Star Light Flare

Star Light Flare

Making Ras Star – Photo Rajiv Jain Indian Kenya

Making Ras Star – Photo Rajiv Jain India Kenya

RAS STAR is currently featuring AT THE MUSEUM INTERNATIONAL WOMEN'S 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, a con artist emerging 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 and use her brother's glib tongue to get them out. Through an absolute stroke of luck manage to find the money they need only to come to blows with his uncle Shaka, the family patriarch and Mlandimu, the local gangster who finally saves them.

Rajeev Jain, director of photography Bollywood well versed and Director of Photography, talks about her new award-winning film, Ras Star, and the single camera approach used specifically for this film on a search of the young for life. With a career as a cinematographer for functions such as 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. It also has cinematography credits for Award winning Kenyan FM TV series Heartbeat.

Where are you and how you became director of photography?

[Ramirez] I'm from Lucknow, in northwestern 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 of Dramatic Arts Bhartendu (Bhartendu Natya Academy) to study drama. I managed to run a few plays, not the camera for many more. Since then I have enjoyed both documentary and drama camerawork inform and promote each other.

How did you approach the Rasstar cinematography?

[Ramirez] Through discussions with Wanuri, finding he loved films visually. We wanted find looks separately for each story and a different look for today. There was a visual theory 'of each section (for example, a scheme dark red and black for the story of Amani, eye for history Abdosh long and very wide lenses Mlandimu). The looks had to be able to quickly implement (Then helped in the classification) due to very tight schedule. We then applied the theory to a visual shot list (which often had to do this the night before due to the locations of change or are not yet)

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

[Ramirez] With a 35mm camera looking directly through a lens and see the beautiful scene in color and may rely on their eyes as part of the photographic process. With a HD camera you are watching a Small Black and white image through the viewfinder so you need a large (ideally 24 ") HD monitoring to adequately assess what you are filming. This is huge and totally practical with a small crew and low budget and had a 14 "monitor a good amount of time but up a mountain or on a remote beach just a small battery monitor is possible. This is very frustrating and led to some things that could have been better.

HD is horrible to look at whether any area is overexposed. This proved more problematic in the open air that it chose to shoot very wide lenses which means there are a lot of sky in the shot. Unfortunately, the sky was particularly flat and overcast but relatively bright white.

The biggest advantage to HD was the opportunity 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 about 12 large cans of 1000 feet of film to transport and load). It also meant Wanuri and I go out on weekends and film shots of the city and Trucks easily.

How important is storytelling?
 

[Raj Storytelling] is a much of life from an early age. It is a way of finding meaning in the world. For a child is a way of understanding the world through the metaphor – a child think of it that way.

If the world blew up and the few stragglers found that it was not long before they gathered around a campfire and someone began telling stories to make sense of things. Stories to entertain, provide an escape or catharsis, stimulate thinking and discussion and make people laugh.

What was the best thing about making Rasstar?

[Ramirez] The best that was in a beautiful part of the world working on a script that uses the neighborhood of Kenya, 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 in place, so the crew were reduced to beards of moss and a documentary film about the clouds (Some very thin clouds though).

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

[Ramirez] Wanuri is certainly one of the hardest working managers I've worked with, but I think I found its limit of a Saturday night. We were shooting in the pub (peak performance) and pick-up shots and had an option to go 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 left and thank God we 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 we had to put the camera up and start to run away from clustering around the camera. We shot for the ages and the light was low, but remains wide approaches. I tried to make one last shot with long DJ console in the foreground when Wanuri suggested that we had enough and must go, words I never thought I'd say! (The shot was a pimp and made the film final).

Have you ever worked on anything from Rasstar?

[Ramirez] Since I shot the film Rasstar Kalpvriksh – Tree of desire. It was a great experience to film in such a remote and interesting. Mahableshwar I shot a half-hour comedy channel "the smallest man city "and I also filmed and edited a half-hour documentary in Dubai about a cleaning lady who works in Dubai. Recently I have been a feature Dop low-budget "Carry On Pandu.

