Making of Star Ras – Indian Rajiv Jain Kenya Photo

Making of Star Ras – Indian Rajiv Jain Kenya Photo

STAR RAS, which are currently at the International Museum OF WOMEN FILM FESTIVAL.

Raj next job was on a short film, Rasstar, based on the life of rapper Nazizi Kenya, which was broadcast on M-Net.

Synopsis: A teenage rapper, Amani, a devout Muslim teams family with his brother, an artist con Abdosh emerging to find a way to earn money and get into the final talent competition. As history unfolds, Amani and her brother was caught with a local gangster and a stolen phone incident and use her brother's glib tongue to them out. For absolute blind chance, they manage to find the money they need only to come to blows with their Uncle Shaka, the family patriarch Mlandimu and the local gangster who finally saves them.

Rajeev Jain, familiar Bollywood filmmaker and cinematographer, discusses his new film award winning Ras Star, and the single camera approach used specifically for this film about a young woman's quest for life. With a background as director of photography for functions such as the Army, Badhaai Ho Badhaai, Carry On Pandu, Kadach, Kalpvriksh – The Wish Tree, Mirabai Not by Pyar Mein Kabhi Kabhi and Rajiv took enough experience behind the lens to make the jump to film. He also cinematography credit for winning the Kenya Television Heartbeat FM.

Where are you and how did you become a cinematographer?

[Raj] I am from Lucknow in the northwest India. My first degree is in science and it took a while to find my way in a more artistic. After several courses I found at the Academy of Dramatic Arts Bhartendu (Bhartendu Natya Academy) studied drama. I managed to run some short pieces and do many other camera. Since then, I enjoyed the documentary and dramatic camera and to inform each advance the other.

How did you approach the cinematography Rasstar?

[Raj] Through discussions with Wanuri, find films that we loved so much visually. We wanted to find distinct look for each story and a different look to the present day. We found a "visual theory" for each section (eg a dark red and black history Amani lenses along Abdosh history and wide lenses for Mlandimu). The eyes should be able to implement quickly (then assisted in the classification) Due the very tight timetable. We then applied the theory to a visual list of fire (which we often had to sleep because of the evolution locations or are not yet found)

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

[Raj] With a camera 35mm you are looking directly through a lens and saw the beautiful scene and colors can trust your eyes, through the photographic process. With HD camera that you are watching a small black and white in the viewfinder if you need a large (ideally 24 ") HD monitor in order to judge what you shooting. It is huge and totally impossible with such a small crew and small budget so we managed with a 14 "monitor a good deal time, but up a mountain or on a remote beach just a low battery monitor is possible. It was very frustrating and has led to some things that would could be better.

HD is horrible to see whether any area is overexposed. This proved the most problematic in the very air we have chosen to take the lenses very broad sense there was a lot of sky in the plan. Unfortunately, the sky was particularly flat and overcast, but relatively bright white.

The biggest advantage to HD was able to travel much lighter with a couple of zooms up the city for example, and be able to film two hours value of the material without worry (which would have been about 12 huge boxes of 1000 feet of film to carry and load). This meant also Wanuri and I could go on weekends and shots a film city and pickups very easily.

The importance of telling stories?
 
[Raj] The tale is a big part of life at an early age. It's a way find meaning in the world. For a child, is a way of understanding the world through the metaphor – not that a child thinks this way.

If the world exploded and a few stragglers met it would not be long before they round a fire and someone started to tell stories make sense of things. Stories to entertain, to provide an escape or catharsis, stimulate reflection and debate and make you laugh.

What was the best thing to do Rasstar About?

[Raj] The best thing was in a beautiful part of the world of work on a script that uses the slums of Kenya as part of the story.

What was the worst thing?

[Raj] The first day of the action sequence on the market. The crowd took so long to allow access to the site we have the crew been reduced to make the beard of moss and a feature documentary on the clouds (a few clouds so thin).

