Happiness This Way

Master of Light: A Conversation with Cinematographer contemporary Bollywood – Rajeev Jain ICS WICA

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

Rajiv Jain – India Cinematographer / DOP – Interviews complete, vol. I

The way of Light – Rajiv Jain Paintings with his camera

Rajeev Jain (Date of Birth: 1968, Lucknow) began working as a cinematographer in 1993, after serving an apprenticeship as a camera assistant and camera operator. Rajeev since has worked as a cinematographer with some of the most popular directors of India, in some cases there is close and intimate. We met with Rajeev Jain 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.

How has filmmaking 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 saw a film of quality we had "Triggered" itself in many ways the films of the period until the end of the decade of 1980. Even the assembly was much freer, and Director Photo / Administration, with Gautam Ghose in the vanguard, went in search of greater freedom. Even at the time of shooting, the use of handheld cameras, natural light, or lighting in a way that seemed natural, as through open windows, etc. In other words, an absolute freedom either camera shake or lighting.

And in our country?

In India there is still a classic style of photography and I am referring, as Subroto Mitra, Sudhendu Roy, who worked with Satyajit Ray to Agantuk (1991). Meanwhile, other new filmmakers with different ideas also emerging as Ashok Mehta (36 Chowrangi Lane), especially in black and white. However, this black and white image with its own aesthetic beauty was a quality appropriate property of the fusion of light into the atmosphere or environment. So from this point perhaps the film gained more importance, a complete symbiosis with film and narrative.

Is the meeting between the director and cinematographer influence the race one or the other?

During the seminar, a meeting of a good director of photography and a great poet. With Ray's films, on the other hand, was certainly a turning point with the arrival of Pather Panchali (1955) onwards.

What filmmakers have made a particular impression on you?

The relationship with Shyam Benegal in Tota Maina (TV Series) certainly was for me an event I remember with great excitement to the day. I meet people trust me that he decided to become director of the photographer after seeing the show, or the directors who decided to enter the cinema thanks to the Tota Maina. For example, One day there was a guy from Kenya who was at home that decided to come to India to do after watching TV seial Tota Maina. Therefore, it has been a film important to many people, and much more for because I had the pleasure of working with Shyam Babu.

How did you meet?

Was almost by accident. He was looking for a cinematographer who was also mentally prepared for this adventure, and through various sources to my name appeared. A friend of mine who worked as assistant director introduced me to Shyam Babu. I remember when he called to say he wanted Shyam Benegal to me. We meet in his office for tea, and at the end of this meeting which has a script and offers it to me. I can feel the emotion of the moment right now.

Can tell us about "the dynamic picture" of the TV series?

Shyam Babu told me that TV uses time as a narrative element, while the picture that usually remains constant over the duration of a sequence. It is precisely the time that the "dynamic of the photograph 'exploits to make a different consistency to the film. One example is the weather in nature: if on a cloudy day, the sun rises at a time determined This changes the state of the light. Indoors, if someone enters a dark room and turns on the light of this will change the condition of light. However, this is everything connected to concrete actions. This speech is amplified in Tota Maina, where in addition to variations in natural light variations were added to the grounds under emotional rather than any sense of logic.

During some scenes also use different shutter speeds sometimes barely perceptible.

During filming Shyam Babu ask certain frames requires a slight increase in shutter speed, barely perceptible, and therefore measurement of slow-motion effect that we have been accustomed to see in many television series. This was the only one to have more suspension, therefore always at the service of a certain atmosphere in the series. Technically this variation in speed is a slight adjustment of the diaphragm. Shyam Babu was very precise and demanding in their choice of photography, and not just me but the whole company was so impressed by his personality that voluntarily meet your every request.

In During this seminar have lamented the fact that it always becomes more difficult to shoot a film in India, with special attention to cinematography. Why?

Mainly because there is a lack of respect for the profession in India. In the few films he has made with foreign crews and production that really discovered more professional respect. So certainly not a lack of preparation, because if the films are not well prepared will end up improvising on the set. Another reason is the understanding of shooting schedules, because if you shoot a movie in ten weeks or five weeks result is clearly different. With the advent of digital also the tendency to spend the full negative through the telecine and then AVID without Print-called "diaries" that I think are very important to control for potential technical problems. This happened with a film shot abroad, where an entire scene had to be taken again only after discovering a problem of exposure during assembly.

Strictly view technical, how is that Indian films are no longer manufactured with the same attention as before?

Perhaps what is needed is a real love film. The problem is that there is no knowledge producers who invest in projects that matter. We do not have a person who loves the movies as they want it made as thin as possible. The operation now is to make the movie only with budget in mind, sometimes regardless of whether the movie is good or not.

AUTHOR BIOGRAPHY: Tony Parsons (born November 6, 1953) is a journalist, broadcaster and British writer. He began his career as a music journalist in the NME, in writing about punk music. He later wrote for The Daily Telegraph, before turning to writing his current column for the Daily Mirror. Parsons was at one time a regular guest on BBC Two arts review program The Late Show, and continues to appear frequently in the successor to the Newsnight Review, but also briefly held a series Channel 4 called Big Mouth. He is the author of the novel's million-selling multi, Man and Little Boy (1999). Parsons had written several novels, including the Children (1976), Logic Platinum (1981) and Limelight Blues (1983), before finding success power, focusing on the tribulations of thirty-something men. Parsons has published several best-selling novels – One For My Baby (2001), Man and Women (2003), The Family Way (2004), Stories we could say (2006), My Favorite Wife (2007) and Starting again (2009). His novels often deal with relationship problems, emotional dramas and traumas of men and women of our time. Many believe that the content your work is weak.

