Developing 'Right On Time' as DoP

07 May 2025 | FMTV704: Creative Practice: Development | Critical Reflection | 2024 words

Right on Time is a short drama film set along the atmospheric Cornish coast, telling the emotionally resonant story of two estranged siblings who are brought back together by the impending death of their mother. As they navigate grief, regret, and unspoken truths, the film captures a raw and intimate portrait of family, memory, and reconciliation. Written and directed by Tom Bent, the film balances naturalistic performances with a strong visual identity, using its coastal setting to reflect the emotional turbulence at the heart of the story.

As the Director of Photography, I’m responsible for shaping the film’s visual tone and style, working closely with the director to ensure each shot supports the emotional journey of the characters and the overarching narrative. Although we haven’t finalised a shot list yet, we already know several scenes will not have dialogue and will depend heavily on visual storytelling. While some films convey their meaning explicitly, others rely on subtle visual cues to suggest deeper themes - an approach that can be a powerful storytelling tool (Brown 2002: 65–7). I believe this method allows a film to connect with its audience on a more profound, emotional level. My role involves careful planning and consideration of composition, lighting, camera movement, and colour palette, all of which were designed to evoke a sense of nostalgia and emotional depth. This essay will explore my approach to cinematography on Right on Time, reflecting on the creative decisions made during pre-production, the practical and artistic challenges encountered on set, and the ways in which visual storytelling was used to enhance the emotional core of the film. 

In the earliest stages of pre-production, I was given access to a visual pitch deck created by Tom. This deck, alongside a moodboard and annotated script, gave me valuable insight into his emotional intentions for the film. Although I didn’t pull direct references from specific films, I was heavily inspired by the visual mood Tom provided. The reference images leaned into gentle, naturalistic lighting, subtle colour palettes, and quiet coastal textures. These cues formed the basis for many of the visual choices that followed.

As DoP, I always strive to create visuals that reflect the emotional state of the characters. In Right on Time, the key visual motifs we identified were distance and closeness, both in the physical geography of the characters and in their emotional arcs. To emphasise this, I knew the film would need to feature a range of lenses, from wide landscape shots that physically separate the siblings, to tighter, intimate close-ups as they begin to reconnect. The visuals needed to feel natural and unobtrusive, yet emotionally potent.

At this early stage, I began thinking about a few options: handheld vs. locked-off shots, symmetrical compositions compared to more organic framing, natural lighting vs. stylised setups. Through conversations with Tom, we decided that a mostly static, symmetrical approach would best serve the stillness and introspective tone of the film, punctuated by occasional fluid movement during more emotionally dynamic scenes. This style also allowed for a lot more room for reaction shots and for ‘allowing space for the viewer’s reaction’ (Rosenthal and Eckhardt, 2016).

Location Scouting and Technical Considerations

We began location recces in January, visiting Flushing beach, the quay, the family home (Tom’s actual house), and two local churches. These locations are all in Flushing, and each offered unique aesthetic opportunities and logistical challenges. During the recces, I took many photos and videos on my phone to later use for shot planning and light studies. In each location, I also considered factors like noise levels and the varying visual appeal of the locations at different times of day, taking into account potential implications for lighting setups (Edgar-Hunt 2010: 58).

The beach, which features heavily in the siblings’ scenes, required particular attention. While the open landscape allowed for wide, sweeping shots that could convey emotional isolation, we also needed to consider tide patterns, public footfall, and changing light conditions. We also decided we wanted to shoot these scenes early in the morning to catch the soft, golden light and to avoid the beach becoming busy with walkers and tourists.

Inside the house, I analysed the availability of natural light through windows at that time of day and noted where we could realistically place lights and diffusion. The spaces were relatively tight, particularly the living room and hallway, which meant I had to think carefully about lens choice and crew blocking. The hallway, however, offered a strikingly symmetrical opportunity for one of our key dolly shots. I immediately began noting down ideas for a track-in shot following one of the characters as they move through this transitional space.

The two churches we scouted offered different visual tones. Mylor Parish Church was a much more traditional and historic church with a neutral interior. The other, St Peter’s, was more stylised, featuring a vibrant blue ceiling and wooden beams. It has a more nautical theme, with model boats hanging from the beams. The producer and director ultimately chose St Peter’s, as it offered stronger visuals, architectural symmetry, and a more poetic feel that echoed the film’s themes. It also gives the audience a nice hint that the film is set in a coastal village. The choice of church would also allow me to experiment with dolly movement, shallow focus, and lighting contrast.

Camera and Kit Selection

One of the most exciting elements of this production for me personally has been the opportunity to shoot on the ARRI Alexa camera. I’ve admired the Alexa for years due to its incredible colour science and latitude, but I had never previously had the chance to operate one due to the size and transportation requirements. Fortunately, the crew on this project have vehicles, so transporting the Alexa and other equipment became viable.

Before making the final decision, I underwent an Alexa induction to familiarise myself with its menus, LOG profiles, and exposure tools. I followed this up with solo tests, trialling different ISO settings and lenses. The dynamic range and image texture it offered aligned perfectly with the quiet, cinematic quality we wanted for Right on Time. However, the weight of the camera presented physical challenges, especially for handheld operation, so I made the decision to have a camera assistant on set at all times to help with lifting, setup, and lens changes.

For lenses, I selected a set of prime lenses: 20mm, 35mm, 50mm, and 85mm. These offered a strong range of perspectives, allowing us to shift between wide contextual shots and emotionally intense close-ups. We also took a polarising filter for outdoor work and a range of ND filters to allow shooting at wider apertures even in daylight conditions, preserving the shallow depth of field.

