A JOURNEY THROUGH INDIAN CINEMA

Ravi Varman ASC ISC shares his journey as a seasoned cinematographer in Indian cinema, balancing artistic vision, commercial appeal, and embracing cutting-edge technology.  

Since 1999, I have had the privilege of working as a cinematographer in Indian cinema, contributing to over 35 films across multiple genres, over 1,000 commercials, and collaborating with more than 30 top Indian directors like Maniratnam, Shankar, and Sanjay Leela Bhansali, to name a few. The Indian film industry is unique, blending art and commerce in a way that shapes its distinctive identity. While cinema is undoubtedly a form of artistic expression, it is also a business. The financial aspect cannot be ignored, especially in a country where the audience’s love for cinema borders on reverence. Commercial cinema in India often aims to entertain a broad audience, sometimes at the expense of logical and artistic depth. 

BALANCING ART AND COMMERCE 

Throughout my career, I have worked on both art films, such as Santham, which won my first international award, and commercial films like Ram-Leela, Tamasha, Barfi, and Ponniyin Selvan, parts I and II. The primary difference between the two lies in their approach to storytelling and visual expression. Art films tend to focus on realistic portrayals, while commercial films often prioritise box office appeal. For instance, Barfi could be considered an art film based on its script. However, with stars like Ranbir Kapoor and Priyanka Chopra, the filmmaking approach had to be adjusted to enhance its commercial viability. The way we shoot, light, and design the film changes significantly due to the involvement of big stars and the associated costs. We shot Ponniyin Selvan, a period epic drama in a contemporary style in two parts over a period of 135 days. We chose to shoot it in real locations across India as we could save the budget that way as opposed to constructing sets. VFX helped extend the sets the way we wanted to in post. 

THE INFLUENCE OF REGIONAL CINEMA AND OTT PLATFORMS 

In the past, language barriers limited the reach of Indian cinema. However, large-scale films like Baahubali, directed by Rajamouli, have helped regional cinema gain international recognition. Additionally, the rise of OTT platforms has enabled audiences to watch films in multiple languages, provided the content is compelling. This shift requires filmmakers to connect with audiences through strong emotional narratives. 

EMBRACING TECHNOLOGY IN FILMMAKING 

Technology has revolutionised Indian cinema, enhancing the creative possibilities for filmmakers. My experiences working on Dasavatharam (2008) and Indian 2 (2024), both starring Kamal Haasan, illustrate this transformation. In Dasavatharam, Haasan played 10 roles, and in Indian 2, he takes on seven-eight distinct looks, achieved through advanced prosthetics. Lighting actors with prosthetics requires a different technique to ensure realism. I’ve been seeing advancements in imaging technologies like virtual production and the usage of artificial intelligence. 

CHALLENGES AND INNOVATION IN COMMERCIAL CINEMA 

Commercial cinema often demands that actors perform superhuman feats, regardless of their physical limitations. Technologies such as virtual production, motion-controlled cameras, and AI have become essential tools in achieving these expectations. For example, in Indian 2, we filmed a complex action sequence in an LED volume. Though back projection technology is not new, the way we used it in this movie was slightly different. Instead of going to an LED volume studio, we placed a 250ft LED wall around the set we constructed as we had a lot of reflective surfaces and using a chroma was not a viable option. It made the job of the actors and me easier as we could get a better judgement of the environment and lighting. We created the backdrops using Unreal Engine and I created the sunlight depending on the time of the scene. During Covid, AI technology also allowed us to complete unavailable actors’ on-screen presence by using their body doubles and replacing their faces with realistic AI-generated faces. 

STRIKING A CREATIVE BALANCE 

As a cinematographer, I strive to infuse commercial films with a creative touch. In Ram-Leela, I aimed to make every frame resemble a painting, drawing inspiration from masters like Michelangelo, Picasso, and Rembrandt. Fortunately, the director granted me the creative freedom and time to achieve this vision. The advent of digital cameras has also democratised filmmaking, making it more accessible to diverse demographics and economic classes in India. I personally prefer shooting on film but we are sometimes left with no option these days. With reduced costs of making movies on advanced digital cameras, fewer people are needed on set, allowing for more significant investments in other aspects of production. 

THE FUTURE OF FILMMAKING 

Looking ahead, I believe computers will only help filmmakers. This evolution will further reduce costs and open up new creative possibilities. Despite the ever-changing landscape, the essence of cinema—connecting with audiences through powerful storytelling—will remain unchanged. I often advise aspiring cinematographers to read extensively. Reading expands our imagination and deepens our understanding of emotions, both of which are crucial for visual storytelling. My own journey in cinema was inspired by the dreams I nurtured through reading, and I believe this practice can greatly enhance one’s creative vision. 

Indian cinema is a dynamic blend of art and commerce, constantly evolving with technological advancements. As a cinematographer, my journey has been one of balancing these elements to create visually compelling and emotionally resonant cinema. The love for cinema in India is unparalleled in the way Indian audiences connect emotionally with cinema and its actors, and it is this passion that drives filmmakers to innovate and push the boundaries of what is possible using cutting-edge technology. I have come from a rural background with basic education. I’ve learnt everything through cinema. I live in cinema, and I believe that the light speaks to me. I’m grateful for whatever I’ve accomplished so far, with the recent one being my addition to the Academy as a member in the Cinematography Department. I’m happy that more than 15 of my assistants have become cinematographers now, and I aspire to introduce more young talent to cinema. The future of Indian cinema is bright, and I am excited to see how it continues to evolve.