Camping with a baby!!

Master of Light: Conversations with Contemporary Photography Bollywood – Rajeev Jain ICS WICA

Master of Light: Conversations Bollywood Contemporary Photography – Rajeev Jain ICS WICA

Rajiv Jain – Indian Photography / DOP – the complete interviews, Vol. I

The Shape of Light – Rajiv Jain Paintings with his camera

Rajeev Jain (Birth: 1968, Lucknow) began working as director of photography in 1993 after an apprenticeship as a camera assistant and camera operator. Since then, Rajeev has worked as director of photography with some of the most famous directors of India, in some cases, the establishment a close and intimate. We met Rajeev Jain, India, during a five-day seminar organized by the Delhi Film Club the form of Light, an event that was attended by hundreds of students, filmmakers from all over India.

What has changed filmmaking in the last fifteen years?

I went to the Academy of Dramatic Arts Bhartendu (Bhartendu Natya Academy) in Lucknow during the period of the new wave. We've seen a picture quality that has "unleashed" itself in many ways the films of the period until the late 1980s. Even the editing is much more liberated, and photography / Directors, with Gautam Ghose in the vanguard, were in search of greater freedom. Even when he was shot at Using hand-held cameras, natural lighting, or lighting in a way that seemed natural, like open windows etc. In other words, an absolute freedom whatsoever with the camera movements and lighting.

And our country?

In India, there was still a more classic style of photography, and I'm talking like Subroto Mitra Sudhendu Roy, who worked with Satyajit Ray to Agantuk (1991). Meanwhile other new filmmakers with different ideas have emerged, like Ashok Mehta (36 Chowrangi Lane), especially in black and white. But this picture in black and white with its own aesthetic beauty was an appropriate quality characteristic of the merger of lighting the atmosphere or mood. Thus, from this point perhaps the film has gained more importance, a complete symbiosis with the film and the narrative.

Then the meeting between the director and cinematographer affect the career of one or another?

During the seminar a meeting of a good director of photography and a great poet. With the film Ray, the other First, it was undoubtedly a milestone with the arrival of Pather Panchali (1955) forward.

What filmmakers made a particular impression on you?

The relationship with Shyam Benegal on Tota Maina (TV series) was certainly an event for me I remember with great emotion that day. I meet people who confide in me that they have decided to become a director of photographer after have found that serial, or administrators who have decided to enter film with Tota Maina. For example, one day there was a Kenyan boy who was at my house who decided to come to India after watching TV seial Tota Maina. It was therefore an important film for many people, and many more for me because I had the chance to work with Shyam babu.

How did you meet?

It was all quite by accident. He was looking for a cinematographer who was also mentally prepared for this adventure, and through various sources my name came up. A friend of mine who worked as assistant director introduced me to Shyam babu. I remember when he called for Shyam Benegal told me that wanted to meet me. We met at his office for tea, and at the end of this meeting, he released a script and offers it to me. I feel the emotion of this moment right now.

Can you tell us about the "photograph dynamics" of the TV series?

Shyam babu used to tell me that TV uses time as a narrative element, while the photograph usually remains constant for the duration of a sequence. This is precisely the time that the "dynamic exploits photography make the film a different consistency. One example is the weather in nature: if, during a cloudy day the sun rises at some point this will change the state of light. In an interior space, if someone enters a dark room and turns on the light that will change the condition of light. However, it is tied to specific actions. This speech is amplified in Tota Maina, where in addition to variations in natural light variations have been added that match the emotional motivation rather than any sense of logic.

During some scenes you also use different shutter speeds, sometimes barely perceptible.

During filming Shyam Babu would like to ask some specific frames a slight increase in shutter speed, barely perceptible, and thus far the effect of idling, we have been accustomed to see in many television series. It was only for more suspension, always at the service of a certain atmosphere in the series. Technically, this speed variation consisted of a light adjustment of the membrane. Shyam babu was very specific and demanding his choice of photography, not only me but the whole company was so impressed by his personality that we have complied voluntarily with his requests.

During this seminar you regret the fact that it is always difficult to shoot a film in India with special attention to cinematography. Why?

Mainly because is a lack of respect for the profession in India. In the few films I shot with foreign crews and production In fact, I discovered more professional respect. Then there is certainly a lack of preparation, because if the films are not well prepared, you will end up improvising on the set. Another reason is the understanding of the shooting schedule, because if you shoot a movie in ten weeks or five weeks, the result will be different. With the advent digital publishing there is the tendency to go through the full negative through the telecine and then in Avid, without printing the so-called "daily", which I think are very important to monitor any technical problems. This happened with a film filmed abroad, where an entire scene had to be reshot after the discovery of only one exposure problem during assembly.

Strictly technically speaking, why is it that Indian films are no longer manufactured with the same care as the past?

Perhaps what is lacking is a real love of cinema. The problem is that no producer understanding more who invest in projects they care about. We no longer the person who loves the film so much they want it is as beautiful as it can. The device is now the only film to do with the budget in mind, sometimes regardless of whether the film is good or not.

