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

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

Rajiv Jain – India Photo / DOP – The completed, Vol. I

The form of the Light – Rajiv Jain Paintings with his camera

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

What has changed cinema in the last fifteen years?

I went to the Academy of Dramatic Arts Bhartendu (Bhartendu Natya Academy) in Lucknow during the period of the new wave. We have witnessed a cinematic quality that has "broken out" itself in many meaning in period films until the end of 1980. Even the editing is much freer, and Director of Photography / Administration Gautam Ghose with avant-garde, are seeking greater freedom. Even when was shot using handheld cameras, natural lighting, or lighting in a way that seems natural, open windows etc. In other words, an absolute freedom at all with the movement of the camera or lighting.

And our country?

In India, still was a more classic style of photography, and I refer to as Sudhendu Subroto Roy Mitra, who has worked with Satyajit Ray Agantuk (1991). Meanwhile, other filmmakers new with different ideas have emerged, such as Ashok Mehta (36 Chowrangi Lane), especially in black and white. But this black and white with its own aesthetic beauty itself was a feature characteristic of the fusion of light in the atmosphere or mood. So, from this point perhaps the film has become more important one complete symbiosis with the film and history.

After the meeting between the director and the director of photography to influence in the career of one or the other?

During the seminar, a meeting of a good director of photography and a great poet. With the film Ray, for his part, was certainly a point turning with the arrival of Pather Panchali (1955) forward.

What filmmakers made a particular impression about you?

The relationship with Shyam Benegal in Tota Maina (TV Series) was certainly an event to remember me with great excitement that day. I feel with people who trust me have decided to become a director of photographer after seeing that series, or administrators who have decided to enter the film through the Tota Maina. For example, one day, he was a boy who was in Kenya my home, which has decided to come to India after watching the TV seial Tota Maina. Thus, it was a important film for many people, and much more for me because I had the opportunity to work with Shyam Babu.

How did you meet?

It was almost by accident. He was looking for a cinematographer who was also mentally prepared for this adventure, and through my name several sources have been raised. One of my friends who worked as assistant director introduced me to Shyam Babu. I remember when I called to say that Shyam Benegal wanted to meet. We met in his office for tea, and at the end of the meeting, gave a script and handed it to me. I can feel the emotion of the moment right now.

Are we you can count on the television series "dynamic picture?

Shyam Babu told me that the TV uses time as a narrative element, while the picture is usually constant for the duration of a sequence. This is precisely the moment when the photograph of the "dynamic" of the deeds of a different consistency to the film. An example is the weather like in nature: if, during a cloudy day the sun rises at some point this will change the state of light. In indoors, If someone enters a dark room and turns on the light, change the state of light. However, it is linked to concrete actions. This speech is amplified in Tota Maina, where in addition to natural variations in the light variations are added that match the emotional reasons rather than any sense of logic.

During some scenes that are also used different shutter speeds, sometimes barely perceptible.

During filming Shyam Babu request some concrete frame, a slightly higher shutter speed, barely perceptible, and so far the effect of idling, we have been accustomed to see in several television series. It was not to have more suspension, provided the service of a certain atmosphere of the series. Technically, this variation Speed is a slight adjustment diaphragm. Shyam Babu was very precise and demanding with your choice of photography, and not only me but the whole company was so impressed his personality that have voluntarily complied with their requests.

During this seminar regrets that it is always difficult to shoot a movie in India, with special attention to the cinematography. Why?

Mainly because it is a lack of respect for the profession in India. In the few movies that I shot with foreign crews and production In fact, I discovered more great professional respect. So yes, is the lack of preparation, because otherwise the films are well prepared, is likely to improvise on set. Another reason is the understanding of the shots, because if you make a movie ten weeks to five weeks, the result will be different. With the advent of Digital publication also does tend to move in the negative right around the telecine and then in AVID, without printing the so-called "newspaper" that I believe are very important to check any technical problem. This was the case of a film shot abroad, a scene where everything had to be reshot after the discovery of a single exposure of problems during installation.

In strictly technical Why is that Indian films are no longer manufactured with the same care as in the past?

Perhaps what is needed is a true love of cinema. The problem is that do not understand most of the producers who invest in projects that matter. We more the person who loves the film as you want done as well as possible. The device is now the only film to do with the budget in mind, sometimes regardless of whether the film is good or not.

AUTHOR BIOGRAPHY: Tony Parsons (born November 6, 1953) is a British journalist, broadcaster and author. He began his career as a journalist at the NME music, writing about punk music. Later, he wrote for the Daily Telegraph before going on to write his column in the Daily Mirror in the courses. Parsons has been for some time a regular guest on the arts Review Two BBC program The Late Show, and it seems still rare in the successor of Newsnight Review, which also briefly held a series on Channel 4 called Big Mouth. He is the author of the multi-million seller, Man and Child (1999). Parsons had written a series novels, including The Kids (1976) Logic Platinum (1981) and Limelight Blues (1983), before finding success with the public great focus on the tribulations of the thirties men. Parsons has published several best-selling novels – one for my baby (2001), men and women (2003), The Family Way (2004) Stories we could say (2006), My favorite wife (2007) and start (2009). His novels often deal with relationship problems, the emotional dramas and traumas of men and women of our time. Many believe that content of his work is low.

Tags: bollywood, director of photography, photography director of the division of India, India, Jain, kalpvriksh, Mumbai, Rajiv, Rajeev, videographer

Making Ras Star – Photo Rajiv Jain India Kenya

RAS STAR, which are currently at the International Museum of the WOMEN'S FILM FESTIVAL.

