Vinodh Perera is a Melbourne-based filmmaker, cinematographer (director of photography – DOP), and post-production editor with a strong foundation in storytelling. A graduate of Deakin University with a Bachelor’s Degree in Film, Television, and Animation, along with additional qualifications in screen and media, his career has spanned multiple disciplines within the creative industry. 

From his early work as a broadcast camera operator at Racing Victoria to stepping into the role of Marketing Manager and later establishing his own media company, Synapse Productions, Vinodh has consistently expanded his craft. At the heart of his work — whether operating a broadcast camera, producing commercials, or editing feature films — lies his passion for connecting audiences with stories that truly matter.

How has working as a broadcast camera operator at Racing.com, covering world-class racing events, shaped your eye for detail and storytelling in your independent filmmaking projects?

Working at Racing.com/Racing Victoria has been one of the most valuable live broadcasting experiences in the world, especially during the Melbourne Cup Carnival at Flemington, Caulfield, and Moonee Valley Racecourses. Covering world-class racing has sharpened my instinct for timing, precision, and attention to detail. 

In live broadcasts, there are no second takes and every moment counts. That pressure has trained me to anticipate action, frame shots instinctively, and think quickly. I’ve carried those skills into my independent filmmaking, where I merge technical precision with creative storytelling to ensure that every frame has both purpose and perfect timing.

You’re simultaneously a filmmaker, a marketing manager, and a broadcast camera operator. How do you balance these roles and do you see them feeding into each other creatively?

It’s definitely a balancing act, but each role informs the other. Marketing teaches me how to position and present stories for specific audiences, broadcast sharpens my technical instincts, and filmmaking allows me to bring both together with creativity. 

I don’t see these roles as separate but as interconnected streams that give me a complete perspective on how stories are created, packaged and delivered. I’m always learning and fine-tuning through each experience, and that process makes the journey enjoyable while opening up space for true creativity.

As the DOP and Post-Production Editor of ‘Dollar,’ the first Sri Lankan feature film produced overseas with an all-immigrant team, what unique challenges and opportunities did you face bringing this cultural milestone to life in Melbourne?

‘Dollar’ was both a cultural milestone and a creative challenge. We were telling a Sri Lankan story, but filming entirely in Melbourne with a Sri Lankan diaspora cast and crew. 

One of the biggest challenges was filming during the Covid pandemic, managing restrictions and finding time to bring everyone together on set, especially since most of the cast and crew were not working full-time in the industry. 

At the same time, it was a great opportunity to showcase the hidden talents within our community, including myself. As DOP and Post-Production Editor, I was able to put into practice what I had learnt academically over four years and help bring the Director’s vision to life on screen.

Your projects often involve Sri Lankan stories told for international audiences. What role do you see yourself playing in bridging cultural narratives between Sri Lanka, Australia, and beyond?

I see myself as a cultural bridge. Having grown up in Sri Lanka and now building my career in Australia, I’m actively developing strong networks in both countries. 

My goal is to share my academic knowledge and industry experience with Sri Lankan filmmakers while creating opportunities for their stories to reach international audiences. In doing so, I hope to build a pathway where creativity can flow across borders and Sri Lankan voices can find their place on the global stage.

You have produced, directed, and edited short films like ‘Frequency’ and ‘Jay.’ How does your creative process differ when working on a short film, versus a feature film or a commercial project?

Short films are like a sprint. You have limited time to make a big impact, so every frame and line of dialogue must carry weight. ‘Frequency’ was directed by Upul Sannasgala, where I worked as Assistant Director, DOP, and Editor. ‘Jay,’ which I directed, shot and edited, starred Pramee and was created for the Sony Six-Hour Short Film Challenge. 

Feature films, on the other hand, demand patience and stamina, as they allow for more nuanced character arcs and layered storytelling. With ‘Dollar,’ directed by Chandima Jayanetti, I served as DOP and Editor, shaping a much larger narrative canvas. 

Commercials are different again; they require distilling a brand’s essence into a concise, engaging story. While the scale of each project changes, my approach always begins with clarity of vision, understanding what the story is and how best I can serve it.

You’ve worked on music videos for artists like Milin Rupasinghe, Darsh Anthonige, Emma Shanaya, and Amarsha Tissera. What excites you most about blending music and visuals, and how does that differ from storytelling in film?

Music videos are pure creative expression. They’re not bound by strict narrative structures because the rhythm of the song dictates the visuals. I love experimenting with camera techniques, editing, colour, and movement to create a visual language that complements the music. Music videos allow me to explore emotion and mood in a more abstract way, using creativity to interpret the music itself, which I find incredibly liberating.

Through Synapse Productions, you’ve produced films, music videos, and even commercials. What is your long-term vision for Synapse? Do you see it evolving into a major creative hub in Australia?

My vision for Synapse is to grow it into a creative hub that bridges independent artistry with commercial innovation. I want Synapse to be a space where filmmakers, musicians, and brands can collaborate to produce work that is both visually striking and culturally meaningful. 

In the long term, I see it becoming a platform that nurtures new talent while also producing content that competes on an international scale, with a strong presence in both Sri Lanka and Australia.

Last year, you shot a travel commercial in Sri Lanka featuring Australian celebrities like Sarah Marschke (Miss Australia) and Ali Oetjen (TV celebrity). How did you approach capturing Sri Lanka’s essence while appealing to an international audience?

Sri Lanka is rich in culture, landscapes, and hospitality, and my challenge was to translate that vibrancy into visuals that spoke to international travellers. I approached it by focusing on experiences rather than just sights, highlighting the food, the energy of the markets, and the warmth of the people. 

Having Australian celebrities in the project created a relatable entry point for international viewers, while the visuals honoured Sri Lanka’s authenticity. It was about balance, keeping the soul of Sri Lanka intact while making it aspirational to a global audience.

You’re currently writing a book on filmmaking. What key lessons or philosophies are you most eager to pass on to aspiring filmmakers through this project?

In ‘Fundamentals of Filmmaking,’ my expectation is simple: to give anyone interested in filmmaking a solid foundation, a clear understanding of the basics, and even a refreshing reminder for those with prior experience. 

More importantly, I want to encourage readers to reflect on themselves, to recognise where they fit in, and where they want to be on their filmmaking journey. The book is my way of giving back, bringing together what I learnt academically with what I have experienced in the industry. 

At its core, it is designed to provide the knowledge and confidence to move from academic learning to writing a script, developing a project, directing, working as a DOP, and ultimately delivering films with techniques that meet world-recognised standards.

With such a diverse portfolio spanning broadcasting, marketing, and independent filmmaking, what’s your ultimate creative goal for the next decade? Do you see yourself staying behind the camera, expanding into production leadership, or even mentoring the next generation of filmmakers?

I see myself continuing to do all of these, because each role strengthens the other. My goal for the next decade is to keep evolving as a filmmaker while also mentoring the next generation. I want to direct and produce feature films that bring Sri Lankan stories to life on global platforms, while continuing to learn and share my knowledge and experience to inspire young filmmakers to pursue their own creative paths.