In conversation with Omkar Diwekar a cinematographer and national award-winning film, Unreserved. Don't know what a cinematographer does? This is a continuing dialogue on the different folks involved in the video creation, editing, and distribution process.

[00:00:00]Naga S: [00:00:00] Thank you so much for taking time to be on the podcast.

[00:00:04] Omkar: [00:00:04] Thank you. Thank you so much.

[00:00:05]Naga S: [00:00:05] A good place to start would be to tell us what your passion is and how you're making it manifest.

[00:00:13]Omkar: [00:00:13] I'm a cinematographer. I work, in Bombay as a freelance cinematographer. I, Majorly love to shoot, nonfiction, the documentary films, but has documentaries. Don't provide a lot of, financial help, in India, especially I, I do, sort of like digital commercials and short films, and I do aspire to, get into fiction filmmaking as well.

[00:00:37]that is also a long-term target.

[00:00:41] Naga S: [00:00:41] Got it. So how is, so there, there are all these terms, right? Like there's a director, there's a producer, there's a cinematographer. So what, what do all these different people do? And, in that, what, what do you specifically do?

[00:00:53] Omkar: [00:00:53] Okay. So I am a cinematographer. So my department is, camera, lighting, [00:01:00] collaborating with the director, before we go on the shoot. my job is to collaborate with the director and, sort of, combine his vision with the technical, know-how that is needed because filmmaking is ultimately, it's an art, but it's a scientific art.

[00:01:16]there's a lot of, science that goes behind, how you capture the images, how you record the sound. So, it's filmmaking in itself is a collaboration of various kinds of people who are, who specialize in various different departures. So, Peter, who has a vision for that particular story? He has, he has seen the film already in his head even before, he sets foot on the stage on the, on the set.

[00:01:44] So it's the cinematographer's job to really, understand his vision, how he sees the film, and try to get it, on camera. So that's, that's predominantly the job.

[00:01:57]Naga S: [00:01:57] Got it. the shift from [00:02:00] engineering to, you know, something on the creative lens must be, must be a big one. So what, what inspired you, or what pushed you to make that shift happen?

[00:02:08]Omkar: [00:02:08] okay. So, let me go back B before, engineering to answer your question. So as a child, actually my father used to, so are you, you remember how on-duty version? every Friday and Saturday and Sunday, they would be filmed in the evening. So, so my father and he used to be home, on, on the weekends, he would, Said set me down, before the film would start and he's a huge fan.

[00:02:35] So, and every time there would be a film playing, he would sit me down like an half an hour before the film would start. And he would, you know, very, enthusiastically, he would explain, he would tell me this is going to happen in this film. This film is about that. And he's going to do this. He's going to do that.

[00:02:55] And it used to be very exciting for me because. my father is in general, a [00:03:00] very shy person. So, he was, he's very reserved kind of a person. So this was like a , rare, chance for me to, you know, have some kind of a bond with him. And that's how, this fascination for films really grew for me from my childhood , I used to watch a lot of films as a kid, when I was in my junior college, I used to bunk college and go watch films, at the theater.

[00:03:26] And, and then, when I was in engineering college, what happened actually was like, unfortunately, in the first year of my engineering college, I had an accident and, my leg was like burned from a side and I underwent an operation and. Because of that. I had to sit out a year, the, my first year of engineering.

[00:03:47] I

[00:03:47] Naga S: [00:03:47] Oh,

[00:03:48] Omkar: [00:03:48] I could not. Yeah, I could not give my, second semester exams. It's like the accident happened just a day before, my maths exam on of the second

[00:03:57] Naga S: [00:03:57] wow. Almost seems like it's on [00:04:00] purpose.

[00:04:00] Omkar: [00:04:00] Yeah, you could say, so like in hindsight, I'm happy about it, but yeah, so I had to sit out there exams and, and so I had one year of nothing that's and, I was pretty clueless.

[00:04:13] I mean, first year you have no idea what to do in life., I was just home jobless and, this friend of mine from college, he, one day he would, he just came up to me and he said, why don't you join the theater circle of the college? And, you know, instead of doing that thing, you could just watch films, like, read books or something like that.

[00:04:37] So that kind of, just gave me something to do. So pony has a lot of, theater culture, especially into college competitions. So I did that. And while doing that, I got in touch with some people from FTI. And then I got to know about the pony international film festival.

