Graduated Orange Filter

Graduated Orange Filter

The written word: Rajeev Jain (India Photo) Visual magic ….

Philosophy

The world just got into his whole lot smaller. I'm still in a state of total disbelief. The heinous crimes of the recent suicide bombings were beyond understanding and human logic. How is it that our goals and aspirations can be so different despite sharing the same mold? As a parent, I am always trying to encourage my two little angels Abigail Jain (17yrs.) and Kimberly Jain (13 years) to work hard, be fair, be honest, be kind and humane, and most importantly, have an open mind and tolerant of others.

The terrorists who carried out the deadly plan lied, cheated, murdered and tried all those who did not subscribe to their perversion twisted faith and morals.

This is a very difficult time to be positive, but the future of our children and the rights of a free democracy depends on everyone continues protecting the option of pursuing what is important and appropriate for each individual.

The market is in a total state of flux. Everyone in our business is struggling to realize the existing customers and struggling to maintain what they have. Add the challenge of preparing for HDTV and the plethora of options format to the equation and you have a difficult situation.

Rise to the higher planes of the industry was not overnight. Born in Lucknow and a graduate University of Lucknow and Bhartendu Academy of Dramatic Arts (Bhartendu Natya Academy / Bhartendu Natak Akademi), My career has led me in recent years of Lucknow, to Bombay in search of my dreams. And companies have varied organizations, television stations that the advertising agencies and features. Despite all my achievements and obviously different skills, I'm still very loyal to my first love and that is love for filmmaking.

I believe that the DOP has one primary task: to serve the director s vision history. Some DOP seem bent on making a different film to which the director is making – such behavior is totally unprofessional, even silly. I strive to maintain a fully professional attitude whether we are shooting 16 / 35 mm, high-definition 24P or Video. The filming of shooting, I try to do my best every shot it can be.

One of the great pleasures of cinema is the collaboration. I make great efforts and the efforts to put on anything but the best I can on every shot. I try to understand the vision the director is trying to bring to the forefront, presenting a vision in all its entirety and making it as realistic as possible, then it becomes my only purpose.

Some managers prefer to control every aspect of the image, and at the other extreme, some prefer to concentrate on the direction of the actors and almost left the picture up to me. Usually, of course, most of director s fit somewhere in the middle. I am completely comfortable working either way.

The DDP have another job, of course, and that production is to help with the program or the time and budget. I can take these responsibilities very seriously as well. Being a director of photography is much more than being good in the lighting and camerawork (even those who are primary, of course), but also largely a management " employment that are responsible for a number of people, different departments, equipment, schedules etc. My experience in large and small productions, from very simple to very outbreaks complex gives me the experience to handle the different responsibilities and balance.

I am the head of a club as big as anyone else, but please!

The reality is that it is better to know the client and be honest with yourself about your market, making the most of their business in. The mistake that many people is dreaming about what could be and not focus on what it is.

For me, I have an eclectic mix of works. I continue to shoot commercials, movies and music videos.

Personally, I think you'd better enjoy what you are doing and have fun as much as possible while doing it. I've been very fortunate to connect with a lot of great people, crew and production in households.

I realized that the instinct is to begin to rule my life. You do not care the "what if s", I just do what feels good and surprisingly seems to work out. The old rule is true, if it sounds too good to be true …. Hard work is the only substitute for the lack of natural luck, hell not even know how to spell luck. As a freelancer, you have to make your Fortunately, you have to sit and think about what kind of work you want to do and then make the contacts, place calls and pursue what is it you want.

There are hundreds of ways to go wrong and only a few to go right. There is only one objective: Beautiful images that serve the story and converge on the issue.

It has been a odd years (2009). I have lost a series of commercials in Africa, Asia, Europe and Middle due to the downturn in the economy, war and terrorism East extremism.

And finally, this year (2010) turned 43.

So if you receive a call from me one day, do not be surprised too.

MY MISSION
To use my skills, experience and professionalism to provide productions with different film and convincing.