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

[Raj] Wanuri is certainly one of the directors of the hardest work I worked with, but I think I found the limit, a Saturday evening. We shot in a pub (performance climax) and pick-up shots and had a choice to go to the pub where some members of the crew were slipped into the lamb shanks and beer Downing fine or head. The light seemed too tempting but if we went to God and thank you we have because the light on was astonishing. Deep red light was bouncing on making chip on the black background. There were so many flies, we had set the unit on and run away for clustering around the camera. We shot for centuries and the light was low, but still very close. I tried to get one last shot with long DJ console in the foreground when Wanuri suggested that we had enough and must go, the words I never thought she had to say! (The photo was beautiful and made the final film).

Have you worked on anything from Rasstar?

[Raj] Since I filmed the movie Rasstar Kalpvriksh – The tree wishes. It was a great experience filming in a remote place and interesting. Mahableshwar I filmed a comedy half-hour for the channel: "the smallest man in the city and I also filmed and edited a documentary half-hour to Dubai on a housekeeper who works in Dubai. I was recently on an item to Dop Small budget "Carry On Pandu.

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My Style | Images by Rajiv Jain | Pictures India Bollywood

FIRST PRESENTATION:

For some time, I intended to write my views on Cinematography and my aesthetic style and now it's here. This does not mean that I follow dogmatic – it is simply what works for me in the outline. As director of Indian photography, I should be able to give the director or producer whatever look, I wonder. But given the constraints visual and aesthetic requirements of any production – or the occasional lack thereof – part of me is still there. The rules were made to be broken – But only when you have a good understanding of the rules. Although I can not pretend to know all, I learn each production. Some some of my thoughts …

The aesthetics of a project needs to be established at the beginning of the hearing. It's embarrassing to introduce a new aesthetic or style of writing too late in a story without justification or motivation.

Another area that receives too little attention is Loved the atmosphere – plans that fill the space between the scenes. It gives the public some time to breathe and think and can be a time for music affect the public.

I graduated filters is too false and against nature. She focuses our attention and instead, usually called attention to himself. I do not think I ever use them and have not been criticized for my decision.

Most directors cut too soon on both the plateau and in the editorial. On the stage, expect to say, "Cut." Sometimes an actor can give a gem of a moment at the end of a scene if you wait. It is worth it and I am surprised how often a director will use this time in the final cut. It's nice to take a player at the end of certain scenes to allow the public to take in the moment and reflect.

People change and so do their views. So, I'm sure my opinions are liable to change, too. Until then …

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

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

So what the hell is a filmmaker? If you want to semantics, it means "writing in the movement. But their jobs, especially, is to have control over the camera and lighting crews in a scene, and have much creative input in the final image. Although if one considers the fact that the artistic director is responsible the staging, the storyboard artist plans the plans and what actually happens, and the principal will want to have a piece of the action, then it is not wonder how the films end up looking great. Some guys who have managed to do (in my opinion little)

What qualifications do you Bhartendu studied at the Academy of Dramatic Arts and when did you finish?

I went directly from high school to Bhartendu Academy of Dramatic Arts and has a degree in two years in drama, most of the lighting and graduated in 1985. The courses are organized differently now. It is managed as a film school in a school of art, I think it's great! It allows students to make decisions Prior to their domain of choice in movies and television, whether a filmmaker, director, producer, editor, etc. It also better prepare students for work in the industry. He is teaching more than just how to make movies.

What do you think of the facilities that you have recently seen Bhartendu Academy of Dramatic Arts (Bhartendu Natya Academy)?

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

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

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

What I mean is that principals film 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 digital photography, but film requires a better understanding of lighting and exposure.

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

I am particularly impressed by the value of the production of student films recently at the Academy of Dramatic Arts Bhartendu. 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 big cut particularly, it was a night when I had just finished assembling my new show reel film. (A reel of show is like a portfolio of work, a cut of my best edited photo to the music.)

Just as I had finished, an e-mail came to me that was sent by someone I barely knew. The email stated that a production company Kenya was looking for a cinematographer to make India a part of international film that was on the screen to the Exhibition Universal Nairobi, Kenya, and they wanted coils show.

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

The people I met on this project like my work as much as I received a call a month later and they've stolen in Brunei for turning advertising. I finally returned to India with a new production and improved reel. Having international work on the 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 a career in the creative industries?

