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Cooked Art: photography … by Pocket â € "Business India Rajiv Jain Photography

Cooked Art: photography … by Pocket â € "Business India Rajiv Jain Photography

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 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 saw recently 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 putting on the scene, storyboard artist 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 not surprising how the films end up looking great. Here are some of the guys who managed to do this (in my opinion little)

What grade will study in 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 Drama, specializing in lighting and graduating in 1985. The courses are differently now. It functions more like a film school art school, I think it is excellent! Allows students to make earlier decisions in their chosen field within the film and television, be it a picture, director, producer, editor, etc. It also better prepares students for work in the teaching industry. it is much more than how to make films. What do you think facilities that recently saw in Bhartendu Academy of Dramatic Arts (Bhartendu Natya Academy)?

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

I am also 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's great that students get to shoot projects Cinema is the industry standard format for international feature films, as well as most foreign television drama. It is rare for students to have the opportunity to work with film and digital formats that are becoming more and more prevalent. If you is capable of shooting and working with the film, then you will be able to work in any format you come across there. It doesnâ € ™ t work in reverse.

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

The digital computer Bhartendu Academy of Dramatic Art is a type and quality, enabling graduates to hit the industry and understand more or less functioning any other piece of equipment to be found. There is no reason why the quality of student projects canâ € ™ t match the high quality of projects professionals, because the computer you are using is the same.

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

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

I have had a number 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 a great opportunity in particular, was one night when I had just finished editing my new photography showreel. (A showreel is a portfolio of work, reduced of my best photo edited to music.)

Just when it was over, came through an email that was sent by someone I barely knew. The email said that a production company in Kenya was looking for an Indian cinematographer to shoot part of an international film who went to the screen in the World Expo in Nairobi, Kenya and wanted to see showreels.

I went to the post office the next morning and sent priority mail mine off. I received phone call just days after confirming that I had the job. I was moved to Nairobi and worked with a full professional team in what was my first major work.

People I met in this project that he liked my work so much that I called a month later and I flew to Brunei to shoot some commercials. I finally returned to India with a new and improved showreel. Vista International workshop on the spool raised my profile and I was bigger and better jobs and an agent and I Awaya € |

A case of right I think the time!

What qualities do you think are necessary to make a career in industry creative?

The quality I admire in the success of creative professionals is the ability to take pride in oneâ € ™ s work. Whatever your own creative pursuit, I think if you're doing work you really like, and we feel very proud of, then you have the luck to have one of the best jobs 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 races that are creative judged by their body of work and his career. The first thing to do is create a portfolio, or in my case a showreel, and then get ready for the criticism and hit back never give up and use those strokes back as an incentive to work harder and set higher standards.

I also believe it is important to â € ~ € ™ passion projects that allow you to experiment with ideas or even experience. Through projects of passion, I mean you do for the love it and not pay. I threw a lot of â € ~ € ™ freebiesâ to get my showreel up to scratch and gain experience before you start charge for my art.

Itâ € ™ s also important to work on its network of contacts. never know when that person could be considered a rival in fact could be passing some form of work or introduce new partners. The movie industry is too small to make enemies. We should be like a support network and learn from each other continually to make better projects.

For you, what are the "must see" films in terms of reference cutting-edge cinematography, or a pioneer?

Well to start the film in India Kalpvriksh recent films â € "The Wish Tree â € "Yours dreams are a tap away and soon to be launched in Pandu Take quite exceptional. Ha!

No, seriously, some of my favorite movies and more influential in terms of cinematography are not the only ones with crane shots largest or worldâ € ™ s Steadicam shot, but those that create a real environment and atmosphere. films that convey emotion to an audience and help to communicate the subtext of a story saying more about the characters in dialogue alone ever could.

I think the most influential film for me would be something directed by Satyajit Ray (Aparajito (The Unvanquished), Parasha Pathar (The Philosopher's Stone), Jalsaghar (The Board of Music) for his use of humor, atmosphere and narrative techniques film.

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

Also I really liked Proshakha shakha (branches of a tree), Agantuk. The two are quite rough and hand sometimes, but very beautiful and I really felt like I was â € ~ € ™ Insideo the film.

