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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
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 and 22: On the sets of Gowri On the sets of
Page 23: KM Vishnuvardhana is a stalwart of
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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