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Sareesh Sudhakaran

Sareesh Sudhakaran is a film director and award-winning cinematographer with over 24 years of experience. His second film, "Gin Ke Dus", was released in theaters in India in March 2024. As an educator, Sareesh walks the talk. His online courses help aspiring filmmakers realize their filmmaking dreams. Sareesh is also available for hire on your film!

How I made “The Tarpa Player”

September 16, 2020May 18, 2020 by Sareesh Sudhakaran

Here’s how I made The Tarpa Player using the Canon 1DX Mark III

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Lighting an impossible street crowd scene with just two small LED lights

September 16, 2020May 13, 2020 by Sareesh Sudhakaran

A tutorial on how I lit the “street” scene from The Tarpa Player.

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Canon C300 Mark III vs Canon C500 Mark II: When to pick which?

May 13, 2020 by Sareesh Sudhakaran

Does the extra $5,000 for the C500 Mark II translate into real-world advantages for professionals? Let’s find out!

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Setting up a Video Production Business

February 1, 2025May 13, 2020 by Sareesh Sudhakaran

Some thoughts and ideas on setting up a new video production business.

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What is Exposure Triangle and how does it relate to Aperture, Shutter and ISO?

September 12, 2024May 10, 2020 by Sareesh Sudhakaran

The simplest explanation of the exposure triangle, ever.

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Best Cine Lenses for the Canon C300 Mark III

April 10, 2021May 7, 2020 by Sareesh Sudhakaran

What are the best cine lenses for the Canon C300 Mark III? Here’s the list for both EF and PL mounts.

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Sony FX9 vs Canon C300 Mark III: Which is the Better Camera for Filmmaking?

June 17, 2025May 7, 2020 by Sareesh Sudhakaran

Both the Canon C300 Mark III and Sony FX9 are capable cameras, but which is better for solo shooters and for cinema use?

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How to Estimate your Hourly Rate

February 4, 2025May 4, 2020 by Sareesh Sudhakaran
BondTaxMan

Finding it hard to estimate your hourly rate as a freelancer? This simple guide will help you do just that.

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Thrissur Puram 2012: Photography with nowhere to turn

August 2, 2020May 2, 2020 by Sareesh Sudhakaran

How I chose my settings in two extreme one-vantage-point photography situations with no control over light.

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