That's what I was trying to create in the most recent film that I shot, â € 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 critical of photography from the â € Kalpvriksh "The wish tree

An interview with Rajiv Jain, Director Indian photography and the owner of Rajiv Jain Films, Film and grips â € "Dubai – Mumbai – Nairobi.

Q: What is your job? When you're working?

R: Director € ™ s cameraman, director of photography. I have my own company, Rajiv Jain Films, Film and grips, and Iâ € ™ ve been doing for about twenty years.

Q: How long time has been director of photography?

A: Iâ € ™ ve been doing for several years, but started my own company at about 2005.

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

R: I went to the Academy Bhartendu 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. After leaving college, children should only start na Firstly own company, must decide what they want to do in the industry and then go for it. The skya € ™ s the limit depending on the career path you choose.

Q: What do you like best about your job?

R: Work 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 youâ € ™ re on their own, so definitely be on a path of business as well as a creative path. Take business classes, not just the liberal arts. The film industry is a business, like the music industry. You must be a doer.

Q: Describe your typical day at work.

R: What job? Normally, when Iâ € ™ m not working, Iâ € ™ m in my office doing paperwork. From his office, you may have to go somewhere instead of the location and can be anywhere from two days to thirty days. A lot of our stuff is remote locations. Each job is unique. As soon as you think itâ € ™ s typical changes.

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

A: I was doing theater, photo journalism, working in a local canal and make a decent profit. I found the inclusion of capital to my words, and when I started taking pictures and filming, I realized that this was what Iâ € ™ m most passionate about. But when you have a creative bone in your body, such as writing, itâ € ™ s easier to expand into other aspects of different creative trade.

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

A: Everyone has different ways to succeed. But we must keep up. Editing and graphics has changed so much. The dynamic has changed complete everything. You have to be totally flexible and keep the current trend.

Q: Would you say itâ € ™ s essential to have with a college education for a career like this?

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

Q: Would you recommend this career to someone else?

A. Yes, I canâ € ™ t think of anything better to do. I see things that People donâ € ™ t see. Is it for everyone? I donâ € ™ t think so. You have to have thick skin. We must work for months. Donâ € ™ t to set their expectations too high. Be realistic. My first recommendation would be to go to college and get the job full time. Get an idea of what industry concerned. Itâ € ™ s hard to have just a good portfolio, unless youâ € ™ re an amazing photography. Doing without college is very difficult to do.

Q: What is your next career move, if necessary?

R: Withdrawal and go people. No, Seriously, Iâ € ™ m going to do more projects. I want complete control of my future projects.

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Kalpvriksh – The Wish Tree – Dreams Yours are so close to â € "Rajiv Jain Photography

The two-time winner India Photo Rajiv Jain ICS WICA Special Creates World of Light, Shadows in the recent film Kalpvriksh your wish dreams of trees are so close

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

Rajiv takes its inspiration directors like Satyajit Ray (Pather Panchali) and filmmakers Ashok Mehta, ISC (36 Chowrangi Lane) and Binod Pradhan (Parinda) for his use of color and light and shadow to amplify 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 his characters to operate in the darkness. He turns everything to the blacks are really rich – however, you can see everything.

His work in Kalpvriksh, a film directed by Manika Sharma exudes quality time with an advantage. Rajiv was especially intrigued by the non-narrative, fragmented writing, because it offers a variety of visual possibilities. Shooting on Kodak all in contrast to 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 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 help (unpaid) to cameraman Subroto Mitra to learn the craft.

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

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

After 6 functions, then came Kalpvriksh in 2007, allowed Rajiv to 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 put to test the filters and bypass bleaching process to make that section of the film its own special look, "he says." Instead he decided to use an angle of swing, a vision camera accessory that allows the operator to change the focus plane. It allowed us to launch different parts of the structure outside focus, which is difficult to do on a general level, due to greater depth of field.

Rajiv is currently finishing production Continue Pandu, a feature shot in Mumbai and do Business.