Tags: bollywood, director of photography, cinematographer, dop, india, indian, jain, Kalpvriksh, Mumbai, Rajiv, Rajeev, cameraman

Making Ras Star – Kenya Rajiv Jain Indian Photography

STAR is currently featuring RAS AT THE INTERNATIONAL MUSEUM OF WOMEN FILM.

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

Synopsis: A young rapper, Amani, a Muslim family firm with his brother teams Abdosh, an emerging artist to find a way to to make money and get your talent in the series finale. As the story unfolds, Amani and her brother are trapped in a local gangster and a stolen phone incident and use her brother's glib tongue to get out. Through an absolute stroke of luck manage to find the money needed just to come to blows with his uncle Shaka the patriarch of the family and Mlandimu, the local gangster who finally saves.

Rajeev Jain, a Bollywood versed photography and director of photography speaks of its new award-winning film, Ras Star, and the single camera approach is used specifically for this film about the search for a young lifetime. With trained as a cinematographer on features like the Army, Badhaai Ho Badhaai, Carry On Pandu, Kadachit, Kalpvriksh – The Wish Tree, Mirabai not go out and Pyar Mein Kabhi Kabhi, Rajiv has had enough experience behind the goal of making the leap to film. It also has film credits for Award-winning TV series beat Kenya FM.

Where are you and how you became director of photography?

[Ramirez] I'm from Lucknow, in northwestern India. My first degree is in science and took a while to find my way in a more artistic. After several bends that ended at the Academy of Dramatic Arts Bhartendu (Bhartendu Natya Academy) to study theater. I managed to run a few plays and not the camera for many more. Since then I have enjoyed both documentary and drama between the camera and the advance information of the other.

How to approach film of Rasstar?

[Ramirez] Through discussions with Wanuri, search for movies that he loved visually. We wanted to find look separately for each story and a different look for today. We found a visual representation "theory" of each section (eg color scheme, red and black for the story of Amani, long lenses and the history Abdosh Mlandimu very wide lenses). The looks had to be able to implement as soon as possible (then helped in the classification) due to tight schedule. Then apply the theory to a visual shot list (which often had to it places the night before due to changes or are not yet)

How was working with high definition for the first time?

[Ramirez] With a 35mm camera looking directly through a lens and see the beautiful scene in color and can rely on their eyes as part of the photographic process. With a high definition camera that is looking for a small black and white image through the viewfinder so you need a large (ideally 24 ") monitor high definition to judge correctly what you are filming. This is huge and totally practical with such a small and low budget so we managed with a 14 "monitor a reasonable amount of time, but even a mountain or on a remote beach just a small battery monitor is possible. This was very frustrating and gave rise to some things that could have been better.

HD is horrible to look at whether an area is overexposed. This was more problematic in outdoor we chose to shoot in very wide lenses which means that a lot of sky in the shot. Unfortunately, the sky was particularly flat and overcast but relatively bright white.

The biggest advantage of HD is able to travel much lighter with a pair of zoom to the city, for example, and be able to film of 2 hours worth of material no worries (which would have been approximately 12 large cans of 1000 feet of film to carry and load). It also meant I could leave Wanuri and purposes week and the film shots of the city and vans with ease.

How important is the narrative?

[Ramirez] Storytelling is a huge part of life from an early age. It is a way of finding meaning in the world. For a child is a way of understanding the world through the metaphor – not that a child thinks that way.

If the world exploded and left behind just met would not be long before they gathered around a campfire and someone began to tell stories to make sense of things. Stories to entertain, provide an escape or catharsis, to stimulate reflection and debate and make people laugh.

What was better than Rasstar?

[Ramirez] The best that was in a beautiful part of the world working on a script that used the Kenyan slum as part of the story.

What was worse?

[Ramirez] The first day of action sequence on the market. The crowd took so long to get to the location that we on the camera crew is reduced to beards of moss and a feature-length documentary in the clouds (Some clouds very well though).

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

[Ramirez] Wanuri is undoubtedly one of the hardest working managers I have worked, but I think I found the limit on a Saturday night. We were shooting in the pub (peak performance) and pick up shots and had an option to go to the local bar where some of the crew were getting into leg of lamb and downing some beer or head. The light seemed too tempting, even as they went to and thank goodness we did because the light most was surprising. deep red light was bouncing them shine against the black background. There were many mosquitoes so we had to adjust the camera running, and running away of the group around the camera. We shot for ages and the light was low, but remains wide approaches. I tried to get one last chance with the DJ console longer in the foreground when Wanuri suggested that there was sufficient and should be, words I never thought I'd say! (The shot was a nice and made the final film.)

Have you worked on anything from Rasstar?

[Ramirez] Since I filmed the movie Rasstar Kalpvriksh – Tree of desire. It was a great experience of filming in such a remote and interesting. Mahableshwar I filmed a half-hour comedy for the channel: "The smallest man city "and I filmed and edited documentary also half an hour in Dubai for a cleaning lady who works in Dubai. Recently I have been a feature Dop low-budget "Carry On Pandu.

