Antomy of storytelling

I was told that there are more than twenty people for my lecture and workshop series on 'The Anatomy of Story telling in Cinema". I made a presentation and reach on time with my friend and fellow filmmaker Kiran Sasi.

When it started the class had four students from Masters in Multimedia. Four silent students. One of them was a bit offended by seeing bad people in a movie "Deathproof".

The class started with identifying who are bad people and who are good people. If badness isuniversal or contextual or even relative. Followed by telling stories from their life.

After three dayswe were joined by eight more people.

The class became more vibrant. People started undertanding what my intentions were. They showed up with amazing screenplays but bunked classes on weekends. Overall they reminded me of me.
The slapdash, self centred, not a care in the world(ME). Its so good to be in a college. The cushion that it provides is a relief.

We developed script sand watched a few movies and built relations while half the class never showed up. Had a good time with students.

Sacred hearts School of media, Tavera

A few slides used for class
                                      

Spirit of Varanasi

Unni Mohan (friend designer visionary) call me up and wonder what I am doing. I am relaxed on a balcony in Pondicherry skeptical about the feature film I am making. He wonders if I am free to shoot a promo teaser for a scale model of the ‘Varanasi naav’.

A scale model floating with the floating lamps of varanasi will be a good visual I suggest him. This can be shot in Kochin. A few days of talks and discussions and I go to meet Unni and his Boss Jeevan .

Samudra is a pioneer in boat making industry in the south. Unni took me into the hull of a fishing boat as big as a bus or twice. I have fever. I take a train from trivandrum and get down at Cherthala and go to Samudra office in Kochi. Jeevan explains his requirement and I have my storyboard ready which is approved. I made it in the train on my way to Kochi.

The last time they ever made a video was some 15 years back or so with Rajiv Ravi as the filmmaker.  Now I need to be careful.

Boarding the Varanasi train from Mumbai I had a lot of expectations. An assistant was supposed to join me in Varanasi. He didn’t. 

The best part of the project was waiting for the morning and evening light. I would wake up at 5.30amand wait for the light and made a light intensity chart. This is usually prepared by me since I use daylight in most videos.  The chart is accompanied by photographs and two days observation. Rains usually change this plan. I have a back up led light and a big mirrors to reflect sun.  The sun was faithful and didn’t trash my footages.

Technically, The video was shot on Canon Full frame Dslr with an old cineprime Nikon 50mm lens and also a wide angle  35mm Helios lens. Both lenses are older than me. This would give a painting like look and also a clumsy careless retro look. (the color fade out look with low contrast I wanted for the place).

Design Objective--The final visualized video should give feel of Varanasi and should introduce the souvenir boat.  It should also introduce samudra.

Packaging- he most important contribution to the whole package was done by Ajmal Hasbulla the music director who took the visuals to a whole new level.

Sound design was done by Sam Santosh.

Met Rishab Dwivedi in Varanasi ( friend painter artist human )

The advertisment paid some of  my bills and there is bliss too.

Samudra Shipyard cochin famous in the ship building sector in south india is working with the Sankat Mochan Foundation at Varanasi.
As a tribute to the Hon`ble Prime Minister's Clean Ganga Drive, Samudra Shipyard have decided to contribute a portion of sales proceeds to the Swatch Ganga Abhiyaan.

direction camera edit

Krishand

Music Direction

Ajmal Hasbulla

Sound Design and Mixing

Sam Santosh

Vocals

Sarath Baby

Associate Editor

Girish Atuvalaipil

Production Controller

Rakhil Akkali

Colorist

Hari Prime

Associate Cinematographer
Shyamin Gireesh

Associate Editor
Rakesh Cherumadam

Creative Contribution

Jishnu Krishnan

copyright

jeevan Sreedharan

Girish Atuvalaipil

copyright suppor

Ajith Kesavan Haridas

Special Than

ks

Anami Lodge assi ghat

Niranjan Boatwala

Banras Travels

Akhil Vinayak

Dheerej M

G Radhakrishnan Nair

Rishabh Dwivedi

ShantanuYennemadi

Anmol Dharmadhikari

www.mapofindia.com

Koteswar Rao

and 

UNNI MOhan

storyboard scribble page 1

storyboard scribble page 2

storyboard scribble page 3

storyboard scribble page 4 - final image

screenshot color CC for look and feel

 

iNSTAGRAM

lost my phone in the ganges. 

