(Hi Suresh, as expressed earlier, the interview is for the Magazine that we desire to circulate among

our clients and student community. Your interview will find a place in the ‘showcase section’. Feel
free to elaborate on answers as this will greatly benefit the readers)

1. Suresh Ravi, please tell us a bit about yourself.

I am currently pursing my final year Master’s degree in electronic media, Anna University.Did
my schooling in Velammal .

2. Share with us, how did you get interested in colour grading?
Basically I like photography from school. After schooling I got my interest towards visual effects and
motion graphics and explored, learnt a lot about VFX industry making. But later during my college
fourth year as a part of our college curriculum we need to be in any industry as an intern.
So I thought of exploring Digital intermediate which always fascinated me from my first of college .
So I joined Gemini Colour lab as intern and did my internship for six months and learnt the industry
workflow. That’s how I got involved in colour grading.

3. You have been involved in films of varied genre. As a colourist, do you feel that you are
merely a tool in the hands of the cinematographer or a colourist, an artist in himself?

I would say colourist as an artist in himself because every cinematographers comes into DI to
beautify or elevate their work, we show them various tones based on the story and scene
and satisfy them .But sometimes we need to be a tool to cinematographers without loosing
artists’ sense.

4. About the approach for grading, was it decided before shoot or just before the grading?
Only few cinematographers ask suggestion before going to shoot, while many tend to set the tone
only in the post production.

5. You have done a commendable job in Karumayam and Puzhu. How were you able to
differentiate, taking into account both films shot in the same location
Karumayam is a abstract kind of movie which needed different set of tone to elevate the
story line whereas the Puzhu needed straight approach to audience with the dialogues and
actions needed audience attraction so we went for black and white to just concentre only on
actors.

6. There was one particular shot in Puzhu, where the rays come from a cloud opening. As a
colourist, did you add anything to the shot?
Actually we didn’t add anything but just made a selection around the rays and highlighted so
that it enhances the shot beauty.
 7. Coming to the tribute to namma Chennai Chanceyilla video, was the approach decided
before or after the original video?
Namma Chennai video is fully preplanned as we didn’t have time to experiment and work out .we
did the entire video confirmed and graded in 8 hours.

8. Suresh, do you do any sort of homework before you go for a shoot?

Yes I do but it depends on the project. I used to watch previous movies which goes into the
same genre to just do be different from those movies.

9. How do you view colours? Your perception has to be different from that of a common man.
I see colours as a magic and the softwares as magic stick.

10. Share with us, the tools and the software you use
I generally use Tangent element TK and sometimes Wacom as control surface.
I started learning Colour grading using Assimilate Scratch but currently using Davinci Resolve
and Sometimes Scratch.

11. Suresh, how do you see the scope for colourists in India?
This Is kind of typical question. According to me there are scope for colourist in terms of short films
and telefilms and ads. When it comes to feature films production houses they are afraid to give it to
small groups since they are chances of movie getting leaked.

12. Do tell us about your future course of action.

I am yet to sign my first feature film as a colourist and have few ad films lined up for future.
13. Would you mind giving us some cool images of yours? Have any working stills with you?
 14. And Suresh, Do give us some scenes both prior to and after colour correction

I am sending in mail