'Right On Time': My Role as DoP

15 Aug 2025 | FMTV706: Creative Practice: Final Major Project | Critical Evaluation | 3224 words

Right On Time is a short fictional drama that follows two siblings as they come to terms with their mother's terminal illness. Set against the backdrop of the Cornish coast, the film explores themes of grief, memory, and familial connection. My role as Director of Photography (DoP) placed me at the heart of its visual storytelling, where I was responsible for translating the emotional depth of the script into imagery that does it justice. Working closely with the director, I helped shape the visual tone, and guided camera and lens decisions to support the narrative and atmosphere.

To prepare and help develop my cinematic approach to Right On Time, I explored the influences the director had included in the film’s pitch. This included a detailed pitch deck and a sizzle reel that helped the team understand the tone and aesthetic direction of the film. The reel included clips from Lady Bird (2017), Manchester By The Sea (2016), and the BBC/Hulu series Normal People (2020). These references shared a clear visual language: soft, natural lighting, warm tones, coastal landscapes, and intimate compositions. What stood out most to me across these examples was the emotional honesty achieved through minimal visual interference, natural light, and carefully composed framing.

Historical and Contextual Background

Rather than drawing on political or overtly social narratives, Right On Time sits more comfortably within a tradition of intimate cinematic realism. This tradition values authenticity in performance, minimal camera movement, and emotionally resonant storytelling. Films like Lady Bird and Manchester By The Sea demonstrate how independent and studio-backed dramas can use subtle cinematography to capture emotionally complex characters without allowing stylisation to become a distraction. The aesthetic choices in these films, such as naturalistic lighting, grounded performances, and restrained movement, highlight the inner worlds of the characters and allow audiences to emotionally engage on a deeper level.

This approach is also reflected in contemporary television, such as Normal People (2020), shot by Suzie Lavelle and Kate McCullough. Lavelle has explained that the goal was to keep the visuals “quiet, tender and vulnerable,” aligning the cinematography with the emotional intimacy of the story (Lavelle, 2020). Their use of shallow depth of field, ambient light, and handheld movement inspired my own visual planning. I adopted similar strategies to support the themes of Right On Time while still ensuring the visuals felt distinctive to the world of our film.

For example, the British TV series The End of the F**ing World (Channel 4, 2017–2019) uses distinct visual shifts to differentiate between present-day scenes and flashbacks or inner thoughts. Changes in color grading, camera movement, and pacing subtly signal temporal and emotional transitions, helping viewers navigate the story’s timeline clearly. This approach is similar to how we treated the flashback scenes in Right On Time, using visual texture and style to highlight the protagonist’s memories and emotional states without confusing the audience.

Industrial and Technological Context

From an industrial perspective, I was aware that Right On Time, like many short films, would be viewed in an increasingly competitive creative landscape. Whether screened at festivals or distributed online, short films today must stand out visually and communicate a strong, cohesive voice. According to Edwards and Skerbelis (2012), visual quality is often one of the first elements considered by festival programmers and industry professionals when reviewing short films. My role as Director of Photography was not only about storytelling but also about ensuring that the film’s visuals aligned with contemporary industry standards.

To achieve this, we chose to shoot on the ARRI Alexa Classic, a camera widely respected for its cinematic image quality, excellent dynamic range, and nuanced colour rendition (ARRI, 2016). While commonly used on high-end productions, it is also a popular choice for independent filmmakers due to its reliability and the textured, filmic look it can produce. Since it was my first time working with this camera, I carried out test shoots and researched how other cinematographers had used it.I specifically researched films that were shot using the ARRI Alexa to better understand the camera’s capabilities. Productions such as Doctor Who (BBC, 2005 - present) and Supernatural (The WB, 2005 - 2020) demonstrated the Alexa’s exceptional performance in capturing natural light and rendering soft tonal ranges, qualities that were especially relevant to the aesthetic goals of our own film.

I was also mindful of the increasing demand for sustainable, low-impact filmmaking. As the industry becomes more conscious of its environmental footprint (Albert Sustainable Production Alliance, 2020), our use of available light, real locations, and minimal equipment was not just a creative decision. It was also a practical and timely one. This approach placed Right On Time within a wider industrial shift that values both artistic intent and responsible practice.

