Cooked Art: Images … by Pocket – Sized Photo Rajiv Jain Indian

Cooked Art: Images … by Pocket – Sized Photo Rajiv Jain Indian

I like films that are made as a work of art, each scene is masterfully photographed for the brilliant composition to create lines of action, symmetrical balance, with a nice use of space, texture, color, and perspective. Here are two movies that I recently revived, and depict beautiful visual language.

So what the hell is a filmmaker? If you want to get into semantics, it means "Writing the movement. But their job, essentially, is to have control over the camera and lighting crews in a stage and have much creative input in the final image. Although if one considers the fact that the artistic director is responsible for staging, the storyboard artist plans the plans and what actually happens, and the director will want to have a piece of the action, then there is no small wonder how the films end up looking great. Some guys who have managed to do (in my opinion little)

What qualifications do you studied Bhartendu Academy of Dramatic Arts and when did you finish? I went directly from high school Bhartendu Academy of Arts Drama and has a degree in two years in drama, specializing in lighting and graduated in 1985. The courses are taught differently now. It is managed as a film school in a school of art, I think it's great! It allows students to make earlier decisions their chosen field in the film and television, whether a filmmaker, director, producer, publisher, etc. It also better prepare students to work in the industry. He is teaching more than just how to make movies. What do you think of the facilities that you recently seen Bhartendu Academy of Dramatic Arts (Bhartendu Natya Academy)?

Facilities Bhartendu Academy of Dramatic Arts are fantastic, I would argue, world class. The main production studio is very well equipped. The post-production facilities such as editing and sound mixing suite rooms are exactly like what is used in most Indian movies and television.

I am particularly impressed by the value of film production recent student Bhartendu Academy of Dramatic Arts. I think the quality of work is quite high.

I think it's fantastic that students learn to shoot the film projects is the international industry standard for feature films and most dramas televised overseas. It is rare for students to have the opportunity to work with the film now that digital formats are becoming more widespread. If you are able to shoot and work with the film, you'll be able to work in any format that you encounter there. It does not work the other way.

What I mean by that is that cinema managers are the same regardless of the format you pull in. However, turning requires a different approach, both technically and creatively. These principles can be applied to shooting digital, but film requires a better understanding of lighting and exposure.

Digital Equipment Bhartendu Academy of Dramatic Arts of a standard and quality that will enable graduates to go into industry and understand fairly well how any other piece of equipment they will face. There is no reason why the quality of student projects can not match quality of business plans, because the equipment they use is the same.

I am particularly impressed with the value of production student films recently Bhartendu Academy of Dramatic Arts. I think the quality of work is quite high.

What was the first break or a job that is the key to setting you on your way in your career?

I had a number of breaks and I suppose many of them overlook one another. A series of fortunate events might say, but if I had to think a pause in particular it was great, one night when I had just finished my new photo editing demo. (A demo is like a portfolio of work, a cut of my best edited photo to music.)

Just as I finished, an e-mail came to me who was sent by someone I knew barely. The email stated that Kenya's production company was looking for a cinematographer to shoot Indian part of an international film that was on the screen at the Universal Exhibition in Nairobi, Kenya, and they wanted to see showreels.

I went to the post office the next morning and sent mine off express mail. I received a phone call a few days later confirmed that I had the job. I flew to Nairobi and worked with a professional team complete the was my first important job.

The people I met on this project enjoyed my work as much as I received a call a month late and they've stolen in Brunei for turning advertising. I ended up going back to India with a new Showreel improved. Having work International Coil raised my profile further and got more and better jobs and an agent and I was not there …

A case of right time I think!

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

The quality that I admire Success in creative professionals is the ability to be proud of his own work. Whatever your creative research, I think if you make a work you really like and you take great pride, then you are lucky to have one of the best jobs in the world.

I also think so a challenge, working outside your comfort zone is important to realize that to succeed you must be consistent, positive and work hard.

Whatever the creative field, you are, it will be a hard slog to get your current career. With a creative career you are found Working on your body and your career. The first thing we must do is create a portfolio or in my case, a demo, then get ready for criticism and to strike back, never give up and use these to knock back an incentive to work harder and set your standards higher.

I also think it is important to make "Passion projects that allow you to experiment with ideas or your experience. For projects of passion, I mean those that you do for the love of it and not pay. I pulled a lot of "gifts" for my Showreel in height and gain experience before you start getting paid for my art.

In addition, it is important to work on your network. You never know when that person you might consider a rival may actually be the one to spend some work your way or you introduce them to new employees. The film industry is too small to make enemies. We should be like a support network and learn from each other, to always better projects.

For you, what are the Must See 'film of reference in terms of movement is his pioneering cinematography?

