30 scene transitions or cuts . If they do , I think they must be bored of the film to notice all such things . ( laughs ) Yes , I pay attention to it . At times , I know there would be a mistake . But , I cannot immediately tell to pack up when the desired lighting is not there or even if actors don ’ t turn up for shoot in time . I know there would be a discontinuity in shooting the scene at the same spot in different daylight conditions . So , we
Museek
Mag
KVA - ( laughs ) That ’ s where the visualisation skills helps and comes into play .
Earlier in 90s when I was assisting , most of the important decisions were taken by the cinematographer himself . Till 2000 , there was no video assist to review the scenes that were shot . Mudhalvan was also shot like that . I think it was only after 2000 , the director had a luxury to sit on a chair ! ( laughs ) Before ,
were like the eyes of a director . Today , its no more . The director has much more freedom in taking decisions regarding shot angles or frames and many other things . The work of a DOP has been shared and done collaboratively by different individuals who are specialised in that field . Although , he can give some of his suggestions and work on his other responsibilities .
SK - Also , do you look for shots in evening . In this way , you can maintain light throughout the scenes .
SK - Lighting continuity is always an important subject for the scene transition . Do you think all the directors take this into consideration ?
KVA - Well , it depends upon the type of the movie . Masala commercial films will not consider this aspect often . I don ’ t think , the common audience recognise the the director used to stand next to the camera and watch the action performed by the actors . It would be a wide angle shot captured with a zoom lens with actors standing 30-40ft away from the camera . The director would turn to the cinematographer to ask if the shot has come well . The DOP would also interact in discussions regarding sets , double images , CGI or even the costumes for the actors . The cinematographer locations before the shoot schedule ?
KVA - Yeah definitely . Mostly it ’ s done during the pre-production . If the cinematographer does his homework well , he can plan his shoots properly . For example , during backlight shooting when the sun position constantly changes from morning to evening , the cinematographer can shoot major portions and closeups in the morning and finally take counter
30 scene transitions or cuts . If they do , I think they must be bored of the film to notice all such things . ( laughs ) Yes , I pay attention to it . At times , I know there would be a mistake . But , I cannot immediately tell to pack up when the desired lighting is not there or even if actors don ’ t turn up for shoot in time . I know there would be a discontinuity in shooting the scene at the same spot in different daylight conditions . So , we