a self-taught genius - black polyester film
When 36 Chowringhee Lane was released on 1981, I was a student at the Tamil Nadu Film and Television Academy.
Everyone who has seen the film is impressed by its perfect direction and acting skills.
However, our photography students were shocked by the true international visual style.
We heard that the film was shot by a new photographer.
Which Institute does he belong?
Has he trained abroad?
We were shocked when we heard that Ashok Mehta was not from any of the institutes.
He worked in the Mumbai film industry.
This is a tough time for photographers working in the Hindi film industry.
On the one hand, the powerful influence of black movies and Hollywood
Style Direct lighting determines the beauty of 1950, which makes it more realistic to achieve a style located in Subrata Mitra.
On the other side, the color has come in.
Will the Orwo color film inventory reproduce the effect of the old movie?
The photographer shines the light directly on the photo.
To prevent shadows from being seen on the walls, they used more butter paper and more lights
Then there is more confusion.
More Zoom requested by the director
The lab adds to the confusion.
The film photographer involuntarily slid into the bounced light from the ceiling, but sacrificed the contrast.
The photographer slowly but surely forgets the importance of lighting in creating a scene atmosphere.
Ashok Mehta is the one who brings contrast and lighting back to mainstream cinema photography in India.
Working in Trikal (1985)
Is really Europe, and in Utsav (1985)
This is the temptation of India.
Was he inspired by Sven nicovst or Ravi Valma?
Where does he learn to reflect light and maintain contrast?
I finally met the master on Susman's set and I was working on steadcam for him.
He covered the courtyard with black polyester to isolate the sun.
He turned on the HMI light and bounced-boards.
The location has black cloth of several meters.
When he felt that the hands of the unit did not understand his thoughts, he climbed the scaffold, nailed the nails on the raf, and hung the lights from the roof like a big bat;
Thus creating a soft light source in the courtyard.
He used the night interior design.
A point light source hidden behind the lamp, remove the light from the bracket and the mural, and reflect the light from an unconventional angle.
He's working with his hands. he's a little light.
Man, part Setup Assistant
Climbing, screaming, sawing wood.
It's like seeing a Potter or sculptor at work, creating something beautiful with mud.
He started shooting from scratch step by step in front of the shocked film unit.
There was an atmosphere of surprise and resignation.
Since his assistant hasn't come yet, I 've done everything except to do the surgery for me --
Focus, read exposure.
I'm sure we seriously underestimated the film.
But he is sure to believe in his eyes.
Then we took a look at the Prasad lab in Hyderabad.
They are beautiful.
I expressed surprise to him.
He pulled me aside and said, "Beta, you have to be brave when you shine.
You are exposed for what you want to see.
"He opened my eyes.
Stayed at the Institute for three years and didn't teach me two weeks on Sussman's set.
Surprisingly, Ashok is not a slave to the meter.
He exposed the framework and got a consistent result.
When he was on the set of the robber Queen, he turned from a realistic photographer to a Sergio Sierra Leone cowboy.
He brought Western aesthetics into the landscape of India.
The young bride leaves the village by boat in the order of the composition, going outof-
Focus on rape scenes, happy day inside, mustard fields in Chambal Canyon, the Holocaust in dazzling white light in the afternoon sun, the fluidity of camera movement, the shock he gives you with his modernist works
All this adds to the charm of the robber Queen.
I believe this is one of the best Indian movies in recent memory.
Ashok Mehta did not go to any Research Institute.
He is not burdened with formal education.
But he is an inspiration to a new generation of film photographers like us.
He helped us to believe that we must be responsible for the image.
We must be part of the team and get along well with the bright.
The man on Chai, enjoy shooting, pour our painstaking efforts and sweat into the film, because shooting a movie is a chance for a lifetime.
He must know very well that, as a photographer, he sits on the other side of the industry's unwritten boundaries, eager to become a film photographer one day.
Rajiv maynon is a good man.
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