Last Updated 2 weeks ago
Being a cinematographer is not just about framing shots and choosing lenses.
It is about leadership.
On a professional film set, the Director of Photography shapes the visual language of the story. But just as importantly, they shape the tone of the crew. The lighting team, the grips, the operators, the ACs, and even production assistants take their cues from you.
A technically talented DP who lacks leadership awareness will lose crew loyalty quickly.
If you want to become a better cinematographer, build long-term crew trust, and avoid common on-set mistakes, this guide breaks down the most common behaviors that frustrate crews and how to correct them.
1. Re-Lighting Every Shot Instead of Designing a Lighting System
The Problem
One of the biggest frustrations for lighting crews is when a cinematographer tears down and rebuilds lighting for every single piece of coverage.
Modern sets operate with:
RGBWW LED ecosystems
Wireless DMX or CRMX control
Lighting consoles
Pre-programmed cues
If you are rebuilding instead of refining, you are wasting time.
It slows production.
It exhausts crew.
It creates inconsistency in continuity.
Why Crews Hate It
Gaffers and electrics think in systems. They want to build something stable and adaptable.
When you redesign everything each shot, it signals a lack of planning.
The Leadership Fix
Before lighting the master, ask:
What coverage are we getting?
Can this key serve multiple angles?
Can I cheat the shape instead of swapping the fixture?
Can we program variations into the board instead of rebuilding?
Design lighting architecture, not individual setups.
System thinking separates seasoned cinematographers from reactive ones.
2. Asking for Every Piece of Technology
The Problem
Large format cameras. Drones. Specialty lenses. High-speed packages. Virtual production assets.
Requesting everything makes you look unsure.
Why Crews Notice
When you ask for excessive gear:
Production questions your judgment
The crew senses indecision
Budgets tighten elsewhere
Strong cinematographers understand restraint.
The Leadership Fix
Before requesting gear, ask:
Does this serve the story?
Does it solve a specific problem?
Am I requesting this out of insecurity?
Intentional gear selection builds trust.
3. Touching Gear Without Communicating
The Problem
Modern lighting is often controlled via:
Tablets
Wireless DMX
Centralized consoles
When you adjust a fixture without telling your gaffer, you break workflow.
Why It Creates Frustration
Crew loses track of changes
Resets become chaotic
Safety accountability blurs
The Leadership Fix
If you want a change:
Call it out.
Let the department adjust.
Explain why.
Lead through direction, not interference.
4. Failing to Communicate the Creative Goal
The Problem
Calling out fixture placement without explaining intent leaves technicians guessing.
Why It Slows Set Down
Modern crews understand:
Sensor latitude
Contrast ratios
Color science
LUT behavior
If they know the intention, they execute faster.
The Leadership Fix
Instead of saying:
“Put a 600c there.”
Say:
“I want a softer key from camera right, about two stops under, motivated by that window.”
Clarity increases efficiency.
5. Talking Down to Junior Crew
The Problem
Belittling PAs or trainees destroys morale.
Why It’s Short-Sighted
The film industry is small.
That PA might be producing soon.
That trainee might become your key grip.
The Leadership Fix
Set expectations firmly.
Never humiliate.
Correct privately.
Praise publicly.
Respect builds loyalty.
6. Using the Wrong Tool for the Workflow
The Problem
Using tools without understanding:
Sensor behavior
Spectral response
Post-production pipeline
HDR delivery requirements
Leads to technical compromise.
Why Crews Feel It
They spend all day compensating for poor technical planning.
The Leadership Fix
Understand:
Color management systems
ACES workflows
Streaming specs
High-speed lighting requirements
Cinematography today requires technical literacy.
7. Ignoring Department Roles
The Problem
Asking the wrong person to execute a task undermines structure.
Why It Matters
Film sets operate on:
Safety
Accountability
Clear responsibility
Crossing boundaries creates confusion and resentment.
The Leadership Fix
Respect job roles.
Communicate through department heads.
Protect chain of command.
8. Skipping Crew Blocking
The Problem
Skipping rehearsal visibility to “save time.”
Why It Backfires
Blocking affects:
Cable runs
Lighting angles
Camera support
Shadow management
The Leadership Fix
Let the crew see blocking.
Encourage questions.
Clarify coverage.
Ten minutes of blocking saves thirty minutes of resets.
9. Making Silent Tweaks
The Problem
Adjusting:
Dimmer levels
Color temp
Fixture placement
Filtration
Without telling anyone.
