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From Virasat to My Name Is Khan, Ravi K. Chandran ISC has been a force behind some of Indian cinema\u2019s most unforgettable imagery. Known for fusing emotion with precision, and experimentation with elegance, he continues to push the boundaries of visual storytelling. In this candid conversation with SICA, he dives deep into his work on Thug Life with Mani Ratnam and Kamal Haasan, reflects on his pioneering use of tools like Cooke lenses and DI grading, and shares timeless wisdom for the next generation of cinematographers.<\/p>\n
\ud83c\udfac What excites you most about reuniting with Mani Ratnam for Thug Life, three decades later?<\/strong><\/p>\n Ravi K. Chandran:<\/p>\n Shooting Thug Life is special\u2014emotionally and creatively. Mani Ratnam has sculpted deep human emotions into every frame. That excites me.<\/p>\n What I love about working with Mani is the unpredictability. Each day brings a chance to improvise. He directs with instinct and clarity\u2014he knows exactly when to shoot a scene, what the light should be, and inspires everyone around him to rise to the moment.<\/p>\n \ud83d\udcf7 You\u2019ve always embraced new technologies. What did you try for the first time here?<\/strong><\/p>\n For the first time in my career, I used Cooke lenses.<\/p>\n We chose Cooke Anamorphic FF for the film\u2019s warmer, emotionally grounded first half. Then switched to Cooke S8\/i spherical lenses for the second half, which has a cooler, emotionally heavier tone. Paired with the Alexa LF, the large format gave us exquisite depth of field and smoother fall-off.<\/p>\n I mostly shot at T4\u2014it gave just the right cinematic softness and depth.<\/p>\n <\/p>\n \ud83c\udf05 What was your lighting strategy for Thug Life?<\/strong><\/p>\n My core approach hasn\u2019t changed over the years\u2014<\/p>\n Day interiors remain semi-dark with natural ambience, while nights rely on a single dramatic source\u2014like a tube light or tungsten glow.<\/p>\n We used a mix of specular lighting, 24K tungsten units, and indirect sources to create rich, moody visuals\u2014especially in dusk sequences. The teaser\u2019s black-and-white smoke across barren Chennai landscapes? That was a tone-setter\u2014gritty, atmospheric, expansive.<\/p>\n \ud83d\udca1 You’ve pioneered many lighting techniques. Any standout invention?<\/strong><\/p>\n Yes\u2014Using Miniflos, C stands Arri sky panels, Spacelights.<\/p>\n Tiny fluorescent lights small enough to fit inside glass bottles.<\/p>\n It was a game-changer in ad films\u2014creating a surreal glow from within the product. Later, I transitioned this to cinema\u2014films like Virasat and Dil Chahta Hai used soft yet contrast-rich lighting, which influenced the visual aesthetic of an entire generation.<\/p>\n \ud83c\udf9e\ufe0f Why did you favor 28mm and 35mm lenses for Thug Life?<\/strong><\/p>\n These focal lengths allowed me to get physically closer to the actors, giving them an epic presence on screen.<\/p>\n That closeness helps audiences connect with the character\u2019s emotions\u2014it\u2019s intimate, immersive, and cinematic. You feel with them, not just watching them.<\/p>\n \u2600\ufe0f\u00a0 You often talk about India\u2019s sunlight. How does it affect your shoot planning?<\/strong><\/p>\n Indian sunlight is brutal\u2014and beautiful.<\/p>\n After 8 a.m., the sun rises fast and high, creating harsh angles and quick shifts. Unlike Europe, where you get stable light for hours, here we must constantly adapt.<\/p>\n It affects everything\u2014blocking, lensing, even makeup continuity. But if you learn to master it, Indian light gives you unmatched textures.<\/p>\n \ud83c\udfa5 You\u2019ve worked with both Mani Ratnam and Sanjay Leela Bhansali. How different are they?<\/strong><\/p>\n Both are masters\u2014but polar opposites.<\/p>\n Bhansali is all about symmetry, opulence, and meticulous visual structure.<\/p>\n Mani is instinctive, raw, and rooted in naturalism.<\/p>\n If I\u2019d only worked with Sanjay, I wouldn\u2019t have survived Mani\u2019s speed and spontaneity. Each taught me different ways to see, feel, and shape a story visually.