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Master of Light: A conversation with director of photography contemporary Bollywood – Rajeev Jain ICS WICA
Master of Light: Conversation with Bollywood Contemporary Photography – Rajeev Jain ICS WICA
Rajiv Jain – Indian Photo / DOP – The complete interviews, vol. I
The form of the Light – Rajiv Jain Paintings with his camera
Rajeev Jain (born 1968, Lucknow) began working as a cinematographer in 1993, after serving an apprenticeship as a camera assistant and camera operator. Since then he has worked as Rajeev director of photography with some of the most popular directors in India, in some cases there is close and intimate. We met Rajeev Jain in India, with reason for a five-day seminar organized by the Film Club New Delhi on the shape of the light, an event attended by hundreds of students, directors film from all over India.
How has the film in the last fifteen years?
I the Academy of Dramatic Arts Bhartendu (Bhartendu Natya Academy) in Lucknow during the period of the new wave. We witnessed a quality film work had "Triggering" itself, in many ways the films of the period until the end of the 1980s. Even the assembly was much freer and Photography / Directors, with Gautam Ghose in the van, went in search of greater freedom. Even when it came to shooting, the use of handheld cameras, natural lighting, or lighting in a way that seemed natural, as through open windows, etc. In other words absolutely free 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 emerged with different ideas also, as Ashok Mehta (36 Chowrangi Lane), especially in black and white. But this black and white image with its own aesthetic beauty proper had a characteristic quality fusion lighting into the atmosphere or environment. Therefore, from this point, maybe a photograph acquired great importance, a total symbiosis with film and narrative.
Will the meeting between the director and cinematographer influence 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 films, on the other hand, was undoubtedly a decisive turn with the arrival of Pather Panchali (1955) onwards.
What filmmakers have made a particular impression on you?
The relationship with Shyam Benegal in Tota Maina (TV Series) certainly was for me an event that I remember with great excitement to the day. I meet people who trust in me that decided to become director of the photographer after seeing that series, or the directors who have decided to enter the film through the Tota Maina. For example, a day had a child from Kenya who was at home that decided to come to India to do after watching TV seial Tota Maina. This has been an important film for many people, and more for because I had the pleasure of working with Shyam Babu.
How did you meet?
It was almost accident. He was looking for a cinematographer who was also mentally prepared for this adventure, and through various sources to my name came up. 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. We met in his office for tea, and at the end of this meeting which has a script and offers it to me. I can feel the emotion of the moment right now.
Can you tell about the dynamic "picture of the TV series'?
Shyam Babu told me that TV uses time as a narrative element while the picture that usually remains constant over the duration of a sequence. It is precisely the time that the "dynamic picture" exploits to make a different consistency to the film. One example is the atmospheric conditions of nature: if during a cloudy day the sun rises over a given time this to modify the conditions of light. In indoors, if someone enters a dark room and turns on the light 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 to variations in natural light variations were added corresponding to the emotional reasons rather than any sense of logic.
During some scenes that are also used shutter speeds different, sometimes barely perceptible.
During filming Shyam Babu ask certain frames requires a slight increase in shutter speed, hardly noticeable, and So much for the slow motion effect that we have been accustomed to seeing in many television series. This was the only one to have more suspension, therefore always the service of a certain atmosphere in the series. Technically this variation in speed is a slight adjustment of the diaphragm. Shyam Babu was very precise and demanding of your choice photography, not only myself but the whole company was so impressed by his personality that voluntarily comply with your every request.
In During this seminar I have lamented the fact that it always becomes 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 he made with foreign crews and production of fact, I discovered a more professional respect. So it is certainly the lack of preparation, because if the films are not well prepared the result improvisation will end in September. Another reason is the understanding of the filming, because if you make a film in ten weeks or five weeks the result will be clearly different. With the advent of digital also the tendency to spend the total was negative during the telecine and then in AVID, without feeling called 'Day', which I think are very important to control potential technical problems. This happened with a film shot abroad, where a whole scene had to be reshot after the discovery of only one exposure problem during assembly.
In strictly technical standpoint, Why is that Indian films are no longer manufactured with the same attention as before?
Perhaps what is needed is a real love of cinema. The problem producers is that there is understanding and investing in projects that matter. We do not have the person who loves movies, so you do not want them as thin as possible. The operation now is to make the film only with the budget in mind, sometimes regardless of whether the film is good or not.
AUTHOR BIOGRAPHY: Tony Parsons (born November 6, 1953) is a journalist, broadcaster British author. He began his career as a music journalist on the NME, in writing about punk music. Later, he wrote for The Daily Telegraph before turning to writing his current column for the Daily Mirror. Parsons was a regular for a while results in the BBC Two reviewers arts program The Late Show, and still appears frequently in the successor of Newsnight Review, but also briefly held a series of Channel 4 called Big Mouth. He is the author of the popular novel multi-million, Man and Child (1999). Parsons had written a series of novels as The Children (1976), Logic Platinum (1981) and Limelight Blues (1983), before finding mainstream success and focuses on the tribulations Thirty-something men. Parsons has published several best-selling novels – one for my baby (2001), Men and Women (2003), The Family Way (2004), Stories We realized (2006), My Favorite Wife (2007) and start (2009). Their novels often deal with relationship problems, emotional traumas and dramas of men and women of our time. Many believe that the content of his work is weak.
Tags: bollywood, director of photography, photography director, dop, india, indian, jain, kalpvriksh, Mumbai, Rajiv, Rajeev, videographer
Make Ras Star – Photo Rajiv Jain India Kenya
RAS is currently featuring STAR IN THE INTERNATIONAL MUSEUM OF WOMEN FILM FESTIVAL.
Raj Labour was following in a short film, Rasstar, based on the life of rapper Nazizi Kenya, which was aired on M-Net.
