The written word: Rajeev Jain (cinematographer Indian) Visual .... magic
Philosophy
The world has smaller. I'm still in a total state of disbelief. The terrible crimes of recent suicide bomb attacks were incomprehensible and human logic. As our goals and our desires so different, despite the same carved in wood? As a father, I am always my two little angels Abigail Jain (17yrs.) Promote and Kimberly Jain (13 years) to work hard to be fair, to be honest, be kind and human, and above all be open and tolerant of other People.
The terrorists who lied to the plan executed deadly cheated, murdered, and all other judges, not their twisted perversion of the faith and subscribe to morality.
This moment is very difficult to be positive, but the future of our children and the rights of a free democracy depends on the continuation of all to follow the election, what is important and appropriate to protect every individual.
The market is in a total change of the state. Everyone in our Cases are scrambling to consolidate existing customers and look what they have. Add the challenge of preparing for HDTV and the plethora of choice format of the equation and you have a predicament.
Climbing to higher levels of the industry was not overnight. Originally from Lucknow and a graduate of the University Lucknow and Bhartendu Academy of Dramatic Arts (Bhartendu Natya Academy / Bhartendu Natak Akademi) gave me my career over the years taken to Lucknow Mumbai to pursue my dreams. And companies are organizations, television stations to advertising agencies and functions. Despite the successes, and of course my various skills, I remain very true, my first love, and love of filmmaking.
I believe that the DOP is a primary task: for the vision of the director of history. DOP Some seem to make a film different from where the Director makes the slope - this type of behavior is totally unprofessional, even Silly. I tried a fully professional attitude if we take 16 / 35 mm to obtain, High Def 24P or Video. The shot is taken, try each move can be the best.
One of the great joys of cinema is collaboration. I take a lot work and effort put in anything but the best I can every time. I try, the vision that the director tries to bring to the forefront includes the vision presented in all its totality and as realistic as possible, so my only goal.
Some administrators prefer to all aspects of image control and prefer the other extreme, some players on the line and about to leave the photography to concentrate me. Clearly, the adjustment majority Director s somewhere in the middle. I am completely relaxed and comfortable opportunities to work either.
The DOP has a different job, of course, is the production to stay on time and within budget. Help I take this responsibility very seriously as well. As director of photography is much more than just good lighting and the camera (although it is mainly, of course), It is also very much a "management" job: You are responsible for a number of people, different departments, equipment, schedules, etc. My experience on productions, large and small, ranging from very simple to very complex drives gives me the experience to manage the various responsibilities and maintain balance.
I am a gear head as big as the next guy, but if please!
The reality is that it is better to know your customers and be honest with themselves about you do to make the market, most of your business in. The mistake that many people, is what could be, do not focus on what is dream.
For me, I have a eclectic mix of works. I continued to shoot commercials, films and music videos.
Personally, I think you better appreciate what you do and have as much fun as you can do everything. I am very happy to hang with a few people a lot, both crew and production houses.
I noticed that the instinct to decide my life. I'm no longer angry about the "if", I do do what feels right, and, surprisingly, it seems all right. The old rule applies, if it sounds good to be true .... Work hard is the only replacement for missing natural Fortunately, hell, I do not even know how to spell happiness. As a freelancer, you make your fortune, you have to sit and think about what kind of work you want and then make contacts, make calls and follow what you want.
There are a hundred ways to make mistakes, and only a few turn right. There is only one goal: beautiful pictures, history and come together to serve in the process.
It was an odd year (2009). I lost a series of commercials in Africa, Asia, Europe and the Middle East by the slowing economy, war and terrorist extremism.
And finally, this year (2010), I turned the 43rd
So if you receive a call from me one day, should not be surprised.
MY MISSION
To my knowledge, experience and professionalism to provide camera productions with distinct and compelling.
JAIN Rajeev s TAKE ON ......
PREP
I work on complex problems of preparation lead to easy solutions in production. The location scouts, turned Example storyboard, script meetings, watching rehearsals, checking stocks, lenses, makeup and wardrobe for planning and collaboration with department heads - I do not improvise. I'm making the point where I can use my intuition to respond to the unexpected, take care on the board and the film on to the next level.