AUTHOR BIOGRAPHY: Tony Parsons (born November 6, 1953) is a journalist and broadcaster author UK. He began his career as a music journalist on the NME, writing about punk music. He later wrote for The Daily Telegraph before going on to write his column in the Daily Mirror for courses. Parsons has been for some time a regular guest on BBC Two The arts review program Late Show, and still seems rare in the successor Newsnight Review, he also briefly hosted a series Channel 4 called Big Mouth. He is the author of several million-selling novel, Man and Boy (1999). Parsons had written a number of novels, including The Kids (1976), Logic Platinum (1981) and Limelight Blues (1983), before finding a wide audience focusing on the tribulations of thirty-something men. Parsons has since released a series of successful novels – One For My Baby (2001), Man and Wife (2003), The Family Way (2004), Stories we could tell (2006), My Favorite Wife (2007) and Starting Over (2009). His novels typically deal with the relationship problems, emotional dramas and traumas of men and women of our time. Many believe that the content of his work is weak.

Tags: bollywood, film, photography, Division Director, India, Indian Jain Kalpvriksh, Mumbai, Rajiv, Rajeev, videographer

Making of Star Ras – Cinematographer Rajiv Jain Indian Kenya

RAS STAR IS CURRENTLY FEATURED IN 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 aired on M-Net.

Synopsis: A teenage rapper, Amani, a Muslim strong family teams with his brother, an emerging artist Abdosh con to find a way to earn money and put it in the final of talent contest. As the story unfolds, Amani and her brother get caught up in a local gangster and a stolen phone incident and use a sharp tongue his brother to bring them out. For absolute blind chance they manage to find the money they need only to come to blows with their Uncle Shaka the patriarch of the family and Mlandimu, the local gangster who finally saves them.

Rajeev Jain, a well known Bollywood director of photography and photography, talks about his new award-winning film, Ras Star, and the unique approach device he used specifically for this film about the quest of a young woman for life. With a background as director of photography for features such as the Army, Badhaai Ho Badhaai, Carry On Pandu, Kadach, Kalpvriksh – Wishing Tree, Mirabai not go out and Pyar Mein Kabhi Kabhi, Rajiv has had enough experience behind the lens to make the jump to the movies. He also credits for cinematography award-winning TV series Heartbeat FM Kenya.

Where are you and how did you a filmmaker?

[Raj] I am from Lucknow in north-western India. My first degree is in science and it took a some time to find my way in a more artistic. After several courses I found myself at the Academy of Dramatic Arts Bhartendu (Bhartendu Natya Academy) student theater. I managed to run some plays and short camera for not much more. Since then I have enjoyed both documentary and dramatic camerawork with each informing and advancing the other.

How did you approach the film from the Rasstar?

[Raj] Through discussions with Wanuri, we find films have so enjoyed 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 long lenses for the history and very wide lenses Abdosh for Mlandimu). The eyes should be able to implement quickly (then helped in the ranking) because of the tight schedule. We then applied visual theory to a list of fire (which we often had to do the day before due to change places, or not yet found)

How Was it working with HD for the first time?

[Raj] With a 35mm camera you are looking directly through a fine lens and see the scene in color and can trust your eyes in the photographic process. With an HD camera, you are looking for a small image black and white in the viewfinder if you need a large (ideally 24 ") HD monitor to fully appreciate what you're shooting. It's huge and totally impossible with such a small staff and low budget so we managed with a 14 "monitor much of the time, but on a mountain or beach isolated only a low battery monitor is possible. It was very frustrating and led to some things that could have been better.

HD is horrible to watch if an area is overexposed. This proved the most problematic in the very air we chose to shoot wide lenses meaning there were many sky in the photo. Unfortunately, the sky was particularly flat and overcast, but relatively bright white.

The biggest advantage to HD was able travel much lighter with a couple of zooms into the city for example, and be able to film two hours worth of equipment without trouble (which would were about 12 huge boxes of 1000 feet of film to carry and load). It also meant I could leave and Wanuri weekend and blows City Cinema and pickups very easily.

The importance of storytelling?

[Raj] The tale is a huge part of life at an early age. That's one way to find meaning in the world. For a child, is a way of understanding the world through metaphor – not that the child thinks that way.

If the world exploded and a few stragglers would not be met long before they gathered around a fire and someone started telling stories to 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 About Rasstar do?

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

What was the worst thing?

[Raj] The first day of action sequence on the market. The the crowd took so long to get to the location that we on the crew were reduced to beards of moss and a long documentary film on the clouds (a few very thin clouds though).

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

[Raj] Wanuri is certainly one of the hardest working directors with whom I worked, but I think I found the limit, a Saturday evening. We shot in a pub (performance climax) and pick-up plans and had the choice to go at the local pub where some crew members were dragged into the lamb shanks and beer Downing fine or head. Light seemed too tempting but if we went to and thank goodness we did because the light was more surprising. Deep red light was making light bounces off the black background. There were so many midges we had to put the camera running and running to get them to leave the grouping around the camera. We shot for centuries and the light was low, but still very close. I tried to get a 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 something since Rasstar?