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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, which should be able to give the production manager or anything that I asked. But within the visual and aesthetic constraints of any production – or the occasional lack thereof – A part of me is always there. Rules were meant to be broken – but only when you have a complete understanding of the rules. While I can not say he knows All, I am learning with each production. Here are some of my thoughts …

The aesthetics of a project needs to be created at the beginning of the hearing. It is a distraction to introduce a new aesthetic or editorial style in a story too late without adequate justification or motivation.

Another area which receives very little attention is the atmosphere 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 to affect the audience.

I graduated filters too fake and unnatural. It does not focus our attention and instead, usually draws attention about himself. I do not think I have used and have not been criticized for my decision.

Most directors have cut too soon, both in September and editorial. On the set, wait namely, "Cut." Sometimes an actor can give a gem of a moment at the end of a scene if you wait. Worthwhile and often surprises me with which the director used the 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 opinions may change, too. Until then …

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Cooked Art: photography … by Pocket – Photo size India Rajiv Jain

I love movies that take place as a work of art, each scene is masterfully photographed brilliant composition to create lines of action, symmetrical balance, with fine use of space, texture, color and perspective. Here are two movies I recently saw again, and represent the wonderful visual language.

So what the hell is a director of photography? If you want to get into semantics, which means "writing on the movement." But his work, above all, is to have control over the camera and lighting equipment in a scene, and therefore have a lot of creative input in the final image. Even if one takes into account the fact that the art director is responsible for the staging, the storyboard artist After the shooting plans and what actually is happening, and the director will want to have a piece of the action, then it is no wonder how movies end looking great. Here are some of the guys who managed to do this (in my opinion little)

What qualifications to be made in the study Bhartendu Academy of Dramatic Arts and when it ends?

I went straight from high school to Bhartendu Academy of Dramatic Arts and made a two years Diploma in Arts Drama, specializing in lighting and graduated in 1985. The courses are so different now. Is aimed more at a film school in a school art, which I think is excellent! Allows students to make earlier decisions on the chosen field within the film and television, be it a picture, director, producer, editor, etc. It also better prepares students for work in the industry. It is the teaching of how much more than the form of filmmaking.

What think of the facilities that we saw recently in Bhartendu Academy of Dramatic Arts (Bhartendu Natya Academy)?

Bhartendu Academy facilities Drama is fantastic, I would even say world class. The main production studio is well equipped. Post-production facilities, as sound editing suites and mixing rooms are like what is being used in much of India's film and television industry.

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

I think it is fantastic that students arrive to shoot film projects is the industry standard format for international feature films and Like most overseas television drama. It is rare for students to have the opportunity to work with film, now that digital formats are becoming more and more common. If you are able to shoot and work with the movie, then you will be able to work in any format that you come across there. It does not work in reverse.

What I mean by this is that the filmmakers are the same format you pull in. However, filming requires a different approach, both technically and creatively. These principles can be applied to the digital jack, but filming requires a greater understanding of lighting and exposure.

The digital computer Bhartendu Academy of Dramatic Art is a type and quality, enabling graduates to leave the industry and understand 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 team that are using is the same.

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

What was the first break or work which was instrumental in setting in your way in your career?

I had a series of breaks and I suppose many of them give to 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 reel showing the film. (A reel is like a portfolio program work, the reduction of my best photo edited to music.)

Just as I had finished, an email came through that what was transmitted by someone he barely knew. The email said that a production company in Kenya was looking for a director of photography for India film part of an international film went to the screen in the World Expo in Nairobi, Kenya and wanted to see figures shown.

I went to the post office to next day and sent me off express mail. I received a phone call just days after confirming he had the job. I was transferred to Nairobi and worked with a full professional team in what was my first big job.

The people I met on that project he liked my work so much that I called one months later and I flew to Brunei to shoot some commercials. I finally returned to India with a new and improved show reel. Having international work on Reel raised my profile and took me to 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 successful professionals creative is the ability to take pride in the job. Whatever your creative pursuit, I think if you're doing work you really like and who take pride of, then you have the luck to have one of the best jobs in the world.