JAIN Rajeev s TAKE ON ……

PREP
I work out complicated problems in preparation to implement simple solutions in production. From location scouting, shot list, story boarding, script meetings, watching rehearsals, the evidence of stock lenses, makeup and costumes, to programming and working with department heads – not improvise. I prepare for the point where I can use my intuition to respond to the unexpected, rise above the game plan and take the film to a higher level.

DIRECTORS
What makes me excited – passion is to work with directors to take risks. If the film is meticulously storyboard or improvisation, for preparing to wrap, try to unlock what the director has in his head, I understand, refine and capture.

PRODUCERS
I know how to work with a producer for a dollar from fifteen cents. Whether playing my extensive contacts efficiently crew scheduling and equipment; to find innovative and ingenious ways to roll a film, nailing a shot to have a – I believe that any expense for granted.

CREW
I have the contacts to put together a camera and lighting equipment for most any project of size and experience to delegate and supervise them. My skills and aspirations are bigger than the titles of their jobs, but also have the attitude to keep the fun. I can hire a crew to take the lead, love and movies read the script.

STYLE
I hope I am not accused of it. I want the audience to feel what I shot, not paying attention as to how was killed.

STRUCTURE
Shot of the issue. I framework for the drama.

LIGHTING
I believe that there is no better form of light. Each film has its specific demands. Some directors may want to dolly 360 degrees while others do not move the camera at all; others like to work with brands while some not, some 20 shots a day schedule, while some only 10. In all cases, I have to find an approach that strengthens s instincts director, is within s production resources, while at the end of the day, clarifies the drama.

FORMAT
Whether it's Super 16, HD or 35mm, I'm agnostic format. I work closely with the director and producer to not only choose a viable format, but also for exploit to the fullest.

EQUIPMENT
Through my contacts with vendors and rental houses, my collaboration with key personnel, and years of shooting in a variety of levels – I keep productions from paying unnecessary gear, while making sure we have what we need. But I also believe in seeking of ways to get the most out of what you have.

POST
My job does not end in September. I oversee the look of the film the daily digital intermediate impressions caused by the release. In e, the eye s DP is essential in creating the finishing touches, and the maintenance of visual continuity and integrity.

MOVIES
New version of classic, horror, romance, I know that my films and genres. It is the experience of going out on a big movie, which I love. I'm not a gadget head, fall in love with injections or obsessed with technical issues. I obsessed with movies that move me and do everything possible to join them.

Celebrity Quotes …… AD some

… I Believe

"I admit a fondness for business. It is the perfect blend of many skills. You have 30 seconds to sell a public a product or idea by using visual techniques of lighting and camera movement to reflect and comment on current culture. "

"Each director brings a different view point. Their backgrounds are as varied as the products do and that diversity is what makes each different job and unique. My challenge is as a camera to capture that special uniqueness in the film. "

"I never wanted to be pigeonholed in the trade. I do not care I'll just shoot only cars or table. My training is still photography, documentaries and drama. I have traveled my whole life and I incorporate that into my work. Ads reflect the constantly changing markets and the public. This requires a means to keep abreast of developments in the objectives, film stocks and accessories, and to actively participate in the rapid technological developments in digital imaging. "

"Roll the children is the ultimate in spontaneity. You have to be ready at any time to make something happen. Everything has to do with lighting and planning. You also have to find the right place for the camera so that children can work in a given space and be comfortable, without much noise and distraction … finger on the switch. "

"If you know how to light, no matter what you shoot. If you dont know how to turn … no matter what you shoot. "- In the filming of movies shot vs HD:

"Cinematography is the art and craft of the authorship of visual images for movies ranging from the design and pre-production to post-production for the presentation last of these images. All processes and any, which may affect these images, are the direct responsibility and interest in photography. Cinematography is a subcategory of photography. Rather, the photograph is not only an art, which uses the director of photography, and other physical, organizational, management, interpretation, and image manipulation techniques to carry out a consistent approach. Cinematography is a creative and interpretive process that culminates in the authorship of an original work and not just recording a physical event. The images that the director brings to the screen come from the artistic vision imagination and skill of the cinematographer working within a collaborative relationship with other artists. "

"The film is the process of capturing a vision on film. As an art and a craft that is a dynamic process that involves the composition of light, shadow, time and motion. For cinematographer this requires a synthesis of technical skills and creative sensibility. "

"A lot of work that goes between scouting and shooting and can be a very tedious process. In the end, if any of that behind the scenes work shows in the final product, then I think the work has not been in vain.

