A day on set with VIP: producing a commercial in Lusaka

At 5:30 in the morning, before Lusaka’s daytime heat settles over the city, a VIP crew gathers beside a waiting production van. Camera bodies are checked, batteries are charged, weather plans are discussed and the director reviews the first shots of the day. By sunrise, traffic is building along the routes into the central business district, but the location manager has already mapped the delays.

A day on set with VIP follows the unglamorous rhythm behind a polished advertisement: permissions, wardrobe adjustments, continuity, focused performances and careful collaboration. It also reveals how a commercial shoot can strengthen a production company, develop local talent and give audiences across Zambia a more immediate connection to a brand or public message.

Before the cameras roll

The first call usually includes the director, cinematographer, focus puller, sound recordist, gaffer, art department, wardrobe team and production manager. Equipment is checked against the shot list while the first pages of the script receive another read. On a busy set, those early conversations determine whether the afternoon schedule survives traffic, changing light or a demanding location.

Pre-production is where the commercial takes shape. VIP develops the concept, identifies the audience, selects locations, casts performers and prepares a shooting schedule that accounts for local conditions. A luxury car, bank, telecom service or tourism campaign may look simple in the edit, yet it can require several coordinated units and a carefully managed movement through the city.

Australian crews will recognise much of this discipline, particularly those who have worked around Fox Studios in Sydney or the production studios of South Melbourne. The difference lies in scale and surroundings. Lusaka offers distinctive streets, generous light and growing commercial opportunities, while locations can change quickly between a controlled set and a busy public space.

Finding the right Lusaka locations

Location scouting begins with more than visual appeal. The team examines traffic flow, parking, power access, permission requirements, crowd noise and the distance between scenes. Central Lusaka can shift from quiet to congested within minutes, especially around Cairo Road and the routes connecting the city centre with the airport. A location that appears ideal at 8:00 may need a revised approach by midday.

Contingency forms part of every plan. The art department prepares a smaller indoor option, while the cinematographer compares open shade with direct sunlight and identifies areas where dialogue can be recorded without aircraft or generators interfering. During the rainy season, covered walkways and protected camera positions become essential; in dry weather, dust can be just as noticeable on a lens.

This practical grounding reflects the wider energy of Zambian filmmaking. The growth of the country’s screen sector is illustrated by five directors to watch, whose work shows the range of stories emerging from local communities. Commercial production operates in the same environment, competing for attention while helping fund the skills and relationships needed for ambitious features.

Directing performances in Lusaka

Actors arrive with wardrobe, makeup and a short preparation brief. Some are experienced professionals; others may be community members whose everyday presence gives the advertisement authenticity. The director explains the intention behind each line, then allows room for natural expressions, pauses and gestures rather than forcing every delivery into a television formula.

Direction on a commercial set must be precise without becoming mechanical. A glance toward a product, a half-step through a doorway or a reaction timed between camera setups can make the final edit feel alive. When the schedule accelerates, performers need clear instructions and trust in the crew, especially when their strongest take is followed by several technically preferable alternatives.

Australian teams often contribute a direct, conversational style to this process. Phrases such as “have a look”, “good to go” and “no worries” are common on Australian sets, where clear communication matters more than exaggerated displays of formality. That plainspoken approach travels well in Lusaka, where direction can remain warm, concise and respectful of the performer’s individual rhythm.

Capturing light and clean sound

Once filming begins, the light becomes its own character. Early scenes benefit from softer sunrise, while midday sequences demand diffusion, reflectors or carefully controlled exposure. The camera team watches shadows moving across faces and façades, ready to reposition when a building, vehicle or cloud changes the frame. Commercial clients may expect a bright and inviting image, but the brightest result often comes from careful restraint.

Sound presents a parallel challenge. Traffic, wind, birds, generators and nearby conversations all compete with dialogue. The sound recordist checks levels before every take and keeps radio communication brief on set. Wireless microphones provide freedom for moving performers, while a focused boom operator follows the action and watches for clothing noise, reflections or unexpected aircraft.

The final mix is equally important to the commercial’s credibility. During post-production, VIP’s team uses the principles outlined in authentic film sound design to balance dialogue, music and the atmosphere of each scene. Australian viewers accustomed to clear broadcast audio and carefully controlled advertising sound will notice when those elements work together naturally.

Funding and approvals

A commercial budget must cover more than the visible shoot. It accounts for crew, equipment, transport, catering, wardrobe, permits, insurance, studio space, editing, music, graphics and sound. Costs are commonly managed in Zambian kwacha while international suppliers or services may be quoted in United States dollars or Australian dollars, making exchange-rate planning and scheduled payments important.

Australian clients entering the market will also recognise the role of freelancers and local vendors. Campaigns are often built through a network of agency creatives, production directors, casting specialists, editors and finishing studios rather than one permanent in-house team. In Australia, that ecosystem includes negotiated day rates, state workplace-safety obligations, location approvals and public-liability requirements; comparable care protects every production in Zambia.

Approvals move through the set as carefully as the equipment. The director and camera team may approve a performance, while the client and agency review the assembled footage. Clear notes prevent one scene from being reshot because a product detail was missed. Building approval time into the schedule reduces pressure, particularly when a commercial is promoting something that needs factual accuracy.

Editing the story and sharing it

Dailies are assembled as soon as the footage reaches the edit suite. The editor selects usable takes, builds a clear narrative and checks whether each cut meets the campaign’s objective. Picture, dialogue, music, sound effects, colour and graphics then pass through separate review stages before a client-ready version is delivered.

The same production culture extends beyond paid campaigns through the Shungu Namutitima International Film Festival of Zambia, known as SHUNAFFoZ. The festival supports documentary, short-form and feature-length filmmaking by creating a platform for stories that might otherwise receive limited circulation. Filmmakers can consult the 2026 entry call for its themes, focus areas and submission requirements.

For brands, the final campaign may include television, digital, social and outdoor versions rather than one master edit. VIP tailors each format while preserving the central idea, adjusting pacing and framing for smaller screens. The resulting content is measured through agreed objectives such as reach, engagement, recall or direct response, giving the creative work a practical endpoint.

From a paid brief to lasting craft

A commercial can generate income, but its most valuable legacy may be the crew it develops. Assistants move into camera, lighting, art or production roles. Local performers gain experience, location teams build relationships with councils and businesses, and editors become familiar with how an audience responds to a particular style of storytelling.

That continuity supports VIP’s broader mission in film development, pre-production, production and post-production. It also connects commercial work with the organisation’s completed films, event programme, awards coverage, reports and industry news. Partnerships with local and international participants matter because they bring access, training and opportunities that an isolated production could not create alone.

Near the end of the final shooting day, the crew checks the last scene, gathers equipment and reviews the wrap sheet. Exhaustion gives way to satisfaction as the director watches a rough assembly on a laptop. The advertisement is not complete until its sound, colour, graphics and music arrive, yet the set has already delivered something important: a finished story made by a team working across disciplines and cultures.

Vilole Images Productions invites filmmakers working on documentaries, short films or feature-length projects to prepare a submission for SHUNAFFoZ and engage with its programme of screenings, workshops and industry connections. Brands, agencies and institutions planning film or commercial work in Zambia can also approach VIP for development, production and post-production support tailored to their objectives. Contact Vilole Images Productions to begin the next project with a clear brief, local understanding and a production team ready for every stage of the shoot.