Cinematographer Sharan Velayudhan is thrilled to bits as his debut, Soubin Shahir-starrer Ambili , is getting good reviews, with viewers gushing about his work. “The film reached theatres during the heavy rain. Floods hit many districts in Kerala on the eve of Ambili ’s release and so promotions were almost non-existent because of the gravity of the situation. Yet, people have liked the movie. Dreams do come true…now I know,” says the unassuming Sharan over phone from Kochi.
Set in picturesque Kattappana, in the high ranges of Idukki district, the film is about the endearing Ambili (Soubin Shahir), deemed a misfit by many around him. Sharan says that he couldn’t have asked for a better debut because he hails from Adimaly, a few hours away from Kattappana, and, therefore, knows the terrain like the back of his hand. “The topography, colours, weather, flora…everything was familiar to me. So when John [Johnpaul George, director of Ambili ] narrated the premise it was not difficult to relate with his vision,” he explains.
Sharan Velayudhan, cinematographer of ‘Ambili’
A seamless blending is evident between nature and Ambili, the character, as the film works around a specific colour palette. “We had set a palette with blue as the dominant colour, along with some earthy hues. Blue, I felt, evokes calm and serenity. Costumes and art direction complemented the palette. Moreover, in some of the scenes, such as the song ‘Njaan Jackson allada’, the team created the right backdrop by going that extra mile,” he explains.
The palette changes in the second half when Ambili and his childhood friend, Bobby, hit the road on their cycles. It had to be in total contrast to Ambili’s life in his village. The strain of the journey had to be conveyed to the viewer. So the palette was kept warm but raw, he adds.
Challenges enroute
The team covered parts of Tamil Nadu, Karnataka, Goa, Rajasthan, Punjab and Himachal Pradesh. Sharan points out that using hand-held cameras for outdoor shoots were challenging.
“We had to work in extreme climatic conditions. Since it was a small film, we had to work within a lot of limitations and had to make best use of what we had,” he adds. And everyday he managed to get “a frame to recharge” himself, with Himachal giving him some of the best shots.
The 30-year-old mentions that having travelled across the country several times before, he could capture the mood of every region. “Each place has its own soul and it was exciting to translate it into visuals. Mainly because I had a director like John who gave me the space to experiment. We were in sync throughout the project,” says Sharan.
- Among Sharan’s favourite cinematographers are Tassaduq Hussain, Pankaj Kumar, Emmanuel Lubezki and Sven Nukvist. “Back home I like the works of Sameer Thahir, Shyju Khalid, Sanu John Varghese and Girish Gangadharan.”
- An engineering graduate, Sharan holds a diploma in visual communication. He now runs an ad agency, Ordinary Secret Films, with Vimal Chandran, a Bengaluru-based illustrator.
Looking back at his journey, he mentions that cinema was a dream that he thought would never come true. “I had no personal contacts in the film industry, I didn’t know how to go about it. Also, Idukki had not yet become a favourite location for Malayalam cinema then and so I couldn’t see many film shoots. Therefore, I shelved my dream and took to photography,” he says.
But he was destined to land in cinema and was lucky in meeting the right people at the right time. While working as a freelance photographer he met ad filmmaker Vinod AK, who took him on as his assistant. “Later I started following Sameer ikka [cinematographer Sameer Thahir]. Once I managed to get in touch with him and showed him my works, he asked me to join as an assistant in Neelakasham Pachakadal Chuvanna Bhoomi . It was there that I met John who was then his associate. I also worked in Anchu Sundarikal and Bangalore Days . The experience helped me in no small measure,” he says.
In the meantime, cinematographer-filmmaker Rajeev Ravi advised him to move to Mumbai. He assisted cinematographer Sanu John Varghese and worked in ads and documentaries.
“Cinematography is telling a story through visuals. But it is important that it should complement a director’s vision. Also, a cinematographer should be able to deliver what the script demands,” he says.
Offers are coming in. However, Sharan wants to take it slow. “Now I want to spend some time with my one-year-old daughter, Prakriti. She brought in joy when the floods ravaged the State last year. This time, it is Ambili that is a shining light in the darkness,” he says.