Shoot Preperation

As Director of Photography (DoP), I took considerable time in pre-production to study the thematic content of Right On Time in order to develop a coherent and emotionally resonant visual strategy. The director had already produced a detailed storyboard prior to our initial meetings. His clarity regarding the narrative function of each shot gave us a strong foundation for collaboration. My responsibilities focused on interpreting these ideas into practical plans, deciding the best ways to create each shot the director had planned. Additionally, I offered suggestions for improvement when appropriate, and ensured we could execute them effectively on set. For instance, while he had imagined a wide shot in one scene to capture emotional distance, I suggested a closer lens with shallow depth of field to help isolate the character and emphasise the actors’ subtle acting.

We refined each setup through discussion and rehearsal, making sure that each shot conveyed its emotional intention while also allowing enough coverage for the edit. This process was not purely technical. It required careful thought about how visual elements such as composition, light, and camera movement could express subtext. As Brown (2016) argues, the role of the cinematographer is interpretive as well as practical, bridging the gap between the script and the screen by translating narrative into visual meaning. The narrative unfolds through quiet, intimate moments and subtle performances, which meant that the visuals needed to feel equally understated. I focused on creating a visual rhythm that allowed the characters’ emotions to guide the camera, rather than imposing a stylised structure onto the scenes. Lens choices were carefully considered based on the emotional content of each scene. In more vulnerable moments, I used longer focal lengths to compress space and heighten emotional isolation. In scenes of connection or reflection, I opted for wider lenses and gently observational camera work.

Our overall lighting approach relied heavily on natural sources. We made the decision early on to minimise artificial lighting in order to maintain a sense of realism and emotional transparency. However, when necessary, we used carefully placed lights to enhance existing conditions. For example, during the church scenes, we took advantage of the rich sunlight coming through the stained-glass windows but also positioned an additional light outside to amplify the natural effect. These enhancements were subtle, designed to support rather than replace the ambient light. To maintain visual consistency throughout the film, I conducted several test shoots and lighting trials prior to the main production. We documented all lighting setups thoroughly, including notes on the time of day, natural light direction, and any artificial additions used. These records were essential, particularly for scenes that were shot over multiple days or under shifting weather conditions. The use of ND filters and manual exposure adjustments allowed us to retain control over our image, despite changing environments.

Location recces were crucial to the planning process. We visited all three locations - the church, Flushing Beach, and the director’s house - at different times of day to observe how light moved through the spaces. I took still photographs and liaised with the lighting team to draw lighting diagrams to help anticipate any potential issues before production began. These location visits played a crucial role in shaping our shooting schedule. For instance, we planned the beach scenes for early morning to take advantage of the soft, diffused light, which helped evoke a nostalgic atmosphere in line with the characters’ introspective emotional states. This decision was also driven by practical considerations. As we were filming in June, just at the beginning of the tourist season, arriving early meant we could avoid large numbers of visitors to the beach.

This pre-production process reinforced for me that the role of DoP is not simply to be a technician and manage and operate the camera equipment, but a collaborator who helps define the emotional atmosphere of a film through visual language. Although the director clearly set the narrative and emotional goals of each scene, I was responsible for interpreting these goals into images that could carry the story visually. Our collaboration was based on mutual respect, shared references, and an understanding of the emotional arc of the film. 

With the final draft of the script complete, the Director and I worked closely to develop the shot list. As mentioned previously, the Director had already created a detailed storyboard, so my main task was to translate those visual ideas into technical decisions. I carefully analysed each storyboard frame, considering shot size, angle, and composition. This was a relatively straightforward process, as I already had a clear sense of the film’s visual tone and atmosphere.

My primary responsibility at this stage was to determine which lens would be best suited for each shot. In many cases, this was a simple decision because we had conducted extensive test shoots using a range of lenses. However, there were a few specific shots we had not tested, which required additional thought. Drawing on my knowledge of camera theory, gained through both academic study and practical experience in photography, I evaluated the spatial constraints of each location. I considered where the camera could realistically be positioned in relation to the subject, how the focal length would affect depth of field, and how this would influence the visual clarity and emotional impact of the scene. I also paid attention to the backgrounds of each shot, anticipating any visual distractions that might detract from the story. For example, I identified a visual issue and brought it to the director’s attention during our shoot on the quay at Flushing Beach. While reviewing our long panning shot across the bay, I noticed that an oddly shaped tree to the right of the quay appeared just before the end of the pan. Visually, it felt out of place and a bit distracting, pulling focus from the scenic view of the Cornish town across the water. I’m particularly conscious of visual shapes and balance within the frame, as I want the viewer’s eye to be guided toward the intended subject, not distracted by background elements that serve no purpose. I raised this with the director, who agreed that the tree disrupted the composition. We decided to adjust the shot so that the pan ended just before the tree entered the frame, maintaining a stronger visual focus.

