Fantastic 4 Main Actors

Making of Ras Star – Indian Rajiv Jain Kenyan Photography

Making of Ras Star – Indian Rajiv Jain Kenyan Photography

RAS STAR is currently appearing at the International Museum WOMEN film festival.

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

Synopsis: A teenage rapper, Amani, a Muslim family firm teams with his brother ABDOSH, a crook emerging to find a way to earn money and put it in the final talent show. As the story unfolds, Amani and his brother caught up with a local bandit and an incident of robbery and use of telephone his brother glib tongue to get them. Through absolute blind luck can find the money they need only get the channels in fact with his uncle Shaka, the family patriarch and Mlandimu, the local gangster finally, that saves them.

Rajeev Jain, a well versed Bollywood film director and cinematographer, discusses her new film prize, Ras Star, and the camera only approach he used specially for this film about a young man quest for life. With a background as director of photography resources such as Army, Badhaai Ho Badhaai, Carry On Pandu, Kadachit, Kalpvriksh – The Wish Tree, Mirabai Not out Pyar Mein Kabhi Kabhi and Rajiv had more than enough experience behind the lens to make the jump to film. He also has film credit for the award-winning TV series Heartbeat Kenyan FM.

Where are you and how did you become a filmmaker?

[Raj] I am from Lucknow in north west India. My first degree is in science and took a while to find my way to a more artistic. After several meanders just Bhartendu Academy of Dramatic Arts (Bhartendu Natya Academy) to study drama. I got to drive some parts short and did camera for many more. Since then I have enjoyed both documentary and drama, with camerawork inform and promote each other.

As you approaches the cinematography Rasstar?

[Raj] Through discussions with Wanuri to find movies that I loved so much visually. We wanted to find looks different for every story and a different look for today. We found a "visual theory" for each section (for example, a scheme dark red and black for Amani history, the lenses for the long story and very wide lenses for ABDOSH Mlandimu). The looks had to be able to implement quickly (in then helped in the classification) because the extremely tight schedule. Then applied the theory to a visual list of shot (which often had to do it at night earlier due to changes in position or has not been found yet)

what was it like working with the HD first?

[Raj] With a 35mm camera you're looking directly through a lens and seeing the beautiful scene in color and can trust your eyes as part of the photographic process. With an HD camera you are looking for a small black and white image through the viewfinder so you need a large (preferably 24 ") HD monitor to judge what you're shooting. This is huge and totally impractical with such a small crew and low budget we managed with a 14 "monitor a reasonable amount of time, but up a mountain or on a remote beach just a small battery monitor is possible. That was very frustrating and led some things that could have been better.

HD is horrible to look at whether any area is overexposed. This proved more problematic in outdoor we chose to shoot lenses very broad sense, there was a lot of sky in the shot. Unfortunately, the sky was particularly flat and overcast, but relatively bright white.

The biggest advantage of HD was able to travel much lighter with a pair of zoom into the city, for example, and be able to film two hours worth of material, no worries (Which would have been about 12 huge cans of thousand feet of film to transport and load). Wanuri and also meant I could go out on weekends and shootings of cinema in the city pickups and very easily.

The question of storytelling?
 
[Raj Storytelling] is a great part of life, from an early age. It's a way to find meaning in the world. For a child is a way of understanding the world through the metaphor – not that a child thinks that way.

If the world exploded and the few stragglers met, would not be long before they gathered around a fire and someone began telling stories to make sense of things. Stories entertain, provide an escape or catharsis, encourage discussion and debate and make you laugh.

What was the best thing about making Rasstar?

[Raj] The best thing was in a beautiful part of the world working on a script that used the slum as part of the history.

What was the worst thing?

[Raj] The first day of the sequence of actions in the market. The crowd took so long to reach the spot that the film crew were cut down to make a beard of moss and a documentary feature film about clouds (clouds some very fine though).

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

[Raj] Wanuri is certainly one of the directors who work harder than I worked with, but I think I found the limit of a Saturday night. We were filming in a pub (performance climax) and pick-ups and had a choice to go to the local pub, where some of the crew were taking the lamb and downing beer fine or head. The light seemed too tempting though so we headed out and thank God, because we made the light on top was amazing. deep red was jumping out of them causing them to shine against the black background. There were so many mosquitoes that we had to adjust the camera running and running around to keep them cluster around camera. We shot the ages and the light was dim, but still looming large. I tried to get one last shot with DJ Long Island in the foreground, had suggested that when Wanuri enough and should go, words I never thought she would say! (The photo was a nice and made the final film).

Have you worked in anything from Rasstar?

[Raj] Since Rasstar Kalpvriksh have filmed the movie – the tree of wishes. It was a great experience shooting in a place so remote and interesting. Mahableshwar I filmed a half-hour comedy for Channel: "The Smallest Man in Town 'and I also filmed and edited a half-hour documentary on Dubai about a maid who works in Dubai. Dop was recently on a low budget feature "Carry On Pandu.

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My Style | Photography by Rajiv Jain | Photography Bollywood Indian

FIRST SCHEDULE:

For some time I have felt to put in writing my views on cinema and my aesthetic style, and now here it is. That does not mean I follow it dogmatically – is simply what works for me in broad strokes. As an Indian filmmaker, I should be able to give the director of production or whatever, look, I am asked. But within the limitations visual and aesthetic of any production – or the occasional lack thereof – an element of me is always there. The rules were made to be broken – but only when you have a complete understanding of the rules. Although I can not claim to know all of them, I'm learning with each production. Here are some of my thoughts …

The aesthetics of a project needs to be established early to the public. It is confusing to introduce a new aesthetic or editorial style too late on a story without proper justification or motivation.

