Painting Crane Glass

Shooting Stars: Interview with Indiae ™ € s Greatest Living Photo Rajiv Jain

Shooting Stars: Interview with Indiae ™ € s largest photography Vivo Rajiv Jain

The technical aspects of filmmaking from exposure to the Set Operations and Formats

Rajeev Jain - ICS Wicca

Indian Bollywood Director of Photography / Photography / PDO

The full interviews, Vol II

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UMA: Can you talk about their inspirations before you got in the picture?

Rajeev Jain: See color television first began my fascination with the technology of light and photography. These studies were enriched by a remarkable meeting called PDO KK Mahajan, Mr Mahajan, introduced me filmmakers like Mrinal Sen, Adoor Gopalakrishnan, Mani Kaul and Buddhadeb Dasgupta. And soon realized what a phenomenal art form this technology could be wonderful. At the same time, when I was 13, I was gate crashing the set of Shatranj Ke Khilari in Lucknow, Satyajit Ray, who was directing and Soumendu Roy, was shooting. Roy was the interior lighting of this huge, Arri IIC shot in what was probably 125 ASA color negative. He seemed to be everywhere at once, to refine the framework with the operator by adjusting the positions of players in the background, adjust the light of at least a dozen babies. When driving a beautiful actress Shabana Azmi to your brand and subtly adjusted in the shade at the front, I thought that this man has the best job in world history.

UMA: If you were a quality label of a PDO really need to succeed in movies, what would it be?

Rajeev Jain: I think that in the absence of a better term, would be a point of view. Everyone sees the world from their own perspective and that uniqueness is what the Declaration of Principles provides the film with respect to history, of course. It is difficult now because much of the industry is driven by economics, which means you're a hero if you can throw up a few soft lights and release a lot of shots. This goes against an idea and a sense of what is absolutely right for the story you're telling. But, if you choose carefully and find the right director, his view will leave an impression.

UMA: Was there a key moment may signal when knew you were going to end up being a cinematographer?

Rajeev Jain: Well, there was a good time, but it was pure chance. I had plans to be a director of photography "None whatsoever.

UMA: Your work has always been so pure to me, almost spiritual, in a mode. What is the most important quality DoP should carry a movie?

Rajeev Jain: The most important task Director of photography is to create an atmosphere. To interpret the mood and feel the director wants to convey. I especially do this task by using very low light and very little color. There is a saying that a good script tells you what is being done and what is said, not what someone thinks or feels, and there is some truth in that. Images, not words, capture feelings in faces and environments and I realized that there is nothing that can ruin the atmosphere as easily as too much light. My search of simplicity results from my search of logic in the light, real light.

UMA: If you had to pick one quality needed to have a PDO success, what would it be?

Rajeev Jain: Taste. What really means the ability to know what scripts to work, what feels good in terms of composition, lighting, everything that happens during a movie. Taste is an instinct and should lead to projects which will offer a great experience. I've been lucky so films I've had the opportunity to work, but that's part of my ability to go with what feels right to trust my taste and see where it will take me.

UMA: I wonder what the director never got to work with that you would have liked, living or dead.

Rajeev Jain: I think, of which no longer exist, would Satyajit Ray. His ability to tell a story visually was amazing. And to the extent that there still would have to be Adoor. These are directors who do not rely much on the spoken word, his talent is very pure in the sense of sight, and that most interests me.

UMA: 25 years have passed since I was a little boy standing on the railroad in Etawah. Can point out one thing I've learned as a PDO that helped travelers tracks better than any other?

Rajeev Jain: Light. For all we do as human beings are affected and defined by light. A picture director is a master of light. We must think about light, learn to see in all its forms and approaches. It is absolutely the most important tool we have to work with the Director of Photography, I believe, as people, too. It was always the only thing that was so conscious of when I was watching the railroad tracks as a child and now years later. The light.

UMA: So is that a shot of all time favorite?

Rajeev Jain: No, not really. The problem with singling out a hit is that goes against what I think movies should do. A movie is a sum of its parts and a dose is as strong as what has come before. Pather Panchali points that out really well. It's mostly done in these very straight in medium shots. Towards the end of the film, after the death of Durga, Apu see brushing teeth, combing hair ... goes about accomplishing tasks, which would implicate his sister or mother. Sarbajaya (mother) has a vacant stare ... Harihar returns, unaware of death Durga. In a jovial atmosphere that he calls his children. Without any reaction Sarbajaya for water and a towel for him. Harihar begins to show the gifts that have brought to them. When displaying a sari bought for Durga Sarbajaya breaks. We hear the high notes of a musical instrument "Tarshahnai" symbolizing her uncontrollable crying. Aware of the loss of Durga, Harihar collapses to his wife. We Apu speaks for the first time to take center stage in history. So far the story was seen from the viewpoint of each Sarbajaya or Durga. It is only in recent times we see Apu as an independent individual. This framework, which is incredible, it would have meant almost as if the entire film had not been done at this level of the eyes, the focus midplane. To select a single shot on film is undeniable that the vaccine is important already set forth.

UMA: Can you imagine a life without photography? An entirely different race that took?

Rajeev Jain: Of course not, when I was younger I could not. But later in my career, having done theater and photography, I discovered this desire to physically go study. I was in love with the concept of relativity of Einstein, was the greatest poetry I'd read. The concept that any matter contained in the energy and power in this area shows the power of the intuition of a man. At that time I had a family to support and I realized that my way was in the film, not physical. But the instinct was there, however.

UMA: Form and content work in harmony.

Rajeev Jain: Absolutely. , As light and darkness, which seems to conflict can sometimes lead to a perfect Union and of great power on the screen.

Tags: Rajeev, Rajiv Jain, director of photography, cinematographer, Bollywood, India, India, Mumbai, DOP, kalpvriksh, cameraman, Kenya, Kenya, Dubai

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Rajiv Jain Photo: Theory and Practice

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Rajeev Jain is a 2 time award winning Director of Photography and has been nominated on numerous occasions, the appointment more recent "Outstanding Achievement in Single Camera Photography" Spring 09.

