AR-020 Oral histories of technical personnel in Broadcast and Community Video
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Item Shubha Gupta - Session 01AR-020-8-1(00:00:00 – 00:02:13) Casual start; she discusses her background. Taught film appreciation and documentary filmmaking for 2 years. Later worked at Observer Research Foundation handling media. Retired around 10 years ago. (00:02:14 – 00:02:46) Short introduction before diving into her CENDIT journey. (00:02:47 – 00:05:06) Joined CENDIT in August 1974, started with documentation and transcription. Had secretarial training, so was proficient at typing. Was introduced to CENDIT via Avik Ghosh, whom she met through All India Radio. (00:05:07 – 00:07:06) Chose to stay at CENDIT because the work was unconventional, creative, and non-bureaucratic. Didn’t want a typical government job like her father or peers. Found the work and environment motivating. (00:07:07 – 00:09:16) Worked at CENDIT for over 10 years. Started with audio recordings. Office environment was informal, and she worked alongside two other women handling writing and documentation. (00:09:17 – 00:10:32) Personal interest in film rooted in watching films with her brother, a professor. They were members of a film club, which sparked a lifelong engagement with cinema. (00:10:33 – 00:24:29) Learned on the job — early exposure to video tech, editing, and machine setup. Used U-matic, Betacam, and SVHS. Described editing flow: record, transfer, transcribe, paper edit. Editing was manual and risky (no backups). Also did celluloid editing using physical spools and markers. 24:30 – 35:09 Shift to non-manual editing began when a colleague built an early editing console. Later used Sony and JVC systems. Maurya Hotel project (India’s first cable TV) allowed for regular program slots. Used placards for titles before caption tech was accessible. (00:35:10 – 00:41:55) After Maurya contract ended, returned to CENDIT. Got involved with women's NGOs and began filmmaking. First film in 1983 changed her — Sultanpur, Saharanpur, and Tilonia workshops were pivotal. (00:42:00 – 00:43:08) Discussed how to approach technical training for women without fear. Emphasized fun, accessible learning by meeting them at their level — just like she once started. (00:43:09 – 00:46:36) Faced sexist comments about women and machines. Trainers countered this by teaching full media production processes — cameras, lighting, editing, batteries, etc. Women reacted with excitement and joy at learning. (00:46:37 – 00:49:22) She never worked with very advanced machines — only what was available in the 1980s. Conducted training for 6–7 years. Trainees enjoyed workshops but rarely pursued careers further. (00:49:23 – 00:53:55) Became a freelancer in the late 1980s. Needed both equipment and skills, so often worked with familiar ex-CENDIT colleagues. Used paper edits to save time (paid hourly). Left CENDIT as it moved toward a more corporate/management style. (00:53:56 – 00:57:29) Recalled fieldwork in Ladakh. Remote locations meant she always travelled with technicians and hired equipment. No major issues occurred thanks to team coordination. Some discomfort, but collective effort overcame it. (57:30 – 1:02:22) Reflected on team-based working environments. Built comfort and trust, even when traveling alone with men. Saw an increase in women in the field over time. In freelance world, independence grew post-1990s. Felt lucky to have always had supportive peers. (1:02:25 – 1:08:28) Describes the transition from U-matic to Beta — found it smoother. Admitted to having a mental block with non-linear editing despite training. Preferred paper edits. At ORF, worked on stills and documentation. Editing was handed to IT team. (1:08:29 – 1:12:55) Participated in regional women-in-media workshops (South Asia, 1980s–90s). Gave hands-on training in countries like Pakistan. Noted how training then was more immersive and skill-focused. (1:12:56 – 1:15:00) Could manage basic equipment troubleshooting thanks to her training. Earlier, video literacy was rare; now, mass comm degrees are widespread. Taught at YWCA and Ayan School — most students didn’t pursue media seriously, but teaching was fulfilling.