Making Ras Star - Photo Rajiv Jain India Kenya
Making Ras Star - Photo Rajiv Jain India Kenya
RAS STAR IS currently on the International Museum FILM FESTIVAL OF WOMEN.
Ramirez next job was in a short film, Rasstar, based on the life of Kenyans rapper Nazizi, which was aired on M-Net.
Synopsis: A teenage rapper, Amani, a faithful Muslim team with his family until Abdosh brother with emerging artists find a way to make money and put it in the final of talent show. As the story unfolds, Amani and his brother caught with a local gangster and a incident of theft and telephone use his brother's glib tongue to get them out. Through absolute blind luck they manage to find the money they need just to get to blows with their Uncle Shaka, the family patriarch and Mlandimu, the local gangster who finally saves them.
Rajeev Jain, a Bollywood filmmaker and director versed photography, talks about his new award-winning film, Ras Star, and the single camera approach used specifically for this film about the search a young forever. With a background as a cinematographer for features such as the Army, Badhaai Ho Badhaai, Carry On Pandu, Kadachit, Kalpvriksh - Tree of desire, not out and Mirabai Pyar Mein Kabhi Kabhi, Rajiv has had enough experience behind the lens to make the leap to film. It also has the film credits for Kenya Award winning TV series Heartbeat FM.
Where are you and how you became a director of photography?
[Raj] I am from Lucknow, in northwestern India. My first degree is in science and took a while to find my way in a more artistic. After I finished several meanders Bhartendu Academy of Dramatic Arts (Bhartendu Natya Academy) to study drama. I managed to direct some short plays and not the camera for many more. Since then I have enjoyed both drama and documentary camera with each informing and promoting the other.
How to approach the Rasstar cinematography?
Discussions [Ramirez] Through with Wanuri, the search for movies we both liked visually. We wanted find looks separately for each story and a different look for today. We found a visual theory "for each section (for example, a scheme bright red and black for the story of Amani, long lenses for the history of Abdosh and very wide lenses for Mlandimu). The issue needs to be able to implement quickly (at the time helped in the classification) by the very tight schedule. It then applies the theory to a visual shot list (which often had to do this the night before, due to changes or you are not yet)
what was it like working with HD for the first time?
[Ramirez] With a camera 35mm you're looking directly through a lens and see the beautiful scene of color and may rely on their eyes, as part of the photographic process. With a camera high definition image you are watching a small black and white through the viewfinder so you need a large (ideally 24 ") HD monitor to adequately judge What's filming. This is huge and totally practical, with crews as small and low budget we have achieved with a 14 "monitor a good deal time, but up a mountain or on a remote beach only a small battery monitor is possible. This is very frustrating and led to some things that could have been best.
HD is horrible to look at whether any area is overexposed. This proved more problematic in the open that we have chosen to shoot in the lenses very wide which means there are a lot of sky in the shot. Unfortunately, the sky was particularly flat and overcast but relatively bright white.
Most advantage to HD was able to travel much lighter with a pair of zoom into the city, for example, and be able to film 2 hours worth of material without concern (which would have been about 12 large cans of 1000 feet of film to transport and cargo). It also meant Wanuri and could erupt at weekends and shots of the city Film and trucks easily.
How important is storytelling?
[Ramirez] Storytelling is a big part of life from an early age. It is a way of finding meaning in the world. For a child is a way of understanding the world through metaphor - Not a child thinks of it that way.
If the world blew up and met a few stragglers that it was not long before they gathered around a fire and someone started telling stories to make sense of things. Stories entertain, offer an escape or catharsis, stimulate thought and discussion and make laugh.
What was the best thing about making Rasstar?
[Ramirez] The best thing was so beautiful in one part of world working on a script that uses the slum in Kenya, as part of the story.
What was worse?
[Ramirez] The first day of the action sequence on the market. The crowd took so long to get in place, so the camera crew was reduced to make beards of moss and a documentary about the clouds (clouds some very fine though).
Power you tell us a couple of interesting / little known / behind the scenes of the things about the conduct of Rasstar?
[Ramirez] Wanuri is undoubtedly one of the directors who work harder than I have worked, but I think I found the limit of a Saturday night. We were shooting in the pub (peak performance) and pick-up shots and had an option to go to the local tavern, where some of the crew were getting into the meat of lamb and downing beer or fine head. The light seemed too tempting, so I went to and thank God we did because the light on was amazing. Deep red light was shining on them bouncing on a black background. There were so many mosquitoes that we had to put the camera up and running around away from the group around the camera. We shot for ages and the light was low, but still wide approaches. I tried to make one last chance with the DJ over the console in the foreground when Wanuri suggested that there was sufficient and should go, words I never thought I'd say! (The shot was a very beautiful and made her final film).
Have you ever worked on anything from Rasstar?
[Ramirez] Since I Rasstar Kalpvriksh filmed the movie - the tree of desire. It was a great experience to the film in such a remote and interesting. Mahableshwar I shot a half-hour comedy for the channel: "The smallest man in town" and I also filmed and edited a half-hour documentary in Dubai for a cleaning lady who works in Dubai. Dop I was recently in a low-budget feature "Carry On Pandu '.
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My Style Film | by Rajiv Jain | Indian Bollywood Photography
FIRST PRESENTATION:
For some time I have been willing to put in writing my views on the film and my aesthetic style and now, here it is. This does not mean that dogmatically follow - it is simply what works for myself, broadly speaking. As an Indian filmmaker, you should be able to give the director or production of any look you ask me. But within the limitations of visual and aesthetic values of any type of production - or the occasional lack of - an element of me is always there. Rules were made to be broken - but only when have a full understanding of the rules. Although I can not claim to know everybody, I am learning with each production. Here are some of my thoughts ...
