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READ MORE ABOUT
Amal Neerad Badal Sarkar KM Vishnuvardhana M Sukumar
R Chezhiyan Raja Satankar Rajan Soundar S PV Ravi Kishore
S Ramachandra Sanjay C Nair Shaad Kumar Sunil Patel
AlsO fEATURED
BC Naria Hariharan VN Mohan Siddharth Diwan
fOCUs ON
Government Film & Television Institute, Hessaraghatta Prasad EFX

VOLUME 8, ISSUE 5 2011
Foreword
Push boundaries
with KodaK
A poll on the internet I recently visited asked people the meaning of:
“to push the boundaries”.
The answer that won the maximum votes was, “to extend ones’ frontiers,
to boldly go, to experiment, not to be content with, and want to find out
more; a step in the search for knowledge.”
I couldn’t help but put two and two together. This was exactly what
Kodak is encouraging the industry to do. By providing cutting edge
products that have broadened the scope of the DoP’s work, it has
certainly raised the glass ceiling, moreso in today’s context when
Digital capture is really hyping up its technology bit.
In this issue, each DoP featured, has in some way pushed the envelope.
As you read, you will realise, page after page that each story is a success
story, written with the help of Kodak. Either, it is the ability of the stock
to give good results, despite low light conditions, or give clarity and
colour as was envisaged, or completely eliminate grains – it’s all there
in their own words.
The first step towards innovation is merging disciplines and combining
technologies. Our lead story is about DoP Ranjan Palit and the untrodden
path that he and director Vishal Bharadwaj have taken in visualising the
film Saat Khoon Maaf. Go ahead and read it. Read why Palit thinks
Kodak makes a difference! And then experience it for yourself.
Suresh S Iyer
Country Business Manager
Entertainment Imaging
Managing Editor Suresh S Iyer
Editor C Sengupta
Contributors Jayanti Sen, Dev Tulal Das and KB Venu
Design and Layout M-Power Creations
Printing Printania, Mumbai
Printed and Published by Suresh Iyer on behalf of Kodak India Private Limited, at Mumbai.
Do write in with ideas, suggestions, comments to kodakimages@rediffmail.com
This is an independent magazine. Views expressed in the articles are those of the editorial team.
5
9
11
28
33
36
COnTEnTS
ORIGINAL PERCEPTION
Sunil Patel on how today’s images
are born out of a different thinking.
DIFFERENT OUTLOOK
Raja Satankar tries to understand
the director’s vision before
planning ‘the look’.
HEART’S DESIRE
Shaad Kumar’s story of commitment
and dedication to the art and craft
of cinematography.
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23
27
REALITY BYTES
VN Mohan says that it is best to fail
by trying unusual things rather than
to succeed by doing usual things.
GOLDEN CONTRIBUTION
FTII has indeed made a golden
contribution to Indian Cinema.
AN UNSUNG HERO
The life and times of one of
Kannada’s finest cinematographers,
S Ramachandra.
ENLIGHTENED MOMENTS
R Chezhiyan paints a portrait on
celluloid whenever he wields
the camera.
KODAK’LL REMAIN
Badal Sarkar is deeply interested in
how light is used to create images.
FORGING AHEAD
Prasad EFX offers an entire range of
Digital services and more.

D
irector Vishal
cover STorY
DARing
steP
out
Ranjan Palit is unique in his approach to film making. According to him, a film is
a director’s vision and the camera should not come in the way. With deep roots in
documentary films, Palit treads down an untrodden path with his recent release –
Saat Khoon Maaf where his camera is a character in itself interacting with the actors.
Palit with his deft artistry creates a sensuous, lingering and bold piece of cinema.
Saat Khoon Maaf
days after one has seen the film. Content-wise
film. A backdrop of filming
Bharadwaj and
the film portrays the story of a young woman,
and directing at least a hundred
cinematographer
Susanna, who in her unending quest for love,
documentaries before working
Ranjan Palit
marries one man after another, but an unknown
as a cinematographer in this
have broken all
realm of her psyche leads her to kill all of them.
film, Palit has shot a daring film
conventions of a
The film has an almost surreal touch to it taking
forging a new path in Indian
traditional Hindi
the viewer through a journey of a woman’s
cinema. Commenting on his own
masala movie to create a fresh,
tortuous turbulent life.
work in Saat Khoon Maaf Palit
daring, haunting piece of cinema
The whole approach of cinematography is
says: ‘‘Worldwide fiction and
in Saat Khoon Maaf. The fantastic
strikingly different for this film. With Bharadwaj,
advertising have begun borrowing
images taken by Palit keep coming
Palit decided to work out a totally untrodden
from documentary; I mean the look,
up before the mind’s eye for several
path of cinematography when visualising the
the acting, the mise-en-scene…
1

2
cover STorY
gone are heavily choreographed,
tracking movements, jib, crane
– all that is fast disappearing…
gone is the way of breaking down
a scene beforehand, into multiple
shots, the conventional long
shot, mid shot, complimentary
over-the-shoulder shots, leading
to close-ups… now as far as
possible, the approach is to do a
few long continuous shots, where
the camera follows characters,
weaves in and out of them, a
chemistry happens between the
actors and the camera, creating
something much more endemic
to a scene, much more organic
and real-natural… it is not only
non-restricting, it actually helps
the actors perform. Boring
old grammar is broken, and a
new film language is created,
which is much fresher, dynamic
and natural.”
The film has an aura of a novel
unfolding before our eyes, the
rich, dark or even awesome
eye-level shots, or shots taken
from unusual angles create the
inherent drama or conflict within
the minds of the characters. In
the scenes between Susanna,
played by Priyanka Chopra,
and her first husband played by
Neil Nitin Mukesh, the shock
or even impulse that we are led
into feeling is at the same time
erotic, yet frightening to some
extent. This brings us to another
aspect of the film that is deeply
compelling – the handling of
eroticism, physical love between
a man and a woman. The
sensuousness of a woman’s body,
her relationship with a man, is very effectively
brought out without using sheer bare-bodied
shots. “Our approach, both of the director and
mine, was never to use plain, sheer eroticism.
You may have noted, in this first part where
Susanna engaged in a tango dance with another
man while her first husband looks on, is quite
erotic, it is charged.” says Palit. “I have used a
flare in these shots – Neil watches on, he is angry,
it takes us to the bedroom sequence where she
is tormented by her husband. Here I have used
unusual camera angles,” he adds.
Palit’s camera takes peculiar, almost low-angle,
toppish shots where the husband looks very
sinister while the woman is vulnerable, quick
The camera is like a
character, interacting
with the actors. My
camera is reacting to their
movement spontaneously
– that is an outcome of my
documentary background.
to break down. Palit’s lighting in
these shots also use a very lowkey
light-and-shade pattern which
enhances the unhappy feeling of
the shot. “You will note that even in

the jungle sequence, I have kept the
moonlight with a greenish tinge to
give a slightly unreal touch to keep
an unpleasant mood. Our whole
aim in this film was to build up an
eroticism that has so far not been
explored,” he says. “In the John
Abraham sequences the shots were
simpler, but when you go on to the
Annu Kapoor sequence, you see
Annu practically having a dialogue
with Susanna’s thigh – this, by
itself, is absurd almost. It bugs me
when people keep asking me why
this is so, why she kills. See, we
were out to subvert the eroticism so
far portrayed in the average Hindi
commercial cinema,” explains
Palit.
Palit’s team of Nandu, Saurabh,
Ravi Kiran and Tini were very
involved in the film and not just possessive
about camerawork. “Their involvement with
the film and ‘not only the camera’ was even
acknowledged by the director,” says Palit.
Palit goes on to recall a shot inside a well. He
says, “We were shooting with real snakes in a
very small area. Priyanka was very frightened
in the beginning, but when she saw my gaffer
Nandu handling the snakes with ease, she took
her courage in her own hands and said, “I can
hold the snakes for ten seconds if you can take it
at one go.” “I used a big 18K HMI light which
came from above, to simulate sunlight. I told
Priyanka to lift her head to capture some of the
sunlight on her hair and then took the shot,” says
Palit.
But the most weirdly erotic of all the sequences
is the one with Irrfan and Priyanka. “This, I say,
was a crazy bit of shooting. Neither Vishal nor I
were really prepared as to what would happen in
this sequence. I was using a hand-held camera,
and Vishal told me to be prepared for anything
that may come up. As the two characters handle,
jostle, pull at each other’s clothes, tearing
them apart, there I was, climbing on the bed,
taking one, impossible continuous shot, one
full magazine, sliding on the ground with them
15-20
words
(quote)
cover STorY
in view. We never knew what
Irrfan would do in this bedroom
shot. The ceiling of the room was
very low; daylight was coming
in from the windows. The mood,
the timeless feeling, movements
of the sequence had to be created.
In fact the whole film has this
feel of a fairy-tale which is what
Bharadwaj wanted to create,” says
Palit.
“I kneeled, slid and even moved
around slowly in one single
shot – an entire reel,” adds Palit.
“There was this little risk of a
slight camera-shake, but I took
the risk for all it’s worth and shot
the scene; and the results I feel has
satisfied us all.”
A very interesting and important
aspect of the film is its
architecture. “Art director Samir
Chanda has done a great job, and
I tried to keep his visualisation
true and effective – the house is a
real hundred year old house with
the well, the dead tree – the whole
3

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cover STorY
place had this sort of brooding
aura about it,” says Palit. Chanda
built the church exterior and
interior. “Situated in Coorg on a
coffee plantation, a Manderley
(Rebecca) sort of place, we shot
there for 60 days at a stretch
without any outside disturbance,”
shares Palit.
Actually with this sort of a film it
is impossible to cover the entire
gamut of shots that were created,
but one can just try to recapture the
most interesting bits of the film as
it unfolds before one’s eyes. The
most important characteristic
of Palit’s camera is that a large
part of it is shot hand-held. “After making over
100 documentaries, I cannot remember when
I last used a tripod. To me the camera is an
extension of my body. As I said earlier, fiction
is now borrowing from documentary. Cameramovement
now has become very fluid, it helps
the director and actors. The whole rhythm of a
film gets broken if you use too many separate
shots. Small subtle movements are much nicer,”
says Palit.
As a matter of fact the total characteristics of
lighting become different as one moves from
location to location, from the perspective shots of
a Kashmir garden to the open sea at Pondicherry.
One really has to see the film to realise the full
potential of Palit’s camera-work. “One has to
limit paraphernalia when Actors are seriously
Ranjan Palit on why Kodak
makes a difference?
For the entire film I used Kodak Vision 3, 250D for
daylight exterior shootings and 500T for night
exterior without any correction filter. I don’t use
an 85 filter as the camera becomes heavy with its
accompanying matte-box. Only Kodak stock can
handle such situations, as I feel it has great colour
latitude. Minute corrections if required can be
handled in the lab. No other stock I believe, can
give me this kind of colour latitude.
Kodak Vision 3, 500T is one of the best that I have
ever used. Even when underexposed by half or even
a full stop, no grain is visible at all. Prior to this we
had grains if we pushed. I used Vision 3, 500T
for the sky at the end of the film, where night turns
to twilight.
In the machan jungle scene where she takes the
Russian towards the well at night, or where they
kill Irrfan, on a moonlight night, on snow, I have
underexposed highlights by two stops, shadows by
five stops, and Kodak Vision 3, 500T gave me detail,
in the shadows.
acting – it interferes with their
work. They are free to move as they
like, the same goes for the director.
He can go anywhere… the camera
is like a character, interacting with
the Actors! My camera is reacting to
the movement spontaneously – that
is an outcome of my documentary
background,” adds Palit.
‘‘Being a filmmaker has certainly
helped – it should be the director’s
vision. I don’t want the camera
to come in the way,” says Palit.
“Bharadwaj and I have a beautiful
chemistry. He is the nicest filmmaker
I have ever worked with, and this
was the best shoot of my life.”
I