Q & A with Rajeev Jain, WICA ICS cinematographer in Bollywood film

Director of Photography India, Rajeev Jain, WICA ICS is a cinematographer based in Mumbai, India. Rajeev Photography specializes in television commercials in the 35mm film format mm film and HD digital formats. Rajeev started in the early days of the music video revolution, before venturing into the narrative cinema. His work eclectic includes Army, Badhaai Ho Badhaai, continue Pandu, Kadachit, Kalpvriksh – The tree of desire, Mirabai Notout, Pyar Mein Kabhi Kabhi and Rasstar.

Q: Where were you born and raised?

Rajeev: 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 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?

Rajeev: My parents were just ordinary people. I do not think were particularly ambitious for me. Its main concern, I think it was that I was not an embarrassment. We moved to the Etawah and then back to Lucknow, where I completed my education. My degrees were in Theater Arts.

Q: Did you have a career goal at that moment in life?

Rajeev: I wanted to be a writer, but like I too Rakesh Mohan and wrote very little. That is too say it was more then a reader of a writer, more academic then poet. I have much interest in structuralism and semiotics (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 rather complicated to cinematography.

QUESTION: That's interesting. Can be a little more specific?

Rajeev: I was very interested in how to alteration of light, composition, camera angles and motion picture camera alters the perception of a visual event's hearing, and Thus the viewer's emotional response. It's a hard thing to quantify. I specifically remember Pather Panchali to see when I was a child, and how their images had always remained in my imagination, not only for its sheer beauty and scale of the sublime, but it affected me emotionally, hitting a bit of rope unconscious but sensitive. Later I saw Ray "The Apu Trilogy." I had much the same answer, but now I have understood was informed by my studies. It would be accurate that the directors of these two films, Subroto Mitra, were most influenced my decision to become a filmmaker.

QUESTION: How to make a connection between words and photography?

Rajeev: In the writing of essays and articles on film. I realized that the images of film worked greatly 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, 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 to a culture that shares that language. Photography in some respects it is a system much more complex language. The denotative (specific) or connotative (symbolic or implicit) meaning of an image can be ambiguous, but also complex. Such Once the literary analogy is the Haiku poem. The words have more meaning less potential – the words that are added in time literary forms, the most 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 were self-taught?

Rajeev: I 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 light from them. I won a idea of all the good films 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?

Rajeev: I think it is a very important distinction. Do not want to sound pretentious, but if we into account the nature of art, which is supposed to give us new eyes to see the world. I want the public to respond viscerally to what our intentions are for a film. I think the film works very much like music, because it 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.

Rajeev: I can sit in the newspapers 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 look at people listen to music, you can answer, but difficult to quantify, at which they satisfy.

QUESTION: I'll borrow a phrase from Subroto Mitra, who said, directors of photography are the authors of the images. But that is not widely recognized.

Rajeev: Part of 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. They talk about things they understand, but to understand why their own cultural background is primarily in traditional theater, but you may not recognize it. In this context, cinematography and music are not understood, except to say they were beautiful, because there is a particular language, developed in the criticism for its description. Unfortunately, many critics fail to recognize how decisions made by the director, cinematographer and composer made a profound impact on gut reactions and responses intellectual audiences. I'm not saying that the filmmakers are not recognized. 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 Subroto Mitra (ISC) the decision to use 16mm film and other formats in some scenes on the river, but it made a profound impact. I believe that an important artistic decision worthy of comment, in fact, essential to an understanding of the audience, the artistic treatment of the film.

Q: The collaboration between the directors and cinematographers is unique.

