Indian Cinema Shines Bright with Claypaky Fixtures

	"The requirement was more dynamic and high-energy, and Claypaky lights were instrumental in delivering sharp beams, fast movements, and impactful aerial effects," says Bhutedia.

Claypaky lighting is playing a major role in the entertainment industry in India with a host of music video and motion picture credits. Lighting designers Imran Shaikh and Naresh Bhutedia, with Light Craft & Sound Pvt. Ltd. in Mumbai, deployed a wide array of Claypaky fixtures on recent projects.

Bhutedia served as lighting designer for both Anuv Jain's "Arz Kiya Hai" music video and the motion picture Deva, on which he says, "Claypaky fixtures played a key role in shaping the visual language of the performances."

Singer/songwriter Anuv Jain is described as India's most popular independent artist. For the music video of his ballad "Arz Kiya Hai," which features both studio and live performances, Bhutedia used 15 Claypaky Tambora Battons and 10 Sharpy X Frames. "The approach was minimal yet emotionally immersive," he explains. "We used Claypaky fixtures to create soft, atmospheric looks that complemented the music style. The precision in beam control and color consistency helped us achieve clean transitions and subtle mood shifts without overpowering the artist's presence on stage."

For the crime drama Deva, Bhutedia deployed 40 Sharpy X Frames. "The requirement was more dynamic and high-energy, and Claypaky lights were instrumental in delivering sharp beams, fast movements, and impactful aerial effects," he says. "The reliability and output of the fixtures allowed us to execute complex cues seamlessly, especially during high-intensity sequences."

For both projects, he praises the ability of the fixtures to "give us the flexibility to move between cinematic, soft looks and powerful concert visuals with ease."

Imran Shaikh was also busy acting as a lighting designer on music video and motion picture projects.

For the nostalgic hit song "Bijuria," which appears in the romantic comedy film Sunny Sanskari Ki Tulsi Kumari, Shaikh chose 30 Claypaky Mythos and 25 Sharpy X Frames. "The lighting approach was rooted in creating a rich, atmospheric visual tone," he notes. "Claypaky fixtures helped us achieve precise beam control and smooth color transitions, allowing us to enhance the depth and mood of the frames while maintaining a cinematic aesthetic."

The musical love story "Saiyaara" featured a large complement of 116 Mythos, 56 Volero Wave, and 24 Tambora Flash fixtures. "The scale and energy of the project required powerful output and dynamic versatility," Shaikh reports. "Claypaky lights played a key role in delivering strong beams, wide coverage, and fast movements, which were essential for executing large-scale sequences and high-impact visuals. Their reliability during long shooting schedules was especially valuable."

The visually expansive title track of Son of Sardaar 2, used more than 70 Mythos in its production. "The focus was more on stylized visuals and controlled lighting environments" for this job, says Shaikh. "Claypaky fixtures allowed us to craft clean, defined looks with excellent color consistency, helping us maintain continuity across different setups and shooting conditions."

For all of his cinema-related projects, he reports that the Claypaky fixtures "gave us the flexibility to move seamlessly between subtle, mood-driven lighting and bold, performance-oriented visuals."