The quality I admire in successful creative professionals is the ability to be proud of his own work. Whatever your creative research, I think if you do a job 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 that itself is a challenge, working outside your comfort zone is important and realize that to succeed it must be consistent, positive and work hard.

Whatever the field of creative you are, it will be a hard slog to get your career underway. Thanks to a creative career you're judged on your body and your course work. First thing to do is create a portfolio or in my case, a reel of the show, then get ready for the criticism and hit back, never giving up and use these hit the back to encourage them to work harder and set your standards higher.

I also think it is important to the passion projects that allow you to experiment with ideas or 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" to get my reel to show the height and gain experience before starting to get paid for my art.

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

For you, what are the Must See 'film of reference in terms of cinematography or current or vanguard?

Well, to begin the film on film Recent Indian films Kalpvriksh – Wish Tree – Do your dreams are just too far and soon to be published on Carry Pandu are quite remarkable. Ha!

No, seriously, some of my favorite and most influential in terms of motion pictures are not the shots with the great crane or drawn on the world's longest Steadicam, but those that create a sense of ambience and atmosphere. Movies that portray emotions to an audience and help communicate the underlying idea of a story by saying more about the characters that dialogue alone could.

I think that films most influential for me would be nothing done by Satyajit Ray (Aparajito (The Unvanquished), Parash Pathar (The Philosopher's Stone), The Music Room (The Music Room) for his use of mood, atmosphere and film techniques.

In addition, classics like Pather Panchali (Song of the Road). He took a while to understand why he is considered the best film ever made. The use of depth of 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 both very hard and hand held at a time, but very beautiful and you really feel like 'inside' the film.

Is what I tried to create the latest film that I shot, Kalpvriksh – The Wishing Tree.

I want the audience to feel as if they were Thence 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 profession? Where are you employed?

TO: Director of Photography Director, Director photography. I have my own company, Rajiv Jain, Movies, Pictures and handles, and I have been doing for about twenty-five years.

Q: How long have you been a filmmaker?

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

Q. What kind of training did you become a filmmaker?

A: I went to Bhartendu Academy of Dramatic Arts. I degree two-year diploma in performing arts. That put me in a position to see how the industry has changed significantly. Coming out of college, Children should start their own business right. First, they must decide what to do in the industry and then go for it. 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 work if you are yourself, so definitely put you on a path of business as well as a creative path. Take over the business, not just the liberal arts. Industry Film is a business, just as the music industry. You must be a self-starter.

Q: Describe your day type on the heap.

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

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

A: I was doing theater, photo journalism, working a local channel and making a decent income. I found myself incorporating essential to my words, and when I started taking pictures and shoot, I realized that was 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 are the features do you think are necessary to succeed as a director of photography?

A: Everybody takes different paths to success. But you maintain. Editing and graphics 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 is imperative, but what I got out of college is networked, I very much. I do not think it is a necessary condition to one hundred percent. But, Sure, you should have a good school to teach you what you need. When you're in college, you need to start working on the construction a portfolio and a college can help it. If two people went for the same work, and they both had impeccable portfolio, but also conducted a four-year degree, you can bet that nobody goes to land the job. To be in the industry full time, not only independent, means that 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 all the world? 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 all about. It is difficult to just 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 of Indian Photo Rajiv Jain WICA ICS Creates Special Global light, shadows, in his recent film Kalpvriksh dreams Wish Tree yours are 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, grip, and in the last 16 years as director of photography, he developed a visual sensibility and expertise.

Rajiv draws inspired directors like Satyajit Ray (Pather Panchali) and Director of Photography Ashok Mehta, ISC (36 Chowrangi Lane) and Binod Pradhan (Parinda) for their use color and lights and shadows to amplify the emotional content of stories. I find the idea of allowing the characters to operate in the shadows is a real art, "he said. Ashok Mehta allows his characters to operate in darkness. He lights for all black people are really rich – but it 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 outdoor scenes, Rajiv experimented with hot and blue filters to get the look he wanted. The result is a dark journey almost surreal mind and actions of the strange characters in the film.

initial collaboration on a film is essential, says Rajiv.

