What I Learned While Being Second Camera Operator on Tanaav Season 2

By Suraj Dande

We shot Tanaav Season 2 in Kashmir from September to mid-November. Easily one of the most beautiful places I’ve ever had the chance to work in. That kind of natural beauty doesn’t just inspire—you feel it in your bones while you shoot. And as someone who’s more used to sweating on tight sets in Mumbai or sweltering outdoor shoots, working in that crisp mountain air was a high in itself.

From Smooth to Gritty: Shifting the Visual Language

Initially, the idea was to go for polished, smooth shots. But during a second recce, Director Sudhir Mishra and our DOP Quais Waseeq decided to take a more handheld approach. The terrain, the story, and the unpredictable light just made more sense that way. Except for a few dolly setups and Steadicam shots, we went handheld for most of the series—and honestly, I loved that decision.

There’s something honest about handheld. It's raw, alive. It doesn't try to hide the tension in the frame. And when you’re shooting in politically sensitive zones with real military presence and snipers around... clean shots feel dishonest.

Learning From Giants (Without Fangirling)

This was my first time working with Sudhir Mishra. I'd heard about him, seen his work, and naturally had that moment of "Damn, it's him.” But I had to remind myself—I'm here to work, not worship. That took a bit of internal rewiring. Same with Quais Waseeq—my DOP for this and many other projects. With him, the learning never stops. Not just about gear or framing—I rarely care to copy another DOP's shooting style anyway. What I observe more is how they carry themselves. How they talk to actors. How they keep their cool when a shoot goes to hell.

Car Rigs, Drones, and Almost Killing Myself

One of my proudest moments on the shoot also involved a minor accident. We needed a fast-paced drone shot for an action sequence, and the local pilot—great guy—was more used to scenic, slow pans. So I took the drone myself and went for it. Showed them the take, and the team was thrilled. The irony? I ended up hurting myself a bit during the setup. But the shot? Totally worth it. Equal trade.

We used the Arri Mini LF with Supreme Primes—solid setup, though I really missed the Sony Venice's internal ND. I got quite experienced with rigging cars on this one, and here’s where I have to shout out our grip boys and camera attendants—just top-class. Hardworking, inventive, tireless. We turned an Innova into a tracking beast, front and back, low and high angles. Real jugaad, but built with brains and grit.

The Myth of the “Order-Following” Second Cam

Most people think a second camera operator just waits for the DOP to give instructions. Nah. A good DOP expects you to think, frame, and make decisions. They trust you to grab the coverage without being handheld (pun intended) every step of the way. You’re not there to copy—you’re there to complete the puzzle.

Chaos, Camaraderie & Being Fast Over Fancy

Like every film set, Tanaav had its chaos. But it also had this beautiful camaraderie. We made a lot of local friends, had army personnel with us for protection in risk zones, and learned to work quickly. There were moments where we had to shoot before the sun dipped behind a ridge or tourists wandered into frame. This wasn’t a place for overthinking or perfectionism.

What I really took away from Tanaav was this: when you're in a time-sensitive, military-patrolled, high-altitude location, sometimes speed trumps artistry. You have to make calls on the fly. You can’t wait for the perfect light or the ideal setup. You move, you shoot, you adjust.

TL;DR – What I Took Back from Kashmir (Apart From a Sore Shoulder):

• Handheld isn’t a compromise—it’s a weapon.

• Confidence on set is currency. Build it, spend it wisely.

• Drone shots + jugaad rigging + strong crew = cinematic badassery.

• Second cam isn’t second brain. Think independently.

• In tense shoot zones, agility > aesthetics.