Dil Chahta Hai to OG: Ravi K. Chandran Reflects on His Cinematic Evolution

When Ravi K. Chandran looks back at his beginnings, he doesn’t sugarcoat it. “When I started as a young cinematographer, I always tried to show off. My lighting was very flamboyant, very noisy—loud photography whether the scene needed it or not. It was bad photography,” he laughs.

This style didn’t exactly endear him to serious filmmakers. “I never got calls from big directors. My opportunities were mostly commercial films in Malayalam. Nobody thought I was a serious cameraman. And my brother, Ramachandra Babu, was already a highly respected cinematographer, winning awards and working on prestigious films. So, it was always like Amitabh Bachchan and Abhishek Bachchan—you are constantly compared, and expectations are high.”

But fate had other plans. A chance meeting with Priyadarshan turned the tide. “He saw my work on a film directed by I.V. Sasi and asked, ‘Who shot this?’ When he found out it was me, he called me to meet him. That meeting eventually led to Virasat. That film changed my game altogether.”

From that point, Ravi K Chandran’s visual language matured. “I realised flamboyance is not good. Photography is about storytelling. The visuals should serve the film, not scream for attention.”

Collaborating with Directors of Different Worlds

Chandran’s career is defined by his collaborations across languages and sensibilities—Mani Ratnam, Sanjay Leela Bhansali, Karan Johar, A.R. Murugadoss, Farhan Akhtar, and most recently, Sujeeth for ‘OG’.

How does he adapt to such varied visions while keeping his signature alive? “I never want two films to look the same. For instance, I just did two gangster films back to back—‘Thug Life’ and OG. Both belong to the same genre, but visually they are poles apart. Every film must have its own style. That’s my constant effort.”

The Turning Points

Asked about the milestones in his journey, Chandran is quick to recall two films. “Virasat was definitely a turning point. Then came Dil Chahta Hai—that film changed the visual language of Hindi cinema. After that came Black, Agneepath, Ghajini, Fanaa, My Name is Khan—all very different films,” he says.

Interestingly, he never tied himself down to one director for too long. “Except Mani Ratnam—I did four films with him. Otherwise, it’s usually one or two films per director. I wanted to work with as many different directors as possible, because each one brings a new energy and a new way of storytelling. It pushes you to perform.”

Story First, Technology Later

The craft of cinematography has changed drastically with the arrival of digital cameras, drones, virtual production, and AI. But Chandran is clear-eyed about what really matters.

“Technology is like the iPhone. Every year, a new one comes. You want to try it out. But whether it’s an iPhone 10 or 16, it still makes calls. Similarly, cameras are tools. What matters is storytelling. A film like Kantara is not a Marvel movie. It’s a village story told simply and honestly—and it connected.”

He adds, “One look from a good actor can devastate you more than any visual effect. These tools—virtual reality, CGI, drones—they are useful, but they should not overwhelm the story. A Rolex or a Titan watch—both tell the time. The story is about the time.”

When the Director’s Hat Beckons

Ravi K Chandran has also tried his hand at directing. But it wasn’t easy to leave the cinematographer inside him behind. “I was shooting while directing, and the cameraman in me kept taking over. I realised that next time, I should step back from the camera and focus on direction. It’s a different ballgame—dealing with actors, staging, editing. My respect for directors has multiplied after that experience.”

Editing, he says, is the most ruthless part of filmmaking. “You may think you have shot the most beautiful scene, but if it doesn’t serve the film, it has to go. Earlier, I used to fight editors for cutting my shots. Now I understand. The film doesn’t care for your ego.”

Cinema, OTT, and Changing Times

The landscape of cinema is shifting rapidly. He observes, “Smaller films are struggling because audiences prefer to wait for OTT. But OTT has also opened opportunities—especially for actors. Look at ‘Delhi Crime’ or ‘Family Man’. Actors like Shefali Shah, Manoj Bajpayee, Vidya Balan—they are finally getting the roles they deserve.”

On his latest project ‘OG’, he admits he didn’t expect much spotlight on his work. “I thought people would only look at Pawan Kalyan sir. But every review, every tweet mentioned the cinematography. Even though I shot it very dark and moody—which is unusual for a star vehicle—it worked. And that’s thanks to Sujeeth’s conviction.”

Advice to Young Cinematographers

The industry is far more competitive today, he cautions. “In my time, there were maybe 15 top cameramen across India. Now there are hundreds of very good ones. With digital, the field is wide open. So, if you spot a good director, stick with them. Don’t do what I did—experiment too much. Build lasting collaborations.”

At the same time, he believes the fundamentals haven’t changed. “Technology will come and go. Trends will come and go. But if you don’t have a story to tell, nothing will hold. Your job as a cinematographer is not to show off, but to serve the story.”

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