In the past 25 years, Rajeev has built its reputation work both in film and television. He is considered a pioneer in the world of HDTV, as one of the first DPA € ™ s to work in the new medium.

Rajeev € ™ s close collaboration with the Indo Study (the first company producing high definition television in the South Africa) during the nineties he became one of the few DPA € ™ s who has worked with every generation of high-definition camera since its inception. Their scope of work includes documentaries, commercials, reality, Children € ™ s television and independent films.

Rajeev Jain has created a masterpiece.  € œ Rajiv Jain Photo: Theory and Practiceâ €: is his third interview with me and for director of photography or experienced candidates â € "the best interview I made reference.

Anyone who aspires to the supreme art the narrative should have this article on your platform. He writes: "At the heart of it, film is shot, but the filmmaking is more than the mere act photography. The process of adoption of ideas, words, actions, emotional background, tone and all other forms of nonverbal communication and representation in visual terms. "Through metaphor both verbal and pictorial example that holds the keys to this art from his hiding under the bed and hangs there same in the plug in the wall of the kitchen. All you have to do is lower them and put them into practice.

Learning the language of visual art is more than learning the difference between subjective and objective camera angles, or knowing what the director means when he says he wants to â € œâ € When you choker.â finished the first chapter to be a fairly good in terms of a director and cinematographer on the set of twisted sound like a pro. In the time they reach the fifth chapter œCinematic Continuity € â €, have been exposed to enough graduate-level theory and practice to begin on the road to mastery of form. I especially liked Rajeev € ™ s the explanation and examples of continuity. Videos and songs from Bollywood has had a profound effect on new filmmakers that many of us the â € ~ Old School € ™ have a tendency to wonder Whata € ™ s happening at times. There is a lack of â € € œcontinuityâ mounting in many sequences you see now days that was comforting to see that both time and space devoted to a so much of the narrative.

Glossary

Cut (broken, cross-sectional) A court that makes the transition sharply since the end of a shot at the beginning of the next shot. A shot is said to be inserted in another movie where the returns to the first injection, and when we see a closeup of a character's face, then a flashback memory that the character is to be inserted in the taking facial, and when the reverse is more the returns facial film making. Occurs when transverse cuts of the film and vice versa, or between parallel actions, as in a chase scene.

Deep focus photography Maintaining focus and clarity of the constant image of the objects that appear close to the camera in the distance in the rear of the chassis, allowing the viewer to see more space within the shot, including background details and actions.

Dissolve (party break) A transition to the next shot where the image overlay a time, sometimes is used to relieve the visual abruptness of transition (from a scene to a dark cave lit illuminated snow scene) and sometimes used to suggest an association between two images (from a letter to a character to a plane of this nature to read the letter) A party to dissolve that in which the graphic elements of the two images coincide, as in the closing Psycho shot in the eye of the murdered woman and the shower drain.

Editing (editing and cutting) The way the pieces of the film together. The assembly is the French word for editing, or cutting, but also has connotations of creating meaning through editing patterns. Hollywood Montage usually refers to the rapid cutting and multiple shots, often using dissolves many to create the effect of chronic rapic the passage of time, like a character from youth to maturity.

The establishment of (or teacher) shot an extreme long shot that shows (or create) all the space in which the next scene will take place. Many scenes begin with these shots to guide the viewer, sometimes there are two vaccines that are established, one outdoor and one inside.

Line of sight coincide with the establishment often through court, the direction of the character's eyes. Sometimes shot shows a character in appearance, and a second shot will show what the character is looking. At other times, the term used to refer to the directionality Character lines of vision within shots.

Flashback A leap in time from the present narrative into the past. Instead of proceeding chronologically through history, flashbacks allow filmmakers to go back and forth between past and present.

A formalism of the film theory that emphasizes the formal properties of cinema that shape the way movies are made. Formalist recognize, for
example, the screen space is the organization of an artistic activity that differs from our everyday perception of real life. Major formal theorists include Sergei Einstein and Rudolf Arnheim.

Invisible A standard style of filmmaking in which the style is usually not noticed, based on the assumption that the narrative is always more important than the style and dominate it. These devices are not crossing the line of 180 degrees and cutting on action, reaction and dialogue contribute to this invisible style.

The 180 degree line an imaginary line drawn between the camera and the actors / action camera will not cross in order to avoid confusion and maintain a style viewer invisible.

Realist film theory that emphasizes the nature of film recording, and the connection between the camera and what is in front of her in real life. Realistic most important André Bazin and Siegfried "Krucauer.

Scenes A scene is a certain narrative unity per unit of time and space. The world events occurring in a while a later scene, for example, may occur in the same place at a different time.

Shot (shot near or close-up, medium, large, two shootings, monitoring, and Dolly) A photo is an image in the film without interruption by cuts or other transitional devices. The terms close shot (or close-up), medium shot, long-term draft and indicate the distance from the camera of the central object being photographed with a person, usually the foreground, shows the face and maybe the shoulders, a medium shot shows the person's waist, a long shot show whole body of the person. A two-shot featuring the two characters alike. Tracking shot or dolly (or Dollie) are those in which the camera moves. It has been traditionally mounted on a moving platform, or platform, and would continue or "theme" a moving object, like a character walking or galloping horse. Dolly Tracking or injections can also move through a set (like a house Hounted) in which nothing moves, giving a complex depth to the shot.

Shot / A reverse shot editing editing pattern which shows, first character and a cut to a reverse plane gives us a vision almost opposite, usually another character who is talking or interacting with the first. Many scenes just go back and forth between shots until all those meaningful dialogue has spoken and the action has occurred.

Stylistic norm of the stylistic features of film at a time determined. Departures from the standard style can be successfully used by creative filmmakers because it's a surprise.

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Master of light: Conversation with Indian Bollywood Contemporary Photography â € " Rajeev Jain ICS Wicca

EXCLUSIVE! Rajeev Jain (India Kenya Director of Photography)

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Kenya Photography Indian Rajeev Jain talks about joining Heart Beat FM and explains the meaning of the "Heart Beat FM wide shot" of the M-net € ™ s exclusive interview.