I also believe that challenging yourself to work outside their comfort zone is important and realize that to succeed we must be consistent, positive and work hard.

Whatever the creative field 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. The first thing to do is create a portfolio, or in my case show reel and then be 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 to which you do for the love of it and not pay. I did a lot of 'gifts' to get my reel to show to zero and gain experience before starting to collect my art.

It is also important to work on your network. You never know when that person could be considered a rival might actually be the pass 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 to continually better projects.

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

Well to start the film of recent Indian films Kalpvriksh – The Tree of Desire – Dream Is 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 The films that convey emotion to an audience y. help communicate the subtext of a story that tells 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, the atmosphere and the techniques of film narrative.

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 not just a technical achievement, but also a narrative one.

I also liked Proshakha shakha (branches of a tree), Agantuk. Both are quite rough and hand sometimes, but very beautiful and really felt like I was "inside" 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.

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lights key moments of photography from the 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: Director of Director of photography, the 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 director of photography?

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

Q: What kind of training has had to become a cinematographer?

R: I went to Bhartendu Academy of Dramatic Art. I had a diploma two years in theater arts. That put me in a position to see how the industry has changed a lot. After leaving college, children should only begin a company. First, decide what they want to do in the industry and then go for it. The sky is the limit depending on the career path you choose.

Q: What do you like best about your job?

A: Working on my own. Having the freedom 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 be on a path of business as well as a path creative. 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.

R: What job? Normally when I'm not working, I'm in my office doing paperwork. From his office, you may have to go somewhere on location and can be anywhere from two days to thirty days. Much of our material is remote locations. Each job is unique. As soon as you which is typical, it changes.

Q: What career you been in before become a cinematographer? 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 filming, I realized this was what I most passionate about. But when you have a creative bone in your body, such as writing, it is easier to extend to other aspects of a different creative profession.

Q: What characteristics do you think are necessary for success as a cinematographer?

R: Everyone has different ways to succeed. But we must keep up. Editing and graphics has changed so much. The dynamic has completely changed everything. You have to be fully flexible and stay with the current trend.

Q: Would you say it is essential to have a college education for a career as 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 one 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 building 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 led to a four year old level, 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 degree.

Q: Would you recommend this career to someone else?

A: Yes, I can not think of anything better to do. I see things that people 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 would be is to go to college and get that full-time job. Get an idea of what the industry concerned. It is difficult to have just a good portfolio, unless you're an amazing 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.

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Kalpvriksh – The Wish Tree – Dreams are yours so short distance – Photo Rajiv Jain

Two-time Winner of Indian Photo Rajiv Jain ICS WICA Special Create World of Light, shadows in his recent movie Kalpvriksh yours desire trees are so close to dreams

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

Rajiv 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 lights and shadows 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 operate in the dark. He turns everything to the blacks are really rich – however, you can see everything.

His work in Kalpvriksh, a film director Manika Sharma exudes quality time with an advantage. Rajiv was especially intrigued by the non-narrative, fragmented writing, because it offers a variety of visual possibilities. Shooting especially in contrast to Kodak for outdoor scenes, Rajiv 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 the strange characters film.

advance collaboration is essential in any film, Rajiv says.

It is important for me to go through the script of the scene 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, who is the most important at the time, 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 Arts in Drama and a beginning still photography, Rajiv took a course in cinema. Intrigued by the middle of the film, saw the possibilities of combining their interests in the commercial film. Looking for a way to learn camera, offered his support (not paid) for the cinematographer 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 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 his movements were.

After 6 functions, then came Kalpvriksh in 2007, Rajiv allowed explore a new visual technique to add nuance to the story. The film includes a dream trip that Rajiv wanted to give a dreamlike quality. We tested the filters and a bleaching process in order to bypass 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 to launch different parts of the structure out of focus, it is difficult to do on a general level, due to greater depth of field.

Rajiv is currently finishing production Continue Pandu, a feature being shot in Mumbai, as well as making ads.

