{"id":10929,"date":"2025-10-28T15:34:47","date_gmt":"2025-10-28T15:34:47","guid":{"rendered":"https:\/\/thesica.in\/?p=10929"},"modified":"2025-10-28T15:36:02","modified_gmt":"2025-10-28T15:36:02","slug":"kantara-chapter-one-dop-arvind-kashyap","status":"publish","type":"post","link":"https:\/\/thesica.in\/ta\/kantara-chapter-one-dop-arvind-kashyap\/","title":{"rendered":"Kantara Chapter One: DOP Arvind kashyap"},"content":{"rendered":"

\ud83c\udfa5 SICA Exclusive: Crafting the Mythic World of Kantara: Chapter 1<\/em><\/strong><\/h1>\n

\"\"<\/p>\n

An Interview with Arvind S. Kashyap, ISC<\/em><\/h3>\n

As part of SICA\u2019s ongoing initiative to showcase outstanding visual storytellers shaping the future of Indian cinema, we present an exclusive conversation with Arvind S. Kashyap, ISC<\/strong> \u2014 a cinematographer whose work bridges mythology, science, and human emotion.<\/p>\n

Known for his visually rich films like Bell Bottom<\/em> (2019), 777 Charlie<\/em> (2022), and Hostel Hudugaru Bekagiddare<\/em> (2022), Arvind\u2019s latest venture, Kantara: Chapter 1<\/em>, redefines the language of Indian mythic realism.
\nReuniting with actor-director Rishab Shetty<\/strong>, he constructs a cinematic world where nature, culture, and divinity converge \u2014 seen through the warmth and depth of the Cooke Look<\/strong>.<\/p>\n

\n

Q: Arvind, how did your transition from mechanical engineering to cinematography begin?<\/strong><\/h3>\n

Arvind S. Kashyap:<\/strong>
\nBefore cinema, my world was purely mechanical. I studied engineering, and I was fascinated by motion, precision, and the science of optics. I used to build and fly my own drones \u2014 this was long before drones became mainstream in cinematography.
\nIt wasn\u2019t just about the machine; it was about discovering perspective. Engineering taught me structure and problem-solving, but cinema taught me how to feel light \u2014 to translate emotion into imagery.<\/p>\n

\n

Q: What led to your creative partnership with Rishab Shetty?<\/strong><\/h3>\n

Arvind:<\/strong>
\nI started as an assistant director on Lucia<\/em> and later worked under cinematographer Karm Chawla, who introduced me to Rishab. We connected immediately \u2014 both of us believed that visual storytelling should feel rooted yet universal.
\nOur collaborations, including Kantara<\/em>, are built on that philosophy. Kantara: Chapter 1<\/em> expands the universe we created \u2014 it\u2019s not just a prequel, it\u2019s a deeper exploration of faith, nature, and humanity.<\/p>\n

\"\"<\/p>\n

\"\" \"\" \"\"<\/p>\n

Q: The visual design of Kantara: Chapter 1<\/em> feels immersive and grand. How did you approach world-building?<\/strong><\/h3>\n

Arvind:<\/strong>
\nIt was a massive process. We began with field research \u2014 visiting old palaces to study their architecture and privacy structures. We discovered that many royal spaces were intentionally confined, symbolizing hierarchy and secrecy. That became a visual language for me \u2014 tight spaces, narrow shafts of light, controlled compositions.
\nIn contrast, the exteriors in Kundapura<\/strong> were wild and spiritual. About 80% of the film<\/strong> was shot in real locations to retain texture, while the remaining sequences \u2014 over 3,000 VFX shots<\/strong> \u2014 extended those worlds authentically. The production stretched over 18 months<\/strong>, allowing us to perfect the fusion of physical and digital realism.<\/p>\n

\n

Q: Your lighting style in this film seems to carry emotional weight. Can you elaborate?<\/strong><\/h3>\n

Arvind:<\/strong>
\nLight, for me, is a character \u2014 not a tool.
\nThe palace sequences were about control and dominance, so I used harder, directional sources. The forests were about surrender \u2014 softer light, natural diffusion, and reflection.
\nEven in our VFX or chroma setups, we didn\u2019t go for sterile even-lighting. I kept the imperfections \u2014 slight shadows, uneven tones \u2014 because they make the scene feel human. Perfect images rarely feel real.<\/p>\n

\"\"<\/p>\n

\"\"<\/p>\n

Q: You\u2019ve used both anamorphic and spherical formats. How did that choice serve the story?<\/strong><\/h3>\n

Arvind:<\/strong>
\nI tested multiple lenses, but Cooke<\/strong> gave me the emotional warmth I was looking for.
\nFor day sequences, I used Cooke Anamorphic FF (non-special flare)<\/strong> lenses \u2014 they have that mild barrel distortion, subtle warmth, and organic roll-off that make the image alive.
\nFor night scenes, I shifted to Cooke S8\/i spherical<\/strong> lenses \u2014 they handle low light and contrast beautifully, especially for VFX integration. Using both formats created a visual rhythm \u2014 the day feels grand and earthly, the night feels spiritual and mysterious.<\/p>\n

\n

Q: The camera movement in Kantara: Chapter 1<\/em> feels almost alive. Was that intentional?<\/strong><\/h3>\n

