作者：百年不渡分类：未来幻想点击：2368次下载：198次大小：70M 日期：2026-08-26

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Inside Dhurandhar: How Smriti Chauhan Crafted Ranveer Singh’s Most Talked-about Look – Exclusive_我的网站

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一 | 8月25日消息，特斯拉近日公布了一项新专利申请，计划将能够吸收挥发性有机化合物（VOC）的材料直接融入前置摄像头外壳中，从源头解决挡风玻璃内侧起雾问题。

二 | 长期以来，不少特斯拉车主遇到前置摄像头可见度警告，即使挡风玻璃外侧完全干净，问题依然存在。 Costume designer Smriti Chauhan is one of the creative forces behind Ranveer Singh’s look in Dhurandhar. She says the film’s now-viral bearded avatar was born from months of iterative work, collaboration and a deep integration of costume with hair, makeup, lighting and performance. In an exclusive conversation with Filmfare, Chauhan breaks down the meticulous process, from conceptual sketches to 40-metre salwars and silicon jewellery designed to survive high-octane action. Region, story and technical precisionChauhan reveals that the idea of a full beard was rooted in the character’s geography and cultural background. “We knew there was going to be a beard because of the region he comes from, what he’s performing and who he is,” she says. The hair and makeup team played a decisive role as well. They dictated the skin tone, lens colour and texture choices that needed to sync with her costume palette. “Costume and hair and makeup cannot be separated,” Chauhan emphasises. “The look comes alive only when all three, costume, HMU and lighting - work in harmony.”Ranveer’s inputs and a sharp eye for detailChauhan was nervous as she met Ranveer Singh for the first time while working on the movie. However, she says that the actor immediately put her at ease. But Singh was far from a passive participant. He dissected materials, cuts and accessories with precision. He’d ask, ‘Why linen? Why not silk? Why this jewellery? Why this structure?’ According to the designer, his questions pushed her to have solid answers.Smriti also shares, “And when you have the answers, it gives you more clarity. So with Ranveer, he ensured that he helps the two of us get clarity on the character. He also added some technical bits. He asked me to add a wire on the collar so that it stays like that when he is moving around.” Ranveer’s physical transformationOne of the biggest challenges for Chauhan’s team was designing for a body that kept changing. Ranveer bulked up for a portion of the film and then shed weight rapidly for another. “We had to ensure that with every change in his body, the clothes didn’t show that change... The look had to stay consistent,” she shares.The character evolves from a street nobody to someone big. The costumes had to mirror his transformation. Initially, his look is rooted in ruggedness. “So all of this came together working very closely with him. We understood which materials are working the best and which is looking rugged. His entire journey in this film is like that of a nobody becoming somebody, like really big. So that journey itself was grand.” The nightmare of action-friendly jewelleryLater, as the character rises in stature, accessories become key. Ironically, Chauhan had laughed off Ranveer’s early questions about accessories because of the heavy action sequences. But he persisted. “Cut to the first sequence in the teaser - he is loaded in accessories. I can tell you this, I’ll throw a rug on him and he’ll carry it with perfection. The next thing you know is that we have added so many accessories on him,” she adds.As the film is packed with lengthy action sequences, some shot over 10 to 12 days, Chauhan’s team had to create silicon jewellery that looked real but wouldn’t injure the actor or break under impact. “It was a nightmare but became necessary.” The Balochi salwar challengeOne of the film’s most technically challenging pieces was the traditional Balochi salwar. The authentic garment uses 30 to 40 metres of fabric, which is impossible for action scenes. Instead, Chauhan’s team created prototypes using 17 to 20 metres. They experimented with fabric weight, fall, pleats and movement. “We kept making so many prototypes. When he wore it, it looked less; when we spread it out, it was huge. Overall, it was a massive learning experience,” she recalls.Months of prep, presentations and look testsThe team spent two to three months preparing Ranveer’s looks. They went through six different presentation decks and multiple iterations for each phase of his journey. Three comprehensive look tests were done even before shooting. Moreover, sudden scheduling changes accelerated everything. “We thought we’d shoot in October, but suddenly the shoot got pulled to July. We were like, ‘What?’ But luckily we had done early homework,” she recalls.The moment Ranveer called her a ‘Rockstar’Chauhan recalls one of her most overwhelming moments when Ranveer looked at the first major look test and told her he’d “never seen this level of detailing.” “Coming from someone who’s worked with the greatest designers worldwide, it meant the world. It pushed me to raise my own bar,” she says.Despite the scale, the pressure and the physicality of the film, Chauhan says Ranveer’s collaborative nature made the process smooth. “He is the best team player I could have asked for. His encouragement, his curiosity, his involvement - everything helped build the character’s world,” she quips.Also Read: Sara Arjun gives Dhurandhar co-star Ranveer Singh a moving tribute as she shares BTS photos。原因在于，摄像头外壳中的塑料、黏合剂以及车厢内其他材料会持续释放VOC和半挥发性有机化合物，这些物质在挡风玻璃内侧凝结形成雾状薄膜，逐渐影响摄像头视野。要彻底清洁这一区域，通常需要拆下后视镜和摄像头外壳。在美国，特斯拉提供这项清洁服务，根据车型不同收费约50至89美元（约合336.5至598.9元人民币）。 2025年9月，马斯克曾表示简化前置摄像头清洁流程是特斯拉“重点关注的领域”。此前外界讨论过更容易拆卸的摄像头外壳以及改善通风等方案，但特斯拉最终选择了一条不同路线。这项新专利的思路并非让摄像头外壳更容易清洁，而是从源头阻止污染物积聚。特斯拉提出使用含有微孔晶态铝硅酸盐颗粒的聚丙烯材料制造摄像头附近的塑料部件，这些类似沸石的颗粒内部存在大量微小孔隙，能够吸附并捕获VOC分子。在部分设计方案中，这些颗粒占材料总重量的比例约为70%。特斯拉描述的孔径大约为3至10埃，并可以通过采用不同孔径的材料来吸收不同类型的化合物。

三 | 此外，这些沸石颗粒还能辅助控制环境湿度。特斯拉并未选择在零部件表面覆盖一层VOC吸收材料，而是将吸收颗粒均匀分布在塑料材料内部，使相关部件在长期使用过程中持续吸收VOC。目前这项专利尚处于申请阶段，并不一定意味着会应用到量产车型上。但这种无需主动操作的被动式解决方案，有望从源头上缓解前置摄像头污染问题。此前特斯拉已在2026.20软件更新中新增了前置摄像头清洁服务模式，方便车主在FSD效能下降时排查问题。