ADMINISTRATION
What makes me happy - it is with managers and passionate individuals to work, take risks. That the film is meticulous storyboards or improvisation to wrap the primary school, I try to unlock what the director has in mind, understand, improve and capture.
PRODUCERS
I know how to put together with a producer to obtain one dollar fifteen cents. Whether tapping my extensive contacts for efficient planning of crew and equipment, innovative solutions and imaginative to make a film to the nail of a sudden to take a - I do not take for granted costs.
CREW
I have contacts to a common camera and lighting crew for delegate most projects of any size and experience and monitored. my list, skills and ambitions bigger than their job titles, but also the attitude to be fun. I am for hire crew, initiative, love of movies and read the script.
STYLE
I hope I am not accused of having. I want the audience to feel what I shot, do not pay attention, as he was shot.
FRAME
I'm for change. I-frame for the drama.
LIGHTING
I think there is no better way to light. Each film has its specific needs. Some directors may want Dollies 360 degrees, while others do not move the camera, while others like to work with brands, while others not, some are planning 20 towers per day, while only some 10 In all cases, I approach the instincts of the director are increasingly finding, will remain in production, while the resources at the end of the day highlights the drama.
FORMAT
What Super 16, HD or 35mm, I'm agnostic format. I work closely with the director and producer to choose a format not only viable but also to use it optimally.
EQUIPMENT
Thanks to my contacts with manufacturers and rental houses, my collaboration with key staff and years of shooting in a variety of levels - I think to pay Productions for unnecessary movements, while we must pay attention to what we need. But I think finding ways to make the most of what you get.
POST
My job does not end on the board. I oversee the look of film by digital newspapers intermediate copies films. In the RFP document to create a critical look at the final touch as well as maintaining a visual continuity and integrity.
MOVIES
From classic to new version of the horror novel, I know that my films and genres. It is the experience of flight a great movie that I'm passionate. I'm not a gadget head, do not fall in love with a shot or property on technical issues. I'm obsessed the films that move me and do everything I can to produce it.
Quotes DP ...... famous
... I Believe
"I admit a preference for advertisements. This is the perfect blend of many skills. You have 30 seconds to sell a product or idea an audience with the help of visual techniques of lighting and camera movements to reflect and comment on current culture. "
"Each director brings a different perspective on local work. Your Fund vary and products, and that diversity makes each item unique and different. My challenge as director of photography is that the uniqueness of special film. Exorcise "
"I never wanted to be pigeon-entrenched in advertisements. I do not limit myself to only take cars or on the table. My Background is still photography, documentaries and drama. I have all my life and I want to travel to take on in my work. Advertisement reflect the constantly changing markets and audiences. This environment demands that we consciously in the evolution of lenses, film stocks and accessories and is active in the rapid development of digital technology involved Imaging. "
"Children are the ultimate films spontaneity. You must ready at any moment something happens. All this has to do with lighting and planning. You also have the right location for the camera photo, so that children can work in a given space and to easily find, without much noise and distraction ... Finger on the trigger. "
"If you know how light it does not matter what you shoot. If you do not know how the light ... no matter what you shoot." - Shooting High Def vs. Shooting:
"Cinema is the art and craft of the authorship of images for film design for the renewal and pre-production to post-production to final presentation of these images. All and all processes that may affect these images are the direct responsibility and interest in photography. Images is not a subcategory of photography. Instead, the photograph, but a job that the filmmaker uses in addition to other physical, organizational, technical, administrative handling, interpretation, and the image of an effect coherent process. The film is a creation and interpretation process that culminates in the authorship of the original rather than just registration of a physical event. The images, the filmmaker brings to the screen of the artistic vision, imagination and skill filmmaker working within a collaborative relationship with other artists to come. "
"The film industry is the process of registering a vision on film. As both an art and a craft, it is a dynamic process that affects the composition of light, shadow, time and movement. For the cinematographer this requires a synthesis of technical skills and creative sensibility.
"Much of the work between Scouting and shooting, and it can be a lengthy process. In the end, when all these studies show backstage in the final product, so I think that the work was not in vain.
