Featured Filmmaker
melissa Cofie
DIRECTOR & DOP
From £50 Budgets to Virtual Production: Evolving as a Filmmaker
This month we Dive into Melissa’s journey from low-budget hustle to directing 'Holy Bed', collaborating with creatives and embracing NFTS’s virtual production stage.
Navigating Low-Budget Filmmaking
The Fallback newsletter often features advice for young filmmakers working with limited budgets. You’ve mentioned the “uncertainty” of low-budget projects in past work. Can you expand on that?
“Low budgets mean different things to different people. For some, it’s $5K; for me, it was more like £50. The uncertainty comes from not having resources, but you learn to compensate by elevating other aspects like story, sound, or collaboration. I’d think, How can we make the concept so strong that the budget doesn’t limit us? You focus on what you can control: working closely with the artist, planning the timeline (festivals vs. YouTube), and not letting technical shortcomings kill the vision.”
Melissa Cofie
The Jack-of-All-Trades Dilemma: Balancing Cinematography and Direction
You’ve worked as both a cinematographer and director, sometimes simultaneously. What are the pros and cons of wearing both hats?
“Honestly, when you do both, quality will dip because your attention is split. But starting out, I didn’t know many directors, so I had to figure it out myself. The upside? I now understand lenses, shot lists, and storyboarding inside out - things many directors might not grasp. But there’s a danger in being a jack-of-all-trades. You don’t want to confuse people about what you specialize in. Eventually, you have to ask: Do I want to be known as the go-to DP, or the director with a strong visual eye? I still do both for passion projects, but I’m learning to delegate and trust others.”
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Collaboration and Creative Trust
You praised your collaboration with creative director, Nicola Gaea on the ‘Holy Bed’ project. What makes a great creative partnership?
“Nicola was the kind of collaborator who’d say, “Don’t stress the problems. Dream big, and we’ll handle the rest.” That freedom is everything. On low-budget sets, it’s easy to get bogged down by limitations, but a good team removes those mental blocks. She took a chance on me despite my lack of a formal directing reel, and that trust let me focus purely on creativity.”
Becca James: On set of ‘Holy bed’
Learning and Growth at NFTS
How did NFTS help you overcome challenges you faced earlier in your career?
“Before NFTS, I had gaps in technical knowledge like how to use high frame rates or why lens choices matter. YouTube tutorials only go so far. At NFTS, I finally had access to gear, mentors, and structured learning. For example, virtual production was a mystery until we built a stage and experimented with angles, lighting, and realism. Now, I can articulate why a spherical lens or a specific bounce works. It’s demystified the craft.”
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Any final thoughts on finding your path in the industry?
“It’s okay to experiment early on, but eventually, you’ll want to niche down. Ask yourself: What do I want to be known for? Because no one hires ‘the person who does everything’. Oh, and if you’re directing, let your DP do their job—even if you’re tempted to grab the camera yourself. Trust is key.”
Rapid Fire: Lamps, Dried Fruit, and Variable ND Filters.
What advice would you give to aspiring cinematographers or directors?
“Start small, literally. You don’t need a fancy camera. Grab a lamp, a phone, and a willing friend to practice lighting setups. Notice how hard light vs. soft light changes a mood. A teacher once told me to treat every test like a puzzle: What happens if I move this shadow? How does backlighting feel?”
Go-To Snack on Set?
“I’ve stopped drinking Coca Cola so now I’ll make sure that there’s no allergies on set and have like some cashews and dried mangoes and dried fruit. I sound like a granny.”
Is there a piece of gear that you just can't live without?
“Yeah, a variable ND filter because I’m only now learning the maths of stops and stuff and learning to use a light meter. ”
