Now Reading: Advaitha Gurumurthy on camera rituals and static shots
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Advaitha Gurumurthy on camera rituals and static shots
Cinematographer Advaitha Gurumurthy, 10 years after his debut 'Devara Nadalli', is now shooting '666 Operation Dream Theatre' with Shivarajkumar and Dhananjaya. The film uses 18 sets and 1970s Lomo lenses to recreate…
The Story in Brief
Cinematographer Advaitha Gurumurthy, 10 years after his debut 'Devara Nadalli', is now shooting '666 Operation Dream Theatre' with Shivarajkumar and Dhananjaya. The film uses 18 sets and 1970s Lomo lenses to recreate the 1980s. He tells Deccan Herald he talks to his camera as a 'rational ritual' to stay connected. For 'Sapta Sagaradaache Ello: Side B', colours mirrored the protagonist's guilt: harsh greens and warm orange-reds. In 'Elumale', practical lights like torches and fire made the forest a living character.
Advaitha prefers static shots, saying moving the camera only works when the narrative demands it. He calls many single-takes a 'gimmick' unless warranted, like in 'Soy Cuba'. His low-budget lesson from 'Uppina Kagada'? Three lights can light a river if you find the right angle.
The Indian Opinion
Too often, flashy camera work is mistaken for energy. Advaitha's insistence that movement must serve the story, not the cinematographer's ego, is a rare stance. His admission that many single-takes are gimmicks also pushes back on a trend that prizes technique over substance. Watch whether '666 Operation Dream Theatre' uses its vintage lenses and 18 sets to tell a tighter story, or just to show off craft.
Source: deccanherald.com
This story was synthesised by AI from the source linked above.