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Full of Surprises! Rajiv Jain, director of photography india / PDO, talks about … KALPVRIKSH (The Wishing Tree): Your dreams … They are only a touch away …

Like any artist, Rajiv was born with innate talent and polished by experience 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. â € œI remember sitting in that room Projection little and watching movies with my uncle, â € the Indian filmmaker recalls. â € œIt was like watching silent movies because couldnâ € ™ t hear the sound in the cabin. I just saw the pictures and trying to understand the story. My uncle showed us the films of Charlie Chaplin, which, of course, kept silence. There is no doubt that he put his dream of becoming a director of photography my heart.â € Â native of India, Rajiv Jain ICS WICA filmmaker studied at the Academy of Dramatic Arts Bhartendu in Lucknow, India.

The day after graduating, Rajiv went to work as an apprentice in an anamorphic image. Contributed to ten films as a camera assistant before becoming a dictatorship of the proletariat. â € œFrom that moment I felt that the camera either as a pen that is used to draw images, â € he says. â € œOperating camera is mostly 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: â € ~ You have 5 1 / 2 seconds to do zoom.â € ™ was a great lesson for me, learning to do that every element of a work rolled in that amount of € time.A

I thought it was fascinating that the film speaks a common language that everyone in the world can understand, "he recalls." This is especially true for filmmakers, because we are communicating with the public on a non-verbal. "Â € œTo me, making a film is like resolving conflicts between light and darkness, cold and heat, blue and orange or other color contrast. There must be a sense of energy or changing movement. A feeling that time is passing â € "light turns to night, returning in the morning. Life becomes death. Make a movie is a journey and document the use of light in the style that best suits that particular Picture € | the concept behind it.

The first decision important with respect to the images was shoot in anamorphic (2.4:1) format, as they had in Kalpvriksh â € "The Wishing Tree. Rajiv Manika explains that he likes to manipulate the subjective viewpoints and objectives, sometimes in the same frame, or even simultaneously. In a simple example, start on one shot item, then an actor will step into the frame, creating a shot over his shoulder, moving from subjectiveâ € "â €" the viewer sees what the character Sees € "â €" with the target. "One of my first suggestions Kalpvriksh shooting â €" 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 to create a sense of claustrophobia in Shabanaâ € ™ s composition of the cave and more interesting than the shows Shabana world. "She, director Manika Sharma, designer Mansi and other members of the creative team discussed the possibilities for composing Kalpvriksh â €" the tree of desires in widescreen format, while based on visual cues such as another drama with an unlikely subject. Although Manika storyboard scenes, Rajiv used drawings primarily as a communication tool. During filming, the director was open to deviate from the storyboards to take advantage of unexpected opportunities. â € œOur Mansi production designer and costume designer gave us rich sets and costumes. Although two-stop push development is sometimes not so faithful to colors, their collaboration with this technique has allowed us (especially at dinner fantasy sequences) to have a hot scene and yellowish, as if everything that went on was the light of candles, â € he says.

In a spectacular scene on, the school principal (Mahabano Kotwal) is sitting in the chair, looking a window in the pouring rain. â € œThe entire scene was illuminated with a light hard day, a 6K Arria, â € said Rajiv. â € œWe brought a light through the window. In order to light the door, we used a 4 by 4 mirror out of its frame on the right. The light is modulated by the rain on the window, and laid it over the book. Â € ~ We € ™ chestnuts.â collection was serendipitous, and it all worked out with a light.â € â € œFor light Fill in this film, which is used both very, very little or none at all, â € he adds. â € œI find that with the existence of film were using, if youâ € ™ re a bit overexposed, you can read the shadow detail 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 actors enter € ™ heads. I found it very interesting. I hope it works on a subconscious level for € audience.â Although Rajiv knew that he could not shoot wide open in a T2 or T2.8â € "â €" because the format Super 35 has chosen a shallower depth € "â €" still wanted this tool to give the story a greater presence on stage. The larger negative allowed to push the envelope. And I knew that the grain would still be acceptable, if he stayed in the T4 T2.8 range indoors. â € œWe still use real sources and wouldnâ € ™ t be difficult for our camera crew to follow the approach, â € he 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 â € " 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 for the next job "- working with digital and optical effects of the house to ensure that there would be no problem with the printing process response. â € œYou donâ € ™ t see lights in the capture of a teacher, â € he says. â € œThe master shot that began with an impossible shot to light. We were stuck back in the corner with a 35mm lens and had a two-way mirror in the background. So we used a technique called a â € Rajiv Jain ~ € ™ driller.â In short, youâ € ™ re usually shoot horizontally across a room, and there are horizontal surfaces as the tops of the chimneys and tables. If you come straight down with a light and drill down on the surface, works quite well. It doesnâ € ™ t seem wrong. If the light comes from a place thatâ € ™ s not normal or usual, people seem to accept the part thatâ € ™ s that are illuminated without actually find Whatâ € ™ s going on in terms of a source. The shades go down, so donâ € ™ t end up looking strange to call attention to the source. You see it on the table and then it comes to the table and the lights are facing a degree. Itâ € ™ s interesting because youâ € ™ re not turn the people at all. Youâ € ™ re-ignite the atmosphere that theyâ € ™ re in.