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Full of Surprises! Rajiv Jain, director of photography india / PDO, talks about … KALPVRIKSH (The Wishing Tree) your dreams … ARE ONLY A touch away …

Like any artist, Rajiv was born with innate talent burnished by experience and cultural influences. Born in 1968, his first introduction to movie magic 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, "the Indian filmmaker recalls." It was like watching silent movies because I could not hear the sound in the cabin. I view pictures and trying to understand the story. My uncle showed us the films of Charlie Chaplin, who, of course, silent. There is no doubt that he was his dream of becoming a director of photography in my heart. "A native of India, Rajiv Jain Director of Photography ICS WICA studied at the Art Academy Dramatic Bhartendu in Lucknow, India.

The day after graduating, Rajiv went to work as an apprentice in an anamorphic image. Helped ten films as assistant director of photography before becoming a dictatorship of the proletariat. "From that moment I felt that the camera is as a pen used to draw pictures, "he says." Operating a camera is all about the composition and rhythm. I also operated the camera for Bollywood songs. It was very primitive. While we were shooting, someone with a watch was the moment all 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 element of a working draft in that amount of time. "

I just fascinating that the film speaks a common language that everyone in the world can understand, "he recalls." This is especially true for directors of photography, because we are communicating with the public on a non-verbal. "For me, making a film is like conflict resolution between light and darkness, heat and cold, blue and orange or other contrasting colors. There must be a sense of energy or movement change. A feeling that time is passing – light turns to 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 this box in particular … the concept behind it.

The first major decision in relation to the visual effects was to shoot in anamorphic (2.4:1) format, as they had in Kalpvriksh – The Wishing Tree. Rajiv says he likes Manika manipulate the subjective and objective points of view, sometimes in the same frame, or even same time. In a simple example, a shot start on a topic, then an actor will step into the frame, creating an over the shoulder shot changing of the subjective – in which the viewer sees what the character sees – the target. "One of my first suggestions shooting Kalpvriksh – The Wishing Tree in the Super 35 format, "Rajiv continues." I felt the film was given an advantage not expect to see in Drama. I felt I could use the broader framework for create a claustrophobic feeling in the cave of Shabana and more interesting than shows the composition Shabana in the world. "She, director Manika Sharma, designer Mansi and other members of the creative team discussed the possibilities of composing Kalpvriksh – the Wishing Tree in widescreen format, while those based on visual references as another drama with an unlikely subject. Although Manika storyboard scenes, Rajiv sketches used primarily as a communication tool. During filming, the director remained Open to deviate from the storyboards to take advantage of unexpected opportunities. "Our production designer and costume designer Mansi given us rich sets and costumes. Although two-stop push development is sometimes not so faithful to the colors, their cooperation with this technique has allowed us (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 illuminated with a light hard day, an ARRI 6K, "said Rajiv." We brought a light through the window. To illuminate the door, we used a 4 by 4 mirror out of its frame on the right. Light is modulated by the rain on the window, and laid it on the book. We were 'nuts' gathering. It was serendipitous, and it all worked out with a light. "" To fill light in this film, which is used both very, very little or nothing, "he adds." I think that with the existence of film were using, if you are overexposing a bit, you can read the shadow detail incredibly well. When I saw the picture on the screen theater in the 70-foot wide side dark, which is dead black, you can actually see is hair on the heads of the actors. I found it very interesting. I hope it works on a subconscious level to the public. "While Rajiv knew that he could not shoot wide open in a T2 or T2.8–because the Super 35 format chosen has a shallow depth – still wanted this tool to give the story a greater presence on stage. The biggest negative is allowed to push the envelope. And he knew that the grain would still be acceptable if remained in the range T4 to T2.8 indoors. "We still use real sources and would not be difficult for our camera crew to follow the focus," says with confidence.

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 visual effects, 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 – it 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." There is no capture light in the master, "he says." The teacher began with a shot that was impossible shot to light. We were stuck back in the corner with a 35mm lens and had a two-way mirror in the background. So we used a technique called Rajiv Jain a "punch." In short, you're usually shooting horizontally through a room, and there are horizontal surfaces, as the tops of the chimneys and tables. If you come from directly overhead 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 item without actually being lit find out what is happening in terms of a source. The shades go down, so they do not end up looking strange or calling attention to the source. One sees in table and in the end of the table and the lights are facing a degree. It's interesting because the people you are not lighting at all. Lighting environment you are in.