Well, to begin the film on Indian films Kalpvriksh recent films – The tree of wishes – Dreams are yours just a little too far and will soon Released Continue Pandu are quite remarkable. Ha!

No, seriously, some of my favorite and most influential in terms of motion pictures are not the ones with a large crane shots or shot at the world's longest Steadicam, but those that create a sense of ambience and atmosphere. Films that convey emotions to an audience and help communicate the underlying idea of a story to tell about the characters that dialogue alone could.

I think the most influential film for me would be anything directed by Satyajit Ray (Aparajito (The Unvanquished), Parash Pathar (The Philosopher's Stone), The Fair Music (The Music Room) for its use of mood, atmosphere and film techniques.

In addition, classics like Pather Panchali (Song of the Road). It took me a while to understand why he is considered the best film ever made. The use of depth field in this movie is not just a technical achievement, but also a tale.

I also liked Shakha Proshakha (branches of a tree), Agantuk. They are both very tough and hand held at a time, but very beautiful and you really feel like you "inside" the film.

This is I was trying to create on the most recent film that I shot, Kalpvriksh – The Wishing Tree.

I want the audience to feel as if were there in Kalpvriksh, with the characters, to feel, smell and taste.

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key lights: the highlights of the film since Kalpvriksh – The tree of wishes

An interview with Rajiv Jain, India Photo and owner of Rajiv Jain Movies, Pictures and handles – Dubai – Mumbai – Nairobi.

Q: What is your job title? Where are you employed?

A: cameraman director, cinematographer. I My company, Rajiv Jain Movies, Film and handles, and I have been doing for about twenty-five years.

Q: How long have you been filmmaker?

A: I have been doing for several years, but I started my own business in about 2005.

Q. What kind of training do you need to become a filmmaker?

A: I went to the Academy of Dramatic Art Bhartendu. I degree two-year diploma in performing arts. What to do me in a position to see how much the industry has changed. Coming out of college, children should just start their own business. First, they must decide what to do in the industry and then go ahead. The sky is the limit according to the career you choose.

Q: What do you like most about your job?

A: Work me. Having the freedom to make your own decisions, make your own way on what you want to do. But you can spend a month without working if you're on your own, so definitely put you on a path of business as well as a creative path. Take over the business, not just the liberal arts. The film industry is a business, just as the music industry. You have a self-starter.

Q: Tell us your typical day on the job.

A: What jobs? Normally, when I'm not working, I'm in my office do the paperwork. From your desktop, you may have to go somewhere locally and can be anywhere from two to thirty days. Many of our orders is remote locations. Each work is unique. As soon as you think it is typical, it changes.

Q: What is your career before becoming director photography? Do you think it helped prepare you to become a massage therapist?

A: I was doing theater, photo-journalism, working at a local chain and make a decent gain. I found myself incorporating essential to my words, and when I started taking pictures and filming, I realized that what I am most passionate. But when you have a creative bone in your body, such as writing, it is easier to grow in other aspects of a different job creation.

Q. What traits do you feel are necessary to succeed as a director of photography?

A: Everybody takes different paths to succeed. But you must maintain. Drafting Tables and graphs has changed so much. The whole dynamic has changed completely. You have to be totally flexible and stay with the current trend.

Q: Would you say it is imperative to have a university education for a career like this?

A: I do not think it is imperative, but what I got out of college I network a lot. I do that it is a necessary condition to one hundred percent. But, of course, you should have a good school to teach you what you need. When you college, you need to start working on building a portfolio and a college can help it. If two people have the same work and they had both impeccable portfolio, but we also made a four-year degree, you can bet that nobody goes to land the job. To be in the industry full time, not only independent, meaning it is important to get that diploma.

Q. Would you recommend this career to someone else?

A: Yeah. 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 must have thick skin. You have to work for months. Do not set your expectations too high. Be realistic. My first recommendation would be to go to college and get that working full time. Have an idea of what the industry is at subject. It is difficult to just have a good portfolio, unless you're an amazing filmmaker. Doing without college is extremely difficult to do.

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

A: the retirement village and go. No, but seriously, I 'll do more projects. I want complete control of my future projects.

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Kalpvriksh – The Wish Tree – Dreams yours are just a bit far – Photo Rajiv Jain

Twice winner Indian Rajiv Jain ICS WICA Photo Creates Special Global light, shadows, in his recent film Kalpvriksh dreams are yours Wish Tree just a little far

Rajiv Jain has a way of seeing that takes a picture to its outer limits. In his last years as an assistant, electrician, adhesion and in the last 16 years as director of photography, he developed a visual sensibility and expertise.