Synopsis: A young rapper, Amani, a Muslim family firm with his brother teams Abdosh, an emerging artist to find a way to make money and get your talent to the final show. As the story unfolds, Amani and her brother are trapped in a local gangster and a stolen phone incident language and simplistic use of his brother to take them out. Through an absolute stroke of luck manage to find the money they need just to get to grips with his uncle Shaka, the family patriarch and Mlandimu, the local gangster who finally saves them.
Rajeev Jain, Bollywood director of photography well versed and Director of Photography, talks about his new award-winning, Ras Star, and the single camera approach used specifically for this film about a search for the girl for life. With a career as a director Photography for devices like the Army, Badhaai Ho Badhaai, Carry On Pandu, Kadachit, Kalpvriksh – The tree of desire, and Mirabai not Pyar Mein Kabhi Kabhi by, Rajiv has had more than enough experience behind the lens to make the leap to film. He also has credits for photography Award winning TV Series FM Kenya beats.
Where are you and how you became a director of photography?
[Ramirez] I'm from Lucknow, in northwest India. My first degree is in science and took a while to find my way in a more artistic. After several bends I ended up at the Academy Bhartendu Dramatic Art (Bhartendu Natya Academy) to study drama. I managed to run a few plays and not the camera for many more. Since then I have enjoyed camerawork both documentary and drama with every advance of information and others.
How did you approach photography Rasstar?
[Ramirez] Through discussions with Wanuri, finding he loved films visually. We wanted to find look separately for each story and look different for today. There was a visual theory 'of each section (for example, a pattern of dark red and black for the story of Amani, lenses long for the story Abdosh and very wide lenses Mlandimu). The looks had to be able to quickly implement (then helped in the classification) due to tight schedule. We then applied the theory to a visual shot list (which often had to do last night because the locations of change or are not yet)
How was it working with HD for the first time?
[Ramirez] With a 35mm camera looking directly through a beautiful lens and seeing the scene in color and may rely on their eyes as part of the photographic process. With an HD camera that is watching a small black and white image through the viewfinder so you need a large (ideally 24 ") HD monitor to properly judge what you are filming. This is huge and totally practical with such a small and low budget and had a 14 "monitor a good amount of time, but to a mountain or on a remote beach just a battery monitor Small is possible. This is very frustrating and led to some things that could have been better.
HD is horrible to see if the area is overexposed. This resulted more problematic in the open air that it chose to shoot in very large glasses that means there is a lot of sky in the shot. Unfortunately, the sky was particularly flat and overcast but relatively bright white.
The biggest advantage of HD is able to travel much lighter with a pair of zoom to the city, for example, and be able to film two hours worth of material without concern (which would have been approximately 12 large cans of 1,000 feet of film to transport and load). Also Wanuri meant and I could go out on weekends and film shots of the city and vans with ease.
How important is storytelling?
[Ramirez] Storytelling is a huge part of life from an early age. It is a way of finding meaning in the world. For a child is a way to understand the world through the metaphor – that a child thinks of it that way.
If the world blew up and the few stragglers found no lack of long before they gathered around a campfire and someone began to tell stories to make sense of things. Stories to entertain, provide an escape or catharsis, stimulate reflection and debate and make people laugh.
What was the best thing to do Rasstar?
[Ramirez] The best that was in a beautiful part of the world working on the script used by the Kenyan slums, as part of the story.
What was worse?
[Ramirez] The first day of action sequence on the market. The crowd took so long to get to the location that we in the crew declined to do beards of moss and a documentary film about the clouds (clouds some very fine though).
Can you tell us a couple of interesting / little known / Scenes behind things about making Rasstar?
[Ramirez] Wanuri is undoubtedly one of the hardest working directors with whom I worked, but I think he found his limit on a Saturday night. We were shooting in the pub (peak performance) and pick-up shots and had a choice going to the local bar where some of the crew were getting into the leg of lamb and some fine downing beer or head. The light seemed too good though so we we went to and thank goodness I did because more light was amazing. Deep red light bouncing off them making them shine on the black background. There were so many mosquitoes that had to adjust the camera run and run around to remove them from clustering around the camera. We shot for the ages and the light was low, but still great approaches. I tried to make one last shot long DJ console in the foreground when Wanuri suggested that we had enough and must go, words I never thought I would say! (The shot was a pimp and made the final film).
Have you worked on anything from Rasstar?
[Ramirez] Since I shot the film Rasstar Kalpvriksh – The tree of desire. It was a great experience of filming in such a remote and interesting. Mahableshwar I shot a half-hour comedy for the channel: "the smallest man in town" and I also filmed and edited half an hour documentary Dubai about a cleaning lady works in Dubai. Dop I have recently been in a low-budget feature "Carry On Pandu.
My | Style Cinematography by Rajiv Jain | Photography Indian Bollywood
FIRST PRESENTATION:
For some time, I've been meaning to write down my opinions about movies and my aesthetic style and now, here it is. This does not mean that follow dogmatically – is simply what works for me in broad strokes. As an Indian filmmaker, you should be able to give the director or production looks asking me. But within the visual and aesthetic constraints any type of production – or the occasional lack of it – an element of me is always there. Rules were meant to be broken – but only when you have an understanding Complete rules. While I can not say he knows everyone, I am learning with each production. Here are some of my thoughts …
The aesthetic of a project is necessary to establish principles for the public. It is a distraction to introduce a new aesthetic or editorial style too late in a story without a justification adequate or motivation.
Another area that lends itself very little air in the shots – the shots that fill the space between the scenes. It gives the audience some time to breathe and think and can be a time for music affects the audience.
I graduated filters too fake and unnatural. It does not focus our attention and instead, usually draws attention to itself. I do not think I have ever used and have not be criticized for my decision.
Most directors cut too soon, both on set and in the editorial. On the set, wait to say, "Cut." Sometimes an actor can give a gem of a moment at the end of a scene if you wait. Worth and I'm surprised how often the manager will use that time in the final cut. It is good to stop an actor at the end of some scenes to allow the public to take time and reflect.