Rajeev Jain is good, great, fun, intense (in a very good) and very intelligent. Oh, and I can not think to mention, that is a director of world renowned photography. Although it looks a lot like his good friend, Matthew Robinson, who is his own personality, an individual and a damned good rate. Talking to him it becomes clear why these men work together so often and so brilliantly. They are like two halves of a whole. As Rajeev told me during our interview, â € œSometimes Matthew and I think so much alike, itâ € ™ s € scary.â Now that I've interviewed the two, I see what you're saying and, itâ € ™ sa very good kind of fear.

So what do you talk to a famous director of photography on? Well, we talked a little bit of everything. We speak on the support site and their work.

Rajeev is in the Kalasha Film & Television Awards in Nairobi, Kenya, where he soon will be present at the ceremony Closing and are struggling hard with a bad Skype connection. Our interview voice becomes one originally made by type of text messages to remedy the problem. And Rajeev, with everything he has before him at the festival, doesn € ™ t hesitate for a second to spend the extra time needed to write instead of talking about the interview. Iâ € ™ m very grateful. I owe a great debt to the generosity of their time and spirit of this interview. Oh yes, and a glass of vodka.

Q: What made you agree to come aboard?

A: It really is a nice story. I had made the long journey to three years and show to the left because I was living in Nairobi that time and I was tired of roundtrip flight to Dubai and Mumbai. I was looking for something in Nairobi, because I wanted stay there. So when I called, I said "No, thanks. I do not care." And my uncle said, "Rajeev, reconsider that. Ask them to send the script. I've seen the script. It's what you're looking for. "Then I sat down and my uncle and I read the entire script, basically, in one session and I turned to him and said, "You did something very wrong here. I can not say no to this program now. He said he knew what he was doing. Despite he did not want to live separately and it was very hard. [To his uncle] Is not that what happened? She said yes. Smile.

Q: Do you was the DP for the entire season. How is working with a director who has a different view almost every week?

A: Since I shot each episode, I had the opportunity to prepare with the director. So it would arrive at a concept and come to develop and rehearse the scene. If rang true to me and I felt that was the way forward, I would say, "Great, it's a good idea." If I wanted something that was tangential to the style of the show we were trying to maintain, then I could make a suggestion to try something else. If you are an intelligent director who listen to people who are there all the time. I tuned very quickly to what Matthew Robinson wanted. Matthew Robinson I would call and ask if you saw the papers yesterday, and what he thought of them. And I would give a better idea whether I was on the right path or not. And after three or four episodes he got what he wanted, rather than 100 percent of the time - Nobody can do that - but a good 80 per percent of the time.

Q: What do you consider signing Heart Beat FM shot?

A: People shooting wide shots are referred to as FM heartbeat. Directors say: "Let's make Heart Beat FM shot", that television is not something you see very often. Matthew Robinson likes keep things more shots and I get really, as well - that puts your character in a place or a place, which says something about her character. So see it as a device storytelling. The other type of shot that is characteristic of the show is when something big in the foreground and then a little further to the bottom width. We call wide and closed. You can keep the focus on money, say, in the foreground and our characters are at the bottom or out of focus or smaller.

Q: Do you ever get so caught up in the quality you forget to pay attention to the technical side of things?

A: That's what I to pay attention. My job is not only to do the lighting and create drawings, but to ensure that the lighting and shots to reflect the fashion scene more effective way. If I am moved by what I see, I know we've done well. I have people who operate the cameras and people are lighting and rigging. All persons keep an eye on the technical side for me, and I am concerned with storytelling. That's what interests me about the efficient use, stories.

Q: What is your favorite scene?

A: I can not say because it's late in the season. Youâ € ™ ll know it when you see it. It crazy as the story unfolds. Here's one thing: What Matthew Robinson and writers do is to drop a single line in the first few episodes and then not mention anything about it until nine episodes later, and then suddenly there's an episode all about a single line. It is interesting for me to work on something that is very well planned and circular in terms of its narrative. I think it's just brilliant.

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The form of light â € "Rajeev Jain paints with his camera

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Rajeev Jain (of birth: 1968, Lucknow) began working as a cinematographer in 1993 after an apprenticeship as a camera assistant and camera operator. Since then, Rajeev has worked as director of photography with some of Indiae € ™ s most esteemed directors, in some cases establishing a close association and intimate. Us Rajeev Jain encounter in India, to mark the five-day seminar organized by duration Film Club New Delhi on the form of Light, an event that involving hundreds of students, filmmakers around the country.

How has the film in the last fifteen years?

I went to Bhartendu Academy of Dramatic Arts (Bhartendu Natya Academy) in Lucknow during the period of the new wave. We witnessed a cinematic quality had unchainedâ € ™ â € ~ itself in many ways, in films of the period until the end of the 1980th € ™ s. Even assembly is much freer, and Photography / Administration, with Gautam Ghose in the lead, were in search of greater freedom. Even when it came to shooting, using hand-held cameras, using natural light or lighting in a way that seemed natural, as through open windows, etc. In other words, a absolute freedom either camera movement or lighting.

And in our country?

In India there was still a more classic style of photography, and I am referring, as Subroto Mitra, Sudhendu Roy, who worked with Satyajit Ray to Agantuk (1991). Meanwhile, other new filmmakers with different ideas are also emerging, like Ashok Mehta (36 Chowrangi Lane), especially in black and white. But this picture in black and white aesthetics adequate own beauty was a characteristic feature of the merger of illumination to the atmosphere or environment. Therefore, from this point on the picture acquired a meaning perhaps more importantly, a total symbiosis with the film and narrative.

Will the meeting between the director and the director of the influence of photography on the career of one or the other?

During the seminar, a meeting of a good director of photography and a great poet. With Ray's film, moreover, there was undoubtedly a decisive turn with the arrival of Pather Panchali (1955) onwards.

Filmmakers who have left an impression especially you?