<\/p>\n \ud83c\udf0d Your experience at Camerimage and thoughts on global exposure?<\/strong><\/p>\n Camerimage was an eye-opener.<\/p>\n Meeting icons like Vittorio Storaro, trading thoughts with cinematographers from around the world\u2014it pushed me to look beyond what I knew.<\/p>\n Getting nominated for My Name Is Khan at the Golden Frog awards made me feel our work was truly crossing borders.<\/p>\n \ud83c\udfac How did you approach the visual style for Yuva compared to other Mani Ratnam films?<\/strong><\/p>\n Yuva needed three distinct visual languages to reflect its three protagonists\u2019 inner worlds:<\/p>\n Lallan\u2019s track used wide-angle lenses and handheld camerawork to capture his aggression and chaos.<\/p>\n Michael\u2019s portions were framed with precision and symmetry, reflecting his composed, idealistic nature.<\/p>\n Arjun\u2019s story was shot with telephoto lenses and soft backgrounds to evoke his dreamy detachment and lack of focus.<\/p>\n While each storyline had its own aesthetic, the overall challenge was blending them seamlessly into one cohesive film.<\/p>\n \ud83c\udfa8\u00a0 How did you use color palettes to enhance each character\u2019s arc?<\/strong><\/p>\n We designed subtle but distinct color palettes:<\/p>\n Lallan\u2019s world had dominant reds and blacks\u2014reflecting anger, tension, and violence.<\/p>\n Michael\u2019s scenes used earthy tones and soft light to signify calm and clarity.<\/p>\n Arjun\u2019s spaces were cooler in tone\u2014blues and pastels that hinted at his youthful aspirations and emotional distance.<\/p>\n The palettes extended to costumes, locations, vehicles\u2014even props\u2014always grounded, never flashy. The audience feels the contrast rather than consciously noticing it.<\/p>\n \ud83c\udfa5 Why were different lenses and camera styles chosen for each character?<\/strong><\/p>\n Each lensing choice supported the character\u2019s psychological state:<\/p>\n Lallan\u2019s handheld wide shots brought out the volatility and unpredictability of his life.<\/p>\n Michael\u2019s structured, balanced frames echoed his moral center and leadership qualities.<\/p>\n Arjun\u2019s long-lens treatment isolated him from his surroundings, visually showing how disconnected he was from reality.<\/p>\n These weren’t just stylistic decisions\u2014they were emotional storytelling tools.<\/p>\n \ud83c\udf06\u00a0 How did the visuals differ between Yuva and Aayutha Ezhuthu?<\/strong><\/p>\n Though both films shared the same structure, we shot them separately and tailored the visuals to each version\u2019s cultural setting.<\/p>\n In Yuva, Kolkata gave us layered textures and visual grit\u2014especially for Lallan\u2019s story.<\/p>\n In Aayutha Ezhuthu, Chennai\u2019s urban rhythm influenced our lighting, framing, and color tones to match the Tamil cultural context.<\/p>\n Even the emotional tone shifted slightly, so we recalibrated performances and visuals accordingly\u2014while keeping each character\u2019s identity distinct.<\/p>\n \ud83e\udd1d\u00a0 What was Mani Ratnam\u2019s role in shaping the visual storytelling?<\/strong><\/p>\n Mani Ratnam\u2019s vision was clear from the start\u2014three parallel journeys that converge, each needing its own look and rhythm.<\/p>\n He\u2019s a master of subtlety. Nothing is overdone. He gave me full freedom to experiment, but every decision had to serve the emotional core of the story. Our discussions were always about why a scene should look a certain way\u2014not just how. That\u2019s what made it special.<\/p>\n \ud83c\udfac\u00a0 How did you develop the visual style for Black to reflect its unique narrative?<\/strong><\/p>\n Black was about seeing through the absence of sight. The visual language had to immerse the audience in Michelle McNally\u2019s deafblind world, yet still remain emotionally accessible.<\/p>\n We chose a muted palette\u2014blacks, greys, and blues\u2014to mirror her sensory isolation. Light became our metaphor: soft, natural illumination through windows represented knowledge and hope, especially in the scenes where Debraj begins to teach her.