It is important I go through the script scene by scene with the director Manika Sharma, Rajiv said, trying to see what is in his mind. I want to know what the scene is said that is the most important person at that time, and how the characters move around the scene. We also share photos and movies, which gives us a visual 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. Finding a way to learn camera He offered his help (unpaid) director of photography Subroto Mitra to learn the trade.

He taught me much about his package SR, what lenses were, and how to load the magazines, "he said. Then I started working on Shyam Benegal's documentary on Nehru.

In 1996, Rajiv got the first opportunity to make a film, the Army, with Mukul Anand. After eight weeks of filming stress – every move was monitored.

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

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

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Full of surprises! Rajiv Jain, Director of Photography Indian / DOP, talks about … KALPVRIKSH (The Wishing Tree): Your dreams … ARE JUST A bit far …

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

The day after the end of his studies, Rajiv went to work as an intern on an anamorphic image. He contributed ten other films as assistant director of photography before becoming a DOP. "From that moment, I considered that the camera is 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 the pan and zoom. He said: "You have 5 1 / 2 seconds to zoom. It was a great lesson for me, learning to make every element of a Plan work in this period. "

I thought it was fascinating that the film speaks a common language that everyone can understand, "he recalls." This is particularly true for photography, because we communicate with the public non-verbal. "" For me, 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 the subjective and objective points of view, sometimes in the same framework, even at the same time. In a simple example, a Shooting will begin on a topic, then a player is not in the frame, creating an over the shoulder shot, he changes his subjective – in which the viewer sees what the character sees – the goal. "One of my suggestions first shot Kalpvriksh – The Wishing Tree in Super 35 format," Rajiv continues. "I felt that the film would give an edge that you do not expect to see in the drama. I felt that we could use the broader context of creating a claustrophobic sentiment in the Cave of the most interesting composition and Shabana Shabana showing in the world. "She, director Manika Sharma, designer Mansi and other members of the creative team discussed the possibilities for composing Kalpvriksh – the Wishing Tree in large format, while building on these references visual as another drama with a theme unlikely. Although Manika scenes 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. "Our decorator and costume designer who has Mansi us apart rich and costumes. While pushing two stops in development is not always true to color their work with this technique allowed (especially in the dinner / fantasy sequences) 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 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 glass, and it extended over 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 not," he added. "I find that stocks of film we used, if you're a little exposure, 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 hairs go into the heads of players. 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–as the Super 35 format chosen has a shallower depth – 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 it remained within the ranges T2.8 Q4 on the interior. "We could still use real sources and it would not be difficult for our crew to follow are," he said with confidence.

Like many of his colleagues, cinematographer Rajiv Jain has many concerns about changes that may be introduced to imaging during the post process our electronic age. These considerations are intensified when dealing with a profusion of visual effects, which was the case with Kalpvriksh – The Wishing Tree. "I tried to make a concerted effort to stay 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 house to ensure there have no problems with the printing process response. "You do not see all the lights in the master plan," he said. "The master shot that we started with a bang was impossible to light. We were stuck in the back corner with a 35mm lens and there was a mirror double meaning in the background. We therefore used a technique called Rajiv Jain a "driller. In other words, you are usually shooting horizontally room, and there are horizontal surfaces such as top coats and tables. If you just directly above a light and drilling 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 element that was alight without really determine what happens in terms of a source. Shadows go down, so they do not end up looking strange or calling attention to the source. You see it on the table, then he comes on the table and lights the faces to some extent. Is 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 a frame in a contemporary anamorphic image. History also an elegiac aspect, it seemed better to say it without cutting the rock video and frenetic camera movement. With the amazing cast, we knew this film would be on performance. All these ideas – and "if it is not broke, do not fix it' – taken in our decision to shoot anamorphic. "To determine an appropriate visual approach for various moods necessary Kalpvriksh – The Wishing Tree, and Manika Rajiv has chosen to abandon much of the regular business to see other films during preparation. "We used a lot of work book, referring to other types of artists working in two-dimensional shapes, photography and drawings mainly Rajiv relates. "It was a fun and different preparation. Looking at the movies to see how a particular sequence of work is large 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 there when you return focussed. These have been great base for us.