[Raj] Since I filmed the movie Rasstar Kalpvriksh – The Wishing Tree. It was a great experience shooting in such a remote place and interesting. Mahableshwar I filmed a comedy half-hour channel, "the smallest man in the city and I also filmed and mounted a half-hour documentary in Dubai on a cleaning lady who works in Dubai. I was recently on a characteristic Dop Low Budget "Carry On Pandu.

My Style Cinematography | by Rajiv Jain | Director of Photography Indian Bollywood

FIRST SHOT:

For a while, I've been meaning to write my views cinematography and my aesthetic style, and now here is this does not mean I follow dogmatic -. it's just what works for me in broad strokes. As an Indian filmmaker, I should be able to give the director or the production of everything I look at my request. But within the visual and aesthetic of the entire production – or the occasional lack thereof – an element of me is still there. The rules were meant to be Broken -. But only when you have a complete understanding of the rules so I can not pretend to know all, I learn every production. Here are some of my thoughts …

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

Another area that receives too little attention is on the air blows -. those shots that fill the space between scenes, it gives the audience time to breathe and think and can be a time for music to affect the public.

I graduated filters is too false and against nature. He did not focus our attention and instead, usually called attention to himself. I do not think I've ever used and are still being criticized for my decision.

Most directors cut too soon, both on set and in the editorial. On the set, 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'm surprised how often a director use this time in the final cut. It is nice to take a player at the end of some 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 subject to change, too. Until then …

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

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

So what the hell is a filmmaker? If you want to get into semantics, it means "writing movement." But their task, especially, is to have control the camera crews and lighting in a scene, and therefore much of the creative input in the final image. Although if we considers that the art director is responsible for directing, storyboard artist plans plans and what is happening, and the director will want to have a piece of the action, then it is not surprising how the films end up looking great. Some guys who have managed to do (to just my opinion)

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

I went straight High School to Bhartendu Academy of Dramatic Arts and has a degree in Dramatic Arts 2 years, specializing in lighting and graduated in 1985. Classes are taught differently now. It is run like a film school in a school of art, I think it's great! It allows students to make earlier decisions on their chosen field in the film and television, be it a photography, etc. editor director, producer, has also better prepare students for work in the industry. It is the teaching so 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, I would say world-class production page. studio is very well equipped. Facilities such as post-production editing suites and mixing rooms are sound exactly like what is used in most films Indian and television industry.

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

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

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

Digital Equipment Bhartendu Academy of Dramatic Arts is a level and quality which will enable graduates to leave the industry and understand both the functioning of any other piece of equipment they will face. There is no reason why the quality of student projects can not match the high quality of professional projects because the material they use is the same.

I am also particularly impressed by the value of production of 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 was the key to setting you on your way in your career?

I had a number of breaks and I suppose that many of give them to another. A series of fortunate events might say, but if I had to think of a particularly big break, it was a night when I had just finished editing my new show reel cinematography. (A reel show is like a portfolio of work, a cut of my best film editing music.)

Just as I had finished, an e-mail came to me that was sent by someone I barely knew. Email indicated that a production company in Kenya was looking for a Indian film director to shoot part of an international film that has been screen at the Universal Exhibition in Nairobi, Kenya, and they wanted coils show.

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

The people I met on this project have liked my work so I got a call a month later and they flew Darussalam to shoot some commercials. I finally returned to India with a new show 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 good timing I guess!

What qualities do you need to make a career in the creative industries?

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 enough to have one of the best jobs in the world.

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

Whatever the creative field, you are, it will be a hard slog to get your career underway. With a creative career you're judged on your body of work and your career. The first thing to do is create a portfolio, or in my case shows a coil, then get ready for the back and hitting the critical, never give up and use this as an incentive to knock back work harder and set your standards higher.

I also think it is important to make a passion project that will allow you to experiment with ideas or experience. Projects by passion I mean the ones you do for the love of it and not pay. I learned a lot of "gifts" for my show reel 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 you might consider that person as a rival might actually be the one to spend some work your way or you learn 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" movies of reference in terms of cinematography is exceptional or pioneer?

Well for starters the film on the recent Indian films Kalpvriksh – The Wishing Tree – Dreams Are Yours a button and soon to be Published on Carry Pandu are quite remarkable. Ha!

No, seriously, some of my favorite and most influential in terms of movies are not the shots with the big crane shot or the world's longest Steadicam, but those that create a real ambience and atmosphere. Films that pass an emotion to an audience and help communicate the underlying message of a story by saying more about the characters that dialogue alone could.

I think the most influential movies for me would be anything directed by Satyajit Ray (Aparajito (The Unvanquished), Parasha Pathar (The Philosopher's Stone), Jalsaghar (The Music Room) for the 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 pretty tough hand and held at a time, but very beautiful and you really felt like you were "inside" the film.

