One morning, around 6 am in Serbia, cinematographer and visual effects artist Djordje Stojiljkovic received a call from director Rajaram. The Serbian, who had previously collaborated with Rajaram on the science fiction film “Rani Rani Rani,” was told that a prominent production house from Telangana had shown interest in his work. Djordje recalls the series of conversations that followed, from initial discussions with producer Priyanka Dutt of Vyjayanthi Films to a detailed conversation with director Nag Ashwin. A few days later, Djordje, together with Zoran, his gaffer and friend, found themselves boarding a plane from Belgrade to Hyderabad, embarking on a new cinematic journey.
The film in question is “Kalki 2898 AD,” Nag Ashwin’s ambitious mythology-meets-science-fiction project starring Bollywood heavyweights Amitabh Bachchan, Prabhas, Deepika Padukone, and Kamal Haasan. As the film gears up for its release on June 27, Djordje gives us an exclusive look into the making of this visionary film.
Djordje’s fascination with cinema began in his hometown of Vlasotince in southern Serbia. Growing up surrounded by video and photo equipment thanks to his father, an Information Technologies teacher and event photographer, Djordje began handling a VHS camera at the age of 10. His love for photography and cinematography grew through nightly movie sessions with his brother and mother and learning new skills through internet forums. His passion eventually led him to the Faculty of Drama Arts in Belgrade, where he chose to study cinematography over editing, with his family supporting him every step of the way.
Beyond education, Djordje honed his craft by creating short amateur films, television-style documentaries, and music videos for local bands. These projects enabled him to develop a distinctive visual storytelling style, combining narrative and audio.
One of the unique aspects of Djordje’s career is his work on the dystopian short film “Anima,” created between the schedules of “Kalki 2898 AD.” Though not yet released, “Anima” showcases Djordje’s ability to bring complex worlds to life, a talent that caught the attention of Nag Ashwin. “I often joke that I still do not know why Nagi chose me, but let us hope he made a good decision,” says Djordje modestly.
Pre-production for “Kalki 2898 AD” was an extensive process, involving meticulous discussions about the inhabitants, technology, culture, and daily life of the world being portrayed.
. One innovative approach was the use of miniatures for large-scale locations, used to identify potential problems and lighting plans. Djordje spent significant time with the production team, particularly with production designer Nitin Zihani and costume designer Archana Rao, to ensure coherence in lighting and visual tone. He also collaborated closely with composer Santosh Narayanan, whose work-in-progress scores inspired the on-set atmosphere and emotional landscape of the film.
Djordje was also deeply involved in exploring Indian mythology with the crew, aiming to create visuals that were authentic to the mythology while projecting a believable futuristic vision. The city of Kasi, as portrayed in the film, reflects a densely populated, culturally diverse, and globally significant future, distinct from the Western-centric settings of most international science fiction films.
To capture the grand vision of “Kalki 2898 AD,” Djordje chose the IMAX digital camera, specifically the Arri Alexa 65. Known for its 6.5k resolution, the Alexa 65 allowed for detailed, lifelike images suited for IMAX, reducing the need for extensive upscaling. The choice of Arri DNA lenses added a unique character and texture to the imagery, with their distinctive swirly bokeh enhancing the emotional depth of close-ups without excessive sharpness.
Considering the diverse audience of “Kalki 2898 AD” across urban, semi-urban, and rural India, Djordje ensured high-quality audio-visual experiences regardless of the screening technology. During shooting and post-production, including color grading, the team was mindful of delivering the best possible experience for all audiences.
The trailer showcases a color palette ranging from deep orange-browns to brown-blacks, with occasional blues, reflecting the film’s various sub-worlds. Each segment was given a distinct visual treatment with specific color tones, dynamic ranges, and contrasts.
Regarding the physical sets versus VFX in “Kalki 2898 AD,” Djordje explains that approximately 90% of what viewers see was physically constructed, with strategic VFX enhancements expanding the scope and scale of the environments. The collaborative effort resulted in a blend of practical set construction and digital magic, creating an immersive and visually stunning experience.
In summary, Djordje Stojiljkovic’s journey in “Kalki 2898 AD” illustrates the meticulous craftsmanship and creative collaboration that went into bringing this ambitious mythology-meets-science-fiction film to life, offering audiences a uniquely captivating visual experience.