The relationship with Shyam Benegal in Tota Maina (TV Series) certainly was for me an event that I remember with great emotion until today. I find people who trust me she decided to become a director of photographer, after watching that series, or directors decided enter the film through the Tota Maina. For example, one day there was a Kenyan child happened to be at home that decided to come to India to do after watching TV seial Tota Maina. So it was an important film for many people, and much more for me because I was fortunate to work with Shyam Babu.

How you meet?

It was almost by accident. He was looking for a cinematographer who was also mentally prepared for this adventure, and through from various sources, my name appeared. A friend of mine who worked as assistant director introduced me to Shyam Babu. I remember when I called to say that Shyam Benegal wanted to meet me. We met in his office for tea, and at the end of this meeting, get a script and offers it to me. I can feel the emotion of that moment now.

Can you tell us about TV Seriesâ € ™ s â € ~ dynamic photography € ™?

Shyam Babu told me that the TV uses time as a narrative element, while the picture is normally kept constant for the duration of a sequence. It is precisely the time the â € ~ dynamic photography € ™ takes to make a different consistency to the film. One example is the atmospheric conditions in nature: if a cloudy day, the sun rises at one time this change the condition of light. In an interior space, if someone enters a room dark and light comes from this will change the condition of light. However, this is all linked to specific actions. This speech is amplified in Tota Maina, where in addition variations in natural light variations have been added corresponding to the emotional reasons rather than any sense of logic.

In some scenes which also use different shutter speeds, sometimes barely perceptible.

During filming Shyam Babu ask certain frames requires a slight increase in shutter speed, barely noticeable, and therefore away from the slow motion effect that we have been accustomed to seeing in many series television. This was the only one to have more suspension, therefore always serve a certain atmosphere in the series. Technically, this variation in velocity is a slight adjustment of the diaphragm. Shyam Babu was very precise and demanding in his choice of photography, not only myself but the whole company was so impressed because of his personality that voluntarily comply with the request of each.

In the course of this seminar have lamented the fact that it always is more difficult to shoot a film in India, with special attention to cinematography. Why?

Mainly because there is a lack of respect for the profession in India. In the few films I shot with foreign crews and output that actually discovered more professional respect. So certainly not a lack of preparation, because If films are not well prepared you will end up improvising on the set. Another reason is understanding of the filming schedule, because if you shoot a movie in ten weeks or five weeks the result will be distinctly different. With the advent of publishing Digital also a tendency to pass the full negative through the telecine and then in AVID, without printing the so-called â € ~ dailiesâ € ™ that I think it is very important to control possible technical problems. This happened with a film shot abroad, where an entire scene had to be reshot after of only the discovery of an exposure problem during assembly.

Strictly speaking, technically speaking, why is that Indian films are no longer manufactured with the same care as they once were?

Perhaps what is needed is a real love of cinema. The problem is that there is producers and understand that investing in projects that interest them. It is no longer the person you love the movie so much that they want made as thin as possible. The operation now is to make the film only with the budget in mind, sometimes, whether the film is good or not.

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Making Ras Star â € "India Kenya Photo Rajeev Jain

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RAS STAR IS currently on the International Museum FILM FESTIVAL OF WOMEN.

Ramirez job Next was a short, Rasstar, based on the life of Kenyans Nazizi rapper, which was broadcast on M-Net.

Synopsis: A rapper in the adolescence, Amani, a Muslim family firm with his brother teams Abdosh, an emerging artist to find a way to make money and put it in the final of talent show. As the story unfolds, Amani and his brother caught with a local gangster and a stolen phone incident language and simplistic use of his brother to take them out. Through luck absolute blind manage to find the money they need only to come to blows with his uncle Shaka, the family patriarch and Mlandimu, the local gangster who finally saves them.

Rajeev Jain, a Bollywood versed Photography Photography Director, talks about his new award-winning film, Ras Star, and the only approach camera used specifically for this film about a young woman € ™ s the search for life. With a background as a cinematographer for features such as the Army, Badhaai Ho Badhaai, Carry On Pandu, Kadachit, Kalpvriksh â € "The tree of desire, not by Mirabai and Kabhi Kabhi Pyar Mein, Rajeev has had enough experience behind the lens to make the leap to film. He also has credits for photography Award Winning TV Series Kenya Heartbeat FM.

Where are you and how you became a director of photography?

[Raj] I am from Lucknow, in the In northwest India. My first degree is in science and took a while to find my way in a more artistic. After several twists and turns in the finished Bhartendu Academy of Dramatic Arts (Bhartendu Natya Academy) to study drama. I managed to direct some short plays and not the camera for many more. Since then I enjoyed both documentary and drama in each chamber to inform and promote the other.

How to approach the cinematography of Rasstar?

[Ramirez] Through discussions with Wanuri, finding films that botha liked visually. We wanted to find look separately for each story and a different look for today. We found a visual theory "for each section (eg, color scheme, red and black for the story of Amani, for long lens of history and Abdosh very wide lenses for Mlandimu). The issue needs to be able to implement quickly (then aid in the classification) because of very tight schedule. It then applies the theory to a visual shot list (which often had to do this the night before, due to changes or missing yet)

What was it like working with HD for the first time?

[Ramirez] With a 35mm camera that is looking directly through a lens and see the beautiful scene of color and may rely on their eyes, as part of the photographic process. With a high definition camera you Image viewing a small black and white through the viewfinder so you need a large (ideally 24 ") HD monitor to properly judge what is rolling. This is enormous and entirely practical with a small crew of low-budget and we achieved with a 14 "monitor a good amount of time but in the mountains or on a remote beach only a small battery monitor is possible. This is very frustrating and led to some things that could have been better.

HD is horrible see if any area is overexposed. This proved more problematic in the open that we have chosen to shoot in very wide lenses which means there a lot of sky in the shot. Unfortunately, the sky was particularly flat and overcast but relatively bright white.

The biggest advantage to HD was able to travel much lighter a couple of zoom into the city, for example, and be able to film 2 hours worth of material without concern (which would have been approximately 12 cans great movie of 1000 meters and freight transport). It also meant Wanuri and could erupt at weekends and shots of the city of cinema and trucks very easily.

