One of the most demanded cinematographers in Telugu and Tamil cinema, Nicheth Bomi, prefers to let her work talk. He actively avoids making headlines. Currently in the headlines for his work in the social thriller of director Sekhar Kamular KuberaNichetha is first reluctant, but eventually settled for a conversation.
“I am not a sucking for mass and grand scenes. If it happens systematically, it is great,” they say. His filmography is with that statement. In Telugu, his work includes The thriller Yudham SharanamBig comedy EE Naganiki ImeyiFamily drama Ante Sundraniki And 35: Chinna Katha KaduIn Tamil, he attracted attention with his work in biopic drama Sorarai Potru ,Akasam ni hadeu Ra In Telugu), and PythonTamil-telugu thriller U turnAnthology Bile narrative And Putram Pudhu Kalai, And Sarfira ,Hindi remake Sorarai Potru ,He is part of his oeuvre.
“I found three or four films to understand what I really enjoy working. When I hear a story or read a script, I look for the feeling he wants to tell. Sorarai Potru And Kubera There was a big canvas, but the main feelings appealed to me. “
Nichet is a Telugu that grew up in Chennai. An electronics and communication engineer, he was attracted to cinematography, making short films with his friends. “Digital film production was going on and the 5D revolution started; it was an interesting place.
He attended the Mindscreen Film Institute founded by Ake Cinematographer Rajiv Menon. He respected his skills under the patronage of Dean, MN Gyansekaran and other teachers. “Gyansesekaran Sir’s approach was simple. He will tell us that as long as we have an image, we are on the right path. It was a confident booster; a starting point.”
Nichet was more inclined towards corporate films and music videos than cinema. EE Naganiki ImeyiDirected by Tharun Bhaskar, who used the immersive experience of sink sound recording, was a twist. “Earlier, I had a technical approach to the craft – where and how to use a long lens, a short lens, or how to add beauty to a frame. Thruun developed me a emotional relationship with the scenes. I developed love to narrate the story.”
Nichet also started appreciating the collective experience of dramatic viewing, as was contrary to his earlier priority to see the house. “I now buy 30-40 tickets and watch my movies with friends and family. I remember how everyone enjoyed watching Python,
Nichet is strongly believed that an craft shines when he does not distract the audience from telling the story, and this is possible when each department works in the forearm. Storyboarding and rehearsals are essential for their pre-production, which enable better coordination with direction, dress and production design departments.
during Sorarai PotruThe comprehensive plan helped challenge scenes challenging the team’s film on an aircraft, train and runway within some time. For KuberaStoryboard by artist Nithya, he says, helped directly translate the ideas of director Sekhar Kamula on screen.
The specific world of ‘Kubera’
Nagarjuna, Dhanush with co-stars in ‘Kubera’. Photo Credit: Special Arrangement
Kubera Under the circumstances of the three worlds – billionaire (Jim Sarbh), middle class (Nagarjuna), and oppressed class (Dhanush), Nikath, say, “A lot of plans went into costumes and places, both in and out of the house.”
For Jim Sarb’s residence and office, Sekhar Kamula wanted a grand place with high roof. After repetition in Hyderabad, Mumbai and Dubai, the team identified a hotel in Thailand. Says Niketh, “The interiors of his house, lift, and the area where they had a helicopter land, were all shot in Thailand. I did not have to do much because the colors were already part of the interiors.”
Production designer Thotani conceptualized a set for Jim Sarb’s office to match the house with beauty. “All I wanted to stream a lot of natural light to stream through the windows,” Nichetha says. The office set was built in Annapurna Studio, Hyderabad. Visual Effects Coordinator Ashok Micharla, Nickath says, it was an important role in ensuring that VFX shots were mostly “invisible”. ,Kubera There are about 1400 VFX shots, but many people are difficult to identify. There are scenes in which the 3D imagery of Mumbai horizons is integrated into the frame.
“My task was simple. I had to appear at the location, use the right lens and hold emotions,” Nikath said, creating the costume department, including Kavya Shriram and Garivwa Jain, and the production design team, to ensure a palette in coordination with the characters, included their economic backgrounds, and in the situation. He also credited the Colourist Suresh Ravi, who played an important role in ensuring tonal stability by tracking color grading on the edit table. Nickath and Ravi have collaborated for more than 10 films.
Nagarjuna’s dress, in blue color, reflects the excellent conduct of the character. “He is a righteous man who has been caught in a difficult situation, but still has a mantra of the class. He also had to look tired. Somehow he and the team closed it; when I saw through the camera, it was all at the point,” Nikath says. Warmer tone was used for both the bow and the Rashmika.
Nichet has described filming major sequences in the dumpyard as a more “annoying”. “It was a filming in a real dumard in Mumbai for two to three days. We had only allowed to clean a small area, all the rest had dirt. I don’t know how everyone pulled it.
Talking about the invisible CG, Nichetha shows that for some scenes, the subtle VFX ensured better emotional illustrations on the screen. “When we used to film Tirupati sequences, when we felt that we can do to work on the edit table with some more close shots, we will film actors against a green mat, but Ashok and Ashok and my allies would travel to get the relevant plates for the necessary shots. They were originally unified.”
Soul of ’35’
Nichet Bomi with child actor Arun Dev on the set of ’35’
Against of KuberaThere was a shocking drama on a budget of more than 100 crores. 35Nickath appreciates conviction in telling director Nanda Kishore Imani’s story, and says, “I am deeply associated with the story of mother and son and I consider it a lovely tribute to my mother. I wanted to be a part of the film as soon as I used to listen to the story. Just the conductor – elegance and depth.
Vishwadev Rachonda and Niveta Thomas in ’35’. Photo Credit: Special Arrangement
Hot tones in some frames of 35Nikant says after a lot of consideration, while working with director Sudha Kongra, he is stems from what he has done. Sorarai Potru“Sudha enjoyed 6 o’clock in the morning. I liked the hot tones on the screen. We shot many sequences for her. Soorai… And Sarfira In the morning hours, using flares through the morning sun and windows. It has now become a spontaneous style in some of my films – Ante Sundranaki, 35And Python And Kubera To an extent. In 35We filmed inside a small house and most of the story occurs during the morning or evening hours when children and husband are at home. Hours of sunrise and sunset were favorable for scenes. For some scenes that require afternoon lights, such as Gautami when Niveta’s house, our light repeated the afternoon landscape. “For some parts on the roof, in an area surrounded by trees, the relatively cooler tone was natural because the rays of the sun filtered through the leaves, and the topical use of tungsten light sources added to the summer patch to the cooler frame.
Nichet is particularly mentioned by the temple scene which includes a small Nivetha Thomas. “He had to see smaller than a decade. Ashoka especially highlighted how the actor’s characteristics can be worked during post production for de-aging. It has been a gradual learning process.”
After this, Nicheth Pradeep is working on Ranganathan Friend,