My style of Cinematography | by Rajiv Jain | picture Bollywood Indian

FIRST SCHEDULE:

For some time I've been meaning to write down my opinions about movies and my aesthetic style and now here is this does not mean they are dogmatically -. is simply what works for me in broad strokes. As an Indian filmmaker, you should be able to give the director or production I look at my request. But within the visual and aesthetic constraints of any kind of production – or the occasional lack thereof – an element of me always there. Rules were made to be broken -. But only when you have a complete understanding of the rules While 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 is necessary to establish principles for the hearing. It's a distraction to introduce a new aesthetic or style of writing is too late in a story without proper justification or motivation.

Another area that lends very little on air throws. – The shots that fill the space between the scenes It gives the audience some time to breathe and think and can be a time for music affect the audience.

I graduated filters too fake and unnatural. Does not focus our attention and instead usually draws attention to itself. I do not think I have ever used and have yet to be criticized for my decision.

Most directors cut too soon, both on set and in the editorial. Overall, the time to say: "Cut." Sometimes an actor can give a gem of a moment at the end of a scene, if you wait. Worthwhile and I am surprised how often a director will use the time in the final cut. It's good to keep a player at the end of some scenes to allow the public to take time and reflect.

People change and so do their views. So I'm sure my opinion is likely to change as well. Until then …

Arts Done: Photography … by Pocket – Rajiv Jain Indian photo size

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

So what the hell is a director of photography? If want to get into semantics, that means writing in the movement. "But his work, above all, is to have control over camera and lighting equipment in a scene, and therefore have a lot of creative input in the final image. Even if one takes into account the fact that the art director is responsible for staging, storyboard artist plans the shooting and what is really happening, and the director will want to have a piece of the action, then it is no wonder how movies end up looking great. Here are some of the guys who managed to do this (in my opinion little)

What qualifications do Bhartendu study Academy of Dramatic Arts and when it ends?

I went straight from high school to Bhartendu Academy of Dramatic Arts and made a 2 year Diploma in Arts Drama, specializing in lighting and graduated in 1985. The courses are run differently now. It is run more like a film school in a school art, which I think is excellent! Allows students to make decisions earlier in their chosen field within the film and television, be a cinematographer, director, producer, editor, etc. It also better prepares students for work in the industry. It is the teaching of more than a way to make movies.

What do you think of the facilities that we saw recently in Bhartendu Academy of Dramatic Arts (Bhartendu Natya Academy)?

Facilities Bhartendu Academy of Dramatic Arts are great, I would even world class, the main production. study is very well equipped. The post-production facilities, such as sound editing suites and mixing rooms are like what is being used in much of Indian film and television industry.

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

I think it's great that students get to shoot the film projects is the industry standard format for international feature films, as well as most television drama abroad. It is rare for students to have the opportunity to work with film and digital formats that are becoming more and more common. Are you able to shoot and work with film, then you will be able to work in any format that you are out there. Does not work backwards.

What I mean by this is that the filmmakers are the same regardless of the format to shoot in. However, film shooting approach is required different, both technically and creatively. These principles can be applied to the digital jack, but filming requires a greater understanding of lighting and exposure.

The digital computer Bhartendu Academy of Dramatic Art is a level and quality, enabling graduates to leave the industry and understand more or less functioning any other piece of equipment to be found. There is no reason why the quality of student projects can not match the high quality of professional projects because the computer you are using is the same.

I am also particularly impressed with the value of production of student films in the past Bhartendu Academy of Dramatic Art. I think the level of work is quite high.

What was the first break or work that was key to setting on your way in your career?

I had a series of jumps and I suppose many of them carry themselves. A series of fortunate events you might say, but if I had to think about a particular opportunity was one night when I had just finished editing my new film show reel. (A reel is a portfolio program work, cutting down my best shot edited to the music.)

Just as I had finished, came through an e-mail which was transmitted to me by someone I barely knew. The email said that Kenya's production company was looking for a Director of Photography India to shoot part of an international film that went to the screen in the World Expo in Nairobi, Kenya and wanted to see figures shown.

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

The people I met on that project he liked my work while I got a call a month later and I flew to Brunei to shoot some commercials. Finally I returned to India with a new and improved show reel. Having international work on the spool further raised my profile and made me bigger and better jobs and an agent and I was away …

A case for 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 the success of creative professionals is the ability to take pride in the job. Whatever your creative pursuits, I think if doing a job that you really enjoy and take pride, then you are lucky to have one of the best jobs in the world.

I also think that a challenge himself to work outside their comfort zone is important to realize that to succeed we must be consistent, positive and work hard.

Whatever the creative field where it is going to be an arduous task to get his career underway. With creative careers are judged on their body of work and his career. The first thing to do is create a portfolio, or in my case a show reel, and then prepare for the criticism and call back, never giving up and using the back blows as an incentive to work harder and set their standards higher.

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

It is also important to work on your network. You never know when that person could seen as a rival might actually be passing some form of work or introduce new partners. The movie industry is too small to make enemies. We be like a support network and learn from each other in order to continually better projects.

For you, what are the "must-see movies reference outstanding in terms of cinematography or pioneers?

Well for starters the film in India Kalpvriksh recent films – The Wish Tree – yours Dreams If you only press a button and the soon to be released Continue Pandu are quite exceptional. Ja!

No, seriously, some of my favorites and more influential films in terms of cinematography are not those who have the last word of the large crane or the world's longest Steadicam shot, but those who create a real mood and atmosphere. films that convey emotion to an audience and help communicate the background of a story that tells more about the characters of dialogue alone could.

I think the most influential film for me would be something directed by Satyajit Ray (Aparajito (The Invincible) Parasha Pathar (The Philosopher's Stone), Jalsaghar (The Music Room) for its use of humor, the atmosphere and cinematic storytelling techniques.