Anamorphic gives you the space in the frame to do that, â € said Rajiv. â € œManika has no problem filling in an anamorphic frame a contemporary image. The story also looks elegiac, so I say it looked better without cutting rock movement of the video camera frenzy. With the amazing cast, we knew this film would be about performances. All ideas € "â €" and â € ~ if € ™ aina t broke, donâ € ™ t fix itâ € ™ â € "â €" into account in our decision to shoot anamorphic.â € To establish a proper visual approach to the state of mind required in several Kalpvriksh â € "The Wishing Tree, Manika and Rajiv opted to forego much of the usual business to see other movies in preparation. "We use a lot of work book, referring to other artists working in two-dimensional shapes, photography and drawings of all," Rajiv is concerned. "This was an enjoyable and different from the preparation. As for movies to see how a particular sequence is working great, but this approach I started in this round incredible self-education, the picture still covering from 1890 to 'so far. Now I can not help buy books. It's incredible the amount of source material for visual reference is there 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 team, which requires careful placement of light and the choice of camera angle. He found that the introduction of plastic at the correct distance from the lens to harden shots from the point of Shawn slightly distorted view images rendered with a touch of grain, which amplifies the look that he and the director wanted Manika. Rajiv also occasionally added reflections of characters and objects on the surface of the water to draw attention to the barrier that separates the child from others. Sometimes the camera takes a subjective view, as a spectator, while other times the public seems to share the experience of Shawn's life-in-the-bubble. "There was no simple formula for deciding when put the audience inside the bubble with Shawn. It was a question I asked the director of every shot in every scene. Are we to Shawn inside the bubble, or are we looking outside? "

I didnâ € ™ t believe this and obviously neither he nor either Manika Sharma Films diamond producer. Another photo shot in a Bollywood old house we needed to actually two power generators at all the lights. In the time it was made, however, I was able to shoot two thirds of a long sequence dollying along with the reflections seen in a long fish tank at night (Shabanaâ € ™ s cave). â € œI think itâ € ™ s visual reflection of the fact that oneâ € ™ s position in life can change almost instantly, â € he says. â ŒItâ € € ™ s very effective visually. It seems to work in a number of different levels. Using this different approach seems to refresh all of its extensions and setbacks. Thereâ € ™ s an interesting scene between Shabana and the child was carried out in one under the tree, and Thereâ € ™ sa sense of unease and possible aggression. Itâ € ™ s very ambiguous, however, highlight the spatial dynamics of reality € feeling.â

