Tanveer Mir, the cinematographer of Aankhon Ki Gustaakhiyan, delves into how a color palette can elevate or derail the visual language of a film

bolt Latest News Updates for You

Eisha Singh’s Retro Suit Editorial: Checked Blazer, Shorts and Red Phones

NEW

Aamir Khan Celebrates 25 Years of 'Lagaan' with Grand India Post Tribute in Mumbai

Story

Sneha Sidh to Share Screen with Salman Khan in Saudi Film ‘7 Dogs’

Story

On the camera front, our director Santosh Singh didn’t want to go with the conventional over-the-shoulder shots for conversation scenes. We avoided those wherever possible, because Vikrant Massey’s character is blind in the film, and Shanaya’s character is blindfolded (as part of her prep for a role). So there were no eyelines in the traditional sense, and we weren’t bound by typical camera rules.

Also Read

Karan Sharma's Heartfelt Note For Surbhi Chandna Television

I have to credit Santosh Singh here—he gives you complete freedom and only steps in when he feels something is deviating from the story. Good ideas are always welcome when they serve storytelling.

For my focus puller, though, it was a nightmare at times, because you can’t expect actors to hit exact marks when they can’t see. So he had to rely on visual judgment and instinct to nail focus beyond standard marks.

Vikrant is fantastic to work with; he intuitively understands where the light is, what lens is being used, and how much movement there is in a dolly shot. That makes a cinematographer’s job a lot easier.

Shanaya, too, was always on point, following instructions to the T. She’s an incredible performer and catches light beautifully. I genuinely think it’s just in her genes.

Aankhon Ki Gustaakhiyan was both challenging and fun. If given the chance, I’d love to work with the same team again and again.

If you object to the content of this press release, please notify us at pr.error.rectification@gmail.com. We will respond and rectify the situation within 24 hours.