How important is storytelling?
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[Ramirez] Storytelling is a big part of life from a early age. Itâ € ™ sa way to find meaning in the world. For a child itâ € ™ sa way of understanding the world through metaphor â € "is not a child thinks of it that way.

If the world blew up and the few stragglers who met upa wouldn € ™ t long before they gathered around a fire, and someone started to tell stories to make sense of things. Stories entertain, offer an escape route or the catharsis, stimulate thinking and discussion and make people laugh.

What was the best thing to do Rasstar?

[Raj] I better was that so beautiful a part of the world working on a script that uses the slum in Kenya, as part of the story.

What was worse?

[Ramirez] The first day of the action sequence on the market. The crowd took so long to get to the location you have in the camera crew to reduced to make beards of moss and a feature length documentary about the clouds (clouds some very fine though).

Can you tell us a couple of interesting / little known / behind the scenes of the things about the conduct of Rasstar?

[Ramirez] Wanuri is undoubtedly one of the directors who work I'ma € ™ have worked with, but I think I found a limit of one Saturday night. We were shooting in the pub (peak performance) and collect UPA shot and had a choice to go to the local tavern, where some of the crews were getting into the meat of lamb and downing beer or fine head. The light seemed too so tempting headed and thank God we did because the light was astonishing. deep red light was shining on them bouncing on a black background. There were so many mosquitoes that we had to put the camera up and running around away from the group around the camera. We shot for ages and the light was low, but still great approaching. I tried to get one last chance with the DJ over the console in the foreground when Wanuri suggested that there was sufficient and should go, words I never thought shea € ™ d say! (The shot was a pleasant and made the final film).

Have you worked on something from Rasstar?

[Ramirez] From Rasstar IA € ™ ve filmed Kalpvriksh â € "The tree of desire. It was a great experience to film in such a remote and interesting. Mahableshwar I rolled a half-hour comedy for the channel: "The smallest man in town" and IA ™ € I also filmed and edited a half-hour documentary in Dubai about a cleaning lady who works ina Dubai. Recently I have been a feature Dop Low budget € â € œCarry at Pandu.

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My Film Style | by Rajeev Jain | Indian Bollywood Photography

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FIRST PRESENTATION:

For some time I have been willing to put in writing my views on the film and my aesthetic style and now here is not to say is.a dogmatically that follow - is simply what works for me strokes. wide As an Indian filmmaker, you should be able to give the director or production of But I asked. any aspect within the visual and aesthetic constraints of any kind of production - or lack of supply of his - an element of me always there. Rules were made to be broken - but only when you have a complete understanding of rules. Although I can not claim to know all of them, I am learning with each production. Here are some of my thoughts ...

The aesthetics of a project is necessary to establish principles of audience. is a distraction introduce a new aesthetic style or writing a story too late without adequate justification or motivation.

Another area that receives very little Attention in the atmosphere shots - shots that fill the space between scenes. It gives the public some time to breathe and think and can be a time for music affect the audience.

I graduated filters unnatural. too fake and does not focus our attention and, instead, usually draws attention about himself. I do not think I've used and have yet to be criticized for my decision.Â

Most directors cut too soon, both on set and in editorial. Overall, expect to say, "Cut".  Sometimes an actor can give a gem of a moment at the end of a scene if wait. worth and I'm surprised the Often a director will use that time in the final cut. hold is good an actor at the end of some scenes to allow the audience to take in the moment and reflect.Â

People change and so do their views. So I'm sure my opinions may change, too. Until then ...

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Stew art, photography ... by Pocket â € "Indian Rajeev Jain sized photograph

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I like films that are works of art, and each scene is masterfully photographed for the brilliant composition to create lines of action, the symmetrical balance, with good use of space, texture, color and perspective. Here are two movies I saw recently again and represent the wonderful visual language.

So what the hell is a cinematographer? If you want to get into semantics, which means "writing on the movement." But his work, especially, is to have control of the camera and lighting equipment in a scene, and therefore have a lot of creative input into the final image. Although considering the fact that the art director is responsible for the staging, the storyboard artist plans the shooting and what is happening, and the director will want to have a piece of the action, then no wonder how the films end up looking great. Here are some of the boys who managed to do this (in my opinion little)

What qualification can be studied in Bhartendu Academy of Dramatic Arts and when you finished?

I went straight from high school Bhartendu Academy of Dramatic Arts and has a 2 year Diploma in Dramatic Arts, specializing in lighting and graduated in 1985. The courses are aimed Now. differently is directed more like a film school of art school, which I think is excellent! Allows students to make earlier decisions on chosen field in film, television, and is a director of photography, director, producer, etc. aa editor also better prepares students for work in education industry. is much more than just how to make movies.

What do you think of the facilities which recently saw Bhartendu Academy of Dramatic Arts (Bhartendu Natya Academy)?

Facilities Bhartendu Academy of Dramatic Arts are great, I would say that world class even. The main production studio is well equipped. post production facilities, such as editing suites and mixing rooms as sound are being used in much of India's film and television industry.

I am also particularly impressed with the value of production of student films in recent Bhartendu Academy of Dramatic Arts. I think the standard of work is quite high.

I think it's fantastic students get to shoot film projects is the international industry standard format for movies, television drama and more abroad. Rarely students have the opportunity to work with film, now that digital formats are becoming more and more prevalent. If you are able to shoot and work with the film, then you will be able to work in any format you're out there. ™ € It doesn t work the other way around.

What I mean by this is that filmmakers are the same whatever the format you shoot in. However, shooting the film requires a different approach, both technical and creatively. These principles apply to digital cameras, but shooting the film requires a greater understanding of lighting and exposure.

The digital computer Bhartendu Academy of Dramatic Art is a type and quality, enabling graduates to leave the industry and understand the functioning fairly any other piece of equipment will come through. There is no reason why the quality of student projects can not € ™ t match the high professional project quality, as the team is using is the same.

I am also particularly impressed with the production value of films students in recent Bhartendu Academy of Dramatic Art. I think the level of work is quite high.

What was the first break or work that was instrumental in establishing in their career path?

