Nisal Poudel

Shambhu Sapkota is a Nepali cinematographer from Panauti, active in Nepali cinema since 1994, known for his extensive body of work across commercial and dramatic films. He has shot more than 50 feature films, contributing to the visual style of late‑1990s and 2000s Kollywood. His early credit includes Sadak (1994), and he continued through major titles such as Thuldai (1999), A Mero Hajur (2002), Kismat (2007), Ma Timi Bina Marihalchu (2008), and Rhythm (2013). His career reflects consistency, technical reliability, and long‑term collaboration with leading directors of the era.

Shyam Mohan Shrestha is a veteran Nepali cinematographer known for his refined visual style and consistent contributions to Nepali cinema from the late 1970s onward. Active for more than four decades, he has worked across landmark films that shaped the visual language of the industry. His cinematography is recognized for its balanced lighting, grounded realism, and strong narrative sensitivity, particularly in social dramas and romantic features.He is best known for his work in acclaimed films such as Kumari (1977), Sindoor (1980), Badlido Aakash (1983), Ke Ghar Ke Dera (1985), Maya Preeti (1989), Badal (1994), Saubhagya (1995), and the celebrated Gothalo (1996). His career also extends into film production, including the feature Ghumto (2001). Shrestha remains regarded as one of the steady, foundational cinematographers of his generation, contributing to the evolution of Nepali film aesthetics.

Pramod Karki is a Kathmandu‑based director of photography, cinematographer, and filmmaker known for his work on Nepali reality shows, television, music videos, commercials, and feature films. He has served as DOP for Ko Banchha Crorepati (KBC Nepal), Himalaya Roadies (Seasons 1–3), Ainaa, and The Poet Idol, and as cinematographer on films including Mala and Tara: The Lost Star, the latter screened at the Cannes International Film Festival market.