Opeyemi Victor Obasuyi

A rigged ARRI Alexa Mini cinema camera on a tripod in a dark film studio

Available for work worldwide

Camera department crew on Breath of Life, Best Movie at the 2024 AMVCAs, and KM17 on Prime Video. I keep the camera ready, the set moving and every shot on schedule.

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Behind the scenes

Hello, I'm Opeyemi

For eight years I've worked in the camera department on Nigerian feature films. I prepare the camera, protect the shot and keep the set moving, so directors and cinematographers can focus on the story.

More about me

0+Years on professional sets

0Feature credits on IMDb

0AMVCA-recognised films

0Titles on Prime Video

Selected work

Feature films for cinema and streaming, including two titles recognised at the Africa Magic Viewers' Choice Awards.

Best Movie, AMVCA 2024View film

2023 · Feature film

Skills

Everything a camera team needs to move quickly and get the shot, done carefully and without fuss.

Hands adjusting the follow focus on a rigged ARRI cinema camera

Camera prep & builds

Bodies, lenses, monitors, wireless video and power: built, tested and ready before call time.

A set of cinema prime lenses in a padded case with a lens blower and cloth

Lenses & focus support

Lens changes, cleaning and marks, working closely with the focus puller so every frame lands sharp.

A camera dolly with an ARRI camera on track laid across a location

Camera movement

Dolly, slider and track set-ups, laid and levelled so moves are smooth and easy to repeat.

An editing timeline open on a laptop at the end of a shoot day

Editing & post-production

With an MA in Editing for TV, Film & Digital Media, I know what the edit needs from set: usable coverage, accurate logs and media that's ready to cut.

A clapperboard held up in front of a cinema camera on set

Slate, media & reports

Clean slates, organised media and accurate camera reports that make life easier in the edit.

An LED film light with barn doors on a stand at an outdoor location

Lighting & rigging support

A reliable extra pair of hands for the lighting and grip teams when the schedule gets tight.

Headphones, a walkie-talkie and a call sheet on a flight case while the crew talks on set

Calm set communication

Clear, quiet communication with the DP, director and crew, even on the busiest shooting days.

Behind the scenes

Long days, early calls and a lot of kit. A few moments from set, away from the final cut.

Rigging a soft light over an actor on an interior set — Shaping the light for an interior scene

Opeyemi checking the monitor on a camera rig during a street shoot — Checking the frame before a take

Black and white photo of the camera team waiting beside a cinema camera on a tripod — Waiting on the next set-up

Opeyemi on a camera dolly with a cinema camera during an outdoor scene — Setting up a dolly move

Explore behind the scenes

The process

Every take on screen starts hours earlier. This is how the camera department gets a set-up from the truck to the edit.

Prepare
The camera is built, tested and labelled. Lenses are cleaned, batteries charged, media ready.
Rehearse
We watch the blocking, lay the track and set marks so the camera can hit them every time.
Roll
Slate, focus and frame come together. Every take is logged so the edit has what it needs.
Wrap
Media is secured and handed over, the kit is cleaned and packed, and the reports are signed off.