Cinematography is the essence of cinema — it brings a film to life, making it feel both real and magical. Without it, a movie would simply be a sequence of plain visuals. The right cinematography elevates storytelling, adding depth, mood, and emotion. Shamdat, the acclaimed cinematographer known for films like Uppena, Thandel, and the MAD franchise, is undoubtedly an inspiration to many. As he attended Flick Fest at Villa Marie College as a guest, CE spoke to the cinematographer about his journey, craft, and perspective on cinema.
Excerpts
Tell us about your journey.
I wasn’t a passionate filmmaker to begin with. I wasn’t good at academics, and my parents were teachers, so it was a tough phase for me. I used to perform on stage and was good at drama, but like many others, I didn’t know what I wanted to do in life. I thought photography would be an easy job, so I decided to pursue it. When I went to film school, they suggested I take up acting because of my background. My father told me, ‘Do whatever you want, but complete a course’. So, I did an acting course in Trivandrum. Later, I started taking photographs along with my friends and developed an interest in photography. I didn’t know if I was good or bad, but I began doing wedding photography. In my first year itself, I received a national award and a state award — that’s when I realised this is what I should be doing. A turning point in my life was watching the film Aham, which featured Santosh Sivan, with cinematography by Venu. While watching it, my friends commented on the cinematography being ‘out of focus’ and laughed. That made me curious, I wanted to understand what cinematography really meant. With the money I earned from wedding and press photography, I made a black-and-white silent short film, which won a state award. For me, cinematography is a taste of life.
How has your experience been working in Telugu cinema?
As an artist, I still haven’t reached complete satisfaction. Every project teaches me something new. Films like MAD are incredibly enjoyable because of the director’s comedic narration, there’s laughter throughout the day on set. On the other hand, Virupaksha was a dark story, which I equally enjoyed as a technician. Thandel is more commercial, but having already worked on Uppena, I wanted to ensure it didn’t look visually similar, even though I was the cinematographer for both. I love travelling and discovering real locations. I believe the whole world is a set created by God. Instead of building artificial sets, I prefer finding natural spaces and enhancing them. I also try to create natural light sources wherever possible.
What challenges have you faced in your career?
When you enjoy the process, everything becomes part of the journey. For instance, while shooting in Kakinada, the weather was extremely hot and the surroundings were not clean. I make it a point to clean locations before shooting — we work with teams to clear plastic and waste and transform the space. Weather conditions can be extreme. One day I could be shooting in -30°C in Ladakh, and the next in the heat of Hyderabad or Kakinada. But through the camera, you learn to enjoy it all.
How do you approach lighting as a cinematographer?
Lighting is an artist’s call. I trust my visual sense completely. Many directors refer to Hollywood films for lighting, but I don’t believe in that approach. Indian light is different — it’s brighter, harsher, and has its own beauty. I prefer capturing that authenticity. During Thandel, Sai Pallavi asked why I wasn’t using diffusers. I told her I wanted natural light because she is a natural actor. Harsh light has its own charm, and I wanted to capture that. For me, it’s about making actors comfortable and bringing out the most honest performances through light.
What is your take on AI in cinema?
I don’t think AI is suitable for filmmaking in India. Cinema is driven by human taste. Even if AI creates a technically good film, it may not connect with audiences emotionally. Filmmaking is about human expression. AI might assist, but it cannot replace the filmmaker’s vision. Ultimately, films are made for people and people respond to authenticity.
Tell us about your directorial debut.
I’m not directing films just to carry the title of a director. I have a certain craft — an understanding of music, editing, and storytelling — and I want to share that with audiences. I want to inspire the next generation to focus on good storytelling rather than just commercial success.
What inspires you?
Life itself. Emotions, experiences — everything inspires me. Even sadness should be experienced fully. I believe in enjoying life, making friends, telling stories, and living fully.
What are your upcoming projects?
I’m working on a film with Gopichand under UV Creations with a new director. I always look for fresh talent. There’s also a project directed by fight master Venkat, and