Q & A with Rajeev Jain, WICA ICS Indian Film Cameraman
Director of Indian photography, Rajeev Jain, WICA ICS is a filmmaker based in Mumbai, India. Rajeev specializes in TV commercials 35mm film format and digital high-definition formats. Rajeev started in the early days of the music video revolution, before you are in narrative cinema. His work includes various military, Badhaai Ho Badhaai, Carry On Pandu, Kadach, Kalpvriksh - The tree wishes, Notout Mirabai, Pyar Mein Kabhi Kabhi and Rasstar.
QUESTION: Where were you born and raised?
Rajeev: I was born in Lucknow, India. There was not groundbreaking event happened to me as a young person, I want to be a cameraman. This was certainly not the quality of light in Lucknow. I remember it was gray, was stained dark brown on the market and the sky. But what I say I gotta realize range removed from the place touched me emotionally. Saturated jumped against neutrals, like in a dream or a nightmare post-industrial.
Question: What are your parents?
Rajeev: My parents were ordinary People. I do not think they were very ambitious me. Their main concern, I think, that I was not embarrassed. We moved the Etawah and then return to Lucknow, where I finished my studies. My degree was in theater arts.
QUESTION: Do you have a career goal at this point in life?
Rajeev: I wanted to be writers, but as Rakesh Mohan, I write too much and too little. That is to say that I was more than one reader and a writer, poet, then more universities. I have many things in semiotics and structuralism (interested the study of language, how the ideas encoded). Initially, I reviewed the functioning of the spoken and written, but This time was always interested in how the code worked in other languages than the language of film. My interest in film language I led a fairly complicated cinematography.
QUESTION: That's interesting. Can you a little more specific?
Rajeev: I was very interested in understanding how the change of lighting, composition, angles camera and camera movements of the filmmaker an audience is changing the perception of the visual event, and thus the emotional reaction of the audience. It is a difficult thing to quantify For. I remember, especially thinking back to when I see Pather Panchali a child, and how their images have always stayed in my imagination, not only for its sheer beauty and magnitude sublime, but because it affects me emotionally falls, unconscious, but some react cable. Later I saw that Ray "The Apu Trilogy. "I had much the same answer, but now my understanding has been informed by my studies. It would be more accurate to say that the cameraman of these two films, Subroto Mitra, who most of my decision to become a cameraman were affected.
QUESTION: How did you link the words and photography?
Rajeev: In essays and articles on film. I realized that the images Film work is very similar to the oral / written language works. You want ideas Express. It is culturally understood and agreed codas. These forms, which we call letters, have agreed to debate. These words form letters. These words have significance agree. But it is arbitrary. The word "cat" is not innate "catness" about it, but after hearing this word the listener is an idea in their brain. A cat. Can then add adjectives and make a black cat or black cat evil. These are code words, but not universal codes. It is specific to a culture that shares language. Photography a certain way is a language much more complex system. The denotation (Specific) and connotative (implied or symbolic) importance an image can be ambiguous, but also more complex. Perhaps the best analogy is the literary haiku. The words have less meaning more potential - more words that are added in more literary forms, the more specific sense. A picture is both specific and non-specific meanings. It may several levels, conscious and do not work.
QUESTION: Have you had any mentors or you were completely self-taught?
Rajeev: I learned a lot from other DPs. But there is primarily the study of their work. Ashok Mehta and I talk a lot, and it has a lot to me. But I was self taught. I study art education, particularly in the early 20th Century artists and artists of the late 19th Century. I learned a lot about light from them. I have a good idea stolen from every movie I saw, no doubt. In particular, the work of the Subroto Mitra (ISC), Ashok Mehta (ISC), Binod Pradhan and Santosh Sivan (ISC).
QUESTION: Do you think of themselves as artists, technicians, or both?
Rajeev: I think it is a very important distinction. I do not want to sound arrogant, but if you look at the nature of art, it is to us eyes again to see the world. I want the audience to react to sounds, what are our intentions for a movie. I think the film works much like to music as it is for us to measure or quantify why the public responds to what we are doing difficult. If it is an art. And the artists of his Practitioners must.
QUESTION: Tell us about your analogy of music and film.
Rajeev: I can sit in dailies and I can watching other people see the movie with me to react, physically and emotionally to the images, but it is very difficult to quantify what they respond. When you hear the music, people watch, they can also react, but you will be quantified with difficulty, why she answered.
