Shreesha Kuduvalli

Shreesha Kuduvalli’s style of catching the moments through the camera makes him one of the newest catch in Sandalwood. The young man, who aided ace cameraman, Krishna of Mungaru Male reputation, believes camerawork is an elementary part of cinematography where influence starts from screenplay level and ends after the concluding production ends. Right from his initial film Topiwala that showcased superstar Upendra to his newest in the creation Dhruva Sarja Dhruva Sarja is the popular Kannada actor who was >> Read More... debuting Bharjari, Shreesha thinks learning is an unceasing procedure. He belonged from a non-filmi upbringing but wasn’t a novice with a camera. His father was a photojournalist in Shivamogga, and he had a workshop. As a kid, cameras were his playthings, and he was captivated by the complete idea of imprisoning an individual or an instant in a lens and this bait led him to his desire.

Perhaps his father also affected him to get into taking pictures in his early days. After having finished schooling, when he stated his wish to parents to follow a career behind the lens, they were helpful, and also desired him to complete education first. When he was doing his graduation, he met Krishna sir, through a common workmate and was already a big fan of his efforts. He was astonished by looking at his methods as he was way ahead of his generation regarding skills. He voiced his curiosity to work with him, and he promptly agreed after having seen his effort in his first short movie Typical Kail awesome. After supporting him for a few years, he became a self-governing cinematographer. He watched a lot of films; regardless of the dialect.

He would love to see how the storyline outspread and formed up through. He likes to learn from his faults and others errors as well. At the same time, he also reads a lot and stays conversant with the state-of-the-art machinery. In the world of knowledge, change is the only constant. It’s a nervous walk amid style and material. While one manager professionally drafts a film through his design another one stages his movie gracefully with the data. Regardless of the approach and matter, cinematography must be modest. The camerawork is not about the acts that are encapsulated; it’s about scouring deep into filmmaker’s conception and forming moods and bringing out feelings. The decent lighting supplement, a good lens work, and a good cameraman will know what kind of illumination to use in a particular situation.