On the sets of Ready
MUMBAI
ORiginAL
PERCEPTiOn
An enthusiastic still photographer from early years, filmmaking for DoP Sunil Patel is a collaborative process. A firm believer in
planning, according to Patel today’s images are born out of a different thinking and criteria than those of yesteryears, and this has a
F
or Sunil Patel, cinematography was a natural progression
from one artistic activity to another. An enthusiastic still
photographer from early years, on completion of his
Bachelor’s degree in Mathematics, Patel took up another
Bachelor’s course in Photography at the Harrow College,
Middlesex Polytechnic in UK. The kind of creative exposure
that he had there, coming in contact with the latest trends and
advances in photography ultimately led him to take up cinematography as
a profession. According to him, “a new approach to my career was logical
and appealing”.
Working out of Mumbai, where technology and ideas bombard a
cinematographer’s psyche, Patel is at ease. “Generally one is aware of
the advances made in any particular field through dedicated speciality
books and magazines. Cinematography, like any other profession,
requires regular update to stay abreast with the technological and aesthetic
achievements of our colleagues in other parts of the world. It is important
to realise that someone, somewhere is facing a similar situation like you,
direct bearing on the way we make films today.
and that someone out there has already found a possible solution to your
problem,” he says.
Patel’s work for all these years has been main stream Hindi masala
movies. “I think it is a matter of perception of what one considers a
‘masala’ film – it caters to a real demand,” he says. “It’s another thing
that you may personally not agree with it; but most films that I have
worked on have had my real dedication to it, even if my opinions have not
been accepted,” he adds. “I have worked with directors who have been
very passionate about their stories and would not want to compromise,”
says Patel. “I think it is my duty to be at his/her side and help him/her
realise their film on screen. I have come to realise that if one improves
the quality of his/her argument, there will emerge a more meaningful
film,” he says.
On the matter of the basic approach to cinematography changing over
the years, Patel says, “Not in as much as the technique, as the reason for
which images are created today. Today’s images are born out of different
thinking and criteria than those of yesteryears. This of course, has a
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MUMBAI
bearing on the way we make films today.”
For his professional requirements, Patel often has to visit remote places
such as the interiors of Punjab. Commenting on how he copes with such
situations he says, “locations, unlike sets, need to be exploited for what
they have to offer for the film. Scouting the right place for your film not
only adds to the film but also saves money for the production. However,
an important thing to bear in mind is that most locations are not used to
having people moving around with cameras,” says Patel. “People are not
used to a film crew, so it is important to consider all possible reactions
and consequences of our activities, especially in places of religious
worship, or orthodox cultures. One crew’s behaviour often dictates
the reception that subsequent filmmakers
would receive”.
About planning his lighting, choice of
lenses, camera angles to suit his location, he
says, “in present times, planning is perhaps
the single-most factor that affects almost
every department’s work and results in the
film industry. Unfortunately, we are still
grappling with the concept of planning and
execution. I hear these words every day
but as far as cinematography goes, there
is little gross disciplinary understanding
amongst technicians. We also seem to
blame such shortfalls on the budget
Technical Specifications
Film Ready
Director Anees Bazmee
Producer T-series, Rawail Grandsons
Stock Kodak 5213, 5201
We make films to tell
stories and not discuss
resolution. In my opinion,
film has enough appeal
to survive the onslaught
of the digital revolution.
What I would like to see is
a peaceful co-existence
of both.
restrictions. But for any given film there is never enough time and money,”
he adds. “I, on my part, have developed a system of making notes and ideas
and thoughts that come to me during location scouting, set constructions
or visits to a location. I bounce these off immediately to my director and
see his/her reaction. This gives me a further insight into what the director
thinks of his/her project. It is important to have the right mindset during
the initial planning days of any project,” says Patel. According to Patel film
resolution surpasses most digital images many times over. “We make films
to tell stories and not discuss resolution,” he says. “In my opinion, film has
enough appeal to survive the onslaught of the digital revolution. What I
would like to see is a peaceful co-existence of both,” he adds. “Filmmaking
is a collaborative process,” he concludes.
At present Patel is shooting film Ready,
directed by Anees Bazmee, produced
by T-series and Rajat Rawail, starring
Salman Khan, Asin, Paresh Rawal, Mahesh
Manjarekar, Arya Babbar and Puneet Isar.
He has also signed two other films – one
Marathi, as yet unnamed, directed by Girish
Joshi, scheduled to be shot in April 2011
and another with Kunal Kohli Productions,
also unnamed, to be directed by Kunal
Kohli and produced by Eros International,
scheduled for shooting between May to
August 2011.
“Kodak never fails me.”
Kodak spells Confidence with a capital C. It is
reliable and has a variety that caters to industry
needs. It has established a trust by listening to the
feedback from its end users that almost equates to
faith in its technology and innovation.
My favourite stock is the Vision 3, 5213. It suits
our conditions well. And with the current obsession
for super 35 with 2.35:1 extraction, it is the optimal
medium grain stock. Though I also love the 50D
stock, 200T is more versatile.
Top light for me is not a problem anymore. I have
experimented and innovated techniques that give
adequate freedom in such conditions. Kodak is the
ideal stock which I have used over the years and
shall continue to do so. Kodak never fails me.
I

On the sets of Bumboo
ChaLLenGe
ACCEPTED
MUMBAI
Having being born and raised in an environment where cinema took centre stage, Sanjay C Nair opted for cinematography as a
profession because he knew that’s where his calling was. A disciplinarian, Nair has worked extensively and has interesting observations
about why ‘film’ still rules as a medium for his profession. According to Nair, the most challenging aspect of a cinematographer’s duty
is to achieve the final look of the film, and Kodak he feels has stood the test of time.
V
eteran cinematographer Sanjay C Nair hails from a
family where cinema forms an essential part of the family
tradition. The youngest of a family of graduates from
the Film and Television
Institute, Pune (FTII),
his father Chandrasekhar
Nair was the head of
the department of direction at FTII. His
sister Manjusha and his brother-in-law too
graduated in 1986 in Editing and Direction.
So, the milieu of cinema is something that
he grew up with.
His father has had a tremendous influence
on him as a child, and from the tender age
of eight, he grew up watching films of
great masters of cinema such as Kurosawa,
Hitchcock, Truffaut and Ray, to name a
few. Through the growing years, Nair was
always around edit rooms, dubbing studios,
music studios, shoots, scripting sessions – basically the whole spectrum
of filmmaking. “Watching films, observing how films were made, reading
about films, were all a part of growing up,” he says.
Since he had a technical bend, it was almost like a family decision that
cinematography would suit him best. “At first I had great reservations
about being thrust with this career decision but my exposure to leading
I have conducted tests
comparing mother
negative to DI negative
prints, wherein I
personally feel the loss
of resolution and depth
from mother to digital is
very much quantifiable
and noticeable even to a
layman’s eyes.
cinematographers brought within me a great fascination for the art and
craft of cinematography,” he says. “I started working from the age of 17
as an Assistant director but the pull of cinematography was too strong for
me in almost all the projects I worked in.”
Having spent a few months at Kamlakar
Rao’s workshop, Cintronics, where film
cameras are brought in for repair and
maintenance, Nair prepared for the entrance
exam of FTII. Sitting there surrounded by
cameras and lenses, it suddenly dawned on
him that he had finally made a decision for
life.
Nair has worked on film analogue and
digital systems respectively. According to
Nair, film scores over digital in terms of
resolution and depth, as digital loses the
race in detail and its obvious flatness of the
image. However, digital scores over film in
terms of speed of process, overall control of
the image and image manipulation through SFX and DI. Film analogue
process has stringent demands of the experience and tests the mettle of
the cinematographer, whereas the digital process extends its favour to
cover the blemishes of even the most inexperienced one, to make even a
mediocre level of work look credible. This has brought a dynamic change
in the way film makers of today view the role of a cinematographer the
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8 MUMBAI
film making process. “At some levels the cinematographer has been
reduced to being an image capture technician while all else is dealt with
in post,” says Nair. “I have conducted tests comparing mother negative
to DI negative prints, wherein I personally feel the loss of resolution and
depth from mother to digital is very much quantifiable and noticeable
even to a layman’s eyes,” he adds. The choice to do a film on digital,
Nair correctly points out should be script driven rather than just budget
centric. “For example a film such as Harry Potter works well on digital
format, but a Monsoon Wedding doesn’t. One needs to use the best of
both worlds and though a large part of my negative remains original,
the SFX, optical and titles are handled through the Digital realm nowa-days,”
he says.
Where planning a film is concerned, Nair cites specific examples. “Since
Joggers’ Park I undertake several tests for each film that I do – lens
tests, stock, filter, camera, lab, DI, SFX, lighting and look tests, all of
which I print and check,” he says. “Working with directors who want to
have a say in the final look, I make a print of all the tests and show it to
the director/producer, so we know that we are on the same page before
going on the floor,” he says.
Reminiscing about the most interesting assignments of his life, Nair
says, “For his film Paranoia Bijesh Jayrajan was particular that the
primary colour would be a deep blue. Considering the subject was hard
and real, there was a need for extreme contrast and deep shadows with
rich blacks,” says Nair. “I decided to try Kodak for the two different
looks of the film. I have pulled the stock to its limits – underexposing,
with bare fills (mostly none) and highlights sometimes touching a cool
five stops over. The telecine looks good; the proof of the pudding will
be in the print which I await with bated breath,” he says.
Bumboo though a straightforward action comedy film has most of its
action, set in a set which has to be matched to a real location, which
poses its own challenges. “I felt Bumboo was a mix of colours such as
limegreen and orange,” shares Nair. “In our primary discussion director
Jagdish Rajpurohit and I were clear of the fact that it was a bright and
good looking film. My obvious choice was to go to Kodak Vision 3 stock
and that is what I did. The telecine looks good. Let’s hope I am able to
translate the same onto print, considering that Bumboo is planned to be
a non-DI film, where only the CG and opticals would be DI. Adlabs has
been extremely supportive of my constant cranky requests for repeated
test prints, which have all been very satisfying,” he says.
To Nair, the most daunting aspect of a cinematographer’s duty is to work
within the parameters of the film and achieve the desired final look. Many
a time it so happens that the cinematographer has to put his preferences
aside and use a high speed film at the dying hours of the day so that the
day’s work is completed. “Though earlier I had great reservations about
doing things like this, I found that Kodak 500T Vision 2 served me very
well to do away the possibility of a mismatch with 200T Vision 2. Intercut
with each other the difference was barely noticeable. Of course I tried
not to mix 100T grain structure in the work flow, intuitively I have felt
the difference would then be noticeable, though I have not yet had the
opportunity of so doing,” he concludes.
“Kodak offers barely any
grain in low light.”
For the film Uladhaal, one particular scene is set in
1654. The king hands over a golden shield to the family
of the loyal Chieftain as a mark of respect. It was a
scene I particularly set in night exterior, where the only
source of light would be the mashaals. I requested for
special make-up for the artists. I barely had an exposure
at such low light conditions. But I went ahead and shot
the scene with just an addition bounce dimmed down
to FO.7, while I shot the scene at F 2.8. The results are
for all to see. The faces are appropriately exposed and
the highlights of the mashaals in frame do not flare out.
Barely any grain – that is Kodak 500T Vision 2 for you!
I have shot two films with Kodak, Joggers’ Park and the
big budget Marathi film Uladhaal. Two of the others are
under production – Paranoia and Bumboo. All of them
have been shot on Kodak. Kodak has worked extremely
well and has done justice to the themes of these films.
For Joggers’ Park my objective was to have a real feel
but still retain the romance. I decided to play it safe
with Kodak for a glamorous, soft look. For glamour,
softness and a dream-like look I have always associated
with Kodak.
I

Raja Satankar believes
that each project brings
with it – challenges
and possibilities. He
tries to understand the
director’s vision before
working on the look of
a film. The new wave
of people entering
the business today,
are sure changing
the environment, but
according to him
Kodak will remain his
evergreen choice.
Mi Amruta Boltey
MUMBAI
different
OUTLOOK
C
inematographer Raja Satankar is a very perceptive artist. “I way,” he reiterates. “Each director is opening up interesting areas of thought
feel that every single director has a different way of looking at through their films. And where I am concerned, I must say it is not essential
things,” he says. “So each film our new young Marathi directors that every single film should and must be thought-provoking. There are
are making is different in its outlook and message,” he adds. times when only straight entertainment works,” he says. “Film, to me is also
The industry has seen many people from diverse backgrounds an important tool for entertainment. Watching a movie can also be good,
coming in with new ideas of storytelling and filming using new plain fun and I see no harm in it.”
equipment and techniques. “Each one is unique in his own Interestingly enough Satankar began his creative journey in Marathi theatre
Jatra Jatra Jatra Mi Amruta Boltey
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MUMBAI
Kodak is the best and the only stock I want to use. It has a wide range which helps us to do a lot of innovative work. Not only that,
with the passage of time Kodak is improving on its available raw stocks and making changes as per technicians’ requirements. At
the moment Kodak Vision 3 is the best available stock in the market. As a cinematographer I feel Kodak prints the best colours in
any old weather and lighting conditions, be it indoors, outdoors, day or night, whatever. Not only that, Kodak gives me a kind of
rich gloss which is a basic requirement of the general look of the Marathi cinema at this juncture in time. Where use of raw stocks
is concerned, I use 250D for day. My most favourite stock is 500T with which I have taken several twilight shots. This gives me
natural colours without having to go for colour corrections and it enhances the gloss also. Till date I have used only Kodak and
no other stock. One interesting aspect of using Kodak is that it gives me no matching problems when I am shooting outdoors and
indoors simultaneously. Even in my upcoming projects, I am using only Kodak.
at Pune. It was this background in theatre that
finally led him to cinema, and more particularly
– cinematography. Satankar was involved in
several areas of theatre then – ranging from
acting, direction, lighting and backstage work.
He gravitated towards stage lighting – the
interplay of light and shade, which ultimately
resulted in his decision to concentrate on
cinematography.
Commenting on how the new age Marathi
films are different from the average Hindi
masala films, Satankar says, “Maharashtra has
an excellent backdrop of well-known writers
and the tradition of Marathi literature is very
rich and time-honoured. Hence, with such a
vast storehouse of literature, our directors, both
young and old, have an extensive base to draw
inspiration,” he adds.
Elaborating on his working methodology,
Satankar says he is a stickler for planning. “No
one can work or plan a film without concentrating
first on its story. The story is all-important,”
he says. “It’s also important to understand the
director’s concepts and hear what he/she has to
say,” he adds. The story and what the director
has to say are like the two major poles of the
film which need to converge. “Keeping this in
mind, one has to work towards it,” he says.
As far as his inputs on a film are concerned,
Satankar first sits with the director and listens
carefully not only the story but also to try and
“Kodak helps me innovate.”
find out what the director wants to convey – his
personal message through the film.
“Only after this meeting do I sit and concentrate on
the ‘film look’,” he says. All of this involves a lot of
coordination between him, the entire art direction
Each director is opening
up interesting areas of
thought through their
films. And where I am
concerned, I must say
it is not essential that
every single film should
and must be
thought-provoking.
team as also the costume designing department,
as these elements contribute the maximum to the
final look on screen. “After I know what sort of
colour combinations they are going to use in the
sets and costumes of the film, I start planning my
own lighting design. I want to create films which
should look nice in the eyes of my audience,”
says Satankar.
Satankar, is unable to pinpoint his most challenging
assignment so far. According to him each new film
brings with it a new set of challenges. “With every
new film I like to explore the possibilities it brings
as a cinematographer,” concludes Satankar.
His current projects include Mama Bhacha, Dham
Dhoom and President. He is also in the process of
scripting his directorial venture – a horror film for
which he intends to use Kodak stock for daylight
and low light without the use of additional lights.
I

