Vijay-starrer cinematographer Karthik Palani says, “Words can’t express your happiness to see such a grand reception for the work you have created.” the heir,
for the heirKarthik’s work began right after he met director Vamshi Paidipally. After watching Vamshi’s previous films, the veteran technician says he had an idea of the kind of sequences the filmmaker would go for. “They were all large-scale scenes with high benchmarks. But they had to give us an idea of the film they had in mind. Then we, along with the art department, came up with different options and that’s what you see now.” Is.
A hero vehicle that marries action and drama, the heir There is a story that ties together the pieces that take place in certain places. While most of the play takes place inside a bungalow, there is also a port, a mine and a corporate establishment which are prominently featured. Capturing the set with innovation without giving up on grandeur must have been a herculean task, says Karthik, but clear communication at every stage of the production helped. “During pre-production, the production designer will bring out the layout and 3D images of the set, and we’ll discuss the look and feel.”
Vamshi usually told him how he wanted to perform a certain scene, but Karthik had enough freedom to do it all on his own. “And mostly, my thoughts coincided with what he expected of me; This is because we read the scene paper over and over again.
Karthik and Vamshi had to be mindful of repeating a shot or an idea that had already been used in a Vijay film. For example, Vijay played the role of the head of a corporate company in 2018. Government Plus, it would have been easier to make more comparisons. “Vamshi Sir was particularly careful not to repeat anything. In fact, he watched all the major films of Vijay just for that,” says Karthik.
Karthik Palani from the sets of ‘Varisu’ | Photo Credit: Special Arrangement
However, good planning doesn’t always guarantee good execution, and in cinema, there are too many variables at play. While there were quite a few challenges during the shoot, one particular scene demanded a lot from Kartik and the team; A furious action sequence set in a port. “It was difficult because there was a cyclone warning in Visakhapatnam that day, and the weather was unpredictable. So it became difficult to get the visual uniformity, but we pulled it off well.”
The color palette was another major highlight in this scene; In this scene a port is being assaulted by men wearing yellow construction hats, in the foreground dressed all in black; Victory, in the foreground of colored shipping containers, and the grading brings out the gray in it all . “That palette looked beautiful, and it was meant to keep the focus on the action. Even in the fight choreography of that scene, there was a certain flow that worked well visually,” says Karthik.
Every shot counts for the cinematographer, but with a star like Vijay at the helm, it is clear that Karthik felt the need to do more. “Just watching her every day was a boost to my energy, and I wanted every shot to be the best.”
The intermission sequence and several comedy sequences featuring Yogi Babu and Rashmika Mandanna with Vijay were some of Kartik’s favorite moments. “I am really happy with the way we have shot all the songs in this film,” he says, adding that he was happy to see the dancer in Vijay through his lens. “Looking back, he has given many iconic signature songs like ‘Aala Thotta Boopathy’ ( young) and ‘Appadi Podu’ ( ghilli, I was expecting this film to have one such track and I am glad we got ‘Ranjitham’,
Karthik says, “We needed to ensure that the entire frame was set right, but Vijay sir also had to be given special attention as he is the face of the film. It was created intentionally.
Karthik Palani, Vijay, Sham and others from the sets of ‘Varisu’ | Photo Credit: Special Arrangement
He stresses that a lot of effort goes into shooting each and every scene and that communication is key; Karthik especially appreciates the work of the technicians like the focus puller and colorist. “Like other departments, there are hundreds of people working in cinematography. But finally I am getting all the appreciation! If the focus puller misses something, we won’t see sharpness. Similarly, a colorist enlarges scenes by about 30 to 40 percent. The same applies for the grip team, lighting team and so on,” says Karthik.
Karthik Palani from the sets of ‘Varisu’ | Photo Credit: Special Arrangement
Having been in the industry for a long time, Karthik has constantly observed how technology is evolving in the film industry. “Virtual production systems and VFX technology are developing quite well. There’s a lot happening in the West.”
his upcoming film Lone manThe cinematographer says that starring Prabhas as Lord Ram is aimed at expanding the same. He said, ‘The idea of making such a VFX film was jungle book, However, we cannot compare the two due to the facilities available.” To reach that standard, says Karthik, we need to keep moving in the right direction. “Such progress needs to be given time and space. bahubali It needs to be successful to open so many doors in Indian cinema. Around the world, technology is updating a lot and we need to get to the point where we can make a Marvel movie.
Lone man Now in post-production, the team plans to release in June, and Kartik is very confident with what the makers have created. “This is our child. kakaikku tan kunju pon kunju (To a crow, her child is golden).
A scene from ‘Adipurush’ | Photo Credit: T-Series
“I didn’t know I would do cinematography as I was more into theater and dance. But it all happened for the good,” recalls Karthik. But now that he has got a break from a film like the heirwith and Lone man Coming up, he should be at liberty to do as he pleases; Keep doing big ticket star vehicles or do unconventional ones or try to balance both. “I never plan anything beforehand, so I am not going in a strategic way to plan my career. I just want to give my best in every film I do.