The aesthetics of a project needs to be established soon for the public. It's a distraction to introduce a new aesthetic style or wording too Later in the story without proper justification or motivation.
Another area that receives very little attention is in the atmosphere shots - shots that fill the space between the scenes. It offers viewers a moment to breathe and think and can be a time for music to affect the audience.
I graduated filters too fake and artificial. It focuses our attention and, instead, usually draws attention to itself. I do not think I have used and have not yet been criticized by my decision.
Most directors cut too soon, both on set and in the editorial. Overall, expect to say, "Cut". A Sometimes an actor can give a gem of a moment at the end of a scene if you wait. Worth and I'm surprised how often a manager will use that time in the final cut. Nice to have an actor at the end of some scenes to allow the public to take time and reflect.
People change and so do their views. So I'm sure that my views may change as well. Until then ...
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Stew art, photography ... by Pocket - Photo size Indian Rajiv Jain
I like films that are works of art, and each scene is masterfully photographed for the composition to create brilliant action lines, symmetrical balance, with good use of space, texture, color and perspective. Here are two movies I saw recently again and represent the wonderful visual language.
So what the hell is a cinematographer? If you want to go into semantics, which means "writing in motion. "But his work, especially, is to have control of the camera and lighting equipment in a scene, and therefore have a lot of input creative in the final image. Even if one considers the fact that the artistic director is responsible for the staging, the storyboard artist plans the shooting and what is happening, and the director will want to have a piece of the action, then no wonder how the films end up looking great. Here are some of the boys they managed to do this (in my opinion little)
What grades has been studied in Bhartendu Academy of Dramatic Arts and when you finished?
I went straight from high school to Bhartendu Academy of Dramatic Art and made a 2-year Diploma in Dramatic Art, specializing in lighting and graduated in 1985. The courses are run differently now. It is directed more like a film school of art school, which I think is excellent! Allows students to make decisions earlier in their chosen field in film, television, and is a director of photography, director, producer, editor etc. also prepares students better for working in the industry. Much more than being taught how to make movies.
What do you think of the facilities recently saw in Bhartendu Academy of Dramatic Arts (Bhartendu Natya Academy)?
Bhartendu facilities are Academy of Dramatic Art fantastic, I would say, even world class. The main production studio is well equipped. The post-production facilities, such as editing suites and rooms are sound mix as it is being used in much of India's film and television industry.
I am also particularly impressed with the value of production of student films in recent Bhartendu Academy of Dramatic Art. I think the standard of work is quite high.
I think it's great that students get to shoot film projects is the international industry standard format for movies, theater and more on television abroad. It is rare that students have the opportunity to work with film, now that digital formats are becoming more frequent. If you are able to shoot and work with film, then you will be able to work in any format that you come across there. It works in reverse.
What I mean by this is that filmmakers are the same whatever the format to shoot in. However, shooting the film requires a different approach, both technically and creatively. These principles apply to digital cameras, but shooting the film requires a greater understanding of lighting and exposure.
The team Digital Bhartendu Academy of Dramatic Art is a level and quality, enabling graduates to leave the industry and understand about the operation of any other part equipment to be found. There is no reason why the quality of student projects can not match the professional quality of the projects because the equipment they are using is the same.
I am also particularly impressed with the value of production of student films in recent Bhartendu Academy of Dramatic Arts. I think the level of work is quite high.
What was the first break or work that was key to establishing its way into your career?
I had a series of jumps and I suppose many of them have in them. A series of fortunate events you might say, but if I was to think of a big break in particular was one night when I had just finished editing my new reel picture show. (A show reel is like a portfolio of work, the decline of my best photo edited to music.)
Just as I had finished, came through an email that was sent me by someone he barely knew. The email said that a production company in Kenya was in search of an Indian filmmaker to film part of an international film who went to the screen in the World Expo in Nairobi, Kenya and wanted to see figures shown.
I went to the post office the next morning and sent mine near express mail. I received phone calls just days after confirming he had the job. I was moved to Nairobi and worked with a team complete professional in what was my first big job.
The people I met on that project he liked my work so I got a call a month later and Darussalam me to shoot some commercials. I finally returned to India with a new and improved show reel. Having international work on the reel raised my profile and made me bigger and better jobs and an agent and I was not ...
A case of right timing I guess!
What qualities you think are needed to make a career in the creative industries?
The quality I admire in the success of creative professionals is the ability take pride in their work. Whatever your creative pursuit, I think if they are doing work you really like, and who are proud, then you is fortunate to have one of the best jobs in the world.
I also believe that challenging yourself to work outside their comfort zone is important and be realized that to succeed we must be consistent, positive and work hard.
Whatever the creative field is going to be a hard slog to get his career started. With creative careers are judged on their body of work and his career. The first thing to do is create a portfolio, or in my case, a show reel, and then prepare for the criticism and hit back, never giving up and using back blows as an incentive to work harder and set higher standards.
I also believe that passion is important to projects that allow you to experiment with new ideas or experience. For projects of passion, I mean to which you do for the love of it and not pay. I shot a bunch of "gifts" for my show reel to zero and gain experience before you start charge for my art.
It is also important to work on your network. You never know when that person could consider as a rival could be in reality moving the work of its form or introduce new partners. The movie industry is too small to make enemies. We should be like a support network and learn from each others, in order to continually better projects.
For you, what are the "must see" movies of reference in terms of pioneering cutting-edge cinematography, or?
Well for starters the picture in the recent films Kalpvriksh India - The Tree of Desire - Dreams Are Yours only a tap away and soon to be released Carry On Pandu are quite exceptional. Ha!