(12 March 2025)Item Prem Mishra - Session 01AR-020-7-1(00:00:01 to 00:00:45) Brief Introduction (00:00:46 to 00:01:40) Talks about how the present shop was established—started after studying at Saifabad College, gradually adapting to current trends in technology. Mentions that many people come to the shop. (00:01:41 to 00:02:58) Explains the differences between old and current cameras—early cameras used tape, now it’s digital. Tapes allow data recovery; digital data is lost if the device hangs or crashes. (00:03:07 to 00:03:55) On why people shifted to digital: it’s portable, easier to handle. Earlier tech required more effort, now digital is simpler. Everything happens on the spot in video, making it highly efficient. (00:03:57 to 00:05:20) Machines deteriorate, so maintenance is necessary. Customers bring devices to engineers like him. They stay updated through books, videos, and experience. Tech changes every year and will keep evolving. (00:05:21 to 00:05:43) Talks about whether they get to know about the problems people face. Says yes, people even sit outside the shop waiting. (00:05:45 to 00:06:09) (pause) (00:06:12 to 00:06:37) When a camera or device doesn’t work, people bring it directly to them. They identify the issue and repair it on the spot. Unlike service centers that keep devices for 10 days, they provide hands-on, immediate service. (00:06:38 to 00:08:58) When companies like Sony get to know about their repair work, they invite them for meetings to understand the ground-level repair process. Talks about price differences—companies charge more, but local engineers are cost-effective. They work at component level, which companies usually avoid. (00:08:59 to 00:10:12) They use experience, service manuals, and technical knowledge to identify problems. Tools used include multimeters, stethoscopes, etc. (00:10:13 to 00:11:40) Also worked in TV repair. Describes three main types of TVs he worked with before shifting fully to cameras around 1980. (00:11:41 to 00:15:10) Daily learning process. Even if he doesn’t initially understand a camera issue, testing and experience help resolve it. Combines practical experience with ongoing self-study. (00:15:11 to 00:16:40) Mentions updating himself through YouTube channels and magazines. YouTubers also come to shoot videos of his repair work. (00:16:41 to 00:17:36) Form factor and internal system changes became important from the 1990s. He learned through studies and continuous updates to keep up with these changes. (00:17:37 to 00:18:24) Talks about differences in repairing older (pre-PCB) and newer cameras. Earlier, heavy cameras required them to go to the client's place; later they worked with handycams which were portable. (00:18:25 to 00:19:00) Talks about his colleague who has been working with him for many years. They understand each other’s cues and coordinate repair efforts efficiently. (00:19:01 to 00:19:32) (pause) (00:19:33 to 00:20:57) Communication systems and client feedback have evolved. As technicians, they help customers who are often frustrated. If issues can’t be solved in a day, they keep the device. Talks about the shift from VHS cameras and related challenges. (00:20:58 to 00:23:46) Talks about challenges manufacturers face in building interfaces suitable for field use. Manufacturers visit to understand technician and user needs. Mentions broadcast exhibitions where engineers interact with company representatives.(12 March 2025)Item Nirmal Gupta - Session 01AR-020-6-1(00:00 – 00:29) Brief start to the interview. (00:30 – 06:38) Reflects on 47 years in the media. Started at Doordarshan (Vigyan Bhawan), worked on programs for Bihar, MP, and Rajasthan. Telecasts centralized in Ahmedabad. Joined CENDIT in 1978 via a producer. Early work included CCTV at Maurya Hotel and classical music/dance shows. Also did a serial and health project. (06:39 – 12:35) Discusses analog equipment: early B&W recordings, 3-tube color cameras requiring manual alignment. Compared 2-inch VTR at Doordarshan with CENDIT’s ½-inch tapes. Recalled hardships of carrying bulky gear uphill during shoots. (12:36 – 15:45) Shared health awareness project photos - nurses, doctors, literacy, and adult education efforts through video documentation. (15:46 – 20:32) Left CENDIT in 1984 to pursue projects like a Ganga documentary. Traveled from Badrinath to Gangasagar using carts and boats. Did camera work solo. Described difficulty in both shooting and editing then; but still proud of the films made. (20:33 – 22:17) Compared analog and digital. Says digital is clearer, sharper, more convenient. Does not believe analog was “better”; manual control was tough, while today’s cameras are small and powerful. (22:18 – 24:59) Describes a live studio recording setup. Public interaction, reality-style shows. Monitor received live feed from the control room; the director used a mixer. Teamwork in the studio highlighted. (25:00 – 28:38) Reflects on a 47-year journey. Worked with Discovery Channel, in various countries and for many production houses. Identified primarily as a cameraman, though directed some projects. (28:39 – 33:01) Recall the early days of freelancing in India (1980s) when only a few did this work. Entry into the media was harder then. Today, digital has made it much easier to produce content, though earlier films required deep research and formal approvals (e.g., from health ministries). Now, the work is faster and access is easier, for better or worse.