For Filmmakers Day, we’re shining the spotlight on those who bring stories to life through light, lens, and grit. One of such voices is Barnabas “Barny” Emordi, a cinematographer whose visual storytelling has shaped some of Nollywood’s most striking films.
From prepping scenes with precision to cycling through Lagos as a creative ritual, Barnabas shares what it truly takes to build images that linger and why, for him, filmmaking is as much mental as it is technical.
What does a typical shoot day look like for you as a cinematographer?
A typical shoot day starts early, with a 12–15-hour schedule ahead. It’s a blend of intense collaboration with talented creatives, planning scenes, executing shots, and of course, having fun bringing words to life visually. It’s demanding, but fulfilling work.
You’ve mentioned that pre-production is crucial in your workflow. Can you elaborate on how you prepare for a shoot, especially regarding equipment choices and location scouting?
Pre-production is the foundation. So many elements contribute to the look, feel, and overall “visual deliciousness” of a film. Everything has to align with the story’s vision.
The first thing I do is read the script or treatment. Then I sit with the director and producer to understand their vision, style, level of execution, and overall scope. These conversations shape how I think about the project — and what gear we’ll need.
From there, we scout locations, hold department meetings, do scene-by-scene breakdowns, and prep sets ahead of time. Every detail matters. Every element must align for the vision to shine through.
What’s one part of your work that people often overlook or underestimate?
The mental work. People see the shots, but don’t realize how mentally demanding filmmaking can be. You have to stay mentally sharp to show up and do your best, especially under pressure.
Many people see the final look of a film, but not the grind behind it. What’s one part of your day that people would be surprised to know takes the most effort?
Definitely the long hours. A standard day is supposed to be 12 hours, but in reality, we’re often working 16-hour days especially given the unique challenges of filming in Nigeria. Staying focused and maintaining standards in those extra hours? That takes serious effort. But we’ve adapted to these conditions, and we keep going because we love what we do.
When you’re not actively shooting, how do you keep your visual sensibilities sharp? Any daily habits or practices?
I watch a lot of films. I also do documentary photography as a hobby. Cycling through Lagos and Ogun, traveling, and observing new environments, all of these feed my creativity. They help me stay visually curious.
Tell us about a day on set that really tested your limits, and how you got through it?
Every day comes with its own challenge, but those hard days often turn out to be the most rewarding. On The House of Secrets, we had a few tough ones. It was a high-execution film, and we were really pushing ourselves. Thankfully, I had a fantastic team, and everyone gave their best. Those visually demanding scenes turned out to be some of the most beautiful.
What’s one piece of equipment or technique you’ve recently fallen in love with, and how has it shaped your workday?
I’ve always loved the ARRI camera. The sensor is unmatched when it comes to dark skin tones, and it performs well in our weather conditions. It’s my go-to.
Collaboration is key in filmmaking. How do you communicate your visual ideas with directors and other departments to maintain a cohesive vision?
We communicate constantly, meetings, shared references, open dialogue. I’m usually involved early in the process, offering input on how sets should be built to support lighting designs. I also create lookbooks, mood boards, and share visual references scene by scene. It’s all about staying aligned so that when we get to set, we’re telling the same story.
How has your idea of success evolved from when you first started to now?
For me, success has always been about finding purpose. I found mine in filmmaking. That’s what’s driven me — not just to operate the camera, but to grow and take on new challenges. I’ve now moved into producing, and I’m excited to be an Executive Producer on Red Circle, which hits cinemas globally this June. It’s been a journey, and I’m proud of how far we’ve come.
Barnabas Emordi’s story is a powerful reminder that great filmmaking isn’t just about visuals, it’s about vision, preparation, and the relentless pursuit of excellence behind the scenes. As we mark Filmmakers Day, we celebrate the creators who show up day after day to make the impossible feel real.
At Filmmakers Mart, we exist to make that journey easier by connecting filmmakers to the people, tools, and services they need to bring their stories to life. Whether you’re lighting your next scene or locking your final location, we’re here to support your process every step of the way.
Here’s to the stories yet to be told and to the filmmakers who keep telling them.
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