Besides classics like Pather Panchali (Song of the road). It took me a while to realize why it is considered the best film ever made. Use deep focus in this film is not just a technical achievement, but also storytelling.

I also liked Proshakha shakha (Branches of a tree), Agantuk. Both are very rough and hand sometimes, but very beautiful and really felt like I was "inside" the film.

That's what I was trying to create in the most recent film that I shot, Kalpvriksh – The Wishing Tree.

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

Key light: Defining moments in the film from the Kalpvriksh – The wish tree

An interview with Rajiv Jain, Director of Indian Photography and the owner of Rajiv Jain Films, Film and jaws – Dubai – Madrid – Nairobi.

Q: What is your occupation? Where do you work?

R: director Director of photography, the director photography. I have my own company, Rajiv Jain Films, Film and jaws, and I've been doing for about twenty-five years.

Q: How long have you been director of photography?

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

Q: What kind of training has had to become a cinematographer?

R: I went to the Academy of Dramatic Bhartendu Art. I had a two-year diploma course in performing arts. That put me in a position to see how the industry has changed a lot. Upon leaving college, children only should start their own business. First, decide what they want to do in the industry and then go for it. The sky is the limit in terms of career choice.

Q: What do you like about your job?

R: I work for myself. Having the freedom to make their own decisions to make their own way in what you want. But you can go for a month without working, if you're on your own, so definitely be on a path of business as well as a path creative. Take business classes, not just the liberal arts. The film industry is a business, like the music industry. You must be a dynamic person.

Q: Describe your typical day at work.

R: What job? Normally when I'm not working, I'm in my office doing paperwork. From your office, you may have to go somewhere on location and can be anywhere from two days to thirty days. Much of our material is remote locations. Each job is unique. As soon as you which is typical changes.

Q: What race were before becoming a cinematographer? Do you feel that has helped them prepare to become a massage therapist?

A: I was doing theater, photojournalism, working on a local channel and make a decent profit. I found myself incorporating great importance to my words, and when I started taking pictures and filming, I realized that this was what I most passionate. But when you have a creative bone in your body, like writing, is easier extend to other aspects of a different creative operation.

Q: What characteristics do you think are necessary to succeed as director of photography?

A: Everyone has different ways to succeed. But we must keep up. Editing and graphics has changed so much. The whole dynamic has changed. You have to be totally flexible and stay with the current trend.

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

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

Q: Would you recommend this career to someone else?

A: Yes, I can not think nothing better to do. I see things that people do not see. Is it for everyone? I do not think so. You have to have thick skin. We must work for months. Do not set your expectations too high. Be realistic. My first recommendation would be is to go to college and get that job full time. Have an idea of what the industry concerned. It is difficult to have only a good portfolio, unless you're an amazing filmmaker. Do without the college is very difficult to do.

Q: What is your next career move, where?

R: Retire and leave town. No, but seriously, I'm going to do more projects. I want total control of my future projects.

Kalpvriksh – The Wish Tree – his dreams are just a touch away - Rajiv Jain Photography

The two-time winner of the Rajiv Indian Photography Jain WICA ICS Creates Global Task light, the shadows in his latest film Tree Kalpvriksh Sincerely Desire dreams are only a touch away

Rajiv Jain has a way of seeing that you have an image to its outer limits. In his years as an assistant electrician, grip, and in the past 16 years as director of photography has developed a visual sensibility and experience.

Rajiv takes its inspiration from directors like Satyajit Ray (Pather Panchali) and filmmakers Ashok Mehta, ISC (36 Chowrangi Lane) and Binod Pradhan (Parinda) for his use of color and light and shadow to extend the emotional content of stories. I think the ability to allow the characters to operate in the shade is a true art, he says. Ashok Mehta allows its characters to work in the dark. He is all you look for blacks are very rich – however, you can see everything.

His work in Kalpvriksh, a film by Manika Sharma director exudes a period as an advantage. Rajiv was particularly intrigued by the non-narrative writing fragmented, offering a myriad of visual possibilities. Kodak shots especially for contrast to outdoor scenes, Rajiv experienced hot and blue filters get the look you want. The result is a stark, almost surreal journey into the minds and actions of strange characters in the film.

collaboration advance in any movie is crucial, Rajiv stresses.

It is important for me to go through the script scene by scene with the director Manika Sharma, Rajiv says, trying to see what's on your mind. I want to know what the scene is saying, who the character is more important at the time, and how the characters move through the scene. They also share photos and movies, which gives us a visual base to work.

A graduate of Bhartendu Academy of Dramatic Arts in Theatre and a principle photography, Rajiv took a course in cinema. Intrigued by the film industry, which saw the possibilities of combine their interests with the movie in ads. Looking for a way to learn camerawork, offered to help (unpaid) to the director of photography to learn Subroto Mitra the trade.

He taught me about the SR packet, which the lenses were, and how to load magazines, he said. Then I started working in documentaries Shyam Nehru Benegal.

In 1996, Rajiv was the first opportunity to shoot a movie, the Army, with Mukul Anand. After eight weeks of filming stressful – all their movements were.

After six functions, then came Kalpvriksh in 2007, Rajiv allowed to explore a new visual technique to add nuances to the story. The film features a dream trip that Rajiv wanted to give a dreamlike quality. We tested the filters and chlorine a referral process to give that section of the movie of your own special look, "he says." Instead decided to use a tilt swing, a vision camera accessory that allows the operator to change the focus plane. Not going to throw the various parts of the structure out of focus, which is difficult to do on a general level, due to further field.