Got a new phone.

Discovered instagram.

https://instagram.com/krishand.rk/

bliss

Sequentially

As I rigorously find ways to make life simple and try to get organised i find myself fishing for sequential art content. Some of these are very old and some are brand new. Some of these even got paid.

Research Associate

I didn't enjoy this period much.

Sudesh sir asked me if I could become his research associate (assistant in documentary in Mithi river reclamation project) and later when I went to him after completion of the course he said the position was occupied. In fact he added he tried calling me and I was not reachable. I didn't know know what to do. I was counting on this RA-ship to hang around IDC -iit Bombay and write my first script. Sir sudden change of mind had somehow hurt me. I went straight to another professor whom I loved and respected a lot and asked him if there was any position in project D-Source. An online platform from the ministry to impart online design education. Phani sir told me that I can join but need to prepare classes on photography. However I have to be under Sudesh sir since he is heading photography. I went back to Sudesh sir and he said I can work for D-Source and be under him.
However as time progressed sir found out that I am indispensable in the Mithi river project since I was visualising, sound recording, camera assisting and coordinating with MMRDA. Nothing much was done for D source in the first two months. In the fifth month D source asked me to submit a video. Sudesh sir once again disowned me saying I should have concentrated on D Source. However he sat and corrected my script and wrote his own script to get me out of this mess and we shot a small learning video.
As soon as i completed the video I left IDC and decided not to return

Luggages

A series of shoots. Some exciting but most for bread and butter. Brightly lit hotel rooms to dimly lit dharmsalas. A lot of walking in the sun and vegetable thali with rotis.
Above all  travelling in claustrophobic sleeper non air conditioned buses.

Ignorance and the Birdman

evening tough and unrest - pockets almost empty - cinepolis neptune mall bhandup - miles away
Without much prejudices me and Anmol sit for Birdman.

lovely.

Ghoda 22

"When the violent underworld meets a violent household. "

Sandhya decide to confront her cheating husband and Chottu decides to help her in the process. The violent household merges with the violent underworld and result in a series of dark and funny events. Ghoda is an entertainer in its attempt.

Written, Shot and Directed by Krishand

Sound Design Shantanu Yennemadi

Sound Effects Ambu R

Produced by Rinu Krishna K

co-produced by Vijay Bosco

executive producer - Arjun SIvakumar, Rakhil Akkali

Production House - Kaffeiene Media

Banner - Good Earth Cinema

Special Effects - Nitin Anand, Vinod Panchariath

cast 

Amol Pathare

Ranjan Raj

Monika Sharma

Sushant Shetty

Rahul Rajagopal

Jamshed Nassin KV

Sumedh Garud

Color correction consultant - hari

Edit consultant - Jishnu R, Anmol Dharmadhikari, Sankalp meshram

Music Consultant - Navin Narayan

references

the white tiger

in the blink of an eye

case of exploding mangoes

making movies

satya (rgv)

Kaffeiene - Fine art wedding

Meanwhile Rakhil and me started on our small enterprise of imagery, we have been employed in a few event shoots (rock concert, wedding, travel and fashion)
A jist of work to keep me inspired

Finding Blacksheep

poster design by Nargis Sheikh

The Blacksheep is about homecoming. Anmol Dharmadhikari has adapted a story into a wonderful shortfilm about homecoming, acceptance, acclimatization and departure. It is a story of claustrophobia both internally and externally.

The biggest challenge when Anmol sat down with me to make shot division was to create the visuals in such a way that the space doesn't seem redundant. 

The storyboard is a result of pre-visualization where the entire animation of the characters was performed by both of us in a room keeping in mind the location and consider the best possible angles to tell the story.  

Anmol was inspiring to work with since he listened to my suggestion an would drop it if it doesn't fit into his framework for the short film. He has indeed created a short film that I am proud to be a part of. Amey Ranadive has done a commendable effort in bringing the frames to life. The directors attention to details have brought out the life in the characters without which the skeleton called storyboard would just be a fancy item.

Sandhya, Mukta, Me, shantanu n Anmol

All credits to the cast for taking cinema to a different level and to the crew for giving 100%.
The film like any film made has its flaws but what is flawless . A diamond ?