<\/p>\n Close-ups of hands and textures anchored the tactile reality of Michelle\u2019s world. Every frame was carefully composed to feel both intimate and expansive, mirroring her personal confinement and eventual growth.<\/p>\n You were among the early pioneers to use DI in India. Tell us about that moment.<\/strong><\/p>\n Black was a turning point.<\/p>\n We needed to show the mansion\u2019s vast, lonely feel\u2014so we polished the floors and lit with intent. DI (Digital Intermediate) was still new in India. We scanned the negatives and tried post-processing in Australia, but delays made us finish it at Prime Focus India.<\/p>\n This wasn\u2019t about enhancing\u2014it was about preserving what we captured on film. It wasn\u2019t perfect, but it was bold. I believe Black was the popular Indian feature fully graded via DI.<\/p>\n \ud83d\udca1\u00a0 What role did lighting play in shaping the emotional tone of Black?<\/strong><\/p>\n Lighting was the emotional spine of Black.<\/p>\n We created a cold, isolating mood in the McNally home using diffused daylight and shadow play, letting light drift softly through large windows without ever feeling warm. But when Michelle experiences breakthrough moments\u2014like the \u201cwater\u201d scene\u2014we subtly shifted the light, adding glows of warmth to mark emotional transitions.<\/p>\n Candlelight in the church sequence brought a spiritual glow, contrasting Michelle\u2019s darkness with a sense of divine presence. Every lighting choice served a psychological purpose, framing isolation and enlightenment side by side.<\/p>\n \ud83c\udfa5 How did lensing choices contribute to the film\u2019s intimate and symbolic visuals?<\/strong><\/p>\n Details mattered: the grain of Michelle\u2019s fingers, the texture of fabric, the subtle shift in expression.\u00a0 lens and composition\u00a0 is to\u00a0 amplify the senses she did possess, bringing the audience closer to her lived experience.<\/p>\n Wide shots were minimal but deliberate\u2014used to highlight the emotional vastness and silence of the McNally home. Every shot had to feel honest, poetic, and grounded.<\/p>\n \ud83c\udfa8 How did your collaboration with Sanjay Leela Bhansali shape the cinematography?<\/strong><\/p>\n Sanjay envisioned Black as a painting\u2014stripped of color but rich in feeling.<\/p>\n Unlike his usual opulent frames, this film required minimalism with meaning. We discussed how to use light, shadow, and space to reflect themes like knowledge, spirituality, and resilience.<\/p>\n He trusted me to interpret symbolism through visual grammar\u2014slow pans, static compositions, and careful reveals. Whether it was a shaft of light on a cathedral wall or a flicker of flame on a student\u2019s face, we crafted every image to feel weighted yet graceful.<\/p>\n How did production design complement your cinematography?<\/strong><\/p>\n Sabyasachi Mukherji\u2019s production design was a natural extension of the cinematography.<\/p>\n The McNally house\u2014with its towering ceilings, austere furniture, and religious iconography\u2014gave us both grandeur and loneliness to work with.<\/p>\n We used wide frames to show spatial emptiness and close-ups to explore emotional intensity. Elements like poetry-inscribed walls in Debraj\u2019s quarters were lit in a way that invited deeper meaning. The textural richness of the set\u2014wood, stone, and fabric\u2014echoed Michelle\u2019s sense of touch and grounded our visual storytelling.<\/p>\n \ud83c\udfb6\u00a0 How did the absence of songs affect your visual approach?<\/strong><\/p>\n With no songs, the visual rhythm had to sing on its own.<\/p>\n We leaned into stillness, silence, and shadow\u2014letting the background score breathe without competition. Scenes like Michelle\u2019s solitary walk through the candlelit church became visual symphonies, where light and pace did the emotional lifting.<\/p>\n In moments like the graduation sequence, we used slow tracking shots and warm tones to heighten triumph through visual grace. Every frame had to carry weight\u2014composition, light, and movement became our emotional chorus.