One morning, around 6 am in Serbia, cinematographer and visual effects artist Djordje Stojiljkovic received an unexpected call from director Rajaram, with whom he had previously collaborated on the science-fiction film Rani Rani Rani. The Belgrade-based artist, known for his work in ad films, shorts, documentaries, and feature films, was informed that a major production house from Telangana had shown interest in his skills. A conversation with producer Priyanka Dutt of Vyjayanthi Films was soon followed by discussions with director Nag Ashwin. A phone call later, Djordje was reaching out to his gaffer and friend Zoran, asking if he’d join him on a journey to India. At first incredulous, Zoran quickly boarded a plane with Djordje, embarking on what would become the journey of a lifetime—the making of ‘Kalki 2898 AD,’ an ambitious blend of mythology and science fiction featuring star power like Amitabh Bachchan, Prabhas, Deepika Padukone, and Kamal Haasan.
As the release date of June 27 approaches, Djordje sheds light on the intricate process of creating this cinematic marvel. Here are the edited excerpts from an email interview conducted by The Hindu.
### Early Beginnings and Inspirations
Djordje’s passion for cinema started early in life. Raised in Vlasotince, in southern Serbia, he was surrounded by video and photo equipment thanks to his father, an Information Technologies teacher and event photographer. “I began working with my father at around 10, using a VHS camera. That early exposure sparked my love for photography and cinematography,” he recalls. His enthusiasm was further fueled by nightly movie sessions with his mother and brother and by the supportive online communities he found on photography and cinematography forums.
He began making short amateur films with friends from school and his basketball team, learning post-production processes on his own, including editing and the basics of VFX. Early projects included television-style documentaries capturing daily family life and music videos for local bands. Before joining university, Djordje had already gained experience editing videos for clients and creating motion graphics, animations, and basic VFX work.
### From Short Films to Big Productions
One of Djordje’s most notable works before ‘Kalki 2898 AD’ was the short film Anima, which has a dystopian setting. Created between schedules for ‘Kalki,’ Anima remains unreleased as Djordje is currently focused on supervising the color grading of ‘Kalki.’ Despite often joking that he doesn’t know why Nag Ashwin chose him for the film, Djordje believes it was partly due to Ashwin’s knack for finding great collaborators.
### The Pre-Production Process
Djordje and the team spent extensive time discussing the world of ‘Kalki.’ These discussions examined everything from the inhabitants’ lifestyles, technology, and combat, to even if they sing.
. These ideas had to be meticulously fleshed out to ensure coherence across the project. One essential aspect of technical preparations was handling miniatures of the film’s large-scale locations, which helped in planning lighting and identifying potential issues.
Collaboration was key during this phase. Djordje worked closely with production designer Nitin Zihani on lighting plans and with costume designer Archana Rao on establishing color palettes that would harmonize with the overall visual tone. The synergy extended to music, thanks to composer Santosh Narayanan. “His work-in-progress scores helped establish the atmosphere for the shoots and contributed significantly to our creative process,” Djordje shares.
### The Journey to Kasi and Kalki’s Unique Visual Experience
Bringing the city of Kasi to life was a unique challenge. The team wanted viewers to experience a densely populated, culturally rich, and globally significant future version of Kasi. As the first Indian film to deeply explore an Indian city’s future, ‘Kalki 2898 AD’ stands out by breaking away from the Western-centric settings typical in international sci-fi films.
Djordje emphasizes that he aimed to craft atmospheres reflecting characters’ inner states, creating a visual language that would enhance and resonate with the narrative. The choice of IMAX digital cameras and the Arri Alexa 65 with Arri DNA lenses was deliberate, given the project’s vast scale and vision. The Arri Alexa 65’s 6.5k resolution ensured lifelike images, suitable for the expansive scope required for an IMAX release, while the Arri DNA lenses’ unique character added texture to the imagery.
### Challenges and Triumphs
Despite the various challenges, from differentiating sub-worlds within the cinematic universe of ‘Kalki 2898 AD’ to managing logistical aspects, the effort paid off. Approximately 90% of Kasi’s sets were physically constructed, with VFX enhancing the sprawling cityscape in the far background. The dedication and collaborative spirit of the team, combined with Djordje’s steadfast vision, promise a cinematic experience that transcends traditional boundaries.
In the final stages, Djordje and his team were mindful of delivering a top-notch audio-visual experience suitable for varied projection systems across urban, semi-urban, and rural India. The commitment to quality ensures that ‘Kalki 2898 AD’ would be not only visually stunning but also accessible to a broad audience.
As audiences eagerly await the film’s release, it’s clear that ‘Kalki 2898 AD’ is set to be a visual feast, underpinned by rigorous planning, innovative technology, and an unwavering commitment to storytelling.