Test Shoot: From Concept to Execution

The test shoot took place over two days in late March. This was an essential part of pre-production, allowing us to physically test camera setups, lens choices, lighting plans, and blocking in real time.

The first day kicked off with an early morning shoot at Flushing beach. Although the light was disappointingly flat and overcast, it turned out to be valuable in its own right. The soft, diffused conditions allowed us to observe how the landscape looked on screen, as it could very well reflect the weather we get on the actual shoot day. 

We tested various shots, including a key composition where the siblings look out across the water towards Falmouth. We experimented with both the 50mm and 85mm lenses. The 85mm offered a pleasingly shallow depth of field but blurred the town too much, making it almost unrecognizable. The 50mm, however, hit the sweet spot, offering intimacy with the characters and maintaining recognizable background detail. We captured both versions for comparison in post.

We also had a flat quay on the beach that provided a perfect surface for dolly tracks, allowing us to experiment with movement. The director had initially wanted to use the dolly on the sand, but due to the uneven surface, this wasn’t feasible. We decided that using the tripod, or using the camera handheld were the best options for shooting on the actual beach. We did get some good practice with the dolly on the quay though.

Back at the house, we tested interior lighting setups using natural light supplemented with LED panels and bounce boards. One significant lesson was the spatial limitations. Wide shots in the living room felt awkward due to the furniture layout, so tighter framings were far more effective. We tested positioning lights outside the windows to simulate soft daylight, and this proved to be successful. The shot looking into the bedroom was lit in a similar way, with soft diffusion outside the window to create a believable and consistent natural glow.

We also ran a dolly track test in the hallway, which resulted in a striking, symmetrical, slow, and haunting shot, mirroring the psychological journey of the characters. We all agreed that this shot should be a core visual moment in the film.

Day two took us to the church. The test here was focused more on movement, lighting, and acoustics. We tested a dolly movement down the central aisle, which worked beautifully with the church’s symmetry and colour. The rich blue ceiling became a framing tool, adding visual depth.

A key emotional scene occurs when Lucy sits in a pew, waiting for Ben. I blocked out a shot sequence based on Tom’s directions: begin on Lucy, move to Arthur holding her hand, empty space beside her, the church door opening, and finally Ben entering. This sequence required careful timing and smooth dolly operation. Seeing it come together on the monitor was extremely rewarding and confirmed our shot plan for that scene. Although, this shot is long and will likely be broken up with some other shots in the edit.

The church’s acoustics also brought an unexpected challenge. The reverb made clean dialogue difficult, especially with boom mics. Our sound recordist suggested switching to lavaliers for key moments, which I supported, with the caveat that wardrobe and camera framing would need to adapt to hide the mics effectively.

Post-Production Review and Final Decisions

After the test shoot, I reviewed all footage in Premiere Pro. I applied a basic LUT to convert the LOG footage and graded two versions of a test sequence, one in 16:9 and one in 2.39:1. These were shown side-by-side at our critical screening.

The consensus was clear: the 2.39:1 widescreen ratio offered a more cinematic, expansive feel, particularly in the beach and church locations. It also helped isolate characters within the frame, enhancing the emotional subtext. From that point forward, we committed to shooting in 2.39:1 for the final film.

The production process so far has been deeply rewarding. As DoP, I’ve had the opportunity to shape a visual world from the ground up, collaborating with a director who is clear in his vision but open to exploration. I’m learning that communication is one of the most important skills a Director can have, and through open dialogue and constructive feedback, I am gaining a deeper appreciation for the importance of effective communication and pre-production planning (Parker 2007: 7).

My relationship with the ARRI Alexa has grown, and I’ve learned to balance technical requirements with creative decisions. The test shoot solidified much of our ideas, as well as also exposing areas for improvement: framing limitations in smaller interiors, the unpredictability of coastal weather, and the need for flexibility in gear choices. This test shoot taught me the importance of clear communication, reinforcing the idea that "the quality of the output largely depends on the accuracy of this preparatory work" (Holland and Orlebar, 2016). Thanks to the thorough preparation by both the producer and director, the shoot ran smoothly and proved to be a success.

Looking ahead to the final shoot in June, I feel prepared. The groundwork we’ve laid, through location recces, shot planning, lens tests, and team collaboration, has given me a strong sense of what the film wants to be. I look forward to capturing the emotional heart of Right on Time with subtlety, grace, and intention.

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Reference List

BROWN, Blain. 2002. Cinematography Theory and Practice ; Imagemaking for Cinematographers, Directors & Videographers. Amsterdam [U.A.] Focal Press 08.

EDGAR-HUNT, Robert. 2010. Directing Fiction. Lausanne: Ava Academia ; La Vergne, Tn.

HOLLAND, Patricia and Jeremy ORLEBAR. 2016. The New Television Handbook. Florence Taylor And Francis.

PARKER, Nathan. 2007. Short Films. Oldacastle Books.

ROSENTHAL, Alan and Ned ECKHARDT. 2016. Writing, Directing, and Producing Documentary Films and Digital Videos. Carbondale: Southern Illinois University Press.

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Author: Bethan Radford

Module:  FMTV704: Creative Practice: Development

Assessment: Critical Reflection

Classification: Distinction / 72%

Degree: MA Film & Television

Submission: 07 May 2025

Words: 2024