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When Sanjay sir saw that, he was overjoyed. Right after that day’s shoot I went to the lab, took a Rembrandt painting as a reference and colour corrected our images. He observes detail such as writing on the curtains and here I was, asking for flare lighting and diffusers. The director, Sanjay (Leela Bhansali) sir didn’t really like it. I lit up the set and included some flare and clutter. The first shot I took was the scene where Dhankor baa (played by Supriya Pathak) is having a beedi and the policeman comes to speak to him. I could treat this film like a painting and make it colourful. The film was an adaptation of Romeo and Juliet. This was an opportunity I could not miss.
#3 TAMIL MOVIE LAST SCENE WINDOWS#
The sunlight reflected on Illeana’s face through the windows of the moving train and the camera then moved behind Illeana to directly face the sunlight. Immediately, I asked to redo the shot and I then placed huge mirrors on the other side of the train. The minute we finished shooting, I turned to see that on the other side of the train, there was hard sunlight. When we first took this shot, there was no sunlight and the shot was good too with a soft light. My most memorable shot in this film happens at the train station in Darjeeling between Illeana D’Cruz and Ranbir Kapoor.
#3 TAMIL MOVIE LAST SCENE FULL#
The director, Anurag Basu, gave me full freedom to explore this. Many of us avoid it because the frame looks burnt out or overexposed but I was curious.
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Since I was an assistant, I had a fascination with the glare and flare effect. Just as we finished rolling, the light went away too.īarfi! was a film I could experiment with visually. Kamal (Haasan) sir quickly got ready and we took this shot. I immediately placed the camera there and asked for the shot. We were shooting the ‘Manjal Veyil’ song there and the minute I saw this happening with the light, it was magical. Just when the sun is setting, the sunlight hits the glass buildings around it and reflects on to the cars and other surfaces creating a burn out effect. At this particular spot, you get a bright light for about five minutes. I think the location was close to Wall Street in New York. This film has a shot that I can never forget. Here, I focused more on the emotion and drama rather than technique and quality. Once the camera was tied to me, I moved along with Vikram’s actions, went around him and that’s when we got it right. The camera had to move a lot and couldn’t be stationary. We took a smaller handi-cam and composed the shot. What we did was I tied the camera to myself. Shankar sir told me that this needs to be a one-shot take. There’s a scene in Anniyan where Vikram keep’s switching between the three personalities of his character: Anniyan, Ambi and Remo. Eventually, a dragonfly did fly into the shot and it sat on the sword making that the final shot of the film. In the end, I simply waited and kept the camera rolling with a focus on some swords in the shot. It might not sit on one’s hand but it could easily have sat on a prop. I was sure that when we began shooting, a dragonfly would come into the frame and sit somewhere. Even when we catch a dragonfly, elders ask us not to because they’re our ancestral souls. There is a belief that after we die, our soul turns into a dragonfly. When I went to the location, I saw a lot of dragonflies flying around. They’re both on different sides of a river and in the last scene, they meet at the river. In the story, there are two characters one who has murdered someone and another person who is searching for him. I have to talk about the climax sequence of this film even before. The glass tank could have broken at any time because of the heat from the lights. What we didn’t think about back then was that this shot was indeed dangerous. The art director finally came to our rescue when he brought some substance like karpuram (camphor), which made sure the condensation didn’t happen and we used a thin rod to make ripples so that the glare could be cut. Once I lit up the shot, we noticed reflections in the water and water droplets were forming on the sides of the tank because of the heat from the light.
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This gave the illusion that the mermaid was inside water. We placed a black cloth at the bottom and asked the actor to be inside the tank and placed another tank over it that was filled with water. I clearly remember the first day of shooting this. There’s a sequence with a mermaid in a tank in this TK Rajeev Kumar film.