. Start here if you want to know what is moving in our patch.
Waiting on the snow. Netflix’s first series set and filmed in New Zealand is rolling in Queenstown (Rufus Sewell, Frances O’Connor). I dropped into Netflix’s Sydney office recently and heard the team is already down there, waiting on the snow before the ski scenes roll.
Wisycom changed hands in ANZ. Professional Audio and Television (PAT), Sydney and Auckland, is now the exclusive distributor for Wisycom, the Italian-made wireless RF gear you'll find on F1 broadcasts, the Olympics and the top tier of drama. It's the backbone of my own kit too. I met Mike and Pat, fabulous guys who I suspect enjoy a barbecue as much as a sale. I carry Lectrosonics too, so I drop straight into US and UK crews without a re-rig.
The whole drama package fits in suitcases. 12 Wisycom radios, DPA mics, two booms, Sound Devices, timecode, all airline-checkable. On set anywhere in ASEAN in a day, ANZ the next.
Kit for hire across the region. Beyond my own jobs, I now rent Wisycom RF packages throughout ASEAN and offer full dry-hire sound kit for crews working here: radios, timecode, IFB, the lot. If you’re covering a shoot in the region and need gear that just works, please ask.
On Lord of the Flies we had a full scene played metres from a waterfall, a noise floor you cannot fight in post. The save wasn’t one trick but a stack. Boom in as tight as the frame allowed. DPA capsules rigged and re-rigged as costumes shed. And the part that made post’s day: a library of surround wild tracks captured in pristine resolution on the Sennheiser AMBEO VR mic, so the world could be rebuilt naturally in post. You can watch the scene in my showreel (around 1:20). (Booms: Adyt Santoso · Utilities: Reza Feryanto.)
The full account, including why broadband noise cannot be removed in post and what the wild track library actually was: Recording clean dialogue beside a waterfall.
To you all, if you have even 20 minutes when I’m in your city, the coffee’s on me, just like 2007.
Warmest regards,
Ande Schurr
Production Sound Mixer · Schurr Sound · Singapore · ande@schurrsound.com · schurrsound.com · IMDb · Instagram