Anamorphic gives you the space in the frame to do that, "said Rajiv." Manika has no problem filling an anamorphic frame in a contemporary image. History also has an elegiac aspect, so I say it looked better without cutting rock movement of the Video Camera frenzy. With the impressive 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 '- as factors in our decision anamorphic shooting. "To determine an appropriate approach for different moods visual Kalpvriksh needed – The Wishing Tree, and Rajiv chose Manika waive as much of the usual business to see other films in preparation. "We use a lot of work book, referring to other types of artists working in two-dimensional shapes, photographs and drawings of all, "Rajiv is concerned." This was a nice and different way of preparation. As for movies to see how a particular sequence is working great, but this approach introduced me to this round incredible self-education, which includes still photography from 1890 up 'til now. Now I can not help buy books. It's amazing how much source material there is a visual reference when you return to the basics. These were great starting points for us.

The filmmaker also had to avoid revealing reflections of the camera gear and personnel on the surface of the water. Along with a disciplined crew, which required the placement of a careful selection of light and camera angle. He found that the introduction the 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 that he and the director wanted Manika. Rajiv also occasionally added the reflections of characters and objects in the water surface to draw attention to the barrier separating the child from others. Sometimes the camera takes a subjective view, as a spectator, while other times the public seems to share the life of Shawn-in-the-bubble experience. "There is no simple formula for deciding when to put the audience inside the bubble with Shawn. It was a question I asked the manager of each outlet in each scene. We are with Shawn inside the bubble, or are we looking outside? "

I did not believe it, obviously, neither director nor the company nor Manika Sharma Films diamond producer. Another photo shot in an old house in Bollywood we needed to actually two power generators to all the lights. At the time that were made, however, I was able to fire two-thirds of a long sequence of reflections with dollying seen in a long fish tank at night (Shabana Cave). "I think it is a visual reflection of the fact that one's position in life can change almost instantaneously," he says. "It's very effective visually. It seems to work in a number of different levels. Using this different approach seems to refresh all your extensions and setbacks. There is a very interesting scene between Shabana and child which was carried out in one under the tree, and there is a sense of concern and possible aggression. It is very ambiguous, however, the 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 know how to use this really something that can only be simulated in a studio, "mused Rajiv. searchlights were used extensively throughout 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 it was very subtle, however, only reflected in the brightness of the skin. "We use the spotlight, as almost more of a eyelight" says Rajiv. "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 to the internal life of the characters, so I tried eyelights keep going, especially when put us in close. It has often been done with a small reflector shot at the last minute.

One of the most important preview included Shabana's character itself. "For the nailed down, we started working on storyboards with an artist," says Rajiv " who drew the fabulous together is a great artist too. We told him our thoughts on how Shabana looked and went to work. Manika credited with creating a good part of the final appearance since their drawings were used to communicate with the hair, makeup and costume departments which Manika wanted for his eyes. "Part Cave of disguise 'involved the use of a wig, which often obscures the face of the actor – that sometimes makes a situation less than ideal lighting. "During hair and makeup tests, I saw that, while Shabana seemed incredible that would be difficult to treat for 2 weeks. He had a big hat and a large wardrobe also so there was a question whether they ever will be able to see it really. Manika told that at times came close to becoming a hair hat. Very sensitive to the needs of actors, Manika not want to get the facial hair, so I tried not to mess with it and solve it by ourselves. "

