“How much prep time will I have?”
It’s one of the most important questions a cinematographer can ask—because preparation is often more important than the shoot itself. Every script presents unique problems to solve: defining the visual language, engineering difficult shots, managing safety, and staying within budget. Prep is where ideas are tested, refined, or discarded before they become expensive mistakes. It’s a time of discovery—and occasionally panic—when a director asks for something that’s never been done before and you’re tasked with figuring it out.
Prep time varies wildly. I’ve had six months on one project and five days on another. When time is short, triage becomes essential: address the big-ticket items first and resolve secondary issues while shooting. It’s not ideal, but it can be done. What surprises me is how little time film schools spend discussing this phase, given that prep is where most films are either saved or sunk.
The first practical step in prep is script breakdown and highlighting. Each department studies the screenplay through its own lens, identifying responsibilities, challenges, and costs. Highlighting creates a roadmap for meetings and questions to come. Prep is about asking the right questions early—before the cameras roll.
One of the first hires on nearly every project is the Production Designer. Why? Because the world of the film must exist before the characters can inhabit it. The production designer and art department define the mise en scène—everything the camera sees—through sets, locations, props, wardrobe, and color. Cinematographers and production designers share a deep understanding of light and space, and their collaboration during prep is critical. Lenses, camera movement, lighting style, and set construction are all intertwined decisions.
Storyboards are another essential prep tool. A drawing can communicate intent far faster than words, especially on large or international productions. Boards establish framing, scale, and rhythm, and they help break sequences into schedulable, budgetable pieces. Pre-visualization can be useful, but it comes with risks. If everyone falls in love with a previs that’s impractical—or worse, boring—it can limit creativity on set. Storyboards should guide the process, not lock it.
Research is often undervalued, but it can fundamentally change a project. A single photograph, article, or film clip can redirect the visual approach. Strong research grounds creative decisions in reality, whether the subject is a 17th-century village or modern military hardware. Accuracy matters, and it shows on screen.
Location scouting is where theory meets reality. Locations affect schedule, budget, lighting, sound, safety, and morale. A great location can elevate a scene; a poor one can cripple a day. Even student filmmakers benefit from thoughtful scouting—paying attention to light direction, access, and scale rather than settling for convenience.
As prep concludes, departments lock decisions, finalize schedules, and prepare equipment. Tests are conducted for cameras, lenses, lighting, costumes, makeup, and effects. Testing reduces risk. If there’s doubt—test it.
The old saying is true: you make the movie in prep. While not every project has the scale of a studio feature, every film benefits from planning. Time spent preparing is never wasted—it’s invested.