MUMBAI
11
HEART’SDesire
Bhojpuri and Gujarati cinema know Shamshad Ahmed as Shaad Kumar, a cinematographer today who has literally climbed up the
rungs in this industry because of his commitment and dedication to the art and craft of cinematography. A simple person at heart, Kumar
well understands that deadlines and budgets are two important pillars that support this enormous industry.
“My parents wanted me to
become a doctor”, says veteran
cinematographer Shamshad
Ahmed better known as Shaad
Kumar, a much-admired name
in Bhojpuri and Gujarati
cinema today. One day, simply
by chance Kumar went to see a film shoot in
his inter-college days. The young man was so
fascinated by the filmmaking process, that he
decided to join the film industry against his
parents’ wishes and shifted to Mumbai.
Interestingly enough, the first job he could
manage was not that of an assistant cameraman
but rather that of a production manager in Kamal
Mukut’s film Nargis. But the job did not satisfy
In an average
Hindi movie the
cinematographer can
afford to take just two
to three scenes in the
wide time-span of an
entire day. But when
you come to Bhojpuri
films, we are compelled
to film six to eight
scenes within a day.
him at all. Finally, he managed to shift to the
camera department where his job was to set
the trolleys, sockets and so on. “I really started
enjoying my work as an active component of
the filmmaking process. I realised this is where
my heart wants to be. And so began my journey
to train myself as a cinematographer,” he says.
His first independent venture as a
cinematographer was a Bhojpuri film Mahua
made in 2004. “The highlight of this film was
that our famous political leader and then the
Chief Minister of Bihar Lalu Prasad Yadav
appeared in this film,” he recalls. “When we
arranged the shot, put all the lights on with
reflectors set all around, the strong light
dazzled Laluji so much, that he could hardly

12
MUMBAI
open his eyes. I saw the situation, and decided
to soften the exposure that was disturbing him.
I brought in a lot of thermocol, with which I
bounced the strong hard light coming from
the reflectors, and then did my shooting. This
was, you can say, a learning experience for all
cinematographers,” says Kumar.
According to Kumar, the basic difference
between Hindi and Bhojpuri movies is the
budgets they operate on. A Hindi film gets a
huge budget, amounting to crores of rupees.
But for those working in the Bhojpuri cinema
budget is a big constraint. They have to work
within limited budgets. Naturally the timeframe
within which they have to complete
their work is also very limited. “In an average
Hindi movie the cinematographer can afford
to take just two to three scenes in the wide
time-span of an entire day,” he says. “But
when you come to Bhojpuri films, we have
to, or rather are compelled to film six to eight
scenes within a day,” he says. “Naturally for
lighting also, this situation is applicable. I
simply cannot afford to sit back and plan my
lighting at my own leisure. I know time is
running out and so is the producer’s money.
I have to be fast and take quick decisions and
plan my lighting in such a way that time is not
wasted,” adds Kumar.
Another important feature of Bhojpuri cinema,
according to Kumar, is that the release dates are
fixed. So the cinematographers have to keep
that in mind. “I must finish my entire shooting
within the stipulated period so that the film gets
released in time,” he says.
Kumar feels that planning his camera-angles,
lenses, lighting really depends on the story. The
kind of scenes they want to visualise, what the
situation is like, whether it is a serious or a light
one, all govern his subsequent plan of lighting,
creation of a particular mood by use of lighting,
choice of the lenses and so on. “My use of light
and shade to create a mood would also depend
on the kind of material I am going to shoot with,
what the results should look like and what we
are aiming to create on screen.”
Kumar works for Gujarati cinema as well.
As a place Gujarat has the most interesting
landscapes, with a combination of planes, rivers
such as Sabarmati, or even a hilly location such
as Mount Abu. Kumar first conducts a thorough
recee by visiting the location and then commits
what he wants to do or how he could use the
location best.
The most challenging assignment in his life
to date was during the shoot of the climax
scene of the film Marathi film Kawadse. “We
were shooting inside a room where there was
practically no light, except a small lamp. The
heroine and her daughter were just visible with
the little light that was there which the lamp
could give out. This became the source even
for the heroine to cut her vegetables. The shot
also included the hero who was sitting close
to the window of the room. Apart from these
three characters we also had an old man who
was washing his hands in the wash-basin. The
director decided to take a wide shot using all
these characters and details, with only the little
lamp as the single light source. Initially I was
a bit apprehensive but I finally decided to go
on with the shot using Kodak 500T stock and
a 200 watt bulb as my only additional light. But
since I was using Kodak stock, the shot came
out very well,” he concludes. One of Kumar’s
preferred shots to create a visual effect is a really
low angle shot.
His current projects include Bhail Tohra Se Pyar
and Kaali Pandey in Bhojpuri.
“Kodak offers maximum range”
Kodak negative gives a lot of range.
For instance if we arrange a wide shot
then the clarity and details that we get
on the face of a character compliments
with the detailing of the background
and if there is greenery and flowers
in the background then you get to see
the details of both. This kind of the total
mise-en-scene of a wide shot is possible
only in Kodak stock.
The best time to shoot for me is from 7
am to 11 am in the mornings. At this
time the temperature of the sun is at
its minimum. If we are shooting
outdoors, then we can shoot using
skimmers. After 11 am, the sun is
directly overhead and this causes harsh
shadows below the eyes on a
character’s face.
I

RChezhiyan is the kind of
cinematographer who likes to
concentrate on the screenplay
of a film. “Screenplay is
most important. It guides
everything,” he says. “I go
through the script with the
director, and then I design the look of the film.
I observe the characters and the location. And
then I try my best to create the visual mood of
the film,” he adds.
Chezhiyan operates from Chennai and the
moment of enlightenment came to him when
as a child fascinated by the actors moving on
screen, his father showed him how the images
enlightened
An avid admirer
of paintings,
cinematographer
R Chezhiyan
paints a portrait on
celluloid whenever
he wields the
camera. He plays
with light and
shadow and as a
director fulfils his
life-long passion for
visual poetry. As a
passionate student
of cinema Chezhiyan
studies the structures
of screenplay.
When I go through the
script it guides me to
the choice of lenses and
camera angles. I do a lot of
homework before I shoot,
studying the light on
location, its ambience. My
own intuition leads me to
create the rest, including
choice of raw-stock which
is always Kodak.
cHeNNAI
are formed by the rays of light coming from
the projector. This was the magic of cinema.
From his school days Chezhiyan was a
portrait painter. The passion for colours and
shades which he used to create his images
on paper led him to still photography. So,
although he has a degree in civil engineering,
his own constant urge to train himself in
commercial photography led him to meet ace
cameraman PC Sreeram who he joined as
an assistant. After working with him for five
years, Chezhiyan shot his debut film Kallori
in 2007.
Coming back to the script he says, “When I go
through the script it guides me to the choice
Moments
Rettai-Chuzhi
13

14
cHeNNAI
of lenses and camera angles. I do a lot of homework before I shoot,
studying the light on location, its ambience. My own intuition leads
me to create the rest, including choice of raw-stock which is always
obviously Kodak.”
Chezhiyan is very practical in his outlook towards cinematography. In
realistic films the budget is low, but he never compromises. Although
he cannot wait for anything and anytime of the day is ideal, he still
tries his best. For the film Thenmarku Paruvaktru, the entire film was
shot in April-May. Tamilnadu in summer was very hot – in the morning
at 8 am the light is harsh, but at 4 pm when the sun is behind the hills
is a good time to shoot. They exploited this situation in such a way,
planning their schedule so that the entire film was shot in 36 days –
without compromise.
Chezhiyan’s conception of the visual approaches between a feature
and a documentary is interesting. “In documentary the challenge is to
handle non-actors, the light that one gets, the pre-existing image and
adapt oneself to the situation” he says. “The visual approach should
be to hide the mastery of one’s camera work. The camera should not
become an obvious presence in the hands of the director,” Chezhiyan
adds.
To him, DI is a good tool. He knows the limits of techniques and
where to use them, particularly in realistic films. Robert Bresson
stressed the importance “of necessary images, not just beautiful ones.”
So the thin line between necessary and beautiful is really important
to comprehend. “Emotion is the scale to determine the need of
technology,” says Chezhiyan.
An avid art admirer of especially paintings, Chezhiyan almost tries
to paint images on celluloid whenever he wields the camera. “I am
directing and making documentary films and ad films where I play
around with light and shade a lot,” he says. “As a cinematographer
creating his own films, I am able to fulfill my life-long passion for
visual poetry. As a passionate student of cinema I study the structures
of screenplay,” he adds. He looks forward to directing more films in
future.
His latest projects are Rettai Chuzhi, Magilchi and Thenmarku
Paruvaktaru.
When shooting the last film, Chezhiyan encountered the most memorable
and interesting incident of his life. “In Thenmarku Paruvaktaru, I
was shooting night-exterior. The entire sequence was about thieving.
According to the script the sequence takes place in moonlight,” he
says. “So I had to contend with a minimum lighting source and then,
to add to my headache, I needed some wide shots. But since I was
using Kodak stock, the results were beautiful. Once again Kodak did
the impossible for me. Kodak, is thus the magic stock for me.”
I
“Kodak is another name for freedom.”
When I am shooting, on the magazine cover itself my
camera assistant sticks the label of Kodak. This gives
me a kind of confidence and keeps my creative madness
alive. Kodak for me is the other name for freedom. I can
do anything with Kodak, even under expose up to five
stops as I did in Thenmarku Pervaktaru for night
exteriors. The black level and the density of the images
at that exposure were marvellous.
At night, 5219 is my choice. In Rettai Chuzhi I used 5217
with 85 for the entire film. The colour reproductions of
the hazy exteriors were superb. In Makizhchi and
Thenmarku Paruvaktru I used 5201 in day exterior,
5205 in evening and twilight. I am always more
comfortable with available light. Because only through
lighting can you determine and convey the time of the
day. All of my four films are realistic films, particularly
Thenmarku Pervaktru. I wanted to feel the flow of time
during the shots. Mixing artificial light source can kill
the mood of time and ambience. So I let it remain
realistic, using available light.
Technical Specifications
Film Thenmarku Parvaktru (2010)
Director Seenu Ramaswamy
Producer Captain Shibu Issac
Stock Kodak 5201, 5205, 5219