No, seriously, some of my favorite and most influential movies in terms of cinematography are not the only ones with the big crane shot or Steadicam shot longest in the world, but they create a real environment and atmosphere. Films that convey the excitement of an audience and help communicate the subtext of a story to tell more about the characters in dialogue alone is never could.
I think the most influential film for me would be something directed by Satyajit Ray (Aparajito (The Glass House), Parash Pathar Stone (The Philosopher's), Jalsaghar (The Music Room) for use of mood, atmosphere and cinematic storytelling techniques.
Also, classical as Pather Panchali (The Song of the Road). It took me a while to realize why it is considered the best movie ever made. The use of deep focus in this film not just a technical achievement, but also storytelling.
I also liked Proshakha shakha (branches of a tree), Agantuk. Both are very rough and hand, sometimes, but very beautiful and you felt like you were "inside" the film.
That's what I was trying to create in the most recent film I shot, Kalpvriksh - The Wishing Tree.
I want the audience to feel as if there Kalpvriksh with the characters, feel, smell and taste.
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Key lights: defining moments in photography from the Kalpvriksh - The wish tree
An interview with Rajiv Jain, India Photography and the owner of Rajiv Jain Films, Film and Grips - Dubai - Mumbai - Nairobi.
Q: What is the title of your work? Where are you working?
A: Director Director of photography, cinematographer. I have my own company, Rajiv Jain Films, Film and Grips, and I've been doing for about twenty years.
Q: How long has been a director of photograph?
A: I've been doing for several years but started my own company.
Q: What kind of training does not have to become a cinematographer?
R: I went to Bhartendu Academy of Dramatic Arts. He had an undergraduate degree two years in the performing arts. That put me in a position to see how the industry has changed a lot. After leaving college, children should only commence company. First, decide what they should do in the industry and then go for it. The sky is the limit depending on the career path you choose.
Q: What do you like about your job?
A: Working for me. Having the freedom to make their own decisions, to make their own way in he wants to do. But you can go for a month without work if you're on your own, so definitely get in the way business and a creative way. Take classes of companies, not just the liberal arts. The film industry is a business, like the music industry. You must be a self-starter.
Q: Describe your typical day at work.
A: What work? Normally when I'm not working, I'm in my office working. From his office, you might have to go somewhere on location and can be anywhere from two days to thirty days. Many of our things are remote. Each job is unique. As soon as you which is typical, it changes.
Q: What career you been in before becoming a director of photography? Do you think that helped prepare her to become a massage therapist?
A: I was doing theater, photo journalism, working on a local channel and do decent profit. , I found the addition of utmost importance to my words, and when I started taking pictures and filming, I realized this was what I most passionate about. But when you have a creative bone in your body, like writing, it is easier to extend to other aspects of a diverse creative profession.
Q: What characteristics do you think are necessary for success as a cinematographer?
A: Everyone has different ways to succeed. But you have to keep up. Editing and graphics has changed so much. The whole dynamic has changed completely. You have to be totally flexible and stay with the trend current.
Q: Would you say that it is imperative to have a college education for a race like this?
A: I do not think it necessary, but what came out of college is that the network much. I do not think it's a hundred percent necessary. But of course, you should have a good school to teach what you need. When you're in college, you have to start working on building a portfolio and the university can help. If two people went for the same work and that both had impeccable portfolio, but also led to a four-year degree, you can bet that the person is going to land work. To stay in the industry full time, not only independent, means it is important to get that degree.
Q: Would you recommend this race to someone else?
A: Yes. I can not think of anything better to do. I see things that people do not see. Is it for everyone? I think not. You have to have skin thick. 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 the full-time job. Having an idea of what the industry concerned. It's hard to just have a good portfolio, unless you're an amazing filmmaker. Make no college is very difficult to do.
Q: What is your next career change, if any?
A: Remove and go to parties. No, but seriously, I'm going to do more projects. I want complete control of my future projects.
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Kalpvriksh - The Tree of Desire - Dreams Are Yours so close - Rajiv Jain Photography
Twice winner of India Rajiv Jain ICS Wicca Photography Creates special world of light, shadows in his recent film Kalpvriksh the Tree Dreams of his desire are so close
Rajiv Jain has a way of seeing is an image to its outer limits. In his years as an assistant, electrician, grip, and in the last 16 years as director of photography, has developed a visual sensibility and experience.
Rajiv takes its inspiration from directors like Satyajit Ray (Pather Panchali) and filmmakers Ashok Mehta, ISC (36 Chowrangi Lane) and Binod Pradhan (Parinda) for use of color and light and shade to extend the emotional content of stories. I think the ability to allow the characters to operate in the shadows is a real art, he says. Ashok Mehta allows his characters to operate in the dark. He lights particularly for blacks are really rich - you can still see everything.
His work in Kalpvriksh, a film director James exudes a quality Manika period with a advantage. Rajiv was especially intrigued by the non-fiction, writing fragmented as it provides a wide variety of visual possibilities. Kodak Shooting especially for contrast to outdoor scenes, Rajiv experienced warm and blue filters to get the look he wanted. The result is a stark, almost surreal journey into the minds and actions of the characters quirky film.
To deal with any film collaboration is essential, Rajiv emphasizes.
It is important for me to go through the script of the scene scene with the director Manika Sharma, Rajiv says, trying to see what's on your mind. I want to know what the scene is, that the most important character is at that moment, and how the characters move through the scene. In addition to sharing photos and movies, which gives a visual basis for work.
A graduate of Bhartendu Academy of Dramatic Arts in Theater and a beginning photography, Rajiv took a course in cinema. Intrigued by the film medium, he saw the possibilities of combining their interests with the movie in ads. Looking for a way to learn camerawork, offered to help (unpaid) to the Director of Photography Subroto Mitra to learn the trade.