There is a great advantage at work in the place in front of a studio. For example, I mentioned the Muslim house had marble floors. An experienced DOP knows how to use this really something that only can simulate in a study, "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, simply reflects the brightness of the skin. â € œWe use the spotlight, as almost more of a eyelight, â € said Rajiv. â € œThere is this tension between these three characters. There are plenty internal emotions beneath the surface of this film. I felt that the public needs access to the internal life of the characters, so I tried to keep eyelights going, especially when weâ € ™ d get 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 excellent tables and is a brilliant artist as well. We told him our ideas 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 Manika wanted to look. "Part Cave of disguise 'involved the use of a wig, which often obscures the face of the actor – the fact that sometimes less than ideal lighting situations. "During the hair and makeup tests, I saw that, while Shabana seemed incredible that would be difficult to handle for 2 weeks. He had a big hat and a suit also enormous, so there was a question of if you will actually be able to see it. Manika told that at times came close to becoming a hair hat. Being 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 â € "The Wishing Tree, Rajiv chosen Vision 200T (5274) for all but the night outside, and explained that the soft grain emulsion records of this non-intrusive deep blacks, true colors and a wide dynamic range. Rajiv outside shot of Eastman EXR 100T day (5248), using a filter with 81 to EF half-correct and maintain the blue cold of winter. 250D daylight-balanced (5246) Vision of securities selected for the interior of days while removed advantage of the view 500T (5279) on most interior and exterior night. Since the filming, the director made numerous tests with different materials to find for the right thickness and translucency. "It's the same as using a cheap filter on the lens and realized that any distortion or loss of concentration magnified when the optical laboratory 'squeezed' the 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 in the focus. We were shooting through filters at least 90 percent of the time.

During the filming of scenes of forest with a main character, Rajiv employees what he calls a new light sandwich. "Others might call it a light book, but in any If we were playing nine Maxi light crude a piece of cardboard the grain, then letting the light pass through a diffusion framework generally well equipped with 216 or light grid. The result soft light falling on it had a very fine quality, plus some serious blows of foot-candles. This soft light had enough to penetrate Shabanaâ € ™ s hair, and I could control the amount of light with just a click away from different balloons. But it requires lot of weakness and took a lot of space. "Other times, Rajiv illuminated by the light directing Forest from more extreme angles." I have come far Front smaller and password than you would normally, but the approach succeeded in dropping the hair naturally, so that although it was hard work. I found it thanks the scenes when Shabana wears her hair back as it could get a nice benefit in it through the side lighting. "

When children reach the tree before the completion, production created the famous creation, filming the actors in front of blue screen and green screen. Those elements were composed digitally into the background of values selected dishes of Ladakh. Harry and Arjun Chilliesâ € ™ Network monitored the fire house facility visual effect. "I do not think that these scenes might be more credible if he had traveled to Ladakh to shoot to live," marvels Rajiv. "How may be lost when you start with 70 mm plate in the background? We matched all the dishes. "

There were once a few scenes there so we decided that the cracks in the ceiling of the cave to let the hard sunlight, "he continues." I put some signs of this in the walls behind the actors and leave a bit of light bounce off the ground. For the most part, however, the cave scenes set at night – lit by firelight or flashlights or glow imaginary that is not connected to anything. On the Water, I decided to use a light blue key light on the actors, but he made no movement in the blink because I felt it was distracting. The flickering on their faces only came to the actual water. What I did was add a slight flicker effect on the walls, which seemed to be more pleasant, while lending a bit of realism.

Front-end lab work was done by Gemini, which provides daily movie. "After their experience in the commercial world where he works on a monitor all the time, loved watching the daily Manika film – which opened a new world for her," Rajiv says. "For example, there is a picture of a Shabana delivery of a line at the end of a long shot under the tree. When she saw him playing in the video Manika [tap] monitor, did not feel good about it. She seemed too small in the shot. He suggested that perhaps the line should disappear on the issue. After some time, Manika was projected onto a large screen and loved the shot. "When asked if that news of the drama like expanding on the screen, thus Rajiv smiles and says: "Would it surprise you if I told you there's a happy ending?"