The ultimate aim of any cinematographer should be to create
visually, images on celluloid which would convey the
final message of the director, feels ace cinematographer M
Sukumar. It is interesting to note that he is one of the few
DoPs who wishes to remain absolutely in cinematography
and has no intentions to direct a film.
Interestingly enough, Sukumar started life as a
CeLLuLoid
POETRY
still photographer. He worked with
cinematographer Jeevan as an assistant still
photographer for films Minsara Kanavu,
Jeans, Minnale, Kakha Khaka, King,
Samurai and Kokki. He became the main still
photographer for films Dhool, Gik, Thiruda
Thirudi, Majaa and Marghai. His interest and
experience in still photography finally led him
to cinematography and he started assisting
cinematographer Balasubramanian for the
film Azagia Tamil Magan. His origins in still
photography contributed a lot towards his
becoming one of the best cinematographers
in India today.
As a cinematographer working out of a
place like Hyderabad, which is famous for
its film culture and the facilities it offers to
I like a place like
Ramoji Film City for
the convenience I get
there for my work.
The place has massive
floors, modern state
of the art cameras,
complete with excellent
technicians, good labs,
as well as excellent
accommodation facilities
which help us to stay
and work there 17 hours
a day if necessary.
cHeNNAI
cinema-workers all over India, Sukumar says, “I like a place like Ramoji
Film City for the convenience I get there for my work. The place has
massive floors, modern state of the art cameras, complete with excellent
technicians, good labs, as well as excellent accommodation facilities
which help us to stay and work there 17 hours a day if necessary.”
For him storytelling through images is important, but the impulse to use
celluloid to create a visual verse on the silver screen using his imagination
For DoP M Sukumar storytelling through images is
important, but the impulse to use celluloid to create a
visual verse on the silver screen using his imagination and
creativity is equally appealing. He likes to be in control
of the shot and prefers studio shoots where he is better
prepared to handle unforeseen circumstances rather than
on location where you have to be at all times prepared for
any eventuality.
and creativity is equally appealing. For
commercial movies his entire approach is
different, because then he has to create smart,
bright images which draw audiences.
Sukumar lays great stress on the director’s
point of view. Every day, before shooting
he discusses the various shots, how to plan
and shoot them, the camera angles, lenses
to be used and so on. Post this discussion
he finalises the way of shooting and what
lenses he must use.
“Studios such as Ramoji Film City, AVM
are better than locations because inside a
studio, the lighting is in my control. I can
plan better, because I am using the lights the
studios supply me with. In fact, I feel that
these lights are much better than natural or
Mynaa
15

16
cHeNNAI
available light. I prefer studio lights. A studio set-up is easier to work with
than locations.”
He prefers pre-planning his work rather than improvising on-the-spot.
He sits with his director for a script reading session. As he listens, he
visualises images. It is during these discussions that he plans his gear
and camera-angles. For his latest film Mynaa, he even used a storyboard,
much like the way an animation filmmaker makes visual or pictorial
short-hand notes of the story when he or she is scripting. This initial
pre-planning helps him during shooting, because he is ready to cope
with the other problems which may arise during shooting.”Although I
have not shot any documentaries, I personally feel my filming style is
somewhere near to the spirit of a documentary, my images speak for
themselves,” he says.
Mynaa for him was a challenging project. “In this film we mostly
used natural lights and very few studio lights,” he says. The film was
shot using available or natural light as a source and this poses its own
challenges. With the time of the day varying, the light levels may change
and unplanned situations can creep in. “We may have to wait for the sun
to come out, and so on. Mynaa was also shot inside a dense forest where
we couldn’t take lights, or generators. I was completely dependent on
sunlight, it was very tough working in Mynaa and a real
challenge for me,” says Sukumar.
According to him a DI puts him in the driver’s seat. “I can control,
“Kodak provides great latitude.”
Over the last ten years of my career, Kodak is the best raw
stock I’ve used. We get correct colours and so during colour
correction my work becomes much easier with Kodak stock. It
offers great latitude, for shooting in low light as well and using
Kodak is the most convenient way out. It is highly dependable
because with Kodak I know the results would come out perfect.
The black levels are perfect. For early mornings we use 5207,
for evenings 5207. For nights 5219 is a very dependable raw
stock from Kodak.
colour correct my images, and if necessary use computer graphics as well.
One can do a lot of things in DI, but it should be used correctly,” he says.
“Where my current projects are concerned, Mynaa released in 2010,
Konjam Veyil Konjam is yet to be released, and other projects are in preproduction,”
he says.
Technical Specifications
Film Mynaa
Director Prabhusolomon
Producer John Max
Stock Kodak 5201, 5207, 5219
I

Armed with a Bachelors’ degree in Visual Communication
from Loyola College, Chennai and specialising in
advertising photography, cinematography for Soundar
Rajan S, was the natural
progression in his career
path. The rigorous training
in creating effective images
to captivate a buyers’ attention so that he or
she would almost feel compelled to buy the
product advertised, has stood him in good
stead. “I wanted my images to move and tell
stories, rather than arrest a moment” he says.
“Hence I wanted to learn cinematography.”
And what better way to learn the ropes than to
apprentice with a cinematographer himself?
When Rajan approached PC Sreeram and
showed him his portfolio, he did not receive
such a warm welcome initially. “At first
The creative challenge
of a cinematographer
lies in metaphorically
projecting the written
word. The style can be
complicated, simple or
realistic, depending on
the script and the vision
of the director.
HYDerABAD
17
RECREATing reality
Soundar Rajan S is the kind of cinematographer for whom the play with presence and absence of light, deciding what to show
the audience in the frame, creative control of light and shadow enhances the cinema experience. To him, the ideal qualities of a
cinematographer should be to keep technology as the slave and not the master. Rajan gravitated towards cinematography from being
a still photographer, as he wanted his images to move and tell stories, rather than arrest a moment.
he refused to see the pictures,” recalls Rajan. But eventually when
he got around to seeing them, he asked me, “Where did you recopy
these from?”
“I explained how I had managed to shoot
each of those shots, some of which I
achieved by cross processing,” says Rajan.
With Sreeram, Rajan assisted KV Anand
for almost eight years on films such as
Mudhalvan, Nayak, Josh, Legend of
Bhagat Singh and Khakee. Later he got an
opportunity to shoot Anand’s directorial
debut Kaana Kandaen. There has been no
stopping Soundar ever since. He went on
to shoot Tamil films such as Sukran, Aadhi,
Arai enn 305 – il Kadavul, Bale Pandiya,
Telugu films Billa, Anaganga-O-Dheeruder,
and more than 200 ad films.
“The creative challenge of a cinematographer

18
HYDerABAD
lies in metaphorically projecting the written word,” says Rajan. “The
style can be complicated, simple or realistic, depending on the script
and the vision of the director,” he adds. Looking at it that way, he is
the sort of cinematographer who believes in close interaction with his
director. Translating effectively the director’s visual design of the film
on screen is to Soundar the main challenge. At the end, the look and feel
of the film immediately reflects in the involvement of the audience and
the mood of the film.
According to Rajan, cinematography has definitely changed over the
years, to accommodate the creativity of the filmmakers, helped by faster
and competitive stocks and lenses. The technical advancements have
given a great deal of freedom to the cinematographer to explore the art
and science of filmmaking. “The advanced stocks of Kodak,” explains
Soundar, “allows the audience to see life as it is being enacted on the
streets, the real ‘feel’ of an outdoor shot,” he says. “It gives, at the same
time the strength to a cinematographer, to play around with extreme
latitude available to him, inside his frame.”
“Kodak surprises me with quality.”
Kodak as a raw stock has given me a lot of confidence
to experiment in the visual style of a film, through its
range of stocks. Shooting when the light goes down,
and the lead star is in a hurry to leave the set, I have
always depended on Kodak. Matching the footage from
low light situations is never a problem.
DI is definitely a welcome change in the filmmaking
process. I have used Kodak for shooting only with
ambient light, low light conditions, bright and glossy
ad films and for my recent film produced by Disney.
Kodak has always surprised me with quality. I have
been a very loyal Kodak user from the beginning of
my career.
Rajan is the kind of cinematographer for whom the play with presence and
absence of light, deciding what to show the audience in the frame, creative
control of light and shadow enhances the cinema experience. To him, the
ideal qualities of a cinematographer should be to keep the technology as
the slave and not the master, use the limitations of the medium to creative
advantage, and help the director to transform his vision on screen. Here
is where he sees the initial training play a crucial role in the shaping of
a true professional.“The role of a film school should be to make students
technically sound and confident so that they can let their imagination run
wild,” he says.
Rajan is rightfully optimistic about film stock manufacturing companies
such as Kodak. “Kodak films would survive for a long time to come as
the digital mediums have still not provided the latitude and gloss of a
film stock,” he says. “Film and digital as mediums would co-exist, but
prints may very soon become extinct as every theatre is turning digital,”
he says.
Rajan is currently working on Anaganga-O-Dheerudu in Telugu produced
by Walt Disney/Abode.
Film
Technical Specifications
Anaganaga-O-Dheerudu (Telugu)
Director Prakash Kovelamudi
Producer WaltDisney/Abode
Stock Kodak 5201, 5207, 5219
I

On the sets of Gowri
On the sets of Nuvvu Naaku Nacchav
On the sets of Nuvvu Naaku Nacchav
On the sets of Gowri
HYDERABAD
It was the aspiration of his friends which got PV Ravi Kishore
of Sri Sravanthi Movies into the film industry. “Initially it
was taken up as a business venture, but the stupendous
success made me feel passionate towards film making and I
have never looked back since,” says Kishore.
A trained and qualified Chartered Accountant in 1976,
Kishore worked for a public sector undertaking till the
Capture on
celluloid
Sravanthi Ravi Kishore entered the Telugu film industry spurred by the
drive of his friends. But when he tasted his first success with Ladies Tailor
in 1986, he knew he had found his calling. Apart from the contribution of
artists and technicians, the production values also play a vital role for the
look of any film. With audiences demanding higher quality visual content,
technology has progressed no doubt, but despite these evolutions, the
future of film stock as a medium for shooting and archiving is quite solid
according to Kishore.
Audiences today are demanding high
quality visuals and content. Films
compete with alternate sources of
entertainment available to them through
HDTV, LCD and so on. DI plays a very
important role in giving high quality
visuals for theatre going audiences.
commencement of his first production Ladies Tailor in 1986. “The
objective of having my own production was to have liberty to produce
film of my choice and taste. I am responsible to myself, and gains and
pains all belong to me alone,” he says. Currently, films are still being
produced by individuals in the south, as they were years ago, but the
entry of business houses handling film production and distribution,
(which has slowly set into main stream Hindi cinema production)
is just-around-the-corner. “The corporate culture is setting into
this industry gradually and is going to be the order of the day,”
19

20
HYDERABAD
for presentation of visuals in the best way.
Kishore produces films in Telugu. “It is the story line and characters
around you that is the inspiration for me to make a film,” he says. One
of the films he cites that was a challenge for him was the film Ready. “I
had cast my nephew Ram as the hero,” he says. “There is vast difference
in pressure while making films with outsiders as heroes and your own
kith-and-kin doing the lead cast,” he adds.
Kishore puts his best efforts while making any film. “For Ready,
I had succeeded in getting the best from every one. It turned
out to be a big success and eventually the subject is made in
Kannada, Tamil and now even in Hindi with Salman Khan,”
he says.
Apart from the contribution of all artists and technicians, the production
values according to Kishore play a vital role for the look of any film.
Today DI is gaining importance and focus in the post process of a film.
“Today audiences are demanding high quality visuals and content,”
he says. “Films compete with alternate sources of entertainment
available to them through HDTV, LCD and so on,” he adds. “DI plays
a very important role in giving high quality visuals for theatre going
audiences,” he says.
says Kishore.
Sri Sravanthi Movies is an envied name in Film shooting on picture
Though change is a continuous process and
one has to constantly update oneself with the
the industry today. “Your success depends negative is going to evolution of trends from time to time, the
on the percentage of rights and wrongs
you do. It is only the question of survival
in this industry and ‘how long’, depends
stay put despite so
many options available
future of film stock as a medium for shooting
and archiving is quite solid according to
Kishore. “Film shooting on picture negative
on your dedication and capability to catch for digital shooting is going to stay put, despite so many options
the pulse of the audience,” he adds. No
doubt Kishore agrees that a bit of luck
also goes a long way. “We all tend to make
– in view of the fact
that the resolution is
available for digital shooting – in view of
the fact that the resolution is incomparable
and real quality films can only be shot on
mistakes in selection of subjects,” he incomparable and real the film stock,” he says. “Film making is
says. “We always do it with a belief that
whatever you do would be endorsed by the
audience.”
quality films can only be
shot on the film stock.
totally creative and it is only the quality and
content that would make any film worth its
name. Hence, in my opinion, business rules
Commenting on film stock that he likes Film making is totally are not applicable to create a good film,”
to use, Kishore is quick with his response
and says, “The kind that capture the best
visuals”. He uses Kodak film after film, as
creative and it is only
the quality and content
he adds.
Kishore’s desire is to make good films. This
keeps him motivated. “To make good films
he is convinced of the quality he can expect that would make any film and be proud of them when you look back
from Kodak. According to him Kodak is
popular among the producer, DoP, and the
technical community of the industry as the
worth its name. In my
opinion, business rules
– may be five years, may be ten years, may
be ever, after they are made,” he says. “My
personal philosophy is that whenever I make
quality and innovations from Kodak over are not applicable to a film, I should survive to make one more
time have kept up with the growing needs good film,” he concludes. I
create a good film.

