Over the last 15 years, with the advent of digital cinema, the possibilities for cinematographers to engage with technology both at the higher and lower ends have exponentially increased. Not that such options were not available during the last century of celluloid-based cinema. For instance, the iconic Indian cinematographer, K K Mahajan, worked with directors ranging from Mani Kaul and Kumar Shahani to Mrinal Sen and Kalpana Lajmi, and Ravi Tandon and Ramesh Sippy. But what has changed is how the democratisation of the digital and affordances of technology have enabled the ‘look’ needed for a particular kind of narrative where budgets do not restrict the realisation of a scene, whether it be the finesse of camera angles, movements or lighting. For instance, aerial shots through drones are not exclusive to big films with stars, just as horizontal moving shots with a DSLR camera mounted on a gimbal enable the steadicam aesthetics of stabilised hand-held shots for indie productions at the lower end. Similarly, GoPro cameras mounted on mobile bodies and the use and insertions of shots, with DSLR cameras, like Sony A7S, particularly during action sequences or in enclosed/constrictive spaces without much light, are ubiquitous across the spectrum. Technology has enabled the shooting of night sequences with minimal light without grains.