Raj Labour was following in a short film, Rasstar, based on rapper's life Nazizi Kenya, which was broadcast on M-Net.

Synopsis: A young rapper, Amani, a devout Muslim family teams his brother, an artist Abdosh stupid to find a way to make money and assembling in the final of talent contest. As the story unfolds, Amani and her brother was captured with a local mobster and a stolen phone incident and simplistic use of language from his brother to carry them out. By chance deal, they manage to find the money they need only to come to blows with his uncle Shaka, the family patriarch and Mlandimu, the local gangster who finally saves them.

Rajeev Jain, known Bollywood film director and cinematographer, talks about his new award-winning film, Ras Star, and the unique approach of the camera is used especially for this movie the girl on a quest for life. With a career as a cinematographer for functions such as the Army, Badhaai Ho Badhaai, Carry On Pandu, Kadach, Kalpvriksh – The tree of desire, not by Mirabai Pyar Mein Kabhi Kabhi and Rajiv had enough experience behind the lens to make the leap to film. Also the movie credits prize won by beating Kenya Television FM.

Where are you and how you film director?

[Ramirez] I am from Lucknow, in north-western India. My first degree is in science and took a some time to find my way in a more artistic. After several I found courses at the Academy of Dramatic Arts Bhartendu (Bhartendu Natya Academy) studied drama. I managed to run some plays and the camera short to do much more. Since then, I liked the documentary and dramatic camerawork with every advance of information and others.

How did approach to moviemaking Rasstar?

[Ramirez] Through discussions with Wanuri, find films that we loved so much visually. We wanted to find different look for each story and a different view today. We found a "visual theory for each section (for example, a dark history of the lenses in red and black long history and Amani Abdosh range Mlandimu lenses). The eyes should be able to quickly implement (then helped in the ranking) by the very tight schedule. Visual theory is then applied to a list of fire (which often had to do the day before because of the locations to change or not are still)

How was it working with HD for the first time?

[Ramirez] With a 35mm camera looking directly through a lens and see the beautiful scene in color and may rely on their eyes, through the photographic process. With a high definition camera, looking for a small black and white in the viewfinder if you need a large (ideally 24 ") HD monitor to judge what you are photographing. It's huge and totally impossible with a limited staff and low budget, so we have a 14 "monitor a good amount of time, but a mountain or a beach distance of only one monitor Low battery is possible. It was very frustrating and led to some things that could have been better.

HD is horrible looking if an area is overexposed. This was the most problematic in the air he chose to shoot very wide lenses which means that many sky in the plan. Unfortunately, the sky was particularly flat and overcast, but relatively bright white.

The main advantage of the HD was able to travel much lighter with a pair of zoom to the city for example, and be able to movie of two hours of material value without worries (which approximately 12 huge boxes of 1000 feet of film to transport and load). It also meant I could leave Wanuri weekend and beating City film and pick-up very easily.

The importance of storytelling?

[Ramirez] The story is a large part of life at an early age. It is a way to find meaning in the world. For a child, is a way of understanding the world through metaphor – The child does not think that way.

If the world exploded and met a few stragglers would not be long before that about someone started a fire and to tell stories to make sense of things. Stories entertain, to provide an outlet or catharsis, stimulate thinking and discussion and make people laugh.

What was the best thing to do Rasstar?

[Ramirez] The best was in a beautiful part of the world of work in a script that uses the slums of Kenya, in the context of history.

What was worse?

[Ramirez] The first day of action sequence on the market. The crowd took so long to get on the site than we do about the film crew were forced to make the beard of moss and a documentary about clouds (Some and thin clouds).

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

[Ramirez] Wanuri is without doubt one of the hardest working managers I worked, but I think I found the limit on a Saturday night. We shot in a bar (the peak of performance) and collection schemes and had the option of going to the pub where some crew were putting on the leg of lamb and a fine Downing beer or head. The light was too tempting, but if we were to and thank God we did because the light was amazing. red light was bouncing off the bottom making chip on black background. There were so many mosquitos, we had to set the camera running and running to attract them away from clustering around the camera. We shot for centuries and the light was low, but still very close. I tried to make one last shot with long serving DJ console when Wanuri suggested that we had enough and should cease the words I never thought I had to say! (The picture was a beautiful and makes the final film).

Have you worked on something from Rasstar?

[Ramirez] Since Rasstar Kalpvriksh filmed – the Wishing Tree. It was a great experience shooting in a remote and interesting. Filmed Mahableshwar one half-hour comedy channel, "the smallest man in the city and also filmed and edited a half-hour documentary on Dubai housewife working in Dubai. I was recently on a low budget Dop "Carry On Pandu.

My Pictures | Style by Rajiv Jain | Photos Indian Bollywood

First Sketch:

For some time, I intended to write my opinion about the film and my aesthetic style and is now here. This does not mean that follow dogmatic – it is simply what worked for me in the scheme. As director Indian photography, I should be able to give the Director the production or watching, I wonder. But within the visual and aesthetic requirements of any production – Or the occasional lack thereof – a factor I was still there. Rules are made to be broken – but only when you have a complete understanding of the rules. I can not pretend know everything, I learn each production. Here are some of my thoughts …

The aesthetics of a project should be established at the beginning of the hearing. It is shameful to introduce a new aesthetic style or write a story too late without justification or motivation.