Rajeev: One important thing about collaboration is that the filmmakers have to integrate his vision of a film with the director's vision.

Q: How many music videos shot influence today?

Rajeev: Not really. None of my films seem music videos, but the good thing about music videos was that we could experiment with different lighting, film types, 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 a reversal of post-production process film to see how it comes out, then try again to reverse. It was a great way to learn.

Q: Are there any other filmmakers, whose work to follow?

Rajeev: I can mention all the obvious names, but the truth is that to learn from all filmmakers. I can see a shot by a TV director of 29 years old, and find something he or she did that is very interesting. I am constantly learning from others. I still read all the magazines and a journal on film and photography that I can in my hands. Still studying art. I book collection of photographs and paintings. It's not just the good work others are doing to learn. I learn from my mistakes that I have had ample opportunity to make more of these last 20 years. When my son Adam was in seventh grade, wrote an essay in which he was obliged to say who his hero. He said I was. "My father is my hero because he messes up all the time, and he lets me see." So I feel good about spoiling. I think that is an extremely important lesson to learn. It's okay to spoil, and you sometimes mess up if you are willing to push the boundaries of his craft.

Q: Do any other mentors influence their thinking?

Rajeev: I was a graduate of the University of Lucknow for a short time. That's where I met Renu Saluja was a really important mentor. She pointed to some very interesting ways in terms of film theory.

Q: How do you decide that something is a movie you want?

Rajeev: At the beginning of my career, nothing that was offered was a movie I wanted to do. Today, two things can affect my decision. One of them is my first meeting with the director. This relationship is like a marriage only, curiously, much more intense. You have to decide if you are going to be able to get along with that person for the time you'll 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'm 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 is that it is impossible to resist.

QUESTION: What you do tell students and other young filmmakers when they ask you to share the secret of success? Do you tell the truth about the odds?

Rajeev: I think you have to be patient and do not let yourself believe that things will happen quickly. You need integrity and honesty about who you want be. Thus, even if you fail, you fail with a little dignity. If you compromise and not what you have left?

………………………………………….. ………………………………………….. …………………………………………..

Rajeev Jain, WICA ICS – India Photo / PDO, talks … Kalpvriksh – The Wish Tree – Their dreams are so close

Like any artist, Rajeev was 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 at the Teatro Ravindralaya, Lucknow. "I remember sitting in that little screening room and watch movies with my uncle, "recalls the director of photography in India." It was like watching silent movies because could not hear the sound in the cabin. I just saw the pictures and trying to understand the story. My uncle shows us Charlie Chaplin films, which, of course, silent. There is no doubt that he put his dream of becoming a director of photography in my heart. "A native of India, Rajeev DoP Jain ICS WICA studied at the Academy of Dramatic Art Bhartendu in Lucknow, India.

The day after completing his studies, Rajeev went to work as an apprentice in an anamorphic image. He contributed to ten more films as a camera assistant before becoming a dictatorship of the proletariat. "Since then I have considered that the camera is like a feather that is used to draw pictures, "he says." Operating a camera is mostly about composition and rhythm. I also operated the camera for Bollywood songs. It was very primitive. While we were shooting, someone with a watch was all the time 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 as resolution 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 to night, again in the morning. Life becomes death. Making a movie is like a trip documentation and 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 shot in anamorphic (2.4:1) format, as they had in Kalpvriksh – The Wishing Tree. Rajeev says that he likes to manipulate Manika subjective views and objectives, 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 the shoulder, changing the subjective – that the viewer sees what the character sees – the target. "One of my first suggestions shooting Kalpvriksh – The Wishing Tree in the Super 35 format, "Rajeev continues." I felt the film was given an advantage not expect to see in Drama. I felt I could use the larger framework to create a sense of claustrophobia in the cave of Shabana and more interesting composition showing 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, while that based on visual cues such as another drama with an unlikely subject. Although Manika storyboard scenes, Rajeev sketches used primarily as a communications tool. During filming, the director was open to deviate from the storyboards to take advantage of unexpected opportunities. "Our production designer and Mansi costume designer gave us rich sets and costumes. Although two-stop push development is sometimes not so faithful to the colors, their cooperation with this technique we allowed (especially at dinner fantasy sequences) to have a hot scene and yellow, 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, "says Rajeev." We brought a light through the window. To illuminate the door, was used by 4 out of 4 mirror frame to the right. The light is modulated by the rain on the window, and stretched it over 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 none at all," he adds. "I think that with the existence we were using film, if you are overexposing a bit more, you can read the details in the shadows incredibly well. When I saw the picture on Theatre on the screen of 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 it works on a subconscious level to the public. "While Rajeev knew he could not shoot wide open in a T2 or T2.8–because the Super 35 format chosen has a depth – Still wanted this tool to give the story a greater presence on stage. The biggest negative is allowed to push the envelope. And yet he knew that the grain be acceptable, if he stayed in the T4 T2.8 range indoors. "We still use real sources and would not be difficult for our camera crew to follow focus, "he says with confidence.

