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Shooting Stars: An interview with India's greatest living Rajiv Jain Photography
Shooting Stars: An interview with India's greatest living Photo Rajiv Jain
Technical aspect of the film from exposure to all operations and formats
Rajeev Jain – WICA ICS
Indian Bollywood Director of Photography / Photography / DOP
The completed, Vol II
UMA: Can you talk about your inspiration before you get in film?
Rajeev Jain: See color television first began my fascination with the technology of light and photography. These studies The meeting was enriched by a remarkable DOP called KK Mahajan, Mr Mahajan introduced me to filmmakers like Mrinal Sen, Adoor Gopalakrishnan, Mani Kaul and Buddhadeb Dasgupta. Y I realized what a phenomenal art form, this technology can be wonderful. Almost at the same time, when I was 13, was the door, crashing all Shatranj Ke Khilari in Lucknow, which Satyajit Ray, directed and Soumendu Roy, was shooting. Roy was lighting the huge interior shot as Arri IIC was probably 125 ASA color negative. It seemed to be everywhere at the same time, improving the framework with the operator to adjust the positions of the players in the background, adjust the light of at least a dozen babies. As was a beautiful actress Shabana Azmi to your brand and subtly adjusted the shadow on the forehead, I thought to myself that this man has the best work in the history of the world.
UMA: If you had a quality label for a PDO really need to succeed in movies, what would it be?
Rajeev Jain: I think that in the absence of a better term would be a point of view. Everyone sees the world from their own perspective and uniqueness is what the Declaration of Principles gives the film on the history, of course. It is difficult now because much of the industry is driven by the economy, which means you are a hero, if you can throw a few soft lights and remove a lot of shots. This runs counter to get a sense and feeling of what is absolutely right for that story you're telling. But, if you choose carefully and find the right director, his view will leave an impression.
UMA: Was there a key moment can point he knew he would become director of photography?
Rajeev Jain: Well, there was a good time, but it was pure chance. I had no plans to become a Director of Photography-none at all.
UMA: Your work always been so pure I almost spiritual in a way. What is the most important quality a director of photography should carry a movie?
Rajeev Jain: The most important task of the director of photography is to create an atmosphere. To interpret the mood and feel the director wants transmit. I mostly perform this task using very little light and very little color. There is a saying that a good script tells you what you do and what is said, not what someone thinks or feel, and there is some truth in that. The images are not the words, capture feelings in faces and atmospheres and I realized that there is nothing that can ruin atmosphere as easily as too much light. My struggle for simplicity derives from my struggle for light logic, the true light.
UMA: If I had to choose a single quality a PDO needs to succeed, what would it be?
Rajeev Jain: Sabor. What does it really the ability to know what scripts to work, which feels good in terms of composition, lighting, everything that happens during a movie. The taste is an instinct that should guide you to projects that will provide a great experience. I've been lucky in terms of the films I had the opportunity to work, but some that is my ability to go with what feels right to trust my taste and see where it's going to take me.
UMA: I wonder what the director never got to work with what you wanted, dead or alive.
Rajeev Jain: I think that those already not everything, it would Satyajit Ray. His ability to tell a visual story was just incredible. And for those still out there, would have to be Adoor. These are the directors who are not dependent on the spoken-word talent is very pure in the sense of sight, and that interests me most.
UMA: 25 years have passed since I was a young child than standing on railroad tracks in Etawah. Can you tell me one thing I've learned as DOP who helped him travel the tracks better than any other?
Rajeev Jain: Light. For all we do as human beings who are affected and defined by light. A picture director is a master of light. We have think about light, learn to see in all its moods and different approaches. It is absolutely the most important tool we have to work as director of photography and I think, as people, too. It was always what I was so aware of when I was looking at the railroad tracks as a child and now years later. Light.
UMA: So is that a shot of his favorites of all time?
Rajeev Jain: No, not really. The problem is to draw a shot that goes against what I think movies should do. A film is a sum of its parts and only killed one as strong as what has preceded. Pather Panchali points very well. It's mostly done in these very straight in medium shots. Towards the end of the film, after death Durga, Apu we brush teeth, comb … go about performing tasks that would have involved his sister or mother. Sarbajaya (mother) has a vacant stare … Harihar returns, unaware of the death of Durga. In a jovial atmosphere that he calls his children. The lack of reaction, Sarbajaya to get water and a towel for him. Harihar begins to show the gifts brought to them. When displaying a sari bought for Durga, Sarbajaya breaks. We hear the high notes of a musical instrument "Tarshahnai" symbolizing his weeping uncontrollably. Aware of the loss of Durga, Harihar falls on his wife. We Apu speechless for the first time to take a leading role in history. Until now the story is seen through the perspective of each Sarbajaya or Durga. It is only in recent times we see Apu as an independent individual. This framework, which is amazing, would not mean nearly as much if not the entire film was done at this point in the eyes, the focus midplane. To select a single shot in a movie is to deny The vaccine is important for the style already established.