[00:04:57] So that kind of set me off on [00:05:00] that path, where I started watching a lot of cinema. I made some friends at FTI. I started assisting them on their projects at FDI, all this while being pretty absent, in college. like by the end of my, by the end of final year of engineering, I was pretty much clueless as to what I want to do.

[00:05:19] I just knew that I didn't want to do anything related to engineering. I had, certain other options, but, So like, around the end of the final year of engineering, I sort of knew that I wanted to pursue filmmaking. then I didn't know what exactly I wanted to do in filmmaking. Like there are different avenues.

[00:05:39], I, for sure I knew that, direction is not for me or acting is not for me. I knew that because.

[00:05:46] Naga S: [00:05:46] If I can

[00:05:47] Omkar: [00:05:47] Yeah, because see, acting is something that is, it requires a lot out of you. You need to really put yourself out there for the world to see. Right. , I'm a pretty reserved kind of a person.

[00:05:57] I like to be in the background. I [00:06:00] like to be a little bit low profile, you know? So, and again, direction is sort of the same in a different way, because again, everybody's looking at you and everybody, you are answerable to a lot of people, and again, you are also, managing a lot of people, you're managing all the departments and it's a very responsible kind of a job.

[00:06:23]so I sort of knew that I don't want to go there, but I want to be involved in filmmaking, but I also want to, do something that really, is important. To do the basic basics of filmmaking. So I thought of editing and cinematography. and then when I was assisting people at FTI that sort of, gave me a lot of, understanding and learning.

[00:06:46] As to, what each department means. I literally, after I completed engineering, some projects, I, that I assisted at FTI, I was literally just like a production assistant. and my jobs were job would be simply [00:07:00] to, get the food from place to place, be to all the group. So that's literally where I started from and doing all of that really gave me an understanding of each and every department, what each and every person is supposed to do.

[00:07:13] And it also taught me like FKA. The environment is so good. FDA usually gets a very bad name, but the one thing that it really taught me there that, every student over there really values each and every person's job, like even, taking that food from place to place B, was an important job and they understood the value of it.

[00:07:35] So, but while doing that I understood what, his department, does, to achieve that final goal of the final film. And, so I sort of, gravitated towards the camera. And then, the I, a couple of projects I assisted, the cinematographers over there. And then in 2013, I attempted the FDA entrance exam.

[00:07:59]until then [00:08:00] I did not have a camera or anything as such. And, and still, I got through for the, interviews of both, TV, cinematography course and film, cinematography course at FDA. And that's when my parents were suddenly like, okay, he has potential. He's not just wasting his years. And that's when I got my first camera.

[00:08:21]I got selected for the TV course that year, but it's a one-year course. And I was like, I thought, I'll wait it out. And I'll try again next year. so I didn't take up admission in 2013. And in 2014, they did not have admissions because they had to clear out the 2008 batch, which was still not cleared up.

[00:08:41] So, unfortunately I could not get into FDI and, but then 2014, I shifted to Bombay because by then it was like, I have to do something. I can't just sit at home and not do anything. So my family was pretty concerned because I was, [00:09:00] it was really not doing anything. till the summer of 2014, it was just, watching films, going to FTI, watching films over there and just yeah, 2012.

[00:09:12] Naga S: [00:09:12] Okay.

[00:09:12]Omkar: [00:09:12] for two years, I was not doing anything that just watching films was all that I was doing. I was literally watching like at least two films every day. and, so then 2014, one of my friends who's now a pretty well established DOP. his name is . he, suggested to me that, you should go to Xavier's Institute of communications in Bombay.

[00:09:33]which is like a one-year, filmmaking course, in Vegas. Cynthia has called his mom. So, and, and he said that it would be good for you. You will get some kind of exposure for, the, how the industry works in Bombay, how people function in Bombay, how Bombay as a city itself is. And, maybe after doing that one year, cause you can come back for FTI.

[00:09:53] You will have already have established some contacts over there. It will help you. And I kind of just thought it's [00:10:00] good to do good advice. So I went for it. I gave the entrance and I got selected. So I did the one year course, at XIC in Bombay. And since then I have been in Bombay. I started getting work after XIC.

[00:10:14]and yeah, so that's pretty much my filmmaking journey.

[00:10:19]Naga S: [00:10:19] After they after. Yeah. Now, so do you continue being in Bombay? Because now you've said that you're never in Bombay for five years, right? What happens next?