That's what I tried to create in the most recent movie I turned Kalpvriksh – The Wishing Tree.

I want the public the impression they were there Kalpvriksh, with the characters, to feel, smell and taste.

Key Lights: Defining moments in the film industry since the Kalpvriksh – The Wishing Tree

An interview with Rajiv Jain, Indian photography Rajiv Jain and owner of Movies, Pictures, and handle – Dubai – Mumbai – Nairobi.

Q: What is your function? Where do you work?

A: Director of Director of photography, cinematographer. I have my own business, Rajiv Jain, Movies, Pictures and handles, and I done for about twenty-five years.

Q: How long have you been a filmmaker?

A: I did that for several years, but I started my own business.

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

A: I went to the Academy of Dramatic Arts Bhartendu. I was a graduate of two years in the performing arts. I was put in a position to see how the industry has changed significantly. After college, children should simply start their own business. First, they must decide what to do in the industry and then go ahead. The sky is the limit depending on the career you choose.

Q: What do you like most about your job?

A: Working for me. Have the freedom to make your own decisions, make your own on what path 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 and a creative journey. Take over the business, not just the liberal arts. The film industry is a business, as industry music. You must be a self-starter.

Q: Describe your typical day on the job.

A: What job? Normally, I do not work when I'm in my office doing paperwork. From your desktop, you might have to go somewhere on the site and which can be any where two days to 30 days. Many of our business is remote locations. Each job is unique. As soon as you think it's typical, it changes.

Q: What career where you were before becoming a filmmaker? Do you think it has helped you prepare to become a massage therapist?

A: I was doing theater, photo-journalism, working at a local chain and making a decent income. I found myself incorporating primary my words, and when I started taking pictures and filming, 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 trade creation.

Q: What traits do you need to succeed as a filmmaker?

A: Everybody takes different paths to success. But you must keep it updated. Editing and graphics has changed so much. The dynamics of the whole has completely changed. You have to be totally flexible and stay with the current trend.

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

A: I do not think it is imperative, but what I got out of college is that I network a lot. I do not think it is one hundred percent necessary. But, of course, you should have a good school to teach you what you need. When you are in college, you need to start working on building a portfolio and a college can help in this regard. If two people with the same job and they both had impeccable portfolio, but also conducted a four-year degree, you can bet that person will land the work. To be in the industry full time, not only independent, meaning it is important to get that degree.

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. You must have thick skin. You have to work for months. Not set not your expectations too high. Be realistic. My first recommendation would be to go to college and get a full time job. Have an idea that the industry is all about. It's hard to just have a good portfolio, unless you're an amazing filmmaker. Doing without college extremely difficult to do.

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

A: Retirement and go to town. No, but seriously, I'll do more projects. I want complete control of my future projects.

Kalpvriksh – The Wish Tree – your Dreams are one touch – Photo Rajiv Jain

Twice winner Indian Rajiv Jain ICS WICA photography Creates Special Global Light shadows in his recent film Kalpvriksh wishes Yours Tree Dreams Are one touch

Rajiv Jain has a way to see who takes an image to its outer limits. In his last years as an assistant, electrician, machinist, and in the past 16 years as director of photography, he developed a sensitivity visual and expertise.

Rajiv draws its inspiration from directors like Satyajit Ray (Pather Panchali) and filmmakers 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 ability to allow the characters to operate in the shadows is a real art, "he said. Ashok Mehta allows his characters to operate in the dark. It has all lights when black people are really rich – but you can see everything.

His work in Kalpvriksh, a film by Manika Sharma exudes a quality period with an advantage. Rajiv was particularly intrigued by the non-narrative, fragmented script, because it offered a myriad of possibilities visual. Shot on Kodak primarily to give contrast to outdoor scenes, Rajiv experimented with hot and blue filters to get the look that wanted. The result is a dark almost surreal journey into the minds and actions of strange characters in the film.

Up-front collaboration on a film is essential, "says Rajiv.

It is important for me to 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, is the most important character is now, and how the characters move through the scene. We also share photos and movies, which gives us a visual base to work from.

Graduated from Art Academy Bhartendu Drama drama and early photography, Rajiv took a film class. Intrigued by the middle of the film, he saw opportunities to combine her interests with the movie in ads. Finding a way to learn camera, he offered his help (unpaid) director of photography for Subroto Mitra learn the trade.

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

In 1996, Rajiv got the first opportunity to shoot a film, the Army, with Mukul Anand. After eight weeks of filming stressful – every movement was watched.

After 6 additional functionality, then came Kalpvriksh In 2007, Rajiv has to explore a new visual technique to add nuance to the story. The film has a dreamlike journey that Rajiv wanted to give a dimension dreamlike. We tested the filters and a bleach bypass process to give this part of the film his own special style, "he said. "Instead we have decided to use a flip, a camera module for allowing the operator to modify the plan of development. It throws us different parts of the framework of development, which is difficult to do in a long shot because of the increased depth of field.

