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Rajiv Jain – Photo – Director of Photography – Rajeev Jain

Rajiv Jain – Photo – Director of Photography – Rajeev Jain

Information Indian Film Student ……

Some answers to questions posed by visitors to the site! Send me a line today.

QUESTION: How I can be an Indian director of photography?

For people with successful careers in this case, the question most often heard are those who ask how he got to where it is. In fact, as soon as I started developing this website and the status of my desire to share this information and answer questions about production began to questions concerning what I call "The big question."

So I wrote this generic response. I hope it is useful for anyone considering a career behind and before the camera.

If you ask 10 or even 100 different people on how they came to this business you will have at least 100 different answers. As for me, I had a natural interest in the whole image, in part because of my Guru, whose hobby is photography white and black. Learning and training under him gave me a lot of exposure to this type of photography that has rapidly gained a passionate hobby blossomed. In this particular moment, I have also participated in theater for small business theater Lucknow, regardless of the roles between racks have also worked as / Establish a carpenter / light operator construction of these works. All connected together so perfectly.

The experience and training I acquired in my teens, when full back pay I decided to go into a full-time job. I started working as a man of light in a television station, My experience between racks in carpentry and construction game sharper and better my skills. I started Picasa, but with time my vision and my dreams have increased and saw for myself the opportunity of his career as a cameraman in television or film industry, to make this dream a reality I returned to school on time Full theater and I majored in theater (stage CRAFT) and the design phase of the light output. Believe me finish my studies has been the best I could do. Besides depth training in many different phases of the company, which allowed me to focus and refine my natural abilities (which are very visual) to the point I was sure I wanted to be a filmmaker.

Somehow, because of my previous work experience in a television station where I was allowed to make lighting, camera and building sets, etc. I well ahead of many of my colleagues when I started drama school. Still, I followed the Job-hunting part-time projects, whatever I do the work with cameras, lights, etc. before closing a few summers, I worked as a technician in a temporary TV station and right after graduation I was offered a full time apprentice Binod Pradhan position to work behind the camera in Mumbai. While doing this work, I continued to make short films on the side, volunteering to take the VHS format, direct and edit something for someone, if pay for equipment, film, etc. Soon, after working for a period of eight years of time I have covered and worked at various levels is to say, the movie like a spark, grip, key grip, charger, discussion extractor, camera operator, gaffer and through constant lobbying and show my work, I was offered the position of a cameraman in a television production.

From there, after years of effort and several long-term local, industrial, corporate, documentaries and series under my belt, my work has been seen by an independent producer of successful films of the network / TV / advertising campaigns. I did an offer he could not refuse, it means spending a few years a large number of shows produced for the network. The winning streak put me on the map in my PDO career has gone well since then.

Encourage the desire to become a Declaration of Principles is a bit like saying that he wants to become a movie star. Not no path defined these objectives. Many try but few succeed. But the fundamentals of art can be taught and well learned in film school. Therefore, privileges snacks Individuals granted a few (not to be born of a great cameraman, director and producer of Hollywood), school, cinema is probably the best place to start. Also exposed to a lot of information on many other aspects of the business.

What You Should Know

There are obvious things you must consider DOP for example, photography, including composition, lighting, movement, and fine arts, including music, painting, even sculpture. PDO also helps if one has a good hand-eye coordination and is good with his hands, with tools. After all, a camera is just a big complex sensitive tool, with many interrelated elements that must be mastered by the dictatorship of the proletariat. It is also important for a Declaration of Principles for a good leader, a good communicator and have good people management skills. But one of the most important things one must know well DOP is often overlooked. The study the theory of "montage" or editing. Fitting the theory is in the heart of what makes "films" of work, either TV or the big screen. It also includes and requires study and understanding of the psychology of human perception – the things that happen between "see" and subjective perception.