I had a series of breaks and I think many of them have in them. A series of fortunate events one might say, but if I was to think of a big break in particular was a night that had just finished editing my new show reel of film. (A reel show is like a portfolio of work, the reduction of my best photography edited to music.)

As he had done, came through an email mail that was forwarded to me by someone I barely knew. The email said that a production company in Kenya was in search of a filmmaker Indian to shoot part of an international film went to the screen at the World Expo in Nairobi, Kenya and wanted to see figures shown.

I went to the office Post the next morning and shipped express mail mine off. I received phone calls just days after it confirmed it had job. that was moved to Nairobi and worked with a full professional team in what was my first big job.

The people I met on the project liked my work so that I got a call a month later and took me to shoot some ads Darussalam. I finally returned to India with a new and improved show reel. Vista International workshop on the reel raised my profile and made me more jobs and bigger and better agent and I Awaya € |

A case of right I believe the moment!

What qualities do you think are needed to make a career in the creative industries?

The quality that I admire the creative professional success is the ability to be proud of Oneâ € ™ s work. Whatever your own creative pursuit, I think if you're doing work you really like, and who are proud, then you have the luck to have one of the best jobs in the world.

Also I think a challenge to yourself to work outside their comfort zone and it is important to realize that to succeed we must be consistent, positive and work hard.

Whatever field that is creative, it will be a hard slog to get your race course. With creative careers are judged on their body of work and his career. The first thing to do is create a portfolio, or in my case, a show reel, and then prepare for the criticism and hit back and never giving up the use of beatings back as an incentive to work harder and set higher standards.

I also think it is important to â € ~ passion projects € ™ that allow you to experiment with new ideas or experience. For projects of passion, I mean you do for the love of it and not pay. I shot a lot of â € ~ freebiesâ € ™ for my show reel to zero and gain experience before starting to charge for my art.

Also itâ € ™ s important to work on your network contacts. never know when that person you might consider as a rival could actually pass the work or introduce as new partners. The film industry is too small to enemies. We should be like a support network and learn from others, in order to continually better projects.

For you, what are the "must see" movies of reference in terms of pioneering cutting-edge cinematography, or?

Well for starters the picture on the recent Indian films Kalpvriksh â € "The Tree of wish â € "Dreams Yours are so close and soon to be released Carry On Pandu are quite exceptional. Ha!

No, seriously, some of my favorite and most influential films in terms of photography are not the only ones with the big crane shots or shooting worldâ s ™ € Steadicam longer, but that create a real mood atmosphere. films that convey the emotion to an audience and help communicate the subtext of a history of saying more about the characters in dialogue alone ever could.

I think the most influential film for me would be anything directed by Satyajit Ray (Aparajito (The Glass House), Stone Parash Pathar (The Philosopher's), Jalsaghar (The Music Room) for use of humor, the atmosphere and techniques of cinematic storytelling.

Also classics like Pather Panchali (The Song of the Road). It took me a while to realize why it is considered the best movie ever made. The use of deep focus in this film is not just a technical achievement, but also storytelling.

I also liked Proshakha shakha (branches of a tree), Agantuk. They are very crude and hand, sometimes, but very beautiful and you felt like you were Insideo € ~ â € ™ of the film.

That's what I was trying to create in the most recent film I shot, â Kalpvriksh € "The Wishing Tree.

I want the audience to feel as if there Kalpvriksh, with the characters, feel, smell and taste.

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Key lights: defining moments in photography from the Kalpvriksh â € "The tree desire

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An interview with Rajeev Jain, India Photo and owner of Rajeev Jain Films, Film and Grips â € "Dubai - Mumbai - Nairobi.

Q: What is your job? Where are you working?

A: Director € ™ s director of photography, cinematographer. I have my own company, Rajeev Jain Films, Film and Grips, and IA ™ €'ve been doing for about twenty years.

Q: How long have you been director of photography?

A: IA ™ € I've been doing for several years, but I started my own company.

Q: What kind of training do not have to become a director of photography?

A: I went to Bhartendu Academy of Dramatic Arts. had a two-year diploma degree in performing arts. It made me in a position to see how the industry has changed a lot. After leaving college, children should only start their own company. First, they must decide what they want to do in the industry and then go for it. The skya ™ € s the limit in terms of career path you choose.

Q: What do you like best about your job?

A: Working for me. Having the freedom to make their own decisions, to make their own way in what you do. But it can go for one month out of work if youâ € ™ re on your own, so definitely get in the way business and a creative way. Take business classes, not only liberal arts. The film industry is a business, like the music industry. You must be a self-starter.

Q: Describe your typical day at work.

A: What work? Normally, when I'ma ™ € m not working, IA € ™ m in my office working. From your office, you might have to go somewhere on location and can be anywhere from two days to thirty days. Many of our things are remote. Each job is unique. As soon as you think itâ € ™ s typical changes.

Q: What were you in the career before becoming a director of photography? Â Do you think that helped prepare her to become a massage therapist?

A: I was doing theater, photo journalism, working on a local station and make a decent profit. I found the addition of utmost importance to my words, and when I started taking pictures and filming, I realized that this was what I'ma € ™ m most passionate about. But when you have a creative bone in his body, like the writing, itâ € ™ s easier to expand to other aspects of a diverse creative profession.

Q: What characteristics believed that are necessary for success as a cinematographer?

A: Everyone has different ways to succeed. But you have to keep day. Editing and graphics has changed so much. The whole dynamic has changed completely. You have to be totally flexible and stay with the current trend.

Q: Would you say itâ € ™ s imperative to have a college education for a race like this?

A: I donâ ™ € t think itâ € ™ s imperative, but what I got out of college is that the network much. I donâ t think itâ € ™ € ™ sa hundred percent necessary. But of course, you should have a good school to teach what you need. When youâ € ™ re in college, have to start working on building a portfolio and the university can help. If two people were doing the same job and both have impeccable portfolio, but also took a four-year degree, you can bet that the person € ™ s going to land the job. To stay in the industry full time, not only independent, means itâ € ™ s important to get that degree.

