Most visually stunning films... - Page 2

Even Paheli, Asoka were visually very beautiful.

Kahaani definitely showed Kolkatta amazingly well.

BBB/Delhi 6 showed Delhi well...at least it wasn't the usual India Gate aur bas hogaya Delhi.

...Switzerland was never as beautiful as it was in a Yash Chopra film.

@ choco...i know..i never realised how much work is put in by the camera man either...until i read the K3G illustrated edition where Kiran dheons was talking abt how he put white lights in the london house to show lack of parental warmth and affection and how he put yellow/orange coloured lights in the raichand house to depict the warmth there...and how lighting someones face from the top is bad and so they had to shoot suraj hua maddham in the morning and evenings and waste the afternoons coz the sun is right on top then...

its interesting how such things we probably wont even notice, but filmmakers take pains to ensure everything is perfect.

Nice topic Pathaka dear

^Oooh see exactly, I never realized all that ...and most of don't even truly notice how there are different colors in each scene and how they all symbolize something! Filmmaking is certainly a much tougher job than we think it is..

I found the article where the cinematographer of Barfi, Ravi Varman, was speaking...he's doing SLB's Ram Leela next & he only does 1 film at a time.

Some snippets:

Talk to him about Barfi! and he asks, "Did you notice how we used five different colour tones in five different stages of the story?" he used grey tones for the twilight period of Jhilmil and Barfi and warm hues for the portions in Kolkata featuring Ileana, Ranbir and Priyanka. "I used soft focus wherever possible and the colour tones were subtle; I didn't want anything jarring in the frames," he explains.

Varman jumped at the offer when Anurag Basu approached him. "Usually, hill stations are shown with a lot of mist. I wanted to play with early morning sunlight. Shooting in a hill station is not easy. The light can be unstable as the weather changes from cloudy to warm all of a sudden. In certain sequences, I used artificial light to get the feel of early morning sunlight. In this film, I tried to show Darjeeling and Ooty quite differently," he explains.

"My first priority is to arrive at a balance between light and shade and then work on colours. Cinematography should bring out the natural beauty in actors. Look how gorgeous Ileana is in Barfi!"

http://www.thehindu.com/arts/cinema/dream-catcher/article3931952.ece

yeh kiran also was also talking abt how he kept a logbook of the lighting in the raichand house, chandni chowk an the London scenes coz each of them needed to be repeated on different sets...thts a lot more work than i imagined..

i seriously thought the DOPs job was just to be behind the camera, zoom in zoom out and make it move the camera in pan n tilt shots...😆...u know like we shoot our home videos with handy cams...😆 i thought thts wht the DOP did except with a bigger camera...silly me...

they have soo much work to do...they have to light the set according to the scene, then they have to light the actors, then they have to film it...then after the shooting is finished...they have to do a lot of post productiion work too like color correctiion and brightness/contrast settings...

kiran wrote in the K3G book tht karan yelled at him because jaya bacchans blue saree in shava shava looked greenish on camera due to the lighting (and we all know how particular karan is abt costumes) so he had to correct it on the computer after the film was shot...😆

PS: its poetic justice tht his name is Ravi varman...i think thts the name of a renowed indian painter...

Originally posted by: pathaka

yeh kiran also was also talking abt how he kept a logbook of the lighting in the raichand house, chandni chowk an the London scenes coz each of them needed to be repeated on different sets...thts a lot more work than i imagined..

i seriously thought the DOPs job was just to be behind the camera, zoom in zoom out and make it move the camera in pan n tilt shots...😆...u know like we shoot our home videos with handy cams...😆 i thought thts wht the DOP did except with a bigger camera...silly me...

they have soo much work to do...they have to light the set according to the scene, then they have to light the actors, then they have to film it...then after the shooting is finished...they have to do a lot of post productiion work too like color correctiion and brightness/contrast settings...

kiran wrote in the K3G book tht karan yelled at him because jaya bacchans blue saree in shava shava looked greenish on camera due to the lighting (and we all know how particular karan is abt costumes) so he had to correct it on the computer after the film was shot...😆

PS: its poetic justice tht his name is Ravi varman...i think thts the name of a renowed indian painter...

This is exactly what I used to think too 😆 In fact, I had no clue what cinematography even really was ...it was like: oh this film looks pretty, this one does not..but nooo, it's only when you read these interviews where the cinematographers talk about their work that you REALIZE what a hard job it is.

Jodhaa Akbar was on in HD on TV today and Aishwarya looks EXQUISITE in the movie...never before and never since has she looked that ethereal in my opinion...the sets, the opulence is so nicely depicted and I'd give kudos to the DOP of this movie as well...the lighting was wonderful.

In particular, the scene when she writes Akbar's name in Farsi for the first time and shows it to him...she looks really gorgeous.

I was just watching Ravaan today and I thought the cinematography was excellent! Having Aishwarya Rai with those locations is like icing on the cake. Loved the movie too. Dunno why it did so bad. The music was so tribal-sounding and went well with the movie.

Kahani.. Kolkata was captured beautifully..

Gangster.. Seoul/Bangkok looked great

Kismat Konnection.. Hideous movie but I loved how they shot in every single place of Toronto..

Raavan OMGGG kerala looked gorgeous..