Another area that receives little attention is shot in the atmosphere – the shots that fill the space between scenes. Give the audience some time to breathe and think and can be a time for music to affect the public.

I think graduated filters also false and artificial. Do not focus our attention and instead, often draws attention to itself. I do not think they've used and still have be criticized for my decision.

Most directors cut too soon the two together and publishing. Taken together, expect to say, "Cut." To 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 director will use this moment in the final cut. It hold good for an actor at the end of some scenes to allow the public to take the time and reflect.

People change and their views. So I I'm sure my views are likely to change as well. Until then …

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Cooked Art: Photography … by Pocket – Sized Indian Filmmaker Rajiv Jain

I love movies that are made as a work of art, each scene is masterfully photographed for the composition to create bright lines of action, balance, symmetry, with a fine use of space, texture, color and perspective. Here are two movies I recently saw again, and portray the visual language wonderful.

So what the hell is a filmmaker? If you want to get into semantics, means "writing in motion." But his work, especially is to have control over the camera and lighting crews in a scene and therefore have a lot of creative input in the final image. While considering the fact that the director Art is responsible for staging, the storyboard artist plans out the shots and what is really happening, and the director will want to have a piece of the action, then it is not surprising as the films end up looking great. Here are some of the guys who could do this (in my opinion little)

What qualification you studied in Bhartendu Academy of Dramatic Arts and when you finish?

I went straight from high school to Bhartendu Academy of Dramatic Arts and made a 2-year Diploma in Dramatic Art, graduating in lighting and graduating in 1985. The courses are run differently now. It is run more like a film school in a school of art I think it's great! It allows students to make earlier decisions about their chosen field in film and television, he is a filmmaker, director, producer, editor, etc. It also better prepares students for work in industry. It's a teaching much more than just how to make movies.

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

The facilities Bhartendu Academy of Dramatic Arts are fantastic, I would say even world class. The main production studio is well equipped. The post-production facilities, such as editing suites and sound mixing rooms are just like what is being used in much of Indian cinema and television industry.

I'm also particularly impressed with the production value of films of recent student Bhartendu Academy of Dramatic Arts. I think the standard of work is quite high.

I think it is fantastic that students learn to shoot projects of Cinema is the industry standard format for international feature films and like most foreign television drama. It is rare that students have the opportunity to work with the film, now that digital formats are becoming increasingly prevalent. If you are able to photograph and work with film, then you will be able to work in any format that you encounter out there. She did not works in reverse.

What I mean by this is that the filmmakers are the same as any format you throw inside, however, the film requires shooting a different approach, both technically and creatively. These principles can be applied to digital photography, but the film shoot requires a better understanding of lighting and exposure.

The digital equipment in Bhartendu Academy of Dramatic Arts is a quality standard and will enable the graduates to go out to industry and well understand the operation of any other piece of equipment you will find. There is no reason why the quality of student projects can not match with the high quality of professional projects because the equipment they are using is the same.

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

What was the first break or work who was instrumental in setting in your path in your career?

I had a series of breaks and I think many of them take one another. A series Events lucky we can say, but I was thinking of a big break was a particular night when I had finished editing my new show reel cinematography. (The coil is to show as a portfolio of work, cut one of my best cinematography edited with music.)

Just as I had finished, he came across an email to me that been sent by someone I barely knew. The e-mail, said a Kenyan production company was looking for an Indian filmmaker to shoot a part of international film which was to screen the World Expo in Nairobi, Kenya, and wanted to see the cops show.

I went to the post office the next morning and sent my off express mail. I received phone call just days after confirming I had the job. I was taken to Nairobi and I worked with a full team of professionals that was my first big job.

The people I met on this project like my work so much that I got a call a month later and they flew me to film some advertisements Darussalam. I finally returned in Brazil with a new and improved show reel. Have an international work on the coil rose further my profile and me more and better jobs and an agent and I'm gone …

A case of the right time I guess!

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

The quality I admire in successful professional creative is the ability to have pride in their work. Whatever your creative exercise, I think if you are doing the job you really enjoy and that you have great pride in, then you are lucky to have one of the best jobs in the world.

I also I think challenging yourself, working out of their comfort zone and it is important to realize that to succeed you have to be consistent, positive and work hard.

Whatever the creative field where they are going to be an impossible task to get his career underway. With creative careers you are judged on their body of work and its trajectory. The first thing to do is create a portfolio, or in my case a show reel, and then be prepared for criticism and hit back, never give up and use they hit back as an incentive to work harder and set their standards higher.

I also think it's important to make "passion projects that allow you to experiment with ideas or your experience. Projects by passion, I mean those that you do for the love of it and not pay. I shot a lot of "gifts" to start my show reel to zero and gain experience before starting to be paid for my art.

It is also important work on his network of contacts. You never know when that person may be regarded as a rival may actually be the one to spend working on your own, or submit it to new employees. The film industry is too small to make enemies. We should be like a support network and learn from each other in order to continuously best projects.

For you, what are the "must see" movies of reference both in terms of cinematography pending or pioneer?

Well for starters the cinematography of feature films of recent Indian Kalpvriksh – The Wish Tree – Dreams Yours Is it just a touch and soon to be released Carry On Pandu are quite prominent. Ha!

No, seriously, some of my favorite and most influential films in terms of cinematography are not the only ones with the shots Crane shot wide or world's longest steadicam, but those that create a real environment and atmosphere. Films that convey emotion to the audience and help spread the subtext of a story, saying more about the characters that dialogue could only ever.