Rajiv is currently finishing production Continue Pandu on a feature being shot in Mumbai and doing commercials.

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 a 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 projectionist at Ravindralaya Theatre, Lucknow. "I remember this small projection room and watch movies with my uncle," the Indian filmmaker recalls. "It was like watching silent movies because you could not hear the sound in the cabin. I just saw the pictures and trying to understand history. My uncle Charlie showing us films of Chaplin, who, of course, were silent. There is no doubt that he put his dream of becoming a filmmaker in my heart. "Hometown of India, Rajiv Jain ICS WICA filmmaker studied at the Academy of Dramatic Arts Bhartendu in Lucknow, India.

The day after completion his studies, Rajiv went to work as an intern on an anamorphic image. He has contributed more than ten films as assistant director of photography before become a DOP. "From that moment on I took the camera to be like 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. During shooting, someone with a watch was timing every pan and zoom. He said: "You have 5 1 / 2 seconds to zoom. It was a great lesson for I learn how to implement each element of a ball in that time. "

I thought it was fascinating that the film speak a common language that all people can understand, "he recalls." This is particularly true for filmmakers, because we are communication with the public non-verbal. "For me, making a film is like resolving 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 – Light becomes 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 particular image … the concept behind it.

The first important decision regarding the visuals was to shoot in anamorphic (2.4:1) format, as they did on Kalpvriksh – The Wishing Tree. Rajiv says Manika likes to manipulate subjective viewpoints and objectives, sometimes within the same framework, even at the same time. In a simple example, a shot will start on a subject, then an actor will step into the frame, creating a shot over the shoulder, the passing of the subjective – in which the viewer sees what the character sees – in goal. "One of my first suggestions drew Kalpvriksh – The Wishing Tree 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 sense of claustrophobia in the cave of Shabana and a more interesting composition showing Shabana in the world. "She, Manika Sharma director, designer Mansi and other members of the creative team discussed the possibilities for composing Kalpvriksh – the Tree wishes in widescreen format, while relying on visual cues such as another drama with a theme unlikely. Although Manika storyboarded scenes, Rajiv sketches used primarily as a communication tool. During filming, the director was open to deviate from the storyboard to enjoy unexpected opportunities. "Our designer and costume designer Mansi has given us rich sets and costumes. While pushing two stops in the development is not always as true to color their work with this technique allowed us (especially in the fantasy sequences dinner /) have a warm and yellow in the search scene, as if all that was lit was the candle light, "he said.

In a scene dramatically lit, the school principal (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. For to In light of the door, we used a 4 by 4 mirror just outside the box to the right. The light is modulated by the rain on the window, and it extended on the book. We've been "collecting chestnuts. It was a happy accident, and everything worked perfectly with a light. "" For a light extra on this film, we used to be very, very little or no absolutely, "he added. "I find that the film stocks that we used, if you overexpose a little, you can read the details in the shadows incredibly well. When I saw the picture in the theater screen 70-feet wide, on the dark side, which is dead black, you can actually see the hairs are in the minds of players. I found it very interesting. I hope it works on a subconscious level to the public. "Even if Rajiv knew that he could not shoot wide open to a T2 or T2.8–because the Super 35 format chosen is more shallow – he still wanted this tool to give the story a bigger stage presence. The more negative great it helped push the boundaries. And he knew that the grain would still be acceptable if it remained in the T2.8 Q4 ranges on the interiors. "We could still use real sources and it would not be difficult for our crew to follow development, "he said confidently.

Like many of his colleagues, Filmmaker Rajiv Jain has many concerns about changes that may be introduced during the imaging process post our electronic age. Such considerations can intensify when you are dealing with a profusion of visual effects, which was the case with Kalpvriksh – The Tree Wishing. "I tried to make a concerted effort to stay as involved in post-production as possible – which is sometimes difficult because it is" beyond their next job – to work with digital and optical effects house to ensure there would be no problems with the process print response. "You do not see any lights in the master plan," he said. "The master plan that we started with a shot was impossible to 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 Rajiv Jain 'driller. In other words, you're usually shooting horizontally across a room, and there are horizontal surfaces such as top coats and tables. If you just directly above a light and zoom on this surface, it works fine. It is not seem evil. If the light comes from a place that is not normal or ordinary people seem to accept the element that was switched on without really see what happens in terms of a source. Shadows go down, so they do not end up looking strange or attention by calling source. You see it on the table, then he comes on the table and the lights of the faces of a degree. It's interesting because you're not lighting to all the people. You are lighting the environment they are

Anamorphic offers space in the framework to do, "said Rajiv. "Manika has no problem filling an anamorphic image on a contemporary image. History also has something elegiac so it seemed better to say without breaking video rock and frenetic camera movement. With the curious distribution, we knew that this film would be on performance. All these ideas – as well as "if it is not broke, do not fix it' – reflected in our decision to take anamorphic "To determine an appropriate visual approach. for various moods required Kalpvriksh – The Wishing Tree, Manika Rajiv and chose to forgo much of the usual activity to see other films during preparation. "We used a lot of book work, 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 films to see how a particular sequence worked is great, but this approach not get me started on this incredible turn of self-education, photography covering from 1890 up 'til now. Now I can not help buying books. He is amazing to see how much visual material source of reference is there whenever you go back to basics. They were great starting points for us.