He taught me about the SR packet, which the lenses were, and how to load the magazines, he said. Then I started working on Shyam Benegal's documentary on Nehru.
In 1996, Rajiv has the first opportunity to shoot a movie, the Army, with Mukul Anand. After eight stressful weeks of filming - was observed all their movements.
After 6 more features, then came Kalpvriksh in 2007, Rajiv allowed to explore a visual technique to qualify the story again. The film includes a dream trip that Rajiv wanted to give a dreamlike quality. We tested the filters and a referral process chlorine to give that section of the movie of your own special look, "he says." Instead he decided to use a tilt swing, a camera attachment vision that allows the operator to change the plane of focus. That we will launch various parts of the structure out of focus, which is hard to do at a general level, due to greater depth of field.
Rajiv is currently finishing production of Carry On Pandu, a feature shot in Mumbai and doing ads.
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Full of surprises! Rajiv Jain, India Photo / PDO, talks about ... KALPVRIKSH (THE HERO): YOUR DREAMS ... ARE ONLY A OUT COMMENTS ...
Like any artist, Rajiv was born with the innate talent burnished by experience and cultural influences. Born in 1968, his first introduction magic the film came while watching his uncle as a projectionist in Ravindralaya Theater, Lucknow. "I remember sitting in that little screening room and watching movies with my uncle, "the PHOTO India recalls." It was like watching silent movies because I could not hear the sound in the cabin. I just saw the images and attempt to understand history. My uncle showed us the films of Charlie Chaplin, of course, were silent. There is no doubt that he put his dream of becoming a director of photography in my heart. "A native of India, Rajiv Jain ICS PHOTO Wicca studied at the Academy of Dramatic Art Bhartendu in Lucknow, India.
The day after finishing his studies, Rajiv went to work as an apprentice in an anamorphic image. He contributed to ten more movies as assistant director of photography before becoming a dictatorship of the proletariat. "From that moment I felt that the camera is as a pen used to draw pictures, "he says." Operating a camera is mainly on the composition and rhythm. Also operated the camera for Bollywood songs. It was very primitive. During shooting, someone with a watch was the moment every pan and zoom. He said, 'You have 5 1 / 2 seconds to make zoom. It was a great lesson for me, learning to make every element of a working draft in that amount of time. "
I thought fascinating that the film speaks a common language that everyone in the world can understand, "he recalls." That is especially true for filmmakers, because we are communicating with the public non-verbal. "For me, making a film is like resolving conflicts between light and darkness, heat and cold, blue and colors contrasting orange or another. There must be a sense of energy or change in motion. A sense that time is passing - light turns into night, returning to the morning. Life becomes death. Making a movie is like the travel documents and the use of light in the style that best suits that particular frame ... the concept behind him.
The first important decision regarding the images was shoot in anamorphic (2.4:1) format, as they had in Kalpvriksh - The Wishing Tree. Manika Rajiv explains that he likes to manipulate the subjective and objective points of view, sometimes in the same frame, or even simultaneously. In a simple example, shooting will start in a subject, then an actor will step into the frame, creating an over-the-shoulder shot, the modification of the subjective - in which the viewer sees what the character sees - for the purpose. "One of my first suggestions was shooting Kalpvriksh - The Wishing Tree in the Super 35 format, Rajiv continues. "I felt the film would give an advantage not expect to see in the drama. I felt I could use the broader framework to create a claustrophobic sensation in the composition of the cave's most interesting is showing Shabana Shabana in the world. "She, director Manika Sharma, designer Mansi and others creative team members discussed the possibilities for the composition of Kalpvriksh - the Wishing Tree in widescreen format, while based on these references visual and other drama with a theme unlikely. Although Manika storyboard scenes, Rajiv sketches used primarily as a communication tool. During filming, the director is still open to veer from the storyboards to take advantage of unexpected opportunities. "Our production designer and costume designer Mansi makes us rich and costumes. Despite two stop push development is sometimes not so true to the colors, their collaboration with this technique allowed us (especially in the dinner fantasy sequences) to have a warm and yellow in appearance, scene of light, as if everything is lit the candle, "he says.
In a dramatic scene illuminated, the school principal (Mahabano Kotwal) is sitting in his chair, looking out a window in the rain. "The whole scene was illuminated with hard light of day, an ARRI 6K, "said Rajiv." We brought a light through the window. To the light of the door, we used a 4 by 4, right outside mirror the frame on the right. The light is modulated by the rain on the window, and spread throughout the book. We were 'gathering chestnuts. It was fortuitous, and it worked out with a light "." To fill light in this film, which is used both very, very little or nothing, "he adds." I think with the types we were using film, if a little overexposure, you can read the shadow detail incredibly well. When I saw the photo in the Theater of the screen 70 meters wide, on the dark side, which is dead black, you will actually see the hairs on the heads of the actors. It looked very interesting. I hope it works on a subconscious level the hearing. "Despite that Rajiv knew that he could not shoot wide open in a T2 or T2.8-because the Super 35 format chosen has a depth - still wanted this tool to give the story a greater presence on the stage. The larger negative allowed to push the envelope. And he knew that the grain would still be acceptable, if he remained within the ranges T2.8 to T4 in the interiors. "We can still use the real sources and it would be difficult for our camera crew to follow approach, "says confidently.
