![]() He is someone who has carved his space in the industry all by himself. He is actually a quick learner and good observant where he executes things at the same speed he learns. He is a straight forward person, his onscreen presence in EIPI will be terrific. We work in a comfortable space and I like him as a person for his cool, composed nature.Īgain this is your second film with composer-turned-actor G.V. Then one fine day he called me to Studio Green office and roped me in as a cinematographer for the movie he was directing. I thought of him that day as an aspiring artist. He was keenly enquiring about the camera and aspects of cinematography. He played a small role and he got introduced to me through that. From when do you know him and what kind of rapport do you share? It was a jump into mainstream cinema.ĭirector Sam Anton and you are working for the second time again. Say example, in KSS we got to shoot with 5D for some portions but on Sarabham, I got to use panther dolly and other interesting technology. One more advantage I got in Sarabham was better equipment. It was completed in 29 days which was a huge achievement during that period. It was actually challenging to shoot the film. Sarabham was something new to Tamil cinema. Kumar sir who distributed Kalyana Samayal Sadham wanted me to do his next project – ‘Sarabham’ – directed by Arun Mohan. We started shooting KSS in Jan 2013 after extensive preproduction and wrapped it by April 2013. It was quite interesting to shoot it and the movie gave me a lot of learning experience. Of course, the movie was received well and it brought me few accolades as well. ![]() ![]() Prasanna who gave me my first opportunity as cinematographer. Prasad Institute which had course specialising Cinematography in Filmmaking and it’s where I met R.S. Obviously with the help of a legendary mentor I topped in a final year subject called Basic Photography. Post-college my thoughts slowly gravitated towards ads and so I did Internship in big production houses which make ads.Īfter having a few knowledge on ground work, I decided to join a college specialising cinematography. ![]() I spend my weekends with Balu Mahendra sir by taking lessons from him. So, after school, I joined Loyala to do my VISCOM. It created a huge impact in me – getting accoladed by a legend as a 17-year-old boy. ![]() He appreciated looking at it and added up that I have some skill in the field. I was quite passionate about capturing photos and once during a vacation I clicked few pictures which I showed it to my Mentor Balu Mahendra sir. How did you get passionate and how did you get into films? Cinematography – the lens handling job doesn’t fall into the hands of every Tom, Dick and Harry. Krishnan Vasant, the DOP behind the GV Prakash Kumar’s Enakku Innoru Per Irukku speaks to us about his path to cinematography and about his work experience in movies. ![]()
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