Director of photography was also to avoid revealing reflections photographic equipment and personnel on the surface of the water. With a disciplined team, which required careful placement of light and the selection of the angle camera. He discovered that putting plastic in the right distance from the lens moves closer Shawn viewpoint images rendered slightly deformed with a hint of grain, which has magnified the light that he and director Manika desired. Rajiv also added some thoughts of the 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 attitude spectator-like other times, the public seems to share Shawn's life experience in the bull-. "There is no simple formula for deciding time of the public inside the bubble with Shawn. It was a question I asked the director for every shot in every scene. About Us with Shawn inside the bubble, or we are outside of research? "

I do not believe, and obviously did not or administrator, Manika Sharma or film production company Rhombus. Another photo taken in an old house of Bollywood has forced us to actually operate two generators the power of all lights. When we did, however, I was able to take two-thirds of a long tracking shot in sequence with the reflections seen in a pool of long night (Shabana of the cave). "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. With this different approach seems to freshen your overs and setbacks. There is a very interesting scene between Shabana and child who has been staged under a tree and is a sense of anxiety and aggression as possible. 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 house I said a real marble floor. Experience DOP knows how to use something that really can not simulate in a studio, "stated Rajiv. reflectors have been widely used in the film, usually side to pick up some atmosphere filling or edge of Keylight, and redirect some of that light on the side of filling. In most case, it was very subtle, however, while reflecting the radiance of the skin. "We used reflectors as almost a Eyelights, "Rajiv said. "There is such a tension between these three characters. There are many internal emotions beneath the surface of this film. I felt that the public should access to the inner life of the characters, so I tried to keep going Eyelights, especially when we would get in close. Often, it was done with a small reflector cast at the last moment.

One of the most important aspects included previsualizing Shabana's character itself. "For nail down, we started working on storyboards with an artist, "said Rajiv," Who drew the advice is wonderful and a brilliant artist as well. We told him our thoughts on how Shabana looked and he went to work. Manika assigns the creation of much of the appearance Finally, since his designs were used to connect to the hair, makeup and wardrobe departments that Manika wanted for her look. "Part Canopy Cave involved the use of a wig that often obscured the actor's face – which occasionally created a lighting situation far from ideal. "For hair and makeup tests, I saw that everything was amazing Shabana, they would be difficult to be treated for 2 weeks. It was a big hat and a suit so enormous, so there was a question of whether we were ever to be able to really view. I told Manika that sometimes she was about to become a hat with hair. Very sensitive to the needs of stakeholders, Manika did not get hair from her face, so we tried not to mess with it and solve it by ourselves. "

The Kalpvriksh – The Wishing Tree, Rajiv opted for Vision 200T (5274) to the outside while, but at night, explaining that the smooth texture of the emulsion files non-intrusive deep black, colors faithful and a wide range of tones. Rajiv shooting outside Eastman EXR 100T days (5248), using a filter 81 on EF-half and keep the blue cold of winter. 250D balanced day (5246) Vision stock was chosen for the interiors day, when he exploited Vision 500T (5279) on most domestic and exterior night. Since the filming, the director made many tests with different materials to find the right thickness and translucency. "It the same thing as using a cheap filter on the ice and we realized that any distortion or loss of interest were amplified if the laboratory optically "squeezed" the images in the 2.40 aspect ratio. In addition to choosing the right plastic, it was important for us to record a negative image with well-targeted. We were shooting through filters at least 90 percent of the time.

During filming scenes with forest lead actor Rajiv used what he called a sandwich Nine-light. "Others might call it a reading lamp, but in any case, we did bounce Maxi Brute Nine Light a piece of card from the deck, then allowing light to pass through a diffusion framework generally equipped with 216 or grid of light. The soft light resulting suppression He had a very good quality, plus some serious beats footcandles. This soft light enough punch in the hair of Shabana and I could control the amount of light by simply clicking off different globes. But it also required a lot of shortness of breath and took a lot of space. "On other occasions, Rajiv illuminated the forest by focusing the light of more extreme angles." I came much weaker and more head-on with the key that I would normally, but the approach has succeeded in dropping her hair naturally, therefore, while it was 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 its beautiful with side lighting. "

When children arrive at tree before the climax, the production has created the famous establishment by filming the actors in front of blue screen and green screen. These elements have been formed with a basic digital stock plates reform of Ladakh. Harry and Arjun center red peppers "under house arrest the visual effect shots." I do not think these scenes could be more credible if we had traveled to Ladakh to shoot live, "marvels Rajiv." How can you miss when you start with 70 mm base plates? We matched all these plates. "

