Be it over creative differences, date issues or budget constraints, DoPs in 60-80 per cent of Telugu movies were replaced in the past two years!
Tollywood is witnessing a new trend: changing the DoPs in the ongoing projects. (iStock)
The trend of makers firing the cinematographer, also known as director of photography (DoP), has been increasing at an alarming rate in the Telugu film industry, especially in the last three-four years.
After 20-50 percent of the shoot is completed, the makers are firing the cinematographer and roping in a new technician, sometimes to reshoot the entire part.
Had this been a one-time thing, creative differences between the makers and DoPs would have been blamed. But the scenario here is unprecedented. By some estimates, between 60 and 80 percent of movies have had a change of cinematographers (senior and junior) in the past two years.
Between five and nine DoPs have been changed in a few big-budget films lined up for release in the coming months and the trend seems to be catching on with small projects, too.
DoP PC Sreeram with actor Suriya on the sets of the ‘Navarasa’ web series. (Twitter)
South First spoke to the technicians to know what could be the reason behind this. Though none of them wished to be quoted, we could gather some information.
A big-budget film producer who wished to stay anonymous said the dates of artists and technicians have gone haywire post-Covid. Everyone has at least one project waiting for them to step in.
While this could be one of the many reasons, what about the rest?
When a DoP signs a film, there will be discussions in the pre-production stage. The makers and the male lead usually trust the process. But this is no longer the case!
The DoPs are getting replaced and, sometimes, the new cameramen are not even informed of this decision, creating a huge impact on their careers.
PS Vinod is one of the many cinematographers who worked for ‘Sitaramam’. (Twitter)
Cinematographer Prasad Murella worked on Pawan Kalyan’s 2013 blockbuster hit Attrarintiki Daredi (What’s the Way to My Aunt’s House?) and also on his 2022 superhit film Bheemla Nayak co-starring Rana Daggubati. The makers of Bheemla Nayak replaced him after 50 percent of the shoot was completed.
As many as seven DoPs were changed in Dulquer Salmaan’s recent pan-Indian hit film Sitaramam (2022) and around five-six in Ravi Teja’s latest release Ravanasura (2023).
Kartikeya’s Bedurulanka (2012), Ravi Teja’s Touch Chesi Chudu (2018), Sharwanand’s Ranarangam (2019), Ashish Reddy’s Rowdy Boys (2022), Ravi Teja’s Khiladi (2022), Sai Pallavi’s Virata Parvam (2022), and Naga Shourya’s Krishna Vrinda Vihari (2022) witnessed the same.
Similarly, forthcoming flicks, including Santosh Sobhan’s Anni Manchi Sakunamule, Siddhu Jonnalagadda’s DJ Tillu 2, and Nikhil Siddhartha’s Spy are on the list, too.
Mehreen ‘n her driving skills 😝💪 #Pantham @Chakrif1 #PrasadMurella pic.twitter.com/ahN4aJAiOa
— Mehreen Pirzada👑 (@Mehreenpirzada) April 28, 2018
Usually, the hero recommends the technician and the producers also submit their list of preferences.
PG Vinda on the sets of Sammohanam. (Twitter)
A debutant director will ask for an experienced DoP as the latter will cover/back him and also shoulder some of the pressure. Though it is not the job of a cinematographer, he agrees to take up the responsibility for a hike in remuneration.
When a debutant director approaches a producer with a good story, the latter doesn’t just buy the story and give him a chance to direct. Indeed, the producer ropes in a DoP with around a decade of experience.
Since the cinematographer knows the nitty-gritty of filmmaking, the newcomer can focus only on the direction.
In another instance, the heroes may not approve of the DoP picked by the director and simply refuse to come to the sets. Since this affects the film and the finances, the cinematographer is forced to quit the project.
Change of DoPs has become a disturbing trend in Tollywood of late. (iStock)
Screenwriter-director Sagar K Chandra, who helmed Bheemla Nayak, said this trend started post-Covid.
“Unlike directors who work on one film at a time, a DoP has many commitments. They shoot advertisements, too. But Covid played a spoilsport and no one expected the second lockdown. By the time we fixed the dates and combinations, projects were in disarray,” he recalled.
The filmmaker clarified that the issue is not about someone being fired or someone else being replaced, but about the requirements and adjustment of dates.
“Our major technicians were never replaced before Covid. Nevertheless, we are optimistic that this trend will end soon,” he added.
Sometimes, DoPs are replaced because they are not delivering what was promised or because of budget constraints.
DoP PG Vinda. (Twitter)
Generally, a cinematographer signs a film for ₹50 lakh per 50-day shoot with a buffer of three-five days. But, if the shoot extends by 20 days or beyond, they are given an additional ₹5 lakh.
If this isn’t okay for the DoPs, they will quit without doing the Digital Intermediate (refers to a digital file or files resulting from a negative original that is used for the editing).
Another reason is coordination and bad management by heads of departments who think it is not necessary to convey to the technicians that the project could be delayed.
The artists usually have managers who would follow up on these aspects, but the technicians don’t.
Most cinematographers prefer not to have corporate representation as they fear losing projects. As a result, they are stuck with only two-three films a year. The production houses take advantage of the situation with pro-producer agreements.
“The process of getting legal advice has just begun,” says PG Vinda, president of the Telugu Cinematographers’ Association.
Given the trend, wonder who will take the credit if a film bags an award?
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