The filmmaker also had to avoid glare revealing material Photo and staff on the surface of the water. With a disciplined crew, which required careful placement of light and the selection camera angle. He discovered that placing plastic at the right distance from the lens moves closer Shawn perspective made slightly distorted images with a touch of grain, which amplified the light that he and the director Manika desired. Rajiv also added some thoughts of characters and objects on the water surface to attract attention to the barrier that separates the child from others. Sometimes the camera takes a subjective, the position of spectator, as at other times the audience seems to share Shawn's life-in-the-bubble experience. "There was no simple formula to decide time to put the public at the heart of the bubble with Shawn. It was a question I asked the director for each shot in each scene. About Us Shawn inside the bubble, or we're out of search? "

I do not believe that and of course did not either Administrator nor Manika Sharma Canadian film Rhombus. Another photo taken in an old house of Bollywood has forced us to run two generators is to power all the lights. When we did, however, I was able to draw two-thirds of a long sequence by traveling with reflections seen in a long night of pool (cave Shabana). "I think it is a visual reflection of the fact that his position in life can change almost Instantly, he said. "It is extremely effective visually. It seems to work on a number of different levels. Using this approach seems to be different to refresh all of your deferrals and reversals. 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 possible aggression. It is very ambiguous, but the spatial dynamics really emphasize the feeling. "

It is a great advantage to work on the site over to a studio. For example, the Muslim home I said a real marble floor. Experience DOP knows how to use this reality something that can simulate in a studio, "Rajiv thinks. Reflectors have been used widely Throughout the film, usually on the filling to take some ambience or edge of the Keylight, and redirect some of that light on the side filling. In most cases, it was very subtle, however, while reflecting the radiance of the skin. "We used reflectors that almost a EyeLight, "said Rajiv." There is such a tension between these three characters. There are many emotions in the internal surface of this film. I felt that the public should have access to the inner lives of 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 told him our thoughts on how Shabana looked and he began to work. Manika attributed the creation of much of final appearance since his drawings were used to communicate on the hair, makeup and wardrobe services that Manika looking for its look. "Part Cave de Guise "involved the use of a wig that often obscured the actor's face – during which the fact that a poor light conditions ideal. "For hair and makeup tests, I saw that everything looked amazing Shabana, they would be difficult to treat for 2 weeks. She had 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 about to become a hair styled. Very sensitive to the needs of actors, Manika did not get the hair from her face, then we tried not to mess with it and solve it by ourselves. "

The Kalpvriksh – The Wishing Tree, Rajiv opted for Vision 200T (5274) for all but the outside at night, explaining that the smooth grain of the emulsion files non-intrusive deep blacks, accurate colors and a 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 night. Since the shooting, the director did extensive tests with different materials to find the right thickness and translucency. "It the same as 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 experience strong negative images with well-targeted. We toured through the filters at least 90 percent of the time.

During filming forest scenes with the main actor, Rajiv employee what he called a sandwich Nine-light. "Others might call it a light book, but in any case, we bounce Maxi Brute Nine-light a piece of the board of directors of the heel, then letting the light through a framework for dissemination usually 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 simply by clicking out different globes. But it also requires a lot of shortness of breath and took a lot of space. "On other occasions, Rajiv illuminated by forest directing the light from several angles extreme. "I came more and more low key with his front that I normally have, but the approach has managed to drop his hair naturally, yes, all this has been difficult, it worked. I only grateful for the scenes where Shabana is dressed with her hair pulled back, because I could get an advantage over his fine by lighting side.

When children arrive at the tree before the peak, the production has created the famous production by filming the actors in front of 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 plans visual effect. "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 some scenes from there, so we decided that the cracks in the cave roof lets drive into the sunlight, "he continues." I put signs in the walls behind the 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 lantern or light fantasy come off, which is not connected to anything. For water, I chose to use a slightly bluish light on the key players, but did not flicker movement because I felt he was distracted. Flicker on their faces from the 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 experience in the commercial world where you work on a monitor the whole time, liked watching Manika 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] follow it does not feel good about it. It seemed too quick on the ball. She noted that perhaps the line would disappear in publishing. After a time, 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 director of photography does not use diffusion on the lens of the camera, preferring to ease his subject as needed to selectively affecting the source of light. "I never liked movies where the overall resolution of lens changes seen in cuts to 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 brilliant person crazy, but crazy anyway, so there is a sense of fantasy about the visions, 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 Indian film photography Kalpvriksh – The tree of wishes – Your dreams are just a bit far