QUESTION: I am a sentence Subroto Mitra, who said cameramen take pictures of the authors. But this is not generally recognized.
Rajeev: Part of the problem is linked to our collective culture. The films are not considered in the theater as a unique art form. Reviews on scripts and ideas speak. They talk about things they understand, but they understand it because their own cultural determinants are mainly in traditional theater, although they do not recognize may know that in this context, film and music is not included, except to say they were beautiful, because it is not in a specific language for their description of criticism developed. Unfortunately, many guests do not know how to recognize the decisions director, cinematographer and composer has had a profound impact on the visceral reactions and mental reactions from the audience. I'm not saying that does not recognize not the camera. We are, at least in the industry, but not in the mainstream press. I do not think I read an opinion that the importance of this Subroto Mitra (ISC) to use the decision on 16mm film and other formats in some scenes in the river, but he had a profound impact. I think that is Fit an important decision artistic observation, indeed, essential to understand the treatment of a public art film.
QUESTION: collaboration between administrators and directors of photography is unique.
Rajeev: One important thing about the cooperation is that camera operators to integrate their vision of a film director with vision.
QUESTION: Is that many video clips you shot impact, that of today?
Rajeev: Not really. None of my films are like music videos, but the great thing about music videos is that we experience with different lighting, film, filters and goals. We decide, try the four filters on the lens, the combined processes of film, or put a negative a reversal film post-production process to see how it is, and then try again in the opposite direction. It was a great way to learn.
QUESTION: Are there other filmmakers whose work you follow?
Rajeev: I can cite all the obvious names, but the truth is, I learn from all the camera men. I shot a television from a cameraman to see 29-years and find some thing he or she did it very interesting. I am constantly learning from other people. I still read all the magazines and magazine on photography and film, I put my hands on. I am still studying art. I collect books of photographs and paintings. But this is not the good work that others do, I learn from them. I learn from my own mistakes, that I wanted the opportunity to have occurred during these 20 years. When my son Adam in the seventh year, he wrote an essay in which he undertakes to say who was his hero. He said it was me. "My father is my hero because all casinos time, and he can not see me. "I am therefore allowed on the brass. I think it is a very important lesson to learn. It is normal to make a mess and you'll sometimes mess up when you are ready to push the limits of your boat.
QUESTION: Have all the other mentors affect your thinking?
Rajeev: I graduated University of Lucknow for a short period. That's where I Renu Saluja is a very important mentor was satisfied. They showed me some very interesting possibilities in terms of film theory.
QUESTION: How do you decide whether something is a movie you want to do?
Rajeev beginning: in my career, everything that was proposed was a movie, I wanted to do. Today, two things are likely to influence on my decision. One of my first meeting with the director. This relationship is like a marriage, strangely, much more intense. You must decide if you go with this person for a long time you get to go hand in hand. I think I did well over 90 percent of the directors with whom I worked, and many remained friends. The second thing is photography. I'm always with something new and different stakeholders. If the project is very similar to what I've done before and the script is not great, it is less likely, I'll be interested. Sometimes there is a project that is so interesting that is impossible to resist.
QUESTION: What do you tell students and other young filmmakers, if they ask them to share the secret of success? Did you tell them the truth about the opportunities?
Rajeev: I think you must have patience and do not let yourself believe that things quickly. You have integrity and honesty that you want to be. In this way, even if you fail, you can fail with a certain dignity. If you compromise and not what you do not?
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Rajeev Jain, WICA ICS - Indian cameraman / DOP, talks about ... Kalpvriksh - The Wish Tree - Your dreams are Just a bit far
Like any artist, was born with brown Rajeev innate talent experience and cultural influences. Born in 1968, came first introduction to the magic of film, in keeping with his uncle as a projectionist at Ravindralaya Theatre, Lucknow. "I remember this small screening room and remembers Session movies with my uncle, the cameraman on the Indians. "It was like watching silent movies, because we could not hear the sound in the cabin. I just saw the pictures and would try to understand history. My uncle show us, Charlie Chaplin, who were sure yet. There is no doubt he meets his dream, a camera placed in my heart. "Hailing from India, cinematographer Rajeev Jain ICS WICA studied the Academy of Dramatic Art Bhartendu in Lucknow, India.