People change and so do their views. So I'm sure my opinion is likely to change as well. Until then …
Cooked Art: photography … by Pocket – Photo size India Rajiv Jain
I love movies taking place as a work of art, each scene is masterfully photographed brilliant composition to create lines of action, symmetrical balance, with a fine use of space, texture, color, and perspective. Here are two movies I saw recently again, and represent the wonderful visual language.
So what hell is a director of photography? If you want to get into semantics, that means writing in the movement. "But his work, above all, is to have control over camera and lighting equipment in a scene, and therefore have a lot of creative input in the final image. Even if you consider the fact that the director Art is responsible for the staging, the storyboard artist out plans for the shooting and what is really happening, and the director will want to have a piece of action, then it is no wonder how the films end up looking great. Here are some of the guys who managed to do this (in my opinion little)
What qualifications Did you study at the Academy of Dramatic Arts Bhartendu and when it ends?
I went straight from high school to Bhartendu Academy of Dramatic Arts and made a two years Diploma in Dramatic Arts, specializing in lighting and graduated in 1985. The courses are made different now. Is aimed more at a film school of art school, which I think is excellent! Allows students to make decisions earlier in their chosen field within film and television, is a cinematographer, director, producer, editor, etc. It also better prepares students for work in the industry. It is the teaching how much more than the form of filmmaking.
What do you think of the facilities that we saw recently in Bhartendu Academy of Dramatic Arts (Bhartendu Natya Academy)?
Facilities Bhartendu Academy of Dramatic Arts are great, I would even world class. The main production study is very well equipped. Post-production facilities, such as sound editing suites and mixing rooms are like what is being used largely India's film and television industry.
I am also particularly impressed with the value of the production of student films recent Bhartendu Academy of Dramatic Art. I think the quality of work is quite high.
I think it's great that students get to shoot projects Cinema is the industry standard format international feature films, as well as most overseas television drama. It is rare for students to have the opportunity to work with film and digital formats that are becoming more frequent. If you are able to shoot and work with the movie, then you will be able to work in any format you're out there. It does not work in reverse.
What I mean by this is that the filmmakers are the same format as you shoot in. However, filming requires a different approach, both technically and creatively. These principles can be applied to the digital jack, but does require shooting greater understanding of lighting and exposure.
The digital computer Bhartendu Academy of Dramatic Art is of a type and quality to enable graduates to exit the industry and understand about the operation of any other piece of equipment to be found. There is no reason why the quality of student projects can not match the high quality of professional projects, because the computer you are using is the same.
I am also particularly impressed with the value production of student films in recent Bhartendu Academy of Dramatic Art. I think the level of work is quite high.
What was the first break or work which was instrumental in setting in your career path?
I had a series of breaks and I suppose many of them give others. A series of fortunate events you might say, but if I had to think about a particular opportunity was one night when I had just finished editing my new show the film reel. (A reel program is like a portfolio of work, the reduction of my best photo edited to music.)
So as I had finished, an email came through to me that was forwarded by someone who barely knew. The email says that a company Kenyan production was looking for an Indian cinematographer to shoot part of an international film went to the screen in the World Expo in Nairobi, Kenya and wanted see figures shown.
I went to the post office the next day and sent me off express mail. I received a phone call just days after confirming that he had the job. I was moved to Nairobi and worked with a full professional team in what was my first big job.
The people I met in this project liked my work so much that I called a month later and I flew to Brunei to shoot some commercials. I finally returned to India with a show new and improved reel. Vista International workshop on the spool raised my profile and I was bigger and better jobs and an agent and I was away …
A case of right time I guess!
What qualities do you think are necessary to make a career in the creative industries?
The quality I admire in the success of creative professionals is the ability to take pride in the job. Whatever your creative pursuit, I think if you are doing a job that you really enjoy and that you are proud of, then you have the luck to have one of the best jobs in the world.
I also believe that it itself a challenge to work outside their comfort zone is important and realize that to succeed we must be consistent, positive and work hard.
Whatever creative environment where you are going to be a hard slog to get his career underway. With creative careers are judged on their body of work and his career. It first thing to do is create a portfolio, or in my case show a reel, and then prepared for criticism and hit back, never giving up and use those strokes back as an incentive to work harder and set higher standards.
I also believe it is important to the passion projects that allow you to experiment with ideas or even experience. Through projects of passion, I mean you do for the love of it and not pay. I did a lot of 'gifts' to get my show reel to zero and gain experience before starting to charge for my art.
It is also important to work on your network. You never know when that person would consider as a rival might actually be passing some form of work or introduce new partners. The movie industry is too small to make enemies. We should be like a support network and learn from each other in order to continually better projects.
For you, what are the "must see" reference films in terms of cutting-edge cinematography, or a pioneer?
Well to start the cinematography of recent films India Kalpvriksh – The Tree of Desire – Dreams Are yours so close and our forthcoming Continue Pandu are quite exceptional. Ja!
No, seriously, some of my favorite and most influential films in terms of cinematography are not the big crane shots with the world's longest or steadicam shot, but they create a real mood and atmosphere Films convey emotion to an audience y. help communicate the subtext of a story saying more about the characters in dialogue alone ever could.
I think the most influential film for me would be something directed by Satyajit Ray (Aparajito (The Unvanquished), Parasha Pathar (The Philosopher's Stone), Jalsaghar (The Board of Music) for his use of humor, atmosphere and narrative techniques film.
Also classics like Pather Panchali (Song of the road). It took me a while to realize why it is considered the best film ever made. The use of deep focus in this film is not just a technical achievement, but also a narrative one.
Also I really liked Proshakha shakha (branches of a tree), Agantuk. The two are quite rough and hand sometimes, but very beautiful and really felt like I was "inside" of the film.
That's what I was trying to create in the most recent film that I shot, Kalpvriksh – The Wishing Tree.
