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10 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
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