Another area that receives very little attention has been air plans – plans that fill the space between the scenes. It gives viewers time to breathe, think and can be a time for music to affect the public.

I graduated filter is too false and against nature. His work focuses our attention and instead, usually drawn attention to himself. I do not think I have never eaten and not yet being criticized for my decision.

Most directors have cut too soon on the platform and in the editorial. On the plateau, hope to say, "Cut." Sometimes an actor can give a gem of a moment at the end of a scene if you wait. Worth and I wonder how often the director used this time in the final cut. It is good to have a player at the end of some scenes for the public to take at the moment and reflect.

People change and they do their views. I am convinced that my views may change, too. Until then …

Cooked Art: Images … by Pocket – Indian Rajiv Jain size photos

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

So what the hell is a filmmaker? If you want to get into semantics, which means "pure movement. Without however, its use, especially, is to have control over the camera and lighting crews in a scene, and have much creative input in the final image. Even if you have into account the fact that artistic director is responsible for directing, storyboard artist plans the plans and what actually happens, and the director wants a piece of the action, then it is not surprising how the films end up looking great. Some individuals who have managed to do (just my opinion)

What requirements must be marked to Bhartendu Academy of Dramatic Arts and when it ends?

I went straight from high school to Bhartendu Academy of Dramatic Arts and holds a in two years in Dramatic Arts with specialization in lighting and graduated in 1985. The courses are organized differently now. It is managed as a film school in an art school, I think that is excellent! Allows students to make decisions earlier in the chosen field in film and television, to be a filmmaker, director, producer, editor, etc. is also better prepare students to work in the industry. He is more than teaching how to make movies.

What do you think of what we have seen recently in the Bhartendu Academy of Dramatic Arts (Bhartendu Natya Academy)?

Bhartendu Facilities Academy of Performing Arts are great, I'd say world class. Production main studio is well equipped. The post-production facilities, such such as editing suites and mixing rooms are sound exactly like what is used in most Indian movies and television.

I am particularly impressed by the value of film production students recently to Bhartendu Academy of Dramatic Arts. I think the quality of work is quite high.

I think it's great that students learn to draw film projects is the international industry standard for feature films and most dramas abroad. It is rare for students the opportunity to work with film and digital formats that are becoming more widespread. If you are able to learn and work with the film, then be able to work in any format you meet there. It does not work the other way.

What I mean is that film directors are the same regardless of the format to shoot in. However, firing an approach requires different, both technically and creatively. These principles can be applied to digital photography, but requires a better understanding of shooting lighting and exposure.

Digital Equipment Bhartendu Academy of Dramatic Arts standard and quality to enable graduates to leave the industry and really understand the operation of any other piece of equipment that will face. There is no reason why quality of student projects can not match the high quality of business plans, because the material used is the same.

I am particularly impressed the production value of film students recently Bhartendu Academy of Dramatic Art. I think the quality of work is quite high.

What was the first break or employment is the key to set your career path?

I had a series of breaks and I think many of them overlook one of the another. A series of fortunate events could say, but if I think I owe a big cut in particular was a night when I had just finished my new film reel mounting show. (A reel of the program is working as a portfolio, a cut of my best photo edited to music.)

Just as he had finished, an e-mail I got sent by someone who was barely known. The email said that Kenya's production company was looking for a director of photography for India shooting the film part of a fund that was on the screen in the Universal Exhibition in Nairobi, Kenya, and wanted to see figures shown.

I went to the post office the next morning and my sent mail. I received a telephone call confirmed a few days I got the job. I flew to Nairobi and worked with a team of professionals to complete what has been my first important job.

The people I met in this project enjoyed my work so much I had received a call from a month later and told me he went to Brunei to post ads. He returned to India with a new show and reel improved. Having international work on the coil raised my profile and got more and better jobs and an agent and I was not there …

A case of now I think!

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

Quality I admire the creative professionals Success is the ability to be proud of their work. Whatever your creative research, I think if you do a job you really like and I feel very proud, then fortunate to have one of the best jobs in the world.

I think a challenge in itself, working out of their comfort zone is important to realize that success must be consistent, positive and hard work.

Whatever the level of creativity is, it will be a hard slog to get your race course. With a creative career judged on their body of work and his career. The first thing to do is create a portfolio or in my case, a reel of the show, then you prepared for the criticism and fight back, never give up and use them to strike again the incentive to work harder and set their standards higher.

I also think it is important for passion projects that you can experiment with ideas or experience. For projects of passion, I mean those who do it for love it and not pay. I took a lot of "gifts" to get my reel to show the height and gain experience before starting to charge for my art.

It is also important to work on the network. You never know when that person can be considered a real rival to pass may be the work of his way, or make them aware of new employees. The movie industry is too small to make enemies. We should be like a support network and learn from each other, forever best projects.

For you, what are the Must See 'reference movie in terms of cinematography or current or cutting edge?

Well, to begin the film in the movies Indian Kalpvriksh recent films – The Wishing Tree – Do your dreams are too far and would soon carry posted on Pandu are quite remarkable. Ja!

No, seriously, some of my favorite and most influential in terms of moving images are shots with the shot of the large crane or Steadicam longest in the world, but those that create a sense of mood and atmosphere. The films that convey emotion to an audience and help communicate the underlying idea of telling a story more about the characters that dialogue alone could.