Like many of his colleagues, picture Rajiv Jain has many concerns about changes that can be introduced to the images during the postproduction process our electronic age. These considerations only intensified when dealing with a profusion of visual effects, that was the case of Kalpvriksh - The Wishing Tree. "I tried to make a concerted effort to remain as involved in post production as possible - which sometimes is difficult because is' off for the next job - to work with digital effects and optical house to ensure that there would be no problem with the printing process answer. "I see no light in the shot," he says. "The teacher shot that began with an impossible shot to light. We are stuck back in the corner a lens of 35 mm and there was a two-way mirror in the background. Therefore used a technique called Rajiv Jain a "punch". In short, you are normally shooting horizontally across a room, and there are horizontal surfaces like the tops of the chimneys and tables. If you come from directly overhead with a light and drill down on that surface, which works quite well. Not a bad idea. If the light comes from a place that is not normal or usual, people seem to accept the item being illuminated, without finding out what's really happening in terms of a source. Shades go down, so you do not end up looking strange or calling attention to the source. You see it on the table and then it comes to the table and the lights of the faces to a degree. It's interesting because lighting is not people at all. You illumination environment that are in
Anamorphic gives you the space to under that, "said Rajiv." Manika has no problem filling a frame in an image anamorphic contemporary. The story also looks elegiac, so it seemed best to say that without the video of rock cutting and frenetic camera movement. With the incredible deal, we knew this film would be about the proceedings. All these ideas - like "if it is not broke, do not fix 's' - Factor in our decision to shoot anamorphic. "To establish a visual approach suitable for different moods Kalpvriksh services - The Tree of Wishes, Manika and Rajiv opted to forego much of the usual business to see other films in preparation. "We use a lot of book work, referring to other artists working in two dimensional forms, particularly photography and drawings, "Rajiv is concerned." This was an enjoyable and different from the preparation. As for movies to see how a particular sequence is working great, but this approach introduced me to this incredible turn of self-education, which includes photography from 1890 to 'so far. Now I can not stop buying books. It's amazing how much visual reference source material is there when I get back to basics. These were great starting points for us.
The filmmaker also had to avoid revealing reflections of the camera gear and personnel on the surface water. Along with a disciplined crew, which requires the placement of light and careful selection of the camera angle. He found that the introduction the plastic at the correct distance from the lens tighter shots from Shawn's point of view slightly distorted images rendered with a touch of grain, which amplifies the look he wanted and the director Manika. Rajiv also occasionally added reflections of the characters and objects in the water surface to attract attention on the barrier separating the child from others. Sometimes, the subjective camera takes the viewer-like pose, while other times the public seems to share the life of Shawn-in-the-bubble experience. "There is no simple formula for deciding when to put the audience inside the bubble with Shawn. Is a question I asked the director for each shot in each scene. Are we to Shawn inside the bubble, or we're outside looking in? "
I did not believe it, obviously, nor did Manika director or production company Rhombus Films Santiago. Another photo shot in an old house in Bollywood forced us to operate really two power generators at all lights. By the time they were made, however, was able to fire two-thirds of a long sequence by dollying along with the reflections seen in a long pond at night (cave Shabana's). "I think it is a visual reflection of the fact that one's position in life can change from one day," he says. "It's very effective visually. It seems to work in a number of different levels. With this different approach seems to refresh all your extensions and setbacks. There is a very interesting scene between Shabana and child was staged in a low tree, and there is a feeling of restlessness and possible aggression. It is very ambiguous, but the spatial dynamics really emphasize the feeling. "
There is a big advantage in working in the place in front of a studio. For example, the Muslim house I mentioned was real marble floors. An experienced DOP know how to use this really something that can only be simulated in a studio, "mused Rajiv. reflectors were used extensively throughout the film, usually Fill in the side to pick up some atmosphere or an edge of the KeyLight, and redirect some of that light to the filler. In most cases it was quite subtle, however, only reflected in the brightness of the skin. "We have used the spotlight, as almost more of a Eyelight" says Rajiv. "There is so much tension between these three characters. There are a lot of inner emotions below the surface of this film. I felt that the public needs access to the internal life of the characters, well eyelights I tried to keep going, especially when placed in the foreground. It is often shot with a small reflector at the last minute.
One of the issues will include previsualizing Shabana's character itself. "To nail down, we started working on storyboards with an artist" Rajiv says, "which drew great boards and is a great artist too. We told him our thoughts on how Shabana looked and went to work. Manika credited with creating much of the final appearance since their drawings were used to communicate with the hair, makeup and fashion what departments of Manika wanted for his eyes. "Part of pretext Cave" involved the use of a wig that often obscures the actor's face - that sometimes makes a situation less the ideal lighting. "For hair and make-up tests, I saw that, while Shabana seemed incredible that would be difficult to treat for 2 weeks. He had a big hat and a suit huge too, so it was a matter of if we were ever going to be able to really see it. Manika told that sometimes she was point of becoming a hair hat. Be very sensitive to the needs of actors, Manika not want to get the facial hair, so tried not to mess with her and resolve on our own. "
The Kalpvriksh - The Wishing Tree, Rajiv opted for the vision 200T (5274) for everything but the night outside, and explained that the soft grain of this lack of records of emulsion intrusive deep blacks, true colors and a wide tonal range. Rajiv day in the outside shot Eastman EXR 100T (5248), using a 81-EF filter in half to correct and maintain the blue cold of winter. The 250D daylight-balanced (5246) Vision Securities was selected for the interior of day, exploded while Vision 500T (5279) in most of the interiors and exteriors of the night. Since filming, the director made numerous tests with different materials to find the right thickness and transparency. "It's the same as using a cheap filter on the lens and we realized that any distortion or loss of interest is magnified when the optical laboratory 'squeezed' images in the aspect ratio of 2.40. Besides selecting the right plastic, it is important for us to record a strong negative images correctly focused. We were shooting through filters at least 90 percent of the time.