Cinematographer Indian Rajiv Jain ICS WICA is a filmmaker based in Mumbai, India. Rajiv specializes in shooting television commercials in the 35mm film filmmaking and HD digital formats. Rajiv began in the early days of the music video revolution, before venturing into the narrative cinema. 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 who inspired me to be a filmmaker. This was certainly not the quality of light in Lucknow. I remember he was gray, brown complexion was of the circulation and the dark 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 they were not particularly ambitious for me. Their main concern, I think, that I was not an embarrassment. We moved to return to Lucknow and Etawah, where I completed my studies. My degrees were in Theater 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 to 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 the codes have worked in other languages as the language of film. My interest in film language led me to a fairly complicated to cinematography.

QUESTION: Interesting. Can you be a little more specific?

RAJIV: I became very interested in understanding how to modify light, camera angles, composition, and the movement of the unit director of photography change the perception of public event visual, and thus the viewer's emotional response. It is hard to quantify. I particularly remember thinking back to see Pather Panchali when I was a child, and how his pictures 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. Later I saw that Ray "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 the two movies, Subroto Mitra, are those who 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, have agreed pronunciations. These words form letters. These words have agreed meanings. But it is obviously arbitrary. The word "cat" is not innate "Catness" about it, but hearing this word the listener that idea in their brain. A cat. We can then add adjectives, and qualifiers, into 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) sense 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 unspecific meanings. It can work on multiple layers, conscious or not.

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

RAJIV: I learned a lot of other DP. But it is mainly from the study of their work. Ashok Mehta and I talk a lot, and he gave me a lot. But I was autodidact. I studied art extensively, especially the artists century early 20th century, and in the late 19th century artists. I learned a lot about light from them. I stole a good idea of all the film I saw, no doubt. Especially 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 is a very important distinction. 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 the world. I want the public to react viscerally to what our intentions are a film. I think the film works much like the 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 music and film.

RAJIV: I can sit in dailies and I see other people watching the movie with me physically respond and emotionally to the images, but it is very difficult to quantify what they respond to. If you people listening to music, they can also answer, 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 culture collective. The films are examined in the theater rather than as a unique art form. Critics talk about scripts and performance. They talk about things they understand, but because they understand their own cultural background is primarily in the traditional theater, but they can not recognize. In this context, movies and music are not included, except to 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 had a profound impact on visceral reactions and responses of the 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 use of 16mm and other sizes in certain scenes of The River, but has had a profound impact. I think this is an important decision artistic remarkable, indeed, crucial for the public understanding of the artistic treatment of the film.

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

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

QUESTION: Is what 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 process force, film, or to overturning a negative post-production process of films to see how it comes out, and then try again in the opposite direction. Was a excellent way to learn.

QUESTION: Are there other filmmakers whose work you follow?

RAJIV: I can cite all the obvious names, but the truth is that I learn all the 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 magazines and journals on film and photography that I can get my hands on. I have studied art. I collect books of photographers and paintings. But it is not only good work that others do that 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 necessary 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 am therefore entitled to about spoiling. I think it is a very important lesson to learn. It is allowed to pollute, and you'll sometimes spoil if you're willing to push the limits of your boat.

QUESTION: Is that how you influence other mentors thinking?

RAJIV: I graduated from the University of Lucknow for a short period. There I Renu Saluja met was really important mentor. She pointed down some interesting avenues regarding the theory of cinema.

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

RAJIV: Early in my career while what was proposed 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, surprisingly, much more intense. You must decide if you will be able to agree with that person for the time you'll be together. I think I got along well with more than 90 percent of the directors with whom I worked, and many have remained friends. The second thing is photography. I am always interested in new and different things. If the project is very similar that I did before, and the script is not very large, so it is less likely, I'll be interested. Sometimes a project comes along that is so Interestingly it is impossible to resist.

QUESTION: What do you say to students and other young filmmakers when they ask you 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 not 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 you have left?