Rajiv draws its inspiration from directors like Satyajit Ray (Pather Panchali) and DOP Ashok Mehta, ISC (36 Chowrangi Lane) and Binod Pradhan (Parinda) for their use of color and lights and shadows to amplify the emotional content of stories. I find the possibility of allowing the characters to make in the dark is a real art, "he said. Ashok Mehta allows his characters to operate in the dark. He lights for all the blacks are really rich – but you can see everything.

His work in Kalpvriksh, a film by Manika Sharma emerges as a period with an advantage. Rajiv was particularly intrigued by the non-narrative, fragmented script, because it offered a variety of visual possibilities. Shot mainly on Kodak to give Unlike the outdoor stages, Rajiv experimented with hot and blue filters to get the look he wanted. The result is a dark journey almost surreal in the minds and actions of bizarre characters of the film.

initial collaboration on a film is essential, says Rajiv.

It is important to me go through the script scene by scene with director Manika Sharma, Rajiv said, trying to see what is in his mind. I want to know what the scene is said, which is the most important person at that time, and how the characters move through the scene. We also share photos and movies, which gives us a visual to work from.

A graduate of Bhartendu Academy of Dramatic Arts in Drama and a beginning photography, Rajiv took a film class. Intrigued by the middle of the film, he saw opportunities to combine her interests in film advertisements. Seeking a way to learn camera, he offered his help (Unpaid) the cameraman Subroto Mitra to learn the trade.

He was very learned about his package SR, the lentils were, and how to load magazines, "he said. Then he told me, working on Shyam Benegal on documentaries Nehru.

In 1996, Rajiv got the first opportunity to make a film, the Army, with Mukul Anand. After eight weeks of stress Shooting – each of its movements were monitored.

After six more features, then came Kalpvriksh in 2007, Rajiv has to explore a new visual technique for add nuance to the story. The film has a dreamlike journey that Rajiv wanted to give a dreamlike quality. We tested the filters and bleach bypass process to give this part of the film its own feel, "he said. "Instead we decided to use a tilt swing, a camera attachment that allows the operator to modify the plan of development. He chips in various parts of framework development, which is difficult to make an overall plan because the increased depth of field.

Rajiv is currently finishing production on the operation of Pandu, a feature shot in Mumbai and advertisements making.

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Full of Surprises! Rajiv Jain, Director of Photography Indian / DOP, talks about … KALPVRIKSH (The Wishing Tree): Your dreams … Are just too far …

Like any artist, Rajiv was born with an innate talent burnished by experience and cultural influences. Born in 1968, his first introduction to the magic of cinema came while watching his uncle as a projectionist at Ravindralaya Theatre, Lucknow. "I remember this little projection room and watch movies with my uncle, the Indian filmmaker recalls. "It was like watching silent movies, because we could not hear the sound in the cabin. I just saw the pictures and try to understand history. Uncle Charlie show us films of Chaplin, who, of course, were silent. There is no doubt he has put his dream of becoming a filmmaker in my heart. "A native of India, Rajiv Jain ICS WICA filmmaker studied at the Academy Bhartendu of Dramatic Arts in Lucknow, India.

The day after the end of his studies, Rajiv went to work as an intern on an anamorphic image. It has contributed to ten other films as an assistant cameraman before becoming a DOP. "From that moment, I considered that the camera or as a pen that you use to draw pictures, "he said." Operating a camera is mainly on the composition and rhythm. I also used the camera for Bollywood songs. It was very primitive. While we were shooting, someone with a watch was all the time pan and zoom. He said: "You have 5 1 / 2 seconds to zoom. It was a great lesson for me, learning to make each item a work shot in that time. "

I thought it was fascinating that the film speaks a common language that everyone can understand, "he recalls." This is particularly true for filmmakers, because we communicate with the public non-verbal. " For me, making a film is like the resolution of conflicts between light and darkness, cold and heat, blue and orange or other contrasting colors. There should be a sense of energy, or change of motion. A sense that time passes – the light turns night, which comes in the morning. Life becomes death. Making a film is like a journey and documentation using light in the style that best suits this picture … including the concept behind it.

The first important decision regarding the visuals was to shoot anamorphic (2.4:1) format, as they did on Kalpvriksh – The Tree Wishing. Rajiv says Manika likes to manipulate subjective viewpoints and objectives, sometimes in the same framework, even at the same time. In a simple example, a fire starts on a topic, then a player will not in the frame, creating a shot over the shoulder, the evolution of subjective – in which the viewer sees what the character sees – the goal. "One of my suggestions first shot Kalpvriksh – The Wishing Tree Super 35 format," Rajiv continues. "I felt give the film an edge that you do not expect to see in the drama. I felt that we could use the broader context of creating a sense of claustrophobia in the Cave of the most interesting composition and Shabana Shabana showing in the world. "She, director Manika Sharma, designer Mansi and other team members creative discussed possibilities for composing Kalpvriksh – the Wishing Tree in large format, while relying on these references visual as another drama with a theme unlikely. Although the scenes Manika storyboards, sketches Rajiv used primarily as a communication tool. During filming the director is left open to wind from storyboard to take advantage of unexpected opportunities. designer "Our production designer and costume Mansi us given sets and rich costumes. While pushing two stops in development is not always true colors, their collaboration with this technique allowed us (especially in the dinner sequence Fantasy /) to have a hot scene and yellow toward the future, as if that was lighted Candlelight was, "he said.