While filming scenes in the forest with the main actor, Rajiv employees what he calls a nine-light sandwich. "Others may call it a light book, but in any case, we were bouncing the light of new maxi brute a piece of board of accounts, and then let the light pass through a framework of general circulation, equipped with 216 or the network of light. The result of striking a soft light quality had a very beautiful, plus some serious blows candles. The light was soft enough Shabana to cross hair, and I could control the amount of light with just one click away from different balloons. But it also demands a lot of flag and took a lot of space. "Other times, Rajiv illuminated by the Forest of the direction of the light from more extreme angles." I came in much lower and more front with his key to what I normally have, but the approach succeeded in dropping the hair naturally, so while it was difficult, it worked. It made me grateful for the scenes when Shabana wears her hair back as it could get a nice advantage in through lateral illumination. "
When children reach tree before completion, production created the famous creation of filming the actors against blue screen and green screen. These elements were digitally mixed with background plates values taken from Ladakh. Harry and Arjun Red peppers in house facilities of supervised visual effects shots. "I do not think that these scenes might be more credible if he had traveled to Ladakh to shoot to live "marvels Rajiv." How can you lose when you start with 70 fund boards mm? We matched all the dishes. "
There were few scenes in daylight there, so we decided that the cracks in the ceiling of the cave hard stop in the sunshine, "he continues." I put some indications of this in the walls behind the actors and let the light bounce on the floor. For the most part without But the cave scenes set at night - lit by fire or filament or out of standby, which is not connected to anything. For water, I chose by using a blue light on key actors slightly, but not put any flicker of movement because I felt it was distracting. The flickering on their faces only comes real water. What I did was add a slight flickering effect on the walls, which proved to be more pleasant, while lending a bit of realism.
Front-end lab work was done by Gemini, which provide the daily film. "After their experience in the commercial world where he works on a monitor all the time, Manika ones in view newspapers movie - which opened a new world for her, "says Rajiv. For example, there is a picture of a delivery Shabana a line at the end of a long shot in the tree. When she saw him play video Manika the [tap] monitor, which did not feel good about it. She seemed too small in the shot. She said that your line should disappear in editing. After some time, Manika was projected onto a large screen and dear injection. "When asked if the good news extends to the drama on screen, well, Rajiv smiles and says," would you be surprised if I say there is a happy ending? "
The cinematographer does not use diffusion on the camera lens, preferring to ease his subject as needed selectively affecting the source of light. "I never liked it in the movies when the general resolution of the lens changes visibly during an initial cuts background during a scene "he says." The whole business of putting heavy diffusion in front of the lens so that [the actress] look "better" is insane for me. I do not want to see the effort of the picture to make someone look good. Instead, I want to see good-looking character, and I think what happens when the actor is integrated into the scene properly lit and flattering way. My solution is to soften the light source, and let the image be as clear as possible. Some people think Primo lenses are too sharp, but I love everything perfectly. When combined years and years of research and development in populations Kodak's film, with what has happened in these lenses Arri and laboratory work at Gemini, and then put all that in a movie is projected on the screen correctly, the result is impressive as perfection! So I take a lot of pride in delivering a true negative ideal. You may want to mess later, and That's fine, but I think in the beginning of something well exposed and sharp.
With all the treatments needed to represent visual perceptions of Shabana, Rajiv and Manika required to resolve the parameters from the beginning of the most complex visual effects required. "We're telling a story it is partly through the eyes of a crazy person, "offers Rajiv." She'sa very bright crazy, but crazy, however, so there is a sense of the fantastic of these visions, but not in the tradition of the effects of science-fiction film. We presented a wish list of visual effects for budgeting, but returned at prices four or five times what we expected. This has forced us to retreat, and that the decision ultimately worked best for movie ended up doing. Most effects are things we did ourselves, with the practice light signals, or a combination of signals with a digital enhancement.
I'm glad you are seen this movie seems interesting to the eyes, but I'm also glad that pictures are no substitute history. Early reviews are praising Shabana performance as one of the best that ever since, so no sense doing something that took to that aspect. Lots of movies now seem overwhelmed by the effects, but Manika is not one to say that kind of history.
When India Photo Rajiv Jain, ICS Wicca wondered if that would do anything differently today, the artist teacher replies, "Ninety-nine percent of the time when I see my movies I am serene. It was the best I could do at that time of my life with what he had to work with them. The important thing is his life and how to evolve as a human being and as artist.
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Q & A with Rajiv Jain ICS Wicca Kalpvriksh Indian Cinema Photography - Wish Tree - Your Dreams Are so close
Director of Photography India, Rajiv Jain ICS Wicca is a filmmaker based in Mumbai, India. Rajiv specializes in shooting television commercials in the image film format 35 mm of movement as well as digital HD formats. Rajiv began in the early days of the music video revolution, before venturing in narrative cinema. His eclectic body of work includes Army, Badhaai Ho Badhaai, Carry On Pandu, Kadachit, Kalpvriksh - The tree of desire, Mirabai Notout, Pyar Mein Kabhi Kabhi and Rasstar.
Q: Where were you born and raised?
RAJIV: I was born in Lucknow, India. There was no seminal episode that happened to me as a young person who made me want to be a cinematographer. Certainly was not the quality of light in Lucknow. I remember it was gray, was brown spotting traffic and the dark sky. But as I say that, I realize the palette removed from the place affected me emotionally. Saturated jumped against it neutrals, as in a dream or a post-industrial nightmare.
QUESTION: What about your parents?
RAJIV: My parents were just ordinary people. Do not think they were particularly ambitious for me. His main concern, I think, is that I was not an embarrassment. We moved to the Etawah and then back to Lucknow, where I completed my education. My degrees were in Theater Arts.
Q: Do you have a career goal at that point in life?