I want the audience to feel as if there Kalpvriksh, with the characters, to feel, smell and taste.
Key Light: moments decisive photography from Kalpvriksh – The wish tree
An interview with Rajiv Jain, Indian cinematographer and the owner of Rajiv Jain Films Film and grips – Dubai – Madrid – Nairobi.
Q: What is the title of your job? When you're working?
A: the director of director of photography, director of photography. I have my own company, Rajiv Jain Films, Film and grips, and I've been doing for about twenty years.
Q: How long has been a director of photography?
A: I've been doing for several years, but I started my own business.
Q: What type of training has had to become a cinematographer?
R: I went to Bhartendu Academy of Dramatic Arts. I had a two-year diploma in theater arts. That put me in a position to see how the industry has changed a lot. After leaving college, children should only start their own business. First, they must decide what they want to do in the industry and then go for it. The sky is the limit in terms of career path you choose.
Q: What do you like best about your job?
A: Working on my own. Be free to make their own decisions, to make their own way in what you do. But you can go for a month without working if you're on your own, so definitely get in a path of business as well as a creative path. Take business classes, not just the liberal arts. The film industry is a business, like the music industry. You must be a doer.
Q: Describe your typical day at work.
A: What job? Normally, when I'm not working, I'm in my office doing paperwork. From his office, you may have to go somewhere and that the location can be anywhere from two days to thirty days. Much of our area is remote locations. Each job is unique. As soon as you which is typical, it changes.
Q: What race were before becoming a director of photography? Do you feel that has helped prepare him to become a massage therapist?
A: I was doing theater, photo journalism, working on a local channel and make a decent profit. I found the inclusion of capital to my words, and when I started taking pictures and film, I realized that this was what I Passion. But when you have a creative bone in your body, such as writing, it is easier to extend to other aspects a different creative profession.
Q: What characteristics do you think are necessary for success as a cinematographer?
A: Everyone has different ways to succeed. But we must keep up. Editing and graphics has changed so much. The dynamic has changed complete everything. You have to be totally flexible and stay with the current trend.
Q: Would you say it is essential to have an education university for a career like this?
A: I do not think is essential, but what came out of the university network is that a lot. I do not think I need a hundred percent. But of course, you should have a good school to teach you what you need. When you're in college, you have to start working on the construction a portfolio and the university can help with that. If two people went for the same work and that both had impeccable portfolio, but also took a four- grade years, you can bet that the person is going to land the job. To stay in the industry full time, not only independent, means that it is important to get that grade.
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 do not see. Is it for everyone? I do not think so. You have to have thick skin. We must work for months. Do not set your expectations too high. Be realistic. My first recommendation it is to go to college and get that job full time. Get an idea of what the industry concerned. It is difficult to have just a good portfolio, unless you are an incredible filmmaker. Make no college is very difficult to do.
Q: What is your next career move, if necessary?
R: Withdrawal and go people. No, but seriously, I'm going to do more projects. I want total control of my future projects.
Kalpvriksh – El Deseo tree – Dreams Yours are so close – Photo Rajiv Jain
The two-time winner of photography Rajiv Jain ICS WICA India Special Creates World of Light, shadows in his latest film Tree Kalpvriksh Sincerely Desire dreams are a tap away
Rajiv Jain has a way of seeing that has an image to its outer limit. In his later years as an assistant, electrician, grip, and in the past 16 years as director of photography, has developed visual sensitivity and experience.
Rajiv takes its inspiration from directors like Satyajit Ray (Pather Panchali) Ashok Mehta and filmmakers, ISC (36 Chowrangi Lane) and Binod Pradhan (Parinda) for his use of color and light and shadow to amplify the emotional content of stories. I think the ability to allow the characters to operate in the shadows is a true art, he says. Ashok Mehta allows its characters to work in the dark. He turns everything to the blacks are really rich – however, you can see everything.
His work in Kalpvriksh, a film directed by Manika Sharma exudes quality time with an advantage. Rajiv was especially intrigued by the non-fiction, writing fragmented because it offered a myriad of visual possibilities. Shooting especially in contrast to Kodak for outdoor scenes, Rajiv experimented with hot and blue filters to obtain the look he wanted. The result is a stark, almost surreal journey into the minds and actions of strange characters in the film.
collaboration advance is essential in any film, Rajiv says.
It is important for me to go through the script scene by scene with the director Manika Sharma, Rajiv, says, trying to see what's on your mind. I want to know what the scene is saying that the most important character is at that moment, and how the characters move through the scene. They also share photos and movies, which gives us a visual base to work.
A graduate of Bhartendu Academy of Dramatic Art Drama and a principle in still photography, Rajiv took a course in cinema. Intrigued by the middle of the film, saw the possibilities of combining their interests with the movie in ads. Looking for a way to learn camera, offered to help (unpaid) to the cinematographer Subroto Mitra to learn the craft.
He taught me about your SR package, which the lenses were, and how to load magazines, he said. Then I began working on documentaries in Nehru Shyam Benegal.
In 1996, Rajiv has the first opportunity to shoot a movie, the Army, with Mukul Anand. After eight weeks of shooting stressful – all their movements were.
After 6 functions, then came Kalpvriksh in 2007, Rajiv allowed to explore a new visual technique to add nuance to the story. The film includes a city break Rajiv wanted to give a dreamlike quality. We tested the filters and chlorine a referral process to make that section of the film its own special look, " he says. "Instead he decided to use a tilt swing, a vision camera accessory that allows the operator to change the focus plane. It allowed us launch different parts of the structure out of focus, which is difficult to do on a general level, due to greater depth of field.
Rajiv is currently finishing Pandu Follow production, shot in Mumbai an item and do Business.