Rajiv is currently finishing production Bring on the Pandu, a feature that is being shot in Mumbai and do Business.

Full of surprises! Rajiv Jain, Indian Cinematographer / DOP, talks about … Kalpvriksh (Wishing Tree): YOUR DREAMS … Are only a touch away …

Like any artist, Rajiv was born with natural talent burnished by experience and cultural influences. Born in 1968, his first introduction the magic of cinema came while watching his uncle as a projectionist in Ravindralaya Theatre, Lucknow. "I remember sitting in that little screening room and watch movies with my uncle, "recalls the Indian filmmaker." It was like watching silent movies, because you could not hear the sound in the cabin. I just saw the pictures and trying to understand the story. My uncle showed us the films of Charlie Chaplin, who, of course, silent. There is no doubt that he put his dream of becoming a director of photography in my heart. "A native of India, Rajiv Jain ICS WICA director of photography he studied at the Academy of Dramatic Arts Bhartendu in Lucknow, India.

The day after graduation, Rajiv went to work as an apprentice in an anamorphic picture. Contributed to ten films as assistant director of photography before becoming a dictatorship of the proletariat. "From that moment where the camera is considered as a pen that is used to draw pictures, "he says." The camera work is all about the composition and rhythm. It also operates the camera from Bollywood songs. Was very primitive. While we were shooting, someone with a watch was the moment all the pan and zoom. He said: 'You have 5 1 / 2 seconds to do zoom. Was a great lesson for me, learning to make every element of a work shot in that amount of time. "

I thought it was fascinating that the film speaks a common language that all the world can understand, "he recalls." That is especially true for filmmakers, because we are communicating with the audience without words. "For me, making a film is how to resolve conflicts between contrasting colors of light and darkness, cold and heat, blue and orange or otherwise. Must have a sense of energy, or change of motion. A sense that time is passing – The light turns into night, which makes the morning. Life becomes in death. Making a film is like documenting a journey and the use of light in the style that best suits that particular frame … the concept behind it.

The first important decision regarding the images was shoot in anamorphic (2.4:1) format, as they had in Kalpvriksh – The Wishing Tree. Rajiv says Manika likes to manipulate the subjective viewpoints and objectives, sometimes in the same frame or even simultaneously. In a simple example, a shot start on a topic, then an actor will step into the frame, creating a shot over his shoulder, moving from subjective – in which the viewer sees what the character sees – a goal. "A of my first suggestions was shooting Kalpvriksh – The Wishing Tree in Super 35 ", Rajiv continues." I felt that give the film an edge they do not expect to see in the theater. I felt I could use the broader framework to create a sense of claustrophobia in the cave of Shabana and more interesting composition Shabana shows in the world. "She, director Manika Sharma, designer Mansi and other members of the creative team discussed the possibilities for composing Kalpvriksh – Tree Wishes of the widescreen format, while that on the basis of visual references such as a drama with a theme unlikely. Although Manika storyboard scenes, Rajiv sketches used primarily as a communication tool. During filming, the director was open to deviate from the storyboards to seize opportunities unexpected. "Our production designer designer dress Mansi and gave us rich sets and costumes. Despite push two stops in development is often not so true colors, your cooperation with this technique has allowed us (especially in the fantasy dinner /) to have a warm and yellow in appearance scene as if everything was lit by candlelight, "he says.

In a dramatic scene on, the school principal (Mahabano Kotwal) sits in the chair, looking out a window at the falling rain. "The whole scene was illuminated with a light tough day, an ARRI 6K," says Rajiv. "We brought a light through the window. To the light of the door, we used a 4 x 4 mirror just outside the box to the right. The light is modulated by the rain on the window, and spread about the book. We were 'meeting chestnuts. " It was fortuitous, and all went with a light. "" To fill light in this film, which is used very, very little or none at all, "he adds." I find that the existence of film we were using, if you overexpose a little, can read the shadow detail extremely well. When I saw the photo on the theater screen 70 feet wide, on the dark side, which is dead black, you can actually see is hair on the head of the actors. I found it very interesting. I hope it works on a subconscious level of the audience. "Despite the fact that Rajiv knew that he could not shoot wide open on a T2 or T2.8, "for the Super 35 has chosen a depth – still wanted this tool to give the story a greater stage presence. The negative largest allowed him to push the envelope. And I knew that the grain would still be acceptable, if he stayed in the T4 T2.8 range indoors. "There could use real sources and it would be difficult for our camera crew to follow the approach, "he says confidently.

Like many of his colleagues, director Photo Rajiv Jain has many concerns about changes that may be introduced to the images during the subsequent process of our electronic age. These considerations only intensified when dealing with a profusion of visual effects, which in the case of Kalpvriksh – The Wishing Tree. "I tried to make a concerted effort to remain as involved in post production as possible – which is sometimes difficult because it is "free for the next job" – to work with digital effects and the optical house to ensure that there would be no problem with the printing process response. "You do not see any light in the capture of teacher," he says. "Vaccination against the teacher began with an impossible shot to light. We were stuck back in the corner with a 35 mm lens and there was no two-way mirror in the background. So we used a technique called Rajiv Jain 'drill. In short, you're usually shooting horizontally across a room, and there are horizontal surfaces, like the top of the chimney and tables. If coming directly from above with a light and drilling down on that surface, which functions quite well. It does not seem wrong. If the light comes from a place that is not normal or usual, people seem to accept the item being lit, without really thinking about what is happening in terms of a source. The shades go down, lest they end up seeking attention from strangers or calling the source. You see it on the table and then it comes to the table and the lights are facing a degree. It's interesting because you are not lighting the people at all. You are the light of the environment they are in.