RAJIV: I wanted to be a writer but as Rakesh Mohan thought too and wrote very little. That is too say it was more then a reader writer more academic then poet. I was very interested in structuralism and semiotics (the study of how ideas coded language). Initially studied how the spoken and written language worked, but then became more interested in how the codes work in other languages as the language of film. My interest in the film language has led me in a fairly complicated to cinematography.
QUESTION: That's interesting. Can you be a little more specific?
RAJIV: I was very interested in understanding how the alteration of light, composition, angles camera and camera movement PHOTO alters public perception of the visual event, and thus the public's emotional response. It is a difficult thing to quantify. I remember specifically thinking of returning Pather Panchali to see when I was a kid, and how his image had always been in my imagination not only for its sheer beauty and scale of the sublime, but it affected me emotionally, some string strike unconscious but responsive. Later I saw Ray "The trilogy Apu. "I had the same response, but now my understanding was informed by my studies. It would be accurate to say that the filmmakers of these two films, Subroto Mitra, were the that most influenced my decision to become a filmmaker.
QUESTION: How to make a connection between words and the photograph?
RAJIV: In the writing of essays and articles on the film. I realized that images of the film worked much the way the spoken / written language works. Wishes to express some ideas. Codas are culturally agreed and understood. These forms, which call letters have agreed pronunciations. These letters form words. These words have agreed meanings. But of course it is arbitrary. The word "cat" has no innate "catness" about it, but hearing the word the listener is idea in his brain. A cat. You can then add the adjectives and epithets, to be a black cat or a black cat angry. These words are codes, but not universal codes. They are specific to a culture that shares that language. Photography in some respects a more complex language. The denotative (specific) or connotative (symbolic or implicit) meaning of an image can be ambiguous, but also complex. Perhaps the analogy is more literary poem Haiku. The fewest number of words have a greater potential meaning - the words that are added in a more literary, more specific meaning. It offers a image and is not specific meanings. You can work in many layers, and not conscious.
Q: Did you have any mentors or you entirely self-taught?
RAJIV: I learned a lot from other DP. But it is mainly on the study of his work. Ashok Mehta and I talk a lot, and has given me a lot. But I was self taught. I studied art extensively, especially early 20th century artists, and late 19th century artists. I learned a lot about light from them. They stole an idea of every good movie I've seen, probably. In particular, the work of Subroto Mitra (ISC), Ashok Mehta, (ISC), Binod Pradhan and Santosh Sivan (ISC).
Q: 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 seem pretentious, but if we consider the nature of art, ie give us new eyes to see the world. I want the audience to respond viscerally to what our intentions for a movie. I think the film works much like music, because for us it is difficult to measure or quantify why the public responds to what we do. So it's an art. And its practitioners should therefore be artists.
Q: Tell us more about your analogy of the music and film.
RAJIV: I sit in newspapers and see people watching the movie with me physically and emotionally respond to images, but it is very difficult to quantify what they are responding. If people hear the music, but also can answer, but difficult to quantify because why are responding.
QUESTION: Let me borrow a phrase from Subroto Mitra, who said, directors of photography are the authors of the images. But that is not widely recognized.
RAJIV: Part of the problem lies in our collective culture. The films are reviewed as theater than as a form unique art. Critics speak of scripts and performances. They talk about things they understand, but I understand that because their own cultural background is primarily in the traditional theater, although they can not admit it. In this context, the cinematography and music are not understood, except to say they were beautiful, because there is a particular language, developed in from critics for its description. Unfortunately, many respondents do not recognize how decisions made by the director, cinematographer and composer made a profound impact on visceral reactions and intellectual responses from the audience. I'm not saying that filmmakers are not recognized. We are, at least within the industry, but not in the press of the consumers. I think I have not read a single review that mentioned the importance of (Subroto Mitra ISC) decision to use 16mm film and other formats in some scenes in the river, however, that had a profound impact. I believe a significant artistic decision worthy of comment, in fact, essential to an understanding audience artistic treatment of the film.
Q: The collaboration between the directors and cinematographers 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: Will he shot many music videos influence today?
RAJIV: Not really. None of my films look like music videos, but the vast thing about music videos is that we can experiment with lighting, film stocks, lenses and filters. We decided to try to put four filters on the lens, the process of the strength of the film, or put a negative through an investment of film post-production process to see how it goes, and then try again to versa. It was a great way to learn.
Filmmakers Q: Are there others whose work is?
RAJIV: I mention all the names obvious, but the truth is that I learned from all the movies. I see a television program shot by a 29-year-old photographs and find something that he or she is very interesting. I am constantly learning from others. I still read all the magazines and the newspaper about the film and I can picture in my hands. I continue to study art. I collect books of photographs and paintings. It's not just the good work others are doing to learn. I learned from my mistakes that I have ample opportunity to make over the past 20 years. When my son Adam was in seventh grade, he wrote an essay in which he was obliged to say that was his hero. He said I was. "My father is my hero because it breaks all the time, and let me see it." So I feel good about spoiling. I think it's a lesson very important to learn. You can spoil, and that sometimes makes a mess if you're willing to push the boundaries of his craft.
QUESTION: Does any other mentors influence their thinking?
RAJIV: I was a graduate of the University of Lucknow for a short time. That's where I met to Renu Saluja was really important mentor. She told me some very interesting ways in terms of film theory.
QUESTION: How do you decide that something is a movie you want?
RAJIV: At the beginning of my career, nothing that was offered was a movie I wanted do. Today, there are two things that may affect my decision. One is my first meeting with the director. That relationship is like a marriage only, curiously, much more intense. You have to decide if you will be able to get along with that person for the time you'll be together. I think I've gotten along with more than 90 percent of principals I've worked, and many have remained friends. The second thing is photography. I'm always interested in making new and different things. If the project is very similar to what I've done before, and the script is not large, then less likely to be interested. Sometimes a project that has been so interesting that it is impossible to resist.