UMA: Can you imagine a life without photography? A totally different race from which took?
Rajeev Jain: Of course not, when I was younger I could not. But later in my career, after I had in theater and photography, I found this desire to physically go to the studio. I was in love with Einstein's concept of relativity, which was the best poetry he had read ever. The concept that all matter contained in the energy and the energy in question shows the power of intuition by a man. At that time I had a family to support and I realized my way was in the film, not physical. But the instinct was there, however.
UMA: Shape and content of work in harmony.
Rajeev Jain: Absolutely. Like light and darkness, which seems to conflict can sometimes lead a seamless union with great power on the screen.
Tags: Rajeev, Rajiv, Jain, director of photography, cinematographer, bollywood, india, Indian, Bombay, dop, kalpvriksh, cameraman, Kenya, Kenya, dubai
Rajiv Jain Cinematography: Theory and Practice
Rajeev Jain is a time of two award-winning director of photography and has been nominated on numerous occasions, the most recent nomination for "Outstanding Achievement in Single Camera Photography" Spring 09.
In recent 25 years, Rajeev has built a reputation of working both in film and television. He is considered a pioneer in the world of HDTV, as one of the first DPs to work on the new medium.
Rajeev closely with Indo Studio (HDTV first production company in Africa South) during the nineties he became one of the few AD who has worked with every generation of HD camera from its inception. Their scope of work includes documentaries, commercial reality, children's television and independent films.
Rajeev Jain has created a masterpiece. "Rajiv Jain Cinematography: Theory and Practice "is his third interview with me and for aspiring or experienced cinematographer – the best reference interview I've done.
Anyone who aspires to this highest art of storytelling must have this article on your shelf. He writes: "At the heart of it, cinema is photography, cinematography, but it is more than the mere fact of photography. It is the process of taking ideas, words, actions, emotional subtext, tone and all other forms of nonverbal communication and are in visual terms. "Through metaphor, both verbal and pictorial example is the key of this art from his hiding under the bed and hangs there in the plug from the wall of the kitchen. All you have to do is take them down and apply.
Learn the language of visual art is more than learning the difference between the angles of subjective and objective, or know what the director means when he says he wants "a necklace. "When you have finished the first chapter has a good enough handle on the terms and director of photography on the set bandy about to sound like a professional. Upon reaching the fifth chapter "Kinematics of continuity" that have been exposed to enough theory and practice of postgraduate start on the path toward mastery of form. I especially enjoyed Rajeev explanation and examples of continuity. Music Videos and songs from Bollywood has had a profound effect in the new filmmakers that many of us from the 'Old School' have a tendency to wonder what is happening at times. There is a lack of "continuity" in many of the assembly sequences you see now days that it was encouraging to see so much time and space devoted to such an important part of the narrative.
Glossary terms
Cut (broken, cross-cut) A cut that marks the abrupt transition from the end of a shot for the beginning of the next making. A shot is said to be inserted in another film when he returns to the first injection, as when we see a closeup of the face of a character, then a memory flash-back that the character is to be inserted in the facial injection, and when the flashback is over, the film returns to the facial injection. Transverse occurs when the movie goes back and forth between, or between parallel actions, as in a chase scene.
Keeping the concentration Subduction photo and clarity of the constant image of objects that appear close to the camera in the distance at the rear of the frame, allowing the viewer to see more space in the making, including background details and actions.
Dissolve (party break) A transition from one shot to another in which the images are superimposed over a time, sometimes is used to relieve the visual sharpness of the transition (from a dark cave lit scene to a bright snow scene) and sometimes used to suggest an association between two images (from a letter to a character to a plane of this nature to read the letter) A party to dissolve is a graph in which elements of the two images coincide, as in the foreground of the murdered woman Psycho eye and the shower drain.