[00:10:28] Omkar: [00:10:28] Yeah. So now my life is pretty much in Bombay because, so during XIC I met my wife, we got married in 2017.

[00:10:38] Naga S: [00:10:38] Oh, congratulations.

[00:10:39] Omkar: [00:10:39] Thank you. she's from Bombay itself, so, and I pretty much, most of the work is in Bombay. so. Life is pretty much set in Bombay. Now I have, my parents stay in pony, so I'm coming and going, but, I think it will be, I'll have to be in Bombay.

[00:10:58]the idea is, [00:11:00] like I would love to go back to pony, and work from there. but it will take some time.

[00:11:06]Naga S: [00:11:06] But I guess for the, for the kind of work that you're doing, Bombay is the place to be right.

[00:11:11] Omkar: [00:11:11] Yeah. especially for commercial work, majority of the work happens in Bombay, the, for like digital commercials, the short films and web series and. all that kind of stuff happens in Bombay. Poonja also has its own industry, but it's mostly regional. Bombay is more Hindi specific or, you know, urban .

[00:11:35] And I personally enjoy shooting non-fiction more, I  like shooting documentaries a lot more. so after I completed XIC I, a friend of mine put me in touch with these people at camera and shorts and, with, I worked with them for a year and that's where I met, Samarth Mahajan

[00:11:54] he, he had this idea of, making a film about people traveling in general compartments, [00:12:00] in the country. so. I really loved that idea. And we set off on that journey that was in 2016 and it was three of us. We traveled all across the country, for 17 days create, in general compartments and we shot, with people traveling in general compartments.

[00:12:21] It was just a series of conversations. we never even thought that it would become a film. we just went thinking that, you know, let's just see what happens. we were, it was pretty naive. We were like beginners, trying to do something. And, it sort of really changed, our lives, in a lot of ways because not only did it, change our perspective of, life itself, it also gave our careers.

[00:12:49]a big, boost in a way when the film was done and, and then the next year when we released it, we, it got a national award, and it was sort of really, [00:13:00] was, what do you call it? vindication to, you know, a lot of, our, passion and. Why we do the things we do.

[00:13:09] So, yeah, so that, really helped us like that film really changed a lot of things for us. And then after that, we started working on another film, Samarth and me, with, the, the people at camera and shorts. We started working on another film called the Borderlands which is basically, a film where we are trying to explore the lives of people living on the borders of the country, and stories of people, beyond the conversations of politics and, military.

[00:13:40] And, it just, tried to try and to explore, the daily lives of these people, which are normally, you don't get to talk about. So that's the idea of that film. So we've been working on that film for over two years now. So yeah, so I really enjoyed that process, going out and shooting, with real life people with real people, real [00:14:00] stories, that really, appeals to me a lot more.

[00:14:03]Naga S: [00:14:03] That way, the podcast and what you are doing with borderlands is quite similar in the sense that we are all, we are all showcasing stories of people and, you know, we're getting it out in the world, but it's interesting that you mention unreserved and your trip across India, because that's where I started following you on Twitter.

[00:14:23] Like back in the day in 2016. And I was on a gap year myself then. And so I was working in a company and I had taken a break. And I was trying to figure out what to do with my life. And I was looking for, you know, whatever's happening in the world and you know, you get it, like you guys are trending on Twitter for a long time, as in when that was happening.

[00:14:44] Omkar: [00:14:44] it's like a big, surprise, like a shock to me actually, because, so I was like a normal. Like hardly, like 200, 300 followers, kind of a person on Twitter. And, I just started posting pictures. so [00:15:00] the very first day I just posted, we, we created this map, which is there in the film, which created this map, of the journey that we are going to do.

[00:15:08] So like starting from Bombay, then going to Delhi, then going to Jammu, then going to all the way to the, Dibrugah in the East and then Kanyakumari and back to Bombay. So it was like a. All the four corners of the country. So that map, I put it. I posted that on Twitter and they just said that, you know, three of us, we traveling for the next 17 days, in the general compartments.

[00:15:29] And at that point , I didn't publish that you're making a film or anything. It was just like a post that we traveling. And then, I just started putting up. Photos of every person we were talking to, along with one line that stuck with me of what they said. And that just kind of took off like in, in, in two or three days, I think every news site was putting out all the tweets.

[00:15:54] Some of them were asking me, some of them were not asking me, but I think almost all the [00:16:00] news publications had posted that thread online.

