For any Director of Photography, the daily challenges are rarely just about light and lenses; they are about navigating the complex realities of production. The most successful projects are born from the strategic thinking and problem-solving that happens long before the camera rolls. Here are my thoughts on three common scenarios.
Creating a "Champagne Look on a Beer Budget"
A common challenge in commercial filmmaking is the request to create a multi-million dollar look on a fraction of the budget. A frequent assumption in production is that the solution lies in the camera or a complex lighting package, but the truth is far simpler and lies in pre-production.
The most important secret to a high-end look isn't the lighting or the lens—it's the location and the art department. A great, well-chosen location with strong art direction requires significantly less lighting and a smaller budget to look incredible. Conversely, there is no amount of gear that can truly transform a cheap or poorly chosen location into something it's not.
For a production with a limited budget, the most significant savings are often found in pre-production. Helping the director and production designer identify spaces that have great 'bones' and natural light saves a huge portion of the budget that would have been spent just fighting a bad location.
Of course, not every location is a perfect gem or a complete disaster. The majority of production happens in what I call 'manageable locations.' This is where the craft of cinematography truly comes alive: finding the one perfect angle for the master shot that hides the flaws, the precise application of the right light to create mood, and a close collaboration with the art department for that "bit of dressing" that elevates the entire frame.
But the work doesn't stop with one beautiful wide shot. Once you've established that perfect angle, the real challenge begins: you now need your close-ups, extreme close-ups, and mid-shots. The true craft lies in looking around that same limited space and meticulously finding the complementary angles for your coverage.
The goal is to ensure that the quality of the textures, the light, and the essence of the location remains the same across every shot. In other words, you are creating continuity and building a believable, cohesive world for the viewer, all from within the confines of a single, managed space.
Beyond "Fix it in Post": A Strategic Approach to Look Creation
(Illustrated through the example of creating a golden hour look at midday)
The fundamental goal of cinematography is to get the final look in-camera. The phrase "we'll fix it in post" is often a symptom of a problem that should have been solved in the planning phase.
If you're standing on set at noon trying to get a sunset look, you've already lost.
A smart DP is a key strategic partner in pre-production. The first move is always to identify these potential conflicts and advocate for a solution. This usually means starting a discussion with the director and production to move that crucial shot in the schedule to either the early morning or late afternoon.
When that's not possible for logistical reasons, the next step is to change the space. If you can't control the time, you control the frame. This means finding an angle or a part of the location that naturally blocks or shapes the harsh midday light. If you have achieved this, you are now in a manageable situation.
Once you are in that manageable situation, the final step is a creative conversation with the director. When we've aligned on the look, the next step is to translate that conversation into a tangible asset. Whenever possible, I shoot a test, send it to my colorist, and together we create a custom Look-Up Table (LUT). On the shoot day, this LUT is superimposed on the footage in our monitors. This means everyone is seeing a live picture that's very close to the intended final result, which is crucial for maintaining creative alignment.
The real craft lies in creating a visual language that is not only artistically compelling, but also strategically flexible.
There is a scale: on one end is a super strong, baked-in look with very little room to adjust; on the other end is a completely neutral image with maximum adaptability.
A smart DP uses their political sense of the production to decide where to place the look on that scale.
This adaptability is what gives the director the confidence to manage the client relationship effectively, leading to a happy production house and a final result that is a successful balance of art, commerce, and diplomacy.
The Uncontrollable Background—About the Editorial Thinking
A common scenario on location shoots is the challenge of the "uncontrollable background." Imagine you're on a balcony in Budapest with a perfect view of the Parliament, but the ideal light for your talent and the ideal light for the landmark happen at completely different times of day, and the schedule is locked.
The temptation is to try and fix this with a massive lighting setup, but the real solution lies in thinking like an editor.
The first and most important question to ask the director is: "What is the most important element in this specific shot?"
A cinematic scene is constructed from different takes, each with its own purpose. The strategic solution is to break the scene down and shoot for the edit. We schedule the wide, establishing shots of the landmark for the exact moment the light is most beautiful. We then schedule the talent's coverage for the time of day when the light on them is most flattering. During these shots, my job is to simply ensure the quality of the light in the background maintains a believable continuity with the "hero" shots we've already captured.
It's not to say that this problem couldn't be solved with the sheer brute force of lighting. But filmmaking is a marathon, not a sprint.
The smart approach is to strategically manage your resources. If you have your crew running at 100% all day, they will inevitably get tired, become less focused, and make more mistakes. A DP's job isn't to micromanage every detail; it's to focus on the higher level of plays—the smart, strategic decisions that conserve energy so that when the truly critical moment arrives, everyone is fresh and able to deliver their best work.
A Final Thought: The DP's Paradox
It's worth noting that the advice in this guide—about collaboration, diplomacy, and smart compromises—reflects the priorities of a seasoned professional. There is a paradox in our industry, however, about how one reaches that stage.
Early in a career, the focus is necessarily on building a strong portfolio. This often requires a relentless and single-minded pursuit of a great frame. Young DPs often have to fight for a better location or go the extra mile in a color grade to save a look, because if they don't, they simply won't have a reel that gets them noticed.
Over time, as a DP builds a body of work and a reputation, the priorities naturally shift. The focus expands from just capturing the perfect shot to ensuring the success of the entire project.
The approach becomes less about fighting for a single frame and more about finding the wisest path to serve the director's vision within the production's reality. The journey of a career is learning to master both of these phases, and more importantly, knowing which approach the situation demands.