Like many of his colleagues, Rajeev Jain Director of Photography has many concerns about changes that may be introduced pictures during the subsequent process of our electronic age. These considerations only intensified when dealing with a profusion of visual effects in the If Kalpvriksh – The Wishing Tree. "I tried to make a concerted effort 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 effects and optical house to ensure that there would be no problem with the printing process response. "I do not see any light in the capture of teacher," he says. "Vaccination against the teacher who started with an impossible shot to light. We were stuck back in the corner with a 35mm lens and had a two-way mirror in the background. As Rajeev Jain used a technique called '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 drilling down into this area and it works pretty 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 weird draw attention to 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 illumination of the environment they are in.

Anamorphic gives you the space in the frame to do that, "says Rajeev." Manika has no problem filling a anamorphic box in a contemporary image. The story also looks elegiac, so it seemed better that I say this without cutting rock and camera movement frantic video. 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 '- into account in our decision to shoot anamorphic. "To establish a visual approach appropriate for the mood required in a number Kalpvriksh – The Wishing Tree, Manika and Rajeev opted to forego much of the usual business to see other films during preparation. "We use a book a lot of work, referring to other artists working in two-dimensional shapes, photographs and drawings of all, "Rajeev is concerned." This was a good and different way of 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, ranging from still photography Until 1890 'til now. Now I can not help buy books. It's amazing how much source material there is a visual reference when I get back to basics. These were great starting points for us.

The filmmaker also had to avoid revealing reflections of the camera gear and staff at the water's surface. Along with a disciplined team, which requires a careful choice of light placement and camera angle. He discovered that the introduction of plastic at the correct distance from the lens to harden shots from the point of view Shawn slightly distorted images rendered with a touch of grain, which amplifies the look he wanted and the director Manika. Rajeev also occasionally added the reflections of characters and objects on the surface of the water to draw attention over the barrier separating the child from others. Sometimes the camera takes a subjective view, as a spectator, while other times the audience seems to share the experience Shawn's life-in-the-bubble. "There was no simple formula for deciding when to put the audience inside the bubble with Shawn. It was a question I asked the head of each shot in each scene. Are we to Shawn inside the bubble, or are looking from the outside? "

I did not believe it, obviously, not neither he nor Manika Sharma Films diamond producer. Another photo shot in an old house in Bollywood we needed to actually two power generators 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 (Shabana Cave). "I think that's a visual reflection of the fact that one's position in life can change almost instantly" says. "It's very effective visually. It seems to work in a number of different levels. The use of this different approach seems to cool off all purchases and investing. There is a scene very interesting 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 knows how to use this really something that can only be simulated in a studio, "he reflected Rajeev. Searchlights were used extensively through 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 at the side of the landfill. In most cases was very subtle, however, simply reflects the brightness of the skin. "We use the spotlight, as almost more of a eyelight" says Rajeev. "There is 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 the internal life of the characters, so I tried to keep going eyelights, especially when put us in close. It has often been done with a small reflector lying on the last minute.