In a scene dramatically lit, the director of the school (Mahabano Kotwal) sits on the chair, looking out the window at the rain falling. "The scene was illuminated with a light tough day, an ARRI 6K," said Rajiv. "We made a light through the window. In light of the door, we used a 4 by 4 mirror is out of the frame to the right. The light is modulated by rain on the window, and it extends to the book. We were 'brown collection. It was a happy accident, and everything worked perfectly with a light. "To fill light on this film, we used to be very, very little or absolutely no," he added. "I found that stocks of film we use, if you overexpose a little, you can read the details in the shadows incredibly well. When I saw the picture theater-screen 70-feet wide, on the dark side, which is black death, you can actually see the hair into the heads of the actors. I found it very interesting. I hope it works on a subconscious level to the public. "Even if Rajiv knew that could not get wide open for a T2 or T2.8–because the Super 35 format chosen has a deep – he still wanted this tool to give the story a presence biggest stage. The most negative allowed him to push the limits. And he knew that the grain would still be acceptable if he had remained in the T2.8 Q4 ranges on the interior. "We could still use real sources and it would not be difficult for our crew to follow development," he said confidence.

Like many of his colleagues, cinematographer Rajiv Jain has many concerns about changes that can be introduced during the imaging process post our electronic age. These considerations are intensified when dealing with a plethora of effects visual, which was the case with Kalpvriksh – The Wishing Tree. "I tried to make a concerted effort effort to remain as involved in post-production as possible – which is sometimes difficult because it is' off to the next task – to work with digital effects and Optical chamber to ensure that there would not be problems with the printing process response. "You do not see all lights in the master plan, "he said. "The master plan that we started with was not shooting light. We were stuck in the back corner with a 35mm lens and there was a two way mirror in the background. We therefore used a technique called a Rajiv Jain "Driller. In other words, you are normally shot in a horizontal chamber, and there are horizontal surfaces such as top coats and tables. If you come directly over a fire and drill down on this surface, it works very well. It does not seem bad. If the light comes from a place that is not normal or ordinary people seem to accept the item that was illuminated without really determine what happens in terms of a source. Shadows go down so they do not end up looking weird or attracting attention to the source. You see it on the table, then he comes on the table and the lights faces in a certain extent. It's interesting because you are not lighting at all the people. You are lighting the environment they are in.

Anamorphic gives you the space within to do, "said Rajiv. "Manika has no problem Filling an anamorphic frame in a contemporary image. History also has an elegiac aspect, it seemed better to say it without cutting the video rock and frenetic camera movements. With the curious distribution, we knew that this film would be on performance. All these ideas – and "if it is not broke, do not fix it' – taken into account in our decision to shoot anamorphic. To determine an appropriate approach for visual moods various necessary Kalpvriksh – The Wishing Tree, Manika and Rajiv chose to abandon much of the usual activity of listening to other films during preparation. "We used a lot of work book, referring to other types of artists working in forms two-dimensional, photography and drawings mainly, Rajiv relates. "It was a nice and different way of preparation. Watching the movies to see how a particular sequence of work is great, but this approach not get me started on this incredible turn of self-education, covering the photograph from 1890 up 'til now. Now, I can not help but buy the books. It is amazing how much source material for visual reference is here when you go back to basics. These points have been great springboard for us.

The filmmaker also had to avoid revealing reflections photo equipment and personnel on the surface of the water. With a disciplined team, which required careful placement of light and camera angle selection. He discovered that putting plastic in the right distance from the lens moves closer Shawn perspective made slightly distorted images with a touch grain, which amplified the light that he and the director Manika desired. Rajiv also added some thoughts of characters and objects on the surface of the water to draw attention to the barrier separating the child from others. Sometimes the camera takes a subjective position of spectator, other times as the public seems to share the experience of Shawn's life-in-the-bubble. "There was no simple formula for deciding when to put the public inside the bubble with Shawn. It was a question I asked the director for each shot in each scene. Are we inside Shawn the bubble, or are we Outside Looking In?