I think the most influential films to me would be something directed by Satyajit Ray (Aparajito (A invicta), Parash Pathar (The Philosopher's Stone), Jalsaghar (The Music Room), for his use of mood, atmosphere and the techniques of narrative cinema.

Moreover, classics like Pather Panchal (Song of the Road). It took me a while to realize why he is considered the best movie ever made. The use of deep focus in this film is not just a technical achievement, but also a narrative.

I also liked Shakha Proshakha (branches of a tree), Agantuk. They are both very rough and hand sometimes, but very beautiful and you really feel like you're "inside" of the film.

This is I was trying to create the latest movie that I shot, Kalpvriksh – The Wishing Tree.

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

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lights key: decisive moments in the film industry since the Kalpvriksh – The Wish Tree

An interview with Rajiv Jain, owner of Indian Photography and Rajiv Jain Films, Cinematography and grips – Dubai – Mumbai – Nairobi.

Q: What is your profession? Where you work?

A: Director Director of photography, cinematographer. I have my own company, Rajiv Jain Films, Cinematography and tough, and I I have been doing this for about twenty-five years.

Q: How long have you been a filmmaker?

A: I've been doing this for several years, but I started my own company.

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

A: I went to Bhartendu Academy of Dramatic Arts. I had a degree of two-year diploma in theater arts. That put me in a position to see how the industry has changed much. Leaving school, children should just start their own business. First, they must decide what to do in the industry and then go for him. The sky is the limit, depending on the chosen career.

Q: What do you like most about your job?

A: Work for myself. Having the freedom to make their own decisions, to make their own way about what you want to do. But you can go a month without working, if you're on your own, so definitely put yourself on a path of business as well as a creative way. Take business classes, not just the arts liberals. The film industry is a business, as well as the music industry. You have to be a self-starter.

Q: Describe your typical day at work.

A: What work? Usually when I'm not working, I'm in my office doing paperwork. From his office, You may have to go somewhere on site that can be anywhere from two days to thirty days. A lot of things is our remote locations. Each work is unique. So how do you think is normal, it changes.

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

A: I was doing theater, photo journalism, working on a local channel and make a decent salary. I found myself incorporate key to my words, and when I started taking pictures and filming, I realized that this was what I'm most passionate about. But when you have a creative bone in your body, enjoys writing, is easier to expand to other aspects of a different brand creative.

Q: What are the characteristics you feels is necessary to be successful as a filmmaker?

A: Everyone has different ways to be successful. But you have to keep up to date. Edition graphics and changed a lot. The dynamic has changed completely around. You have to be totally flexible and stay with the current trend.

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

A: I do not think it is imperative, but what I got out of college is that a lot of network. I do not think it's a necessary one hundred percent. But, of course, you must have a good school to teach what you need. When you're in college, you need to start working on building a portfolio and college can help with that. If two people went to the same job and that both had impeccable portfolio, but also led a four-year degree, you can bet that person will get the job. For industry full time, not only freelance means it is important to get that degree.

Q: Would you recommend the career of someone?

A: Yeah. I can not think of anything better to do. I see things that people do not see. This is for everyone? I think not. You have to have thick skin. You have to working for months on end. Do not set your expectations too high. Be realistic. My first recommendation would be to go to college and get that job full time. Get a feel for what the industry is all about. It's hard to just have a good portfolio, unless you're a filmmaker incredible. Make no college is extremely difficult to do.

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

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

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Kalpvriksh – The Wish Tree – Their dreams are just a touch away – Photo Rajiv Jain

Two-time winner India Rajiv Jain WICA ICS Creates World Photography Special light, shadows his recent film Kalpvriksh a Wish Tree Dreams Are Yours Just a Touch Away

Rajiv Jain has a way to see it has an image to its outer limits. In his later years as helper, electrician, grip, and in the last 16 years as director of photography, he developed a visual sensitivity and expertise.

Rajiv strip inspired by directors like Satyajit Ray (Pather Panchal) and filmmakers Ashok Mehta, ISC (36 Chowrangi Lane) and Binod Pradhan (Parinda) for its use of colors and lights and shadows extend the emotional content of stories. I think the ability to allow the characters operate in the shadows is a real art, he says. Ashok Mehta lets his characters operating in darkness. He illuminates all the blacks are very rich – you can still see everything.

His work in Kalpvriksh, a film by director Manika Sharma exudes quality time with an edge. Rajiv was especially intrigued with the narrative non-fragmented script, because it offered a myriad of visual possibilities. Shooting primarily Kodak in order to contrast with the exterior shots, Rajiv experimented with hot and blue filters to get the look he wanted. The result is a journey, almost stark surreal for the minds and actions of characters bizarre movie.

initial collaboration is essential to any film, Rajiv emphasizes.

It is important for me to go through the script scene scene with director Manika Sharma, Rajiv said, to try to see what's on your mind. I wonder what the scene is saying, who the character Most important is that moment, and how the characters move through the scene. We also share photos and movies, which gives us a visual basis for work.

A graduate of Bhartendu Academy of Dramatic Arts in Drama and still get a photo, Rajiv has a degree in cinema. Intrigued by the film medium, he saw the possibility of combining their concerns with the movie business. Looking for a way to learn the camera, he offered his help (unpaid) with the cinematographer Subroto Mitra to learn craft.

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

In 1996, Rajiv had the first opportunity to make a movie, the Army, with Mukul Anand. After eight weeks of filming stressful – every move it was watched.