KM Vishnuvardhana is a stalwart of the Kannada film Industry, who believes
that his work speaks for itself. He believes that a cinematographer needs to
understand, be versatile and thereby adapt to changing circumstances. Having
embraced the best of both worlds – analogue and digital, he trusts his personal
creative thinking to gauge what would give him the best results according to
the script.
They mostly work behind
the scenes. Away from the
hyperbole and chutzpah that
surround the glamour of silver
screen. Their eyes glued to the
viewfinder, their hands firm
on the camera swivel, their
imagination substituting for what millions
would flock to the theatres to see on film. Yes
for camera technicians, it is mostly an unsung
behind-the-scenes job, but one which they
carry on with aplomb, out of one single thing
– love for their art and a pursuit of creativity
entrenched in the grammatical verse of movie
making.
KM Vishnuvardhana is one such stalwart of the
Kannada film Industry. Shy, reticent and painfully modest, he is an artiste
who has let his work speak for his values and his verve, over the past decade
or so.
The choice of film stock
for me depends very
much on the subject, the
location of the shoot,
whether it’s being shot
during night or day and
then using my personal
creative thinking to
gauge what would give
me the best results.
BANGALORE
True
Colour
Like all true works of excellence his efforts
have not gone unnoticed. Testament to
that fact is the Government of Karnataka’s
felicitation for his superlative camera work in
the film Neenyare in 2008.
In 1994, Vishnuvardhana started his cinematic
journey by completing his cinematography
diploma from Sri Jayachamarajendra
Polytechnic after doing SSLC. He then
joined the team of cameraman BS Basavaraj
and worked for eight years assistant to R
Giri and Manjunath, all while figuring out
his place in the craft of filming. Much later
in the year 2003, it was the film Baithare
Baithare which marked his transition to an
independent filmmaker.
But away from the kaleidoscope of colours that cameramen bring on to
the screen, there is another world seeped in the technology of film stocks,
camera angles, light sources and an understanding of what a film actually
21

22
BANGALORE
requires for the camera to paint the canvas
with realism. Realism that transports viewers
to a magical word of make-belief where every
colour is etched with the vibrancy of what we
behold to the naked eye.
For any camera technician, the film stock he
uses is very much defined by his requirements
and what the stock offers in terms of its
technical efficacy. How good its storage options
are, and how much clarity it really renders on
the post production table are questions which
every DoP must answer for himself. But for
Vishnuvardhana these are the basics. “The
choice of film stock for me depends very
much on the subject, the location of the shoot,
whether it’s being shot during night or day and
then using my personal creative thinking to gauge
what would give me the best results.”
He cites the example of Neenyare shot extensively
outdoors in the picturesque locales of Chikmagalur
where the weather is perennially cloud stricken.
The subject and locales of the film coupled with
the director’s vision led him to believe that a film
stock which would excel in low light and yet
render true colour was needed. “I did not hesitate
with my choice and settled for just one stock film
– the Kodak 5218 Vision 2, 500T and the entire
film was shot on it,” he says. This choice gave
him enormous freedom to shoot in natural light
without having to worry about low exposure or
backlight compensation in Post Production.
“Cinematography is a challenging job. Every
moment the cinematographer needs to understand
and have the ability to be versatile and adapt to
circumstances. Kodak film stocks suit my style
of film-making because I believe in true colour
reproduction,” he says.
“By virtue of their technology Kodak film stocks
offer good latitude, and have an excellent negative
response from low light to high light, which helps
me blend the negatives to any situation, and to
any condition. The result is an almost real life
reproduction of true colour on the final edited
format.”
Every camera technician is predisposed to
a particular style which is his signature, and
Vishnuvardhana is no different. “I like golden,
warm hues and tinges in my frames. Colours
should represent warmth and be real, and for
that stocks like Kodak 5219, Vision 3 500T or
Kodak 5213, Vision 3 200T or even Kodak 5207
,Vision 3 250D are excellent, since they capture
the warmth of colours effortlessly. But in certain
cases depending on the requirement of the film
and the scene I may be required to bend the light
towards more bluish tinges and then I do have to
make a choice from other film stocks,” he says.
Vishnuvardhana is one of those artistes who have
experienced the wind of change and embraced
both forms of technology – analogue and digital,
letting his experience guide him to use these to
the best effect, depending on the requirement and
versatility that each offers.
“If you ask me personally I prefer analogue over
digital. This is because the results are far better and
real. You cannot compare digital with negative,
because these are different mediums,” he says.
The other very critical element for a technician is
that of control. How much control does he have
over his craft? In that realm, analogue scores
over digital since from grain structure to pixels to
true colour reproduction, every element that goes
to defining a particular frame on film – is in my
hands. “It lets me control my craft the way I want
to, and that for me is of paramount importance
when I am behind the lenses,” he adds.
The debate rages on and so do the opinions. This
is what makes it so interesting in a changing
world where old meets new and technologies
clash in a whirlpool of creativity, only to create
something better, something new and artistes such
as Vishnuvardhana carry forward that baton of
creativity which lights up our movie theatres and
give life to thousands of tinsel town dreams.
Vishnuvardhana
opts for Kodak
Ambient light (outdoor)
Kodak 5207 Vision 3 250D
Ambient light (indoor)
Kodak 5219 Vision 3 500T
Cloudy Weather
Kodak 5219 Vision 3 500T
Night
Kodak 5219 Vision 3 500T
Sunlight (noon)
Kodak 5207 Vision 3 250 D
Dawn
Kodak 5219 Vision 3 500 T
Twilight
Kodak 5219 Vision 3 500T
I

“As long as the word cinema
exists and films are made,
Kodak will remain in the
market and give us fantastic
raw-stocks to work with”, says
Badal Sarkar one of the leading
cinematographers in Bengal
today.
Sarkar intended to become a singer. He was a
practicing still photographer who was deeply
interested to study the way light was used
to create images. His father and uncle were
working at Indrapuri Studios in Kolkata as floor
manager and floor-in-charge respectively. His
father was not keen for him to join the studios,
but Sarkar managed to enter Indrapuri Studios
as a staff member with the help of Bimal
Mukherjee and Kanai De. Here he studied the
works of veterans such as Saumendu Roy, Ajay
Kar, Bibhuti Laha and others work and with
this sort of a backdrop Sarkar finally managed
to end up as a cinematographer himself.
If Badal Sarkar wasn’t a cinematographer, he would be a singer. A man
deeply interested in how light is used to create images, Sarkar keeps turning
out excellent pieces of cinema in spite of the heavy budgetary constraints that
plaugue Bengal’s film industry. Candid enough to admit that digital makes
certain exposure manipulations a lot easier, for Sarkar its film all the way.
On the sets of Chha–E–Chhuti
KOLKATA
23
Sarkar was involved as a DoP for the first mega
television serial of Kolkata, Janani. Since then
he has shot TV serials, before joining the film
industry as an independent cinematographer.
Lighting – a key factor that sets apart
the boys from the men, is central to any
cinematographer’s work. “Each single scene
has its own mood,” says Sarkar. “I discuss it
with my director the nuances to be expressed
in a particular scene. What mood has to be
Kodak’ll
Remain

24
KOLKATA
conveyed with my camera angles, cameraplacing,
lighting and lenses. In addition, I
also have to consider the location, time of day
and other variables,” he adds. “Finally, I trust
my instinct and intuition.”
External factors such as finance/budgets also
have a serious implication on the decisions
that a DoP could take. “For us in Bengal
budget is always a big constraint,” admits
Sarkar. “Each single lens has its own hiringcharges,
mostly on the higher side. So, I have
to keep that factor in mind as well and plan
according to my budget. There are moments
when I have to compromise. Even the choice
of raw-stocks becomes an issue these days as
“Kodak is versatile.”
My first choice is always Kodak, as it is
an extremely versatile stock. The kind
of latitude, the blacks I get in Kodak
is fantastic. For low light Kodak is the
ultimate solution. I use 500T for low
light, for available light 250D or 50D
for daylight. Say when I am shooting on
a sea beach, or there is a scorching sun,
I need 250D for these strong lighting
conditions. Again when I am shooting
in the mountains where the light-levels
keep changing, for these unsure lighting
conditions, 50D is very good for me. If I
am shooting inside a building, I use 500T.
Inside the studio, for day-sequences
its 250D. In mountainous area where I
get soft light, especially for commercial
films I use 500T. Kodak stock gives me
excellent contrast and to get this I use
200T, also 100T. It all depends on the
subject, how much I need the blacks, it
really all depends on that, and the mood
of the scene as well. My personal feeling
is that since Kodak is constantly coming
in with better and better stocks in the
years to come, it would survive very well
in the years to come.
New technology is
always welcome, but
for me as a person,
celluloid is the thing –
the last word. I am not
going to leave it for
anything else.
prices are rising day-by-day,” he adds.
Change is intrinsic to life. The ones who
succeed are those who are willing to accept
change and keep an open mind to receive new
ideas and evaluate them as per their needs.
“New technology is always welcome, but for
me as a person, celluloid is the thing – the last
word. I am not going to leave it for anything
else,” says Sarkar. He is candid enough to
acknowledge that though digital has certainly
made certain manipulations easy (exposure for
example) and offers more scope, it needs to be
understood and used properly. “It does give you
a lot more scope, especially since film is getting
more expensive now.”
He remembers using digital in the film Trishna
directed by Pritam Jalan. It certainly helped
financially, but for him film stock remains the
ultimate choice.
Cube Projection is an emerging trend in Bengal
and Sarkar admits that he does not like it at
all. “Cube Projection kills all my interplays
between light and shade, and the images come
our looking flat. After the hard labour I go
through creating my images, I hate to see my
work projected this way. The output is not
satisfactory.”
Speaking about the future, Sarkar says, “Kodak
will definitely survive as there is no alternative
to it. The great directors such as Buddhadeb
Dasgupta, Sandip Ray, Rituparna Ghosh,
Gautam Ghosh to name a few are all shooting
on film...”
A few films by Pinaki Chowdhury, Dulal De,
Tapan Saha, Ratul Ganguly are on the anvil
reveals Sarkar. I

KERALA
25
the maverickfilm
maker
Passion for movies drove
Neerad right from the school
days. While in high school
he dreamt of becoming a
director and wanted to join
the prestigious FTII after
graduation.
He watched all kinds of movies without
Cinematographer-turned-filmmaker Amal Neerad has several times pledged his
sincere commitment towards mainstream cinema and never wants to be branded as
an intellectual filmmaker. A graduate from Kolkata’s Satyajit Ray Film and Television
Institute, Neerad’s worked as cinematographer with Varma Corporation and finally
debuted as an independent director in Malayalam with Big B, starring Mammootty, the
South Indian mega star. After three commercially successful movies, Anwar being the
latest, the young director is all set to begin his next production.
discretion. “A mainstream Tamil movie or a applied for the course in film direction, members for two years along with another student who
celebrated movie such as Antichrist imparts of the interview board were impressed by some specialised in direction. Together they did a
equal amount of excitement in me,” he is quoted of the still photographs he had carried with him short film, Fourth World, for which Neerad
to have once said. Neerad continues attending and felt he was more suited for the course on wrote the script and wielded the camera. This
screenings of world classics in the local film cinematography. As a general rule, students of film, shot in 35 mm format, was shown in
societies and oft frequents a video library which cinematography and editing were supposed to several film festivals across the country.
has almost all volumes (on VHS format) of be graduates from the science stream, but in After passing out from SRFTI, Neerad was
Bergman, Visconti, Godard, Bunuel and other SRFTI, the science degree was optional. Thus determined not to migrate to commercial Hindi
master filmmakers.
Neerad, a History graduate, became perhaps the cinema in the footsteps of his contemporaries.
Fairly active in artistic and political activities in first ever cinematography student in the country He was attached to the state of Kerala and
Maharaja’s College – a prestigious institution without a science degree to study in a national spent two years in the side wings abiding his
that produced a number of luminaries in film institute.
time for an opportunity to work in Malayalam
Kerala’s socio-cultural and political arena, He brought laurels to SRFTI when his diploma films.
Neerad discontinued his post graduation classes film, Meena Jha, won him a National Award Sadly enough, the budding cinematographer,
to join the Satyajit Ray Film and Television for Best Cinematographer in the short feature with two acclaimed short films to his credit,
Institute in Kolkata (SRFTI), in its first batch section. Later, as part of a German student didn’t get any invitation from the industry.
as a student of cinematography. Though he had exchange programme Neerad went to Berlin Though Producers and directors were

