They call her ojiDirector Sujet’s Telugu Action Drama, led by Pawan Kalyan, is organizing a fort in theaters in his second week, and its director Ravi KK Chandran is pleased with the film and the reception of his work. His cinematography, as Prakash’s production design, was given by Darshan Jalan and Nilanchal Kumar Ghosh’s costume design, OG A retro-themes aesthetics.
Tamil film by currently filming director Sudha Kongra and actor Shivkarthikeyan to film in Hyderabad ParastifyRavi’s Chandran is yet to experience OG Frenzy in theaters. When he settled for an interview, he reveals that he watched the film with actors Chiranjeevi and Ram Charan at a private screening.
However, he got the taste of fan frenzy during the pre-of-relief event. “I think Pawan Kalyan is the first largest commercial superstar with which I have worked,” he says. There are memorable films in his career in almost four decades Heritage, Kala, Dil Chahta Hai, Ghajini, Phana, My Naam Hai Khan, Rab De Bana Di Jodi, Paheli And four Mani Ratnam Recently films including Kamal Haasan-Starrer thug LifeGiven my nervous response, cinematographer says, “Commercial superstars such as Rajinikanth, Vijay, or Pawan produce Kalyan, are different from the stars of Hindi cinema. Pawan Kalyan’s political presence leads the frenzy.”
Chandran first collaborated with Pawan Kalyan Bhimla NayakTelugu adaptation of Malayalam film Ayyappanam cellumKalyan’s introduction shot, as he originates from a dark area, removed the cheers in theaters. Retro theme of OG Chandran was scope to use. “Initially some suspected if the deep palette would appeal to the audience. Sujith and I were convinced. Not only blind, you would not find the ways of signing of welfare here.”
References from the 1980s
Since the story is set in the 1990s Bombay, Flashback carried forward the story at regular intervals, Chandran and Sujet decided for the film for the 1980s inspired retro look. Kalyan sports shirt with large collar and high waist trousers. Retro quotient is pronounced in the style of characters played by Emraan Hashmi and others.
Ravi’s Chandran with director Sujet | Photo Credit: Special Arrangement
OG There was a three -year journey began in August 2022. “I loved Sujet’s vision,” says Chandran, who tries to put his films on the test of time. “Efforts always tries to make and make every film memorable. Sujet’s previous film Saho The blind was also good (by R Maddy). So when he contacted me, I wanted to make it meaningful. ,
When Chandran worked closely with Sanjay Leela Bhansali BlackHe took advantage of the ability of the story to get away from the colorful, grand palette of Bhansali’s films like Hum Dil de Chuke Sanam And DevdasWhen he first collaborated with Mani Ratnam Kannathil MutitalHe was alert that the director had previously worked with mythological cinematographers like PC Shriram and Santosh Sivan. Chandran was firm to something new.
He reminds, “for BlackWe filmed the scene in which Rani Mukherjee goes to the church on the first day. There was no snow. The production team worked late at night, and we all reached the place at 3 am. We started making films in the form of the first rays of The Sun. For the first 13 days, we filmed on Don and Sunset during Magic Hour. Bhansali jokingly said that I drove him out of indoor sets and embraced him a Mani Ratnam aesthetics. ,
Signature shots
For OGSome signatures were shot in the first few days. Says Chandran, “Pawan Kalyan was emerging from smoke and the reverse shot near India’s gateway was filmed earlier. Seeing the results, we knew that we were on the right path.”
He mentioned how the game was to use Pawan Kalyan. “He arrived before 5 o’clock in the morning, as requested, and we filmed. Similarly, the sequence in which he teaches Aikido to the children initially allotted half a day. At the location, he was impressed by the frame he had seen through the camera, and stayed in Panchgani for three days.
The song ‘SUVVI SUVVI’ was shot in the morning, and the crew waited a day to clean the clouds. “We could use the lights to copy sunrise or do something in post production, but I wanted to use natural light,” says Chandran.