There were some scenes in daylight there, so we decided that the cracks in the ceiling of the cave to leave the hard sunlight, "he says." I put some signs in the walls behind the actors and let a little light back to the floor. For most, however, the scenes are set to rock the night – lit by firelight or lanterns or glow imaginary detach, which is not connected to anything. For water, I chose to use a slightly bluish light on key actors, but did not put any movement in the flicker because I felt he was distracted. The only flicker on their faces from actual water. What I have to add is an effect of light flicker on the walls, I found to be more pleasant while providing a bit of 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 all the time, Manika enjoyed watching film dailies – it has opened a new world for her, "said Rajiv. "For example, there is a shot of a Shabana provide a line at the end of a long shot under the tree. Manika seen when played on the video [TAP] track, it does not feel good about it. It seemed too small in the game. She noted that perhaps the line should disappear in publishing. After some time, Manika seen projected on a large screen and loved the shot. "When asked if such good news extended to the drama on screen and Rajiv smiled and said: "Would you be surprised if I said there is a happy ending?"

The filmmaker does not use diffusion on the lens the camera, preferring instead to soften his subject, as required by a selective action on the source of light. "I've never liked the movies when the overall resolution of the lens changes visibly during breaks in a close-up during a scene, "he said. "The whole case dissemination of placing heavy in front of the lens to [actress] look "better" is just crazy to me. I do not want to see the filmmaker's effort to someone look good. Instead, I want to see the character, look good, and I think what happens when the actor is both integrated in the scene properly lit and in a manner flattering. My solution is to soften the light source, and the image be as clear as possible. Some people think that Primo lenses are too strong, but I like everything perfect. When you combine years and years Research and development on Kodak film stocks, with what happened in these lenses Arri and laboratory work at Gemini, and then put all this in a movie projected on the screen correctly, the result is such great perfection! So I take great pride in providing negative really perfect. One may want to spoil everything later, and that's fine, but I think starting with something well exposed and sharp. "

With all the treatments needed to describe many visual perceptions Shabana, the Rajiv and Manika necessary to adjust the parameters from The protests began requiring more elaborate visual effects. "We're telling a story that we see in part through the eyes of a madman" Rajiv offer. "She is an incredibly brilliant crazy, but crazy all the same, so there is a sense of these fantastic visions, but they are not in the tradition of the effects sci-fi. We had submitted a wish list of visual effects for the budget, but he returned to prices four or five times higher than we had hoped. This meant we had to backtrack, and that the final decision has worked best for the film we ended up making. Most Effects are things we have done, with light signals practices, or as a combination of these indices with digital enhancement. "

I am pleased that watching this movie seems interesting to the eye, but I am also pleased that the graphics do not replace history. Early reviews praise Shabana performance as one of the best she's ever given, so it would not make sense to do something which took away from that. Many movies now seem overwhelmed by the effects, but Manika is not one to say that the type of history.

When the Indian photography Rajiv Jain ICS WICA is asked if he would do things differently today, the artist master replies: "Four twenty-nine percent of the time when I see my old films, I am serene. It was the best I could do at this point in 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.

Q & A with Rajiv Jain ICS WICA Indian photography on the film Kalpvriksh – The Wishing Tree – Your dreams are one key

Indian Cinematographer Rajiv Jain ICS WICA is a photograph based in Mumbai, India. Rajiv specializes in shooting television commercials in the 35mm motion picture film and HD digital formats. Rajiv began in the early days of the music video revolution, before venturing into narrative cinema. His eclectic body of work includes the Army, Badhaai Ho Badhaai, Carry the Pandu, Kadach, Kalpvriksh – The Wishing 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. It was certainly not the quality of light in Lucknow. I remember he was gray, has dark spots of traffic and black sky. But as I say this, I realize the palette removed from the place does not affect me emotionally. Saturated cons jumped 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, is that I was not embarrassed. We moved in Etawah and then back to Lucknow, where I graduated. My degrees were in theater.

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

Rajiv: I wanted to be a writer, but as Rakesh Mohan I thought too much and too little writing. It too say I was more of a drive, then a writer, poet, scholar, and more. I am very interested in the semiotics and structuralism (the study of language ideas on how to code). Initially, I studied how the spoken and written worked, but more interested in how the codes have worked in other languages as the language of cinema. My interest in the language of film has led me in a rather complicated cinematography.

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

Rajiv: I became very interested in understanding how light to change composition, camera angles and camera movements a director of photography changes the public perception of the visual event, and thus emotional reaction of the audience. It is a difficult thing to quantify. I particularly remember looking back to see when I Pather Panchali a child, and how his pictures had always remained in my imagination, not only for their sheer beauty and magnitude sublime, but because they gave me emotionally affected, removing the string unconscious, but sensitive. Later, I saw Ray "The Apu Trilogy." I had a lot the same answer, but now I understand has been informed by my studies. It is fair to say that the filmmakers of both movies, Subroto Mitra, were those who have most influenced my decision to become a filmmaker.

