Ravi K. Chandran, among the A-list of superstar technicians of Hindi and south Indian language cinema, has excelled in his metier for 35 years. Usually a man of few words, he opens up to Khalid Mohamed about the myriad aspects of the ever-evolving art and craft of cinematography.

Ravi K. Chandran, one of India’s most celebrated cinematographers, reflects on a 35-year career spanning Hindi and South Indian cinema, discussing instinct-driven visual storytelling, collaborations with Mani Ratnam, evolving technology, AI in filmmaking, and the enduring philosophy behind cinematographic excellence.

He possesses that flair, setting his oeuvre a class apart from the majority of Indian films, which look either over-lit as if life was a non-stop Diwali, overuse the short-cuts of the zoom lens, or indulge in aerial shots with that toy-like drone.

Rather there’s often either a velvety or a shaded look, depending on the textual quality of every film Ravi K. Chandran has lensed for decades. Born in 1960 to a Malayali family, he was a closet painter till the call of cinematography was impossible to resist.

Incidentally, vis-à-vis Hindi cinema, he has won two Filmfare Awards for Virasat and Black.

Here a gabfest then with Ravi K. Chandran, the prolific cinematographer – aka DOP (Director of Photography) – on the many highs and occasional lows of being the creative force behind the camera. Excerpts: 

For 35 years in cinematography now, your films have carried a legible signature – from the varied colour palettes, textures and the use of natural light whenever possible. Did you work towards this or go by your instincts?

I’ve always accepted films for the story and the director. I hear out the story narration to understand his or her aesthetic sensibilities. Some directors allow me to choose the colours of the costumes and the set designs. They have collaborated closely to arrive at the overall look of the project.

Few directors know all about compositions and camera movements and depend on my imagination to take their vision forward. This gives me immense freedom to design my films. And I’ve lucked out on collaborating with many of the accomplished directors on their most memorable films. Naturally, this brought me recognition, or my calling card.

Always relying on my instincts, the lighting and frames have always been sourced from the story. Usually, after two days of a shoot, I grasp where the storyline is taking me, which drives me towards the style and attitude of a film.

Perhaps that’s why none of my films ever look similar, even though my signature as a cinematographer can be perceived by the audience. That’s the way I define myself as an integral component of almost 70 films I’ve done so far.

Family Legacy and Cinematic Influences

Your elder brother, Ramachandra Babu, was also a cinematographer — did he mentor you in the art and craft of photography?

He played a huge part in my formative age. I’m the seventh kid of the family, he was the eldest.

He was a kind of father figure. When I was born, he was in college. Graduating, then, from the Film and Television Institute of India, Pune (FTII), he was an excellent cinematographer. He was the founder of the Indian Society of Cinematographers (ISC) and had won an armload of awards in the Kerala film industry. Frequently, my work is still compared with his legendary framing and tonality of colours.

Besides my brother’s incalculable influence, when I was growing up, I was exposed to the French New Wave and films from the parallel cinema movement of India. Graduates of the FTII were making a volatile impact, especially in the 1970s.

Lately, your work for Mani Ratnam’s Thug Life was remarkably rigorous, but did it get its deserved attention?

Working with Mani Ratnam sir has been a blessing, starting from Kannathil Mutthamittal, Aayutha Ezhuthu and Yuva. In fact, he is by far the best director I have ever worked with.

Unfortunately, the box office performance of Thug Life was underwhelming. At times, the audience’s expectations and the filmmaker’s vision don’t match up. Be that as it may, I’m always proud to be a part of Mani Ratnam sir’s films. His Madras Talkies is one of the most efficient production houses. Many of my peer cinematographers messaged and called to appreciate my work in Thug Life, a compliment which is rare and humbling.

Which cinematographers – Indian or global – have impacted you in any which way?

In India, my brother Ramachandra Babu, Subrata Mitra, V.K. Murthy, Ashok Mehta, Balu Mahendra, Santosh Sivan, Binod Pradhan and P.C. Sreeram.

Globally, the influences have been Vittorio Storaro, Janusz Kamiński, Greig Fraser, Emmanuel Lubezki and Roger Deakins.

Technology, AI and the Future of Cinema

Most DOPs, including you, mention reading the American Cinematographer magazine as the start-off learning point. What exactly does the magazine apprise you of image-making?