Full of Surprises! Rajiv Jain, Director of Photography Indian / PDO, talks about … KALPVRIKSH (The Wishing Tree): Your dreams … These are just a touch away …
Like any artist, Rajiv born with innate talent burnished by experience and cultural influences. Born in 1968, his first introduction to the magic of cinema came while watching his uncle as a projectionist in Ravindralaya Theatre, Lucknow. "I remember sitting in that little screening room and watch movies with my uncle," recalls the director of photography Indian. "It was like watching silent movies because I could not hear the sound in the cabin. I just saw the pictures and trying to understand the story. My uncle show films Charlie Chaplin, who, of course, silent. There is no doubt that he put his dream of becoming a director of photography in my heart. "Originally of India, Rajiv Jain ICS WICA filmmaker studied at the Academy of Dramatic Art Bhartendu in Lucknow, India.
The day after graduation, Rajiv went to work as an apprentice in an anamorphic image. Contributed to ten films as assistant director of photography before becoming a dictatorship of the proletariat. "From that moment on I felt that the camera is like a feather that is used to draw pictures," he says. "The operation of a camera is all about the composition and rhythm. I also operated the camera of Bollywood songs. It was very primitive. While we were shooting, someone with a watch was all the time the pan and zoom. He said: 'You have 5 1 / 2 seconds to do zoom. It was a great lesson for me, learning to make every shot a work item in that amount of time. "
I thought it was 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 on a non-verbal. "For me, making a film is like solving conflict between the contrasting colors of light and dark, cold and heat, blue and orange or otherwise. There must be a sense of energy or movement change. A feeling that time is passing – The light turns into night, again in the morning. Life becomes death. Making a film is a journey and document the use of light in the style that best suits that particular frame … the concept behind it.
The first important decision regarding the images was shoot in anamorphic (2.4:1) format, as they had in Kalpvriksh – The Wishing Tree. Rajiv says he likes to manipulate the views Manika subjective and objective, sometimes in the same frame, or even simultaneously. In a simple example, a shot start on a topic, then an actor will step into the frame, creating a shot over his shoulder the modification of the subjective – in which the viewer sees what the character sees – a goal. "One of my first suggestions shooting Kalpvriksh – The Wishing Tree in Super 35 format, "Rajiv continues." I felt it give the film an edge that does not expect to see in Drama. I felt I could use the broader framework to create a sense of claustrophobia in the cave of Shabana and more interesting than shows the composition Shabana in the world. "She Manika Sharma director, designer Mansi and other members of the creative team discussed the possibilities for composing Kalpvriksh – the Wishing Tree in widescreen format, whereas on the basis of such references visual and other drama with an unlikely subject. Although Manika storyboard scenes, sketches Rajiv used primarily as a communication tool. During filming, the director was open to veer from the storyboards to take advantage of unexpected opportunities. "Our production designer and costume designer Mansi given us rich sets and costumes. Although push two stops in development times is not as true to the colors, their cooperation with this technique has allowed us (especially at dinner fantasy sequences) to have a warm yellow-looking scene, as if everything was lit by candlelight, "he says.
In a spectacular scene on, the school principal (Mahabano Kotwal) is sitting in his chair, looking out a window at the falling rain. "The whole scene was lit hard day with a light, an ARRI 6K, "said Rajiv." We brought a light through the window. In order to light the door, we used a 4 by 4 mirror off its frame on the right. The light is modulated by the rain on the window, and laid it on the book. We were 'nuts' gathering. It was serendipitous, and it was resolved all with a light. "To fill light in this film, which is used both very, very little or nothing," he adds. "I find that with the existence of film we were using, if you are overexposing a bit more, you can read the details in the shadows incredibly well. When I saw the picture on the screen theater in the 70-feet wide, on the dark side, which is dead black, you can actually see hair on the head is actors. I found it very interesting. I hope that works on a subconscious level to the public. "Despite the fact that Rajiv knew that he could not shoot wide open in a T2 or T2.8–because the Super 35 format is chosen depth – still wanted this tool to give the story a greater presence on stage. The biggest negative is allowed to push the envelope. And I knew that the grain would still be acceptable, if he stayed in the T4 T2.8 range indoors. "We still use real sources and would not be difficult for our team camera to keep focus, "says confidently.
Like many of his colleagues, Rajiv Jain Director of Photography has many concerns about changes that can be introduced to the images during the subsequent process of our electronic age. These considerations only intensified when dealing with a profusion of effects visual, which in the case of Kalpvriksh – The Wishing Tree. "I tried to make a concerted effort to stay involved in post production as much as possible – which is sometimes difficult because it is "off to the next job" – working with digital optical effects and the house to make sure no problem with the printing process response. "You do not see any light in the capture of teacher," he says. "Vaccination against the teacher who started with an impossible shot was to light. We were stuck back in the corner with a 35 mm lens and had a two-way mirror in the background. So we used a technique called Rajiv Jain 'drill. In short, you're usually shooting horizontally across a room, and there are horizontal surfaces like the tops of the chimneys and tables. Coming directly from above with a light and drill down on the surface, works quite well. It seems wrong. If the light comes from a place that is not normal or usual, people seem to accept the element that is being illuminated without actually find out what is happening in terms of a source. The shades go down, so they do not end up looking strange to call attention toward the source. You see it on the table and then it comes to the table and the lights are facing a degree. It's interesting because you are not lighting the people at all. You light environment they are in.
Anamorphic gives you the space in the frame to do that, "said Rajiv." Manika has no problem filling an anamorphic picture in a contemporary image. The story also looks elegiac, so I thought it best that I say this without cutting rock and motion video camera frantic. With the amazing cast, we knew this film would be about the proceedings. All these ideas – as well as "if it is not broke do not fix it it '- into account in our decision to shoot anamorphic. "To determine an appropriate visual approach for the different states of mind necessary Kalpvriksh – The Tree of Desires, Manika and Rajiv opted to forego much of the usual business to see other films in preparation. "We used a lot of books work, reference to other artists working in two-dimensional shapes, photographs and drawings of all, "Rajiv is concerned." This was a nice and different preparation. As for movies to see how a particular sequence is working great, but this approach introduced me to this incredible round of self-education, encompassing still photography from 1890 to 'so far. Now I can not stop buying books. It's amazing how much source material as a visual reference is there when I get back to basics. These were great starting points for us.
