Interview with Anuj Samtani
In this interview, he reflects on his shift from advertising to long-format storytelling and how experimentation with technology shaped his path. He shares the importance of adapting to changing formats, pushing equipment to new possibilities, and how the VENICE expanded his vision for what’s possible in cinematography.
When I started using VENICE, I was jaw-dropped. The color science is already film-like. The raw files are amazing, you don’t have to think too much, you just shoot, and in post you can take it anywhere. The best part for me is the versatility. With the extension system, I could rig it onto a bike, a cart, or even in the smallest spaces. Suddenly you’re not restricted anymore, and that opens new ways of telling stories.
When I started using VENICE, I was jaw-dropped. The color science is already film-like. The raw files are amazing, you don’t have to think too much, you just shoot, and in post you can take it anywhere. The best part for me is the versatility. With the extension system, I could rig it onto a bike, a cart, or even in the smallest spaces. Suddenly you’re not restricted anymore, and that opens new ways of telling stories.
Shot on VENICE
CA Topper
Call Me Bae
Masaba Masaba 2
OTHER DOP STORIES
Sudhir Chaudhary
Cinematographer
From the tension of Drishyam 2 to the energy of Sonu Ke Titu Ki Sweety, Sudhir adapts light and lens to every genre.
Amalendu Chaudhary
Cinematographer
Known for Stree and Chhichhore, Amalendu blends realism with magical storytelling using light and lens.
Ayananka Bose
Cinematographer
Known for Freddy and Satyaprem Ki Katha, Ayananka fuses glamour and emotion with precision and flair.
Vishal Sinha
Cinematographer
With Ghoomer and Phir Aayi Haseen Dilruba, Vishal crafts moody frames that heighten emotion and intrigue.
Sylvester Fonseca
Cinematographer
Whether it’s the grit of Kennedy or the soul of Amar Singh Chamkila, Sylvester’s visuals pulse with raw intensity.