Some of the important dynamic of moving images we see on television or in a theater is the dynamic the "cut" a scene, or shot or one party against another, then another, then another, etc. This dialectical process, the union of two things to create a third party then join with another and so on without end, that the basic grammar of film we know and operates on several levels. He works at the juxtaposition of scenes, takes of a scene and the elements of image and sound and movement. In what sense the composition, lighting and physical movement that leads the viewer's eyes and the effect is the juxtaposition of these elements with the viewers emotions and perceptions? Wide Management, middle ground, foreground screen, and these are the increases that the language of cinema as a subject and the verb is the spoken language. These are fundamental concepts in addition the visual language of moving images and should be well understood by all those who want to be a cameraman.

Being a director of photography …

Q: Could you define the filmmakers work? How I can find in lighting / electrical service? "

A: The director of photography and photos (yes, even a person) is as a cinematographer. All department related technical services (camera, lighting, electrical, and the work of the handle) is considered the work of the RFP. Thirty-four (1 / 34) and DP. Are needed years of professional experience to get your ICS WICA and accreditation.
Ask yourself this question …

Thus, the conclusion is that there how to establish real to become a filmmaker. Ask yourself this question – "What about your life? What are your hopes and dreams and find a route best suits your needs. Want to work in industry, education, the pros and then start shooting?

… Be ready for the big pay cut

A large number of assistants working for a camera of at least five to seven years, and then start shooting. Camera Assistants make more money in the department next techie. Money can be an evil, sometimes, in the sense that they lose sight of your goals because it offers much of him. All the years pass and suddenly everything what we have done is make money.

Be ready for the big pay cut because the land of $ 2,000, – 3500/day Concert trade in its first year and much least the first three. Some people start shooting as soon as they come out of film school and five years later, could be a professional RFP (in my opinion view, a professional is someone who earns a living from their profession).

You need an incident light meter (I recommend the Sekonic L398 for beginners) and metering (Minolta F and M). As a practical, working knowledge of multiple cameras, which means understanding the depth of field, the circle confusion camera operation and learn the characteristics and understanding of enlightenment, which means understanding the color temperature gels, broadcasts, etc etc rebounds.
Advice for volunteers …

Volunteers of outbreaks for three reasons:

1. To gain experience, or upgrade.

2. To establish contacts.

3. as a favor to someone with whom they work a lot.

Volunteering is a very difficult property because nobody can really afford to work for free eighteen weeks. My teams are loyal to me because I gave them a chance when nobody else would. One of my camera assistants is nice letter from FTII was one of the lucky few who have been accepted this year for the course of filmmaking. When Member crew can not work with you because they have to earn the money you have to respect that.

Key personnel should have experience no doubt. Any person can volunteer. I worked in a large number of shoots, while volunteering I made the transition from corporate videos to movies. The keys were still live and have always been generally paid (usually smaller scale). You can do so in the short film format, but not a function.

The film is not only an art. It is also a business.

The executive producers tend not to invest in people without experience as a director or producer. I seen ads where people states that could provide an element of $ 100,000.00 that can be done if you are a veteran of the industry could get a lot of people and favors offers from people in the industry of others. For each one of them there are hundreds whose film has not come for one reason or another. We humbly beg you, DO NOT approach the man of money until you've done your job as a producer and everything is in place.

Find a pearl script is the character of the engine, simple and very few places. Actors – who won have no problem. Finding an actor who has done much work but it is a short list of Bollywood and to give them a party can not refuse. If you can assign names to the film so that people are interested and even give you money.

… Filmmaker of heart!

I am one of the few people who really worked in three departments. Most people work in a department. But I think what makes me a shot. It has also attracted a large number of directors for me because I can do all three ministries. I hire a technician, but I am a filmmaker at heart. My knowledge of theater and film has helped me tremendously to work with principals and understanding where they come from.

The statement ………………

Last tip: If you really want to succeed as a PDO (or anything else in life) – be tenacious! Never give up! But be prepared to spend a long time, even years of frustration to find the way and go upstairs. Post there is no way to become a filmmaker or a director or an actor route is often difficult and can be very frustrating. But if you look at the careers of those who have been successful in this business, you will see three things they have in common: tenacity, hardness and toughness! Of course, talent is important, but that's just a lot work and the desire and respect. Becoming a doctor, lawyer or engineer is easy in comparison, because the road is clear. If you just do the job, get the title. It is very crisp and clear. Make your own path in this case is much more difficult and this is really what separates the wheat from the chaff.
And do not forget to fate and destiny. You need lots of it. Not the kind you need when you are rolling the dice, but the type that there is "where opportunity and preparation are "! This kind of luck you can do for yourself. By becoming prepared, you're willing to take the opportunity when it arises. And Preparation diligent also exposed to many opportunities and ways of looking to create your own.