I do not believe that and, of course did not or administrator or company producing Manika Sharma Rhombus films. Another photo taken in an old house we had to Bollywood is to run two generators to power all the lights. When where we did, however, I was able to draw two-thirds of a long sequence of traveling light and reflections in a pool Long night (cave Shabana). "I think it is a visual reflection of the fact that his position in life can change almost instantly," he said. "He is extremely effective visually. It seems to work on a number of different levels. With this different approach seems to refresh all your overs and setbacks. There is a very interesting scene between Shabana and child who has been held under a tree, and there is a feeling of unease and the possible attack. It is very ambiguous, but the spatial dynamics really emphasize the feeling. "

There is a great advantage to work on location in relation to a studio. For example, the Muslim home I said a real marble floor. Experience DOP knows how to use this fact something that can simulate in a studio, "Rajiv thinks. reflectors have been widely used throughout the film, usually side to take some filling ambience or onboard the Keylight, and redirect some of that light on the side of filling. In most cases, it was very subtle, however, a simple reflection of the radiance. "We used reflectors that almost no one EyeLight" Rajiv said. "There is such a tension between these three characters. There are a lot of inner emotions beneath the surface of this film. I felt that the public should have access the internal life of the characters, so I tried to keep going Eyelights, especially when we'd get in close. Often it was done with a small reflector cast at the last moment.

One of the most important aspects included Shabana previsualizing character itself. "To nail down, we started working on storyboards with an artist, "says Rajiv, who has attracted great advice and is a brilliant artist as well. We will have said our thoughts on how Shabana looked and he began to work. Manika attributed the creation of much of the final appearance since drawings have been used to communicate on the hair, makeup and wardrobe services that Manika sought for its look. "Part of Guise Cave" implied the use of a wig that often obscured the actor's face – during which the failure of a few ideal lighting conditions. "For hair and makeup tests, I saw that everything looked amazing Shabana, they would be difficult to treat for 2 weeks. She a great big hat and a costume too, so there was a question of whether we were ever to be able to really see. I said that sometimes Manika, she was on the verge of becoming a hair styled. Very sensitive to the needs of actors, Manika did not get the hair from her face, so we tried do not mess with it and solve it by ourselves. "

The Kalpvriksh – The Wishing Tree, Rajiv opted for Vision 200T (5274) for all but outside the night, explaining that the smooth texture of the emulsion files non-intrusive deep blacks, accurate colors and wide tonal range. Rajiv outside shooting Eastman EXR 100T days (5248), using a filter to 81 EF-half and keep the blue cold of winter. Daylight balanced 250D (5246) Vision stock was selected for the interiors day, when he exploited Vision 500T (5279) on most of the interiors and exteriors at night. Since the shooting, the filmmaker did extensive testing with different materials in search of the right thickness and translucency. "It's the same thing that using a cheap filter on the ice and we realized that any distortion or loss of interest would be amplified when the optical laboratory "compressed" images in the report of 2.40 point. In addition to selecting the right plastic, it was important for us to record a strong negative images with well-targeted. We toured through the filters at least 90 percent of the time.

During filming scenes of forest lead actor Rajiv employee what he called a sandwich Nine-light. "Others might call it a light book, but in any If we did bounce Maxi Brute Nine-light a piece of the board of directors of the heel, then letting the light through a dissemination framework generally equipped with a 216 or grid of light. The resulting soft light striking it had a very good quality, plus some serious pounding footcandles. This soft light enough to penetrate the hair Shabana and I could control the amount of light by simply clicking off different globes. But it also requires a lot of shortness of breath and took a lot of space. "On other occasions, Rajiv illuminated by the forest to lead the light from multiple angles extreme. "I came much smaller and more frontally with his key than I normally have, but the approach has succeeded in leaving her hair fall naturally, yes, all this has been difficult, it worked. I only grateful for the scenes where Shabana is wearing her hair pulled backwards, since I could get an edge by its beautiful side lighting.

When children arrive at the tree before the peak, the production has created the famous production by filming the actors in front of a blue screen and green screen. These elements have been formed with a basic digital stock plates extracted from Ladakh. Harry and internal service Arjun Red Chillies' supervised the visual effects shots. "I do not think that these scenes might be more credible if we had traveled to Ladakh to shoot the line, "marvels Rajiv. "How can you miss when you start with 70 mm base plates? We matched all these plates. "

There was one day a few scenes here we decided that the cracks in the cave roof lets drive into the sunlight, "he continues." I put signs in the walls behind players and let some light bounce off the ground. For most, however, the scenes are set in the cave at night – Bed by Firelight or lanterns or imaginary light off, which is not connected to anything. For water, I chose to use a light slightly blue on the key players, but did not put any flickering movement because I felt he was distracted. The flickering on their faces from actual water. What I did add a slight flicker effect is on the walls, which I found to be more enjoyable while giving a little realism.