Edition (assembly and cut) The ways in which various pieces of film are joined together. The assembly is the French term for editing, or cutting, but also connotations of the creation of meaning through the editing patterns. Mount Hollywood is commonly referred to court multiple rapid share fire, often using dissolves many, to create the effect of chronic rapic of time, a character from youth to maturity.
Establish (Or teacher) fired a long shot that shows extreme (or create) all the space in which the subsequent scene is carried out. Many scenes begin with these shots to guide the viewer, sometimes two shots, one outside and one inside.
The establishment party line often through cutting the gaze direction of the character. Sometimes a shot will show a similar character, and a second shot will show what the character is watching. At other times the term is used to refer to the directionality of the character's lines of vision within shots.
Scene retrospective A jump in the narrative of time from the present into the past. Instead of proceeding chronologically through history, flashbacks allow filmmakers to go back and forth between past and present events.
Formalism A film theory that emphasizes the formal properties of film that shape how movies are made. Formally recognize, for
example, the screen space is an organization of Art activity that differs from our everyday perception of real life. Large formal theorists include Sergei Einstein and Rudolph Arnheim.
Invisible A standard style of filmmaking in which the style is not usually noticed, based on the assumption that narrative is always more important than style and dominate it. These devices are not crossing the line of 180 degrees and cut into the action, reaction and dialogue contribute to this style invisible.
180 degree line An imaginary line drawn between the camera and the actors / action that the camera does not cross to avoid viewer confusion and maintain a invisible.
A Realist film theory that emphasizes the nature of film recording, and the connection between the camera and what is before him in real life. most important realistic André Bazin and Siegfried Krucauer `.
Scene A scene is a narrative unit by unit of time and space. The events in the scene occurs in one place at a time, a later scene, for example may occur in the same place at another time.
Shot (foreground or close, medium, long, two shots, and dolly track) A vaccine is an image in movie uninterrupted by cuts or other transitional devices. The terms close shot (or near), medium shot and shot indicate the distance from the camera from the central object to be photographed with a person, a close-up shows, usually face and maybe the shoulders, a medium shot shows a person from the waist up, a long shot of the whole body of the person shown. A two-shot featuring the two characters alike. Tracking or truck (or dolly) shots are those in which the camera moves. It was traditionally mounted on a dolly or a cart, and follow or "track" a moving object, like a character walking or galloping horse. Tracking dolly or injections may also move through a set (like a house hounted) in which nothing moves, giving a complex depth to the shot.
Shot / reverse shot editing an edition model shows, a character first and then cut to a reverse plane allows us to view almost opposite, usually another character who is talking or interacting with the first. Many scenes simply go back and forth between these shots until all dialog significant has been said and the action has occurred.
The standard stylistic stylistic features of film at a given time. Departures from the standard style can be used with good results by creative filmmakers because they come as a surprise.
Master of Light: A Conversation with Contemporary Photography in India Bollywood – Rajeev Jain ICS WICA
EXCLUSIVE! Rajeev Jain (Director of Photography India Kenya)
Photo Rajeev Jain India Kenya talks about joining Heart Beat FM and explains the meaning of the "Heart Beat FM wide shot" in an exclusive interview M-net.
Rajeev Jain is friendly, sympathetic, funny and intense (in a very good) and very smart. Oh, and I did happen to mention that he is a world-renowned director of photography. Although it looks a lot like his good friend, Matthew Robinson, is his own personality, a person, a darn good guy. In speaking with him it becomes clear why these two men work together so often and so brilliantly. They are like two halves of a whole. As Rajeev told me during our interview: "Sometimes I think that Matthew and so similar, it's scary." Now I interviewed them both, I can see what you're saying and it is a very good horror.
So what do you talk to a famous director of photography on? Well, we talked a little bit of everything. We talked about the support site and his work.
Kalasha Rajeev is in the Film and Television Awards in Nairobi, Kenya where he soon will present at the closing ceremony and we are struggling mightily with a bad connection SKYPE. Our interview originally planned vocal quickly becomes an event by type text messages to remedy the problem. And Rajeev, with all that is before him at the festival, does not hesitate one second to spend the additional time needed to type instead talking about the interview. I am very grateful. I owe a great debt to the generosity of their time and spirit of this interview. Oh, yes, and a glass of vodka.
Q: What made you agree to come aboard?