Shoot 

The production of Right On Time tested not only my technical abilities as a Director of Photography (DoP) but also my adaptability, leadership, and communication skills. Each shooting location introduced its own visual and logistical demands.

Before production began, after completing the shot list, We discussed dividing the camera operation duties with the 1st Camera Assistant, in line with industry practices where the DoP often delegates complex movement-based shots to camera operators (Brown, 2016). Given the weight of the ARRI Alexa Classic and the physical strain of handheld work which I am not physically able to handle, we agreed I would operate static and dolly shots, while the 1st AC would cover handheld and jib operation. This division worked well during the pre-shoot phase and early setup.

In terms of lighting and camera style, we made deliberate choices to ground the visuals in naturalism. The majority of scenes were lit using natural light, timed around the sun’s position throughout the day. Beach scenes were scheduled for golden hour to capture soft, directional lighting. At the church, we supplemented natural sunlight with artificial lights placed outside the stained-glass windows to enhance and control the effect. This combination of natural and motivated lighting aligns with trends in modern cinematography, especially in British independent film and television, which often aim to preserve authenticity while maintaining aesthetic control (Landau, 2014).

Camera movement was minimal. Static framing and occasional pans or tilts were prioritised to reflect the stillness and emotional tone of the story. The only significant handheld work was reserved for the film’s flashbacks. These moments of memory and grief called for a more textured, unstable look. This stylistic differentiation was influenced by my study of Normal People (BBC/Hulu, 2020), which similarly uses handheld and soft natural light to signal emotional vulnerability (Lavelle, 2020). The impact of contemporary television cinematography on my practice reflects a wider industry shift, where TV dramas are increasingly viewed as spaces for visual experimentation and creative authorship (Newman and Levine, 2012).

However, just two days before filming, I suffered a serious ankle injury. Although advised to take time off, I chose to continue in my role out of a strong sense of responsibility. The injury severely limited my ability to move and stand for extended periods, which had a direct impact on my ability to operate the camera, particularly for dynamic shots. The 1st AC assumed additional responsibilities, operating not only handheld shots but the dolly moves as well. This was a difficult but necessary adjustment, and it reshaped the way I had to function on set.

This experience brought to light an often overlooked aspect of cinematographic work: its physical demands. Discussions around creative labour in film often focus on artistry and vision, but cinematography also involves sustained physical stamina, spatial awareness, and often physically intense coordination (Curtin and Sanson 2017). With limited mobility, I had to monitor shots from a wireless screen and communicate lighting and framing decisions from the sidelines. This altered workflow prompted a deeper understanding of how visual leadership can still be exerted remotely through trust, clarity, and structured delegation.

One of the most significant lessons I learned during this process was the importance of assertive and consistent communication. I was trying my best to perform in my role to the highest standard I could manage, but in the early stages of the shoot, I received mixed feedback from different members of the crew. On one hand, I was made aware that there were concerns, particularly from the 1st AC, that I was not present enough during setup discussions and that I was neglecting decisions typically expected of a Director of Photography. These concerns stemmed largely from the physical constraints of both the shooting environment and my injury, which significantly limited my mobility.

The interiors of the house and church were often tight, cluttered with furniture or fixtures, and difficult to navigate. At times, I had to operate or supervise from outside the room to avoid blocking shots or disrupting lighting setups. This physical distance created barriers to spontaneous feedback and in-the-moment adjustments, making communication feel strained. However, it also highlighted the importance of strong pre-visualisation, planning, and delegation. The need to adapt to real-world spaces like these reflects broader challenges often faced in low-budget productions, where actual locations stand in for designed sets and space constraints must be incorporated into the visual strategy (BFI, 2022).

Remaining physically present within these rooms would have posed a safety risk not only to myself but to others on set. My limited mobility was a genuine concern. If I had needed to move quickly, such as stepping aside for a camera operator tracking backwards, I would not have been able to do so. At that stage, I was struggling to walk unaided, and any ability to manoeuvre with speed had been significantly compromised. Additionally, the cramped layout of the spaces meant there was no room to position a chair, making it impractical for me to supervise while seated.