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

A rapid filling station "so I try to do something something really important wrote:

The most hits I get for my blog are people looking for keywords like "filmmakers Indians' cinematography career "and" how to be a great filmmaker. "I can only offer my personal experience.

Rajiv on the advice of young, aspiring filmmakers in India:

A tip for all filmmakers is to be very aware the digital age that ¬ s just above us, but always stay true to the movie at this stage and maybe try both. We at the intersection of digital film. I just had some tests with the film compared to digital and the film is even better. Film still has more information that digital cameras do even if it is improving all the time. But the road ahead, now that the film is very smart is to draw about the movie either 35mm or Super 16 and no digital intermediate and thus make the movie to the end. I did it with my last three or four films I'll do that again with my neighbor. It à ¬ cinema really clever to be able to use digital technology to manipulate images. (In As regards help me make decisions on the day of shooting), I saved shot Kalpvriksh Ã-average 10 minutes per day making decisions as:

He leaves his rocket à ¬ a window to send the handles to get rid of him. We had no time. I can not fix numerically. It is very easy à ¬ thereafter.

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

Every now and then I take decisions like knowing that I could make corrections to a digital intermediate. That SA à ¬ very intelligently do. It is more expensive than the traditional calendar, but a ¬ s less expensive all the time. It will be à ¬ just the standard very soon.

I think (it's a good ¬ s) to young filmmakers to embrace that (and) to visit the home digital (that) are more than happy to show people around (and) show them the ropes. Ã ¬ It truly unique experience. Once someone has done, will never look back.

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

Now, the master of the camera, Rajiv Jain:

My favorite picture of Indians are as follows:

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 definitely check them out. I wrote about a couple of them.

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

All I can advise is to go on set. Get a film crew, whether PA, assistant camera, camera op, or the person who cleans debris cases camera. Watch the filmmaker. Listen to the filmmaker. Ask questions of the Director of Photography and crew. Whatever you do, even if the office as silly and boring on the shelf, it will be spectacular and incredibly happy to do so. The 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 you are telling a story. And serve this story with humility, loyalty, creativity, passion, and eyes open.

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

For filmmakers who come to make films, they may not having 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 the greatest engineers and optical designers, (and) experts electronic Panavision. Prasad is really wonderful-Ã been a great help me to know that I shot a good laboratory and large cameras.

I think that aspiring filmmakers should be aware of two formats ³ ³ Digital Filma, but I tend to be (pause) do not neglect the digital cameras, but I'm putting off later as long as I can. (Laughter) I am a bit guilty for not really keeping track of the latest technologies such as digital (high definition) cameras are concerned, but I have been testing them. I'm still a man movie. I love movies.

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BIOGRAPHY OF THE AUTHOR: The passion for travel began after a trip Piyush on impressionable Towers "Around the World" aged eight, where the sounds and images from around planted worldwide exploration and travel.

After a journey University Piyush backpack in Australia via Asia South-East then moved to London to study journalism. He graduated with honors from the London School of Journalism in 1996 and worked as a journalist since 1997, mainly as a freelance, but also taking jobs staff broadcasting.

Tags: Bollywood, Bombay, cameraman, director of photography, commercial director of photography, DOP, dp, Dubai, India, Indian, isc, Jain, Kenya, Mumbai, Rajiv, Rajeev, TVC, video, videography, WICA

About the Author

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

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

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Super Jersey Long Sleeve V-Neck Tee $39.95 “No-cling cotton skims the body for a flattering silhouette. Comfortable and long-lasting top-quality cotton. Wash after wash, from play to casual this plus size v-neck will become a favorite. ”

Junowear All-Cotton Classic Brief $12.95 “Our best-selling brief ever! This generous full-cut plus size classic features a comfortable knit elastic waistband and non-chafe stretch edging at the leg. Natural waistline fit with a conservative leg. ”

Seashell Crossback Suit with Binding $49.95 “The most flattering plus size athletic tank you’ll ever wear. You’ll love the freedom of the X-back style for swimming. The front inset avoids water scooping when you are powering through the water. The side bust coverage is plus size perfect and the leg conservative but comfy. The back is a little higher for support and coverage, and the wide piped straps are striking. Inside our unique swim bra design, utilizes a special power mesh swim aqua bra system that combines under bust support with around-the-body sport bra construction for a natural but defined bust line. You’ll be amazed at how secure you feel in this plus size suit! We’ve made this plus size swimsuit from our best Nylon/high-spandex fabric with extra chlorine resistance. The thicker fabric offers elegant support and control. Wear for aqua activities, or simply look great lounging on a beach.”