Arvind:<\/strong>
\nAbsolutely. I wanted the camera to feel sentient \u2014 not just an observer but a participant.
\nThe first fifteen minutes are about drawing the viewer into a state of wonder and chaos \u2014 to make them feel<\/em> the pulse of this world.
\nIn the climax, we played with aspect ratio transitions<\/strong> \u2014 shifting from Cinemascope to flat \u2014 to enhance emotional impact. It\u2019s subtle but deeply effective in amplifying the storytelling rhythm.<\/p>\n

\"\"<\/p>\n

Q: Given the film\u2019s physical demands, how did you handle on-set safety?<\/strong><\/h3>\n

Arvind:<\/strong>
\nSafety was always the priority. We had several complex sequences involving elements like fire and water, and we couldn\u2019t afford uncertainty.
\nBefore every major shoot, we ran detailed rehearsals \u2014 not just blocking, but physics-based analysis of what could go wrong. Those rehearsals helped us foresee risks and adapt. When you work with real environments, nature doesn\u2019t give second takes, so preparation is everything.<\/p>\n

\n

Q: The music and sound of Kantara: Chapter 1<\/em> feel inseparable from its visuals. How did that synergy happen?<\/strong><\/h3>\n

Arvind:<\/strong>
\nComposer Ajaneesh Loknath<\/strong> and I discussed the tone from the very beginning. We both wanted authenticity. For Chapter 1<\/em>, he delved into tribal music of coastal Karnataka<\/strong>, especially around Kundapura.
\nNearly 60% of the sound was recorded outdoors<\/strong> \u2014 not in studios \u2014 to capture the air, the space, the natural echo. That sonic texture complemented our imagery perfectly. You can hear<\/em> the world as much as you can see<\/em> it.<\/p>\n

\"\"<\/p>\n

Q: What role did Cooke optics play in achieving the film\u2019s visual tone?<\/strong><\/h3>\n

Arvind:<\/strong>
\nCooke lenses gave me exactly what I needed \u2014 warmth, character, and a soul. The gentle fall-off, natural skin tones, and that subtle softness helped translate emotion without over-polishing.
\nCooke\u2019s glass allowed me to balance science with spirituality. It\u2019s not just optics; it\u2019s poetry made tangible.<\/p>\n

\n

Q: What do you think Kantara: Chapter 1<\/em> represents for Indian cinematography today?<\/strong><\/h3>\n

Arvind:<\/strong>
\nIt represents a step forward in both thought and craft. Indian cinematography today can stand shoulder-to-shoulder with global standards \u2014 provided we stay true to our roots.
\nThis film was a reminder that technology is not the soul \u2014 vision is.<\/em> When collaboration and intent align, Indian stories can reach anywhere in the world.<\/p>\n

\n

Q: Finally, your message to\u00a0 young cinematographers and students?<\/strong><\/h3>\n

Arvind:<\/strong>
\nObserve light every day \u2014 that\u2019s the best training ground. Watch how it touches skin, metal, dust, leaves. Don\u2019t rush to imitate; learn to interpret.
\nAnd respect your crew. Cinematography is a shared art form \u2014 it thrives on humility, teamwork, and constant curiosity. The lens can only see what the heart understands.<\/p>\n

Experts\u2019 Corner<\/strong><\/h3>\n

Arvind\u2019s insights and visual analyses have been featured in Cooke Optics <\/strong><\/p>\n

His thoughts on lens character, VFX integration, and the philosophy of light continue to influence a new generation of Indian cinematographers.<\/p>\n

Arvind S. Kashyap, ISC<\/strong>, who push the boundaries of visual language while staying rooted in craft and culture.<\/p>\n

He thanks his Director Rishab Shetty, Producers and all technicians for this film making experience
\nThrough Kantara: Chapter 1<\/em>, he has not only elevated mythic storytelling but also redefined how Indian cinematography can blend technology, science, and soul.<\/p>\n

Article conceived and drafted by<\/strong><\/p>\n

CJ Rajkumar<\/strong><\/p>\n

Author\/ Cinematographer\u00a0<\/strong><\/p>\n

<\/div>","protected":false},"excerpt":{"rendered":"

\ud83c\udfa5 SICA Exclusive: Crafting the Mythic World of Kantara: Chapter 1 An Interview with Arvind S. Kashyap, ISC As part of SICA\u2019s ongoing initiative to showcase outstanding visual storytellers shaping the future of Indian cinema, we present an exclusive conversation with Arvind S. Kashyap, ISC \u2014 a cinematographer whose work bridges mythology, science, and human […]<\/p>\n","protected":false},"author":2,"featured_media":10931,"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\/10929"}],"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=10929"}],"version-history":[{"count":4,"href":"https:\/\/thesica.in\/ta\/wp-json\/wp\/v2\/posts\/10929\/revisions"}],"predecessor-version":[{"id":10942,"href":"https:\/\/thesica.in\/ta\/wp-json\/wp\/v2\/posts\/10929\/revisions\/10942"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/thesica.in\/ta\/wp-json\/wp\/v2\/media\/10931"}],"wp:attachment":[{"href":"https:\/\/thesica.in\/ta\/wp-json\/wp\/v2\/media?parent=10929"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/thesica.in\/ta\/wp-json\/wp\/v2\/categories?post=10929"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/thesica.in\/ta\/wp-json\/wp\/v2\/tags?post=10929"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}