One of the most important aspects include the nature of Shabana preview itself. "For the nailed down, we started working in storyboards with an artist, "says Rajeev", which drew great boards and is a great artist too. We told him our thoughts on how Shabana looked at her and went to work. Manika credited with creating much of the final appearance since their drawings were used to communicate with the hair, makeup and what clothing departments by Manika searched his eyes. "Part of disguise Cave 'involved the use of a wig, which often obscures the face of the actor – sometimes makes a situation less than ideal lighting. "During the hair and makeup tests, I saw that, while Shabana seemed incredible that would be difficult to try for 2 weeks. He had a big hat and a great costume too, so there was a question whether they ever will be able to see it really. I told Manika sometimes almost become a hat-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 solve it by ourselves. "

In Kalpvriksh – The Wishing Tree, Rajeev chosen Vision 200T (5274) for everything but the exterior night, and explained that the soft grain emulsion logs for this non-intrusive deep blacks, realistic colors and a wide dynamic range. Rajeev day outside shot at Eastman EXR 100T (5248), using a filter of 81 half-EF correct and maintain the blue cold of winter. 250D daylight-balanced (5246) Vision of values was selected for the interior of days, while the vision took advantage of 500T (5279) in most of the interiors and exteriors night. Since the filming, the director made numerous tests with different materials to find the right thickness and translucency. "It's the same as using a cheap filter on the lens and realized that any distortion or loss of concentration are magnified when the optical laboratory 'squeezed' the images in the aspect ratio of 2.40. In addition to selecting plastic right, 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 in the forest with a main character, Rajeev employees what he calls a new light sandwich. "Others may call it a light book, but in any event, we were playing in the light of nine Maxi gross a piece of board of accounts, 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 patter of foot candles. This had enough soft light to pierce through the hair Shabana, and could control the amount of light with the click out of balloons different. But it also requires a lot of flagging and took a lot of space. "Other times, Rajeev illuminated by the Forest from direct light more extreme angles. "I have come in much lower and more front with key which would normally, but the approach succeeded in dropping the hair naturally therefore, although it was hard work. It made me grateful for the scenes when Shabana wears her hair pulled back, and I could get a nice benefit in it through side lighting. "

When children reach the tree before completion, the production set famous for setting film the actors in front of blue screen and green screen. These elements were composed digitally with the bottom of the plates selected values of Ladakh. Arjun Harry and installation of in-house Red chiles "supervised visual effects levels." I do not think that these scenes might be more credible if he had traveled to Ladakh to shoot to live " Rajeev marvels. "How I miss you when you start with 70 mm plate in the background? We matched all the dishes."

There were scenes there is little daylight, so we decided that the cracks in the ceiling of the cave hard left in sunlight, "he continues." I put some signs of this in the walls behind the actors and let some light bouncing off the floor. For the most part, however, the cave scenes set at night – lit by firelight or flashlights or glow comes from imagination, which is not connected to anything. On the Water, I chose to use a Light Blue key light on the actors, but it did not move because they felt no oscillation it was distracting. The flickering on their faces only came to the actual water. What I did was add a slight flicker effect on the walls, which seemed to be nicer while lending a bit of realism.

Front-end lab work was performed by Gemini, which provide the daily film. "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, "says Rajeev." For example, there is a picture of a Shabana delivery of a line at the end of a long shot in the tree. When she saw him playing in the video Manika [tap] monitor, did not feel good about it. She seemed too small in the shot. He suggested that perhaps the line should disappear in editing. After some time, Manika was projected onto a large screen and loved the shot. "When asked if such good news extends to the drama on screen, well, Rajeev smiles and says," Would you be surprised if I said there is a happy ending? "