Priyanka Arul Mohan and Ravi’s Chandran | Photo Credit: Special Arrangement
The initial shoots included the real location, before the crew moved into the set. The Laur palette was placed in the soil to maintain uniformity.
Since the film looked darker than other Pawan Kalyan films, Chandran was eager to measure the reaction of General Z audience. After the release of the film, when Kalyan’s son Akira called Chandran to thank Chandran, she knew that she had made the right call.
The economy meets the mainstream
Chandran’s artistic scene in a big Pawan Kalyan film is not something that was expected a few years ago. Cinematographer explains how unpredictable cooperation in Hollywood has made magic. Citing the example of sky fallHe says, “It was the only bond film in 50 years to receive the Academy Award nomination for Cinematography. When Roger Decins and director Sam Mendes -like economous cinematographer worked together, it resulted in amazing scenes. sky fall At that time, Bond also became the highest grosser among films. ,
To discuss again OGChandran says that as Filming Pawan Kalyan’s political career stopped, he also worked thug LifeMani Ratnam’s gangster film, but was conscious of both films to look different. Cinematographer Manoj Paramahamsa stepped into a brief period when his dates were overlaps with his other projects or when he suffered a health shock.
After starting his career with the 1991 Malayalam film KilukkampatiAfter spending a few years as an assistant cinematographer, Chandran says that the Malayalam film industry, which works with a low budget, encourages experiments. He notes how stallwarts like PC Shriram also started with Malayalam cinema, and says, “My son (Santhana Krishnan) started before taking Hindi films in Malayalam. Baghi 2, Kabir Singh, Baghi 3 And Supreme beautification,
Scientific tips
At the age of 60, Chandran attempted to live with technology credit for the success of his work. In the pre-digital era, shooting on the film called shooting for discipline, as no one could tolerate the margin of error. Now, as the crew uses AI for pre-visualization, he says that it is important to learn science: “I am always taking some online courses, to find out what we are inadvertently making mistakes. For example, I learned when I learned to avoid sunlight through a large glass panel, then white of hungry, when you make a shadow, a shadow.
Chandran offers another science -backed tip: “He will be squint using a slightly rigid light for light -eyed actors like Hrithik Roshan or Aishwarya Rai and will be captured on the right eye color. If the soft light is used, their students will be diluted and will dominate the black eyes.”
For OGHe shot a test for some parts. Consider the action episodes filmed with the top angle, where the cruelty is clear through the blood lines on the cover -like cover. “We shot a test with a stunt double, improved and then filmed with Pawan Kalyan. Brown cover instead of white helped to escape a gore look. In many sequences, the fire was an element. Editor Naveen Nuli did a great job in creating pre-influential sequences, as in the form of fire in the drug, and as a fire on the mum
The red ton was used topical with the Japanese flag shown in the early parts. The metaphor yin and yang, lighter tone with a location of darkness, and white -with white that offset dark tones, was also a conscious option.
Chandran reflected, “Mani Ratnam and PC Sriram revolutionized Indian cinema when they experimented with dark tones. At every step, there have become visionary there. Bhartiraja took Tamil cinema in rural background, Mani Ratnam changed the visual language, when he entered, then Shankar gave a different and emotional story. Chandran has also mentioned the remarkable work done by other people like cinematographers such as Ashok Kumar, Tirru, KV Anand, Jeeva, Ravi Warman, and Manikandan.
Chandran often does not work with the same director to avoid the comfort field. “I get separated from a director’s signature light and visual style, and also choose diverse styles. How a film performs at the box office is not in our hands, but I have seen how some movies on the audience grow over time. Iruvar, Kandukondain CandukondainAnd Kannathil Mutital There are some examples. Even Slipathy And Heart wakes There were decent runs at the box office, but did not have a blockbuster. But people remember these films till date and start again. My endeavor is to make my films stand visually, while meditation should not be overcome by telling the story. ,