"Laapataa Ladies" has garnered significant acclaim since its release, captivating both critics and audiences alike. Premiering at the 48th Toronto International Film Festival (TIFF), the film received positive reviews for its unique storyline and exceptional cinematography. The performances of the cast, coupled with Vikash Nowlakha's visual mastery using the Sony VENICE camera, have generated widespread excitement. As word of mouth spreads, the film continues to attract enthusiastic viewers, making it a standout in contemporary Indian cinema.
Vikash Nowlakha is a renowned cinematographer known for his exceptional work in the film industry. His work has been recognized and appreciated in the industry, making him a significant figure in cinematography.
He has contributed to several notable projects, including: "Brahmastra Part One: Shiva" (2022) as a Cinematographer, "The White Tiger" (2021) as 2nd unit DOP, "Rocket Singh: Salesman of the Year" (2009) as director of photography, "Woodstock Villa" (2008) as director of photography.
In addition to his work as a cinematographer, Vikash Nowlakha has also directed a few short films, including “Girl Stars: Anita the Beekeeper” (2007), “Girl Stars: Kiran the Junkyard Dealer” (2007), and “Going to School in India” (2005).
Vikash was the cinematographer for the recently released "Laapataa Ladies" (2024) a comedy-drama film directed by Kiran Rao. The film stars Nitanshi Goel, Pratibha Ranta, Sparsh Shrivastava, Chhaya Kadam, and Ravi Kishan. The story revolves around two young newlywed brides who get exchanged during a train ride to their husband’s homes. The film was screened at the 48th Toronto International Film Festival (TIFF) on 8 September 2023 and was theatrically released on 1 March 2024. "Laapataa Ladies" has been well-received by both critics and audiences. In the exclusive chat, Vikash Nowlakha speaks about his work on "Laapataa Ladies" and his experience using the Sony VENICE for the film.
1
Can you describe your journey as a DOP and share some of the interesting projects?
1
Can you describe your journey as a DOP and share some of the interesting projects?
I never graduated in film. I studied philosophy at university and moved to Australia, and then to Bombay in 1997. My first job was as an assistant director at a production house doing commercials. Concurrently, I studied VFX, animation, and compositing, and worked in post-production. The production house eventually bought a Sony DSR 500, which was coincidentally the first camera I ever shot on in 1997-98. After that, I directed at MTV for a couple of years, from 1999 to 2000, working as a director on promos and shows for MTV while also shooting.
In 2001, I decided to fully commit to the camera and studied at the New York Film Academy. I worked in the independent scene in New York for a while, then came back to India and assisted cinematographer Ravi K Chandran on "Yuva" (directed by Mani Ratnam) and "Black" (directed by Sanjay Leela Bhansali). These were very diverse projects with very different styles, and I think that was the foundation for me to launch myself independently as a DP around 2003.
It’s been 21 years now, and my work has largely been in advertising, working across the Far East, Southeast Asia, Europe, and India. Some significant projects included a lot of car commercials for brands like Maserati, Buick, and BMW, as well as sports brands out of New York like Nike-Jordan, the New York Knicks, and Adidas out of London. I've also done a lot of commercials in India. My primary focus has been as a commercial DOP.
My first three films were not released, which were in the early 2000s. My first significant film was "Rocket Singh: Salesman of the Year" in 2009. After that, there was a long gap before working on films like "Brahmastra" and "Laapataa Ladies," but commercials have been active for most of my career.
2
After reading the script, what was your vision and how did you accomplish it?
2
After reading the script, what was your vision and how did you accomplish it?
“I let the camera and lighting fade into the background, so the audience feels like they’re right there as the story unfolds.”
I found the script of Laapataa Ladies hilarious, relevant, and on point. One of the first questions I ask myself when I read a script is, "Is this a story the world needs to hear?", and in this case, it was. The director was deeply invested in telling the story and very committed to her vision.
For me, it was terrifying because it was a world I was so unfamiliar with. I didn't want to have an outsider's gaze on it or taint it stylistically. Instead, I aimed to let it play out as objectively as possible. I tried to be as invisible as possible with the camera and lighting, not drawing attention to themselves, so that the audience would feel like they were just there, present as the story unfolded.
3
Why did you choose Sony VENICE for this movie?
“The VENICE Extension System and the dual ISO were major determinants in our choice of the Sony VENICE.”
3
Why did you choose Sony VENICE for this movie?
I felt that anything that drew attention to itself would detract from the experience of watching this as a real event and reduce the film's credibility, in terms of viewing it as a live event unfolding in front of you. For most of this, I tried to keep it as natural as possible—no dollies, no jibs, no cranes—just largely handheld camera work, sometimes on a bungee rig, and occasionally using a gimbal.
After extensive testing, the director, Kiran Rao, and I concluded that the VENICE paired with the Cooke S4 lenses was the best combination for the look we desired for the project. I love the colour space of the VENICE, and in combination with the Cooke S4s, it perfectly rounded off the image.
The VENICE Extension System was a significant deciding factor, providing the ability to work in smaller, restricted spaces like train interiors and some of the houses we used. Given that much of the job was handheld, the VENICE Extension System was essential for our decision to use the VENICE. The dual ISO capability was another crucial factor, allowing us to use predominantly practical lights and achieve realistically lit scenes.
In summary, the VENICE Extension System and the dual ISO were major determinants in our choice of the Sony VENICE.
Behind the scenes of
Laapataa Ladies with Sony VENICE