<\/p>\n \ud83c\udf3e How did you approach the visual style for Paheli (2005) to capture its folklore and fantasy?<\/strong><\/p>\n Paheli is a timeless fairytale rooted in Rajasthan, so the visuals had to feel magical yet grounded.<\/p>\n We leaned into a rich, intoxicating color palette\u2014deep reds, marigold yellows, and antique golds\u2014to reflect the cultural vibrancy and surreal undertones of the story. Every frame was composed like a painting, with fluid camera movements enhancing the ghostly transformations and romantic moments.<\/p>\n Warm, glowing light created a sense of enchantment, especially in dreamlike sequences like \u201cLaaga Re Jal Laaga.\u201d The goal was to make Rajasthan feel otherworldly\u2014as if reality itself were bewitched.<\/p>\n \ud83d\udd06\u00a0 What role did lighting play in shaping Paheli\u2019s mood and magic?<\/strong><\/p>\n Lighting was the soul of Paheli.<\/p>\n We captured natural golden light during dawn and dusk to give Rajasthan an eternal glow. In desert scenes, diffused sunlight revealed texture in the sands without harshness. Indoors, we used practical lighting\u2014lanterns and candles\u2014to create intimacy and mystery, especially in scenes involving the ghost.<\/p>\n The lighting subtly shifted between realism and fantasy, enhancing the contrast between Lachchi\u2019s routine village life and the ghost\u2019s magical presence.<\/p>\n \ud83c\udfa5\u00a0 How did lensing and camera techniques support the storytelling?<\/strong><\/p>\n Wide shots highlighted the grandeur of the desert and havelis, while close-ups brought out the emotional intensity of the ghost and Lachchi. Song sequences like \u201cLaaga Re Jal Laaga\u201d featured graceful dolly and crane movements, syncing with choreography and enhancing the fairytale mood.<\/p>\n Our camera language danced between realism and dream, mirroring the story\u2019s magical duality.<\/p>\n \ud83c\udfac\u00a0 How was the collaboration with Amol Palekar and Shah Rukh Khan?<\/strong><\/p>\n Amol Palekar brought a gentle, actor-focused vision to directing. He wanted Paheli to feel poetic, and he gave me the space to visually interpret that.<\/p>\n Shah Rukh called me personally to join the film. His dual role as Kishanlal and the ghost required visual nuance\u2014we used subtle shifts in lighting and posture to differentiate the two personas.<\/p>\n Together, Amol\u2019s understated style and Shah Rukh\u2019s dynamic performance allowed for a visually bold yet emotionally restrained approach.<\/p>\n \ud83c\udfdc\ufe0f\u00a0 What challenges did you face while shooting?<\/strong><\/p>\n Recreating Rajasthan in Mumbai\u2019s Film City was the biggest challenge. With limited time in the real desert, we brought back sand to build artificial dunes.<\/p>\n We shot on the helipad using giant fans, camels, and sculpted lighting to recreate the feel of the Thar. Matching the color, light, and texture between real and artificial locations took precision\u2014but we succeeded in making the transitions invisible to the viewer.<\/p>\n It pushed us to innovate\u2014and deliver Rajasthan on reels.<\/p>\n How did you shape the visual style of Dil Chahta Hai to reflect its modern, urban narrative?<\/strong><\/p>\n Dil Chahta Hai was a turning point\u2014a story about youth, friendship, and change told with a new language. The visuals had to feel fresh, clean, and emotionally real.<\/p>\n We used a natural, vibrant palette\u2014cool tones in urban Mumbai, warm blues and greens in Goa. Camera work was fluid and intuitive: tracking shots for road trips, tight close-ups for raw emotion. Every frame aimed to reflect a sense of freedom, introspection, and connection, all in tune with Farhan\u2019s modern vision.<\/p>\n \ud83d\udca1\u00a0 What role did lighting play in setting the film\u2019s tone?<\/strong><\/p>\n Lighting had to feel effortless yet expressive. In Mumbai, we used soft window light and real interiors to create a refined, lived-in feel.