A: It really is a nice story. I had done for THE LONG ROAD three years and let it show because I lived in Nairobi that time and I was tired of flying back and forth to Dubai and Mumbai. I was looking for something in this city, as I wanted to stay there. So when I called I said, "No, thanks. I'm not interested." And my gaffer said: "Rajeev, to reconsider. Ask them to send the script. I've seen the script. It's what you're looking for. "Therefore, I sat down and my gaffer and I've read the entire script, basically once and I turned to him and said, "You've done something very wrong here. I can not say no to this show now." He said he knew what he was doing. Although he did not want to live apart and it was very hard. [For] gaffer Is not that what happened? He said yes. Smile.
Q: You were the DP for the entire season. What's it like working with a director who has a different view almost every week?
A: Since I shot each episode, I do not have the opportunity to prepare with the director. So he approached with a concept and come on set and rehearsing the scene. If rang true for me and I felt was the way forward, I would say, 'Great, that's a good idea. "If I wanted something that was tangential to the style of the show they were trying to maintain then I could make a suggestion to try something else. If you are a manager you listen to smart people who are there all the time. I tuned in very quickly Matthew Robinson what he wanted. Matthew Robinson I would call and ask if you saw the papers yesterday, and I thought one of them. And it would give me a better idea of whether I was on the right track or not. And after about three or four episodes I have what I wanted, not 100 percent of the time – nobody can do that – but a good 80 percent of the time.
Q: What would you Heart Beat FM signature shot?
A: The range photos of your shots are referred to as Heart Beat FM. Directors say: "We will make the Heart Beat FM wide shot," that television is not something you see very often. Matthew Robinson really likes things wider participation in the shots and I really like it happens too – it puts your character in a place or a place, you say something about the character. So I see it as a narrative story device. The other type of shot that is characteristic of the series is when something big in the foreground and then a little further to the bottom width. We call it wide and closed. It is possible to keep the focus on money, say, in the foreground and background characters are either unfocused or much smaller.
Q: Did you ever get so caught up in the quality you forget to pay attention to the technical side of things?
A: That is what supposed to be paying attention a. My job is not just for lighting and set shots, but to ensure that lighting and the shots reflect the scene of the most effective. If I am moved by what I see, I know we have done so. I have people who operate the cameras and lighting people and counterfeiting results. All those who keep an eye on the technical side for me, and I am concerned with the storytelling. That's what interests me about the efficient use, effective storytelling.
Q: What is your favorite scene?
A: I say I can not because it is later in season. You'll know when I see it. It gets crazy as the story unfolds. Here's one thing: What Matthew Robinson and writers do is to drop one line in one of the first episode and then not mention anything about it until nine episodes later, and then suddenly there is an episode of it all one line. It is intriguing for me to work on something that is so well planned and moving in terms of its narrative. I think it's just brilliant.
The way of Light – Paintings Rajeev Jain with his camera
Rajeev Jain (born 1968 Lucknow) began working as a cinematographer in 1993, after serving an apprenticeship as a camera assistant and camera operator. Rajeev has worked since director of photography with some of the most popular directors in India, in some cases there is close and intimate. We met in India Rajeev Jain, connection with a five-day seminar organized by the Film Club New Delhi on the shape of the light, an event attended by hundreds of students, directors film from all over India.
How has the film in the last fifteen years?
I went to the Academy Drama Bhartendu (Bhartendu Natya Academy) in Lucknow during the period of the new wave. We were witnessing a cinematic quality that he had "triggered" itself in many ways the films of the period until the end of the 1980s. Even the assembly was much freer, and Photography / Administration with Gautam Ghose in the van, went in search of greater freedom. Even when it came to shooting, the use of handheld cameras, natural lighting, or lighting a way that seemed natural, such as through open windows, etc. In other words absolutely free either camera movement or lighting.
And in our country?
In India there was still a more classic style of photography, and I am referring, as Subroto Mitra, Sudhendu Roy, who worked with Satyajit Ray to Agantuk (1991). Meanwhile, other new filmmakers emerged with different ideas too, like Ashok Mehta (36 Chowrangi Lane), especially in black and white. But this black and white image with its own aesthetic beauty proper had a characteristic feature of the merger lighting to the atmosphere or environment. Therefore, from this point, maybe the film acquired a larger significance, a complete symbiosis with the film and narrative.
Will the meeting between the director and cinematographer of the influence of the career of one or the other?
During the seminar, a meeting of a good director of photography and a great poet. With Ray's films, on the other hand, there was undoubtedly a decisive turn with the arrival of Pather Panchali (1955) onwards.
What filmmakers have made a particular impression on you?