26
KERALA
On the sets of Anwar
impressed with his talent and his show reel, they were reserved to
employ a newcomer.
Meanwhile, Neerad was active making advertisement films and his
professional life took a dramatic turn when he received an invitation
from the Varma Corporation in October 2003.
Soon, Neerad embarked on a journey that was to change his future forever.
In Mumbai he did James for the Varma Corporation and soon flew back
to Kerala to work as a DoP for ace Malayalam director Ranjith. After this
Mammootty starrer, Black, he did two more
films with Varma Corporation – Darna
Jaroori Hain and Shiva. The production
house never compromised on technical
aspects and that provided a fantastic canvas
for a rookie like him.
Neerad owes much to Mammootty for his
directorial debut, Big B. During the shooting
of Black, the young DoP was not very close
to the superstar. But once the shooting
was over Mammootty was impressed and
asked him to present a script (if he had
anything ready with him). Though Varma
Corporation at that time had asked him to
direct a film for them, Neerad chose to work
in this Malayalam project. “I wanted to do
my debut in that kind of a space,” explains Neerad. He acknowledges
that Mammootty is the only star in Malayalam film industry who is able
to provide such a “comfortable working space for youngsters”.
Big B happened with a crew almost full of debutants. The director,
scriptwriter, cinematographer, editor, costume designer, poster designer…
almost everyone in the technical crew were early starters. “We all got this
opportunity because Mammootty was willing to work with such a team,”
says Neerad.
Though a trained and successful cinematographer himself, Neerad
Can any other
format achieve the
sensuousness of
celluloid? It is more
beautiful than reality.
It doesn’t care for
achieving clinical
precision; but craves
for making the hero a
super hero.
employed Samir Tahir, a new comer, to wield the camera for Big B. Even
in his latest flick Anwar, he chose another debutant, Satheesh Kurup as the
DoP. “I believe it was the uninhibited contributions of a crew comprising
of fresh talents that worked wonders in my first film,” says Neerad.
At the same time, he is particular that films should “happen” without
preconceived notions. “I don’t do anything deliberate to make my films
different,” emphasises Neerad.
Deviating from the usual format of conventional Malayalam movies
he treads paths less travelled. There was a criticism from some corners
that Big B lacked the flavour of the Malayalam language and culture. “I
would like to disagree with this,” says Neerad with a smile. “Big B was
closer to the present socio-cultural scenario in Kerala than many of the
conventional films being made in Malayalam.”
According to Neerad, he is getting some interesting offers from different
producers after the success of Anwar. He also hints that he might do a
Hindi film soon.
Though an ardent fan of Malayalam middle path movies made in
the 1980s, Neerad doesn’t want to imitate masters like KG George,
Bharathan and Padmarajan. “I make films with a target audience in my
mind. I do everything possible to reach them.
As a filmmaker I want to realise my dreams
on the screen. I target youngsters because I
dreamt of becoming a filmmaker while I was
a teenager,” says Neerad.
The advent of digital technology has in
no way shaken Neerad’s absolute belief in
celluloid. As for selecting the stock, the DoPturned-director
has always affirmed his belief
in Kodak. In fact he has never worked in a
stock other than Kodak. He describes himself
as “a one hundred percent orthodox Kodak
believer right from the film school days.”
Kodak is his choice even for the advertisement
films he shoots. He also endorses that Kodak
is most effective in “portraying Indian skin
tones to near perfection.”
Asked further about his belief in the supremacy of the celluloid, Neerad
quoted what he calls a comic statement about the difference between
pornography and erotica. “Pornography is always frontally lit. Erotica
is always backlit.” It’s similar to the difference between sexuality and
sensuality. “Can any other format achieve the sensuousness of celluloid?”
he asks rhetorically. “It is more beautiful than reality. It doesn’t care for
achieving clinical precision; but craves for making the hero a super hero.
There lies the power of the celluloid.”
I

PRASAD EFX
27
forging ahead
Prasad EFX is a leader in Digital Post Production offering an entire range of Digital Services including VFX, Digital Intermediate,
2D to 3D Conversion Services, Digital Film Restoration, Film Archiving, Tape to Film Conversion, Blu Ray Services and more.
EFX’s creative, technical and quality control teams are highly trained and have been providing excellent customer experiences to a
I
n the early days of digital imaging, people went abroad to
package films and ad commercials shot in India. This very
thought, combined with decades of experience in post-production,
prompted the launch of Prasad EFX, to provide digital services
for advertising commercials way back in 1989 and later, in 1996
– the same VFX services were extended to feature films. At that
time, they were practically the only such digital service providers
in India, with imported film scanners and recorders. “We had to experiment
and learn so much about the seamless transition from film to digital and
back to film. It took time but we perfected it soon and paved the way for
more studios to follow us,” says Sai Prasad, Director at Prasad EFX.
Today EFX’s expertise is in the area of VFX, DI, Digital Cinema, Digital
Film Restoration, Stereoscopic
Conversion Services, complete
3D Film Making Solutions,
Digital Asset Management,
Blu Ray Services, New Media
Services and so on. Employing
more than 1,000 persons in Prasad
EFX and more than 2,500 in the
Prasad Group itself, the company
is present in seven locations in
India with digital service suites
in three major centres – Chennai,
Mumbai and Hyderabad. “We are
soon opening our Digital Imaging
Studios in Kerala and Karnataka.
Apart from this we have presence
in Singapore and Hollywood,”
says Sai.
Having grown from strength to
strength to become a coveted name
in the industry today, the group’s
wide section of clients nationally and internationally.
vision is to provide the best technologies and solutions for its customers.
Treading a path of constant quest for quality, innovation and pioneering
efforts in technology, coupled with their excellent team of professionals,
ensure that they deliver more than what is expected.
The guiding light is none other than LV Prasad – grandfather to Sai Prasad.
“It was his dream to provide every service that is required for a film maker
in India,” says Sai. “Having introduced so many services and facilities,
the logical next step was Digital – even in those days he decided to move
ahead in that direction,” he adds. “His vision of providing the best in all
aspects to our customers is what drives us even today”.
The business of film making itself has changed a lot. Customer expectations,
technology, tools, markets all have undergone a sea change. New
challenges have also evolved in
this scenario. Competition has
increased, prices have dropped,
new tools keep evolving,
technology is becoming obsolete
faster, and globalisation has
impacted business.
“Kodak is a legendary brand and
has great credibility. It has been
consistently inventing products
that have kept cinematographers
happy and I am confident they
will continue to do so for a very
long time to come,” says Sai.
According to him, the Kodak
Imagecare certified film lab
has increased Prasad EFX’s
credibility, ensured discipline
in their processes, provided
reassurance to their customers,
and helped the management on
EFX Chennai

28
PRASAD EFX
its journey to establish best practices.
One of EFX’s leading technicians is Himakumar, Head VFX and DI.
An engineering graduate, Himakumar began his career with one of his
friends planning to set up a graphics division. His career path from a
Graphic Designer to Team Leader, Project Manager, Technical Manager
and now Head of Production – VFX and DI have been unparalleled.
According to him what sets EFX apart is its capability to handle a number
of very large projects simultaneously to ensure quality and timely delivery.
“This combined with flawless execution and excellent client service is
our main strength. Clients identify with us as one of the most trusted
names in the Indian film industry,” he says.
“ Kodak
is a legendary brand and has
great credibility. It has been consistently
inventing products that have kept
the cinematographers happy and I am
confident they will continue to do so for a
very long time to come.
– SAI PRASAD
Director
EFX has handled VFX projects for more than 1,000 films both nationally
and internationally. “The major challenge when handling international
projects is to meet their standards in the specified time frame,” says
Himakumar. As far as the domestic market is concerned, some projects
like Krrish, Magadheera, Thoda Pyar Thoda Magic, Aadukalam, Angadi
Theru, Anniyan, Enthiran, Dasavatharam, et al demand more creative
and innovative approaches and implementation with great attention to the
finer details, according to him.
According to Himakumar there are several factors which impact the
overall look of the film – good selection of camera, lenses, proper lighting,
so on and so forth. “To match these, a DoP must choose the stock that
will contribute to the look of the film, keeping in mind the choice of lab
process here,” says Himakumar. “Above all, good content inspires good
work from all sides,” he adds.
Elaborating on the DI process, Himakumar says, “A proper edit will make
the work smoother at all the stages of DI Post.” In addition, properly
handled negatives (since the scanning goes through dry gate, good and
professional negative handling minimises dust and scratches), the quality
of output for scanning and resolution, conforming (if the editing process
has been done meticulously this part will go smoothly), colour grading –
to decide the mood and feel of the film to ensure that the right atmosphere
has been represented as demanded by the story line are other important
steps of the DI process. “Much depends on all the inputs mentioned
above. If one of the above links is not right or perfect, then the result can
Digital Colour Grading
“DI is fast becoming the only way to post
produce films. This is due to various reasons –
endless creative possibilities, flexibility while
converting from different film and digital
formats, ability to output to any existing and
future formats are some of the reasons.
– HIMAKUMAR
Head VFX and DI
be disastrous to the output,” he says. Film Recording is crucial to the entire process
and has to be perfectly caliberated from the digital and the film lab perspective to
ensure that whatever was seen in the grading is whatever will be seen in the film
output.
Today DI is gaining importance and is at the focus of the post process of a film.
“DI is fast becoming the only way to post produce films. This is due to various
reasons – endless creative possibilities, flexibility while converting from different
film and digital formats, ability to output to any existing and future formats are
some of the reasons,” explains Himakumar.
According to him, any product will be chosen depending on the history associated
with it. “And Kodak has made history with many innovations in film and naturally
everybody’s choice will be Kodak. In the recent years even as people are predicting
that film will fade out, Kodak still has launched new products such as the Kodak
vision 3 series, which is the unique advantage of Kodak,” he adds. Film is still the
only medium that can hold information and details that can cater to evolving and
future technologies of post production and exhibition. There is also no doubt that
film is the only medium that has archival life than any other media as of now. “We
feel film negative will last for a very long time to come,” says Himakumar.

“ Kodak
film stock delivers excellent grain and
sharpness and true speed ratios. They also
have the flexibility of long latitude. The detail
or richness of colour on film is preserved.
– NAVIN SARAN
Sr Line Producer
Sharing rare nuggets of advice Himakumar says, “right now there is no such
training on DI. But, anyone can enter as a trainee in any studio and can become a
successful manager or even a most wanted colourist.” If any individual is creative,
dedicated, with a passion to work they will always have a good opportunity to
excel in this industry according to him.
For Navin Saran, Sr line producer at Prasad EFX, he just had to be in films. A
Commerce graduate from Meerut, Saran was always curious to know how effects
were achieved in films. He landed up in a visual effects studio to experience
firsthand, the awesome art of film making and meet the magicians adding the
magic to shots. Ever since then it has been a roller coaster fun ride, sometimes
tense, but in all, enjoyable with EFX, Mumbai.
“I have been part of many exciting projects, to pick a few is really difficult,”
he says. “There have been diverse projects having extremely different creative
requirements from the directors with poles apart creative sensibilities,” he adds.
Saran has worked on Dhobi Ghat (Cinema73 / Aamir Khan Productions, Mumbai),
Kaminey (Vishal Bhardwaj Productions, Mumbai), Right Yaa Wrong (Mukta Arts
/ Ikkon Pictures, Mumbai), Japanese Wife (Aparna Sen / Saregama Films Ltd.)
and Arundhati (Telugu / Mallemala Entertainments, Hyderabad) to name a few.
PRASAD EFX
29 1
According to him the major challenge for VFX projects lie in understanding
the director’s mind and ability to read the requirements of film and then
deliver VFX which carries forward the story. VFX had to be seamlessly
integrated into the visuals.
Kodak, he feels has a spectral sensitivity and technology to widen the
palette of creative expression. “Kodak film stock delivers excellent grain
and sharpness and true speed ratios. They also have the flexibility of
long latitude. The detail or richness of colour on film is preserved,” says
Saran.
Sreenivas also a Sr. Line Producer at Prasad EFX Hyderabad, was a
trainee effects artist in Chennai, when he got an offer from Prasad EFX to
work with them as Visual Effects Coordinator in Chennai. “That was the
“ As
a pioneer and leader in the field of
VFX in India, Prasad EFX has over the
years faced many unique situations for all
of which we have arrived at innovative
solutions. This experience helps our team
to arrive at solutions to every challenge.
– SREENIVAS
Sr Line Producer
turning point in my career,” he says.
He has worked for over 300 movies in the field of VFX. Some of his
challenging projects include: Athadu, Krishh, A Sound of Thunder, Dam
999, Yamadonga, Arundathi, Magadheerra, Anaganaga O Deerudu and
Swamy (Tamil).
“VFX and DI in India have come a long way technically,” says Sreenivas.
“We are able to meet Hollywood standards as seen in most of our recent
movies,” he says.
“As a pioneer and leader in the field of VFX in India, Prasad EFX has over
the years faced many unique situations for all of which we have arrived
at innovative solutions,” continues Sreenivas. “This experience helps our
team to arrive at solutions to every challenge,” he adds.
Some of the trends in the business today which are going to be around
for a while according to him are: the use of 35mm negatives for shoot
and 2 perf negatives which reduces the stock cost to the producer without
losing quality.
The name Prasad itself is a legendary brand in films. One of the integrated
pan Indian player in this industry, delivering every service involved in
film production, post production, distribution and exhibition – makes
it extremely challenging to excel in all services across the entire value
chain – from the simple to the most complex. But in the words of Sai
Prasad, “Prasad EFX, aims to create a self-sustaining, global organisation
that will be a benchmark for best practices, and will create a legacy for
future generations.”
I