<\/p>\n Goa was lit by golden hour sun, bathing the beach scenes in warmth and nostalgia. Emotional scenes\u2014like Tara\u2019s apartment or the opera sequence\u2014relied on low-key, intimate lighting to heighten vulnerability. The light always supported the emotion, never distracting from it.<\/p>\n \ud83c\udfa5\u00a0 How did lenses and camera techniques elevate the storytelling?<\/strong><\/p>\n Wide-angle shots captured the freedom of open roads and forts in Goa.<\/p>\n For personal moments, we went tighter\u2014standard lenses and slow tracking to draw audiences into the character\u2019s emotional state. \u201cTanhayee\u201d was built on minimal movement, close frames, and a haunting stillness. Our choices aimed for emotional truth with visual polish.<\/p>\n \ud83c\udfac\u00a0 How was your collaboration with Farhan Akhtar?<\/strong><\/p>\n Farhan came in with a clear, fearless vision. He wanted to break the mold\u2014no melodrama, no over-lighting\u2014just grounded, global storytelling.<\/p>\n We synced instantly. He gave me the freedom to explore light, angles, and rhythm, always tying it back to character. We weren\u2019t just capturing cool frames\u2014we were building a new cinematic language.<\/p>\n \ud83c\udfb6\u00a0 How did you approach key song sequences like \u201cDil Chahta Hai\u201d and \u201cTanhayee\u201d?<\/strong><\/p>\n For the title track, it was all about energy\u2014steadicam, crane shots, vibrant daylight, capturing the thrill of youth and friendship.<\/p>\n \u201cTanhayee\u201d was the opposite\u2014still, shadowed, and internal. Slow moves, tight framing, and low light gave it emotional gravity. We choreographed each shot with Farah Khan and Farhan so the visuals sang with the music\u2014never ornamental, always emotional.<\/p>\n \ud83c\udf93 Q: Your advice for young cinematographers?<\/strong><\/p>\n \u201cDon\u2019t play safe. Take risks. Break patterns.\u201d<\/p>\n Legends like Balu Mahendra, P.C. Sreeram, and Santosh Sivan didn\u2019t follow rules\u2014they rewrote them. That\u2019s how you grow.<\/p>\n Cinema is a gift. Use it wisely. Learn light. Study color. Try new tools. And never stop learning from the set, the street, or the sky.<\/p>\n CJ Rajkumar<\/p>\n Author\/ Cinematographer<\/p>\n![\"\"](\"https:\/\/thesica.in\/wp-content\/uploads\/2025\/06\/IMG-20250604-WA0065-300x200.jpg\")
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\ud83c\udfa5 The Eye Behind India\u2019s Most Iconic Frames Ravi K. Chandran ISC on Thug Life and on his earlier films Visual Innovation & Crafting Cinematic History From Virasat to My Name Is Khan, Ravi K. Chandran ISC has been a force behind some of Indian cinema\u2019s most unforgettable imagery. Known for fusing emotion with precision, […]<\/p>\n","protected":false},"author":2,"featured_media":10568,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[1],"tags":[],"translation":{"provider":"WPGlobus","version":"2.8.1","language":"ta","enabled_languages":["en","ta"],"languages":{"en":{"title":true,"content":true,"excerpt":false},"ta":{"title":false,"content":false,"excerpt":false}}},"_links":{"self":[{"href":"https:\/\/thesica.in\/ta\/wp-json\/wp\/v2\/posts\/10551"}],"collection":[{"href":"https:\/\/thesica.in\/ta\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/thesica.in\/ta\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/thesica.in\/ta\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/thesica.in\/ta\/wp-json\/wp\/v2\/comments?post=10551"}],"version-history":[{"count":4,"href":"https:\/\/thesica.in\/ta\/wp-json\/wp\/v2\/posts\/10551\/revisions"}],"predecessor-version":[{"id":10571,"href":"https:\/\/thesica.in\/ta\/wp-json\/wp\/v2\/posts\/10551\/revisions\/10571"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/thesica.in\/ta\/wp-json\/wp\/v2\/media\/10568"}],"wp:attachment":[{"href":"https:\/\/thesica.in\/ta\/wp-json\/wp\/v2\/media?parent=10551"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/thesica.in\/ta\/wp-json\/wp\/v2\/categories?post=10551"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/thesica.in\/ta\/wp-json\/wp\/v2\/tags?post=10551"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}