The relationship with Shyam Benegal Tota Maina (TV Series) certainly was for me an event that I remember with great excitement to the day. I find people who trust me we decided to become director of the photographer after seeing that series, or the directors who have decided to enter the film through the Tota Maina. For example, one day had a child from Kenya who was at home that decided to come to India to see TV seial after Tota Maina. This has been an important film for many people, and much more for me because I was fortunate to work with Shyam Babu.
How did you meet?
It was almost by accident. He was looking for a cinematographer who was also mentally prepared for this adventure, and through various sources to my name came up. A friend of mine who worked as assistant director introduced me to Shyam Babu. I remember when I called to say that Shyam Benegal wanted to meet. We met in his office for tea, and at the end of the meeting carried out a script, which offers me. I can feel the emotion of that moment now.
Can you tell us about dynamic "picture of the TV series'?
Shyam Babu told me that the TV uses time as a narrative element, while that the photograph usually remains constant over the duration of a sequence. It is precisely the time that the "dynamic exploits the picture to make a different consistency to the film. One example is the weather in nature: if a cloudy day the sun rises at any given time this will be amended the condition of light. In indoors, if someone enters a dark room and turns on the light this will change the condition of light. However, this is all linked specific operations. This speech is amplified in Tota Maina, where in addition to variations in natural light variations were added corresponding to the emotional motivation more than any sense of logic.
During some scenes that are also used different shutter speeds, sometimes barely perceptible.
During filming Shyam Babu ask certain frameworks requires a slightly higher shutter speed, hardly noticeable, and so far the effect of camera slowly we have been accustomed to see in many television series. This was the only one to have more suspension, therefore always at the service of a certain atmosphere the series. Technically this variation in speed is a slight adjustment of the diaphragm. Shyam Babu was very precise and demanding in his choice of photography, not just I, but the whole company was so impressed by his personality that voluntarily comply with your every request.
During This seminar will have deplored the fact that it always becomes more difficult to shoot a film in India, with special attention to cinematography. Why right?
Mainly because there is a lack of respect for the profession in India. In the few films he made with foreign crews and production in fact, I discovered a more professional respect. Then there is no doubt the lack of preparation, because if the films are not well prepared will end improvisation on the set. Another reason is the understanding of the filming, because if you shoot a movie in ten weeks or five weeks the result is clearly different. With the advent of digital also the tendency to spend the total was negative during the telecine and then in AVID, without printing the so-called "diaries" that I think are very important to control potential technical problems. This happened with a film shot abroad, where an entire scene had to be reshot after of only the discovery of an exposure problem during assembly.
In strictly technical standpoint, why is that movies Indians are no longer made with the same care as they were?
Perhaps what is needed is a real love of cinema. The problem is that some producers and understanding invest in projects they care about. We do not have the person who loves movies, so you do not want them as thin as possible. The operation now is to make the only film with the budget in mind, sometimes regardless of whether the film is good or not.
Making Ras Star – Kenya Rajeev Jain Indian Photography
STAR is currently featuring RAS MUSEUM IN THE INTERNATIONAL WOMEN'S FILM FESTIVAL.
Raj day's work, is cut into a movie, Rasstar, based on the life of rapper Nazizi Kenya, which was broadcast in the M-Net.
Synopsis: A young rapper, Amani, a strong Muslim family teams with his brother Abdosh, an emerging artist with to find a way to make money and get your final talent show. As the story unfolds, Amani and her brother are trapped in a local gangster and an incident stolen phone and use simplistic language of her brother to take them out. Through an absolute stroke of luck manage to find the money they need just to get to blows with their Uncle Shaka, the family patriarch and Mlandimu, the local gangster who finally saves them.
Rajeev Jain, director of photography on 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 background as director of photography 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, Rajeev has had more than enough experience behind the lens to make the leap to film. It also has Credits for photography Kenya Award winning TV series Heartbeat FM.
Where are you from and how did you become a director photo?
[Ramirez] I'm from Lucknow, in northwestern India. My first degree is in Science and took a while to find my way into 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 direct some short plays and not the camera for many more. Since then I have enjoyed both documentary and drama camerawork with every advance of information and others.
How did you approach photography Rasstar?
[Ramirez] Through discussions with Wanuri, the search for movies he loved visually. We wanted to find separate looks for each story and a different look for today. There was a visual of the theory " each section (for example, a pattern of dark red and black for the story of Amani, lenses for Abdosh long history and wide lenses Mlandimu). The eyes were to be able to quickly implement (then helped in the classification) due to tight schedule. We then applied the theory to visual shot list (which often had to do this the night before due to the locations of change or are not yet)
How was it working with HD for the first time?