In Kalpvriksh – The Wishing Tree, Rajiv chosen Vision 200T (5274) throughout, but the night outside, and explained that the soft grain emulsion thus no records intrusive deep blacks, realistic colors and a wide dynamic range. Rajiv outside shot of Eastman EXR 100T day (5248), using a filter of 81 half-EF correct and maintain the blue winter cold. 250D daylight-balanced (5246) Vision of values was selected for the interior of days while she took advantage of the view 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 the same as using a cheap filter on the lens and realized that any distortion or loss of focus is magnified when the optical laboratory 'squeezed' images in the aspect ratio of 2.40. In addition to selecting the right plastic, it was important for us to record a strong negative image 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, Rajiv employees what he calls a new light sandwich. "Others might call it a light book, but in any event, we were playing in the light of a new maxi brute piece of board of accounts, then letting the light pass through a diffusion framework generally well equipped with 216 or light grid. Soft light surprising that he had a very fine quality, plus some serious pounding of foot candles. This had enough soft light to pierce through the hair Shabana, and could control the amount of light with just a click away from different balloons. But it also requires a lot of flagging and took a lot of space. "Other times, Rajiv illuminated by the light directing Forest from more extreme angles." I have come in much lower and more front with what would be key normally have, but the approach did dropping the hair naturally, so that although it was hard work. It made me grateful for the scenes when Shabana wears his hair back, and I could get a nice benefit in it through the side lighting. "

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

There was daylight scenes are few, so we decided that the cracks in the ceiling of the cave leaves harsh sunlight in, "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, without But 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 main light on the actors, but did not put any oscillation movement because I felt it was distracting. The flickering on their faces only comes from water real. What I did was add a slight flicker effect on the walls, which seemed to be more enjoyable while lending a bit of realism.

Front-end Laboratory work was performed by Gemini, which provide the daily film. "After their experience in the commercial world where he works on a monitor the whole time, loved watching the daily Manika film – which opened a new world for her, "said Rajiv." For example, there is a picture of a delivery of a line Shabana 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 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, Rajiv smiles and says:" Would you be surprised if I said that there is a happy ending? "

The filmmaker does not use diffusion on the Camera Lens, preferring to ease his subject, as it's needed selectively affecting the source of light. "I've never liked in the movies when the general resolution of the lens changes visibly when cutting the fore during a scene" states. "The whole business of putting heavy diffusion front of the lens to make [actress] look" better "is crazy for me. Do not want to see the effort picture to make someone look good. Instead, I see the character looks good, and I think that happens when the actor is part of the scene illuminated appropriately and flattering. My solution is to soften the light source, and let the image be as clear as possible. Some people think that Primo lenses are too sharp, but I love everything perfectly. When combined years and years of research and development in Kodak film stock, which has happened in these lenses Arri and laboratory work in the Gemini, and then put this in a movie projected on the screen correctly, the result is amazing how perfect! This Volume great pride in delivering a perfect negative reality. We may want to mess later, and that's fine, but I think at the start of something good exposure and sharp. "

With all the visual processing needed to represent the perceptions of Shabana, Rajiv and Manika necessary to decide on the parameters from the beginning of the most elaborate visual effects required. "We're telling a story that is partly through the eyes of a madman" Rajiv offers. "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 again prices four or five times greater than expected. This has forced us to retreat, and the decision that it worked best for the movie ended up doing. Most effects are same things we did, with light cues practices, or a combination of these keys with digital enhancement. "

I'm glad to see this film seems interesting to look at, but I'm pleased also that the visuals do not replace history. Early reviews are praising the performance of Shabana as one of the best ever given, so it makes no sense to do something he took from that aspect. Lots of movies now seem overwhelmed with effects, but Manika is not know what kind of history.

When India Photo Rajiv Jain ICS WICA is asked if he would do anything differently today, the master artist responds: "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 with what he had to work with them. The important thing is your life and how they evolve as a human being and artist.

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Q & A with Rajiv Jain WICA ICS Indian film photography Kalpvriksh – The wish tree – Your dreams are so close

Director of Photography India, Rajiv Jain ICS WICA is based director of photography in Mumbai, India. Rajiv Photography specializes in television commercials in the film format 35 mm film and HD digital formats. Rajiv started 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.

Q: 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 who made me want to be a director of photography. Certainly was 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 deleted from the palette 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 an embarrassment. We moved to the Etawah and then back to Lucknow, where I completed my education. My degrees were in Theater Arts.