After six more features, then came Kalpvriksh in 2007, Rajiv allowed to explore a new technique to add visual nuance of the story. The film includes a dream trip that Rajiv wanted to give a dreamlike quality. We tested filters and a bleach bypass process to give that section of the film its own special look "He says." Instead, I decided to use a tilt swing, an accessory that allows the camera operator's view to change the plane of focus. It let us play different parts of the frame out of focus, which is difficult to do in a shot wide because of the increased depth of field.

Rajiv is currently ending production in Carry On Pandu, a feature being shot in Mumbai, as well as make announcements.

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Full of surprises! Rajiv Jain, director of photography Indian / PDO, talks about … KALPVRIKSH (THE WISHING TREE): Your dreams … ARE JUST A touch away …

Like any artist, Rajiv was born with innate talent polished by experience and cultural influences. Born in 1968, his first introduction to movie magic came to watch his uncle as projectionist in Ravindralaya Theatre, Lucknow. "I remember sitting in that little screening room and watching movies with my uncle," the Indian filmmaker recalls. "It was like watching the silent movies, because I could not hear the sound booth. I saw the pictures and would try to understand the story. My uncle who show us the films of Charlie Chaplin, who, of course, were silent. There is no doubt that he put his dream of becoming a filmmaker in my heart. "Originally from India, Rajiv Jain ICS WICA filmmaker studied the Academy of Dramatic Arts Bhartendu in Lucknow, India.

The day after completing his studies, Rajiv was working as an intern in an anamorphic picture. He contributed to more than ten movies as assistant director of photography before becoming a PDO. "From that moment on I felt that the camera is like a pen you use to draw pictures, "he says." Operating a camera is mainly on the composition and rhythm. I also operated the camera for songs Bollywood. It was very primitive. While we were shooting, someone with a time clock was all panning and zooming. He said, 'You have 5 1 / 2 seconds to this zoom. It was a great lesson for me, learning to make every element of a bullet work in the amount of time. "

I thought it was fascinating the film speaks a common language that anyone in the world can understand, "he recalls." This is especially true for filmmakers, because we're communicating with the public non-verbal. "For me, making a movie is how to resolve the conflict between light and dark, cold and heat, sky blue and orange or contrasting colors. There must be a sense of energy, or change of motion. A sense that time is passing – the light turns to night, which reverses the morning. Life becomes death. Making a film is like documenting a journey and using light in the style that best suits that particular picture … the concept behind it.

The first decision look was important about the shoot anamorphic (2,4:1) format, as they had done in Kalpvriksh – The Wishing Tree. Rajiv Manika explains that likes to manipulate the subjective and objective views, sometimes in the same frame, or even at the same time. In a simple example, get a shot on a subject, and then an actor will enter the frame, creating a more-the-shoulder shot, turning it from subjective – in which the viewer sees what the character sees – for the purpose. "One of my first suggestions was shot Kalpvriksh – The Wishing Tree in Super 35 format, "Rajiv continues." I felt that would give the film an edge that you do not expect to see in Drama. I felt I could use the larger picture to create a claustrophobic feeling in the cave and Shabana Shabana more interesting showing up in the world. "She, director Manika Sharma, designer Mansi and other members the creative team discussed the possibilities for composing Kalpvriksh – the Wishing Tree in widescreen format, while drawing on such visual cues as another drama with an unlikely subject. Although Manika storyboarded scenes, sketches Rajiv used primarily as a communication tool. During filming, the director remained open from the diversion storyboards to take advantage of unexpected opportunities. "Our Mansi production designer and costume designer gave us rich sets and costumes. Even pushing two stops in the development, sometimes is not as true to color, his collaboration with this technique allowed us (especially at dinner / fantasy sequences) to have a scene hot and yellow for the future, as if everything was set alight by candlelight, "he says.

In a dramatically lighted scene, the school principal (Mahaban Kotwal) is sitting in his chair, staring out the window the rain fall. "The scene was illuminated with light of a tough day, an ARRI 6K," says Rajiv. "We brought a light through the window. To turn the port, we use a 4 x 4 mirror out of focus to the right. The light is modulated by the rain on the window and extended throughout the book. We went 'nuts gathering. "It was serendipitous, and everything worked with a light." "To fill light on this movie, use or very, very little or absolutely nothing," adds. "I think with the film stock we were using, if you're overexposing a little, you can read the shadow detail very well. When I saw the picture on Theater screen 70 meters wide, about the dark side, which is dead black, you can actually see the hair on the heads of the actors will. I found it very interesting. I hope he works at a subconscious level to the public. "While Rajiv knew that could not shoot in an open-T2 or T2.8 Super 35 because the chosen format has a depth minor – he still wanted this tool to give the story a greater stage presence. The higher negative allowed him to push the envelope. And he knew that the grain still would be acceptable if he stayed in T2.8 for T4 varies interior. "We can still use sources of truth and would not be difficult for our camera crew to follow the focus, "he says confidently.

