Sudeep Chatterjee teaches Cinematography via Xpert

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About Sudeep Chatterjee

Sudeep Chatterjee, ISC is an Indian cinematographer of Hindi films, most known for his work in films like Padmaavat, Bajirao Mastani, Chotushkone, Dhoom 3, Guzaarish , Chak De India, Dor , Iqbal. Chatterjee was born and raised in Kolkata. After he passed class 10 his father gave him a camera, which in time provided him with a career direction. After he finished his schooling he joined an engineering college, but after only eight months he left it to join the Film and Television Institute of India (FTII), Pune, where he studied cinematography.

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  • In the initial stages of Preparation what was the core team for Dhoom 3?
  • As a cinematographer, tell us about Dhoom 3 from the start.
  • What can you add about the visual references of dhoom 3?
  • For Dhoom 3, the core team, does it consisted of only the director, cinematographer and the production designer?
  • In Dhoom 3, the exterior of the Great Indian Circus is a real location and the interior is constructed. The façade also looks constructed though, because there is nothing behind it?
  • Tell us about the preparations for the action and circus scenes of Dhoom 3.
  • Could you tell us more about the collaboration between you and the VFX team, shoot and post stage?
  • Tell us about the complexity you faced during the shoot of Dhoom 3.
  • In Dhoom 3, the live interaction shots of the twins with camera movements, how were they achieved? Was there a body double?
  • What was the camera setup like while filming Dhoom 3?
  • Can you draw a list of other specialized gear that we are not used to do in our environment here which you brought down for the film Dhoom 3?
  • Digital cinematography for the film Dhoom 3was inevitable. Is that safe to say?
  • Tell us, Dhoom 3 is among the early films to be shot in digital. So tell us about the choice of ArriAlexa and shooting Raw.
  • Tell us about the problem with the 35 mm scans?
  • In retrospect do you think digital gave you more control over your image?
  • During the shoot of Dhoom 3, was there some kind of Gear that you used in Chicago which we are not used to seeing here?
  • Tell us about the lighting techniques of Dhoom 3.
  • In Dhoom 3 was 3D a consideration?
  • You said you had done 19 films on film; Dhoom 3 is your first one on Digital. Now if on the 21st film you have an option, what would you prefer?
  • From the point of cinematographer keeping aside the technicals involved, what would be the riding factor that would tell you whether or not make a film on 3D?
  • After working with Sanjay Leela Bhansali, what do you have to say about him?
  • What was your first break in the industry?
  • How was your experience working with Sanjay Leela Bhansali?
  • How was the workflow like with Sanjay Leela Bhansali?
  • What were your references for lighting while shooting the movie?
  • How long did your average lighting set-up take for Guzaarish?
  • Would you describe yourself as a fast cinematographer?
  • Could you tell us about a difficult shot in the movie Guzaarish?
  • Tell us about the Lens preference of the film Guzaarish?
  • Tell us about the lighting used in the film Guzaarish.
  • What is your general take on 3D?
  • Which one of your films do you think can be converted into 3D?
  • How would you describe your role to someone outside the industry?
  • What distinguishes a good cinematographer from a great one?
  • Who are your inspirations?
  • It seems that the word ‘Cinematographer’ is a point of contention in some circles. Vittorrio Storaro claims that DoP is the wrong terminology. What is your opinion on it?
  • Do you think that the Indian Film Industry should adopt the same standard as Hollywood as far as unionizing its labour?
  • Do you think the medium of film dying?
  • How do you feel about current digital technology?
  • Which movies inspire you?
  • Do you think that Indian cinematographers are not talented?
  • What is missing in this industry? Do we lack vision or resources?
  • A cinematographer is 1/3 manager, 1/3 technician and 1/3 an artist. Is there anything missing from that equation?
  • How does it feel to get the National Award twice in a row?
  • How do you compare Sanjay Leela Bhansali and Srijit Mukherji as directors?
  • Didn’t you study at FTII together?
  • ‘Chotuskone’ or ‘Bajirao Mastani’ ‘ which was most difficult to shoot?
  • Isn’t it more challenging to shoot for a film where the budget is less?
  • When VFX is used in a film, does it take away anything from the credit of a cinematographer?
  • Among the other films that you watched this year, whose work did you like?
  • Why is it the one doesn’t see you working in Tollywood after you won the award for ‘Chotuskone?’
  • Which part in Padmaavat was the most challenging for you to shoot?
  • What was the process of filming like when you heard about the film Padmaavat?
  • Tell us about the major difference between the palace of Bajirao and Padmaavat.
  • Tell us about your role play in the movie Padmaavat.
  • Tell us about the role of lensing in the movie like Padmaavat.
  • Tell us about the lighting techniques you used to control the exposure while filming for Padmaavat.
  • Does the budget decides the way a particular film should be shot?
  • Tell us, is Padmaavat your biggest production?
  • What were your working hours like while shooting for Padmaavat?
  • As a DOP, who were your crew members in the film Padmaavat?
  • Tell us about the major camera shots you used while filming Padmaavat.
  • Tell us how did you rise the black smoke out of the jauhar fire in Padmaavat?

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