[Ramirez] With a 35mm camera looking directly through a lens and seeing the beautiful scene in color and may rely on their eyes as part of the photographic process. With an HD camera that is watching a small black and white image through the viewfinder so you need a large (ideally 24 ") HD monitor to properly judge what you are filming. This is huge and totally practical with such a small and low budget and had a 14 "monitor a good deal of the 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 I could have been better.
HD is horrible to see if the area is overexposed. This proved more problematic in the open air that it chose to shoot in very broad lens means that there are a lot of sky in the shot. Unfortunately, the sky was particularly flat and overcast but relatively bright white.
The major advantage HD is being able to travel much lighter with a pair of zoom to the city, for example, and be able to film two hours worth of material without concern (which would have been about 12 large cans of 1,000 feet of film to transport and load). Wanuri and I also meant to leave on weekends and shots of the city cinema and trucks with ease.
How important is storytelling?
[Ramirez] Storytelling is a huge part of life from an early age. It is a way of finding meaning in the world. For a child is a way of understanding the world through the metaphor – that a child thinks it that way.
If the world blew up and the few stragglers found not be long before they gathered around a fire and someone started to tell 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 to do Rasstar?
[Ramirez] The best that was in a beautiful part of the world working on the script used by the Kenyan slums, as part history.
What was worse?
[Ramirez] The first day of action sequence on the market. The crowd took so long to get to the location that we in the film crew were reduced to beards of moss and a documentary film about the clouds (clouds some very fine though).
Can you tell us a couple of interesting / little known / behind the scenes stuff about making Rasstar?
[Ramirez] Wanuri is undoubtedly one of the hardest working managers I've worked with, but I think he found his limit on a Saturday night. We were shooting in the pub (peak performance) and pick-up shots and had an option to go to the local bar where some of the crew were getting into the leg of lamb and a little fine downing beer or head. The light seemed too good though so we left and thank goodness I did because more light was amazing. Deep red light bouncing making them shine on the black background. There were so many mosquitoes that we had to adjust the camera run and run around to remove them from clustering around the camera. We shot for the ages and the light was low, but remains wide approaches. I tried to make one last shot long DJ console in the foreground when Wanuri suggested that we had enough and must go, words I never thought I'd say! (The shot was a pimp and made the final film).
Have you worked on anything from Rasstar?
[Ramirez] From Rasstar Kalpvriksh I filmed the movie – the tree of desire. It was a great experience filming in such a remote and interesting. Mahableshwar I shot a half-hour comedy channel, "the smallest man in town" and I also filmed and edited half an hour documentary Dubai about a cleaning lady who works in Dubai. Dop I have recently been in a low-budget feature "Carry On Pandu.
My | Style by Rajeev Jain Cinematography | Photography Indian Bollywood
FIRST PRESENTATION:
For some time, I've been meaning to write down my opinions about movies and my aesthetic style and now, here it is. This does not mean that follow dogmatically – is simply what works for me in broad strokes. As an Indian filmmaker, you should be able to give the director or production look what I asked. But within the visually impaired and aesthetic values of any production – or the occasional lack of it – an element of me is always there. Rules were meant to be broken – but only when it has a complete understanding of the rules. While I can not say that everyone knows I'm learning with each production. Here are some of my thoughts …
The aesthetics of a project is necessary to establish principles for the public. It is a distraction to introduce a new aesthetic or editorial style too late in history without adequate justification or motivation.
Another area that receives very little attention is the atmosphere in the shots – the shots that fill the space between scenes. It gives the audience some time to breathe and think and can be a time for music affects the audience.
I graduated filters and a little too fake natural. It does not focus our attention and instead, usually draws attention to itself. I do not think I have ever used and have not been criticized for my decision.
Most directors have cut too soon, both on set and in the editorial. On the set, wait to say, "Cut." Sometimes an actor can give a gem of a moment at the end of a scene if you wait. Worth and I'm surprised how often the manager will use that time in the final cut. It is good to stop an actor 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 that my opinions may change, too. Until then …
Cooked Art: photography … by Pocket – Indian Business Photo Rajeev Jain
I love movies that take place as a work of art, each scene is brilliant composition masterfully photographed to create lines of action, symmetrical balance, with fine use of space, texture, color and perspective. Here There are two movies I saw recently again, and represent the wonderful visual language.
