“Hustle o” Barnabas Emordi replies jokingly to my question, which asks what drew him to cinematography. Popularly known as Barny, Emordi is among the renowed cinematographers in Nollywood. In the span of his career, he has served as the DOP for some of the biggest blockbusters, including ‘A Tribe Called Judah’, ‘Lisabi’, and ‘Superstar’, amongst many others that decorate his filmography list.
Barnabas Emordi’s journey to cinematography is a predictive one. Growing up in a film family, film piqued his interest at an early age. At the time, his interest was not career-motivated; he simply derived pleasure from watching films. His core memories carry days when he and his brother rented videotapes from Alaba. His film world was diverse; his family saw films from Bollywood, Hollywood, and Nollywood.
After seeing the Frank Darabont film ‘The Shawshank Redemption’ Barnabas Emordi’s interest moved from fan love to creative fascination; a part of him wanted to do this. The desire was still latent at the time but it grew over the years, culminating in one single decision after university: “I want to make films.”.
The cinematographer got his start at an animation studio, where he worked as a puppeteer in 2015. A year later, he was blessed with the opportunity to work as the second AC (Assistant Camera) on the ‘This is Us’ series. Emordi’s career has since blossomed ever since, his life a revolver of sets. Even as we speak, I hear the sound of a brimming set. He pauses every now and then to extinguish little fires. The boy who rented videotapes simply for the pleasure would be delighted by him.
In the inaugural column of Off Camera, we talk about Barnabas Emordi’s voyage in Nollywood, his love for cinematography, the industry, and his plans for the future.
Can you walk me through your first big break as a Director of Photography?
My first big break wasn’t as a DP but as a camera operator on Elevator Baby in 2019. That was the biggest project I had worked on at the time. I had been part of the Anthill family, attending masterclasses and even winning a documentary competition in 2016 or 2017, which gave me funding to make a documentary. Though the documentary never came out, it was a learning experience. Through my connections at Anthill, I got the opportunity to work on ‘Elevator Baby’, and that film became a big success. Then, in 2020, right before COVID-19, I shot my first film as a DP—’Day of Destiny’, Nollywood’s first time-travel film.
How do you typically approach a new project? What are the first things you consider when developing a visual style for a film? Because you’ve developed different films, from action-packed films to fashion-driven movies, how do you settle on the style for the film?
It all starts with conversations. The first thing I ask is, “Is there a treatment for this project?” That document helps me understand the overall vision. After digesting it, I have detailed discussions with the director and producer. Those conversations continue throughout the process because film is collaborative.
I also consult with the production designer, costume designer, and makeup artist to understand the visual elements they’re bringing. Understanding their choices—like why a character is wearing a particular colour—helps me refine my cinematographic approach. Location also plays a huge role. Every film has a different energy, and I adapt my style to fit the story’s needs.
I think that for a film to work, there’s some kind of synergy between the DOP and the director. So can you tell me about how that collaboration works? How do you collaborate with directors to bring their vision to life?
First, you have to understand that it’s the director’s film. My job is to collaborate and translate their vision visually. Building a strong relationship with the director is key. We discuss everything—how they plan to block actors, the pacing of scenes, the emotional weight behind visuals. Those conversations, which sometimes last weeks or even months, ensure we’re aligned when we step onto set.
I also suggest technical elements, like lenses and lighting choices, that can enhance their vision. And I keep in constant communication with other departments to maintain visual consistency.
You are currently on set so can you tell me your favourite part of being on set and what’s the most challenging aspect of your job?
My favourite part is spending time with my crew and collaborators. Seeing everything we planned for months finally come to life is an amazing feeling. Filmmaking is spiritual for many of us—we put our hearts and souls into it. That camaraderie on set is beautiful.
As for challenges, every project has its own. No matter how much prep you do, things can go wrong—gear might not arrive, locations might be unavailable, or unexpected constraints can arise. But that’s also part of the excitement. You have to be proactive and find creative solutions on the spot.
On challenges, have you ever had to improvise a shot due to budget or time? How did you make it work?
Oh my God, all the time! That’s literally every day in Nollywood. You plan for one thing, but on set, you have to think on your feet. Maybe a crucial piece of equipment isn’t available, or you have to leave a location earlier than expected. You just have to make it work. It happens even on the biggest productions here.
How do you see cinematography evolving in Nollywood? Do you see it evolving with the rise of streaming and bigger budgets?
When I joined the industry, visuals weren’t as prioritised as storytelling and dialogue. But in the last decade, cinematography in Nollywood has grown significantly. Now, we have filmmakers paying attention to visuals and cinematographers investing in their craft. We’re also getting international recognition—brands like ARRI, Canon, and Sony are engaging with Nollywood DPs.
That said, we still have a long way to go. Our post-production, VFX, CGI, and access to high-end equipment need improvement. Other markets, like South Africa, have better tools, which we don’t always have access to because they’re expensive. But we’re growing, and that’s exciting.
What advice would you give to aspiring cinematographers in Nigeria who want to break into the industry?
Take your personal development seriously. Read books, attend masterclasses, go to conferences, and learn from every possible source. But more importantly—shoot! It doesn’t matter if it’s a 30-second clip or a one-minute short film. You learn by doing, not just by consuming information.
What’s next for Barnabas Emordi? Any upcoming projects?
Last year, I invested in a film that’s really special to me—‘Red Circle’. I’m an executive producer on it, and it’s my first step into producing. It’s coming out in cinemas globally on June 6th, which is really exciting. Apart from that, I want to keep investing in great ideas and supporting filmmakers.