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

Rajiv: I wanted to be a writer, but like I thought too much and Rakesh Mohan wrote very little. That is too say it was more then a reader, writer, more academic then poet. I was very interested in semiology 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 codes worked in other languages, such as the language of cinema. My interest in film language led me in a fairly 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 DoP alter public perceptions of visual event, and therefore both 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 their images had always remained in my imagination, not only for its sheer beauty and scale higher, but because it affected me emotionally, strikes some cord unconscious but sensitive. 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 that the directors of these two films, Subroto Mitra, were most influenced my decision to become a filmmaker.

QUESTION: How made a connection between words and photography?

Rajiv: In the writing of essays and articles on film. I realized that the images 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 we call letters, have agreed to 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 cat black or a black cat angry. These words are codes, codes, but not universal. They are specific to a culture that shares that language. Photography in some aspects of language is a system far more complex. The denotative (specific) or connotative (symbolic or implicit) 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 most specific meaning. An image provides specific and nonspecific meanings. You can work in many layers, and not conscious.

QUESTION: Did you you have any mentors or be completely self taught?

Rajiv: 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 of them. 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 distinction very important. Do not want to sound pretentious, but if one takes 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 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 a day and I can see anyone watching the film with me and physical address emotionally 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 of the problem lies in our collective culture. The films are reviewed as theater, rather than as a unique art form. Critics talk of scripts and performances. They talk about things they understand, but to understand due to their cultural background themselves are primarily in traditional theater, but you may not recognize it. In this context, the cinematography and music are not understood, except to say that they were fair; it is not a particular language, developed in the criticism for its description. Unfortunately, many critics fail to recognize how decisions made by the Director, photographer and composer made a profound impact on visceral reactions and intellectual responses from the audience. 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 film using 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 for audience understand the artistic treatment of the film.

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

Rajiv: One important thing about collaboration is that the filmmakers have to integrate their 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, 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 investment through a film post-production process to see how it goes, and then resumes try the 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 and that is very interesting. I am constantly learning from others. I still read all the magazines and the newspaper about the 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 others are doing to learn. I learn from my mistakes that I have had ample opportunities to do over the past 20 years. When my son Adam was in seventh grade, 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's a lesson extremely important to learn. It's okay to spoil, and that sometimes makes a mess if you're willing to push the limits of his craft.

QUESTION: Do any other mentors influence their thinking?

Rajiv: I was a graduate of the 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 in terms of film theory.

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

Rajiv: At the beginning of my career, nothing that was offered was a movie wanted to do. Today, there are two things that might 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 will 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 principals 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've done before, and the script is not great, it is less likely to be interested. Sometimes, a project that has been 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 will 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 engagement and that, what's left?

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Quick notes of India Photo / Rajiv Jain DOP and aspiring filmmakers of Indian Cinema:

A quick "filler" post 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 of" Indian "picture 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 for all filmmakers is to be very aware of the digital era à ¬ s just above us, but remain faithful to the movie at this time and perhaps experiment with both. We are at the crossroads of digital film. I just had some tests with the film compared to digital and the film is even better. Film still has more information that Digital Cameras do though are improving all the time. But the way forward now is very intelligent making films is a film shoot in either 35mm or super 16 and digital intermediate and put together in the film at the end. I've done with my last three or four movies and I'll be doing that again with my next. à ¬ s film is very intelligent to use digital technology to manipulate images. (With respect to help make decisions on the day of shooting), shooting saved me Kalpvriksh Ã-average about 10 minutes a day for decision making as:

There ¬ Ã sa flash out of a window, send the handles to get rid him. We had not had time. I can correct it digitally. Ã ¬ s is very easy later.

There à ¬ s warm light that came out of the top of the Musco lighting flares à ± large. We can not get rid of the flares at the top of the frame. Do not worry. If you're going to have to establish giant flags, à ¬ s it going to take 20 minutes to do so. Forget it. I know I can fix it digitally.

From time to time I like to make decisions that knowingly I could make corrections in a digital intermediate. à ¬ That sa very smart way to go. It is more expensive than conventional calendar, but each time à ¬ s cheaper all the time. à ¬ s is only going to be the norm soon.