laboratory work before the end was made by Gemini, which provided film dailies. "After his experience in the commercial world where you work on a monitor the whole time, Manika enjoyed watching daily movie – it has opened a new world for her, "said Rajiv." For example, there is a plan to provide a Shabana line at the end of a long shot under the tree. When he saw the video read Manika [TAP] track, it feels not good about it. It seemed too quick on the ball. She noted that perhaps the line would disappear in publishing. After a while, as it Manika projected onto a large screen and loved instantly. "When asked if this new extension of good drama on the screen and Rajiv smiled and said: "Would not be surprised if I said there is a happy ending? "

The cinematographer does not use the broadcast the lens of the camera, preferring to ease his subject according to the needs of selectively affecting the source of light. "I never liked films where the overall resolution of lens changes visibly during the sections in a close-up during a scene, "he said. "Any Case to spread heavy in front of the lens to [actress] Search "best" is just crazy to me. I do not want to see the efforts of the Director of photography to make someone look good. Instead, I want to see the character, look good, and I think what happens when the actor is both integrated into the scene well lit and a flattering way. My solution is to reduce the light source, and the image is as clear as possible. Some people think that lenses are too strong Primo, but I like everything perfect. When you combine Years of research and development on Kodak film stocks, with what happened in those Arri lenses and laboratory work with Gemini, then put all this in a movie correctly on the screen, the result is such incredible perfection! If I take great pride to ensure a very negative perfect. We may want to spoil it later, and that's fine, but I think starting with something well exposed and sharp. "

With so many treatments necessary to describe the visual perceptions of Shabana, Rajiv and Manika the need to adjust settings from the start events requiring more elaborate visual effects. "We're telling a story that we see in part through the eyes of a madman," offers Rajiv. "She is an incredibly bright person crazy, but crazy anyway, so there is a sense of fantasy about these visions, but they are not in the tradition effects sci-fi. We presented a wish list of visual effects for budgeting, but returned four or five times higher price we hoped. This meant we had to back down, and that the final decision has worked better for the film we ended decision. Most effects are things we have done with the practice of light signals, or as a combination of these indices with digital enhancement. "

I'm glad to watch this movie seems interesting to the eye, but I am also pleased that the visuals do not replace history. In early reviews are praising the performance Shabana as one of the best she's ever given, it would be logical to do something that was far from aspect. Lots of movies now seem overwhelmed by the effects, but Manika is not one to say that the type of history.

When Indian Photo Rajiv Jain ICS WICA is asked if he would do anything differently today, the artist master replies: "Four-twenty-nine percent of the time when I see my old films, I am serene. It was better that I could do at the time of my life with what I had to work with. The important it's your life and how you evolve as a human being and as an artist.

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Q & A with Rajiv Jain ICS WICA Photo Indian Kalpvriksh on Film – The Wish Tree – Your dreams are just a bit far

Indian Cinematographer Rajiv Jain ICS WICA is a filmmaker based in Mumbai, India. Rajiv specializes in shooting TV commercials in the 35mm motion picture film and HD digital formats. Rajiv began in the early days of the revolution the music video, before venturing into the film narrative. His eclectic body of work includes the Army, Badhaai Ho Badhaai, continue on Pandu, Kadach, Kalpvriksh – The Wish Tree, Notout Mirabai, Pyar Mein Kabhi Kabhi and Rasstar.

QUESTION: Where were you born and raised?

RAJIV: I was born in Lucknow, India. There is no major event that happened to me as a young person I given desire to be a filmmaker. It was certainly not the quality of light in Lucknow. I remember he was gray, has been dyed brown traffic and darkness of the sky. But as I say that I'm aware of the pallet removed from the place affects me emotionally. Saturated jumped cons as neutral, as in a dream or a nightmare post-industrial.

QUESTION: What are your parents?

RAJIV: My parents were just ordinary people. I do not think they were particularly challenging for me. Their main concern, I think, I was not an embarrassment. We moved back to Etawah and Lucknow, where I completed my studies. Diploma were at the Theatre des Arts.

QUESTION: Do you have a career goal at this point in life?

RAJIV: I wanted to be a writer, but as Rakesh Mohan I was thinking too much and too little writing. Too say I was more of a reader, then a writer, scholar, poet and more. I am very interested in semiotics and structuralism (the study of language ideas code). Initially, I studied how the language spoken and written work, but he became more interested in how which the codes have worked in other languages as the language of film. My interest in language led me to film one way quite complicated to cinematography.

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

RAJIV: I became very interested in understanding how to modify the light, camera angles, composition, and movement of the camera director of photography changes the public perception of the visual event, and thus the viewer's emotional response. It is hard quantify. I particularly remember thinking back to when I see Pather Panchali a child, and how his image had always remained in my imagination not only for their sheer beauty and magnitude sublime, but because they affected me emotionally, striking a chord, but unconscious. Ray Later I saw "The Apu Trilogy." I had much the same answer, but now my understanding has been informed by my studies. It is fair to say that the Director of photography of these two films, Subroto Mitra, are those who have most influenced my decision to become a filmmaker.

