Ranjan De - Session 01

AR-020-2-1

(00:00:59 to 00:02:25) The interview begins with an introduction setting the context and purpose of the discussion. It briefly outlines the background of the speaker and the focus on media and technology.

(00:02:26 to 00:08:29) The speaker describes how they developed an interest in filmmaking and video making. Joined CENDIT in 1984, May

(00:08:30 to 00:09:43) Explained that although no formal training was received, gained practical skills by working directly with equipment and learning on the job. Formal training

(00:09:49 to 00:11:10) Reflects on how he never expected to become a trainer. Talks about the slow shift from tape to video, which was mainly for broadcasts such as in Doordarshan.

(00:11:11 to 12. 14) Describes how CENDIT got equipment at subsidised rates to support projects and tech promotion. Mentions how JVC was the prominently used cameras and recorders.

(00:12:15 to 00:12.56) Mr Ranjan’s first experience was at an advertising professionals workshop and they demonstrated the workings of video and how the process of making an Ad became much easier with this technology:also did other such programmes.

(00:12. 57 to 00:13.32) He explains that Doordarshan wasn’t open to external productions at the time, so there was an attempt to create pilot programmes to pitch. One example was a quiz contest with Siddhartha Basu, promoted by Nikita Shah’s group.

(00:13.33 to 00:15.32) The work in the social sector involved using portable video equipment to reach rural areas, often transporting gear by bullock carts. These initiatives focused on leveraging video as a tool for social change. The shift from film to video was revolutionary for accessibility and outreach.

(00:15.39 to 00:17.35) The connection between CENDIT’s hardware and programming branch and its media production activities is described. While animation projects were attempted, the focus remained on producing advertisements and social sector content. This dual focus reflects CENDIT’s broad media engagement.

(00:17.36 to 00:22:00) Advertising work taught technical skills like camera handling and editing but lacked intellectual fulfillment. In contrast, social sector projects involved engaging with real issues and communities. This distinction highlights the different motivations and experiences in these two media domains.

(00:22.01 to 00:27. 52) Media production and conducting workshops for NGOs across India happened simultaneously. The aim was to make technology accessible and help people tell their stories. Training evolved from informal sessions to structured 20-week courses covering all production aspects.

(00:27:53 to 00:35:28) Initially, trainees were selected by NGOs without specific criteria, leading to mixed participant profiles. Later, direct outreach helped identify passionate individuals more aligned with CENDIT’s goals. Some trainees went on to successful media careers while others drifted away from social focus.

(00:35:29 to 00:37:45) The broadening of workshop participation diluted the original social mission. Free training attracted many attendees not necessarily committed to social causes. Though some went on to prestigious media jobs, the workshops gradually shifted away from their empowering intent.

(00:37:46 to 00:44:09) Various workshop formats existed, from superficial demonstrations to comprehensive field-based training. Longer courses covered shooting, sound, editing, and storytelling with practical screenings and feedback. This evolution reflects a growing sophistication in media training approaches.

(00:44:10 to 00:51:02) The video equipment was heavy but manageable, with cameras and VCRs weighing around 10kg each. Despite technical complexity, users could learn to operate the gear effectively. Editing was more difficult due to syncing challenges and the linear nature of tape-based systems. Describing technology

(00:51:03 to 1:00:24) Technicians played a vital role in maintaining equipment and supporting users. Video editing caused generation loss due to linear editing processes. Sound was often neglected, with dedicated sound technicians becoming common only in the late 1990s. Describing technology

(01:00:25 to 01:01:39) By the 1990s, CENDIT had become a prominent hub for filmmaking, attracting many students and independent filmmakers. The audio-visual medium became widespread and familiar to a larger audience. This period marked growth in the production and appreciation of independent films.

(01:01:45 to 01:04:13) The 1990s saw video technology become more affordable, with rental costs dropping and studios increasing. Independent documentary filmmakers received more funding. This democratization of equipment and resources expanded access to media production.

(01:04:22 to 01:19:52) The timeline of video formats progressed from U-matic low-band to Betacam and digital DV, marking technological leaps. Editing evolved from complex hardware-based processes to user-friendly non-linear systems. These innovations made post-production faster and more flexible. Hands on experience :technological change :user friendly and time saving technologies

(10:19:53 To 01:28:16) The studio environment at CENDIT was collaborative, with media and hardware teams working closely. Technicians learned on the job and supported users with complex equipment. There was minimal hierarchy, and personal relationships fostered a friendly working atmosphere. Work environment

(01:28:17 to 01:30:42) Conclusion

12 March 2025

Oral histories of technical personnel in Broadcast and Community Video

Ranjan De