Richard Prasad is a well-known and critically-acclaimed technician, who has cranked the camera for films such as Swamy Ra Ra, Kotha Janta, Babu Bangaram, and Dochey. Oh! Baby is his most recent film. With the film becoming a big hit and his work getting well-deserved applause, Richard Prasad interacted with media recently.
How did you become a cinematographer?
I studied visual communications. Journalism, photography, and painting were part of it. After completing the course, I joined a TV channel as a part-time employee. I used to be engaged in web designing as well. When I watched the Hollywood movie Sylvester, I was enthused to become a director. However, I slowly realized that cinematography is my biggest passion. I would always be curious to gain knowledge of all film making crafts. That’s why I studied a cinematography course. By then, I had gained command over editing. With this knowledge, I could get the scene division and sounding techniques right.
Every time I work on a movie, I see myself as an assistant director rather than as a cinematographer. I observe the way directors bring out the emotions in scenes/actors. Many years ago, after completing my cinematography course, I did a few commercials. I happened to get in touch with lyricist Krishna Chaitanya in a theatre. Through him, I got to know director Sudheer Varma. I started out working on short films and eventually entered the film industry. Swamy Ra Ra, directed by Sudheer Varma, was my first movie.
Why did you miss the opportunity of working for Jr NTR’s Nannaku Prematho?
After they liked my work on Dochey, NTR garu and Sukumar garu offered me Nannaku Prematho. The film had to be shot in London. I applied for visa twice but it got rejected both times.
Whose work do you like the most?
Steven Spielberg is one of my all-time favourites. I love the works of Hollywood cinematographer Janusz Kaminski.
What was your process for Oh! Baby?
Oh! Baby is a contemporary fantasy movie. That’s why we had to be very careful with the selection of the colours. The tone of the frames depends on the dresses that the characters wear. Usually, costumes are selected on the basis of the tone. But, in the case of this film, we used the reverse technique.