The tile comes off at five in the morning, so the filming happens in the dark
Summer here decides the crew's day, and any content plan that assumes a comfortable mid morning shoot was written for another climate.
From June through September a crew is on the roof before the sun is up and off it before the surface becomes something nobody should kneel on. The interesting part of the job, the tear-off, happens at the exact hour there is the least light.
So plan for it. A headlamp and a phone light are the working setup, and the wide shot that shows a whole slope is a dawn shot or it is nothing. The close work, tile lifted and old material peeled back, films fine in artificial light and is the footage that matters anyway.
There is one usable window for the wide frame and it is short. For a stretch after first light the sun comes across the valley low enough to show the shape of a slope, the stacks of tile and the roof all at once. An hour later it is directly overhead and everything reads flat, which is why so much local roofing footage looks like a parking lot.
Artificial light flatters the close work anyway. A headlamp raking across brittle felt shows the cracking better than midday sun ever will, so the footage taken in the darkest hour of the job is usually the most persuasive thing shot all day.