Why It’s Damaging
Crew spends the day confused.
Resets become slow.
Trust erodes.
The Leadership Fix
Over-communicate.
Announce changes.
Keep departments aligned.
Transparency speeds up production.
10. Failing to Show Gratitude
The Problem
Acting entitled.
Ignoring crew effort.
Why It’s Career-Limiting
Crews remember how you treat them.
The most successful cinematographers are:
Collaborative
Grateful
Professional
The Leadership Fix
Shake hands.
Say thank you.
Acknowledge long days.
Leadership is emotional intelligence.
The Modern Cinematographer Leadership Standard
To succeed long-term, cinematographers must combine:
Creative vision
Technical fluency
Communication skill
Emotional intelligence
Workflow awareness
You are not just responsible for images.
You are responsible for morale.
Your lighting team reflects your clarity.
Your grips reflect your planning.
Your crew reflects your leadership.
Reputation spreads quickly in the film industry.
Build one worth protecting.
FAQ: Becoming a Better Cinematographer
How can a cinematographer improve crew morale?
Communicate clearly, respect roles, design lighting systems efficiently, and show gratitude consistently.
What is the biggest mistake DPs make on set?
Re-lighting every shot without planning for coverage is one of the most common workflow mistakes.
How important is leadership for cinematographers?
Leadership is as important as technical skill. Crew trust directly impacts efficiency and reputation.
What separates great cinematographers from average ones?
System thinking, technical literacy, emotional intelligence, and preparation.
Great list! Great to be reminded. I’ve been guilty of some of these. My biggest challenge is resisting the urge to tweak a light or a c stand myself. It is much more efficient time wise to remain at the camera or monitor to watch and guide the results. But when the crew is small and the lighting set up is larger, the temptation to jump in… When I was a gaffer, one of the things that drove me crazy was when DP’s made lighting choices that were overly complicated and unnecessary because they had fallen in love with a specific technique and wanted to stick with it in every circumstance. A book light is a perfect example. In the right circumstances, it is a beautiful and appropriate light source. However, it just doesn’t always work logistically for keying a wide master shot in a smaller room – especially if the walls are white. A lot of time can be wasted while the grips try in vain to tame the super soft spill light off the walls. DP’s need to be flexible with different techniques and realistic about time management when approaching lighting design and execution. They need to listen to gaffers / key grips and at least consider alternate approaches when suggested.
Thanks Randolph. When I shoot I tend me make these mistakes and it was mainly myself I was thinking about when I wrote this blog.
I have been very lucky with the 3 main Cinematographers that hire me though. They happen to be very collaborative and always take the time to think things through and listen to the concerns of the Gaffer and Key Grip. I couldn’t imagine working any other way!
DP’s that eat and ride with the Producers instead of the Crew.
That is annoying, but I can understand it to a degree.
Developing a relationship with the Producers is sometimes necessary to ensure a call back.
I think the key is to balance your time and not favor one over the other.
Correct. And not only for DOP, bud good manners are good for every crew member. Tha’s why we really need to be a TEAM!
Bud fact: Many crew members don’t care less to what’s happening (true, I’ve seen many) and that destroys the work of everyone else. And in many cases, you can’t change your crew.
That is something I have definitely noticed with a lot of younger people as well as old timers.
Younger people that haven’t been trained properly just want to sit around until something is asked of them, they don’t actually care about the project or building relationships and in turn a long a fruitful career.
Then there is the opposite. The old timer with 30+ year of experience. They have seen it all and don’t care anymore.
I see it the most with lighting technicians and I just don’t get it. It is not the way I was trained and it is not the way I train young technicians.
As DOP/1AC, I just love being with the crew.
That INCLUDES being with then until the end of the day and not just leaving when your “job” is done like many Producers and Directors I’ve worked with: Event ends – No one finds then. Like ghosts.
I’ve met a DOP that made a “A” players crew of friends for a low budget commercial. And he asked then just do indicate younger ones at first contact.
That’s what’s really priceless.
The DOPs that doesn’t read scripts or storyboards, coming on to set and asking the PA what are they shooting today.
Whao, That happens?!? The list was based on the personal experiences of myself and friends of mine. That is just insane, I can’t believe anyone would ever be that ignorant, and then to ask a PA when you could just talk to the AD department.
How did they even get the job without reading a script in the first place? It sounds more like an issue that would come up in the student world, not the professional world.
Relighting ever shot may be necessary but it is annoying.