My Life In Nollywood: Barnabas Emordi

Every week, The Culture Custodian grants you an all-access backstage pass into the lives of Nollywood rock stars. You get to learn about their fascinating backgrounds, the behind-the-scenes stories, and more. This episode features Director of Photography, cinematographer and filmmaker, Barnabas Emordi

Since pivoting to film in 2015,  Barnabas Emordi, a Mathematics graduate from Delta State University, has distinguished himself as a notable cinematographer in Nollywood. Between 2017 and 2019, he formed an intimate circle with whom he made a lot of short films. Nonetheless, his professional relationships with Niyi Akinmolayan, the CEO of Anthill Studios, and Akay Mason, an associate of the production outfit accelerated his career. His big break came after working as a camera operator on Elevator Baby, a 2019 film produced by Akinmolayan and directed by Mason. On that set, he had caught the attention of his colleagues with a notable shot that hinted at his resilience and expertise. This expertise is also inherent in his unique approach towards every project of his. He considers pre-production the most important stage in filmmaking and recalls, for instance, deciding his camera choice—the ARRI ALEXA Mini LF with Canon Sumire prime lenses—for the two-part Lisabi production (Lisabi: the Uprising and Lisabi: A Legend Is Born) right after studying the Yoruba-written script and visiting the location in Oyo weeks ahead of principal photography.

Emordi’s knack for excellence is embodied in his taste as a creative. He admires American filmmaker Steven Spielberg who is considered the most commercially successful director in film history, and English cinematographer Roger Deakins who is one of the most influential cinematographers of all time. As a football lover, he supports Real Madrid—the most successful club in the history of European club competitions. His favourite Nollywood films are Lionheart, Genevieve Nnaji’s directorial debut and the first Netflix Original film in Nigeria; Living In Bondage: Breaking Free, a sequel to the 1992 classic, which marks Ramsey Nouah’s directorial debut; and The Set Up, a 2019 crime thriller directed by Emordi’s mentor, Akinmolayan.

Other works of Emordi are Day of Destiny, House of Secrets, Casa De Novia, A Weekend To Forget, When Love Strikes, Lisabi: The Uprising , A Night In 2005, Prophetess, The Ghost and the Tout Too, Ada Omo Daddy, Superstar—for which he earned a Best Cinematographer nomination at the 2022 Africa Magic Viewers’ Choice Awards, and A Tribe Called Judah.

This interview with Barnabas Emordi has been edited for clarity.

Can you walk me through the beginning of your career in Nollywood as a cinematographer and filmmaker?

After graduating from university, I contacted an industry friend, expressing my desire to learn from him. At the time, I was interested in animation, and he allowed me to operate puppetry for a TV show. But it wasn’t until late 2015 that I operated a camera on set. My friend had introduced me to a YouTube tutorial that sparked my fascination with cinematography. I devoted the next few years to intense learning, consuming numerous videos, books, and resources. I was determined to reach a high level of expertise, which required immense hard work. In early 2016, I took on the role of camera assistant for a web series and later became the continuity manager for the show, This Is It.

If filmmaking hadn’t worked out, what career would you have pursued?

My original plan was to study Information Technology abroad around 2010/11. If I hadn’t pursued a career in film, I likely would have earned a Master’s degree in either IT or Finance. My career path might have led me to become an investment banker, data analyst, or IT specialist.

Are there ways in which your background in the sciences and as a Mathematician influenced your filmmaking journey?

My background in Mathematics has played a significant role in my journey as a cinematographer. Lighting design, cinematography, and filmmaking, in general, involve a lot of mathematical calculations, such as determining angles, distances, and focal lengths.

Do you have any formal training or certification as a filmmaker?

I did a Canon Miraisha programme in 2017.

You have an interesting work relationship with Niyi Akinmolayan. Can you talk about it?

My first encounter with Mr. Niyi was in 2016 when he announced on social media that he was seeking participants for his short film project, Room 315. The project aimed to introduce young filmmakers to the industry, and I applied to be a production design intern via email. After an on-site interview, I was selected for the role. As part of the project, we built a set for the film over two days before the actual shoot. A year later, in 2017, Mr. Niyi posted about a documentary training program, which included a paid competition. Participants were required to form teams of two or three, and Mr. Niyi would fund the documentary and provide training by industry professionals at a resort. My partner and I applied and were selected. We received ₦200,000 and traveled to the East to produce a documentary about survivors of the Biafran War. Following the documentary, Mr. Niyi and I remained in touch. Notably, during the documentary project’s preparatory event I met Akay Mason and established a lasting relationship with him.

What was growing up like? Can you recall any notable memories with family and loved ones that shaped you?

I was born and raised in Lagos by my parents, Charles and Lydia Emordi, both civil servants. It was a Christian family that loved education. We also had a film-watching culture where we consumed diverse kinds of films—Hollywood, Bollywood, Nollywood, etc. I had my secondary education at Dream Makers College, and I wanted to become a footballer. But my parents made me realize it was important to go to school after which I could do whatever I wanted.

As a DOP, how do you communicate your visual ideas with the director and the rest of the production team?

As a DOP, I am basically in charge of the technical crew and responsible for the entire look and feel of the film. This means working closely with the director, production designer, and gaffer. During pre-production, once a script is ready, the director presents me with the visual treatment of the entire film. After I have consumed the vision of the production, we start holding important conversations. I also have regular conversations with other departments on the production. When we figure everything out in this stage, the principal photography and post-production will be beautiful.

Can you speak about the challenges that cinematographers like yourself face in the industry?

Creating content in Nigeria comes with its unique set of challenges. The environment can be hostile to creatives, with issues like location and time management often arising. For instance, we’ve had to switch locations on the day of a shoot, which can be frustrating. One area we need to improve on is Computer-Generated Imagery (CGI). Currently, CGI is expensive and time-consuming, taking years to execute properly. Investing in this technology would greatly enhance our storytelling capabilities. Additionally, we face equipment constraints. For example, we lack access to specialized filming equipment like the techno crane, which limits our creative options.

Is there any upcoming project you are excited about?

Yeah. You must have been seeing promo ads about Red Circle. That is my first project on which I am an executive producer. It will be out in the cinemas globally in June this year.