Like many of his colleagues, filmmaker Rajiv Jain has many concerns about changes that may be introduced during the images after the process of our electronic age. Such considerations only intensified when you're dealing with a multitude of visual effects, which was the case with Kalpvriksh – The Wishing Tree. "I tried to make a concerted effort to get as involved as possible in post-production – which is sometimes difficult because it is' off to the next job – to work with digital effects and optical house to ensure that there would be no problem with the printing process response. "You see no light in the master shot," he says. "The master shot that we started with a shot was impossible to light. We were jammed in the back corner with a lens of 35 mm and there was a two-way mirror in the background. Then, we use the technique of Rajiv Jain called a "punch. Simply put, you normally shoot horizontally quarter, and there are horizontal surfaces such as mantels and table tops. If you come from directly overhead with a light and drill it to the surface, it works very well. There seems wrong. If the light comes from a place that is not normal or usual, people seem to accept the element is being illuminated without really understanding what is happening in terms of a source. Shadows go straight down, so they do not end up looking weird, or calling attention to the source. You see it on the table and then she leaves the table and illuminates the faces of a grade. It's interesting because you are not lighting up the people in all. You brightening the environment that is within

Anamorphic gives you the space frame to do it, "said Rajiv." Manika has no problem filling an anamorphic frame in a contemporary image. The story also has an elegiac aspect, so it seemed best to say it bluntly video and frenetic rock camera movement. With the amazing cast, we knew this film would be about performance. All these ideas – like "if it is not broke, do not fix it '- embodied in our decision to shoot anamorphic. "To visually determine an appropriate approach to the different ways Kalpvriksh needed – The Wishing Tree, Manika and Rajiv decided to resign in large part, the usual business to see other films during preparation. "We use a lot of book work, referring to other artists working in two-dimensional shapes, mainly photography and drawings, "said Rajiv." This was a nice way and different for prep. Looking for the movies to see how a particular sequence is worked great, but this approach I began this round incredible self-education, covering still photography from 1890 up 'till now. Now I can not stop buying books. It's amazing the amount of source material for visual reference is out there when you get back to basics. These were great starting points for us.

The filmmaker also had to avoid reflections indicators of photographic equipment and staff on the water surface. Along with a disciplined team, which required the placement of light and careful selection of camera angle. He found that, placing the plastic in the right distance from the lens for photos tighter point of view Shawn rendered slightly distorted images with a pinch of grain, which expanded the look that he and director Manika desired. Rajiv also occasionally added reflections of characters and objects in the water surface to draw attention to the barrier separating the child from others. Sometimes, the camera takes a subjective, as spectators, while other times the audience seems to share the life of Shawn-in-the-bubble experiences. "There was no simple formula for deciding when to put the audience inside the bubble with Shawn. It was a question I asked the director of every shot in every scene. We have Shawn inside the bubble, or are outside looking in? "

I do not believe it and, obviously, did not the director or company Manika Sharma Rhombus Films production. Another photo taken in an old house in Bollywood necessary to actually work on the two generators to power all the lights. At the time they were made, however, I was able to shoot two thirds of a long sequence of dollying along with the reflections seen in a nursery during the night (Shabana's cave). "I I think it is a visual reflection of the fact that our position in life can change almost instantly, "he says." It is extremely effective visually. It seems to work in a number of different levels. Using this approach looks different to freshen up all its excesses and reverses. There is a very interesting scene between Shabana and child that was staged in one under the 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 one location versus studio. For example, the house had mentioned Muslim marble floor real. A DOP experienced know how to use this fact something he can simulate in a studio, "mused Rajiv. Reflectors were used extensively throughout the film, usually on the side to get some padding or a border environment of Keylight and redirect some of that light to the side of filling. In most cases it was too subtle, however, just reflecting the glow of the skin. "We use the spotlight as a eyelight almost over," says Rajiv. "There is this tension between these three characters. There are a lot of inner emotions below the surface of this film. I felt the public needed to have access to the inner life of the characters, so I tried to keep eyelights course, especially when it would come close. Often this was done with a small reflector played at the last moment.

One of the most important aspects included preview Shabana's character itself. "To nail it down, we started working with an artist of storyboards," says Rajiv, " called plaques that great and is a brilliant artist as well. We told him our thoughts on how Shabana looked and started to work. Manika credits him with creating a good part of the final appearance since their designs were used to communicate with your hair, make-up and service that keeps your Manika wanted to look. "Part of disguise Cave involved the use of a wig, which often obscured the actor's face – which on occasion made a less than ideal lighting situation. "During the hair and makeup tests, I saw that while Shabana looked incredible, they would be difficult to treat for 2 weeks. She had a large helmet and a great costume too, so no was a question of if we were ever going to be able to actually see it. Manika I said that sometimes she was on the verge of becoming one with the helmet hair. Being very sensitive to the needs of actors, Manika not want to have the hair of the face, so try not to mess with it and resolve it on their own. "

In Kalpvriksh – The Wishing Tree, Rajiv chose Vision 200T (5274) for everything, but outer night, explaining that the normal grain of this record of non-intrusive black emulsion deep, true colors and a wide tonal range. Rajiv shooting days outside Eastman EXR 100T (5248), using a filter half-EF 81 to correct and maintain the blue cold of winter. Daylight balanced 250D (5246) Overview of actions was selected for the inside day, while he explored Vision 500T (5279), indoor and outdoor more night. Since the filming, filmmaker has done extensive testing with various research materials to the right thickness and translucency. "It's the same thing as using a cheap filter on the lens and realize any distortion or loss of focus will be expanded when the optical laboratory 'squeezed' the images in proportion to 2.40. In addition to selecting duty plastic, it was important for us to record a strong negative image properly focused. We were shooting through filters of at least 90 percent of the time.