[00:16:03]Naga S: [00:16:03] Yeah, I think that was, you know, that what moved me the most about those posts. Was most of those pictures and those one-liners. And I think there were some small videos also that you guys had posted. I think something that you're taking on the mobile, where you're interviewing the people on the compartments.

[00:16:19] I think, we are all interested to know how other people's lives are panning out, right. Because, and that's, that evident in the success of social media, but, you're getting out stories of people who we don't typically get to talk to. And we've always wanted to ask that person, Hey, what do you do?

[00:16:36] Like there's this, you know, curiosity that is there in the back of the mind, but

[00:16:40] Omkar: [00:16:40] But that's what it means. And there's always an invisible barrier. Yeah. Like there's always something holding you back. The, the, the that's, what, what, that's one thing that has really changed for me because of these two films. Because, it really showed me that, you know, you, all you need to do is just go out and talk. [00:17:00]

[00:17:00]of course there are, curiosities, everybody has curiosities and everybody has different life experiences. You come from different life experiences. I come from different life experiences and everybody wants to know, The other side, the other side of the story. So it's just about going and doing it.

[00:17:19] I mean, there's no, like this invisible, invisible barrier, , is really in our minds because, what particularly unreserved, what it, really taught me was that we sort of, I live in a, in a bubble of our own. And, we think that, My problems are real problem, and my issues are real issues, but there are people out there who have their own issues and it's sort of like, broke my illusion of my privilege, you know?

[00:17:50] And, yeah, that, that really changed a lot of ways of how I look at life, et cetera.

[00:17:57]Naga S: [00:17:57] Right you said that as a [00:18:00] cinematographer, a lot of your work is, you know, making sure that the vision of the director comes through. So what. What role do you play in, in the creative process of filmmaking in documentary filmmaking and why you're interested more in non-fiction rather than going the commercial route, which is like fiction short stories or whatever it is.

[00:18:23]Omkar: [00:18:23] it's more of a collaborative process in the sense that, because again, it's basically, it's an art, and every art form, it's, it's very subjective and it changes from person to person. So, working with director a is going to be very different, from working with director B and it, that process also changes from person to person.

[00:18:46] So, there is no set process as such, it, it's, it's more like, with which person, is my tuning the best or with which person do I have the best end of understanding? because [00:19:00] with Samarth, what it happens usually on, on when, when we are shooting out there, It's like, he gives me a free hand.

[00:19:08]we have an understanding, okay, this is the person that we are shooting with. This is, this is, we get a general idea. We get a general sense of that person's life. And we discussed that. Okay. This seems to be important to this person. This is, what we want to come out of this story. This is what we want the audience to feel.

[00:19:29] And then he gives me a fee free hand that, you know, shoot it the way you want to shoot it. and, so the framing, the way we frame it, the way we, compose the shots, the way, you follow a person he gives that completely up to me. and then when we are reviewing the footage, that's when he tells me, you know, I like, I really like how you've shot this.

[00:19:51]this could have been shot better. This could have been like that. That's where I kind of get, what he really wants or how he sees the film. and that's how you learn [00:20:00] and grow from there while at the same time, with any other director or say, for example, on a fiction set, With a director where, where we are working on something that is, like say for a short film, there it's completely different because you already know the entire story.

[00:20:16]it's down to like the director has seen he knows how he wants the film to play out. Exactly. And so every frame is in collaboration with the director. Everything is calculated. Everything is pre decided and you know that these are the beats that you want to hit. And that's exactly how you want everything to pan out.

[00:20:40] So it's more of like a choreography, you know, that, you, you decided this and then it's like 20 people coming together and trying to get that, trying to achieve that exactly how the director had thought of. So, yeah, these are like the differences in the approach [00:21:00] and it changes from person to person.

[00:21:01] Even with fiction. There are certain directors who like to give a free hand to the actors and to the cinematographer. they just, you know, explain the scene and what they want, and then you can play it out. So it really differs from person to person. And, in that sense, I personally, right now where I am in life, right now, nonfiction appeals to me more because, there's a certain kind of spontaneity to it.

[00:21:27] There's a certain kind of, impulsive nature to it where, , I enjoyed the unpredictability of it that, things can surprise you, every day there's this, there's something new. every person that you meet is going to share something absolutely, unexpected. And in that way, nonfiction documentary films is something that really, really affects me a lot in that sense.