So what the hell is a director of photography? If you wish to enter 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 artist storyboard out the plans of the shots and what is really happening, and the director will want to have a piece of the action, then it is no wonder how the films end up looking great. Here are some of the guys who managed to do this (in my opinion little)
What qualifications that made the study Bhartendu at the Academy of Dramatic Arts and when it ends?
I went straight from high school to Bhartendu Academy of Dramatic Arts and performed a 2-year Diploma Dramatic Arts, 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), Parashat 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.
key lights: turning points photography from Kalpvriksh – The wish tree
An interview with Rajeev Jain, director of photography of India and owner Rajeev 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, Rajeev Jain Films, Film and grips, and have been doing during mid-twenties.
Q: How long has been a director of photography?
A: I've been doing for several years, but I started my own company.
Q: What type of training has had to become a cinematographer?
R: I went to Bhartendu Academy of Dramatic Arts. Diploma had a two-year degree in theater arts. That put me in a position to see how the industry has changed a lot. Coming out of college, children should only start their own business. 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 a month without work if you on your own, so definitely be on a path of business as well as a creative path. Take business classes, not just the liberal arts. The industry Filmmaking 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 might have to go somewhere location and can be anywhere from two days to thirty days. Much of our area is remote locations. Each job is unique. As soon as you think which is typical, it changes.
Q: What career that was before becoming a director of photography? Do you think that has helped prepare to become a massage therapist?
A: I was doing theater, photo journalism, working on a local channel and make a profit decent. I found the inclusion of capital to my words, and when I started taking pictures and filming, I realized that this was what my passion. But when you have a creative bone in your body, such as writing, it is easier to extend to other aspects of trade in a different creative.
Q: What characteristics think are necessary for success as a cinematographer?
A: Everyone has different ways to succeed. But we must keep day. Editing and graphics has changed so much. The dynamic has completely changed everything. You have to be totally flexible and stay with the current trend.
Q: Would you say that it is imperative to have a college education for a race like this?
A: I do not think is essential, but what left the college is that the network much. 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 job and both portfolios were impeccable, but also took a four-year degree, you can bet that the person is going to land the job. To be on time industry completely independent not only means that it is important to ensure that grade.
Q: Would you recommend this career to someone else?
A: Yes, I can not think of anything better to do. I see things that people do not see. Is it for everyone? I do not think so. You have to have thick skin. We must work for months. Do not set their expectations too high. Be realistic. My first recommendation would be to go to college and get that job full time. Get an idea of what the industry concerned. It is difficult to have just a good portfolio, unless you are an incredible photograph. Doing without the university is very difficult to do.
Q: What is your next career move, if necessary?
A: Removing and go to town. No, but seriously, I'm going to do more projects. I want to control all of my future projects.
Kalpvriksh – The Wish Tree – Dreams are yours so close – Photo Rajeev Jain
Two-time Winner of Indian Photo Rajeev Jain ICS WICA Special Create World of Light, shadows in his recent film of yours desire Kalpvriksh trees are so close to dreams
Rajeev Jain is a way to see an image that has its limits exterior. In his later years as an assistant, electrician, grip, and in the last 16 years as director of photography, has developed a visual sensibility and experience.
Rajeev takes its inspiration from directors like Satyajit Ray (Pather Panchali) and filmmakers Ashok Mehta, ISC (36 Chowrangi Lane) and Binod Pradhan (Parinda) for its use of color and light and shadow to amplify the emotional content of stories. I think the ability to allow the characters to operate in the shadows is a true art, he says. Ashok Mehta allows its characters to work in the dark. He turns everything to the blacks are really rich – however, you can see everything.
His work in Kalpvriksh a Manika Sharma film director exudes a quality time with an advantage. Rajeev was especially intrigued by the non-narrative, fragmented writing, because it offers a variety of visual possibilities. Shooting first in Kodak to give contrast to the outdoor scenes, Rajeev experimented with hot and blue filters to get the look that he wanted. The result is a journey marked, almost surreal in the minds and actions of odd characters in the film.
advance collaboration in any film is essential, Rajeev says.
It is important for me to go through the script scene by scene with the director Manika Sharma, Rajeev said, to try 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 by 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 principle still photography, Rajeev took a course in cinema. Intrigued by the middle of the film, saw the possibilities of combining their interests in the commercial film. Searching way to learn a camera, I offered to help (unpaid) to the cinematographer Subroto Mitra to learn the craft.