The filmmaker does not use diffusion on the Camera Lens, preferring to soften his subject, as required selectively affecting the source of light. "I've never liked in the movies when the general resolution of the lens changes visibly during breaks to the fore during a scene, "he says." The whole business of putting heavy diffusion front of the lens to make [actress] look "better" it's crazy to me. Do not want to 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 integrated into the scene properly lit and so flattering. My solution is to soften the light source, and let the image be as clear as possible. Some people think Primo lenses are too sharp, but I love everything perfectly. When combined years and years of research and development in film stocks Kodak, which has happened in Arri lenses and laboratory work in the Gemini, and then put this in a movie projected on the screen correctly, the result is amazing how perfect! So I take great 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 illustrate perceptions of Shabana, Rajeev and Manika necessary to decide the parameters from the beginning of the most elaborate visual effects required. "We're telling a story that looks at partly through the eyes of a madman, "offers Rajeev." She's a very bright crazy, but crazy, however, so there is a sense of the fantastic of these visions, but not in the tradition of the effects of science fiction film. We presented a wish list of visual effects for budgeting, but prices again four or five times higher than we expected. This has forced us to retreat, and the decision that it worked best for the movie ended up doing. Most effects are things that we ourselves did, with practice tracks of light, or a combination of these keys with digital enhancement. "

Me are glad that this movie seems interesting to look at, but I'm happy too that the images do not replace history. Early reviews are praising Shabana's performance as one of the best ever given, so it makes no sense to do something he took from that aspect. Many of the movies now seem overwhelmed with effects, but is not a Manika know what kind of history.

When India Photo Rajeev Jain, WICA ICS is asked if he would do anything differently 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 that point in my life I had to work. The important thing is your life and how they evolve as a human being and artist.

………………………………………….. ………………………………………….. …………………………………………..

– The Wishing – healthy trees Kalpvriksh dreams are a tap away

The two-time winner of the Indian Rajeev Jain ICS WICA Photography Special Create World of Light, shadows in his recent film Kalpvriksh desire trees are yours dreams so close

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

Rajeev takes its inspiration from directors like Satyajit Ray (Pather Panchali) and filmmakers Ashok Mehta, ISC (36 Chowrangi Lane) and Binod Pradhan (Parinda) for his use of color and light and shadow to extend the emotional content of stories. Me seems 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 turned around to 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. Rajeev was especially intrigued by the non-narrative, fragmented writing, because it offers a variety of visual possibilities. Shooting especially in contrast to Kodak outdoor scenes, Rajeev experimented with hot and blue filters to get the look he wanted. The result is a journey marked, almost surreal in the minds and actions of strange characters in the film.

advance collaboration is essential in any film, Rajeev says.

It is important to me to go through the script scene by scene with the director Manika Sharma, Rajeev says, trying to see what's on your mind. I want to know what the scene is saying, who is the most important at the time, and how the characters move around the stage. They also share photos and movies, which gives us a visual basis for work.

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

He taught me about the SR packet, which the lenses were, and how to load magazines, he said. Then I started working in Shyam Benegal film about Nehru.

In 1996, Rajeev has the first opportunity to shoot a movie, the Army, with Mukul Anand. After eight weeks Production stressful – all their movements were.

After 6 functions, then came Kalpvriksh in 2007, allowed to explore a technique Rajeev to add new visual nuances to the story. The film features a dream journey Rajeev wanted to give a dreamlike quality. We tested the filters and a process laundering in order to bypass that section of the film its own special look, "he says." Instead decided to use a tilt swing a camera view attachment allows the operator to change the plane of focus. It allowed us to launch different parts of the structure out of focus, which is hard to do at a general level, due to greater depth of field.

Rajeev is currently finishing production Continue Pandu, a feature being shot in Mumbai, as well as doing commercials.

………………………………………….. ………………………………………….. …………………………………………..

India, Photography, Dop, Kalpvriksh, Rajeev, Jain, Wishing Tree

About the Author

Surendra Rahi was born and raised in Delhi, India, surrounded by pet animals. After twenty years as a farmer, he turned to teaching and then to writing children’s books.
Rahi writes mostly about animals: farmyard fantasy, as he likes to call it, often about pigs, his special favorites. He enjoys writing for children, meeting the children who read his books, and knowing that they get enjoyment from what he does.
Among his well-loved books is Kid, The Gallant Kid, which was recently made into a major drama, and was nominated for an Award.
Surendra currently lives with his wife in a small cottage, about three miles from the house where he was born.

