A child falls into a borewell. The whole encampment population, including a officials and a gourmet are watchful to determine if a lady is alive inside a 30ft well. As a tiny CCTV camera is lowered down, we wait in anticipation. After a few minutes, in a offensive frame, a emptied face of a tiny child is seen. It’s tough to not be uneasy by a visuals in a Nayanthara starrer Aramm and Om Prakash is a male behind a hard-hitting visuals from a film. The stage in doubt was shot regulating apparatus that would give a same feel as a easy CCTV says Om Prakash. “The rescue ops will not have a camera that is really good. The design or a lighting can’t be intensely good. We done certain that a lighting was also equally crude,” pronounced Ok Prakash who is also famous for Vaagai Sooda Vaa, another hard-hitting farming drama.
While Vaagai Sooda Vaa had a red colour scape due to a section kilns, Aramm was embellished in grey explained Om. “Even yet a encampment was surrounded by water, it wasn’t of use for a people. Thus, rather than regulating a normal aqua immature shade, even a H2O would be grey. In fact a whole film has grey undertones including Nayanthara’s costume.”
In fact, Aramm was totally shot in light conditions that would generally be deliberate bad lighting by photographers, pronounced Om. “The encampment had to be dry. The astringency of a village’s conditions had to come through. We shot underneath a oppressive object for hours,” removed Om.
Shooting during a remote encampment underneath such conditions wasn’t easy. “Since a H2O in encampment had dusty up, a dirt was really loose. While we motionless it would demeanour perfect, there were unsentimental difficulties,” pronounced Om. “Fixing a derrick itself was a outrageous understanding due to dirt condition. But we managed it,” combined Om.
Usually films deglamourise women in management to a border that they are unrecognisable on screen. However, Nayanthara was a cool beauty on screen. “Madhivadhani is an superb woman,” reasoned Om. “The purpose she plays is that of a saviour. That’s how a encampment people understand her. Hence, we indispensable her face to be aglow. Even Nayanthara’s actions would counterpart a same idea,” he added.
Interestingly, Aramm is Om’s third plan with a Lady Superstar. The ace cinematographer had progressing worked in Arambam and Kashmora as well. And a roles a actor essayed in a 3 films are intensely different. “While Arammbam showed her glamourous side, in Kashmora, she was a princess. There was a shade of cruelty churned with eroticism. We had framed a shots accordingly,” pronounced Om. “But it’s not adequate if it’s usually a shots are that way. The actor has to perform too and Nayanthara is intensely versatile,” he added.
With Aramm 2 on cards, will he holder a camera again for Nayanthara? “I would adore to be a partial of Aramm 2. But a talks are still going on,” pronounced Om.