The day after graduation Rajeev has worked as an intern at an anamorphic image. He has contributed to ten other films as camera assistant before becoming a DOP. "From this moment I have to use the device as a pen that you draw, "he said. "Operating a camera is mainly on the composition and rhythm. I also used the device photo for Bollywood songs. It was very primitive. While we were shooting, it was someone with a timescale each pan and zoom. He said: "You have 5 1 / 2 seconds to zoom to. "It was a great lesson for me to learn every element of a stab in the work much time to do. "
I found it fascinating that a film common language that everyone can understand in the world speaks " he recalls. "This is particularly Cameramen, because we communicate with the public non-verbal." For me, making a film is like solving conflict between light and darkness, cold and heat, orange and blue or other contrasting color. You need a sense of energy, or change traffic. A sense that time passes - the light by night, the return until morning. Life is death. A movie is like a journey and documentation with light in style, at best, this particular image ... the concept behind it.
the first important decision regarding the appearance was shot in anamorphic (2.4:1) format, as was the Kalpvriksh - The Wishing Tree. Rajeev said, Manika handlers subjective views and objectives, sometimes the same framework, or even simultaneously. In a simple example, a blow to start a topic, then an actor is shot in the frame-by-step, the creation of a course of the shoulder, the evolution of subjective - in which the viewer sees what the character does - objective. "One of my first suggestions was shot Kalpvriksh - The Wishing Tree in the Super 35 format, "Rajeev further." I felt that the film is an advantage that you do not expect to see in the drama. I felt that we were able to use a broader sense of claustrophobia in Shabana Cave and the creation composition shows interesting Shabana in the world. "She discussed Manika Sharma Director, Designer-Mansi and other members of the creative possibilities Kalpvriksh compose - the Wishing Tree in large format, while relying on visual cues such as another drama with a story unlikely. Although Manika Rajeev scenes Storyboard sketches used primarily as a communication tool. During filming the director was left open from the storyboard to use veering unexpectedly to use. "Our production has been Mansi and costume designer of our sets and costumes. Although push two Case in development is not always as faithful Colors authorized, have agreed to cooperate with us this technology (especially in the evening / Fantasy sequences) in a hot scene and yellow toward the future, as if everything was lit candles he says.
In a scene so dramatically lit, the director of the school (Mahabano Kotwal) sits on the chair and looked out the window the rain falls. "The whole scene was Light a hard day, a ARRI 6K "said Rajeev on." We bring a light through the window. For the door of light, we used a 4 x 4 that the image on the right. The light is modulated by the rain on the window and spread it throughout the book. We have been "picking chestnuts. It was a happy coincidence, and it worked with a light. Fill Light for this movie, we should be very, very little or none " he added. "I think the film we were with when you're a bit overexposed, you can read the details in the shadows incredibly well. When I image in the theater have seen in the screen 70 meters wide on the dark side, the dead are black, you can actually see a step in the hair of actors responsible. I found it very interesting. I hope it works on a subconscious level to public. "Even if Rajeev knew he was not shooting to open a T2 or T2.8-elected as the Super 35 has a shallow depth - that wanted to give this instrument, the history of a major stage presence. The most negative allowed to push the envelope. And he knew that maize would be acceptable if it goes to sleep in T2.8 T4 on the inside. "We could have with the real sources and it does not follow focus too hard for our crew, "he says confidently.
Like many of his colleagues, cameraman Rajeev Jain has many worried about the changes that can be introduced into images during post-treatment of our electronic age. These considerations have intensified when a wealth of visual effects that have to do with the case Kalpvriksh - The Wishing Tree. "I tried a concerted effort to stay in post-production as possible - and it sometimes difficult, because "work out their next job - with optical and digital effects house that he is not sure, involved no problems with the printing process response. "They see no light in the master plan," he said. "The master plan that we began with an impossible shot in the light. We have been stuck in the corner with a 35mm lens and it is a two way mirror in background. We used a technique called Rajeev Jain "Driller." In short, you're shooting horizontally in general a room, and there are horizontal surfaces such as advice ducts and tables. If you come with a light directly overhead and drilling the surface it works very well. It does not seem bad. If the light comes from a place that is not normal or usual people seem element, with accept it without truly enlightened discover what happens in relation to a source. Shadows go down, so they do not end Strange research or attention to the source. You see it on the table, then he comes on the table and lights the faces to some extent. It is interesting because lighting that you are not the people in general. You are the light of the environment in.
