Kayode Taiwo Olla conducted an interview for Bravearts Africa with US-based Nigerian cinematographer Sola Adeaga via email. Sola (also Olusola) Adeaga, is Managing Director and CEO of Horeb Digital Network Ltd, formerly based in Lagos, Nigeria. He is also a movie colorist, editor and producer. He has a degree in Media from the University of Nations, Switzerland in Ghana and also another in Economics from the University of Nigeria, Nsukka, Nigeria. He is presently shooting his hi-tech Christian crime movie (Working Title: Prime Suspect), and to be the first of its kind among Nigerian Christian movie productions in terms of technologies.
In this brief interview, he shares with Bravearts Africa on his editing and production engagements and projects, on cinematography and production, and also on the Nigeria contemporary cinema culture.
I learn you’ve worked on movie productions as colorist, both for some Christian producers as well as some Nollywood names. I also learn you’ve shot and edited media promotions for companies in Nigeria. Can you tell us about it and perhaps the particular productions you’ve worked on in recent times?
S.A.: God be praised. I did the color job and general post production of some movies like Sunset at Midday, Fatal Exchange, and advert like Glo phone rain promo.
You’re shooting your movie, and from the gadgets, cameras and crane I saw in the location I couldn’t but just anticipate a very hi-tech production. Tell us briefly about your movie; what should the cinema and home video world expect, coming from you?
S.A.: It is about Holy Spirit and Politics. It is an action film with some stunts such that is rare in Nigerian movies.
Can you describe to us the technical reasons why Nigeria home video productions, from Nollywood, to Christian movies, to pulp home videos— why they would range in different screen qualities after production?
S.A.: Different cameras will produce different color textures and bit rates, the expectation of the director of such a production will determine what they will get at the end of the production.
What will you say about the place of the cinema in Nigeria’s movie consumption today? Is it rather only a myth that the cinema is fading off into the background?
S.A.: The cinema has faded off long years back, but cinema is just coming back to Nigeria; cinema culture is gradually coming back to us.
On the issue of piracy and producers—What do Nollywood producers actually do so much we don’t hear them lose all out or seem to be all too shaken by piracies, which of course is rampant here?—I mean the piracies.
S.A.: Government has really allowed piracy because of the general rate of corruption in all sectors of the economy, piracy cannot be controlled in this country until we have a government who will be ready to fight it for us.
Okay, then. For young people who want to take a career in movie editing later in the future, where do they begin?
S.A.: Be a good movie critic, be ready to be serious and very creative otherwise you will end up as a cut and paste editor.
Thank you for sparing time for us.
S.A.: Thank you too.
Kayode Taiwo Olla is the author of two works – a novel, Sprouting Again (Syncterface, London; 2011), as well as a collection of performance-oriented love poems, Softlie (Synterface, London; 2013). Holding a BA from Obafemi Awolowo University and an MA from the University of Ibadan, he is a lecturer at the Federal Polytechnic, Ede, Nigeria. He devotes his time outside the lecture halls to his family and to Bravearts Africa which he co-founded with his wife.