QUESTION: What I tell students and other young filmmakers, when asked to share the secret of success? Do you tell them the truth about the odds?
RAJIV: I think you have to be patient and do not let yourself believe that things will happen quickly. You need integrity and honesty about who you want to be. Thus, even if you can not fail with some dignity. If the commitment and not what's left?
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Sticky Notes by India Photography / Film DOP Rajiv Jain and aspirants to India Photo:
A quick "post filler" while I try to achieve something really important in writing:
The most hits I get for my blog are people looking for keywords like "Indian Cinematographers photography" "Career" and "how to be a great cinematographer." I really can only offer my own personal experience.
Rajiv on advice for young Indians aspiring filmmakers:
A tip for all filmmakers is to be very aware of the digital age that a ¬ s right above us, but still remain faithful to the movie at this time and perhaps experience with both. We are at the crossroads of the film in digital. I just had some tests with the film compared to digital and film is even better. Film still has more information than digital cameras Although they are improving all the time. But the way forward now that the film is very intelligent, to shoot the film in either 35mm or super 16 and digital intermediate and put them together in a movie at the end. I've done with my last three or four movies and I'll do that again with my next. For à ¬ s very intelligent cinema to use digital technology to manipulate images. (With respect to help make decisions on the day of shooting), I saved draft Kalpvriksh Ã-average about 10 minutes a day for decision making as:
Sa ¬ There is a flash out of a window, send the grips to get rid it. It was time. I set digitally. For à ¬ s very easy later.
¬ s A warm light from the part Musco light upper à ± large flares. We can not remove the flares on the upper edge of the frame. Do not worry about it. If you're going to have to establish the giant flags, a ¬ s going to take 20 minutes to do so. Forget it. I know I can fix it digitally.
Occasionally I make decisions as knowing that I could make corrections in a digital environment. à ¬ That sa very smart way to go. It is more expensive than the conventional schedule, but once everything cheaper ¬ s time. For à ¬ s only going to be the norm soon.
I think (a good ¬ s) for young filmmakers to accept that (and) to visit the digital home (which) are more than happy to show people around (and) to show them the ropes. For à ¬ s really a unique experience. Once someone has done, never look back.
I have done business for a long time and only tend to go from function to function. (But) most of the filmmakers that trigger the ads if they follow through certainly get to see the work of digital technology if they go through the process of television.
Now, the master of the camera, Rajiv Jain:
My favorite Indian Photography are:
Ashok Mehta (36 Chowringhee Lane, Moksha, Bandit Queen)
Binod Pradhan (Parinda, Devdas)
KK Mahajan (Chorus, Maya Darpan, Uski Roti, Sara Akash),
Santosh Sivan (Dil Se, Iruvar, Kalapani, Perumthachan)
And
Subrata Mitra (Pather Panchali, New Delhi Times)
You should definitely check out. I've written a couple.
As for career, I still believe myself. Photo Ashok Mehta remember hearing about how it got to the point that at last the trip characteristics. He worked as an assistant cameraman and camera op for a while until it was constant action shooting those ads. Finally opened to reach Photography, and triggered a number of films, including 36 Chowringhee Lane and Bandit Queen. It took about 10 + 30 years to reach the level that is today. And that's the big number that I learned too. It will take about 10 years on average to be "successful" (in big Bollywood terms) in their field.
All I can advise is to get together. Get a camera crew in either PA, assistant cameraman, camera op, or the person who cleans the dirt cases outside of the camera. See the picture. Listen to the photograph. Ask questions of Photography and camera crew. What you are doing, even if it is the most stupid and boring work on the set, it does so spectacular and be incredibly happy about it. People will notice your attitude. Make friends, but above all with the camera crew, not just photography. (Also make friends with the assistant principal. They can make great recommendations.) Learn all I can. Get a camera (even SLR or camcorder) and explore their own style. Try something new every day.
As for how to be a great photo:
Remember that you are telling a story. And serve the story with humility, loyalty, creativity, passion, and eyes open.
And either make sure you know what you're doing, or get really good at winging 'it. (Another post in the know [type of] what he is doing " is the middle of writing as well as some thoughts about being an Indian filmmaker so far in my journey. Should be interesting.)
For filmmakers who have just make movies, they can not have had that opportunity, but I would strongly recommend going to a digital home. I've done all my work by Prasad. They have the resources of all the engineers and designers greater optical (and) electronic experts from Panavision. Prasad is truly wonderful à been very help I know I have shot a good laboratory and large chambers.
I think aspiring filmmakers need to be aware of the two digital formats ³ Ã ³ and film, but tend to be (pause), not ignoring digital cameras, but I'm putting as much as possible. (Laughter) I'm a little guilty of not really follow the latest technology as far as digital (high definition) refers to the cameras, but I've tested them. I'm still a man of cinema. I love the film.
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Author Biography: a passion for travel Peña began after a ride on impressionable towers "Around the World "for eight years, where the sights and sounds from around the world, sowed the seed for exploration and travel.
After University Peña embarked on a backpacking trip to Australia through Southeast Asia moved to London to study journalism. He obtained a Diploma with honors from the School of Journalism London in 1996 and worked as a journalist since 1997, mainly as a freelancer, but also has staff jobs in broadcasting.
Tags: Bollywood, Bombay, cameraman, director of photography, commercial director of photography, DOP, DP, Dubai, India, Indian, ISC, Jain, Kenya, Mumbai, Rajiv, Rajeev, TVC, videographer, videography, Wicca
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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