How a Nollywood Film Gets Made: Here’s what a director of photography does

So when she was old enough, she picked up the camera and started telling her own stories.

She started with photography, taking still images. But when she started volunteering on Nollywood sets, she began to tell stories through the video format. She did documentaries and commercials before she finally had her big break as a director of photography (DP).

As DP, she’s worked on projects like MTV Base Shuga Nigeria, the Showmax documentary, Shine, and the upcoming crime thriller, Red Circle.

In an interview with Pulse Nigeria, she opened up on who a director of photography is in Nollywood and how she enforces the rules on set.

The interview has been edited for clarity and length.

I started working behind the scenes. I’d ask people what they were working on, and if I found it interesting I’d work with them for free. I focused on people whose work aligned with my creative vision. Then I started having people reach out to me to assist on set. I was in school and I had to juggle that. I quickly started doing other stuff like documentary films, commercials, etc.

I was the one doing the photography. I did it for Netflix too. I also did behind-the-scenes videos for people. It was an opportunity to be in the faces of the director and DP, to understand their processes.

When Mimi Bartels of Anakle Films put out a call for a female cinematographer to work as the director of photography for a project, I put together my portfolio and applied. I didn’t know what the project was about. They reached out the next day saying the director wanted to work with me. It was Dr Sid.

Director of photography is the film jargon for cinematographers. You lead the technical unit in a film. You’re in charge of the technical crew. There’s no hierarchy. It’s a collaborative effort. But you work with the gaffer, best guy, spark, best boy, grip, camera crew, video operator, etc. The call sheet dictates who’ll be on the set.

The DP is responsible for recording the film. Whatever visuals you see come out of the film, she handles it. She does this following the director’s vision. She’s in charge of the visual art of a production.

As soon as the script is ready. It’s the director who chooses their director of photography. It’s always nice when they have a synergy before shooting starts because if they’re not in sync there’ll always be rifts on set. Most times, producers allow the directors to pick their DPs. That’s why you find that directors work on 30 projects and they have the same DP in all of them.

When you join the project you read the script, and start planning the visuals. You have conversations with the director on the style of the film. Even before I agree on fees, I’m already talking to the director about style. I ask for references from my directors so I can watch and prepare before coming on set. My directors also share a director’s treatment where they have the visual reference, themes, mood and colour palette for the film.

Most times it’s not the DP who makes the call on the colour. I read the director’s treatment and understand the director’s vision. It’s now left for me to streamline that to what’s possible for the film down to each scene. It’s very collaborative. You have to involve the director, production designer, art designer, makeup artist, and custom designer in the process.

Everything needs to match.

I hold the camera because I like handling the movement of films. I like to be the one in control of how my camera moves. In Hollywood, there are camera operators, so as DP, you don’t have to hold the camera. One of the reasons, I figured from conversations, why they have roles like camera operators in Hollywood is so more jobs can be created for people who want to come into the industry to have on-set experience.

In Nollywood, most DPs handle camera work themselves. I’ve been to only a few sets where that was not the case. In that instance, the DP focuses on directing the movement, speaking to the grip, camera operator etc. There are instances when the DP and the camera operator are not intellectually in sync or the person is not getting the framing right. That’s a problem. So a lot of DPs just handle it themselves.

But it’s also a budget thing. If you hire camera operators it’s more money for production and production wants to cut costs.

I’m a collaborator. But I like attention to detail. I don’t mind breaking down and explaining what I want specifically. I also go with my team with my own reference, aside from the director’s reference. Sometimes the director’s may not be as extensive. But I share mine with the director to make sure it’s in sync before sharing it with my team.

I always like to finalise conversations with them and do all the research on how we can achieve the shots we need before we get on set.

It has its own pros and cons. As a young person, a lot of people I work with are way older than me and have more experience than I do. So as much as I’m leading the team, in our culture, you need to give them the respect they deserve. I’ve been very lucky to work with people who respect my role.

I’ve seen one or two instances where someone on my team was just like, “When did this one start?” There was one time I told someone on my team to do something and he refused. He wanted a man to tell him first. I almost ran mad. He had been in the industry longer than I had. And he was way older and didn’t regard what I was saying. I reported him to the production and they counted it against him. I said I didn’t want him near me. Going forward any production I’m on I always tell them I don’t want to work with him.

I’m very professional on set and promote that culture in my team.

Most of the people I work with are also my friends as they are colleagues. But also having a resting bitch face works. I, most times, look non-approachable until we start talking. I’m not going to lie, it has saved me from a lot of bullshit. I’ve been on a set where they’ve come to ask me to open up to them. I’ll be on set and I’ll not be rude to you but I also will not be laughing with you. They respect me for it. The people that I laugh with are very close-knit.

Also, I create and respect boundaries. If I know that laughing with you too much will not allow you to concentrate, I’ll shut it right there.

I also respect when producers allow me to pick my team so I get on set and I’m not working with people that don’t know what they’re doing.

A good DP must be able to collaborate because sometimes your ideas might not be the best in the room. She must be open to feedback, and be willing to learn and evolve. You can’t reign for long if you’re not willing to evolve. You need to watch more content and see how people are doing these things. You also need to have an eye for good cinematography. Know what you’re doing.

The range is crazy. I’ve seen cases where you shoot for free because you just like the story. I’ve also seen cases where you slash your fee. But per project, the range now is like ₦2 million to ₦7 million. I’ve seen as low as ₦500,000. It depends on how long you’re shooting. It can also go as high as ₦10 million.

Work with your friends. Network sideways. As long as you want to work in the big league, it’s the work you do with your friends that’ll attract those big people you want to work with you.