After months of preparation, principal photography finally begins. The look has been established, the schedule is locked, the cast is assembled, and the first location is ready for the circus to arrive. Everyone is eager to start shooting—but the transition from prep to production is where theory meets reality.
On large features, experienced assistant directors often schedule the first few days to be relatively manageable. Early success builds confidence, reassures the studio, and allows the crew to find its rhythm before the most demanding days begin. Television, low-budget, and student productions rarely have that luxury. There are no “easy” days—only fast ones.
Those first days reveal a great deal. You learn who performs well under pressure, who talks too much, and who requires careful supervision. People behave differently on set than they do in meetings. Directors, actors, and producers carry enormous pressure, and it can show. Remember that filmmaking is expensive and highly visible. Staying calm, observant, and adaptable is part of the job.
Many productions begin with day exteriors while sets are still under construction. For cinematographers, these days can be particularly challenging. Unlike interiors, where light is added and shaped, exterior work is about subtraction—controlling and redirecting sunlight to flatter faces and maintain continuity. This is demanding photography, especially with a new crew. For that reason alone, day exterior tests with principal actors are invaluable. Problems discovered during prep are manageable; problems discovered on day one are not.
The call sheet becomes the daily blueprint for production. It’s a dense document that outlines scenes, cast, locations, safety notes, weather, and logistics. It’s a remarkable organizational tool—one sheet of paper that coordinates hundreds of people. Every crew member relies on it, and every department contributes to making it work.
Shot lists are another essential production tool. Early in my career, I resisted them, believing storyboards were sufficient. I was wrong. Storyboards communicate intent, but shot lists communicate execution. They define coverage, guide scheduling, and allow the assistant director to build a realistic day. When weather or technical problems arise—and they will—a shot list becomes the map that keeps the production moving forward.
The first shot of the day is usually a wide master. This shot establishes geography, actor movement, screen direction, and the lighting scheme. Everything that follows is informed by it. On location, where ambient light changes quickly, choosing the correct first angle is critical. Capture the light while it’s right—you may not get another chance.
Once rehearsals are complete and the crew takes the set, departments move with practiced efficiency. Grips, electricians, camera operators, stand-ins, and background actors all work simultaneously. Though it appears chaotic, it’s a coordinated process refined over decades. The cinematographer’s responsibility is to guide that process calmly and decisively.
Production is a race against time. Plans will change. Weather will shift. Directors will ask for additional shots. When that happens, it’s the DP’s job—alongside the first assistant director—to communicate the consequences clearly and professionally. Good days come from preparation, adaptability, and respect for the collaborative process.
Movies are made one shot at a time. Production is where all the planning either pays off—or doesn’t.