Behind the lens with Casey Crafford

Behind every major production filmed in Cape Town is a network of highly skilled professionals contributing to its success. Casey Crafford, a Unit Stills and Motion Picture Photographer, is among those shaping how these productions are seen across the world. Having worked on projects such as Gettysburg, Unseen, and more recently One Piece, his work captures the scale, energy, and authenticity that define filming in South Africa. Here, he shares his journey and perspective on working at the intersection of storytelling and marketing.

Q. How did you start your journey in photography, and what led you to BTS on film sets?
My journey began after moving back to South Africa, looking for an alternative to the corporate
world I’d left behind in London. I happened to get a roll of film developed at my local camera store
and spotted an ad for a photographer’s assistant. I called and was thrown into the deep end of
fashion photography the very next day.

After some time in KZN, I moved to Cape Town as a regular assistant, becoming a reliable call for
production houses as a lighting assistant or Digital Image Technician (DIT). Eventually, I realised I
craved more than the studio could offer. I gravitated toward location-based sport and action content
as I developed my own style. It wasn’t long before I was exposed to the world of Unit Stills. I’ll
never forget my first series, Gettysburg (2008), for the History Channel. The explosions, the action,
and the fast-paced, organised chaos of filmmaking drew me in instantly. I knew I’d found a place
where I belonged.

Q. How has your style evolved from “normal” photography to Unit Stills?
My style has always leant toward outdoor action, sport, and adventure. In a way, I simply applied
that love for high-stakes movement and action to the world of filmmaking.

Q. What does a typical day on set look like for you?
It is inevitably an early start, with bags packed and an outfit laid out the night before to suit the
conditions, whether we are in the desert or out at sea. When I arrive on set, after a light breakfast
and a coffee, a quick handshake with the 1st AD and crew ensures everyone knows I’m there for the
day.

I read the “sides” (script excerpts) and watch the director’s “blocking” to sense how the action will
unfold. In my mind, I can see where the best shots will develop, so I prep my cameras with the
necessary lenses to capture those angles. Working alongside the camera crew, sound, SFX, and
stunts, amongst others is always a challenge, but I enjoy the dance of creating lasting moments that
capture the essence of a scene.

After wrap, I download and back up the footage in triplicate. My assistant then appends metadata
and uploads the images via FTP to picture editors around the world. It’s a long day, but during the
commute home, I reflect on what we accomplished and get ready to go again

Q. What equipment do you rely on most?
I like to keep things simple. My go-to system is the Canon R5 MkII and Canon R6 MkII, paired
with the Canon 24-70mm f/2.8 and 70-200mm f/2.8 lenses. I keep them on a Blackrapid shoulder
sling, which allows me to switch camera’s and focal lengths in an instant. I use only the fastest Delkin CF & SD cards, backing up to G-Drive and Sony SSDs on the go. For my “portable studio” (seamless) setup, I rely on Godox AD600 Pro II heads, Godox light shapers, and Manfrotto supports. Occasionally, I’ll trigger remote cameras on cranes or vehicles using PocketWizard transceivers.

Q. Do you ever feel pressure to capture “marketable” moments rather than authentic ones?
There is always pressure to deliver marketable assets, but I try to stay true to the director’s vision. I
believe if you are conscientious, those authentic moments will present themselves, you just have to
be ready to catch them

Q. How do you adapt to different environments and lighting?
Having reliable gear is everything. Modern low-light capabilities have improved dramatically,
allowing stills shooters to challenge the dynamic range of high-end cinema cameras. At that point,
your technical knowledge of the relationship between shutter, ISO, and F-stop is critical to getting
the most out of the environment.

Q. What’s the biggest challenge you face?
Finding the shot that matches the story while sharing a very small space with other crew members
and sometimes it’s just about persuading cast to give you a “pull aside” moment after a take.

Q.How do you handle unpredictable or fast-moving moments?
Preparation is the only way. You need your equipment and settings dialed in before the action starts.
It takes an experienced eye to predict what’s coming, so I always make sure to watch the rehearsals
before the cameras roll.

Q. What is something people often don’t realise about Unit Stills?
We are an indispensable marketing asset. Our images are seen everywhere, from social media to
billboards in Times Square. What we capture can skyrocket a show’s popularity and catapult a
brand into major consumer partnerships and endorsements.

Q. What skills beyond photography are essential?
People skills are essential. You also need administrative discipline, an interest in technology and a
rigorous approach to data management. Those skills are what allow your creative talent to thrive in
a professional environment.

Q. Which project has been your favourite so far?
I am currently in production on Netflix’s One Piece (Season 3), and it has been incredible. Seeing
die-hard manga fans invest in this live-action adaptation is so rewarding. The mix of VFX and incamera action is a creative journey I’m proud to contribute to.

Q. What would you like to see improve within the South African film industry?
Our biggest hurdle right now is the lack of communication regarding the DTIC rebates. It is
essentially shrinking our industry rather than growing it, leaving many talented colleagues desperate
for work. I want to see productive engagement to rejuvenate the sector and give it the “shot in the
arm” it deserves so we can continue showcasing South Africa as a global filming destination.

Q. Do you have a golden rule for new photographers?
It’s an oldie but a goodie: Steal with your eyes. Put yourself out there, get into the melange of the
shooting crew, and learn by doing. Action is the best teacher.

To view more behind-the-scenes content and Casey’s work, check out his Instagram account.