[00:21:53] So, yeah, but although I'm not shying away from fiction, I love films. that's [00:22:00] primarily why I decided to do what I'm doing. but right now I am sort of, yeah, concentrating

[00:22:06]Naga S: [00:22:06] got it. Got it. So what you, you mentioned that, non-fiction has a tendency to surprise you. So if I, if I may ask, what are some of your biggest surprises, lately where shooting borderlands and Unreserved.

[00:22:19]Omkar: [00:22:19] many surprises. I mean, so I can definitely share stories from undeserved because borderlands is still under production. So like from Unreserved, it was like, Since like it was four years ago now when we shot it. And, both of us were relatively, you know, a big nerds. We really didn't have much of a thought.

[00:22:42]we were just set out and we just set out and thought, let's leave. Let's see what we, what we get. but, the general compartments, especially, I mean, I, before that I had not traveled much by General honestly and, although I wasn't, skeptical [00:23:00] about it, I was like, okay, fine. It will be a great adventure.

[00:23:03] And, but then it, it really took a lot out of us and, like both of us fell sick, at some point in the journey, we met some purely amazing people. Like if you see in the film, the film opens with this, eight year old man who is doing all kinds of acrobatics in the general compartment.

[00:23:22] And everybody's shocked at how this old man is able to do all of that. then we met, this, lady who is running away from her abusive husband back to her parents' house. favorite part of the story of the film is, this, this man from Orissa. Who was, traveling for work, to find work because he has to earn money because his daughter is, battling with cancer, with brain tumor.

[00:23:50] And, like while he sharing that story, he's crying, he's sharing that story to us. But at the same time, there's a Biryani any seller [00:24:00] who is selling Unda Biryani, standing right next to him. And while he's selling that biryani, he, he literally keeps the box of Biryani on this man's lap while he's crying and sharing his story.

[00:24:13] And the guy selling Unda Biryani like that kind of really, made me, feel the pulse of the way we are as people, you know, like, someone is sharing his most intimate, hurt of his life and someone is just selling Unda Biryani and keeping it on his lap. So, yeah, I mean, these kinds of experiences really affected us a lot and, and again, as I said, these things surprise you because even while while we were shooting, there were a lot of interviews.

[00:24:45] A lot of people we talk to, both of us felt that, okay, this is fine. This is not going to make it into the film, but still, okay. Now we're talking, so let's just keep talking and let's just keep shooting, but you come back and, you're editing and, [00:25:00] You certainly feel that, Oh, this is actually very interesting.

[00:25:03] And the editor feels that, you know, this actually works. And, some, sometimes it also, it also happened that, while shooting, you feel that, okay, this is actually a great interview, but on the edit table, the editor is like, this is not good. So in that sense also, non-fiction really surprises you a lot because not everything will work the way you.

[00:25:26] Expected it to work and, yeah. I hope I'm making sense because I don't know how I answered your question.

[00:25:33]Naga S: [00:25:33] I'm just closing my eyes and thinking about that particular situation and that it is so moving. So, yeah, absolutely. This totally answers my question. So for people who want to start off a career or start in cinematography, so what inputs, or tips would you have for them?

[00:25:51]Omkar: [00:25:51] I am pretty much self-taught in that sense. I mean, yes, I assisted the students in FDI on their [00:26:00] projects, but, that was just like an introduction call kind of a thing for me. I was just introduced to how a set works. how, what, what are the different responsibilities of different people on a set.

[00:26:11]what exactly does the work of a cinematographer entail? So that just kind of gave me an understanding of all those things, but when it comes to actually learning those responsibilities, I pretty much learned most of it. even after I completed, XIC the filmmaking course in XIC because, that goes again, like a generic filmmaking course.

[00:26:32]it didn't, it wasn't exhaustively about cinematography. but I always knew that I wanted to do cinematography and I hadn't basic Canon DSLR camera. so that's where I began from. Honestly, like I just, internet is a huge resource. I mean, anything and everything that you want to learn about, you can learn about it on YouTube now.

[00:26:54] Oh, or anywhere on the internet. what I would suggest is, from my experience, if you [00:27:00] have a DSLR, any DSLR, that's great. Or even, I mean, now people are making films on mobile phones, so, and mobile cameras are also absolutely amazing these days. So just get to it. I mean, start learning. our camera operates, basically begin from there.