The director of photography also had to avoid revealing reflections of camera gear and personnel on the surface of the water. Along with a disciplined team, which required placement of a careful selection of light and angle of the camera. He found that place the plastic at the correct distance from the lens to harden shots from the point of view provided Shawn slightly distorted images with a touch of grain, which amplifies the look he wanted and Chief Manika. Rajiv also occasionally added the reflections of characters and objects on the surface of the water to call attention to the barrier that separates the child from others. Sometimes the camera takes a subjective view, as a spectator, while other times the public seems share the experience of Shawn's life-in-the-bubble. "There is no simple formula for deciding when to put the audience inside the bubble with Shawn. It was a question I made the head of every shot in every scene. Are we to Shawn inside the bubble, or are we looking outside? "
I do not believe this and obviously Nor neither he nor Manika Sharma Films diamond producer. Another photo shot in an old house in Bollywood we needed to actually two generators a power all the lights. In the time it was made, however, I was able to fire two-thirds of a long sequence with reflections dollying seen in a pond fish long into the night (of Shabana cave). "I think it is a visual reflection of the fact that one's position in life can change almost instantly," says. "It is extremely effective visually. It seems to work in a number of different levels. The use of this different approach seems to refurbish all its extensions and setbacks. There a very interesting scene between Shabana and the child was carried out in one under the tree, and there is a sense of concern and possible aggression. It is very ambiguous, however, spatial dynamics really emphasize the feeling. "
There is a great advantage in the job in place before a study. For example, I mentioned the Muslim house had marble floors. An experienced DOP really knows how to use this thing can only be simulated in a studio, "mused Rajiv. Searchlights were used extensively in the film, usually on the side of the landfill to pick up some environment or an edge of the main spot to redirect some of that light next to the landfill. In most cases was very subtle, however, only reflected in the brightness of the skin. "We use the spotlight, as almost more of a eyelight" Rajiv says. "There is no so much tension between these three characters. There are a lot of inner emotions beneath the surface of this film. I felt that the public needs access to the inner life of the characters, so I tried to keep going eyelights, especially when he was in close. It has often been done with a small reflector shot at the last minute.
One of the most important aspects include the nature of Shabana preview itself. "For the nailed down, we started working on storyboards with an artist, "says Rajiv," that draws together is fabulous and a great artist too. We told him our ideas on how the saw and began to Shabana work. Manika credited with creating much of the final appearance since their drawings were used to communicate with the hair, makeup and costume departments Manika I wanted to look. "Part of disguise Cave 'involved the use of a wig that often obscured the actor's face – that sometimes makes it less of a situation ideal lighting. "During testing of hair and makeup, I saw that, while Shabana seemed incredible that would be difficult to treat for 2 weeks. He a big hat and a great costume too, so there was a question of if you will actually be able to see it. Manika told that sometimes become almost in a hat with hair. Very sensitive to the needs of actors, Manika not want to get the facial hair, so he tried not to mess with it and resolve it for us themselves. "
In Kalpvriksh – The Wishing Tree, Rajiv chosen Vision 200T (5274) for all but the night outside, and explained that the soft grain emulsion records of this non-intrusive deep blacks, true colors and a wide dynamic range. Rajiv outside shot of Eastman EXR 100T day (5248), using a filter with 81 to EF half-correct and maintain the blue cold of winter. 250D daylight-balanced (5246) Vision of values was selected for the interior of days while removed advantage of the view 500T (5279) in most of the interiors and exteriors night. Since the filming, the director made extensive tests with different materials to find the appropriate thickness and translucency. "It's the same as using a cheap filter on the lens and realized that any distortion or loss of focus is magnified when the laboratory optically "squeezed" pictures on the aspect ratio of 2.40. In addition to selecting the right plastic, it was important for us to record a strong negative image in the focus. We were shooting through filters at least 90 percent of the time.
During the filming of scenes of forest with a main character, Rajiv employees what he calls a new light sandwich. "Others might call it a light book, but Anyway, we were playing nine Maxi light crude a piece of cardboard the grain, then letting the light pass through a diffusion framework generally well equipped with 216 or light grid. Soft light is striking He had a beautiful quality, plus some serious blows of foot-candles. This soft light had enough to pierce through the hair Shabana, and I could control the amount of light with just a click away from different balloons. But it also requires a large amount of weakness and took a lot of space. "Other times, Rajiv illuminated the forest, leading light of more extreme angles." I have come in much lower and more frontal with your keywords you would normally, but the approach succeeded in dropping the hair naturally, so while it is tough, worked. It made me thank you for the scenes when Shabana wears her hair back as it could get a nice benefit in it through the side lighting. "
When children reach the tree before the completion, production created the famous creation, filming the actors in front of blue screen and green screen. These elements were composed digitally with the bottom plates of values selected from Ladakh. Harry and Arjun of in-house installation of Red chiles and under the control of visual effect shots. "I do not think these scenes might be more credible if he had traveled to Ladakh to shoot to live," marvels Rajiv. "How can you lose when starting with 70 mm plate in the background? We matched all the dishes. "
There were a few scenes in daylight there, so we decided that the cracks in the ceiling of the cave to let the hard sunlight, "he continues." I put some signs of this in the walls behind the actors and let some bounce light off the ground. For the most part, however, the cave scenes set at night – lit by the fire or the glow lanterns or no imagination that is connected to anything. By water, I have chosen to use a light blue key light on the actors, but he made no movement in the blink because he felt that it was distracting. The flickering on their faces only came to the actual water. What I have added a slight flicker effect on the walls, which seemed to be more pleasant, while lending a bit of realism.
