Camera Tricks

As the industry’s ace DoP (Director of Photography), Chandran comes armed with strong reccos from the likes of Mani Ratnam, Priyadarshan, Farhan Akhtar, Sanjay Leela Bhansali and Rajiv Menon.

He’s the guy who introduced extreme close-ups in Dil Chahta Hai and a three colour palette in Yuva. Bhansali changed his vision of Black when Chandran said the film should be treated like Kaagaz Ke Phool. ‘‘I told him that I see a big shaft of light and a small girl standing. For me, Black meant big sets and small figures,’’ says the 42-year-old tech whiz.

Right now, he’s trying to figure out the catch in Shah Rukh Khan’s Paheli. Seated at the JW Marriott in Mumbai, Chandran breaks off to watch a promo of Kangna Re, where Rani Mukerji, in a brown and maroon lehenga, is playing hard to get with SRK, clad in royal blue. The background is a rainbow of dancers. ‘‘Tch, tch. Too many colours. I need to digitally reduce it,’’ he admonishes himself.

Chandran is the brother of award-winning cinematographer Ramchandra Babu. And like him, Chandran is also inspired by New Wave directors such as Goddard, Truffaut and Chabrol. An avid film connoisseur, he stocks up on books on cinema, editing and music. And he definitely knows his job. According to Chandran, a good director never tells a DoP what angles to take or where to put the lights. ‘‘A cinematographer spends more time on the sets than the director. While a director comes just before taking a shot, we have to be there first to light up.’’

That’s why Ratnam begins his workday by asking Chandran, ‘How do we start?’

The two shared a perfect chemistry in Kannathil Muthami-ttal, Aayitha Ezhuthu and Yuva. While Ratnam is top priority for Chandran, his decision to shoot one film at a time sometimes lands him in a spot. He declined Bhansali’s Devdas because he was committed to Yuva. ‘‘The biggest problem is when both Mani and Sanjay call you up. You don’t know who to say no to,’’ he smiles.

The most striking aspect about Chandran’s work is his range. His last four works were Yuva, Koi… Mil Gaya, Black and Paheli—each has its own grammar and language. ‘‘I don’t want someone to watch a film and say, ‘this is Ravi Chandran’s camerawork’,’’ he adds.

Bollywood cinema, he feels, is driven by costume designers. ‘‘Actors think that good couturiers can make them look good. That’s absolutely false. It’s all about the right setting, lighting and art direction,’’ he says.

Paheli is familiar territory for Chandran. He’s taken the rustic road before in Saat Rang Ke Sapne and Virasat. ‘‘Warm tones come easy,’’ he smiles.

This time, Chandran shot the Rajasthani landscapes with very little contrast. ‘‘The actors had to look good. I haven’t used any blue light. Even to create the moonlight, I used warm light,’’ he shrugs. Sensing his enthusiasm, SRK even bought him a new camera and lenses.

For all his power over stars and directors, Chandran is a simple man. Though he recently bought an apartment in Mumbai, home is still Chennai, where he lives with his wife and two sons. And they still live in the same flat he bought when he was assisting his brother. Chandran’s logic is simple: ‘‘If I buy a bigger house, I might start doing films that I have no interest in.’’

That explains why the only film he’s signed recently is Kunal Kohli’s next, starring Aamir Khan and Kajol. In the meantime, he knows Ratnam or Bhansali will call.