The filmmaker does not use the diffusion in the camera lens, preferring to ease his subject, as required, selectively affecting the source of light. "I've never liked in the movies when the general resolution of the lens changes cuts visible in the foreground during a scene "he says." The whole issue of putting the heavy diffusion front of the lens to make [actress] look "better" it's crazy to me. Do not want to see the effort of the picture to make someone look good. Instead, I see the character looks good, and I think that happens when the actor properly integrated into the scene and on in a flattering way. My solution is to soften the light source, and let the image be as clear as possible. Some people think that Primo lenses are too sharp, but love all that perfection. When combined years and years of research and development in populations Kodak's film, which has happened in Arri lenses and laboratory work in the Gemini, and then put this in a movie is projected on the screen correctly, the result is amazing how perfect! So take a lot of pride in delivering a perfect negative reality. We may want to spoil later and that's fine, but I think at the start of something good exposure and sharp. "

With all the treatments needed to represent visual perceptions of Shabana, Rajiv and Manika necessary to decide the parameters from the beginning of the most elaborate visual effects required. "We are counting a story that is partly through the eyes of a madman, "offers Rajiv." She is an incredibly bright person crazy, but crazy, however, so there is a sense of the fantastic of these visions, but not in the tradition of the purposes of science fiction film. We presented a wish list visual effects for the budget, but again prices four or five times what we expected. This has forced us to retreat, and the decision he performed better finish doing the movie. Most effects are things that we ourselves did, with light cues practices, or a combination of those keys with digital enhancement. "

I'm glad you are looking for this movie seems interesting to look at, but I am also pleased that the images are not replace history. Early reviews are praising the performance of Shabana as one of the best that she has given, so no sense doing something that took of that aspect. Many of the movies now seem overwhelmed with effects, but is not a Manika know what kind of history.

When India Rajiv Jain of photography ICS WICA is asked if he would do anything different today, the artist Master replies: â € œNinety-nine percent of the time when I see my films I am serene. It was the best I could do at that point in my life by what we had to work. Whatâ € ™ s important is your life and how to evolve as a human being and artist.

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Q & A with Rajiv Jain ICS WICA DoP Kalpvriksh Indians in Film – The Wish Tree – Their dreams are so close

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

Q: Where were you born and raised?

Rajiv: I was born in Lucknow, India. There was no event seminal happened to me as a young person who made me want to be a director of photography. Certainly wasnâ € ™ t the quality of light in Lucknow. Remember was gray, brown was stained with traffic and the dark sky. But when I say that, I realize the palette removed from the place affected me emotionally. Satura jumped against the neutral, as in a dream or a post-industrial nightmare.

QUESTION: What did your parents?

Rajiv: My parents were just ordinary people. I donâ € ™ t think that was particularly ambitious for me. Their primary concern, I think, was that I wasnâ € ™ t an embarrassment. We moved to the Etawah and then back to Lucknow, where I completed my education. My degrees were in Theater Arts.

QUESTION: Have you had a career goal at that point 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 have much interest 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: Asa € ™ s interesting. Can be a little more specific?

Rajiv: I became very interested in understanding how the disturbance of light, composition, camera angles and motion picture camera alters the perception of a visual event's hearing, and thus € ™ s audience's emotional response. It's a hard thing to quantify. I remember specifically Pather Panchali to see when I was a child, and how his image had always maintained in my imagination, not only for its sheer beauty and scale higher, but because it affected me emotionally, hitting some string 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 to say that the directors of these two films, Subroto Mitra, were most influenced my decision to become a filmmaker.

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

Rajiv: In writing essays and articles on film. I realized that the images film worked much the way they speak / write language works. You want to express certain ideas. There are agreed and understood culturally codas. These forms, which call letters have agreed to pronunciations. These letters form words. These words have agreed meanings. But, of course, arbitrary. The word â € € œcatâ not has innate â € € œcatnessâ about it, but to hear this word that the listener gets an idea in his brain. A cat. You can then add adjectives, and qualifiers, to be a black cat or black cat angry. These words are codes, codes, but not universal. They are specific to a culture that shares this language. Photography in some respects a more complex language. The denotative (specific) or connotative (symbolic or implicit) meaning of a image can be ambiguous, but also complex. Perhaps the literary analogy is the Haiku poem. The words have a greater potential unless it means â € " words that are added in longer literary forms, the more specific meaning. An image offers both specific and specific meanings. It can work in many layers, and not conscious.

Q: Did you have any mentor or were entirely self-taught?

