Aseem Bajaj, GBCT Illuminates "Son of Sardaar 2" with Sony VENICE 2 and Sustainable Cinematography

In an exclusive interview, Multiple Awards winning cinematographer Aseem Bajaj shares insights into his journey from theatre to cinema, highlighting his innovative use of the Sony VENICE camera.

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How did your career as a DOP begin, and what are some memorable projects you've worked on?

My journey as a Director of Photography began serendipitously while working as an extra on the film “Bandit Queen”. Initially involved in theatre and music, I landed a minor role as one of the many dacoits in the film.

It was during this time that I had the privilege of observing the legendary cinematographer Ashok Mehta at work. His artistry captivated me, and I realized that cinematography was my true calling. Inspired by earlier influences like Santosh Sivan’s work on “Roja” and Madhu Ambat’s stunning visuals in “Anjali”, I approached Ashok Mehta on set. Grateful for his generosity, I joined his team around the seventh or eighth day of shooting, marking the start of my career in cinematography.

As for memorable projects, every film holds a special place, but a few stand out. My first major break came with “Hazaaron Khwaishein Aisi”, directed by Sudhir Mishra. I started as a gaffer and camera operator, but when the French cinematographer Jacques Bouquin had to leave midway after 35 days of an 84-day shoot, he recommended my name to take over.

With Director Mr. Mishra’s trust, I stepped into the role of DoP, making it my debut as a cinematographer. Having assisted on 35-40 films with luminaries like Ashok Mehta, Venu, Rajiv Menon, Vijay Arora, Sukumar Jatania, Virendra Saini, Rajan Kothari and Binod Pradhan, I was ready to seize the opportunity.

Following this, I worked on Rohit Shetty’s directorial debut, “Zameen”, and simultaneously took on “Chameli”, a beautiful and my second collaboration with Sudhir Mishra.