I think the most influential film I would think it anything made by Satyajit Ray (Aparajito (The Unvanquished), Parasha Pathar (The Philosopher's Stone), The Music Hall (The Hall of Music) for his use of humor, the atmosphere and cinematic techniques.

Also classics like Pather Panchali (Song of the road). It took me a while to understand why he is considered the best film ever made. The use of depth on the ground in this film is not only a technical achievement, but also a story.

I also liked Proshakha shakha (branches of a tree) Agantuk. Both are very hard and hand at once, but very beautiful and really feels "inside" the film.

Is I was trying to create in the film latest I've photographed, Kalpvriksh – The Wishing Tree.

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

lights key moments of the film from the Kalpvriksh – Tree Greeting

An interview with Rajiv Jain, owner of India Rajiv Jain Photography Film, and handles images – Dubai – Madrid – Nairobi.

Q: What is your profession? When you're working?

A: Director-cinematographer, director of photography. I have my own company, Rajiv Jain, Movies, Photos and mangos, and I did for about twenty-five years.

Q: How long has been a filmmaker?

A: I've been doing several years, but I started my own business.

Q: What kind of training did you become director?

R: I went to Bhartendu Dramatic Arts Academy. He had an undergraduate degree two years in the performing arts. That put me in a position to see how the industry has changed. After leaving college, children simply must start your own business. First, they must decide what to do in the industry and then go for it. The sky is the limit depending on the career you choose.

Q: What do you enjoy most about your job?

A: You work for me. Have the freedom to make their own decisions, make your own way in what you do. But you can take a month off work if you yourself are, so I definitely put him in a path of business as well as a creative path. Take charge of the business, not only liberal arts. The film industry is a business, as industry music. You must be a starter.

Q. Describe your typical day at work.

R: What job? Normally, When not working, I'm in my office doing paperwork. From his office, you may have to go somewhere local and can vary between two days and thirty days. Many of the sites our business away. Each piece is unique. As soon as you think it is typical changes.

Q: What race you were before become a film director? Do you think that helped prepare her to become a massage therapist?

A: I was doing theater, photojournalism, work in a local chain and make a decent income. I found essential for the incorporation of my words and when I started shooting photos, I realized that what I love. But when you have a creative bone in your body, such as writing, it is easier to grow in other aspects of different jobs.

Q: What characteristics do you think are necessary for success as director of photography?

A: Everyone has different paths to success. But you keep. Editing and graphics has changed so much. The whole dynamic has changed completely. You have to be totally flexible and stay with the trend Current.

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

A: I do not think is essential, but what is left college network, I very much. I do not think it is a necessary condition to one hundred percent. But, of course, you should have a good school to teach you what you need. When you're in college you need to start working on building a portfolio and a school can avoid it. If two people have the same job and both have impeccable portfolio, but also made a four-year degree, you can bet that nobody is going to land the job. Being in the industry full time, not only independent, means that it is important to get that title.

Q: Would you recommend this career to someone else?

A: Yes, I can not think of anything better to do. I see things that people do not see. Is it for everyone? I do not think so. You have thick skin. We must work for months. Do not set your expectations too high. Be realistic. My first recommendation would be to go to college and get the full working day. Do you have an idea what the industry concerned. It is difficult to have just a good portfolio, unless you're an amazing filmmaker. If it does so without the university is very difficult to do.

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

A: The people of retirement and go. No, seriously, I'll make more projects. I want complete control of my future projects.

Kalpvriksh – The Tree of Desire – Dreams are yours just a little off - Photo Rajiv Jain

Twice a winner of India Rajiv Jain WICA ICS Creates Global Task picture of light, shadows, in his recent movie you want to sell your tree Kalpvriksh that dreams are not far

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

Rajiv is inspired by directors like Satyajit Ray (Pather Panchali) Ashok Mehta Photography and ISC (36 Chowrangi Lane) and Binod Pradhan (Parinda) for his use of color and light and shadow to amplify the emotional content of stories. I think the possibility of allowing people to operate in the shadows a real art, "he said. Ashok Mehta allows his characters to operate in the dark. lights for all black people are really rich – but we can see.

His work in Kalpvriksh, a film by Manika Santiago emerges as a period with an advantage. Rajiv was particularly intrigued by the non-narrative, fragmented writing, because it offers a variety of visual possibilities. Filmed primarily in Kodak to give Unlike outdoor stages, Rajiv experimented with hot water filters and blue to get the look he wanted. The result is a Stark, almost surreal journey in the minds and actions of strange characters in the film.

initial collaboration is essential in a film, says Rajiv.

It is important for me to go through the script scene by scene the director Manika Sharma, Rajiv said, trying to see what's on your mind. I want to know what the scene is said, is the most important now, and how the characters move around the stage. They also share photos and movies, which gives us a visual to work.

Academy Graduate Bhartendu of Dramatic Arts in theater and early photography, Rajiv took a film class. Puzzled by half of the film, saw the opportunity to combine their interests in film publicity. Find a way to learn the camera, offered his help (unpaid) director of photography Subroto Mitra to learn the craft.

He taught me about the package SR, lentils have been, and how to load magazines, "he said. Then I started to work on documentaries Shyam Benegal in Nehru.

In 1996, Rajiv was the first opportunity to make a movie, the Army, with Mukul Anand. After eight weeks of shooting stress – every move was controlled.