Authors@Google: Ramit Sethi

eBay Logo  

New Tiffen 6.6x6.6


New Tiffen 6.6×6.6″ Coral 4 Hard-Edge Graduated Filter HE Grad 6666CGCO4H


$500.00


New Schneider Optics 6.6x6.6


New Schneider Optics 6.6×6.6″ Graduated Coral 2 Filter Hard Edge Grad 68-111466


$350.00


New Schneider Optics 6.6x6.6


New Schneider Optics 6.6×6.6″ Graduated Coral 3 Filter Hard Edge Grad 68-111566


$350.00


New Schneider Optics 6.6x6.6


New Schneider Optics 6.6×6.6″ Graduated Coral 1 Filter Soft Edge Grad 68-111666


$350.00


New Schneider 6.6x6.6


New Schneider 6.6×6.6″ Graduated Coral 1/2 Filter Soft Edge (SE) Grad 68-113766


$350.00


Tiffen 6.6x6.6


Tiffen 6.6×6.6″ Coral 2 Hard-Edge Graduated Filter HE Grad 6666CGCO2H


$300.00


Tiffen 6.6x6.6


Tiffen 6.6×6.6″ Coral 3 Hard-Edge Graduated Filter HE Grad 6666CGCO3H


$300.00


Tiffen 6.6x6.6


Tiffen 6.6×6.6″ Coral 4 Hard-Edge Graduated Filter HE Grad 6666CGCO4H


$300.00


Tiffen 6.6x6.6


Tiffen 6.6×6.6″ Coral 5 Hard-Edge Graduated Filter HE Grad 6666CGCO5H


$300.00


Tiffen 6.6x6.6


Tiffen 6.6×6.6″ Coral 1/8 Soft-Edge Graduated Filter SE Grad 6666CGC18S


$300.00


Tiffen 6.6x6.6


Tiffen 6.6×6.6″ Coral 1/2 Soft-Edge Graduated Filter SE Grad 6666CGC12S


$300.00


Tiffen 6.6x6.6


Tiffen 6.6×6.6″ Coral 1/8 Hard-Edge Graduated Filter HE Grad 6666CGC18H


$300.00


Tiffen 6.6x6.6


Tiffen 6.6×6.6″ Coral 1/2 Hard-Edge Graduated Filter HE Grad 6666CGC12H


$300.00


Tiffen 6.6x6.6


Tiffen 6.6×6.6″ Coral 1/4 Hard-Edge Graduated Filter HE Grad 6666CGC14H


$300.00


Tiffen 6.6x6.6


Tiffen 6.6×6.6″ Coral 1 Soft-Edge Graduated Filter SE Grad 6666CGCO1S


$300.00


Tiffen 6.6x6.6


Tiffen 6.6×6.6″ Coral 2 Soft-Edge Graduated Filter SE Grad 6666CGCO2S


$300.00


Tiffen 6.6x6.6


Tiffen 6.6×6.6″ Coral 3 Soft-Edge Graduated Filter SE Grad 6666CGCO3S


$300.00


Tiffen 6.6x6.6


Tiffen 6.6×6.6″ Coral 4 Soft-Edge Graduated Filter SE Grad 6666CGCO4S


$300.00


Tiffen 6.6x6.6


Tiffen 6.6×6.6″ Coral 5 Soft-Edge Graduated Filter SE Grad 6666CGCO5S


$300.00


Tiffen 6.6x6.6


Tiffen 6.6×6.6″ Coral 1/4 Soft-Edge Graduated Filter SE Grad 6666CGC14S


$300.00


4x5.65


4×5.65″ SCHNEIDER CORAL SEV 2 GRAD FILTER SOFT EDGE VERTICAL GRADUATED FILTERS


$300.00


4x5.65


4×5.65″ SCHNEIDER CORAL GRAD HEV 3 FILTER HARD EDGE VERTICAL GRADUATED 68-111556


$300.00