Interview with Amalendu Chaudhary
In this interview, he reflects on how location recces form the backbone of a cinematographer’s vision. From discovering the natural color palette of a city to working through the logistical challenges of sacred spaces and narrow lanes, he shares how preparation and instinct merge on set.
I chose the Sony VENICE because I really like its sharpness and user-friendliness. The built-in ND filters are extremely handy, especially when the light is going down, it saves a lot of time. Once we lock our location, the color palette comes from the city itself. In Ujjain, for Oh My God 2, it was all about the warm tones of orange, yellow, and terracotta. VENICE allowed me to capture those beautifully. And with its compact extension, we could move into smaller rooms and temple interiors with ease.
I chose the Sony VENICE because I really like its sharpness and user-friendliness. The built-in ND filters are extremely handy, especially when the light is going down, it saves a lot of time. Once we lock our location, the color palette comes from the city itself. In Ujjain, for Oh My God 2, it was all about the warm tones of orange, yellow, and terracotta. VENICE allowed me to capture those beautifully. And with its compact extension, we could move into smaller rooms and temple interiors with ease.
Shot on VENICE
Fukrey 3
Oh My God 2
Shiddat
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