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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. 13 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
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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
Page 15 and 16: RChezhiyan is the kind of cinematog
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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
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
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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
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