Anamorphic gives you the space in the frame to do that, "said Rajiv." Manika has no trouble filling an anamorphic box in a contemporary image. History also has an elegiac look, so I thought it best to say it without cutting the rock and moving the video camera frenzy. With the amazing cast, we knew this film would be about the proceedings. All these ideas – as well as "if it is not broke, do not fix it '- factor in our decision to shoot anamorphic "To establish a proper visual approach. for different moods necessary Kalpvriksh – The Wishing Tree, and Manika Rajiv chose to waive much of the business as usual to see other films in the pipeline. "We used a lot of work books, referring to other artists working in two-dimensional shapes, photography and drawings of all, "Rajiv is concerned." This was an enjoyable and different preparation. As to the movies to see how a particular sequence is worked great, but this approach introduced me to this amazing round of self-education, which includes photography from 1890 'til now. Now I can not stop buying books. It's amazing how much visual reference source material is there when you return to basics. These were great jumping off point for us.

The cinematographer also had to avoid telltale reflections of the camera gear and personnel on the surface water. Along with a disciplined team, which required placement of a careful selection of light and camera angle. He found that place the plastic in the distance correct lens tougher shots from the point of view Shawn slightly distorted images rendered with a little grain, which amplifies the look he and director Manica desired. Rajiv also occasionally added the reflections of characters and objects on the surface of the water to call attention to the barrier that separates the child of others. Sometimes the camera takes a subjective view, the viewer-and sometimes the public seems to share the life of Shawn on the experience of the bubble. "There simple formula for deciding when to put the audience inside the bubble with Shawn. It was a question I asked the director of each shot of every scene. Are we Shawn inside the bubble, or are we looking from the outside? "

I do not believe this and obviously neither the director nor nor Manika Sharma Films diamond producer. Another photo shot in an old house in Bollywood forced us to actually operate two generators to power all the lights. At the time they were made, however, was able to fire two-thirds of a long sequence with reflections dollying seen in a long fish tank at night (Shabana cave). "I think it is a visual reflection the fact that one's position in life can change almost instantly, "he says." It's very effective visually. Seems to work on several different levels. Using this different approach seems to refresh all your purchases and investing. There is a very interesting scene between Shabana and the child was staged in under the tree, There is a feeling of concern and possible aggression. It is very ambiguous, however, the spatial dynamics really emphasize the feeling. "

There a great advantage in the job in place before a study. For example, I mentioned the Muslim house had marble floors. An experienced DOP really knows how to use this something can only be simulated in a studio, "mused Rajiv. searchlights were used extensively throughout the film, usually on the side to pick something filling environment or an edge of the Keylight, and redirect some of the light next to the landfill. In most cases it was very subtle, however, only reflected in the brightness skin. "We use the spotlight, as almost more of a eyelight" Rajiv says. "There is no tension between these three characters. There are a lot of emotions under the internal surface of this film. I felt that the public needs access to the internal life of the characters, so I tried to keep eyelights goes on especially when placed in close. It has often been done with a small reflector at the last minute shot.

One of the most important aspects including preview Shabana's character itself. "To nail down that began working on a storyboard artist," says Rajiv, "Signaling to boards and is a great great artist as well. We told him our ideas on how Shabana looked and went to work. Manika credited with creating much of the final appearance since their drawings were used to communicate with the hair, makeup and costume departments Manika what he wanted for his eyes. "Involved party Cave pretext "the use of a wig, which often obscured the actor's face – that sometimes makes a situation less than ideal lighting." For the hair and follow-up tests, I saw that, while Shabana seemed incredible that would be difficult to treat for 2 weeks. I had a great big hat and a suit also so there was a question of if you will be able to see it actually. Manika told that sometimes she was about to become a hat with hair. Be very sensitive to needs of stakeholders, Manika not want to have the facial hair, so did not try to mess with it and solve it by ourselves. "

In Kalpvriksh – The Wishing Tree, Rajiv chosen Vision 200T (5274) Outdoor everything, but at night, and explained that the records of the soft grain emulsion unobtrusive black Deep, true colors and a wide dynamic range. Rajiv outside shot of Eastman EXR 100T day (5248), with an EF 81 filters to correct mean and retain the cool blue of winter. 250D daylight-balanced (5246) Vision of values was selected for the inside day, while exploded Vision 500T (5279) Indoor and outdoor most of the night. Since the filming, the director made numerous tests with different materials to find the right thickness and transparency. "It's like using a cheap filter on the lens and realized that any distortion or loss of concentration when the laboratory is magnified optically "squeezed" the images in the 2.40 aspect ratio. In addition to selecting the right plastic, it is important for us to record a very negative image with well targeted. We shooting through filters at least 90 percent of the time.

