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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
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Page 7 and 8: On the sets of Ready MUMBAI ORiginA
Page 9 and 10: On the sets of Bumboo ChaLLenGe ACC
Page 11 and 12: Raja Satankar believes that each pr
Page 13 and 14: MUMBAI 11 HEART’SDesire Bhojpuri
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Page 19 and 20: Armed with a Bachelors’ degree in
Page 21 and 22: On the sets of Gowri On the sets of
Page 23 and 24: KM Vishnuvardhana is a stalwart of
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Page 27 and 28: KERALA 25 the maverickfilm maker Pa
Page 29 and 30: PRASAD EFX 27 forging ahead Prasad
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Page 33 and 34: STRICT discipline As the trade adva
Page 35 and 36: At FTII, teaching methodology is ve
Page 37 and 38: A very important aspect of the work
Page 39: ‘builds relationships. ‘ Being

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