From SETU: the man who shot Dangal, Kahani, Taare Zameen Par…

Setu is the Cinematographer of the films like Dangal (2016), Dedh Ishqiya(2014),Ghanachakkar (2013),Kahani (2012), Katho uponishad (2011), Vakratunda Swaha (2010), Taare Zameen Par (2007), Charas (2004), A Pyramid of Women (2003) etc.

Sandipp, Asst Professor, Cinematography, RKU has taken this exclusive interview for the readers of the RKU blogspot.

RKU shows its gratitude to Setu for giving his valuable time.

Sandipp: Setu, when did you have the insight of becoming Cinematographer?

 Setu: From an early age  I was interested in photography. In my school & college days, I used to go to Chitrabani, Kolkata. I learnt Black & White photography process,  the image forming on paper. But the real thrust came to me watching my Mesho ( aunt’s husband) Ranjan Palit, working as the cinematographer. He is a legend in documentary circles. Watching him work, I made up my mind to become a cinematographer. 

Sandipp: Though you have the family background of films, why you have joined an Institute to learn Cinematography, instead of learning from the job?

Setu: In those days, an institute, like FTII, gave students ample space and equipment to experiment, learn and think. It's important to make mistakes and learn. At the same time, the students watch world cinema, which helps build a sense, an understanding of cinema as a whole, not only cinematography. On the job learning, may not give enough time to think. To survive in a busy city like Mumbai, it is tough for anybody, unless until they acquire a specific skill before engaging themselves as a professional. Nobody gives you time to think.

Sandipp: When you have done your course at FTII, it was primarily on celluloid, but now when you are working ,it is all digital. How have you adapted to this format?

Setu: Yes, I have adapted. Everybody has to adapt, Digital is not the future, It is the present.  Though in Celluloid, the pre-visualization part was essential, because the image was processed in the lab and then printed/ tele-cined. The wait-period was there, as the laboratory process was involved. So the Cinematographer has to pre-visualize in much more details, there was no scope for on-set correction. But in Digital, the cinematographer can interact with the image immediately. So, in a sense, the pre-visualization is a starting point but there is a live reaction to the image . But the Image making of story telling is always there and it will remain the same irrespective of format.

Sandipp: How was your journey from passing out, upto your first feature film?

Setu: After passing out from FTII, I started working in documentaries, but that time documentary makers started using digital technologies. So they started shooting in ENG mode, that means to shoot a lot, choose in edit table. This approach of documentary making, I was not comfortable with. I was also assisting  Rafey Mehmood sir on several commercials and in his feature film, Hassil, which is the directorial debut of Timangshu Dhulia also. I have learnt a lot from Rafey sir, he is such patient teacher. Then I got my first feature film, Charas, with Timangshu Dhulia. In a way, I was lucky to have the break, after two years of passing out. 

Sandipp: How was it after getting the first film, have you continued assisting?

Setu: No, I did not assist anymore. 

Sandipp: Taare Zammen Par has happened after that?

Setu: Yes,’ Taare’ was a 'big film' .  It was appreciated by the people and the critics. I  think I started getting noticed after Taaare only. Though as a Cinematographer , I respect every work, be it feature film or not.  I believe, in every work, you will get to learn. Every work gives you something. That's why, I start every work, with an attitude of a learner. And with every film, I learn few new things.

Sandipp: What about the next film, Kahani?

Setu: Kahani, is very close to my heart. Because it has a cinematic approach which I can relate very well. It has a fluidity of camera movements in an organic way -mostly due to hand-held approach.The camera supports the storytelling a lot. I like the pattern, as a cinematographer, I do not prefer the WoW factor of the camera. I believe the cinematography that supports the story is the best.

Sandipp: Tell about the experience of Dangal?

Setu: When I started shooting Dangal I did not know it would go on to become such a hit.  I loved the script. I  know that AKP is very particular about production. They will take care of every detail of film making.Now when it has turned out to be a success, we know our efforts have paid off.

Sandipp: Do you think as a cinematographer, the advancement of CGI / VFX , has diminished the role of a Cinematographer? 

Setu: No, not at all. I don't think so. I observed the role of a cinematographer has increased a lot due to the CGI /VFX. Cinematographer should visualise the whole scene and background light, colour, and texture . That's why I believe a cinematography student should learn ,at least the basics of VFX . Otherwise, a lot of myth-making is around, what could be done or not done with CGI. I have sat through the whole process of an animation film which did not have any live character, but as a cinematographer, there is lot more to do with lighting and texture stage.

Sandipp: On ending note, what will you advice to the learners/enthusiasts of cinematography?

Setu: Use your eyes. Ultimately that will be with you.The formats will come and go, but the story telling remains. That is  most important. Try to be involved in every aspect of film making, especially when it comes to post production. Even the usual practice is that Cinematography ends with the completion of the shoot. But I believe, be there in a corner of an edit suite, do not disturb the editor. But observe how the shots are being used. Because getting the beautiful image is not everything, if it can’t be used, it is of no use.

Sandipp: Thank you very much, Setu. To give your valuable time to us. Thanks again.

Setu: Thanks and best wishes to you with RKU.


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Assistant Professor – A pass-out from the prestigious SRFTI in Calcutta, Prof. Sandipp has worked on numerous feature films, television programmes, commercials and music videos. His latest film ‘Rang’ (2014) in Tulu language was a blockbuster. Prof. Sandipp believes that his interest in Urdu poetry, Bengali literature and Hindustani classical music enriches his understanding of the craft of cinematography.