After six functions, then came Kalpvriksh in 2007, Rajiv has to explore a new visual technique to add nuance to the story. The film features a dream trip that Rajiv wanted to give a dreamlike quality. We tested the filters and a bleach bypass process to give this part film their own feeling, "he said." Instead, we decided to use a tilt swing, an accessory that allows the camera operator to modify the development plan. He chips in several parts of the framework development, which is difficult to do in a long shot because of the greater depth of field.

Rajiv is currently finishing production in the Pandu Continue feature shot in Mumbai, and ads.

Full of surprises! Rajiv Jain, Director photography india / DOP, talking about … KALPVRIKSH (The Wishing Tree): Your dreams … If it is little more …

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

The day after graduation, Rajiv went to work as an intern in an anamorphic image. Contributed ten other films as assistant director of photography before becoming a dictatorship of the proletariat. "From that moment I took the camera for a pen that you use to draw, "he said." Operating a camera is mainly on the composition and rhythm. I also used the camera to Bollywood songs. It was very primitive. While we were shooting, someone with a watch was all the time pan and zoom. He said: "You have 5 second half to zoom. It was a great lesson for me, learning to do all the elements of a shot of work in so little time."

I thought it was fascinating that the film speaks a common language that everyone can understand, "he recalls." This is particularly true for filmmakers, because we communicate with the public non-verbal. "For me, making a film is as resolving conflict between light and darkness, cold and hot, blue and orange or other contrasting colors. There must be a sense of energy, or the change in motion. A sense of passing time – light turns into night, next morning. Life becomes death. Making a film is a journey and documentation with light in the style that best suits this particular image … the concept behind him.

The first major decision on For video was shot in Anamorphic (2.4:1) format as they did in Kalpvriksh – Tree of desires. Manika said Rajiv likes manipulating subjective viewpoints and objectives, sometimes in the same framework, but at the same time. In a simple example, a fire in a subject, then an actor in frame, creating a ball over his shoulder, the evolution of the subjective – in which the viewer sees what the character sees – in goal. "One of my first suggestions shooting Kalpvriksh – The Wishing Tree Super 35 format," Rajiv continues. "I felt that the film would give an advantage not expect to see in the drama. I felt that we could use the broader context of creating a claustrophobic feeling in the cave of Shabana and interesting composition showing Shabana in the world. "She, director Manika Sharma, designer Mansi and other creative team members discussed opportunities to compose Kalpvriksh – The Wishing Tree large format, while relying on visual cues, such as another drama with a theme unlikely. Although the scenes Manika storyboards, sketches used primarily Rajiv as a communication tool. During filming, the director is still open to deviate from the script to take advantage of unexpected opportunities. "Our Mansi and sets suit us apart is the rich and costumes. While pushing two stops in the development is not always so faithful to the colors, their cooperation with this technique has allowed us (especially in dinner / fantasy sequences) to have a hot scene and yellow, as if lighted candle, he said.

In a spectacular scene on, the director of school (Mahabano Kotwal) sits in the chair, looking out the window at the rain fall. "The scene was illuminated by the light of a tough day, an ARRI 6K," said Rajiv. "We did a light in the window. In light of the door, we used a 4 by 4 mirror is out of frame to right. The light is modulated by the rain on the window and expanded in the book. Collection were "brown. It was a happy accident, and everything worked perfectly with a light. "For an extra light in this film we become very, very little or nothing at all, "he said." I think the film stock we used, if a bit overexposed, you can read details in the shadows incredibly well. When I saw the picture on the big screen 70-feet wide, on the dark side, which is dead black, you can really see the hair head of the actors. I found it very interesting. I hope it works on a subconscious level of the public. "Even if Rajiv knew I could not open fire a T2 or T2.8–because the Super 35 format chosen has a shallow depth – still wanted this tool to give the story a stage presence bigger. The more negative pushed to the limits. And he knew that the grain would still be acceptable if it remained within the ranges T2.8-T4 in the interiors. "We could use sources real and should not be difficult for our team to continue development, "he said with confidence.

Like many of his colleagues, Rajiv Jain Director of Photography has many concerns about the changes to be made to the post of AD image processing electronics. These considerations are intensified when dealing with a profusion visual effects, which in the case of Kalpvriksh – The Wishing Tree. "I tried to make a concerted effort to stay as involved in post-production as possible – it is sometimes difficult because 'Off with the next task – to work with the house of digital and optical effects to ensure that no problems would arise with the response process print. "I do not see any light in the master plan," he said. "The master plan that began with an explosion was impossible to light. We were trapped in the back corner of the 35 mm lens and had a two-way mirror in the background. Therefore, using a technique called Rajiv Jain borer. In other words, usually shot horizontally across the room, and there are horizontal surfaces, like layers above and tables. Coming directly on the fire and deepening this surface, which works very well. It does not look sick. If the light comes from a place that is not normal or ordinary people seem to accept the item that was not really determined on what happens in terms of a source. The shadows fall, so do not end up looking strange or draw attention to the source. You see it on the table, then turns the table and the lights of the face to some extent. It is interesting because they are not lighting the people at all. You are the light of the environment they are in.