Q: Would you recommend this career to someone else?

A: Yes. ™ € I can not think of anything better to do. I see things that people donâ ™ € t see. Is it for everyone? I donâ t ™ € I think so. You have to have thick skin. You have to work for months. Donâ € ™ t set your expectations too high. Be realistic. My first recommendation would go to college and get the job full time. Having an idea of what the industry concerned. Itâ € ™ s difficult just have a good portfolio, unless youâ € ™ re incredible filmmaker. Doing without the university is very difficult to do.

Q: What is your next career change, if any?

A: Withdrawal and go to parties. No, seriously, IA € ™ m going to do more projects. I want complete control of my future projects.

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Kalpvriksh - The Tree of Desire -- Yours are just dreams Touch Away â € "Rajeev Jain Photography

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Twice winner of Indian Photography Rajeev Wicca Jain ICS Creates special world of light, shadows Kalpvriksh In his latest film Tree Dreams of desire are so close

Rajeev Jain has a way of see you have an image to its outer limits. In his years as an assistant, electrician, grip, and in the last 16 years as director of photography, has developed a visual sensibility and experience.

Rajeev takes its inspiration from directors such as Satyajit Ray (Pather Panchali) and filmmakers Ashok Mehta, ISC (36 Chowrangi Lane) and Binod Pradhan (Parinda) for use of color and light and shade to extend the emotional content of stories. I think the ability to allow the characters to operate shadow is a true art, he says. Mehta Ashok allows his characters to operate in the dark. He turns everything to the blacks are really rich - you can still see everything.

His work in Kalpvriksh, a film director James exudes a quality Manika period with an advantage. Rajeev was especially intrigued by the non-fiction, writing fragmented as it provides a wide variety of visual possibilities. Kodak Shooting especially for contrast to the exterior shots, Rajeev experienced a warm and blue filters to get the look he wanted. The result is a stark, almost surreal journey into the minds and actions of the odd characters of the film.

Until collaboration from any movie is crucial, Rajeev emphasizes.

It is important for me to go through the script scene by scene Director Manika Sharma, Rajeev says, trying to see what's on your mind. I want to know what the scene is, that the most important character is at that moment, and how the characters move through the scene. In addition to sharing photos and movies, which gives us a visual base to work.

A graduate of Bhartendu Academy of Dramatic Arts Drama and principle photography, Rajeev took a course in cinema. Intrigued by the medium of film, saw the possibilities of combining their interests with the movie in ads. Looking for a way to learn camerawork, offered to help (unpaid) for the cinematographer Subroto Mitra to learn the trade.

He taught me about the SR packet, which the lenses were, and how to load magazines, he said. Then I started working on Shyam Benegal € ™ s documentary on Nehru.

In 1996, Rajeev has the first opportunity to shoot a movie, the Army, with Mukul Anand. After eight weeks of filming of stress -- was observed her every move.

After 6 more features, then came Kalpvriksh in 2007, Rajeev allowed to explore a new visual technique to add nuance to the story. The film includes a dream trip Rajeev wanted to give a dreamlike quality. We tested the filters and a referral process chlorine to give that section of the movie of your own special look, "he says." Instead he decided to use a tilt swing, a view camera attachment that allows the operator to change the plane of focus. That we will launch various parts of the structure out of focus, which is hard to do at a general level, because a greater depth of field.

Rajeev is currently finishing production of Carry On Pandu, a feature shot in Mumbai, as well as doing trade.

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Full of surprises! Rajeev Jain, India Photo / PDO, talks about ... KALPVRIKSH (THE HERO): YOUR DREAMS ... They're just FEEL OUT ...

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Like any artist, Rajeev was born with the innate talent polished by experience and cultural influences. Born in 1968, his first introduction to movie magic came while watching his uncle as a projectionist in Ravindralaya Theater, Lucknow. â € OEI remember sitting in that little screening room and watch movies with my uncle, â € the Indian filmmaker recalls. â € œIt was like watching silent movies because they couldn t ™ € hear the sound in the cabin. I just saw the pictures and trying to understand history. My uncle showed us films of Charlie Chaplin, of course, were silent. There is no doubt that he put his dream of becoming a director of photography heart.â € Â in my native India, cinematographer Rajeev Jain ICS Wicca Bhartendu studied at the Academy of Dramatic Art in Lucknow, India.

The day after finishing his studies, Rajeev went to work as an apprentice in an anamorphic image. He contributed to ten more films as assistant director photography before becoming a dictatorship of the proletariat. â € œFrom the time I considered the camera as a pen that is used to draw pictures, â € he says. â € œOperating a camera is mainly on the composition and rhythm. He also operated the camera for Bollywood songs. It was very primitive. During shooting, someone with a watch was the moment every pan and zoom. He said: â € ~ You have 5 1 / 2 seconds to make zoom.â € ™ was a great lesson for me, learning to make every element of a working fire in that amount of time.â €

I found it fascinating that the film speaks a common language that everyone in the world can understand, "he recalls." This is especially true for filmmakers, because we are communicating with the public non-verbal. "â € OETB me make a movie is like the resolution of conflicts between light and darkness, heat and cold, blue and orange or other contrasting colors. There must be a sense of energy or change in motion. A sense of time goes on â € "the light becomes night, returning to the morning. Life becomes death. Making a movie is like the travel documents and the use of light in a style that best suits that € Picture particular | The concept behind it.

