Ravi K Chandran ISC : Parasakthi Visuals!!

Ravi K. Chandran ISC on Parasakthi: When Light Becomes History

An exclusive conversation

Few cinematographers in Indian cinema have shaped the emotional language of light the way Ravi K. Chandran ISC has. The first Indian Director of Photography to be nominated at Camerimage and later serve on its jury, he represents a rare union of technical mastery and poetic vision.

In Sudha Kongara’s period political drama Parasakthi, he does not merely recreate an era — he reconstructs its air, its light, and its moral atmosphere.

How did Parasakthi come to you?

Ravi K. Chandran:

“I was offered this project suddenly, at very short notice. When I heard the narration, the first thing I knew was — this film must be shot with pristine sharpness and a pollution-free look.”

Most period films rely on smoke and haze. Why did you avoid it here?

“That era had fewer vehicles and a much cleaner atmosphere. I didn’t want to use fog or smoke. I wanted the frames to feel pure, open, and honest.”

The teaser already announced this visual purity. Was that intentional?

“Yes. That clarity, that openness, that confidence — it had to come from the very first images.”

You began shooting with a song sequence. Why?

“I felt this film should not be rushed. It needed perfect staging. I insisted on rehearsals and blocking before we shot.”

The camera keeps moving, but never draws attention to itself. How did you achieve that?

“We used gimbals a lot, but I didn’t want it to feel like Steadicam. I wanted the camera to glide — like an extended dolly shot that can move in any direction.”

Director Sudha likes more dynamic rhythm into the frame with movements.

The lighting in the film feels source-less and natural. Was that a conscious design?

“I never tried to create shafts of light through windows. The lighting is very ambient — it’s hard to locate the source.”

But this is still very precisely controlled, right?

“Absolutely. I always study the sun’s arc very carefully and recreate it with artificial sources.”

The riot sequence and the brother’s death has a very poetic light quality. What was the idea there?

“We shot it for evening with the concept of the ‘Death of the Sun’.”

The opening train sequence already feels iconic. How did you approach it?

“I wanted to keep the darkness of night intact, and let the train light — especially the engine headlight — become the main source.”

Your lensing choices in this film feel very emotional. Can you explain your philosophy?

“I often use wider lenses for close-ups — it brings you into the character’s personal space. And for wide shots, I sometimes go slightly towards the telephoto side — it compresses space and adds emotional weight.”

Even the angles seem psychologically designed.

“I kept slightly lower angles for the protagonist and slightly higher-than-eye-level angles for the antagonist — very marginal, without making it dramatic.”

There is a difficult top-angle Phantom shot of Atharva in muddy water. What were the challenges?

“Avoiding the camera reflection was the biggest issue. I carefully positioned the camera and wrapped it in black plastic. High-speed cinematography always tests you.”

You’ve shot Thug Life, OG, and Parasakthi all on Cooke lenses. What draws you to them?

“That’s what I love about Cooke. Same lenses — completely different worlds.”

Which Cooke lenses did you primarily use for Parasakthi?

“Mainly Cooke S8/i, and SP3 for select sequences. I love the S8/i for its warmth. It creates beautiful faces. The fall-off is so elegant.”

What stop did you prefer to work at?

“Mostly at T4. It gives depth and separation without making the image feel artificial.”

Your flares never feel like effects. Is that deliberate?

“Flares should never be deliberate. They must feel natural. Cooke gives you that — flares with character, not gimmicks.”

You are known for ‘shooting for the final image’. What does that mean in practice?

“I always shoot for the best dynamic range. I follow something like the Ed Lachman zone system. One of my assistants constantly monitors exposure uniformity across multiple cameras.”

Does that reduce work in DI?

“Yes. My films don’t need much work in DI.” we work with colorist for consistency and contrast level and shooting for final look will avoid you having more power windows  at DI

After such a long and celebrated career, what still excites you?

“I feel very happy to collaborate with so many great directors of Indian cinema.”

Can you list it out?

Oh it is long list and career…still i will try

Here is the list of elite directors Ravi K. Chandran has collaborated with as a cinematographer:
Primary Collaborators
* Mani Ratnam
* Sanjay Leela Bhansali
* Karan Johar
* Priyadarshan
* A.R. Murugadoss
* Rajiv Menon
Major Feature Film Directors
* Aditya Chopra
* Farhan Akhtar
* S. Shankar
* Rakesh Roshan
* Shaji Kailas
* Amol Palekar
* Nandita Das
* Kunal Kohli
* Siddharth Anand
* Karan Malhotra
* David Dhawan
* Koratala Siva
* Sujeeth
* Sudha Kongara
* Nitya Mehra
* Shaad Ali
* Punit Malhotra
* Saagar K. Chandra

What would you like to explore next?

“I would love to explore Cooke Panchros.”

Closing Note

With Parasakthi, Ravi K. Chandran ISC once again proves that great cinematography is not about showing technique — it is about hiding it inside emotion.

His images do not announce themselves.

They flow, breathe, and stay in your memory — like history itself.

Article by

CJ Rajkumar

Author/ Cinematographer