Anamorphic gives the space under the "doing, Rajiv said." Manika has no problem filling a table in a contemporary anamorphic picture. The story also elegiac looks for so it seemed best to put it to cut the rock and motion video camera frenzy. With the curious distribution, we knew this movie is about performance. All these ideas – like "if it is not broke, do not set '- taking into account in our decision to make anamorphic. "To determine an appropriate approach to different climates visual Kalpvriksh needed – The Wishing Tree, Manika and Rajiv decided to withdraw largely activity routine to see other films during preparation. "We used a lot of workbooks, reference to other artists working in two-dimensional shapes, photography and drawings mainly refers to Rajiv. "It's a fun and different preparation. Seeing the movie to see how a particular sequence Work is great, but this approach does not get me started on this incredible journey self-education, which includes photography from 1890 to 'so far. Now, I can not stop buying books. It's amazing the amount of source material for visual reference is there when you return to basics. These points were great start for us.

The filmmaker also had to avoid revealing reflection of photographic equipment and personnel on the surface of the water. With a disciplined team, which requires careful placement of light and the selection of camera angle. He found the plastic on the distance from the point of view lens moves closer to Shawn was slightly distorted images with a touch of grain, which amplifies the light that he and Director Manika desired. Rajiv also added some thoughts of the characters and objects on the surface of the water draw attention to the barrier that separates the child from others. Sometimes the camera takes a subjective position of the viewer, like other public Once the seems to share the experience of Shawn's life-in-the-bubble. "There is no simple formula for deciding when to put the public in bubble with Shawn. It was a question I made the head of each shot of every scene. Are we to Shawn inside the bubble, or we're out of search "

I do not think, and obviously did not, or administrator or the company Rhombus Manika Sharma film production. Another photo taken at an old house we had to Bollywood is to run two power generators all the lights. In when we did, however, I was able to get two-thirds of a long sequence with the reflections travel seen in a long night pool (cave Shabana). "I think which is a visual reflection of the fact that their position in life can change almost instantly, "he said." He's very effective visually. It seems to work in a number of different levels. This approach seems to refresh all the various postponements and changes its orientation. There is a very interesting scene between Shabana and child who held under a tree, and there is a feeling of discomfort and possible aggression. It is very ambiguous, but the spatial dynamics really focus on feeling. "

There is a great advantage of working on location with respect to a study. For example, the Muslim home told me that a real marble floor. Experience PDO know how to use this fact something that can not simulate in a study, "Rajiv thinks. reflectors have been widely used in the film, usually on the side filling have some temperature or an edge of the Keylight and redirect some of that light on the filling. In most cases, very subtle, but a mere reflection of the light. "We use reflectors EyeLight almost no one, "said Rajiv." He is a tension between these three characters. There are a lot of inner emotions beneath the surface of this film. I felt the public should have access to the inner life characters, so I tried to move forward Eyelights, especially when placed in close. This is often done with a small reflector to issue last minute.

One of the most important aspects include Shabana preview character. "To learn la, which have begun work on a storyboard artist, "said Rajiv," Who drew good advice and is a brilliant artist as well. We told our Shabana thinking about how he looked and started working. Manika credited with creating much of the final appearance since their drawings were used to communicate in their hair, makeup and costumes Manika services looking for his eyes. "Part of Guise Cave" involved using a wig, which often obscured the actor's face – during which the failure of a few ideal lighting conditions. "For hair and makeup tests, that all seemed incredible Shabana would be difficult to treat for two weeks. He had a big hat and a suit too big, so there was a question whether ever to be able to see really. I told him that, sometimes, Manika, was about to become the hair with hair. Very sensitive to the needs of actors, Manika I do not want facial hair, so did not try to mess with him and work out for us themselves. "

In Kalpvriksh – The Wishing Tree, Rajiv chosen Vision 200T (5274), but for the entire night outside, and explained that the soft texture emulsion non-intrusive files deep blacks, accurate colors and a wide tonal range. Rajiv was shooting Eastman EXR 100T days (5248), using a filter medium and EF-81 keep the cold blue winter. 250D daylight balanced (5246) Overview of the actions has been selected for the national day while night exploded Vision 500T (5279) in most interior and exterior. Since the shooting, the director Extensive tests with different materials in search of suitable thickness and translucency. "It's like cheaply using a filter on the ice and realized that any distortion or loss of interest is amplified when the optical laboratory 'squeezed' images in the report of 2.40 point. Apart from choosing the right plastic, it was important for us a great experience with specific negative images. We toured through filters at least 90 percent of the time.

While filming scenes of forest with a main character, Rajiv uses what he called a sandwich of nine light. "Others might call it a book of light, but in any case, recovered a nine-Light Maxi Pearl gross piece of cardboard and then letting the light through a framework of general circulation, equipped with a 216 or grid of light. The surprising result was a soft light that good quality, plus some serious flight candles. This light is soft enough to drill Shabana hair and I could control the amount of light with a simple click of different balloons. But it also requires a lot of trouble took a lot of breathing space. "Other times, Rajiv illuminates the forest, focusing the light from more extreme angles." I have come in large part weaker and more head-on with the key I normally would, but the approach has succeeded in the fall of her hair is natural, yes, all this has been difficult, worked. I'm just grateful for the scenes where her hair Shabana got, because I could get an advantage for its beautiful side lighting.

When children reach the tree before the summit, the production has created the famous production filming actors in front of blue screen and green screen. These elements have formed a fund basic digital plates taken from Ladakh. Harry and an internal Arjun chiles Red supervised the visual effects shots. "No I think these scenes may be more credible if we had traveled to Ladakh to shoot live, "marvels Rajiv." How I miss you when starts with 70 mm base plate? We matched all of these dishes. "

There were some scenes days, we decided that the cracks in the ceiling of the cave to leave the light the sun and more difficult, "he says." Put posters on the walls behind the players and leave a little bounce light off the floor. For Most, however, the scenes are set in the cave at night – lit by firelight or flashlight or off imaginary light, which is not connected to anything. For water, I chose to use slightly bluish light on the key players, but not halting movement because I felt he was distracted. Blinking in the face of real water. Add What was an effect of flickering light on the walls, which seemed to be more pleasant while bringing a little realistic.

