Seasoned filmmakers are revelling in this freedom too. Watch the trailer of Village Rockstars here Liberation from heavy technology has democratised filmmaking, Shedde adds, making it cheaper and allowing a lot more variety in the kinds of stories being told. As phones and cameras become smaller, shooting with phones and natural light will become less of a challenge and will allow, in fact, for a greater degree of realism, grittiness or intimacy in a scene.” “The audience is more willing to experiment, and is open to different kinds of stories. “In terms of both the making and the consumption of cinema, smaller, digital devices are the future,” says Meenakshi Shedde, film curator, critic and South Asia consultant to the Berlin film festival. Das has won four National Awards this year for her film, Village Rockstars, which was shot entirely on a Canon digital handheld camera and edited on a laptop. TINY TALES A still from Rima Das’s next film, Bulbul Can Sing. Zoo might never have found an audience without the OTT platforms like Netflix, Varghese is set to tour the film circuit, and is hoping to make it to such a platform too. There’s tech involved in every stage, including post-production fundraising - Varghese raised Rs 8 lakh through crowdfunding over 10 weeks - and distribution. I would never have been able to make this movie without a helicopter before,” he says. “The aerial shots are an integral part of the storytelling here. Two of her awards, incidentally, were for location sound recording and editingįirst-time filmmaker Seby Varghese combined iPhone and drone footage for Unfateful, his road movie about four strangers travelling together through Karnataka, Tamil Nadu and Andhra Pradesh. Das worked with just one assistant, her cousin. It’s the tale of a 10-year-old girl who wants to set up a rock band in a remote village in Assam, and it was shot entirely on a Canon digital handheld camera and edited on a laptop. In Assam, Rima Das won four National Awards this year for Village Rockstars. Experienced filmmakers are able to bring the real world to life more convincingly, using elements like natural light to enhance their storytelling. First-time storytellers are making feature films with just one assistant telling tales set in remote areas, taking their stories on the road. ![]() While for Sharma a key factor was cost, elsewhere, innovations in technology are allowing filmmakers flexibility that extends beyond budget. ![]() A lot of the time, people around didn’t know we were filming.” Stills from Shlok Sharma’s Zoo, which was shot entirely on an iPhone, using minimal sound equipment and no lights. “But not using a movie camera also made the process far easier. “Rent for a movie camera ranges from Rs 15,000 to Rs 35,000 per day, not including tripods and Steadicam,” he says. His first film, Haraamkhor (2015), was stuck for so long - three years in post-production and one year at certification - that he had no funds to make his next. He picked the phone because he simply couldn’t afford a traditional movie camera, he says. It’s called Zoo and follows the lives of two young rappers, a drug-peddling waiter and a teenager fighting addiction.ĭirector Shlok Sharma used minimal sound equipment, no lights and shot it entirely on an iPhone. But the group of 10 at a Mumbai café were really the cast and crew of a feature film, completing part of a shoot. To onlookers, they seemed like a bunch of people hanging out, joking and scrolling on their cellphones.
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