However, I fully recognised and agreed that, as the DoP, I needed to be more actively involved in the setup discussions. In hindsight, I can see that this was something I may have neglected during the first few days of the shoot. That said, a significant portion of my attention was understandably diverted due to the intense pain I was experiencing from my injury.

On the other hand, some other crew members expressed concern that I was moving around too much instead of resting, as advised by the doctor. This created a difficult dynamic. When I remained seated to follow medical advice, I appeared disengaged, which caused frustration for the 1st AC. However, when I attempted to be more physically present and involved by standing and moving around, I risked aggravating my injury, which raised concerns for the producer. I began to worry that my efforts to balance visibility with caution may have unintentionally conveyed the impression that I lacked interest in the shoot, and I was intentionally pushing myself to worsen the injury in order to avoid responsibility - something that could not have been further from the truth.

I learned to contribute more vocally in the lighting and framing discussions, trying to offer guidance even if I could not physically move into the space. I began to understand that effective leadership as a Director of Photography does not rely solely on physical presence behind the camera, but on the clarity of one's creative vision and the ability to communicate that vision with consistency and confidence. Rather than attempting to ‘prove’ my engagement through overexertion, I shifted my focus to articulating decisions clearly, offering constructive input, and fostering a collaborative environment where the team felt supported and aligned.

In conclusion, the shoot taught me valuable lessons about interpersonal dynamics. Crew morale, creative cohesion, and mutual trust are not simply by-products of good work. They are necessary conditions for it. Although I was grateful for the flexibility and support I received from the crew, I also realised that it was my responsibility to manage expectations, communicate my limitations openly, and remain emotionally present even when physically restricted. These moments of reflection deepened my appreciation for the human dimension of filmmaking, where empathy and resilience are as important as technical skill. 

Ultimately, our shoot went very smoothly, and we achieved everything we set out to do. Any issues that arose were resolved quickly and effectively, largely due to the extensive planning and clear communication the director and producer had put in place well before filming began. Their preparation created a structure that allowed the shoot to run efficiently, even when unexpected challenges such as my injury had to be navigated. Despite those difficulties, I’m genuinely happy with how the shots looked. The final images captured the emotional tone and visual style we had aimed for, and I believe they support the story in a subtle but powerful way. This project taught me a great deal, not only about camera and lighting choices but also about leadership, adaptability, and communication under pressure. It reaffirmed the importance of collaboration and pre-visualisation in achieving a strong visual identity. Most importantly, it gave me greater confidence in my ability to guide the cinematography of a film, even in challenging circumstances, and left me proud of what we accomplished as a team.

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Reference List

ALBERT SUSTAINABLE PRODUCTION ALLIANCE. 2025. ‘Lighting + Camera’. Albert [online]. Available at: https://wearealbert.org/production-handbook/in-your-role/lighting-camera/.

ARRI. 2023. ‘ARRI’. Arri.com [online]. Available at: https://www.arri.com/en/learn-help/learn-help-camera-system [accessed 2 Aug 2025].

BFI. 2022. ‘Strategy and Policy’. BFI [online]. Available at: https://www.bfi.org.uk/strategy-policy.

BROWN, Blain. 2021. Cinematography: Theory and Practice. Routledge.

CURTIN, Michael and Kevin SANSON. 2017. ‘Listening to Labor’. In Voices of Labor: Creativity, Craft, and Conflict in Global Hollywood. University of California Press.

EDWARDS, Rona and Monika SKERBELIS. 2012. The Complete Filmmaker’s Guide to Film Festivals : Your All Access Pass to Launching Your Film on the Festival Circuit. Uitgever: Studio City, Ca: Michael Wiese Productions.

LANDAU, David. 2014. Lighting for Cinematography : A Practical Guide to the Art and Craft of Lighting for the Moving Image. New York ; London U.K.: Bloomsbury Academic.

LAVELLE, Suzie. 2020. BSC: a Retrospective with Suzie Lavelle BSC ISC - ‘NORMAL PEOPLE’. YouTube. 18 May 2020. Available at: https://www.youtube.com/watch?v=XJejHc9Mm6A [accessed 17 May 2025].

NEWMAN, Michael Z and Elana LEVINE. 2012. Legitimating Television. Routledge.

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Author: Bethan Radford

Module: FMTV706: Creative Practice: Final Major Project

Assessment: Portfolio

Classification: Distinction / 72%

Degree: MA Film & Television

Submission: 15 August 2025

Words: 3224