Rajiv: Iâ € ™ ve learned a lot from other DPA € ™ s. However, itâ € ™ s, especially the study of his work. Ashok Mehta and I talked a lot, and Heâ € ™ s has given me a lot. But I was self taught. I studied art extensively, especially early 20th century artists, and late 19th century artists. I learned a lot about light from them. Iâ € ™ ve won an idea of any good film Iâ € ™ ve seen, probably. In particular the work Ofa Subroto Mitra (ISC) Ashok Mehta (ISC), Binod Pradhan and Santosh Sivan (ISC).

QUESTION: Do you think of yourself as an artist, a technician or both?

Rajiv: I think the distinction thatâ € ™ sa very important. I donâ € ™ t want to sound pretentious, but if one takes into account the nature art, which is supposed to give us new eyes to see the world. I want the public to respond viscerally to what our intentions are for a film. I think that the film works much like the music because it is difficult for us to measure or quantify what audiences respond to what we do. Therefore, it is an art. And for those who practice therefore must be artists.

Q: Tell us more about your analogy of music and cinematography.

Rajiv: I can sit in the newspapers and I can see anyone watching the movie with me physically and emotionally respond to images, but it is very difficult to quantify what they are responding. If you look at people listen to music, you can answer, but difficult to quantify, at which they satisfy.

QUESTION: Iâ € ™ ll borrow a phrase from Subroto Mitra, who said, directors of photography are the authors of the images. But that isnâ € ™ t widely recognized.

Rajiv: Part of the problem lies in our collective culture. The films are reviewed as theater than as a unique art form. Critics talk of scripts and performances. They talk about things they understand, but because they understand their own cultural background is primarily in the traditional theater although you may not recognize it. In this context, film and music arenâ € ™ t understand, except to say they were beautiful, because there is a language developed within particular criticism for its description. Unfortunately, many critics donâ € ™ t recognize how decisions made by the director, photographer and composer made a profound impact on visceral reactions and intellectual responses from the audience. Iâ € ™ m not saying filmmakers who arenâ € ™ t recognized. We are, at least within the industry, but not in the consumer press. I donâ € ™ t think I read a single review that mentioned the importance of Subroto Mitraâ € ™ s (ISC) the decision to use 16mm film and other formats in some scenes on the river, but it made a profound impact. Think an important artistic decision worthy of comment, in fact, essential to an understanding of the hearings Filma € ™ s artistic treatment.

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

Rajiv: One important thing about this collaboration is that filmmakers have to integrate their vision of a film with director € ™ s vision.

QUESTION: Are the many music videos he shot influence today?

Rajiv: Not really. None of my films seem music videos, but the good thing about music videos was that we could experience with different lighting, film types, lenses and filters. We decided to try to put four filters on the lens, the process of the strength of the film, or put a negative through a process of reversal film post-production to see how it comes out, then try again to reverse. It was a great way to learn.

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

Rajiv: I can mention all the obvious names, but the truth is to learn from all filmmakers. I can see a shot by a TV director, 29 years old, and find something he or she did that is very interesting. Iâ € ™ m constantly learning from others. I still read all the magazines and a journal of film and photography that I can put in my hands. Still studying art. Collect photographers books and paintings. However, itâ € ™ s not just the good work others are doing to learn. I learn from my mistakes that I had ample opportunity done during 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. â € œMy 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 lesson thatâ € ™ sa great importance to learn. Itâ € ™ s can be squandered, and that sometimes makes a mess if youâ € ™ re willing to push the boundaries of his craft.

Q: Do any other mentors influence their thinking?

Rajiv: I was a graduate of Lucknow University for a short time. Well € ™ s where I met Renu Saluja was a really important mentor. She pointed to some avenues very interesting with regard to film theory.

Q: 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 I wanted. Today, there are two things that might affect my decision. A them is my first meeting with the director. This relationship is like a marriage only, curiously, much more intense. You have to decide if youâ € ™ re going to be able to get along with that person for as long as youâ € ™ re going to be together. I think I've gotten along with more than 90 percent of the directors I have worked and many have remained friends. The second thing is photography. Iâ € ™ m always interested in new things and different. If the project is very similar to what I've done before, and the script is not great, so are less likely to be interested. Sometimes a project is that it is so interesting that it is impossible to resist.