Anamorphic gives you space through doing, "says Rajeev. "Manika has no problem filling an anamorphic image in a contemporary image. History also has a elegiac aspect, it seemed preferable to cut free rock videos and tell the bustle of the camera. With the curious distribution, we knew that this film would be on services. All these ideas - and "If it is not broken by the sea, is not fixed - are taken into account in our decision to shoot anamorphic. "To determine an appropriate visual approach for different moods within Kalpvriksh needed - Tree wishes, Manika and Rajeev decided to form a large part of the normal business of losing sight in the other films in preparation. "We have many Working Paper, based on other types of artists in two dimensional shapes, photographs and drawings in particular, relates to "Rajeev." The preparation was beautiful and different. Watching the films to see how a particular order is handled very well, but this approach has led me this round of incredible self-education, or for photography in 1890 'til now. Now I can not help but buy books. It is amazing how much source material for visual reference is there, if you return to the root. They were great dam points us.
The cameraman had reflections indicative of the camera and the staff to avoid surface water. With a disciplined team that care placement of lighting and camera angles necessary selection. He discovered that the introduction of the plastic at the correct distance the lens of tight shots of Shawn viewpoint is easy with a hint of grain distortion Pictures, sight, reinforced that he and the director wanted Manika. Rajeev also the opportunity to thoughts of the characters and objects on the surface of water, to draw attention to the barrier separating the boys from other people. Sometimes the camera takes a subjective attitude of spectator-like, while other times the public seems to Shawn's life-in-the-bubble to share their experiences. "There is no simple formula for deciding when to inform the public within the bladder with Shawn. It was a question I asked the manager for each shot in each scene. Shawn Are we inside the bubble, outside, or are we?
I did not believe, and apparently, neither director nor Manika Sharma further Rhombus Films production companies. had a stroke in a different picture old house we actually work in Bollywood two generators to power all the lights. When we were finished, but I was able to two-thirds of a long series of traveling with thoughts turning into a long night Vivier (see the cave Shabana). "I think it a visual reflection of the fact that their own position in life can change almost instantly he says. "It is very effective visually. It seems to work on a number of different levels. This seems different approach to refresh your acquisitions and reversals. Is a very interesting scene between Shabana and child, which took place on one under the tree, and there is a feeling of discomfort and possible aggression. It is very ambiguous, but spatial dynamics underscore really feel. "
It is a great advantage in the fieldwork, compared to a studio. For example, the house Muslim as I mentioned, real marble floors. DOP experience how this really something he can not simulate in a studio to use, " Rajeev thought. reflectors have been widely used in the film to complete the rule on the page, some atmosphere or an edge of Keylight and some light filling on the landing page. In most cases, it is very subtle, but only in the glare of reflection from the skin. "We used reflectors that almost EyeLight one, "says Rajeev." consist It is this tension between these three characters. There are a variety of emotions under the internal surface of this film. I felt that the public has access to the inner life of the characters needed, so I tried to continue Eyelights, especially if we find ourselves in the neighborhood. Often it was done with a small reflector cast at the last moment.
One of the most Important included Shabana previsualizing the character itself. "To nail him, We have started working on storyboards with an artist," says Rajeev " plates scored big and is a great artist as well. We said he saw Shabana and our thoughts as he set to work. Manika is written in the creation of a Much of the final appearance, as his drawings were used to provide hair, make-up and wardrobe services, Manika was wanted for appearance. "Part of the cave" to cover involved the use of a wig, which often obscured the face of the actor - who sometimes, for a period less than ideal lighting conditions. "Although the hair and makeup tests, I saw that everything looked amazing Shabana, if they were difficult with a lot for 2 weeks. She had a big hat and a costume too, so it was a question whether we have always been to be able to really see. I said that sometimes they Manika was on the verge of becoming a hat with hair. To be very sensitive to the needs Manika player has not Get You want the hair from her face, so we are not trying to mess with it and solve it by ourselves. "
The Kalpvriksh - The Wishing Tree, decided Rajeev Vision 200T (5274) for all, but to tell the night outside, the smooth texture of the emulsion files non-intrusive deep blacks, true colors and a wide tonal range. Rajeev shot on Eastman EXR 100T days Outside (5248), with an EF 81-filter for the right half and keep the cold blue of the winter. Daylight balanced 250D (5246) shares the view inside the selected day, when he exploited Vision 500T (5279) on most inside and outside at night. Since the filming, the cameraman was looking extensive testing with different materials for the right thickness and translucency. "This is the same as a cheap filter on the lens and it was realized that no distortion or loss of interest would be increased if the optical laboratory "press" the Photos ratio of 2.40 point. In addition to choosing the right plastic, it was important for us to be well worn with a strongly negative image. We shot through the filters at least 90 percent of the time.
