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Close look at `Wide Angle'

Cinematographer `Wide Angle' Ravishankaran makes a mark with "Thiruttu Payale"

LENS AFFAIR Ravishankaran

For still photographer-turned-cinematographer `Wide Angle' Ravishankaran, "Thiruttu Payale" is an impressive start. Whether it is capturing the scenic beauty of Australia or the fight scenes and dance sequences, there is something refreshing about his cinematography. He has not only worked in several well-known journals and newspapers, his pictures have also been published in"Time", "Newsweek", "The New York Times" and "The Washington Post". After a few successful exhibitions of his pictures including one on musicians and dancers and photography for a compilation of lyricist Vairamuthu's poems, Ravishankaran wanted to take up cinematography. "I felt I had reached a saturation point and wanted to branch out into cinematography. I approached PC sir (P.C. Sreeram) as he is a genius in the field and all those who have apprenticed under him have been successful. When I requested him to take me as his assistant he was initially reluctant since he felt it would be difficult for an established photographer to start from ground zero. He advised me to think it over. But I had made up my mind. Many rounds of discussions later he agreed."

Ravishankaran began by working with Sreeram on ad films. During the making of "Vaanam Vasapadum" (India's first digital film and P.C. Sreeram's directorial venture) Ravishankaran and Mahesh Muthusamy (of "Chitram Pesudadi") handled most of the work — right from the test shoot to post production and reverse telecine to the final print. "We gained good experience. Since PC sir encouraged me to work with other cameramen such as Jeeva (with whom I worked in "Run" and "Ullam Ketkume") and Thiru who did "Lesa Lesa". In "Kanda Naal Mudhal" I worked as sir's first assistant." Under P.C. Sreeram's guidance, Ravishankaran learnt all about lighting and how to compose differently. "He would always say that there are hundreds of cameramen who can set up a normal frame, so it is important for one to think of different angles," says Ravishankaran.

And when Susi Ganesan approached Sreeram to do the cinematography for "Thirutu Payale", Sreeram, busy with other commitments, recommended Ravishankaran. "I knew Susi Ganesan as I had done a photo session for his film "Virumbukiren". After a test shoot I was signed on. Since "Thirutu Payale" was an unusual story we decided to approach it differently and Susi Ganesan gave me full freedom. We didn't use any filters but tried different lenses with the wide angle lens creating a big impact. As a lot of the action takes place in a golf course, I suggested introducing a green tone into the film and maintaining it right through. For the flashback sequences, I used a sepia tint. The belly dance sequence was shot using a hand-held camera. My photojournalistic background helped because I am used to taking candid shots."

The most challenging scene in the film? "The song sequence "Poi Solla Poren" shot in a car in Australia. We hired an open BMW and as we were zipping past at 200 miles I shot it from the backseat. We were even stopped by a cop who advised to take care of my safety first."

Talking of the relationship between a cinematographer and a director, Ravishankaran compares it to that between a husband and wife. "Sometimes the husband's word holds and at other times the wife's word is final. We bounce off ideas and take mutually acceptable decisions. Since Susi Ganesan knows the medium, the rapport was good. A cinematographer should ensure that his work does not detract from the mood of the film."

Future plans? "Good scripts, some awards and a coffee table book!"

SUDHA UMASHANKER

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