Barnabas Emordi on the Vision and Scale Behind “Colours of Fire”

Cinema is inseparable from cinematography — and behind every striking frame is a visionary who shapes the story. In Nollywood, Barnabas “Barny” Emordi stands among the most respected names in the field, known for his eye for detail and his long-standing collaboration with veteran filmmaker Niyi Akinmolayan and Anthill Studios.

“We’ve worked together for a very long time and he has given me quite a lot of opportunities,” Emordi says. “We’ve blended because we understand the language we both speak — often bouncing ideas off each other on any project we collaborate on.”

That creative synergy has produced some of Nollywood’s most visually ambitious films, including House of Secrets, Lisabi, and the upcoming Colours of Fire, which Emordi believes will become a reference point for generations of filmmakers.

“We drew references from Indian, European, Russian, and Korean films,” he explains. “Fantasy dramas and romance with source materials that are not particular to the Nigerian audience.”

Despite its global influences, the film’s emotional core is unmistakably Nigerian. Emordi recalls how the visual concept evolved during development. “We started the conversation with these references, knowing what we wanted to achieve visually. Slowly everything evolved into what we have now as Colours of Fire.”

For Emordi, the project was both a challenge and an opportunity. “It was going to be a new space,” he says. “It’s exciting, vibrant, visually stunning, and it contains a lot of things that Nigerians really like. I can’t wait for people to see it.”

One of the film’s biggest challenges, given its elaborate world, was sourcing costumes and designing sets. Emordi emphasizes the importance of starting early,  something not always possible in Nollywood. “There’s no process about filmmaking that is easy,” he admits. “But when you get the opportunity to do all the exciting work early, you can explore, discover, and research.”

Knowing what they wanted to achieve made the process smoother, even if it was complex. “We started working towards it months before principal photography began,” he says. “Thankfully, we had the time and resources to explore, focus on details, and start production design early.”

As Director of Photography, Emordi oversees the film’s entire visual identity  from costume and makeup to production design. “Everything needs to align with the vision of the film we’re making,” he explains. “Every department contributed adequately to the conversation, which is why the finished work looks stunning.”

He is quick to credit the team behind the scenes. “There isn’t Colours of Fire without them,” he notes. “I want to give a big kudos to Anthill Studios, Mr. Niyi, and every head of department on set.”

One of the most ambitious sequences in the film is a lavish banquet scene featuring actor Femi Branch, described by Emordi as one of the largest ever shot in Nollywood. “Every scene was challenging because each has its own unique characteristics,” he says. “The banquet scene is the biggest Nollywood banquet scene ever, actually costing tens of millions of naira.”

That scene, he adds, reflects Anthill Studios’ commitment to pushing boundaries. “It shows that they really care about the film and enjoyed making it, even if it cost a few tens of millions of naira.”

Beyond the film, Emordi sees cinematography as more than a job. “My work is my life,” he says. “Every opportunity I get to be behind the camera and capture spectacular performances from our amazing actors, I take it seriously because it’s life or death to me.”

A two-time AMVCA nominee and one of the highest-grossing cinematographers of 2024, Emordi’s portfolio includes several Nollywood blockbusters such as A Tribe Called Judah, House of Secrets, Superstar, Elevator Baby, and Day of Destiny. He is proud of how far both he and the industry have come.

“When I started in Nollywood, there weren’t a lot of references or films we could look forward to,” he reflects. “But over the past decade, these references now exist.” He cites The House of Secrets, A Tribe Called Judah, and Colours of Fire as benchmarks for visual storytelling in Nigeria. “We aren’t just making films  these are films that will be generational in the next 20, 30, or 40 years.”

Emordi is also proud of the strides Nigerian cinematographers have made, particularly in technical growth and global recognition. “I want to give a shout-out to all the amazing cinematographers in the industry, many of whom are my friends,” he says. “They’ve taken their personal development seriously and brought back exposure, education, and experience  technically building Nollywood brick by brick.”

Still, he believes the industry needs stronger technical support. “Nollywood still needs advanced equipment like grip and lighting, with more support from rental houses,” he explains. “We can only keep making films that align with where the industry is technically, but we can only get better.”

Looking ahead, Emordi is excited about upcoming projects that continue to push storytelling boundaries. “One is Evi, a stunning Afrobeats musical drama produced by Judith Audu and directed by Uyoyou Adia,” he reveals. “There’s also a beautiful short film directed by Adesua Etomi-Wellington.”

With each new project, Barny Emordi continues to expand Nollywood’s visual language .