During filming scenes of forest, with the main actor, Rajiv employed what he calls a sandwich of nine light. "Others may call it book light, but in any case, we were jumping a Maxi Brute Nine Light a piece of bead board, then letting the light pass through a framework of diffusion usually equipped with a 216 or grid of light. The resulting light soft He had an impressive quality very beautiful, and slamming some serious foot-candles. This soft light enough to drill through the hair Shabana, and I could control the amount of light just clicking off several globes. But it also required a lot of signaling and took much space. "On other occasions, Rajiv illuminated the forest, directing the light from more extreme angles." I came in much smaller and more frontally with the key than what I normally but the approach could drop her hair naturally, so while he was hard he worked. He made me grateful for the scenes when Shabana is dressed with her hair pulled back, because I could have an advantage over his nice with side lighting. "

When children reach the tree before the climax, production created the famous definition of filming the actors in front of blue screen and green screen. These elements were composed digitally equity fund boards removed Ladakh. Harry and Arjun installation at the home of red chillies' supervised the visual effects shots. "I do not think these scenes could be more credible, if we had traveled to Ladakh to film them live, "Rajiv wonders." How can you lose when you start with 70 mm deep plates? We agreed to all the dishes. "

There was a day few scenes there, so we decided that the cracks in the ceiling of the cave's hard to let the sunlight, "continues he. "I put some signs of this in the walls behind the players and let a bit of light bounce off the ground. For the most part, however, the scenes of the cave are defined at night – lit by firelight or flashlights or glow imaginary leaving, which is not connected to anything. For water, I chose to use a little blue light on key actors, but do not put any flicker movement because I felt it was distracting. The only twinkle in their water comes from the real faces. What I did was add a effect slight flicker on the walls, which I found to be more enjoyable while lending a bit of realism.

Front-end lab work was done by Gemini providing daily movie. "After their experience in the commercial world where you work on a monitor all the time, Manika newspapers loved watching film – it opened a new world for her, "says Rajiv." For example, there is a shot of a Shabana deliver a line at the end of a long shot at the tree. Manika When I saw the video playing [TAP] monitor, did not feel good about it. She seemed very small in the shot. She commented that perhaps his line would disappear edition. After some time, saw designed Manika on a large screen and loved the shot. "When asked if that extend good tidings to the drama on screen, well, Rajiv smiles and says," Would you be surprised if I said there's a happy ending? "

The filmmaker does not use diffusion on the lens, preferring to ease his object, when necessary, selectively affecting the source of light. "I never liked movies where the full resolution of the lens changes noticeably during the cuts to a close-up during a scene, "he says." The whole business of putting the spread heavy in front of the lens to [actress] look "better" is crazy to me. I do not want to see the filmmaker's effort to make someone look good. Instead, I want to see the character look good, and I think what happens when the actor is both integrated the scene properly lit and so flattering. My solution is to soften the light source, and let the image be as clear as possible. Some people think Primo lenses are very sharp, but I love all the perfection that. When you combine many years of research and development stocks Kodak's film, with what has gone into these lenses Arri and laboratory work at Gemini, and then putting it in a movie being projected on the screen correctly, the result is amazing how perfect! So I take great pride in delivering a perfect actually negative. We may want to mess it up later, and that's good, but I I believe in starting with something well exposed and sharp. "

With all the treatments needed to describe the many visual perceptions of Shabana's, Rajiv and Manika necessary to solve the parameters for the early events that require more elaborate visual effects. "We're telling a story which is seen partly through the eyes of a crazy person, "offers Rajiv." She is an incredibly bright person crazy, crazy, but even so, then There is a sense of the fantastic on these views, but they are not in the tradition of the effects of science-fiction movie. We had presented a wish list of visual effects for the budgeting, but again price four or five times higher than expected. This meant we had to pull back, and that the decision ultimately worked best for the film that we ended up doing. Most effects are things that we ourselves, practices with light signals, or as a combination of these signals with digital enhancement. "

I'm glad that this movie seems interesting look into the eyes, but I am also pleased that the visuals do not replace history. Early reviews are praising the performance Shabana as best she ever gave, by it would not make sense to do anything that took that aspect. Lots of movies now seem overloaded with effects, but Manika is not to say what kind of story.

When Indian Filmmaker Rajiv Jain ICS WICA is asked whether he would do anything differently today, the master artist replies: "Ninety-nine percent time, when I see my old films I am serene. It was the best I could do at the time of my life with what I had to work with him. The important thing is your life and how you evolve as a human being and as artist.

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Q & A with Rajiv Jain WICA ICS Photography in Indian Film Kalpvriksh – The tree of wishes – Your Dreams Are Just a Touch Away

Indian Photography Director, Rajiv Jain ICS WICA is a filmmaker based in Mumbai, India. Rajiv specializes in shooting television commercials on 35mm movie film and the HD Digital. Rajiv started in the early days of the revolution music video, before venturing into film narrative. His eclectic body of work includes Army, Badhaai Ho Badhaai, Continue Pandu, Kadachit, Kalpvriksh – The Wish Tree, Notout Mirabai, Pyar Mein Kabhi Kabhi and Rasstar.

QUESTION: Where were you born and raised?

Rajiv: I was born in Lucknow, India. There was no seminal event that happened for me as a young man who made me want to be a filmmaker. It certainly was not the quality of light in Lucknow. I remember it was gray, brown was spotted in traffic and the dark sky. But as I say this, I realize the palette removed from the place affected me emotionally. Satura jumped from neutral, as in a dream or a nightmare post-industrial.

QUESTION: What do your parents do?

Rajiv: My parents were just ordinary people. I do not think they were particularly ambitious for me. His main concern, I think, was that I was not an embarrassment. We moved to Alto Alegre and then back to Lucknow, where I completed my education. My degrees were in Performing Arts.

QUESTION: You have a goal in a career that moment in life?