30
YOUNG GUNS
REALITY bytes
While every project is a challenge for a cinematographer, for VN Mohan his diploma film Mugaari on the art of traditional Bharata
Natyam dance was a landmark learning experience. He trusts Kodak to push the limits of his creativity and lives by the maxim that it
“Inspiration starts from
failures. At the young age
of 12, I took some family
photographs with a lot of
pride. Later to my utter
dismay, I found that not
even a pin point of silver
halide was converted into metallic silver.
It was absolutely silver blank,” says VN
Mohan, graduate from the MGR Govt Film
and Television Institute. And this is where
his journey began.
Mohan currently works with PC Sreeram.
Three years after graduation, he feels he
has lots to learn.
“We can’t predict the future, but capturing
good visuals on the screen requires a skill
– it is both an art and craft,” he says. “A
cinematographer is a creator, for him if art
is the soul, craft is the tool to achieve the
art – the body,” he adds.
He cites an interesting analogy to explain
analogue and digital.” If ten people handle
film, you will get different results, whereas
if ten persons handle digital, at least eight
results will be similar,” says Mohan.
“Using the digital format, we not only lose
film but also our individuality,” he says.
“Photography has evolved and is accepted
as an art form now-a-days, but paintings
have their own unique place and value, just
like film.”
Mohan uses both Kodak Vision 2 100T
5212 and Vision 3 500T 5219 quite
extensively. “Vision 2 is fine grain stock,
which gives the sharpest look and true
natural colour rendition over a wide
range of exposures. The neutral tone scale
provides easier colour timing in post. Due
to the high dynamic range, details can be
is best to fail by trying unusual things rather than to succeed by doing usual things.
extracted without using high level of grains.
“It gives an appropriate look, the one I want
to achieve,” says Mohan. “I choose 500T
Vision 3 5219, to work in low light, high
contrast situations. It gives me more control
and flexibility, it has less grain in shadows
and gives me a more gradient look on the
To translate the mood
of the script to celluloid
provides umpteen
challenges. Kodak
provides a medium to
effectively overcome
these hurdles.
subject,” adds Mohan. “It is good enough to
hold the shadows,” he says.
Right from his diploma film, Mohan has used
Kodak. “My journey is all about capturing
the mood and the atmosphere to depict
meaningful feelings. My portrayals are
always truly expressed by Kodak,” he says.
Commenting on the emerging trends in the
arena of cinematography today, according
to Mohan it is moving towards a candid
presentation of visuals. “Providing a realistic
look with a consistent colour palette,
superior technical quality and less contrast,”
are popular up-and-coming inclinations of
DoPs.
From my hitherto limited experience, I can
say that to translate the mood of the script
to celluloid provides umpteen challenges
– such as shooting in drastic climatic
conditions, low light situations and extreme
lighting situations and so on.” According
to him, Kodak provides a medium to
effectively overcome these hurdles. Even in
post, the Kodak negative retains maximum
useful colour information, which can be
accommodated in a ten-bit scanner data
encoding scheme. “Kodak is one of the most
superior mediums of acquisition,” he says.
While every project is a challenge for a
cinematographer, for Mohan his diploma
film Mugaari on the art of traditional Bharata
Natyam dance was a landmark learning
experience. “Aesthetics was an important
part of the film, and we had to work within
limits of budget, equipment and creative
freedom,” he says. “I didn’t use fill light to
get natural contrast, every shot was planned
with timings for the best angle of the sun,”
he says. “I used Vision 2 5212 and allowed
only one window source inside the house. For
OSS, half light was easily exposed at (t-4).
When my director asked for a profile shot
facing the window, the highlight was (t-16+).
Because I was using Kodak, on the belief of
the outcome, I pitched it in (t- 4). Without
burning, I got a little bright background with
expected details because of the extended
dynamic range,” he says in conclusion.
I

STRICT discipline
As the trade advances to accept newer challenges of presentation and format, upcoming cinematographers such as Siddharth Diwan
spend a lot of time reading, experimenting and figuring out optimum work flows. He feels, despite the winds of change currently
blowing over the film landscape, what is still the need of the hour, is our heritage of discipline and diligence carried down the ages
Agraduate from the Satyajit Ray
Film and Television Institute
(SRFTI) in Kolkata, Siddharth
Diwan, aspired to become a
director as he loved the idea
of telling a story through the
progression of images. At
SRFTI when he began filming – he started
noticing the intricacies of the image – the little
things that makes one connect with the story.
“With every shoot I started discovering the
effects of different placements of lights, using
intensity quality and angle of light to generate
a certain emotion which became my high as the
possibilities were endless and I loved it.”
Diwan feels that the profession is getting too
technical, and a lot of work he picks up these
days is digital. This translates into a lot of
reading manuals and figuring the right work
flow. DI has come in the market in a big way,
and this, according to him, has completely
changed the basic approach to film shooting.
With the advent of DI, instead of thinking
how to shoot a particular scene using lighting,
camera-placements and use of lenses; colour
corrections are being done on a laptop
computer. “The basic intention of a particular
shot is getting affected,” he says. “And that too
it’s not for the better.” “I need a bit of time to
work out the right balance between my art and
technology,” he adds.
Whatever he has shot on film he has only used
Kodak, and he sees no reason to use any other
stock. “You can achieve any particular look
you want with Kodak. Once I have extensively
tested and understood the characteristics of
a particular emulsion, ways to change it with
special processes, then I can trust Kodak. They
are extremely consistent and never break my
from our master filmmakers and cinematographers to today.
trust.” His personal favourite is 5219.
Where lighting is concerned, he looks for visual
cues within the script, trying to absorb the
time and space required and visualise it in the
mind’s eyes. But he lets his mind remain free
and not rigid, because once on location things
You can achieve any
particular look you
want with Kodak.
They are extremely
consistent and never
break my trust. My
personal favourite
is 5219.
may change – new problems can come up,
which also includes what resources he would
get according to the budget, or even the actual
situation of actors performing may change his
initial plans.
He tries to have as many discussions with
YOUNG GUNS 31
the director as possible to get to know his
personal vision of the script. Finding the right
location is also for him an important factor,
and he spends as much time as possible there
to understand the character of light on location
at different times of the day. Light, especially
natural light is often unpredictable and he
has to keep himself prepared to cope with
varying light levels, and also what the scene
itself demands visually where the lighting is
concerned. Here Diwan is very cautious about
using artificial lights, as one single such light
can ruin the effect of a scene.
Using Kodak has often helped him out of very
difficult situations. Recently he was shooting
a project where he used 5219, with a one stop
pull and 100% bleach effect bypass. “Before
shooting I did a lot of tests with almost every
stock available and I ended up with 5219
because on the whole it proved to be most
consistent and reliable. I feel comfortable
when I use Kodak as it gives me the latitude
to work very fast.”
In an industry moving fast towards digital,
Diwan is aware that most of his work though
shot on film, will in all likelihood be viewed
digitally. DVD is immensely popular and
Blu Ray is fast picking up by the discerning
viewer. Films are even being shot on handheld
devices such as the mobile.
But as an aspiring and promising
cinematographer, Diwan strongly feels
that even if the way a film is being shot is
changing, the basic discipline and rigour
remains the same carried down over the
ages from our master filmmakers and
cinematographers. A stickler for much needed
discipline Diwan has the makings of a highly
successful cinematographer.
I

32
FILM SCHOOL
solidcore
Quality control and professionalism, essential attributes of a filmmaker cannot be taught
in a classroom, but are practical qualities imbibed by students spending hours at the
grading rooms or the telecine suites of the Prasad Labs in Chennai. Hariharan, head of
LV Prasad Academy tells us how film schools are gearing up for the new age student.
Prasad Academy, an
initiative of Prasad Film
Laboratories, Chennai is
headed by Hariharan, a man
committed to imparting
film education and the
love of cinema to earnest
hopefuls dreaming of making it big on the
silver screen.
“At the LV Prasad Academy, we first instill
in students the importance of cinema as team
work with no one playing ‘auteur’,” he says.
“Next, we make them understand that the
only way to bring about change is by taking
the so-called popular Indian Cinema practices
seriously in film pedagogy, while at the same
time sensitising oneself to the myriad social
problems that beset the underprivileged and
lastly, we encourage students to think and work
with modern digital tools, both as an aesthetic
principle and as technological apparatus,”
he adds.
In fact, according to him,
today’s students are far more
visually oriented and most
of them manage to make
short films before they join
the Academy. “But one
big problem we find is that
they are not as exposed to
the other liberal art forms
such as painting, sculpture,
architecture, theatre and so
on, something common for
the student of cinema in the
60s,” he says. The lack of this exposure poses
a new challenge according to Hariharan. “Our
challenge in imparting good film training is to
help students find a median; make them realise
the importance of a holistic art perspective while
also engage with new media such as the internet
and interactive digital applications,” he says.
Finally each individual will need to develop a
genuine understanding of Indian mainstream
films and filmmakers instead of looking down
upon them or succumbing to the chaotic ways of
the industry’s working, according to Hariharan.
For him, it is very important to make a student
aware of the fact that no one is out to make a
‘bad’ film. Awards or critic’s responses must not
be the yardstick of their judging a film – popular
response also matters a lot.
“We have now arrived at a juncture of time
when rapid digitisation of the art of cinema is
ever-growing,” he says. He gives the example of
how when colour negative first came, it had to
K Hariharan
face obstacles from the masters of black and
white, in the early 60’s.
Even the approach of a student to cinema has
changed now – they want to be ‘original’ or
‘different’ from anything done before. “But
we are yet to realise the full potential of a
standard digital chip camera,” he says.
To him, the old distinctions between directors,
cinematographers or editors would ultimately
disappear. “Only the good story-tellers
will survive,” he says. He also stresses the
importance of more women joining cinema as
technical persons in a male-dominated world.
In conclusion, Hariharan
says cinema is as much
a ‘personal’ expression
as much as it is also an
industrial product for
mass consumption. “So a
filmmaker must learn that
what he or she makes should
be a saleable product and
just not a film made to satisfy
his or her creative urges,” he
concludes.
I

At FTII, teaching methodology is very alive to the
times. Modern methodologies are combined with
intrinsic roots as students watch the works of national
and international. FTII has indeed made a golden
contribution to Indian Cinema in as much as Kodak
has been instrumental in sharing the latest advances in
the field of emulsion manufacturing with the students
FILM SCHOOL
through advanced workshops and supporting them
golden
through gifting raw stock.
Contribution
especially through the use of celluloid (S16) for
This year the Film and Television
Institute of India (FTII) in Pune
completes 50 years of a journey
started way back in back in
1961. “The whole attitude of the
students to cinema as a medium
has undergone a sea change over
the years,” says one of its senior most faculties
BC Naria. “Today not only do students get to see
the work of the masters through daily screenings
at the FTII or the National Film Archives, a whole
new vista has opened up to them with the advent
of DVDs in the film market,” he says.
With this kind of exposure, the students are
open to new ideas of creating images and are
well versed with thought processes of directors
world-wide.
This is reflected in the diploma films they make
– replete with totally different outlooks to life
and the society at large. “Students started picking
BC Naria
A clear idea of the finished product really helps in
making a really good movie,” says Naria.
The most interesting aspect about FTII is that
its syllabus keeps abreast of changing times.
“New ideas, new technologies, are integrated
into the syllabus after introducing them as a
part of hands-on-workshops and seminars,” he
acquisition of images with further processing
done in the digital domain,” says Naria. “Kodak
is making impossible to achieve images possible
through introduction of new emulsions thereby
enabling a fuller control over the look of the final
product. Starting off with only one emulsion,
5247, now availability of about a dozen different
emulsions offering enormous range of looks is
changing the language of filmmaking, thanks to
Kodak,” he says.
Naria feels very enthusiastic about the future
of students taking up cinema as a profession.
Now it is as enticing as a career in engineering
or medicine, the number of students enrolling
every year is increasing rapidly. In fact,
according to him FTII even receives foreign
student applications from France, Canada, USA,
Switzerland and Italy. FTII has indeed made a
Golden Contribution to Indian Cinema. I
up the new emerging techniques and changing adds. “FTII started with training in 35mm black Naria’s Top 5 Nuggets
languages of cinema with the internet becoming
easily available at their disposal,” says Naria.
Even the narrative style of a film has undergone
changes- complex psychological situations and
moral issues have started being portrayed in the
films by FTII graduates.
According to Naria, apart from getting the best
of equipments to work, the thought philosophy
of film teaching adopted makes a substantial
contribution towards film education. “Learning
to paint on the film screen with the camera and
lenses, and adding sound to it to make it give it
life is at the core philosophy of learning at FTII.
and white emulsions which gave way to 35mm
colour emulsions in the 90s and digital formats
also were introduced in the beginning of the new
millennium starting with the academy format of
shooting, the next change was to wide screen and
anomorphic formats,” says Naria. “DI inputs are
now being given to the students theoretically and
through lab visits. Very soon, in a limited way, DI
would be introduced in the projects,” he adds.
FTII also imparts training in television. Digital
TV and high definition format is gaining inroads
into the production milieu in India. “Many of our
students have successfully taken to these mediums
Common pitfalls to avoid
(by a student)
Having an ‘I know it all’
attitude.
Disregarding suggestions and
not understanding colleagues’
problems.
Neglecting physical fitness.
Not realising the importance
of time and money while on
the project.
Not being innovative in taking
the challenges.
33