Undeniably, the American Cinematographer magazine has been a mini-Bible. It tells us of the thought processes of a DOP, of his lens options, besides detailed references to the tools accessible, as well as the overall philosophy of cinematography. Nowadays, we have podcasts of what went on behind-the-scenes and interviews.

Like the way printed books remain a must in the age of Kindle, the American Cinematographer is still a go-to source for me. There’s nothing like holding the magazine in your hands. I have a collection spanning 35 years and growing.

You have worked in cinema of various languages. Did you ever want to settle down in Mumbai and focus on Hindi cinema, which still has the widest reach?

No, never, although I do have a house in Mumbai. I feel comfortable in the south as I was born in the Chengalpattu district of Tamil Nadu and know everyone there. I’ve lived in Chennai for 63 years.

How come the National Awards have eluded you so far?

Don’t ask me. As far as I know Yuva, Saawariya and Dil Chahta Hai weren’t even considered by the juries of the National Awards. Never mind, I guess quite a few of the films I’ve done are still alive and people celebrate them even after 25 years like Sapnay, Kandukondain Kandukondain, Kannathil Muthamittal, Virasat and Black.

Do you have to belong to a certain group in Bollywood to be visible?

That’s not in my nature and would be self-defeating. So, I’ve never belonged to any group ever. I’ve shot films back to back with Shah Rukh and Aamir Khan, Yashraj and Dharma, Sanjay Leela Bhansali and Excel Entertainment.

You have been a supporter of the traditional form of photography as it was before the digital era set in.

Yes, but I’m a whole-hearted supporter of innovations. I try out the new equipment as soon as they arrive. In fact, I was on the brochure cover of the first ARRI ALEXA camera.

What’s your take on the hot debate of the day – of AI technology altering the face of cinema?

I have started using AI for storyboards, moods and montages. I’ve shot a few TV commercials using AI. Undeniably, AI will alter the way we look at cinema. We are entering the New Age Media. Across the world, cinema theatres will have to change or perish!

On your Instagram account, I have seen several striking still images of street photography. Ever thought of exhibiting or bringing them out in a book?

You stole the words out of my mouth. As soon as I can find time, I intend to bring out a book on my images of street photography.

Legacy, Mentorship and the Next Generation

From cinematography to direction is a natural progression. In retrospect, how do you look back on the two films you’ve helmed so far?

I didn’t enjoy my first Tamil film, Yaan (2014), an action thriller which took far too long to complete and was excruciatingly tough. As a director, I couldn’t develop the characters to the extent I would have liked to.

The second one was Bhramam (2021) headlining Prithviraj, in Malayalam. It was a ditto remake of Sriram Raghavan’s Andhadhun. I couldn’t help feeling that the remake was a copy-paste job. The silver lining is that since I’ve been in the director’s shoes, my respect for them has doubled up.

The relationship between a DOP and his or her team with the set designer, editor and the director have to be like a marriage. Have you ever felt at cross-purposes with the director?

I know it’s a cinematographer’s duty to help the director to reach his goal. Whatever visual ideas we have, I must achieve them along with the production, costume and make-up teams. And the editor makes a vast difference in the visual rhythm of the final print. Above all, it’s the director’s success in coalescing all the elements together.

One of your two sons, Santhana Krishnan, is also a DOP. What has he learnt from you, or does he have his own approach?

Initially, he interned with a few cinematographers to learn the grammar of the craft. He has never worked with me though. And I’m a proud father that he has been doing extremely well for himself, with many of his films becoming super-hits. To mention just a few of the prominent ones he has done in Hindi language cinema, there have been Animal, Kabir Singh, the Baaghi franchise, Sky Force, Tu Jhooti Main Makkar and Happy New Year. By the way, he makes the stars look like a million bucks.

Any tips for upcoming technicians?

I don’t claim to be a know-all who has cracked some secret code. All that I can suggest to my young assistant cinematographers is to innovate, to experiment in the way of narrating stories. This process won’t kill you. Even if you fail, keep at it to avoid mediocrity.

Also, if you’re involved in the minutest way in cinema, it is to do it for the love of the medium, and not for money to add to your bank account.