During the filming of forest scenes with the actor, Rajiv employees what he calls a sandwich nine light. "Others might call it a book light, but in any case, it emits a light crude Maxi nine a piece of cardboard from the grain, then allowing light to pass through a framework of general circulation, equipped with the 216 or the network of light. Soft light is striking He had a very fine quality, well some serious foot blows candles. This had enough soft light to pierce through the hair Shabana, and can control the amount of light with just a click away from different balloons. But it also requires a lot of flags and take up much space. "On other occasions, Rajiv Forest illuminated light running most extreme angles. "I have come in much smaller and its key front than it would normally, but the approach able to drop your natural hair so if it is tough, worked. It made me grateful for the scenes when Shabana wears her hair back as I could get a nice advantage in it through side lighting. "

When children reach the tree before completion, production created the famous setting filming the actors against blue screen and green screen. These elements were composed digitally with the bottom plate stock drawn from Ladakh. Harry and Arjun from the premises red chilli 'in house supervised the visual effects shots. "I do not think that these scenes may be more credible if he had traveled to Ladakh to live cinema" Rajiv marvels. "How I miss you when you start with 70 mm base plates? We matched all the dishes."

There few daylight scenes there, so we decided that the cracks in the ceiling of the cave that the hard sunlight, "he continues." since some evidence of this in the walls behind the actors and let the light bounce off the ground. For the most part, however, the cave scenes set at night – lit by fire or flashlights or glow comes from imagination, which is not connected to anything. For water, I decided to use a slightly blue key light on the actors, but do not put any flickering movement because I felt it was distracting. The only flicker on their faces is real water. I've added a blinking light effect on the walls, I seemed to be more pleasant while lending a bit of realism.

front-end work performed by Gemini Lab, which provided film journals. "After their experience in the commercial world where he works on a monitor at all times, Manika loved watching daily for the film – which opened a new world for her, "said Rajiv." For example, there is a picture of a Shabana delivery of a line at the end of a long shot under the tree. When he saw Manika played on the video [TAP] monitor, did not feel good about it. It seemed too small in the shot. She said that perhaps the line should disappear on the issue. After some time, Manika was projected on a large screen and loved the shot. "When asked if the good news spread to the drama on screen, well, Rajiv smiles and says: "Would you be surprised if I told you there's a happy ending?"

The filmmaker does not use dissemination in the lens of the camera, preferring to ease his subject, as required, selectively affecting the source of light. "I've never liked in the movies when the general resolution of the lens changes visibly when cutting the fore during a scene, "he says." The whole issue of putting the heavy diffusion front of the lens so that [the actress] look "better" is crazy to me. I do not want to see the efforts of the picture to make someone look good. In contrast, I see the character looks good, and I think that happens when the actor is both integrated into the scene correctly and turned in a flattering. My solution is to soften the light source, and let the image be as clear as possible. Some people think that Primo lenses too strong, but I love everything perfectly. When combined years and years research and development in populations of Kodak film, which has happened in these lenses Arri and laboratory work in Gemini, then put this in a film that is projected on the screen correctly, the result is amazing how perfect! So take a lot of pride in delivering a truly negative perfect. We want to mess up later, and that's fine, but I think in the beginning of something well exposed and sharp. "

With all treatments necessary to represent many visual perceptions Shabana, Rajiv and Manika necessary to decide on the parameters from the beginning of the most elaborate that require visual effects. "We're telling a story that is partly through the eyes of a madman" offers Rajiv. "She is crazy bright, but crazy, however, so there is a sense of what's great about these visions, but not in the tradition of the effects of science-fiction film. We presented a wish list of visual effects for budgeting, but was once again a price four or five times greater than expected. This has forced us to retreat, and that the decision ultimately worked better for the movie ended up doing. Most effects are things we did, with light signals practice or a combination of signals with digital retouching. "

I'm glad to see this movie it seems interesting to look at, but I am happy that images are no substitute for history. Early reviews are praising Shabana performance as one of the best ever since, so it would not sense to do everything out of that aspect. Many of the films seem overwhelmed by the effects, but Manika is not to say that kind of story.

When India Photography Rajiv Jain ICS WICA is asked if he would do something different today, the artist teacher responds: "Ninety-nine percent of the time when I see my films I am serene. It was the best I could do at that point in 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 WICA ICS Indian film photography Kalpvriksh – The Wish Tree – Their dreams are just a touch away

Director of Photography India, Rajiv Jain ICS WICA is a photograph based in Mumbai, India. Rajiv Photography specializes in TV ads film format 35 mm film and HD digital format. Rajiv began in the early days of the music video revolution, before venturing into film narrative. His eclectic body of work includes army, Badhaai Ho Badhaai, Carry on Pandu, Kadachit, Kalpvriksh – The Wish Tree, Notout Mirabai, Pyar Mein Kabhi Kabhi and Rasstar.

Q: Where were you born and raised?

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

QUESTION: What did your parents?

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

Q: Did you have a career goal at that point in life?

Rajiv: I wanted to be a writer, but like Mohan Rakesh much thought and wrote very little. That is too say it was more a reader then a writer, poet, scholar more then. I have very interested in semiotics and structuralism (the study of how language encodes the ideas). Initially studied how the spoken and written language worked, but then became more interested in how the codes work in other languages, such as film language. My interest by the language of film led me in a very complicated film.

QUESTION: That's interesting. Can it be a little more specific?

Rajiv: I became very interested in understanding how the changing light, composition, camera angles and movement director of photography camera alters the public perception of visual event, and therefore the public's emotional response. It is a difficult thing to quantify. I specifically remember thinking back to see Pather Panchali as a child, and how their images had always remained in my imagination, not only its sheer beauty and scale of the sublime, but it affected me emotionally, strikes some cord unconscious but responding. Ray later I saw "The Apu Trilogy." I had much the same answer, but now I have understood had been informed by my studies. It would be accurate to say that the directors of these two films, Subroto Mitra were who most influenced my decision to become a filmmaker.