UV-Protective Stretch Nylon Zip Jacket $19.95 “Protect yourself from the harmful rays of the sun in this sporty plus size jacket. The fabric is rated at UPF 50 and has the highest possible UV rating. But you’ll be grabbing this versatile plus size jacket on even cloudy days, as a perfect top layer for chilly mornings or cool weather strolls. Pretty details include a stylish mock neck and contrast stitching, a Junonia logo on the two-way zipper pull and elegant shirring at the chest and cuffs. Back vented design allows for easy shoulder movement, while cord locks at the hem let you adjust for warmth and comfort. Cut a little longer to work for all your needs from casual walks to topping a plus size bathing suit swimsuit at the beach. Front slit pockets. This is a perfect plus size travel jacket! ”

Juno Stretch Naturals Bike Short $24.95 “Luxurious cotton with spandex for ultimate stretch and comfort. Created with Junonia’s plus size fit and long-lasting quality with longer inseams. Covered elastic no-chafe waist.”

QuikCool Full-Coverage Brief $19.95 “We dare you to find a more comfortable and sumptuous brief. We have cut this beautiful style for a woman, with full coverage yet with a sleek and slightly sexy appeal. But the secret to this popular style is the fabric. QuikCool is silky soft and stretchy, with the wicking power that makes all the difference. These wicking plus size panties push moisture away from your body keeping you dry and comfortable in all temperatures. Say goodbye to clammy plus size underwear. Junonia has carefully fit these for the plus size shape, and added a double inner gusset and soft, no-chafe bound edges at both the leg and waist. Enjoy the light stretchy support for active and all-day casual wear. Versatile and fast-drying, these briefs are perfect for sport, active and everyday casual wear. Antimicrobial and fast-drying, QuikCool is just the ticket for travel. ”

ActiveLife Pineapple Pant $59.95 “For the evenly proportioned plus size woman, the pineapple shape flatters her athletic build. A slightly fuller waist and hip with not-too-full thigh, this pant finishes with a wider leg in an elegantly stretchy fabric. Features invisible zipper slash pockets and a covered elastic waist. ”

Super Jersey Long-Sleeve Polo $49.95 “Classic, face-framing polo style features silver open-center snaps on the extra long feminine placket. Heavier weight comfortable cotton never clings. Nice length works with all your pants in this versatile long push-up sleeve plus size style. ”

Biking With Friends Long Sleeve Tee $39.95 “Nothing is more fun that rolling down a bike trail with a group of friends. This exclusive Junonia design is inspiration to arrange that next outing! Wear it on the bike trail, and everywhere you have fun. A perfect plus-size fit with a long sleeve and beautifully silkscreened design.”

Marilyn Jeans by Lee with Tummy Smoother $49.95 “This classic five-pocket jean instantly slims and smoothes your waistline, while providing all day comfort. Designed to sit at your natural waist, this close-fit plus size style has an inner tummy panel that comfortably holds you in. Fashionable straight leg silhouette slenderizes. (See style #460002 for Black.)”

Milan Jeans by Lee with Invisible-Flex Waistband $57.95 “This straight leg jean has that little extra you love in your jeans. Stylish two-tone stitching, and perfectly placed, pieced back pockets with rivets. A great plus size fit, enhanced by the clever invisible flex inner elastic waistband for extra comfort and ease of movement.”

PerfecTemp Fleece Hoodie $44.98 “Get ready for fun! This classic hoodie has a sporty flair, with two-way front zipper and drawstring at hood. Femininely shaped plus size design with princess seams, and top-stitch throughout, it has front welt pockets. Beautiful top-quality cozy fleece. Junonia Spirit logo embroidery at top of hood.”