The first important decision regarding the images was shoot in anamorphic (2.4:1) format, as they had in Kalpvriksh â € "The Wishing Tree. Manika Rajeev says that he likes to manipulate the subjective views and objective, times in the same frame, or even simultaneously. In a simple example, start shooting a subject, then an actor will step into the frame, creating of an over-the-shoulder shot, moving from € subjectiveâ "â €" in what the viewer sees what the character sees € "â € "the target." One of my first suggestions was shooting Kalpvriksh â € "The Wishing Tree at the Super 35 format, Rajeev continued. "I felt it would give the film an advantage not expect to see in the drama. I felt I could use the broader framework to create a claustrophobic the composition of the sensitivity in the cave s ™ € Shabanaâ and more interesting than Shabana shows in the world. "She, director Manika Sharma, designer Mansi and other members of the creative team discussed the possibilities for the composition of Kalpvriksh â € "The Wishing Tree in widescreen format, while those based on visual references as another drama with an unlikely topic. Although Manika storyboard scenes, Rajeev sketches used primarily as a tool communication. During filming, the director is still open to veer from the storyboards to take advantage of unexpected opportunities. production designer â € œOur Mansi and costume designer makes us rich and costumes. Although push two stops on the development it is sometimes not so true to the colors, their collaboration with this technique has allowed us (especially at dinner fantasy sequences) to have a warm, yellow-looking scene, as if everything had turned on the light candles, â € he says.

In a scene dramatically lit, the school principal (Mahabano Kotwal) sits on the chair, looking out a window in the rain. â € œThe whole scene was illuminated with a daylight drive, a ARRIA 6K, â € said Rajeev. â € œWe brought a light through of the window. To the light of the door, we used a 4 by 4 mirror just outside the frame on the right. The light is modulated by the rain on the window and ran the throughout the book. We â € ~ chestnuts.â € ™ meeting was serendipitous, and it worked with one light.â € â € œFor fill light in this film, which is used both very, very little or absolutely none, â € he adds. â € IEO found that the types of movies that were using, if youâ ™ € re a little overexposure can read the shadow detail incredibly well. When I saw the photo in the Theater of the screen 70 meters wide, on the dark side, which is dead black, you can actually see the hair of actors enter € ™ heads. I found very interesting. I hope it works at a level subconscious for audience.â Rajeev € Although he knew that he could not shoot wide open in a T2 or T2.8â € "â €" because Super 35 format chosen has a shallow depth € "â €" still wanted this tool to give the story a greater presence of stage. The larger negative allowed to push the envelope. And he knew that the grain would still be acceptable if it remained within the ranges T2.8 to T4 interiors. â € œWe could use real sources and wouldn t ™ € be difficult for our camera crew to follow focus, â €, says confidently.

Like many of his colleagues, picture Rajeev Jain has many concerns about changes that may be introduced during processing images post-production of our electronic age. These considerations only intensified when dealing with a profusion of visual effects, that was the case Kalpvriksh â € "The Wishing Tree." I tried to make a concerted effort to stay as involved as possible in post-production - sometimes is difficult because it is' off for the next job - to work with digital effects and optical house to ensure that there is no problem with the printing process response. â € œYou donâ € ™ t see any light at the general level, â € he says. â € œThe teacher shooting that began with an impossible shot to light. We stuck back in the corner with a 35 mm lens and was a two-way mirror in the background. So we used a technique Rajeev Jain called â € ~ driller.â € ™ short, youâ ™ € re normally shoot horizontally across a room and not are horizontal surfaces like the tops of the chimneys and tables. If you come directly from above with a light and drill down into the surface, works quite well. It doesn t ™ € seems wrong. If the light comes from a place thata € ™ s not normal or usual, people seem to accept the element thata € ™ s that are illuminated, without actually find Whata € ™ s happening in terms of a source. Shades go down, so donâ € ™ t seem strange or call final attention to the source. You see it on the table and then it comes to the table and the lights of the faces to a degree. Itâ € ™ s interesting because youâ € ™ re that does not turn the people at all. Youâ € ™ re lighting of the environment that they € ™ re in

Anamorphic gives you the space under do, â € Rajeev said. â € œManika has no problem filling an anamorphic frame in a contemporary image. The story also has elegiac look, so it seemed better to say that without the video of rock cutting and frenetic camera movement. With the incredible cast, we knew that this film would be about the proceedings. All ideas € "â €" as well as â € ~ if aina € ™ t broke, donâ € ™ t fix itâ € ™ â € "â €" as factors in our decision to shoot anamorphic.â € establish a visual approach suitable for different moods Kalpvriksh services â € "The Wishing Tree, Manika and Rajeev decided to resign largely usual business to see other films in preparation. "We use a lot of work book, referring to other artists working in two-dimensional shapes, photography and drawings of all, "Rajeev concerned." This was an enjoyable and different from the preparation. As for movies to see how a particular sequence work is great, but this approach introduced me to this incredible turn of self-education, which includes photography from 1890 to 'so far. Now I can not stop buying books. It's amazing how much visual reference source material is there when I get back to basics. These were great starting points for us.

The filmmaker also had to avoid revealing reflections of camera gear and personnel at the water's surface. Along with a disciplined team, requiring the placement of light and careful selection of the camera angle. He found that the introduction of plastic at the correct distance from the lens for tighter shots from Shawn's point of view slightly distorted images rendered with a touch of grain, which amplifies the look he wanted and the director Manika. Rajeev also occasionally adds reflections of characters and objects on the surface of the water to draw attention to the barrier separating the child from others. A Sometimes, the subjective camera takes the viewer-like pose, while other times the public seems to share the life of Shawn-in-the-bubble experience. "There a simple formula for deciding when to put the audience inside the bubble with Shawn. It was a question I asked the director for each shot in each scene. Are we to Shawn inside the bubble, or we're outside looking in? "

I didnâ ™ € t believe and obviously not made no director Santiago Manika or production company Rhombus Films. Another photo shot in an old house in Bollywood forced us to actually operate two generators to power all the lights. By the time of did, however, was able to fire two-thirds of a long sequence of dollying along with the reflections seen in a long pond at night (Shabanaâ € ™ s the cave). â € OEI think itâ € ™ sa visual reflection of the fact that Oneâ € ™ s position in life can change almost instantly, â € he says. â € œItâ € ™ s very effective visually. It seems to work in a number of different levels. With this different approach seems cool all its extensions and setbacks. Thereâ € ™ sa very interesting scene between Shabana and child that was staged in a low tree, and thereâ € ™ sa sense of

About the Author

IT'S ALL ABOUT CHARACTER AND STORY. Uma Therman, I am a highly experienced film journalist, with total dedication to the craft, huge enthusiasm for telling stories and world-class technical expertise.