Rajiv: I wanted to be a writer, but because I Rakesh Mohan much thought and wrote very little. This is too much to say I was more of a reader, then a writer, poet, then academic. I was very interested in semiology and structuralism (the study of how language encodes ideas). Initially I studied how the spoken and written language worked, but then became more interested in how codes worked in other languages as the language of cinema. My interest in language film took me a little bit complicated to cinematography.

QUESTION: That's interesting. It is a little more specific?

Rajiv: I was very interested in understanding how the change light, composition, camera angles and camera movement filmmaker changes the public perception of the visual event and thus the emotional response of the audience. It's a difficult thing to quantify. I remember specifically thinking about going back to see Pather Panchal when I was a child, and how their image has always stayed in my imagination not only for its sheer beauty and sublime scale, but because it affected me emotionally, striking out some unconscious, but sensitive. Later, Ray saw the "The Trilogy of Apu. "I had much the same answer, but now my understanding was informed by my studies. It would be correct to say that the filmmakers of both movies, Subroto Mitra, were those What influenced my decision to become a filmmaker.

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

Rajiv: When writing essays and articles about the movie. I realized that the images of cinema worked hard the way the spoken / written language works. You want to express certain ideas. There are culturally agreed and understood codas. These forms, which we call letters, agreed pronunciations. These letters form words. These words have agreed meanings. But of course arbitrary. The word "cat" has catness "innate" about it, but to hear this word the listener idea in his brain. A cat. We can then add adjectives and descriptions, to make it a black cat, wild cat or a black. These are code words, codes, but not universal. They are specific to the culture that the actions of that language. Photography in some respects, is a language system much more complex. The denotative (specific) or connotative (implied or symbolic) meaning of an image can be ambiguous, but also complex. Perhaps the best analogy is the literary haiku poem. The few Words have a meaning greater potential – the more words that are added in more literary forms, the more specific meaning. Offers a specific image and no specific meanings. Can work in several layers, consciously or not.

QUESTION: Have you had any mentors or if you entirely self-taught?

Rajiv: I learned a lot from the other DP. But it is mainly to study their work. Ashok Mehta and I talk a lot, and he gave me a great deal. But I was self-taught. I studied art extensively, particularly 20th-century artists in the early and late 19th century artists. I learned a lot about the light from them. I stole a good idea of any film I've seen, probably. Particularly the work of Subroto Mitra (ISC), Ashok Mehta (ISC), Binod Pradhan and Santosh Sivan (ISC).

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

Rajiv: I think it's a very important distinction. I do not want to seem pretentious, but if you consider the nature of art, intended to give us new eyes to see the world. I want the public to respond viscerally to that our intentions are for a film. I think it works very well as film music it is difficult for us to measure or quantify because the public responded to what we do. Therefore, it is an art. And its practitioners must be artists.

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

Rajiv: I can sit in the newspapers and watch other people watching the movie with me physically and emotionally respond to images, but it is very difficult to quantify what they are responding. If you people go to hear music, they can also respond, but you would have difficulties to quantify because they are responding.

QUESTION: I'll borrow a phrase from Subroto Mitra, who said, filmmakers 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, not as a unique art form. The critics speak about scripts and performances. They talk about things they understand, but to understand them because their own cultural backgrounds, especially in traditional theater, though not recognize it. In this context, cinema and music are not understood, except to say they were beautiful, because there is a language designed specifically in criticism for its description. Unfortunately, many critics do not recognize the decisions taken by the director, filmmaker and composer had a profound impact on the visceral reaction and intellectual responses from the audience. I'm not saying they are not recognized filmmakers. We are, at least within the industry, but consumer press. I do not think I read one review that mentioned the importance of the decision Subroto Mitra (ISC) for 16mm film and other formats in use some scenes in Rio, but it had a profound impact. I understand that an important decision worthy of artistic comment, in fact, essential for public understanding the artistic treatment of the film.

QUESTION: The collaboration between directors and filmmakers is unique.

Rajiv: One thing important about what the collaboration is that filmmakers have to integrate your vision for a film with the director's vision.

QUESTION: Do the many music videos you shot influence today?

Rajiv: Not much. None of my films seem music videos, but the great thing about music videos is that one could experiment with different lighting, film stocks, lenses and filters. We would decide to try to put four filters on the lens, the process forces the film, or put a negative through a reversal process of post-production of films to see how it goes, and then try again the opposite way. It was a great way to learn.

QUESTION: There are other filmmakers whose work you follow?

Rajiv: I can cite all the obvious names, but the truth is that I learn all filmmakers. I can watch a television program shot by a filmmaker 29 years old, and find something he or she did it is very interesting. I'm always learning from others. I still read every magazine and newspaper about film photography and I can put my hands. I still study art. I collect books of photographers and painters. But not only the good work that others do what I learn. I learn from my own mistakes I have had many opportunities to do over these past 20 years. When my son Adam was in seventh grade, he wrote an essay in which he was obliged to say Who was your hero. He said it was me. "My father is my hero because he moves all the time, and he let me see him." So I feel good about messing up. I think this is a very important lesson to learn. It's okay to mess up, and you'll mess up sometimes if you're willing to push the boundaries his craft.

QUESTION: Does any other mentors influence their thinking?

Rajiv: I was a graduate of the University Lucknow for a short time. That's where I met Renu Saluja what was really important mentor. She gave me some very interesting ways with regard to film theory.