At the end lab work was done by Gemini, which film journals provided. "After his experience in the commercial world where he works on a monitor at all times day Manika loved watching the film – has opened a new world for her, "said Rajiv." For example, there is a plan to provide online Shabana at the end of a long shot under the tree. When he saw the video read Manika [TAP track] does not feel good about it. It seemed too quick off the ball. He suggested that perhaps the line should disappear in the issue. After a while, Manika as projected onto a large screen and instantly loved. "When asked if this good news extended to the drama on the screen and, Rajiv smiled and said," Would you be surprised if I said there is a happy ending? "

The filmmaker does not use the issue in the lens of the camera, preferring to ease his respect to have that selectively affects the source of light. "I've never liked movies where the global resolution of the objective changes, obviously, when cut into a forefront during a scene, "he said." The field of media trucks in front of the lens Actress] [Search for "better" is foolishness to me. I do not want to see the efforts of the director of photography to make someone look good. Instead, I see the character, look good, and I think what happens when the actor is part of the scene well lit and in a way flattering. My solution is to reduce the light source, and the image is as clear as possible. Some people think that Primo lenses is too strong, but I like everything perfect. When combining years of research and development of film stock from Kodak, with what happens in these lenses Arri and laboratory work with Gemini, and then put everything in a movie on the screen correctly, the result is so perfectly amazing! As So I am very proud to guarantee a very perfect negative. We may want to spoil it later, and that's fine, but I think starting with something well exposed and sharp. "

With all the treatments needed to describe visual perception and Manika Shabana Rajiv necessary to adjust parameters in the early events that require more sophisticated visual effects. "We're telling a story that we see in part through the eyes of a madman," Rajiv offers. "She's a very crazy brilliant, but insane, however, therefore, makes sense of these fantastic visions, but not in the tradition of sci-fi effects. We presented a wish list of visual effects budget, but again prices four or five times what we expected. This has forced us to retreat, and that the final decision has been better for the movie ended up doing. Most effects are the things we did with the practice of light signals, or as a combination of these indices with digital retouching. "

I'm glad to see this picture of the eye that looks interesting, but I am also pleased the graphics are no substitute for history. Early reviews are praising Shabana's performance as one of the best that she has given, it would be logical to something that took away from this aspect. Many movies these days seem overwhelmed by the effects Manika but not one to say that the kind of story.

When India Rajiv Jain Photo ICS WICA asked if he would do things differently today, the master artist said: "Ninety-nine percent of the time when I see my old films, I'm sober. It was the best I could do at the time of my life by what we had to work. The important thing is your life and how they evolve as a human being and artist.

Q & A with Rajiv Jain ICS WICA Indian film photography Kalpvriksh - The Wishing Tree - Dreams are just a bit far

India Photo Rajiv Jain ICS WICA is a filmmaker based in Mumbai, India. Rajiv specializes in the filming of television commercials on 35 mm motion film HD picture and digital. Rajiv began in the early days the music video revolution, before venturing into the film narrative. His eclectic work includes the Army, Badhaai Ho Badhaai continue Pandu, Kadach, Kalpvriksh - The tree of desire, Mirabai Notout, Pyar Mein Kabhi Kabhi and Rasstar.

QUESTION: Where were you born and raised?

Rajiv: I was born in Lucknow, India. There is no significant event that happened to me as a young man inspired me to be a filmmaker. It was certainly not the quality of light in Lucknow. I remember it was gray, dark complexion was of the circulation and the dark sky. But as I said that I am aware platform outside the place affects me emotionally. Saturated cons jumped as neutral, as in a dream or a nightmare post-industrial.

QUESTION: What are your parents?

Rajiv: My parents were just ordinary people. I do not think were particularly difficult for me. His main concern, I think, It was a shame. We returned to Etawah and Lucknow, where I completed my studies. Were Diploma in Theatre Arts.

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

Rajiv: I wanted to be a writer, but as Rakesh Mohan I was thinking too much and too little writing. Too much to say it was more of a reader, then a writer, scholar, poet, and much more. I am very interested in semiotics and structuralism (the study of linguistic ideas code). Initially, he studied how the spoken and written language work, but became more interested in how the codes of which have worked in other languages as the language of the film. My interest in film language led me in a fairly complicated to cinematography.

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

Rajiv: I became very interested in understanding how to modify the light, the angles camera, composition, and movement of the camera director of photography on the changes in public perception of the visual event, and therefore the response spectator's emotional. It is difficult to quantify. I particularly remember thinking when I see a child Pather Panchali, and how his image had always remained in my imagination not only for its sublime beauty and magnitude, but because it affected me emotionally, striking a chord, but unconscious. Later I saw Ray "The Apu Trilogy." I had much the same answer, but now my opinion has been informed by my studies. It is fair to say that the Director of photography of these two films, Subroto Mitra, are those most influenced my decision to become a filmmaker.

QUESTION: How to make a connection between words and photography?