During filming scenes with actor Forest occupied, Rajeev, which requires a sandwich nine light. "Others call it a light book, but in any case, we have a new light bounces Maxi Brute a piece of board with beads, then lets the light through a framework of diffusion is usually either 216 or curtains of light. The resulting soft light falling There was a very good quality, plus some serious flying foot-candles. Light sweet enough to move through the hair Shabana Punch, and I was the quantity light easy to control by the bullets of various off. But it took a lot of flags and took a lot of space. "On other occasions, Rajeev illuminated the forest conduct light more extreme angles. "I've come much more down and forward with its key, as I normally, but the approach fall into the hair, of course, it was possible then it was hard he worked. It made me grateful for scenes where Shabana is wearing her hair removed, I could get an advantage of Nice, on their side because of the lighting. "
When children reach the tree before the peak, the production of the famous introduction to film the actors on blue screen and of a green screen. These elements have been formed with a basic digital plates bearing extracted from Ladakh. Harry and internal system Arjun Red Chillies monitors the visual effect shots. "I do not think that these scenes could not credible if we had to film Ladakh they live," asks Rajeev traveled. " How can you miss when you start with 70 millimeter substantive issues? We matched everything to the plates. "
There were some scenes are in broad daylight, so we decided to leave as cracks in the roof of the cave blazing sun, he pursues. "I have signs in the walls behind players and let some light bounce off the ground. For most, however, the night scenes are cave - or Firelight illuminated by lights or the light coming imagination, which is not connected to anything. For water, I chose an easy to use blue light on key actors, but not all flickering movements of others because I felt she was distracted. The flickering on their faces comes from the current water level. This I did add a slight flickering effect on the walls, I found, are more at ease while giving a little realism.
laboratory work before the end was supported by Gemini, which movie do newspapers provided. "After his experience in the commercial world, where you work on a monitor of all time, Manika loved watching film dailies - it opens a new world for them, "said Rajeev." For example, there is a killed Shabana offers a line at the end of a long shot under the tree. If it was read Manika follow the video [TAP], it does not feel good about it. It seemed too quick on the ball. She noted that perhaps would have to alter its online edition. After a while, it seemed Manika projected on a large screen and shooting. "When asked if extending the good news that the theater screen and, Rajeev smiled and said "surprise you if I said there be a happy ending? "
The cameraman did not use the broadcast on the lens of the camera but its about as sweet as selective necessary impact on the source of light. "I've never liked in the movies where the general resolution changes significantly over the target reductions in a close-up during a scene, "he said. "To make it all possible the diffusion front Heavy actress [objective] Search "better" is just crazy to me. I do not want to see the research effort of any good cameraman. Instead, I want to see the character look good, and I think what happens when the player is both embedded in the scene well lit and a flattering way. My solution to soften the light source can be, and the image as clear as possible. Some people think that lenses Primo is too strong, but I like everything perfect. When you combine several years of research and development on the film from Kodak, with what has Arri lenses in the past and laboratory work on the Gemini, and then any place in a film set correctly on the screen, the result of such Perfection is great! So, I take great pride to ensure a truly perfect negative. We might want to mess later, and that is fine, but I believe in something, starting with well-exposed and sharp. "
With so many treatments necessary to present the visual Shabana perceptions, and Rajeev Manika necessary for these parameters for the early manifestations require more complex visual effects to be determined. "We tell a story that is partly through the eyes of a madman, "Rajeev offer." It is an incredibly brilliant person crazy, but still crazy, while is a sense of these fantastic visions, but they are not in the tradition of the effects sci-fi. We had a wish list of visuals presented for budgeting, but he came back four or five times higher than we had hoped. This meant we had to back down, and this decision final work better for the movie we wound up. Most effects are things that we have with tips of light, or as a combination of these signals with amplification digital. "
I am delighted that the film an interesting point of view, the eye seems, but I am also pleased that the graphics are not replaced history. The first reports Shabana rent performance of one of the best is always existed, it would not make sense, everything that took away from this aspect of it. Many films today seem overwhelmed by the effects, but is not Manika to tell this kind of story.