QUESTION: How did you make a connection between words and photography?

RAJIV: In writing essays and articles on film. I realized that the images of the film worked much the way the spoken and written language functioning. You want to express certain ideas. It is culturally understood and agreed codas. These forms, which we call letters, agreed pronunciations. These words form letters. These words have agreed meanings. But is obviously arbitrary. The word "cat" is not innate "catness" about it, but hearing this word the listener is idea in their brain. A cat. We can then add adjectives, and qualifiers, to make a black cat or black cat angry. These are code words, but not universal codes. They are specific to a culture that shares in that language. Photography in some respects, is a language far more complex. The denotation (specific) or connotation (symbolic or implicit) meaning of an image can be ambiguous, but also complex. Perhaps the best analogy is the literary haiku. The words have more meaning less potential – the more words that are added in more literary forms, the more specific meaning. An image provides both specific and non-specific meanings. It can work on multiple layers, conscious or not.

QUESTION: Have you had any mentors or you were totally self-taught?

RAJIV: I learned a lot of other DPs. But it is mainly from the study of their work. Ashok Mehta I talk a lot, and he gave me a lot. But I was self taught. I studied art extensively, especially artists century early 20th century, and artists in the late 19th century. I learned a lot about light from them. I stole an idea all good movie I saw, no doubt. Particularly the work of 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 it's a very distinguished important. I do not want to sound pretentious, but if one considers the nature of art, it is intended to give us new eyes to see world. I want the public to react viscerally to what our intentions are to a film. I think the film works much like music in that it is difficult to measure or quantify why the public responds to what we do. So it's an art. And its practitioners must be artists.

QUESTION: Tell us about your analogy of music and film.

RAJIV: I can sit in daily and I see other people watching the movie with me physically and emotionally respond to images, but it is very difficult to quantify what they meet. If you people listening to music, they can also respond, but you'd be hard to quantify why they react.

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

RAJIV: Part of the problem lies in our collective culture. The films are examined in the theater rather than as an art form unique. Critics talk about scripts and performance. They talk about things they understand, but because they understand their own history Cultural mainly in traditional theater, but they can not recognize. In this context, movies and music are not included, except for say they were beautiful, because there is not a language developed especially in the critical description. Unfortunately, many commentators do not recognize the decisions taken by the director, filmmaker and composer has had a profound impact on visceral reactions and responses public intellectual. I'm not saying that the filmmakers are not recognized. We are, at least in the industry, but not in the mainstream press. I do not think I read one review that mentioned the importance of Subroto Mitra (ISC) decision to use 16mm and other formats in some scenes of The River, but which had a profound impact. I think this is an important decision artistic remarkable, indeed, an essential factor for the public understanding of treatment artistic film.

QUESTION: The collaboration between directors and directors of photography is unique.

RAJIV: One thing important about this is that the filmmakers are working to integrate their vision of a film with the director's vision.

QUESTION: Are many videos you shot you influence today?

RAJIV: Not really. None of my films are like music videos, but the great thing about music videos was that we could experiment with different lighting, film stocks, lenses and filters. We decide to try to put four filters on the lens current process, the film, or put a negative overturning post-production process of films see how it comes out, and then try again in the opposite direction. It was a great way to learn.

QUESTION: Is there other filmmakers whose work you follow?

RAJIV: I can cite all the obvious names, but the truth is that I learn all filmmakers. I can watch a television program shot by a filmmaker 29 years and find something he or she has done is very interesting. I am constantly learning from other people. I still read all the magazines and journals on film and photography that I can put hand. I have studied art. I collect books of photographs and paintings. But this is not only good work that others do I learn from. I learn from my own mistakes I had ample opportunity to do so during the past 20 years. When my son Adam was in seventh grade, he wrote an essay in which he was required to say who was his hero. He said it was me. My father is my hero because he messes all the time, and it allows me to see. "I therefore feel authorized to mess about. I think it is a extremely important lesson to learn. It is allowed to pollute, and you'll sometimes mess up if you're willing to push the limits of your boat.

QUESTION: Is this other mentors influence your thinking?

RAJIV: I graduated University of Lucknow for a short period. That's where I met Renu Saluja was really important mentor. She pointed down some interesting avenues regarding film theory.