He taught me about your SR package, which the lenses were, and how to load magazines, he said. Then I began working on documentaries in Nehru Shyam Benegal.
In 1996, Rajeev has the first chance to shoot a movie, the Army, with Mukul Anand. After eight weeks of shooting stressful – all their movements were.
After 6 functions, then came Kalpvriksh in 2007, Rajeev allowed to explore a new visual technique to add nuance to the story. The film includes a dream trip to Rajeev wanted to give a dreamlike quality. We tested the filters and a bleach bypass process to give 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 level approach. It allowed us to launch different parts of the structure out of focus, which is difficult to do on a general level, due to greater depth of field.
Rajeev is currently finishing production Continue Pandu, a feature shot in Mumbai and do Business.
Full of Surprises! Rajeev Jain, director of photography india / PDO, talks about … KALPVRIKSH (The Wishing Tree): Your dreams … They are only a touch away …
Like any artist, Rajeev was born with innate talent burnished by experience and cultural influences. Born in 1968, their first introduction to the magic of cinema came while watching his uncle as a projectionist in Ravindralaya Theatre, Lucknow. "I remember sitting in the projection room little and watching movies with my uncle, "recalls the director of photography in India." It was like watching silent movies, because he could not hear the sound in the cab. I just saw the pictures and trying to understand the story. My uncle showed us the films of Charlie Chaplin, who, of course, silent. There is no doubt he put his dream of becoming a director of photography in my heart. "Originally from India, cinematographer Rajeev Jain ICS WICA studied in the Bhartendu Academy of Dramatic Arts in Lucknow, India.
The day after completing his studies, Rajeev went to work as an apprentice in an anamorphic image. He contributed to ten films as assistant director of photography before becoming a dictatorship of the proletariat. "From that moment I felt that the camera as a pen that is 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 has 5 1 / 2 seconds to do zoom. It was a great lesson for me, learning to do that every element of a work shot in that amount of time. "
I 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 communication with the public on a non-verbal. "For me, making a film is like the resolution of conflicts between the contrasting colors of light and darkness, 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 documents and use of light in the style that best suits to 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 the views Manika subjective and objective, sometimes in the same framework, 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, the modification of 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 framework wide 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 those based on visual references as another drama with an unlikely subject. Although Manika storyboard scenes, Rajeev sketches used primarily as a communications tool. During filming, the director remained Open to deviate from the storyboards to take advantage of unexpected opportunities. "Mansi Our production designer and costume designer gave us rich sets and costumes. Although two-stop push development is sometimes not as 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, "says Rajeev." 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 stretched it over 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 none at all, "he adds." I think that with the existence of film were using, if you are overexposing a bit more, you can read the details in the shadows incredibly well. When I saw the picture on the screen theater in the 70-foot 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 I knew that the grain still be acceptable, if he stayed in the T4 T2.8 the ranks in the interior. "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 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 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." No see any light in the capture of teacher, "he says." vaccine began with a teacher who was impossible came 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 are usually shot horizontally across the room, and there are horizontal surfaces, as the tops of the chimneys and tables. If you come straight down with a light and drilling down in 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 item that is being illuminated without really find out what is happening in terms of a source. The shades go down, so they do not end up looking strange to call attention to the source. You as shown in 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 are ambient lighting in.
Anamorphic gives you the space in the frame to do that, "says Rajeev." Manika has no problem filling a box in a contemporary anamorphic image. The story also looks elegiac, so I say it looked better without cutting rock movement of the video camera frenzy. With the cast amazing, 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 lot of book work, in reference to other types of 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, which ranges from still photography Until 1890 'til now. Now I can not help buy books. It's amazing the amount of source material is visual reference when I get back out there to basics. These were great starting points for us.
The filmmaker also had to avoid revealing reflections of the camera gear and personal on the surface of the water. Along with a disciplined team, which requires a careful choice of light placement 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. Rajeev also occasionally added the reflections of characters and objects on the surface of the water to draw attention 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 of 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 director each shot in each scene. Are we to Shawn inside the bubble, or are looking from the outside? "
I did not believe this and obviously neither the director nor or 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 long fish pond in 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. 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
About the Author
IT’S ALL ABOUT CHARACTER AND STORY. Uma Therman, I am a highly experienced film journalist, with total dedication to the craft, huge enthusiasm for telling stories and world-class technical expertise.
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