Sony VENICE 2 with KU Mohanan: Painting with Light, Rooted in Craft

In this candid conversation, acclaimed cinematographer KU Mohanan takes us through his journey—from a small village in Kerala to shooting some of India's most celebrated films.

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He reflects on the mentors and films that shaped his visual style, the shift from film to digital, and the subtle art of storytelling through light. Mohanan also shares how the Sony VENICE 2 has become a trusted tool in his pursuit of natural, poetic imagery.

How did your journey as a DOP begin, and what drew you to cinematography in the first place?

I was born in a small village in Kerala, far from even the nearest town. My childhood was spent there, and it was only when I went to junior college—around the 11th and 12th grade—that my fascination with cinema began.

Like most people around me, I grew up watching Malayalam commercial films. But during my college years, I discovered a very different kind of cinema—films that were less mainstream, more obscure, yet deeply intriguing. I didn't fully understand them at first, but I knew they were special.

My real introduction came through the local film society, part of a vibrant network across Kerala at the time. Every week, they screened classics from world cinema—European masterpieces, Indian art films, and works by legends like Satyajit Ray, Mrinal Sen, and Shyam Benegal. I became a regular member, and those screenings opened my eyes to the artistic language of cinema.

When it came time to choose a career, most middle-class youngsters around me aimed for a secure government or bank job. But I wanted something different. I was passionate about photography and realized cinematography could combine my love for visuals with my growing interest in film.