As an Indian filmmaker Rajeev Jain, WICA ICS is necessary, if he would do things differently today, the answers to the artist master "Ninety-nine percent of the time when I see my old films that I'm gay. It was the best I could do at this time of my life with this I had to work with. What is important to develop your life and you do as a person and as an artist.
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- Little Tree - Yours Kalpvriksh dreams are just too far
Twice winner Indian filmmaker Rajeev Jain WICA ICS creates extraordinary world of light, shadow in his latest film, Hot Dreams Kalpvriksh trees are to your own a bit far
Rajeev Jain has a vision, an image refers to its outer limits. In his last years as assistant, electrician, grip, and in the last 16 years as a cameraman, he developed a visual awareness and know-how.
Rajeev draws its inspiration from directors like Satyajit Ray (Pather Panchali) and cameraman Ashok Mehta, ISC (36 Chowrangi Lane) and Binod Pradhan (Parinda) for their use of color and light and shadow to enhance the emotional content of stories. I think the ability to make that the character must be operated in the shadow of a true art, "he said. Ashok Mehta makes his characters work in the dark. Ignites all for the black are really rich - but you can see everything.
His work in Kalpvriksh, a film by Manika Sharma emerges quality time with ahead. Rajeev was particularly fascinated by the non-narrative, fragmented script, because it offers a variety of visual possibilities. Shot mainly on Kodak wanted to contrast with the outdoor stages, Rajeev experimented with hot and blue filters in which he looks. The result is a barren, almost surreal journey into the minds and actions strange characters in the film.
initial collaboration on each slide is essential Rajeev said.
It is for me, the script scene by scene with the director Manika Sharma important to go, "said Rajeev trying to see what is in their head. I want to know what the scene is to say which is the main character right now, and how the characters move through the scene. We also share photos and movies, which gives us a visual to work from.
Graduate Academy of Art Bhartendu Drama Theatre and a beginning nor photography, Rajeev took a film class. Fascinated by the Hollywood community, he saw opportunities to combine with interest in film advertising. Finding a way to learn the camera, he offered his support (unpaid) to learn for the cameraman Subroto Mitra Craft.
He taught me a lot on his SR-package, what are the objectives, and tasks such as magazines, "he said. Then he began to tell me in working on Shyam Benegal Documentary on Nehru.
In 1996, Rajeev was the first opportunity, film, military, shoot with Mukul Anand. After eight weeks of shooting difficult - All his movements were observed.
After 6 more features, then came Kalpvriksh in 2007, Rajeev explored a new visual technology in history Add Nuance. The film includes a fantastic trip, Rajeev wanted to give a dimension dreamlike. We tested the filter and the process of bleach bypass in this section of the film to give their own distinct look, "he said. "Instead, we decided cancel a swing, a point of view, the commitment to use the camera operator to change the level of severity. It take various parts of the framework of development, which is difficult in a long shot because of the increased depth of field what to do.
Rajeev is currently finishing production on Carry It Pandu, a stroke based in Mumbai, and advertising.
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Indian, Cameraman, DOP, Kalpvriksh, Rajeev Jain, Wishing Tree
About the Author
Surendra Rahi was born and raised in Delhi, India, surrounded by pet animals. After twenty years as a farmer, he turned to teaching and then to writing children's books.
Rahi writes mostly about animals: farmyard fantasy, as he likes to call it, often about pigs, his special favorites. He enjoys writing for children, meeting the children who read his books, and knowing that they get enjoyment from what he does.
Among his well-loved books is Kid, The Gallant Kid, which was recently made into a major drama, and was nominated for an Award.
Surendra currently lives with his wife in a small cottage, about three miles from the house where he was born.
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