Subrata Mitra as a cinematographer with Satyajit Ray, the legendary Indian film maker, for "Pather Panchali" (1955). He continued to work with him for many of Ray's later films. He is known for pioneering the technique of bounce lighting, while filming "The Apu Trilogy". Satyajit Ray thought that "Subrata Mitra’s camera work is better than Raoul Coutard’s". Coutard was at the time much more acclaimed than Mitra having collaborated with Godard on many of his film projects. One of his most important technical innovations was his introduction of bounce lighting, which he pioneered while filming "Aparajito" (1956), the second part of "The
The Apu Trilogy Cannes, Berlin and Venice Film Festivals. Produced on a shoestring budget ("Pather Panchali" had a budget of roughly 150,000 ($45,300—)) using an amateur cast and crew, the trilogy is a milestone in Indian cinema and remains one of the most acclaimed works in the Parallel Cinema movement. The three films comprise a "coming of age" narrative in the vein of a "bildungsroman"; they describe the childhood, education and early maturity of a young Bengali named Apu (Apurba Kumar Roy) in the early part of the 20th century. Pather Panchali (Bengali, "Song of the Little Road")<br> Apu's early experiences in rural