Front-end lab work was performed by Gemini, which gave the film a day. "After their experiences in the commercial world where he works on a monitor all the time, loved watching the daily Manika film – which opened a new world for her, "said Rajiv." For example, there is a picture of a Shabana delivery of a line at the end of a long shot under the tree. When she saw him playing in the video Manika [tap] monitor, did not feel good about it. It seemed too small in the shot. He suggested that perhaps the line should disappear on the issue. After some time, saw Manika projected onto a large screen and loved the shot. "When asked if the good news extends to the drama on the screen, well, Rajiv smiles and says," Would surprised if I said there is a happy ending? "
The filmmaker does not use the diffusion in the lens of the camera, preferring to soften its topic, as be selectively affecting the source of light. "I've never liked in the movies when the general resolution of the lens visible change in the cuts to the fore during a scene, "he says." The whole issue of putting the heavy diffusion front of the lens to make [actress] look "better" is crazy to me. I do not want see the effort of the picture to make someone look good. Instead, I see the character looks good, and I think that happens when the actor is properly integrated into the scene and on in a flattering way. My solution is to soften the light source, and let the image be as clear as possible. Some people think that lenses Primo are too sharp, but love all that perfection. When combined years and years of research and development in populations of Kodak film, with what has happened these Arri lenses and laboratory work in the Gemini, and then put this in a movie is projected on the screen correctly, the result is impressive like perfection! So take a lot of pride in delivering a perfect negative reality. We may want to mess later, and that's fine, but I think in the beginning of something good exposure and sharp. "
With all the visual processing needed to represent the perceptions of Shabana, Rajiv and Manika necessary to decide the parameters from the beginning of the most elaborate visual effects required. "We're telling a story that partly seen through the eyes of a madman, "offers Rajiv." She is an incredibly bright person crazy, but crazy, however, so there is a sense of wonderful thing about these visions, but not in the tradition of the purposes of science fiction film. We presented a wish list of visual effects for budgeting, but again prices four or five times what we expected. This has forced us to retreat, and the decision he did better the film we ended up doing. Most effects are things that we ourselves did, with light cues practices, or a combination of these keys with touch digital. "
I'm glad you are looking for this movie seems interesting to look at, but I'm also happy that the pictures are no substitute for history. Early reviews are praising the performance of Shabana as one of the best that she has given, so it makes no sense to do something he took from that aspect. Many of the films now seem overwhelmed with effects, but is not a Manika know what kind of history.
When India Photo Rajiv Jain ICS WICA is asked if he would do anything different today, the artist Master replies: "Ninety-nine percent of the time when I see my films I am serene. It was the best I could do at the time of my life by what we had to work. The important thing is your life and how they evolve as a human being and artist.
Q & A with Rajiv Jain WICA ICS Indian film photography Kalpvriksh – The Tree of Desire – Your dreams are so close
Indian Director of Photography Rajiv Jain ICS WICA is a cinematographer based in Mumbai, India. Rajiv Photography specializes in television commercials in the format of 35 mm film film and HD digital formats. Rajiv began in the early days of the music video revolution, before venturing into narrative cinema. His eclectic work includes Army, Badhaai Ho Badhaai, continue Pandu, Kadachit, Kalpvriksh – The tree of desire, Notout Mirabai, Pyar Mein Kabhi Kabhi and Rasstar.
QUESTION: Where were you born and raised?
Rajiv: I was born in Lucknow, India. There was no seminal event that happened to me as a young person that made me want to be a director of photography. It was certainly not the quality of light in Lucknow. I remember it was gray, brown was stained with traffic and the dark sky. But when I say that, I realize the palette removed from the place affected me emotionally. Satura jumped against the neutral, as in a dream or a post-industrial nightmare.
QUESTION: What did your parents?
Rajiv: My parents were just ordinary people. I do not think were particularly ambitious for me. His main concern, I think, was that I was not a shame. We moved to the Etawah and then back to Lucknow, where I completed my education. My grades were in Theater Arts.
Q: Did you have a career goal at that moment in life?
Rajiv: I wanted to be a writer but like Mohan Rakesh thought too much and wrote very little. That is too say it was more then a reader, writer, more academic then poet. I was very interested in semiotics and structuralism (the study of how language encodes ideas). Initially studied how the spoken and written language worked but then became more interested in how the code works in other languages as the language of cinema. My interest in film language led me in a way quite complicated to cinematography.
QUESTION: That's interesting. Can be a little more specific?
Rajiv: I was very interested in how the alteration of light, composition, camera angles and camera movement alters the director of photography public perception of visual event, and therefore the viewer's emotional response. It's a hard thing to quantify. I remember specifically thinking of returning Pather Panchali to see as a child, and how his image had always maintained in my imagination, not only for its sheer beauty and scale higher, but because it affected me emotionally, strikes some cord unconscious but responsive. Later I saw Ray "The Apu Trilogy." I had much the same answer, but now my opinion has been informed by my studies. It would be accurate to say that the directors of these two films, Subroto Mitra, were most influenced my decision to be a filmmaker.
QUESTION: How did a connection between words and photography?
Rajiv: The draft of essays and articles on film. I realized that the images of film worked largely how the spoken and written language works. You want to express certain ideas. There are agreed and understood culturally codas. These forms, which call letters have agreed pronunciations. These letters form words. These words have agreed meanings. But is, of course, arbitrary. The word "cat" is not innate "catness" about it, but hearing this word the listener is idea in his brain. A cat. You can then add adjectives and qualifiers, to be a black cat or black cat angry. These words are codes, codes, but not universal. They are specific for a culture that shares that language. Photography in some respects a more complex language. The denotative (specific) or connotative (symbolic or implied) meaning of an image can be ambiguous, but also complex. Perhaps the literary analogy is the Haiku poem. The words have more meaning less potential – the words that are added in time literary forms, the more specific meaning. An image provides specific and nonspecific meanings. You can work in many layers, and not conscious.
Q: Did you have any mentors or be completely self taught?
