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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
Page 1 and 2: READ MORE ABOUT Amal Neerad Badal
Page 3 and 4: D irector Vishal cover STorY DARing
Page 5 and 6: the jungle sequence, I have kept th
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
Page 15 and 16: RChezhiyan is the kind of cinematog
Page 17 and 18: The ultimate aim of any cinematogra
Page 19 and 20: Armed with a Bachelors’ degree in
Page 21: On the sets of Gowri On the sets of
Page 25 and 26: “As long as the word cinema exist
Page 27 and 28: KERALA 25 the maverickfilm maker Pa
Page 29 and 30: PRASAD EFX 27 forging ahead Prasad
Page 31 and 32: “ Kodak film stock delivers excel
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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