[00:27:19]there are so many resources on the internet to understand that, to learn that, so begin with, begin from there, understand how a camera operates and then just start making your own films. there is no other way to learn the craft of filmmaking, because the more films you make, the more mistakes you will make, and the more mistakes you will make, you will know I don't want to repeat these mistakes for the next project.

[00:27:46] I'm going to make new mistakes. That's what I think. my biggest, takeaway has been from the past 10 years of my life. And, yeah, I mean, there are a lot of books on filmmaking and cinematography, [00:28:00] especially, notes on cinematography is one of my favorite, books, about the craft of cinematography.

[00:28:06]and there again, just, I think the best way to do it is just start making your own stuff. you can learn. the way I did, you can talk to someone who, is a photographer to understand the basics of camera and take it from there. But, yeah, I mean, cinematography is something that you have to do to understand, you can read and, watch as much as theory as you want to.

[00:28:35]but unless you start doing it yourself, unless you have a camera in your hand and you start taking images, only then you will understand how to go about it.

[00:28:46]Naga S: [00:28:46] Got it. So I guess a record, expand it analogy to anything, right? Because practical experience is the best way to learn and, you know, no matter what, what you do, it's always important that you try it out yourself [00:29:00] or. Come up with the project

[00:29:01] Omkar: [00:29:01] True. True. Absolutely very true. I mean, I actually, like, as I said earlier, before 2014, my life was just watching films at that time. I really, thought that I'm wasting my life away watching films, but today, when I actually don't get the time to watch films, as much as I used to.

[00:29:21] I really feel that was actually my basic education, where watching so many films. It really, gave me a lot. I mean, today when I am working and we are on a set, It really helps me a lot when a director says, you know, that film, that kind of a look that kind of a shot that's what I'm aiming for.

[00:29:43] And you just remember it and you're like, Oh yes, I know. And now I, now I get what you're saying. So that really helped. and then, you know, the hands-on experience, the hands-on knowledge of how to work with the camera and how to work with lighting. like watching [00:30:00] films is the base that's where, like that's the base of, getting into filmmaking, any department, and then your expertise is what you build on top of it.

[00:30:10]Naga S: [00:30:10] Very well said. , I totally agree with you. I guess the takeaway from that is , always do things on your own and, see how you can implement these things. And also that nothing ever goes to waste, right. Because what you thought was something that you were just sitting at home and chilling, but actually that informed your worldview.

[00:30:29] And, I'm sure that will be a, a great moment to experience when a director or someone tells you that. I want this movie in the short and you're like, yes, I exactly know what they're talking about.

[00:30:40]as we reach the far end of the episode, so how does it feel to be on the passionate people podcast and, where can people reach out to you?

[00:30:48]Omkar: [00:30:48] this has been great. I mean, I never expected someone ask to ask me to talk to them about cinematography, especially so early in my life, in my career. but yeah. Thank you so [00:31:00] much for having me and, sorry, what was your second question?

[00:31:05]Naga S: [00:31:05] where can people reach out to you in case they want to talk? Or there's, there's a project they want to collaborate with you on, or they just want to say hi and they love the episode.

[00:31:13] Omkar: [00:31:13] So you can reach out to me on Instagram. My handle is Cine Blue. That is C I N E B L U E a. That's where anybody can see, just say hi. Yeah.

[00:31:26]Naga S: [00:31:26] Right. I'll also include the links for a undeserved and your Instagram handle on the show

[00:31:32] Omkar: [00:31:32] you so much.

[00:31:34] Naga S: [00:31:34] Thank you. Thanks. I'm glad it's been a pleasure

Book Suggestion - Notes on Cinematography

Reach out to Omkar Diwekar -

Twitter - https://twitter.com/MishterApu

Website - https://www.omkardivekar.com/

Reach out to Naga – 

Twitter - @n1n3stuff / @PassionPeop1 (https://twitter.com/ThePassionPeop1 )

Facebook - The Passion People Podcast

Media Suggestions -

Watch Unreserved on YouTube and Subscribe to Camera and Shorts for more

Middle Class Gap Year Guide - by Naga Subramanya

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Sound Attribution and Credits - Music from Pipo and Wowa(you should check out their music on Spotify here - https://open.spotify.com/artist/6zZPxLiRfbGUnoEAJmfJJN) from Unminus. All music other than the jingle on the episode is under the CC0 License and downloaded from freesound.org , freemusicarchive.org and unminus.com