ULAGHAM

The camera is the most important tool on set. Without a camera, there is no movie. After the director, the Director of Photography is the second creative person on set.  There has been a lot of speculations about the role of a cinematographer. Though Indian cinematographers take care of framing, composition and lighting also, other industries including Hollywood, China etc have a number of departments, performing different roles. The DoP is responsible for the framing whereas the lighting is taken care of by the Lighting Department and the focus is taken care by the gaffer. Post cinematography courses, there is a lot of confusion generally among students of film scholl, or for that matters anyone who wants to pursue Cinematography as their career. Being a DoP or his assistant isn't just a way to learn or gain experirence. There are people like John Higgins, Dan McArthur who had worked under cinematographers as light man, gaffers etc and did camera for movies. The Cinematogra

It isn't easy to be a Cinematographer who is choosy in his works and being internationally recognised for it. Siddartha Nuni is one among them. Being a graduate from Mindscreen Film Institute, his first film was a Hollywood movie. But Lucia, a 2013 Kannada Film gave him the star status.  Styled in the vein of American slacker and teen comedies, "Brahman Naman" is the latest from Indian indie filmmaker Quashiq Q Mukherjee. Instead of taking the route of sales and distribution, the directore chose to release his movie through netflix, which was quite new to India. DP Siddartha Nuni shot the film in 23 days in the cities of Bangalore and Mysore. Here, he speaks about his love for Trainspotting, recreating 80's era India and capturing the 'confused teenage mind visually'. How and why did you wind up being the cinematographer of your film? What were the factors and attributes that led to your being hired for this job? The director of the fil

In the present situation, where 5Ds and 1Ds have taken the place of Film cameras, there is a silent changeover from DSLRs to Medium Format Cameras. The RED Cameras marked the entry of Medium Format Cameras in Cinematography. Why Medium Format? Do we need this much of detailing in each scene? - This is what every cinematographer asked at first. But the results are enough to convince them totally.  As a company, it could be argued that RED was essentially ahead of its time in the company’s belief that the future of film was in 4K resolution and thus sought to create a digital camera that could truly look as good, if not better than film, while being significantly smaller, more portable, and ultimately more affordable. RED’s story is one that is rooted in the American tradition of game-changing companies that started in a simple garage. In Jim Jannard’s case, he founded the company in 2005 with a small group of fellow innovators who sought to build a truly modern digital camera.

Technology has invaded all fields and sectors. Be it Business or Cinema or Politics, Technology has its fair share of how things have changed and advanced. It has not left Cinematography either. Right from the past, when Camera was invented, people who had huge loads of money bought them. When the medium of Cinema was introduced to people, it totally changed the way people saw cameras. New things came up slowly. People started seeing camera as something which is changing their lives and it did.     It’s taken for granted that in the 20th century cinematography survived two revolutions after the introduction of first sound and later color. After these two, Cinema changed rapidly within a short span of time. Technology advancements in general, took the art of film making to a whole new level.  Regarding the changes in the cinema language it’s necessary to point out that unlike the technological revolutions these changes have been of an evolutionary nature and related to the one of