34
WORKSHOPS
catch‘em
YouNG
The Kodak Cinelab is conducted with the
purpose to inform the students about vision
products and also draw attention to the importance of film as a medium. All the
participants at the recently concluded workshop held at the Government Film & Television Institute,
Hessaraghatta, were very eager to learn to work on motion picture film emulsion. Veteran cinematographer
and Dada Saheb Phalke award winner, VK Murthy conducted the workshop and students also interacted with
National Award winning cinematographer HM Ramchandra, over the two day duration of the workshop.
Committed to interacting with the emerging film professional,
still learning the ropes, the Government Film & Television
Institute, Hessaraghatta, in association with Kodak conducted
a practical workshop for 20 students on their premises. Guest
faculty and cinematographer Chandru, moderated the entire
workshop. Veteran cinematographer and Dada Saheb Phalke
award winner, VK Murthy conducted the workshop. After
two days of basic lighting and exposure practical, the students got the
opportunity to interact with National Award winning cinematographer HM
Ramchandra who had a long interactive session with the students.
D S Roopashree set the tone of the workshop by conducting the preliminary
sessions and coordinated between the students and the experts. Interaction
with Murthy, was an invaluable part of the workshop. “The response from
the students has been extremely encouraging,” she said. This was apparent,
with ex-students from far-a-way places such as Ranchi, Bhopal and Tamil
Nadu also attending the workshop. All the participants of the workshop
were very eager to learn to work on motion picture film emulsion. This
was the second opportunity they had to expose on negative stock, and they
put it to sincere use. Shanti Sagar, a student participant of the workshop
said: “We learnt about lighting patterns and ratios, how to set lighting
Important Learnings
Film is better than digital.
Film is best for gamma correction.
Use lights according to the stock.
How to create depth by using light.
How to preserve film for the future.
– Shanti Sagar, Student
according to the stock latitude and we got an opportunity to work with film
stock. Meeting and getting to work alongside Murthy and Ramchandra was a
major advantage of the workshop. “We saw the processing lab, got to know
about the processing pattern, how the exposed film is processed in the lab and
so on,” added Sagar.
In the interactive sessions with the two veteran cinematographers,
Roopashree said that almost all the questions raised by the students were
related to understanding the negative emulsion’s exposure latitude - the
film’s light handling ability. Next was the resolution - the emulsion’s grain
structure that makes such high resolution possible, the possibilities of colour
schemes and the negative stock’s colour capture abilities.
“It was a dream to work with VK Murthy,” said Sagar. “I wish to thank
Kodak for giving us such a wonderful opportunity. Among the many things
we learnt from him the main ones were – punctuality, dedication and the
way he lights up a scene – it’s fantastic.” HM Ramchandra gave the students
lessons on natural source lighting. As a cinematographer he taught the
students to observe the natural lights in different times of the day and in
varying locations. “The discussion with HM Ramachandra helped us in
understanding grass root principles of lighting theory” said Prithvi V, a
student of the institute.
Film Rules
Though digital is growing at a rapid pace, the rate of
film usage has not decreased. The depth detail, range,
colour reproduction in the film cannot be emulated.
Film provides latitude of up to 14 stops. It is also
highly recommended for archival preservation.
– Prithvi V, Student

A very important aspect of the workshop was the
discussions on the role of DI. Students realised that
DI plays a crucial role in improving the colour and
looks of each single frame in a film. The various
processes involved in DI were also explained.
The Kodak Cinelab visit was conducted with
the objective to educate the students about vision
products and also highlight the importance of film
as a medium. A session was held by Ankur and
Ajit where they covered the FNC presentation
followed by a question and answer session. Later
all the participants were taken to the lab where
Veeresh explained the lab practices and process.
“We got familiar with the cine lab procedures
and the post-production, including DI work
from all angles,” added Prithvi. “All our queries
were answered, and the instructors shared their
knowledge with us,” he added. “We really thank
Kodak Mumbai for creating this opportunity
and enriching our knowledge with practical
demonstrations,” said Prithvi.
Students were also taken to EFX where Ankit
introduced them to Namrata, Line Producer,
who familiarised them with the DI facility. The
students had a great experience learning the
online and offline of a project with colourist
Venu. They also had a short interactive session
The Kodak Cinelab visit
was conducted with the
objective to educate
the students about
vision products and also
highlight the importance
of film as a medium.
WORKSHOPS
with VFX Manager – Mohan, which was very
helpful. In the Kodak Cinelab technical session
the documentary film, No Compromise – the
Power of Film was also screened which helped
students get to know more about films and its
ranges. “The interaction was very informative,
“Though digital is growing at a rapid pace, the
rate of usage of film has not decreased,” he added.
“The deapth detail, range, colour reproduction
in the film cannot be emulated. Film provides
latitude of up to 14 stops. It is also highly
recommended for archival preservation,”
VK Murthy said Prithvi.
This workshop help at Mumbai and Bangalore
was made possible with the help of Kodak
Motion picture company’s encouragement
and support. Mehernoz Maloo, Ananth
Padmanabhan and Rachna Pawar were the
key personnel instrumental in conceiving and
setting up the workshop and the students’ visit
to the Kodak Cine Lab in Mumbai. Students
were provided with adequate stock to
experiment and learn to work on film and all
guidance and support was extended to them
for travel and stay, to develop their exposed
stock, and to visit and understand the world
class work culture of Kodak Cine Labs.
I
35 1

film. Ramachandra remained dedicated
to the cause of the new wave in Kannada
cinema and was instrumental in positioning
Karnataka on the world map of meaningful
cinema. He facilitated many young filmmakers
and first-time producers to meet
each other on a common platform. Amongst
the 70-odd films that he authored with his
camera, he must have been responsible for
no less than 40 debutant directors. Such was
the re-assurance that his presence created.
On many an occasion, he wouldn’t hesitate
even to sacrifice his own priorities as a visual
artist, for the sake of the movie, lest the
project itself be shelved. Hence, increasingly
shrinking budgets and shooting-schedules
S ramachandra
didn’t bother him. From scouting locations
to art direction to publicity, it was his signage
everywhere. If any department called for
his talents, his willing shoulder was always
there.
SOSFIMAK, the society of short-film-makers
that he conceived and nurtured gave vent
to the creative energy of innumerable young
people and catalysed a pool of young talent
in AV communication.
that the Maharishi willingly sacrificed Despite the slow-speed and the deficiencies
his bones in order to save the world in its local processing of the ORWO filmfrom
the demons, and in doing Emulsion, he opted to use it for the sole reason
so he ensured human civilisation
prospered as we know it today.
that the production could save some money
and do a film in colour. In due course, he
mastered the handling of this East European
There are a lot of parallels in the life
film emulsion and even won a national
and times of one of Kannada finest award for his work in Rishyashringa (Dir:
cinematographers, S Ramachandra, VRK Prasad). Incidentally, this was the first
a meticulous person and ‘a man in a national award for colour cinematography in
hurry’ according to his daughter.
a Kannada movie.
His mastery of the art, as well as his
SRamachandra belonged
to the first generation
graduates of the worldrenowned
film school – the
Film and Television Institute
of India, Pune. One of the
finest cinematographers
enthusiasm to serve the cause of meaningful
cinema served successive generations of filmmakers
as exemplified in the father-daughter
duo of PLankesh (Pallavi) and Kavitha
Lankesh (Deveeri, Alemari). He orchestrated
the visual expression of a creative thought
process that circumscribed nearly a whole
of our time, associating with his senior, century and beyond [Shivaram Karanth
UMN Sharif on the sets of the film, (Maleya Makkalu)]to P Sheshadri (Vimukti)
Vamshavruksha he soon realised that this to Roopa Iyer (Mukhaputa)]. As a human
is the genre of film he belonged to and lost being, he priced his integrity the most. His
no time in creating his space.
role-model was Shivaram Karnath.
With his maiden venture, Sankalpa, Though his contribution was colossal to
he won his first state award for best the New Wave Kannada cinema, it was the
cinematography. Incidentally, Anantnag, small screen that brought his talent to the
the sine-qua-non of Kannada cinema, fore in an uncompromising manner and put
traced his first steps in acting under the on display, his skills in visual articulation.
watchful eyes of S Ramachandra in this Malgudi Days was a perfect vehicle for him
An unsung
Hero
The legend of Maharshi Dadhichi says
to join hands with the infectious energy of
Shankarnag and the duo created some of
the most memorable serialisations in a visual
vocabulary that is hard to beat.
His association with the renowned film maker,
Girish Kasaravalli lasted more than three
decades, contributing to several creations
on celluloid such as Ghatashraddha, Mane
and Gulabi Talkies. The montage of visuals
he created for the Dance at Parbu’s house
even as Yamunakka lies in extreme agony in
Ghatashraddha and the way he captured the
innocence and fear in Nani’s eyes through
his lens will remain landmark achievements
of Indian cinema. The surreal, subliminal
images that he created in Banagarada Jinke,
Ghatashraddha, Mane and Aakramana to
name a few, will continue to energise the
students of cinema for a long time. For those
who are interested in the study of a critical
analysis of his work, one should read Prof.
Manu Chakravarti’s critique of his work.
While his forays as a technician and mastercraftsman
are too well-known, what is not
is his concern for the welfare of the younger
generation of cinematographers. He waged
a lone battle against the habit of importing
artists and technicians. None of the recognised
bodies of the industry joined hands with him.
Thus, naturally, even the State Government
couldn’t promote the welfare of technicians of
the State. And the crusade he had launched
to enlarge the strength of the Karnataka
Cinematographers’ Association (KCA) soon
turned into a rebellion against him. The task
was uphill, but not a man to accept defeat;
he challenged his detractors and gave up his
post as the President of (KCA). Today, KCA
stands orphaned at the cross-roads due to
his untimely exit. It is ironical that the body
that he nurtured with such zest should have
caused him so much pain that he chose to
isolate himself.
“A man in a hurry”, as his daughter Varsha
remembers him, is a succinct title that
characterises him. He wanted to do so much,
achieve so much, and scale the peak – all in
a hurry. His passion for his art and his work
is reflected in his reaction to the doctor who
treated him – “If your treatment helps me
get back to the arc-lights, I will submit myself
willingly. Otherwise, what is the point?”
– Mr. G. S. BHaSKar,
FTII Graduate and a renowned
Cinematographer from Bangalore

‘builds relationships.
‘
Being one of the youngest members on the Kodak marketing team has its advantages.
The upside is that everyone is supportive and willing to lend a helping hand. But, no
allowances or compromises are made when I have to meet my targets. This is what
really keeps me going here, year after year.
It’s been three years now and I remember when I joined, you could say that I was a
complete novice, absolutely new to the field. I had aspirations of becoming a cabin
crew member, but destiny brought me here in the Motion Picture Film Department, as
Customer Support and Marketing Service Executive. Today I feel as fresh and new at
work as if it were my first day!
There are many things I have learnt here at Kodak. How to handle marketing activities,
events, special projects and above all how to interact with people. Kodak builds
relationships. I enjoy working at Kodak and find meeting industry people challenging
and interesting.
I lead a very active life outside of Kodak. I enjoy sports and was my college chess
champion. I love languages and German is one of my favourite. I like reading more
about this industry that I find so fascinating. I also enjoy painting using oil on canvas.
I have learnt the salsa and find that dancing makes me happy and energetic.
My motto in life is simple: Live for today and Keep smiling!
Our Regional Offices
MUMBAI
Rachna Pawar
Tel No: 91-22-66416762 / 66
Fax No: 91-22-66416769
Email: rachna.pawar@kodak.com
MUMBAI CINELAB
Aparna Bhusane
Tel No: 91-22-67026600 / 02
Fax No: 91-22-67026666
Email: aparna.bhusane@kodak.com
ChENNAI
M. T. Amuthavanan
Origination Products
Tel No: 91-44-23623086 / 9840333350
Fax No: 91-44-23622522
Email: mohankrishnan. amuthavanan@kodak.com
ChENNAI
T. M. Prasanth
Distribution Products
Tel No: 91-44-23623086 / 9840489900
Fax No: 91-44-23622522
Email: mohan.prasanth@kodak.com
BANgALorE
Ananth A. Padmanabha
Tel No: 91-9886008642
Email: anantha.padmanabha@kodak.com
KoLKAtA
Chirag Gandhi
Tel No: 91-33-30286254 / 9830915152
Fax No: 91-33-30286270
Email: chirag.gandhi@kodak.com
hydErABAd
S. Gowrishankar
Tel No: 91-9849015950
Fax No: 91-40-23816181
Email: santhanam.gowrishankar@kodak.com
hydErABAd
Surya Basa
Distribution Products
Tel No: 91-9885823238
Fax No: 91-40-23816181
Email: surya.basa@kodak.com
KErALA
Visakh K. J.
Tel No: 91-484-2366230 / 36 / 9895708469
Fax No: 91-484-2363211
Email: visak.kj@kodak.com