Rajiv: In the writing of essays and articles on film. I realized that the images of the film works much the way that spoken and written language functioning. You want to express certain ideas. It is understood and accepted culturally codas. These forms, which we call letters, agreed pronunciations. These letters form words. These words have agreed meanings. But it is obviously arbitrary. The word "cat" is not innate "catness" about it, but hearing this word the listener is the idea in his brain. A cat. You can then add adjectives and adjectives, to make a black cat or black cat angry. These are code words, but not universal codes. They are specific for a culture that shares in that language. Photography in some respects a more complex language. The denotation (specific) or connotation (symbolic or implied) meaning of an image can be ambiguous, but also complex. Perhaps the best analogy is the literary haiku. The words have more meaning less potential - The words that are added in literary forms, the more specific meaning. An image provides both specific and unspecific meanings. It can work in multiple layers, consciously or not.

Q: Have you had any mentors or be completely self taught?

Rajiv: I learned a lot of other DPs. But it is mainly based on the study of his work. Ashok Mehta speak much, and gave me much. But I was self taught. Studied art extensively, especially artists of the early 20th century, and artists in the 19th century. I learned a lot about light from them. I won an all good movie idea I saw, no doubt. In particular, the work of Subroto Mitra (ISC), Ashok Mehta (ISC), Binod Pradhan and Santosh Sivan (ISC).

QUESTION: Do you believe in you himself as an artist, a technician or both?

Rajiv: I think it is a very important distinction. Do not want to sound pretentious, but if one takes into account the nature art, is intended to give us new eyes to see the world. I want the time to react viscerally to what our intentions are in a movie. I think the film works like the music, because it is difficult to measure or quantify what the public responds to what we do. So is art. And its practitioners must be artists.

QUESTION: How is the analogy of music and film.

Rajiv: I can sit in every day and see someone to watch the movie with me physically and emotionally respond to images, but it is very difficult to quantify what they are. If people listen to music may also respond, but it would be very difficult to quantify why they react.

QUESTION: Let me borrow a phrase Subroto Mitra, who said, Director of photography are the authors of the images. But this is not widely recognized.

Rajiv: Part of the problem in our culture collective. The films are examined in the theater, rather than as a unique art form. Critics talk about scripts and performance. They talk about things they understand, but because they understand their own history, culture, mainly in the traditional theater, but can not recognize. In this context, movies and music are not included, except to say they were beautiful, because it is a language developed especially critical description. Unfortunately, many commentators do not recognize the decisions taken by the director, cinematographer and composer has had a profound impact on gut reactions and answers public intellectuals. I'm not saying that the filmmakers are not recognized. We are at least in the industry, but not in the mainstream press. I do not think I read a review which mentioned the importance of Subroto Mitra (ISC) the decision to use 16 mm format and others in some scenes of the river, but has had a profound impact. I think this is an important decision remarkable artistic, indeed, essential to understanding treatment of the public of an artistic film.

Q: The collaboration between managers and directors of photography is unique.

Rajiv: One of the important things is that the filmmakers are working to integrate their vision of a film with the director's vision.

QUESTION: There are many videos that you threw influence today?

Rajiv: Not really. None of my films are like music videos, but best of music videos was that we could experiment with different lighting, film types, lenses and filters. We decided to try to put four filters on the lens current process, the film, or put a negative turnaround post-production process of films to see how it goes, and try again in the opposite direction. This was a great way to learn.

Q: Are there any other filmmakers, whose work to follow?

Rajiv: I can cite all the obvious names, but the truth is that I learn all filmmakers. I can see a television program shot by a filmmaker 29 years and find something he or she has done is very interesting. Am constantly learning from others. I still read all the magazines and newspapers in the film and photography that could bring the hand. I studied art. I collect photography books and paintings. But this is not just the good work that others do I learn from. I learn from my mistakes I had ample opportunity to do so during the past 20 years. When my son Adam was the seventh grade, he wrote an essay in which he was obliged to say who was his hero. He said I was. My father is my hero because messes all the time, and allows me to see. "Therefore, I feel authorized to tangle. I think it is a very important lesson to learn. Are allowed to pollute, and sometimes will cause damage if you're willing to push the limits of your boat.

QUESTION: Is this other mentors influence their thinking?

Rajiv: I graduated from University of Lucknow for a short period. That's where I met Renu Saluja was really important mentor. It down some roads interesting film theory.

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

Rajiv: At the beginning of my career, everything that was offered was a movie I wanted. Today two things may influence my decision. The first is my first meeting with the director. This relationship is like a marriage which, curiously, much more intense. You must decide whether to agree with this person for the time they will be together. I think well with more than 90 percent of the directors with whom I worked, and many remain friends. The second thing is photography. I'm always interested in doing something new and different. If the project is very similar to what I did before, and the script is not very large, it is less likely, I'll be interested. Sometimes, a project that is so interesting is it is impossible to resist.

Q: What do you say to students and other young filmmakers, when they ask you to share the secret success? Do you tell the truth about grades?

Rajiv: I think we should be patient and do not let yourself believe that things happen quickly. You need the integrity and honesty that you want to be. Thus, even if you fail, you fail with dignity. If you do not compromise and what's left?

Notes fast by the Indians Photo / Rajiv Jain DOP in the film and India aspiring filmmakers:

A rapid filling station "to try to get something really important wrote:

More I hit my blog are people looking for keywords like "Indian filmmakers' Race film "and" How to be a great filmmaker. "I can only offer my personal experience.

Rajiv on the advice of, applicants young filmmakers in India

A Council

About the Author

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

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