QUESTION: What I tell students and other young filmmakers, when you are asked to share the secret of success? Do you tell 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 by Indians Photo / DOP Rajiv Jain of Indian Cinema and aspiring filmmakers:

A quick "filler" because while I try to get something really important written Â

Most blows me pass by my blog are people looking for keywords such as "directors of photography on" Indian "way of filmmaking career" and "how be a great director of photography. "I really can only offer my own personal experience.

Rajiv on advice for young filmmakers, aspiring artists:

One advice for all filmmakers is to be very aware of the digital era ଠs just above us, but remain faithful to the film at this stage 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 film is even better. Film still has more information than digital cameras even though they are improving all the time. But the way forward now is very Intelligent filmmaking is a film shoot in either 35mm or super 16 and digital intermediate and film put together in the end. I've done with my last three or four movies and I'll be doing that again with my next. ଠs film is very clever to use digital technology to manipulate images. (With respect to help make decisions on the day of shooting), shooting saved me Kalpvriksh Ã⠀ "on average 10 minutes a day for decision making as:

There sa ¬ àflash out of a window, send the handles to get rid of it. We had not had time. I can fix it digitally. It s very easy ¬ àlater.

There ଠs hotter than the light of the top of the notched flashes of light ± àlarge. 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 that ଠs going to take 20 minutes to do so. Forget it. I know I can fix it digitally.

Occasionally I make decisions like that knowing that I could make corrections in a digital intermediate. That sa very intelligent ¬ àto go. It is more expensive than conventional calendar but increasingly ଠs cheaper all the time. ଠs is only going to be the norm soon.

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

No ads have been for a long time and I just tend to go from function to offer. (But) the majority of the directors who roll ads if you follow through certainly get to see the digital work, if you are going through the process television.

Now the master of the camera, Rajiv Jain:

My favorite Indian Cinematographerâ € ™ s 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've written about a couple of them.

As a career plan, I still think for myself. I remember listening Cinematographer Ashok Mehta about reached the point of firing, finally features. He worked as an assistant cameraman and camera op for a while until it reached a steady gig shooting those ads. Eventually worked his way up to Director of camera and has shot a number of films, including 36 Chowringhee Lane and Bandit Queen. It took about 10 + 30 years to reach the level that is today. And that is the large number also learned. You can go in about 10 years on average to be "successful" (in big 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 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 everything you can. Get a camera (still or video camera SLR) and study his 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 open eyes.

Well make sure you know what you're doing, or actually get 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 Indian shooting 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 as) Panavision electronics experts. Prasad is truly wonderful Ã⠀ "is a great help to me to know that I have shot a good laboratory and large chambers.

I think aspiring filmmakers need to be aware of both digital formats filmàà³ ³, but tend to be (pause) not to ignore the cameras, but I'm getting as much time as possible. (Laughter) I'm a little bit guilty of not really follow the last technology in digital (high definition) cameras are concerned, but I've tested with them. I'm still a man of cinema. I love movies.

About the Author

Sparkle Hayter was born in Pouce Coupe, B.C., Canada and raised in Edmonton. In 1980 she ran away to New York City where she ended up in TV news, primarily for CNN. After CNN, she moved to Pakistan and went into Afghanistan with the mujahedin to cover the Afghan war against the Soviets. After one particularly harrowing four-hour trek through a minefield behind some Frenchmen and a flatulent packhorse, she decided to give up full-time journalism. Upon her return to New York City, she, in short order, got married, took up stand-up comedy, sold her first novel, moved to Tokyo, moved back to New York into the fabled Chelsea Hotel, got a divorce, published five more novels, and got a tattoo. She has written for The New York Times Op-Ed page, The Nation and The Toronto Globe and Mail, was a regular panelist on CNN’s issue-oriented talk show CNN & Company, and has also appeared on Diplomatic License (CNN), Good Day New York, NPR, CBC, BBC and Paris Premiere. She still performs stand-up comedy occasionally, and last appeared at Stand-up New York and Don’t Tell Mama in Manhattan in 2001. At the moment, she is living in Paris and working on a novel set there. http://www.noexit.co.uk/hayter.htm

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