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“AI driven VFX is the future”: Senthil Kumar

Goa:25/11/24:From Magadheera to Eega and Baahubali to RRR; acclaimed cinematographer K. K. Senthil Kumar is the man behind the lens, who has skilfully transformed many epic narratives into visually stunning masterpieces for film enthusiasts across the globe. The captivating camera moves, masterful use of vibrant hues, contrasting shadows, and evocative lighting in these blockbusters reflect his ability to balance grand visual storytelling with emotional depth, seamlessly blending action, drama, and fantasy. Senthil Kumar shared his insights and life journey in a spell-binding ‘In-Conversation’ session on “Integrating VFX with Cinematography” today at 55th IFFI in Goa.  The session was moderated by renowned film director and screenwriter Shankar Ramakrishnan.

While addressing the session, Senthil candidly described filmmaking as a challenging process. “Filmmaking is full of challenges. If you don’t want to face challenges, it’s better you don’t come to filmmaking”, advised the ace cinematographer. He emphasized the importance of embracing these challenges, particularly in the realm of emerging technologies such as VFX, which he sees as a powerful tool that has made the cinematographer’s job easier by enhancing visual storytelling. “VFX has made a life of the Cinematographer easier and AI-driven VFX is emerging as the future,” he noted, highlighting the potential of technology to push creative boundaries.

However, Senthil was clear in his stance on how he approaches technological advancements. “I don’t want to fight against technology. I want to integrate technology with my works and evolve,” he said. This philosophy has been integral to his success, as he continuously seeks to merge traditional cinematic techniques with innovative VFX to create immersive and visually dynamic experiences.

Reflecting on his creative process, Senthil explained the importance of understanding each story’s unique requirements. “Every story is unique in itself. It’s important how you tell your story to the audience. I take more time during the pre-production phase to understand the story and its requirements and plan the shooting accordingly”, he asserted. He also highlighted the collaborative nature of his work, noting that a cinematographer must work in close harmony with the VFX Director to create images that serve the narrative while complementing the technical demands of visual effects.

As a pioneer in integrating visual effects with cinematic craftsmanship, Senthil underscored the absence of strict rules in filmmaking. “There’s no rule in filmmaking. It’s a creative choice and personal decision. It all depends on how interestingly and convincingly you tell your story”, he affirmed, stressing that at the heart of every successful film lies compelling storytelling.

In his concluding remarks, Senthil also shared a personal anecdote from his early days, revealing that his path to cinematography was somewhat serendipitous. Initially intending to join a film school by chance, he soon found himself pursuing his passion for filmmaking with relentless dedication. Reflecting on the need to push creative limits to tell larger-than-life stories in cinema, he added “Many times, we have to break the logic and rules to board the story in a captivating manner.”

About Editor in chief

Ashok Palit has completed his graduation from Upendranath College Soro, Balasore and post graduation from Utkal University in Odia Language and literture.. He has also carved out a niche for himself as a scribe of eminence after joining the profession in 1988. He is also an independent media production professional. He brings loads of experience to Advanced Media, Ashok Palit as a cineaste has been active in film criticism for over three decades. As a film society activist, he soared to eminence for his profound commitment to the art film appreciation and aesthetics of cinema. His mode of discourse is often erudite but always lucid and comprehensible marked by a perfect acumen so rare in the field. A film aesthete with an immense fond of critical sensibilities, he wrote about growth and development of odia cinema in New Indian Express, The Times of India, The Hindustan Times, The Asian Age and Screen. He has been working as an Editor for Cine Samaya from 2002-2004.. He had made solid contribution on cinema in many odia Dailies and weekly such as Samaj, Prajatantra, Dharatri, Samaya, Satabadi, and weekly Samaya.
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