Through The Lens, supported by ARRI, is a celebration of the art and craft of cinematography, featuring in-depth conversations with some of India's most talented and respected cinematographers. In our third episode, Cinematographer K.K. Senthil Kumar talks about the experience of working with S.S Rajamouli on all his films, and how tough or smooth he finds it to create his vision through the camera. He delves deep into the making of the Nani and Samantha Prabhu starrer ‘Eega,’ calling it the most challenging film he has worked on, and then further breaks down the Ram Charan introduction sequence from RRR, and the magnanimous interval sequence of the same.

This video is in a collaboration with @ARRIChannel
ARRI is a leading designer and manufacturer of camera and lighting systems for the film, broadcast, media, and entertainment industries, with a worldwide distribution and service network.

This episode was shot on 11th October, 2023

00:00 - Through The Lens of K.K. Senthil Kumar
00:59 - Five Questions about K K Senthil’s craft
01:10 - K. K. Senthil's take: Cinematography should be invisible
03:18 - Working with S.S. Rajamouli for more than 20 years
05:21 - The danger of becoming too comfortable with one director
07:48 - Shooting the Rajamouli hero introduction sequences
09:45 - Has K. K. Senthil ever used the word “impossible” in front of Rajamouli
12:53 - Moving from celluloid to digital, and the "craftlessness” it brought
15:21 - How is digital taking cinema to the next level?
16:57 - Falling in love with Light
21:00 - Breaking down the RRR interval sequence
31:35 - Breaking down the Eega climax
39:23 - Breaking down the Baahubali and Katappa fight scene
45:45 - Breaking down Ram Charan’s introductory scene from RRR
55:35 - Three recommendations/art that inspires K. K. Senthil
1:00:20 - Two tips to new and practicing DOPs
1:05:18 - A life motto K K Senthil lives by

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The Film Companion is a web channel intended to promote Indian cinema through films review, interviews, discussions, video essays, and analytical compilations. It is intended primarily for the purpose of encouraging informed discussions, criticism, and review of cinema and towards such purpose, the programs use short extracts of cinematograph films, sound recording, and photographic works. These clips and extracts are of a minimal nature and the use is not intended to interfere in any manner with their commercial exploitation of the complete work by the owners of the copyright. The use of works is in compliance with the fair dealing exception provided under Sec. 52 of the Copyright Act, and we assert our use of the works under the exception provided for criticism and review.