Rajiv:'ve learned a lot of other AD. But above all, to study their work. Ashok Mehta and talk a lot, and he has given me a lot. But I was self taught. I studied art extensively, especially early 20th century artists, and artists of the late 19th century. I learned a lot about them in mind. I stole an idea of every good movie I've seen, probably. In particular, the work of Subroto Mitra (ISC), Ashok Mehta (ISC), Binod Pradhan and Santosh Sivan (ISC).
Q: Do you believe in yourself as an artist, a technician or both?
Rajiv: I think that is a very important distinction. Do not want to sound pretentious, but if one takes into account the nature of art, which is supposed give us new eyes to see the world. I want the public to respond viscerally that our intentions are for a film. I think it works much like the film music that is difficult for us to measure or quantify what audiences respond to what we do. Therefore, it is an art. And those who practice it so it must be artists.
Q: Tell us more about your analogy of music and cinematography.
Rajiv: I can sit in daily and I can see anyone watching the movie with me physically and emotionally respond to images, but it is very difficult to quantify what they are responding. If you people listen to music, also can answer, but difficult to quantify, at which they satisfy.
QUESTION: Let me borrow a phrase from Subroto Mitra, who said, directors of photography are the authors of the images. But that is not widely recognized.
Rajiv: Part the problem lies in our collective culture. The films are reviewed as theater than as a unique art form. Critics talk of scripts and performances. Speak things that they understand, but to understand due to their own cultural background is primarily in traditional theater, but you may not recognize it. In this context, Film and music are not understood, except to say they were beautiful, because there is a particular language, developed in criticism for its description. By Unfortunately, many critics fail to recognize how decisions made by the director, cinematographer and composer made a profound impact on gut reactions and intellectual responses of the hearings. I'm not saying they are not recognized filmmakers. We are, at least within the industry, but not in the consumer press. I do not think I read a comment that only mentions the importance of (ISC) Subroto Mitra decision of 16 mm using film and other formats in some scenes on the river, but it made a profound impact. I believe that a important artistic decision worthy of comment, in fact, essential to an understanding audience artistic treatment of the film.
QUESTION: The collaboration between the directors and cinematographers is unique.
Rajiv: One important thing about collaboration is that the filmmakers have to integrate his vision of a film with the director's vision.
Q: Did he shot many music videos influence today?
Rajiv: Not really. None of my films seem music videos, but it was the best music videos that we could experiment with different lighting, types film, lenses and filters. We decided to try to put four filters on the lens, the process of the strength of the film, or put a negative through an investment process film post-production to see how it goes, and then try again to reverse. It was a great way to learn.
Q: Are there other filmmakers whose work continues?
Rajiv: I can mention all the obvious names, but the truth is that to learn from all filmmakers. I can see a television program shot by a filmmaker 29 years of age, and find something he or she did that is very interesting. I am constantly learning from others. I still read all the magazines and the newspaper about of film and photography that I can in my hands. Still studying art. I collect books of photographs and paintings. It's not just the good work that others do to learn. I learn from my mistakes that I have had ample opportunity to make over the past 20 years. When my son Adam was in seventh grade, he wrote an essay in which he was obliged to say who was his hero. He said I was. "My father is my hero because he messes up all the time, and he let me see it." So I feel good about spoiling. I think that is an extremely important lesson to learn. It's okay to spoil, and that sometimes makes a mess if you are willing to push the limits of his craft.
Q: Do any other mentors influence their thinking?
Rajiv: I was a graduate University of Lucknow for a short time. That's where I met Renu Saluja was really important mentor. She pointed to some very interesting ways as to film theory.
Q: How do you decide that something is a movie you want?
Rajiv: Early in my career anything that was offered was a movie I wanted. Today, there are two things that might affect my decision. One is my first encounter with the principal. This relationship is like a marriage only, curiously, much more intense. You have to decide if you will be able to get along with that person for the time going to be together. I think I've gotten along with more than 90 percent of the directors I've worked, and many have remained friends. The second thing is photography. I am always interested in making new and different things. If the project is very similar to what I have done before, and the script is not great, so are less likely to be interested. Sometimes, a project that is so interesting that it is impossible to resist.
QUESTION: What I tell students and other young filmmakers, when asked to share the secret of success? Do you tell them the truth about the odds?
Rajiv: I think you have to be patient and do not let yourself believe that things going to happen quickly. You need integrity and honesty about who you want to be. Thus, even if you fail, you fail with a little dignity. If the commitment and not What do you have?
Quick notes from India Photography / Film DOP Rajiv Jain and aspiring filmmakers Indians
A quick "filler" because while I try to get something really important in writing:
Most of the hits I get for my blog are people looking for keywords such as "directors of photography on" Indian "film career" and "How to be a great director of photography." I really can only offer my own personal experience.
Rajiv on advice for young Indians aspiring filmmakers:
A tip
About the Author
Tony Parsons (born 6th November 1953) is a British journalist broadcaster and author. He began his career as a music journalist on the NME, writing about punk music. Later, he wrote for The Daily Telegraph, before going on to write his current column for the Daily Mirror. Parsons was for a time a regular guest on the BBC Two arts review programme The Late Show, and still appears infrequently on the successor Newsnight Review; he also briefly hosted a series on Channel 4 called Big Mouth. He is the author of the multi-million selling novel, Man and Boy (1999). Parsons had written a number of novels including The Kids (1976), Platinum Logic (1981) and Limelight Blues (1983), before he found mainstream success by focussing on the tribulations of thirty-something men. Parsons has since published a series of best-selling novels — One For My Baby (2001), Man and Wife (2003), The Family Way (2004), Stories We Could Tell (2006), My Favourite Wife (2007) and Starting Over (2009). His novels typically deal with relationship problems, emotional dramas and the traumas of men and women in our time. Many believe the content of his work is weak.
Review of Melba Price’s exhibition “Rapture” at Midway Contemporary Art