(5 April 2025)Item Sujit Chatterjee - Session 01AR-020-5-1(00:00:00 – 00:00:39) Brief introduction to the conversation. (00:00:40 – 00:13:40) Entered media without training, for pocket money. Introduced to CENDIT by a family friend in 1981. Shifted from transmission to production after an incident. Learned while working with seniors more focused on still photography. Participated in and recalls NGO-linked media training programs and film work. (00:13:41 – 00:15:18) Describes diverse programmes CENDIT did, including trade fairs. Technological evolution from VHS and U-matic to advanced Sony cameras. After the '90s, there was more freedom in choosing formats. (00:15:19 – 00:24:48) Left CENDIT in 1992 due to personal and financial pressures. Joined Times TV, then freelanced. Worked with Zee TV, CNN, and others. Experienced dissatisfaction with digital tech's shift from older, larger equipment. (00:24:49 – 00:32:00) Reflected on working across many formats and contexts. Tech changes once gradual became sudden. Emphasized efficiency, video clarity, and shooting without breaks. (00:32:01 – 00:41:17) Describes the unseen technical effort behind film production. Compared analog vs digital, arguing something was lost in the shift. Talked about fieldwork, resolution quality, and purpose-driven camera choices (feature vs news). (00:41:18 – 00:45:03) Field conditions affected equipment. In 1985 you had to clean and maintain constantly. Recalls Vietnam shoot — outdoor conditions required technical caution and skilled support. (00:45:04 – 00:51:29) Stopped working after 2018 by choice. Wanted to rest after decades of nonstop work. Had an accident later; took it as a sign to slow down. Feels he’s lived and worked through his peak (1990s–2010s). (00:51:30 – 00:57:28) Discusses teamwork — the essential role of technicians, audio assistants, etc. Highlights work environment and changing skill levels within teams. (00:57:29 – 1:01:35) Branded equipment meant limited contact with manufacturers. Once attended a trade fair demo. Repair/maintenance had more interaction with brands than production staff. No feedback loop from users like him. (01:01:36 – 1:07:55) Felt greater satisfaction in earlier years. But salary delays (3 months unpaid) and instability forced many to leave. Gradually, CENDIT became defunct. Rent and financial pressure made continuation impossible.(4 April 2025)Item Rajive Jain - Session 01AR-020-4-1(00:00:00 to 00:18:15) Giving away of materials and items, including boxed materials donated by Rajive Jain. Description of the nature of the materials being handed over, along with a brief introduction to the context of the donation. (00:18:16 to 00:30:10) Discussion on different computer hardware components and early uses of computers at CENDIT. Computers were introduced to create databases to consolidate and share large amounts of information. Later, computers were also used for editing purposes. Although computers existed from the 1970s, their extensive use began in the 1980s. Cameras brought into CENDIT are briefly discussed, highlighting the wide range of areas CENDIT worked in. (00:30:11 to 00:44:03) Pause followed by discussion on the materials that were accessed during the session. (00:44:04 to 00:48:14) CENDIT was started by a group of young people with an interest in social issues and backgrounds in film. The core belief was that the moving image should be democratized, demystified, and made accessible. At the time, the reach of audiovisual media was very limited. The reasons for starting CENDIT are outlined, along with how films were made and how filmmakers were encouraged. The first research efforts focused on understanding how films were received by people and how folk and alternative mechanisms of distribution functioned. (00:48:15 to 00:49:45) There arose a need to find efficient technologies to manage increasing work demands. Super 8 film was discovered as the first major technological input—small, portable, and suitable for documentation. Workshops on Super 8 filmmaking were conducted to expose people to alternative possibilities of image-making. (00:49:46 to 00:51:46) To generate income for the