 Dun, dun, dun, dun, dun, dun dun dun dun ... Sorry bro Gork my bee chok back to our stupid reactions you idiot Corbin Rick Instagram Twitter Juice Ah it's so juicy collapse Bell It's called how the battle scene From Bostrom-y-Mostan-not-y Yoo Our B suppose run Bofg? I guess is actually how it's, well, we know that but we, when we first Pustrami mustanani, it was Corbanized Pustrami mustanani. Pustrami mustanani. You know how I remember actually how it's pronounced is our friend from Emerson. Really? Because he said, because he was telling us different words and he said Bajji and I said like, oh, like Bajji or Stani. He said no, it's Bajji or Stani and so I hear his voice in my head every day. But it was Pustrami mustanani. But this is how the battle scenes from Bajji Ramasthani was shot. Sudeep Chatterjee. Uh-huh. It's inside a scene. Cool. Look at this. Sanjay Leela Bansali's Bajji Ramasthani is remembered for its majestic battle scenes. It is true. In this inside a scene by film companion, cinematographer Sudeep Chatterjee explains on what went into the staging the complex scenes. We've reacted to other inside a scene episodes. Yes, we have for movies like Tamasha Urukwunja, Barfi and more. We have. This was such a great film. A companion always does a really good job. This was such a great film. Yes, it was. And we've talked about how much we would love to see more behind-the-scenes stuff from the directors that we have loved the most like Vishal Bhardwa. It looks like the cinematographer. Yes, who work with, which that's a great perspective to get as someone who's worked with Sanjay Leela Bansali especially since the cinematography is always one of the first things you recognize in his films. Yeah, here we go. Hi, I'm Sudeep Chatterjee, I'm a cinematographer. What happened is, Sanjay was very keen on shooting this very exquisite war. His belief was that apart from looking grand and dramatic and all that, it has to look beautiful. Yeah. So our decision was that they are not going to be in daylight. It will be shot in twilight. So I was very concerned about how to, there's so much stuff, twilight you get that little time. Right. And how do you shoot so much stuff with so many UD artists, so many animals and maintain that look. So we decided to shoot it what we say English is. A little process, what happened is, so when Sanjay briefed Shyam Kaushal about the how he wanted the war, based on that Shyam Ji made a storyboard and that storyboard was given to me. I worked with the storyboard artists and the visualizers to give it a more visual shade in the sense that, okay, this is a shot, how do you make that more cinematic. Once that was done, we presented it to Sanjay again and he did his aliens and subtractions and we arrived at what we had a storyboard. Now, this storyboard was then shown to in a joint meeting with the action team, with the art team, with the VFX team and we asked that how much you could do. If I take an example, but you know actually jumps and gets some people's armors and guns on the elephant. So that part, so we would show this storyboard that this is a shot that we have in mind, how do we do it. So we'll ask Sanjay that can you actually do it, is this possible to do this better action. So he would say, yeah okay, we can, we can probably put a crane and you know, having a key once and do this. But the elephant was not possible to put there because he would react to the crane. There's explosions going on the background, he would react to that. So elephant is definitely another layer and runway room crane is another layer. The background action is another layer. So we had in the fallout there's something happening in the fallout, there's fire to be added, that's a fallout separately. So we made a note of what was there and the kind of had the board broken down in in in separate silicon sheets, but each plate represented what we need to shoot separately. So we had four or five combinations and then we knew that okay, this is what we are shooting in Rajasthan in the location, this is what we're shooting. This is what we need to shoot in the in the studio. This is what, so that's how everything was the impact sequence was broken down like that. We actually didn't take the actors to the location. Runby did actually, but then he had an accident so we had to come back and Deepika we never took. So they were shot in the studio and it was because it was meticulously planned that it was exactly the shot. That way I could control the the lighting. We shot that day for night. So but we had to be very specific, we had to shoot it at very specific time of the day and it reduced our location to about I think eight or nine days location photography we did. Right, but it gave more time to your post-production. I find it quite fascinating actually that when I'm lighting up a VFX set, it's very similar to on set photography. On a set when I'm wanting