Director of Photography vs Director

Think of a film set like a band. The Director writes the song and guides the performance. The Director of Photography plays lead guitar and shapes the sound. Same track, different jobs, and you need both in tune.

TLDR

• Director owns story, performance, pacing, and the final taste test.

• DP owns the image, light, lensing, camera movement, and how it all gets captured.

• They plan together, then the DP translates creative intent into shots the crew can execute.

The one line difference

Director: what we are saying and how it should feel.DP: what it looks like and how we shoot it.

Who calls what

• Director: performance notes, blocking, tone, coverage needs, when we move on.

• DP: lenses, camera placement, lighting design, movement rigs, exposure, filtration, frame rates.

• 1st AD: time, safety, order of work. Keeps us honest.

• Gaffer and Key Grip: DP’s left and right hands for light and movement.

• Production Designer: collaborates with both so set, colour, and light play nicely.

Prep: where the win happens

Director

• Defines intention for each scene.

• Chooses references for tone and pacing.

• Works script into a beat-by-beat plan for emotion.

• Storyboards or at least agrees on coverage.

DP

• Builds the visual language with the Director.

• Tests lenses, filtration, LUTs, aspect ratio, and camera.

• Designs a lighting approach for day, night, interiors, exteriors.

• Scouts locations to solve sun path, power, rigging, and sound issues.

• Writes a kit list that fits the budget rather than a fantasy cart.

On the day: who talks to whom

• Director to actors: objectives, stakes, tempo.

• Director to DP: what must be felt in the frame.

• DP to gaffer and grip: how to light and move to achieve that feeling.

• DP to operator and ACs: composition, focus strategy, exposure, filters.

• Director and Script Supervisor: continuity, performance beats, coverage checklist.

• 1st AD to everyone: time checks and turnarounds.

Coverage vs Composition

• Director: Do we have the angles to tell the story in the edit.

• DP: Are those angles designed with intent, light, and movement that supports the story.

Post touches each role

• Director: selects takes, performance, rhythm.

• DP: sits in on grade, protects skin tones, contrast, and the show LUT.

• Both should care about sound, because sound sells the image.

A quick scene example

Beat: Two friends argue on a rainy street, then one softens.

• Director priorities: performance arc from guarded to vulnerable, blocking that earns the shift, a clean button to exit the scene.

• DP choices: 40 mm on Super 35 for intimacy, rain backlight with a soft key at T2.8, gentle push-in on the apology, ND to hold highlights, a cooler white balance that warms subtly as the mood shifts.

• Result: same story, but the visual plan makes the feeling land.

Small crew vs larger crew

• Micro shoot: Director and DP may also operate and light. Keep setups lean. One key, one edge, a couple of practicals.

• Full crew: Clear lanes help speed. The DP designs. Gaffer and grip execute. The Director stays with the actors and the monitor, not the lamp.

Common myths

• “The DP is in charge of the set.” The DP leads the image team. The Director leads the film.

• “The Director must pick lenses.” The Director should describe feeling and perspective. The DP selects glass that serves it.

• “We can fix it in post.” You can polish, not invent light, composition, or performance that never happened.

When budget is tight

• Prioritise crew over toys. A strong gaffer and 1st AC beat an extra camera body.

• Reduce locations. Fewer moves means more time for performance and light.

• Lock the look in prep. A tested LUT and a sensible stop save time on set and in grade.

Quick comms checklist

• What is the emotional beat of this scene.

• What must the audience notice first.

• Where should we be physically to feel that.

• One hero angle, then the minimum supporting coverage.

• Light for faces first, then shape the background.

• Agree the move-on criteria before rolling.

Gear notes you will hear from me

• Pick a base look early. Example: Alexa-style highlight rolloff, soft contrast, healthy skin at 55 to 65 IRE.

• Choose a focal length family for each storyline, not random lens hopping.

• Use movement with purpose. Handheld for tension, controlled dolly for honesty, locked off to let performance breathe.

• Protect sound. Pretty frames mean nothing if the dialogue is mush.

Final word

The Director sets intention. The DP makes it visible. When we agree the feeling and the plan, the day runs smoothly and the footage does the heavy lifting. If you want a template for scene intention and visual notes, say the word and I will share the one I use.