Remember – deserve visions take place.

What the mind can conceive, you can achieve if you believe.

RESPONSIBILITIES OF DIRECTOR OF PHOTOGRAPHY / PHOTO

Director of Photography responsibilities "as described below are an attempt to describe the functions of Director of photography is likely to encounter during his career. No two are the same jobs and duties shall be made or extended depending on the size and complexity of the task. As noted, a large quantity of a director of photography is necessary to know and do and this can be learned in a number of years of shooting. Thanks to John Hora, ASC has developed this list for publication in? American cinematographer? Magazine. It has been adapted slightly for this site to take account of the Indians of the technical terminology.

I pre

A. Research and Design Concept
* Review all aspects of writing and the management approach to the image of preliminary discussions with the director
* Analyze script in its entirety
* Analyze the narrative structure
* Analyze characters
* Previous research, events, subject to appropriate general design elements
* Design Style, see the focus
* Continue discussions with the director in the new ideas
* Agree with the director
* Discuss and agree with production designer
* Discuss and agree with the counselor.

B. practical research and design.
* Requirements to determine or Budget
* Location Scout and approve
* The position of the sun in places Conspiracy
* Check local weather
* Check the tide tables near Ocean
* Review, discuss and approve the plans established
* Review, discuss and approve plans for follow-up stages
* Review and approve accessories, photos cars, planes, boats, horse-drawn vehicles, models and miniatures

C. research techniques and design.
Visit the laboratory * for calibration, customize and evaluate the system's exposure to capture any combination of chemical or electronic images, and set in development printing, the pace and transfer protocols
* Visit Equipment Suppliers
* Explore new equipment
* Learn to operate new equipment
* Inventing (Or have invented) equipment or special techniques for the show
* Standardize and create effects from the Bible to show
* Assist to create and approve storyboards
* The design (or have designed) and either approve or practice of integrated lighting
* Lighting design plan plots and gear to stadiums and places with gaffer and key grip

D. Quality Control
* Selection and approval of the crew, the film laboratory equipment, and the second unit visual effects crew
* Supervise production and testing of new equipment modified
* Visit construction series
* Approve the wild walls, ceilings and all parts of all moving parts
* Check the lighting, the lighting crew
* Places on foot and in stages with all departments to discuss the requirements
To approve the setting of colors and textures
To approve the colors and textures of the costumes
To approve the makeup and hair
* Generate (or have generated) and approve lists of equipment for the camera, electrical and adhesion
* Check Room daily screening of the rules of good

E. Execution
* Cast Stand-Ins
* Train the crew to use new equipment
* Displacement locations and scenarios with the director and the cooking device
* Make a list of special equipment for the production manager and indicate the number of days required
* Working with an assistant director at the scheduled time (order and days for each stage)
* Estimate and control film (type, size and quantity)
* Generate (or generated) and adopt the platform and the firing of labor and man-days
* Assist other departments in equipment, manpower and required testing
* Leave all departments and department heads to visit at least twice a day to answer your questions
* Ombudsman for problems between Departments
* Check the production of trucks or cargo containers to the location or for international shipping
* Visit enforcement division throughs and tests
* Advise and assist the Director in matters
production problems * Help

F. Testing
* Shoot-style tests
* The launch for testing lab
* Shoot tests for the lighting of the main actors
* Test shoot camera and objective picture
* Try to shoot for wardrobe and makeup
* Shoot tests for all processes of special effects, unusual accessories or methods platforms

Shooting II

A. Planning
* Check and approve all leaves of Appeal and the firing order of the day? work

B. blockade
* Be careful with the repetition of the scene to be shot
* List of devices plans with the director (Cover)
* Select the lens and the sample composition the director for approval
* Ensure that the composition and the stage of full-motion tasks
* The work on mechanical problems with the platform mobile crane handles the camera and
* Choose a camera-movement indices
* Place Stand-ins and repeat, refine
Ensure adequate coverage the scene to the editor *
* Working with an assistant director in an action Fund