organization, CENDIT undertook various projects. One of the earliest initiatives was persuading the Maurya Hotel to establish a closed-circuit television programme for guest entertainment—the first of its kind in the country. This involved technicians and engineers and helped build a technical team. Apart from readily available films, new content was created specifically for this circuit, including programmes featuring Indian cultural forms such as music and dance. (00:51:47 to 00:58:07) An encounter with an individual working with video cameras for documenting agricultural issues led to the organization receiving a video camera. This enabled CENDIT to undertake its own recordings. Research continued alongside film screenings, discussions, and interactive workshops. These spaces allowed people to express themselves publicly, unlike in other restricted environments. After building consensus on social issues, recorded materials were taken to government authorities to urge action. An anecdote from Sarangpur village during the Emergency period is discussed. (00:58:08 to 01:00:36) CENDIT pioneered work in the NGO sector related to communication and media. It collaborated with several NGOs and social movements to document issues of concern. Numerous training programmes were conducted for NGO workers. A distribution network was developed to exchange video tapes, forming a communication resource network that also organized training programmes. CENDIT later became involved in women’s issues through workshops and training programmes involving participants from Nepal, Bangladesh, Pakistan, and other regions. (01:02:10 to 01:03:11) CENDIT expanded its engagement to the international level by collaborating with video practitioners globally. An international organization called VIDEAZIMUT was formed, which organized seminars, symposiums, and conferences across different continents. These platforms focused on alternative communication practices and global developments in media. (01:03:12 to 01:04:38) CENDIT no longer functions. Its last major work was completed by the late 1990s. The speaker explains a belief that institutions are created to serve specific purposes and should not exist merely to perpetuate themselves. By the end of the 1990s, CENDIT’s objectives were considered fulfilled. (01:04:39 to 01:06:33) Technological transitions from film and Super 8 to video formats are discussed. Formats such as three-quarter inch video are mentioned. The shift to video was driven by efficiency, speed, and accessibility. Compared to film, video enabled faster production and wider acceptance, and technology choices were influenced by prevailing industry standards. (01:06:34 to 01:10:58) CENDIT preferred working with people who understood social contexts but needed training in technology. These individuals were introduced to video technology and trained as operators and technicians. One of the founders was an engineer, and Rajiv Malhotra played a key role in setting up the Maurya Hotel circuit. Since CENDIT owned equipment, in-house repair facilities were developed, along with training in equipment maintenance. (01:10:59 to 01:13:04) Interactions with individuals who recognized the usefulness of video communication but lacked technical knowledge are discussed. Many others were initially unaware of its potential. Exposure and awareness were therefore crucial. During the early 1970s, there were many committed NGOs, and meetings with them took place in a generally supportive social climate. An incident illustrating this environment is mentioned. (01:13:05 to 01:20:35) CENDIT’s engagement with people’s movements such as Bhopal, Narmada Andolan, and movements in Chhattisgarh is discussed. These were not NGOs but grassroots movements. CENDIT functioned as a resource centre, attracting people because it had equipment and facilities. It became a training ground emphasizing social consciousness and commitment. Many individuals trained at CENDIT later moved on to other forms of work. Research conducted at CENDIT informed its other activities. Communication research at the time focused on people, unlike today’s media research, which prioritizes channels and viewership metrics. (01:20:36 to 01:23:38) The working environment at CENDIT is described. People were drawn to the organization due to its openness and shared knowledge culture. There were no rigid hierarchies, though distinctions existed between production staff—often more formally educated and English-speaking—and technical staff, who were usually locally rooted, often without formal education, and learned skills on the job.(27 March 2025)