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

RAJIV: Early in my career all that was offered was a movie I wanted to do. Today two things are likely to affect my decision. The first is my first meeting with the director. This relationship is like a marriage that, curiously, much more intense. You must decide if you will be able to agree with this person for the time you'll be together. I think I get along well with over 90 per cent of the directors with whom I worked, and many are still friends. The second thing is photography. I am always interested in doing something new and different. If the project is very similar to what I did before, and the script is not very large, then it is less likely, I'll be interested. Sometimes a project comes along that is so interesting that it is impossible to resist.

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

RAJIV: I think we should be patient and do not let yourself believe that things will happen quickly. You need integrity and honesty that you want to become. In this way, even if you fail, you can fail with some dignity. If you do not compromise and what do you have left?

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

Quick notes by Indians Photo / Rajiv Jain DOP on the film and aspiring filmmakers in India:

A post fast fill "so I try to do something really important wrote:

Most of the hits I get for my blog are people to search for keywords like "Indian filmmakers' cinematography career" and "how to be a great filmmaker. "I can only offer my personal experience.

Rajiv on advice for young, aspiring filmmakers:

A tip for all filmmakers is to be very aware of the digital age that ¬ s just above us, but always stay true to the movie at this stage and maybe try both. We're turning the film into digital. I just had some tests with the film compared to digital and the film better. Film still has more information than digital cameras do even if they are getting better all the time. But the way to go Now that the film is very clever is to shoot the film either 35mm or Super 16 and only digital intermediate and put them together on the film to end. I did it with my last three or four movies and I'll do that again with my neighbor. It à ¬ cinema really clever to be able to use digital technology to manipulate images. (For me to make decisions on the day of shooting), I saved Ã-by shooting Kalpvriksh average 10 minutes per day making decisions such as:

He leaves his rocket à ¬ a window to send the handles to rid of him. We did not have time. I can fix it digitally. It is very easy à ¬ thereafter.

Here, a light ¬ s warm coming on top of the light flares ± muscosa great. We cannot get rid of the flares from the edge upper part. Do not worry about it. If you're going to put giant flags, a ¬ will take 20 minutes for us to do. Forget it. I know I can fix it digitally.

From time to time I make decisions like knowing that I could make corrections to an intermediary digital. That SA Ã ¬ very smart to do. It is more expensive than the traditional calendar, but a ¬ s less expensive all the time. It ¬ fair will be the norm very soon.

I think (it's a good ¬ s) to young filmmakers to embrace that (and) to visit the homes Digital (who) are more than happy to show people around (and) to show them the ropes. Ã ¬ It truly unique experience. Once whoever did, will never look back.

I did not make commercials for a long time and I just tend to go function to function. (But) most of the filmmakers who shoot commercials if they follow through certainly the opportunity to see the technology work digital, if they are in the process of television.

Now, the master of the camera, Rajiv Jain:

My favorite Indian picture are:

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

Binod Pradhan (Parinda, Devdas)

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

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

AND

Subrata Mitra (Pather Panchali, New Delhi Times)

You should really check them. I wrote about a couple of them.

As a path career, I'm still figuring that myself. I remember listening to picture Ashok Mehta how he finally reached the point of shooting features. He worked as a camera assistant and camera op for a while until he gets a regular concert shooting commercials. He eventually rose up picture, and fired a number of films, including 36 Chowringhee Lane and Bandit Queen. It took nearly 10 + 30 years to reach the level it is today. And so many, I learned well. It will take approximately 10 years on average to become a "success" (In terms of big Bollywood) in your area.

All I can advise is to go on set. Get a film crew, that or PA, camera assistant, camera op, or the person who cleans dirt camera case. Watch the filmmaker. Listen to the filmmaker. Asking questions in Photography the crew. Whatever you do, even if it's the most stupid and boring job on the set, it will be spectacular and incredibly happy to do so. People will notice your attitude. Making friends, but especially with the crew, not just the filmmaker. (Also, make friends with the Deputy Director. They can give great recommendations.) Learn everything you can. Get a camera (SLR or camcorder) and explore your own style. Try something new every day.

As for how to be a great picture:

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

And be sure you know what you made, or get very good at undermining it. (Another post about "knowing [that of] what you do" is in mid-write, and some reflections on the Indians is a filmmaker so far in my journey. Should be interesting.)

For filmmakers who come to make films, they may not have had that opportunity but I highly recommend going to a digital home. I did all my work by Prasad. They have the resources of all major optical engineers and designers, (and) electronics experts Panavision. Prasad is really wonderful-Ã been a great help me get to know that I have a good laboratory and large cameras.

I think aspiring cinematographers must be aware of digital formats and ³ ³ Filma, but I tend to be (pause) do not neglect the digital cameras, but I'm back to later as long as I can. (Laughter) I am a bit guilty for not really follow the latest technology in measuring the digital (HD) cameras are concerned, but I have been testing them. I'm still a man movie. 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

Making Music: Alan Sparhawk from Low with choreographer Morgan Thorson

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