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

Rajiv: Early in my career that nothing was offered was a movie I wanted to do. Today, two things are likely to affect my decision. One is my first meeting with the director. This relationship is like a marriage only, curiously, much more intense. You have to decide if you will be able to live with this person for the time you will be together. I I think I have gotten well over 90 percent of the directors with whom I worked, and many became friends. The second thing is photography. I'm always interested in doing new things and different. If the project is very similar to what I did before, and the script is not great, so it's less likely that I will be interested. Sometimes a project that has been so interesting that it is impossible to resist.

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

Rajiv: I think you have to be patient and not let yourself believe that things will happen quickly. You need integrity and honesty of who you want to become. So even if you fail, you can fail with some dignity. If you do not compromise, what are you?

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quick notes of Indian Photography / DOP Rajiv Jain in Cinematography and aspiring Indian Cinematographers:

A rapid filling station "when trying to start something really important in writing:

Most of hits I get from my blog are from people searching for keywords like "Photographers" Indian "film career" and "how to be a great filmmaker. "Actually, I can only offer my own personal experience.

Rajiv on advice for aspiring young indigenous filmmakers:

An advice to all filmmakers should be very aware of the digital age that à ¬ s right upon us, yet stay true to the movie at this stage and experience, perhaps both. We are at the crossroads of film to digital. I just had some tests with respect to film and digital film is even better. Film still has more information than digital cameras even though it's getting better all the time. But the way to go, now that's very clever film is shooting on film is 35 mm or Super 16 and the digital intermediate and put it together in the film at the end. I've done it with my last three or four movies, and I'll be doing it again with my neighbor. He cinema à ¬ s very smart to be able to use digital technology to manipulate images. (For helping me make decisions about the day of filming), I saved shot Kalpvriksh Ã, on average, about 10 minutes a day for decisions such as:

There is a ¬ sa flare coming out of a window, it sends the confrontation to get rid of it. We had not got the time. I can fix it digitally. Ã ¬ it is much more easy afternoon.

There is a ¬ s warm light coming from the top of the Musco light flares à ± large. We can not get rid of the flames at the top edge of the frame. Not worry about it. If you're going to have to set the giant flags, à ¬ it will take 20 minutes for us to do so. Forget it. I know I can fix it digitally.

Every now and then make decisions like this, knowing that I could make corrections in a digital intermediate. What a very clever way sa ¬ to go. It is more expensive than the conventional schedule, but à ¬ s getting more expensive all the time. à ¬ He's just going to be the norm very soon.

I think that (you good ¬ s) for young filmmakers to embrace (and) to visit the houses digital (which) are more than happy to show people around (and) to show them the tricks of the trade. Ã ¬ He's truly a unique experience. Once someone has done this, they never look back.

I do not I trade for a long time and I just tend to go to appeal to appeal. (But) most commercial filmmakers who shoot to follow them through certainly get to see the work digital technology, if they go through the process of television.

Now about the owner 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)

E

Subrata Mitra (Pather Panchal, Times New Delhi)

You should definitely check out. I wrote about some of them.

As for a career, I'm still trying to figure out myself. I remember hearing Photography Ashok Mehta on how he got to the point of finally shooting characteristics. Worked as assistant cameraman and camera op for a while until he has a constant presence shooting those commercials. He eventually worked his way up to the cinematographer, and fired a large number of films including 36 Chowringhee Lane and Bandit Queen. It took about 10 + 30 years to reach the level he is right now. And this is the large number that I learned too. It will take nearly 10 years on average to become "successful" (in terms of big Bollywood) in your field.

All I can advise is to go together. Getting into a film crew, whether it's PA, Assistant Camera, Camera op, or the person who cleans the dirt off the camera cases. Watch the cinematographer. Listen director of photography. Ask questions of the director of photography and camera crew. All you're doing, even if the task more futile and annoying in the game, do so spectacularly and be extremely happy to do so. People will notice your attitude. Make friends, but especially with a camera crew, not just the filmmaker. (Also make friends with the assistant director. They can give great recommendations.) Learn everything you can. Get a camera (even SLR or camcorder) and explore your own style. Try something new every day.

As for how to be a great director of photography:

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

And he wants to make sure you know what you're doing, or get really good at flying it. " (Another post about "know the type [of] what you are doing is in the middle of writing, as well as some thoughts about being an Indian filmmaker, until Now, in my journey. Should be interesting.)

For filmmakers who are just making movies, they may not have had that opportunity, but I recommend going to a digital home. I did all my work by Prasad. They have the resources of all major optical engineers and designers, (and) electronics experts Panavision. Prasad is truly wonderful to have been a great help to me knowing that I shoot a good laboratory and large cameras.

I think that aspiring filmmakers have to be aware of both formats à ³ ³ digital and film, but tend to be (pause) Do not ignore the digital cameras, but I'm putting it off as I can. (Laughter) I'm a little guilty for not really keeping up with the latest technology as far as digital (high definition) cameras are concerned, but I tests done with them. I'm still a man of cinema. I love movies.

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About the author: Piyush's passion for travel began after a ride on impressionable Torres' Around the World "for eight years, where the sights and sounds from around the world planted the seed for the exploration and travel.

After Piyush University embarked on a journey backpack to Australia through Southeast Asia, then moved to London to study journalism. He earned a Diploma Hons from the London School of Journalism in 1996 and worked as a journalist since 1997, mainly as a freelance, but also taking into jobs in broadcasting team.

Tags: Bollywood, Bombay, photographer, filmmaker, commercial director of photography, DOP, DP, Dubai, India, Indian, isc, Jain, Kenya, mumbai, Rajiv, Rajeev, CTV, videographer, videography, Wica

About the Author

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

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

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