QUESTION: How did you find 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 works. You want to express certain ideas. It is agreed and understood culturally codas. These forms, which we call letters, have agreed pronunciations. These letters form words. These words have agreed meanings. But it is of course arbitrary. The word "cat" is not innate "catness" about this, but hearing that word makes the listener idea in their brain. A cat. We can then add adjectives and qualifications to make a cat black or a black cat angry. These are code words, but not universal codes. They are specific to a culture that shares the language. Rights in some respects Language is a system far more complex. The meaning denotative (specific) or connotation (symbolic or implicit) of an image can be ambiguous, but also complex. Perhaps the best analogy is the literary haiku poem. The fewer words have more meaning potential – the more words that are added and more literary forms, the more precise meaning. An image has both a specific meaning and nonspecific. It can work on multiple layers, conscious and did not.

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

Rajiv: I learned a lot other DPs. But it was mainly 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, artists of the early 20th century in particular, and in the late 19th century artists. I learned a lot about light them. I stole an idea of all the good movie I saw, no doubt. In particular, the work of Subroto Mitra (SAI) Ashok Mehta (ISC), Binod Pradhan and Santosh Sivan (CSI).

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

Rajiv: I think this is a very important distinction. I do not want to sound pretentious, but if one considers the nature of art, it is designed to give us new eyes to see the world. I want the public to react viscerally to what our intentions are to a movie. I think the film works very well as music in that it is difficult for us to measure or quantify why the public to respond to what we do. So is an art. And its practitioners must be artists.

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

Rajiv: I can sit in dailies and I can 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 react, but you'd be hard to quantify why they react.

QUESTION: I'm going to borrow a phrase from Subroto Mitra, who said the filmmakers 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 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 traditional theater, but they can not recognize it. In this context, the cinematography and music are not included, except to say they were beautiful, because there is not a particular language developed in the criticism for their description. Unfortunately, many commentators do not recognize the decisions taken by the director, cinematographer and composer had a profound impact on visceral reactions and intellectual responses from the audience. I'm not saying that the filmmakers are not known. We are, at least in 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 film and other formats in some scenes in the river, but had a profound impact. I consider that an important decision Art worthy of mention, in fact, essential to public understanding of the artistic treatment of the film.

QUESTION: The collaboration between administrators and filmmakers is unique.

Rajiv: One important thing about collaboration is that filmmakers need to integrate their vision of a film with the director's vision.

QUESTION: Is it that many video clips you shot, you influence today?

Rajiv: Not really. None of my films resemble 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, the process of force film, or put a negative with a reversal film post-production process to see how it comes out, and then try again in the opposite direction. Was a great 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 this is very interesting. I'm constantly learning from other people. I still read all the magazines and magazines on photography and cinematography that I can get my hands on. I still study art. I collect books of photographs and paintings. But it's not just the good work that others do that I learn from. I learn from my own mistakes I had ample opportunity to do over 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 screwed up all the time, and it allows me to see him." So I feel well wasted. I think this is an extremely important lesson to learn. He is allowed to spoil, and you'll sometimes mess up if you are ready to push the limits of your boat.

QUESTION: Are there other mentors influence your thinking?

Rajiv: I graduated from the University of Lucknow for a short period. That's where I met Renu Saluja that 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 It's like a marriage relationship that, curiously, much more intense. You must decide whether you will be able to agree with this person for the time you will be together. I think I got along well with over 90 percent of the directors with whom I worked, and many remained friends. The second thing is photography. I'm always interested in new and different things. If the project is very similar to what I did before, and the script is not very big, so it is less likely, I'll be interested. Sometimes a project comes along that is so interesting that 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 you have to be patient and 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 you have left?

Quick notes Indian photography / Jain Rajiv DOP on the film and aspiring filmmakers in India:

A "filling station" fast while trying to get some actually written something important:

The most hits I get for my blog are people looking for keywords like "Indian filmmakers" film 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 board

About the Author

Tony Parsons (born 6th November 1953) is a British journalist broadcaster and author. He began his career as a music journalist on the NME, writing about punk music. Later, he wrote for The Daily Telegraph, before going on to write his current column for the Daily Mirror. Parsons was for a time a regular guest on the BBC Two arts review programme The Late Show, and still appears infrequently on the successor Newsnight Review; he also briefly hosted a series on Channel 4 called Big Mouth. He is the author of the multi-million selling novel, Man and Boy (1999). Parsons had written a number of novels including The Kids (1976), Platinum Logic (1981) and Limelight Blues (1983), before he found mainstream success by focussing on the tribulations of thirty-something men. Parsons has since published a series of best-selling novels — One For My Baby (2001), Man and Wife (2003), The Family Way (2004), Stories We Could Tell (2006), My Favourite Wife (2007) and Starting Over (2009). His novels typically deal with relationship problems, emotional dramas and the traumas of men and women in our time. Many believe the content of his work is weak.

How to get a Xmas… (Parody) – The Midnight Beast