a certain light, I tell it I like when they're looking to that or take my system and you know, you know, dodge that a little bit or dance a little bit that looks can you gel that a little bit. Same thing you're doing instead of telling light when you're telling VFX artists. I don't have the puritan frame of mind that you know everything has to be done on set. If the technology is available and it's helping me tell the story better then I jump at it. You can't tell. I hope you guys have fun. Nice talking to you. If you like it, please subscribe to film company. Photographers have and how important somebody who knows what they're doing is especially on something as massive. Yeah and the visual effects and editing and I'd love to know in the way that they look at those things like for example at the academy when they're giving out the awards, when you're looking at something that's that complex, how much of that do you credit the cinematographer to? How much do you credit the editor and how much do you credit the visual effects people? Yeah. And I think when you're dealing with the layering aspect of it, I don't know how you can differentiate how much of that was actually cinematography versus visual effects unless you've actually sat down and talked to the creative team. Well that's why in the Oscars you have such a people to have no idea the difference between sound editing and sound editing. No and that's why if you didn't know this the only category that everybody in the academy votes for is best picture. Every other discipline it's only the people who are of that discipline. So the cinematographers award the cinematographers and the actors award the actors and the sound people award the sound people because they know better than anybody what went into doing that particular thing and it's one of the reasons I love the Oscars of they're the granddaddy of all of them because as far as the artistry is concerned you're getting the best of the best of the best judging the work of that particular discipline. Yeah and I they'd be able to answer I'm sure a cinematographer, a vfx person and an editor could watch this and let you know I I bet that was far more vfx than it was cinematography or vice versa. Also not shocking that the first word that came out of his mouth when working with Sanjay was beautiful. Yeah it's just gotta be beautiful. He's because there's certain directing and not saying he doesn't care about the story but certain directors care about certain things more than others. Yeah Onurag does not care about the beauty of a shot as much as he does the story and the writing. That's I think. He likes the anarchy. Yeah he likes to just throw a camera on the streets of mobile. People run and nobody even knows they're filming. That's who it happens. I think I would drive Sanjay Lee Levonsali and Sanjay or even like he here in the west Guillermo Dottoro has very specific vision for his lighting and his and the way his films are shot. Yeah he has a very distinct style to him and he's a really brilliant director. Yeah and then you have a Spielberg who is notorious for everything being definitively accurate for whatever time period he's in. Then you have other people who are looking at the symmetry and the mathematical balance of each frame of shot. So it's I always for the gritty that's those are always my favorite in terms of because there's certain directors that Spielberg sometimes falls into that. It's his stuff not not like Sanjay's stuff. It looks too clean. Too too pretty. Yeah not not like Sanjay's pretty. Sanjay's more hyper realism which is a different style in and of itself. Yeah not all the time obviously Spielberg's done some of the best films ever made. Spielberg does everything. Ever made but sometimes he some of his stuff looks a little too clean for my liking. Yeah I understand that. And so but you know that's he Spielberg's I can't argue with what he does. And I understand what you're saying too. Yeah it's not everyone obviously it's some of my favorite drastic but yeah you know what I would love to see. I would love to see not just the explanation verbally but I would love to watch like a 30 minute video that takes a particular scene like that and then shows you everything that went into the the design of it storyboarding it then what was done on location then what was done on set then how they layered those things and then what was done post-production as they did all of the correcting and he's telling them what he want and then the final shot. Yeah I'd love to see a 30 minute video on just 60 second sequence. Yeah yeah that'd be cool. Yeah uh so uh I miss Sanjay. I do too. I need to see another. I need to watch some of his stuff and obviously I think we would have already gotten one of his stuff. I know COVID wasn't here so we'll get something this here and maybe we'll get him on the channel to promote it. Yeah and I'll leave.