I (Ã ¬ s is good) for young filmmakers to embrace the (y) to visit the digital home (which) are more than happy to show people around (and) to show them the ropes. Ã ¬ s is truly a unique experience. Once someone has done, they'll never look back.

I have done business for a long time and I just tend to go from feature to offer. (But) Most filmmakers who roll ads if you follow through certainly get to see the work of digital technology if they are going through the process of television.

Now the master of the camera, Rajiv Jain:

My favorite Indian photography are:

Ashok Mehta (36 Chowringhee Lane, Moksha, Bandit Queen)

Binod Pradhan (Parinda, Devdas)

KK Mahajan (Coro, Maya Darpan, Uski Roti, Sara Akash)

Santosh Sivan (Dil Se, Iruvar, Kalapani, Perumthachan)

Y

Subrata Mitra (Pather Panchali, New Delhi Times)

You should definitely check them out. I have written about a couple of them.

As a career plan, I still think to myself. I remember listening Ashok Mehta photo about reached the point shoot, finally features. He worked as an assistant cameraman and camera op for a while until it was constant action shooting those ads. Shyer up to director of cameras, has shot a number of films, including 36 Chowringhee Lane and Bandit Queen. It took about 10 + 30 years to reach the level found today. And that is the large number also learned. It will take you about 10 years on average to be "successful" (in large Bollywood terms) in their field.

All I can advise is to establish. Get on a camera, either PA, camera assistant, camera op, or the person who cleans the dirt of the cases of the camera. See the director of photography. Listen to the director of photography. Ask questions of photography and film equipment. What you are doing, even the most stupid and boring work on the set, the spectacular and be incredibly happy to oblige. People will notice your attitude. Make friends, but especially with the film crew, not only the director of photography. (Also make friends with the assistant manager. They can give good recommendations.) Learn all you can. Get a camera (still or video Camera Slr) and explore their own style. Try something new every day.

As for how to be a great director of photography:

Remember that you are telling a story. And serve this story with humility, loyalty, creativity, passion and eyes open.

Well make sure you know what you're doing, or get really good at winging 'it. (Another post on "knowledge type [of] what you are doing is in the middle of writing, as well as some thoughts about being a director of photography india so far in my journey. Should be interesting.)

For directors of photography who make movies just can not have had that opportunity, but I recommend going to a digital home. I've done all my work by Prasad. They have the resources of all major optical engineers and designers, (and) electronics experts in Panavision. Prasad is truly wonderful-Ã been a huge help to me knowing that I have shoot a good laboratory and large chambers.

I believe that aspiring filmmakers should be aware both formats ³ ³ Ã digital film, but tend to be (pause) Not ignoring digital cameras, but I'm getting as much time as possible. (Laughter) I am a bit guilty of not really follow the latest technology as far as digital (high definition) cameras are concerned, but I've tested with them. I still a man of cinema. I love movies.

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Biography AUTHOR: piyush passion for travel began after a trip impressionable Torres "Around the World" for eight years, where the sights and sounds from around the world planted the seed for exploration and travel.

After Piyush University embarked on a backpacking trip to Australia through Southeast Asia, then moved to London to study journalism. He obtained a Diploma with honors London School of Journalism in 1996 and has worked as a journalist since 1997, mainly as a freelance, but also has staff jobs in broadcasting.

Tags: bollywood, bombay, videographer, photographer, commercial photography director, dop, dp, Dubai, India, Indian ISC, jain, Kenya, Mumbai, Rajiv, Rajeev, tvc, video, video, WICA

About the Author

Piyush’s passion for travelling began after an impressionable ride on Towers “Around the World” aged eight, where the sights and sounds from all around the world planted the seed for exploration and travel.

After University Piyush embarked on a backpacking trip to Australia via South East Asia then moved to London to study journalism. He gained an Hons Diploma from the London School of Journalism in 1996 and has worked as a journalist since 1997, mostly as a freelance, but also taking staff jobs in broadcasting.

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