C. lighting
* Lighting Design open the set / best location of history, the content and dramatic style
* Light from each actor to strengthen and reveal the character
* Ensure the mood and tone for the light to help tell the story
* Lighting design for the minimum time between reset configuration
* Painter used to control lights, shadows, aging dust up decorations and accessories
* Game, set light value, volume, color and contrast each setting (exposure)
* Set the lights (light, sound, projectors, changes color and pre-programming)

D. Preparation
* The work of all their problems
Fix * problems with other departments
* Verify, define and approve all cascade stunt coordinator
* Setting the necessary additional camera tricks
* Consult with all interested security
* Maps for the Director to make final changes
* Get the players for the final mechanical repetition; resolve outstanding issues

E. Photography
* Photography Scene
* Approve or to correct
* Check the parameters and restoration to take the next
* Shoot all the plates
* Shoot any playback equipment video
* Skip to the next stage

F. Administrative
* Definition of the first configuration, in the morning and after lunch
* Make sure you take pictures of the scene
* See that? Making of? and the sequences of the EPK crew or obtaining
* Make supervisor sure the script has a special camera or lighting Notes
* Check the inventory of raw material
* Try to take small pieces
* Check the picture recording device is updated
* Labor Day
* Discuss the first installation for the next day
* Make sure the camera electricity and computers get all the best grip equipment rental and purchase invoices and approve before counters to pay vendors
* Beware of any current or future production at the end of the day
* Check that the return of all equipment not used

G. Quality Control
* Call for The lab report
Refer to the previous day in the daily work planned with the director, producer, editor and camera crew
* Discuss and approve every day
* Check with makeup, costumes, scenery and Deputy Director on daily
* View, discuss, amend or approve the second unit or the effects day
* Order reprints required

H. Training
* Teach players early cinematic technique (hitting the marks, frame size, lenses, etc)
* Shooting Team train for your next job on the scale

I. emergency
* If the administrator is disabled, the day after shooting for him

III. Post

A. Additional photography
* Discuss and be both delivery dates for all messages
* Photograph or approve any additional scenes, inserts, special effects and sequences of the second unit

B. Calendar (color and density)
* Time and approve trailer for theaters and television
* Approve all invoices optical and digital compositions
* Time image
* To properly resynchronize

C. Quality Control
Print Approve final answer
* See the director of OK
* Approve interpositive (IP)
* Approve internegatives (EN)
To approve the release prints
* See approve of the negative impressions
* Approve all additions or reductions

Correction Telecine D. Color /
* Monitor and approve the transfer of original digital film or electronic media or a film (Hi-Def, NTSC, PAL, Master Con, digital file copies intermediate teachers, etc)
* Monitor and approve all transfers to and from intermediate digital
* Supervise and approve all mailboxes, pan & scan or reformat Film
* Monitor and approve color correction tape and VHS tape, DVD, projection digital media, etc.
* Check with the administrator of electronic OK

E. Advertisement
* Is advertising (newspapers, magazines, Internet, radio, television, DVD commentaries, etc.)

Food F. Archives /
* Available for any future edition, reissue the transfer electronic file or movies.

This list of duties of director of photography has been published in http://www.rajeevjain.com/

About the Author

Born in Los Angeles, David Henry Hwang is the son of immigrant Chinese American parents; his father worked as a banker, and his mother was a professor of piano. Educated at Stanford University, from which he earned his B.A. in English in 1979, he became interested in theatre after attending plays at the American Conservatory in San Francisco. His marginal interest in a law career quickly gave way to his involvement in the engaging world of live theatre. By his senior year, he had written and produced his first play, FOB (an acronym for “fresh off the boat”), which marked the beginning of a meteoric rise as a playwright. After a brief stint as a writing teacher at a Menlo Park high school, Hwang attended the Yale University School of Drama from 1980 to 1981. Although he didn’t stay to complete a degree, he studied theatre history before leaving for New York City, where he thought the professional theatre would provide a richer education than the student workshops at Yale.

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