QUESTION: How did a connection between words and photography?

Rajiv: In writing essays and articles on film. I noticed that the images of the film worked much the way they speak / write works language. Wishes to express certain ideas. There are agreed and understood culturally codas. These forms, which call letters have agreed pronunciations. These letters form words. These words agreed meanings. But it is of course arbitrary. The word "cat" is not innate "catness" about it, but this word is listening to an idea in his brain. A cat. You can then add adjectives and adjectives, to be a black cat or black cat angry. These words are codes but not universal codes. They are specific to a culture that shares that language. Photography in some respects a more complex language. The meaning denotative (specific) or connotative (symbolic or constructive) of an image can be ambiguous, but also complex. Perhaps the best literary analogy is the poem Haiku. The words have more meaning less potential – the words that are added in time literary forms, the more specific meaning. An image has meanings specific and nonspecific. You can work in many layers, and not conscious.

Q: Did you have any mentors or be entirely self-taught?

Rajiv: I learned a lot from other DPs. But it is mainly to study their work. Ashok Mehta and talk a lot, and he has given me a lot. But I was self taught. I studied art widely, especially in early 20 century artists and late 19 th century artists. I learned a lot about the light from them. I stole an idea of every good movie I've seen probably. In particular, the work of Subroto Mitra (ISC), Ashok Mehta (ISC), Binod Pradhan and Santosh Sivan (ISC).

Q: Do you believe in yourself as an artist, a technician or both?

Rajiv: I think that's an important distinction. Not to sound pretentious, but if one takes into account the nature of art, ie to give us new eyes to see the world. I want the audience to respond viscerally to what our intentions for a movie. I think the film works very much like music, because for us it is difficult to measure or quantify what the public responds to what we do. Therefore, it is an art. And those who practice it so it must be artists.

Q: Tell us more about your analogy of music and cinematography.

Rajiv: I can sit in the newspapers and I can see the other people watching the movie with me physically and emotionally respond to images, but it is very difficult quantify what they are responding. If people listen to music, it can answer, but difficult to quantify since by the respondents.

QUESTION: I'll borrow a phrase from Subroto Mitra, which, he said, directors of photography are the authors of the images. But that is not widely recognized.

Rajiv: Part of the problem lies in our collective culture. The films are reviewed as theater than as a unique art form. Critics talk of scripts and performances. They talk about things they understand, but to understand due to their own cultural background is primarily in traditional theater, but did not recognize. In this context, film and the music is not understood, except to say they were beautiful, because there is a particular language, developed in criticism for its description. Unfortunately, many critics fail to recognize how the decisions taken by the director, cinematographer and composer made a profound impact on gut reactions and intellectual responses from the audience. I'm not saying that the filmmakers are not recognized. We are, at least within the industry, but not in the consumer press. I do not think I read a single review that mentions the importance of (ISC) Subroto Mitra decision to use 16 mm film and other formats in some scenes on the river, but had a profound impact. I believe that a decision important art worthy of comment, in fact, essential for understanding audience artistic treatment of the film.

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

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

QUESTION: Are the music videos you take the influence today?

Rajiv: Not really. None of my films are like music videos, but it was the best music videos we can experiment with lighting, film stocks, lenses and filters. We decided to try to put four lens filters, the process of the strength of the film, or put a negative through a Investment film post-production process to see how it goes, and then try again to reverse. It was a great way to learn.

QUESTION: Is there other filmmakers whose work continues?

Rajiv: I can mention all the obvious names, but the truth is I learn from all filmmakers. I can watch a TV shot by a filmmaker 29 years of age, and find something he or she did that is very interesting. I am constantly learning from others. I still read all the magazines and the newspaper about film and photography that can put in my hands. Still studying art. I collect books on photography and painting. But it is not only the good work others are doing to learn. I learn from my mistakes that I had ample opportunity to do during these last 20 years. When my son Adam was in seventh grade, wrote an essay in which he was obliged to say who was his hero. He said I was. "My father is my hero because he gets all the time and he lets me see. "So I feel good about spoiling. I think that's an important lesson to learn.'s okay to spoil, and sometimes trouble if you're willing to push the boundaries of his craft.

Q: Do any other mentors influence their thinking?

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

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

Rajiv: At the beginning of my career, nothing that was offered was a movie I wanted. Today, there are two things that might affect my decision. One of them is my first meeting with the director. That relationship is like a marriage only, curiously, much more intense. You have to decide if you'll be able to get along with that person for While you will be together. I think I've gotten along with more than 90 percent of the directors I've worked, and many have remained friends. The second thing is photography. Always I'm interested in doing something new and different. If the project is very similar to what I have done before, and the script is not very large, then it is less likely to be interested. Sometimes, a project that has been so interesting that it is impossible to resist.

QUESTION: What I tell students and other young filmmakers, when asked to share the secret of success? Do not you tell the truth about the odds?

Rajiv: I think you have to be patient and do not let yourself believe things will happen quickly. You need integrity and honesty about who you want to be. Thus, even if you do, you may leave with some dignity. If the commitment and not what is left?

Quick notes India's Photography PDO Rajiv Jain Cinematography and applicants Indian filmmakers:

A quick "filler message," while I try to get something written really important:

Most hits I get for my blog are people looking for keywords like "Indian filmmakers," filmmaking career path "and" How to be a best shot. "I really can only offer my own personal experience.

Rajiv in counseling, aspiring young filmmakers Indians:

A tip

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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