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Cooked Art: Images … by Pocket – Rajiv Jain Indian photo size
Cooked Art: Images … by Pocket – Rajiv Jain Indian photo size
I like movies that are made as a work of art, each scene is masterfully photographed for the bright composition to create lines of action, symmetrical balance, with good use of space, texture, color and perspective. Here are two movies that recently revived, besides being beautiful visual language.
So what the hell is a film director? If you want to get into semantics, which means " Writing of the movement. But his work, in essence, is to have control over the camera and lighting equipment on a stage and have much creative input in the final image. Even if takes into account the fact that the artistic director is responsible for staging, storyboard artist plans plans and what actually happens, and the director will want to have a piece of the action, then there is little wonder how the films end up looking great. Some individuals who have managed to do (in my opinion little)
What qualifications do you studied Bhartendu Academy of Dramatic Arts and when it ends? I went straight from high school Bhartendu Academy of Arts Drama and has a degree in two years in the drama, which specializes in lighting and graduated in 1985. The courses are taught differently now. It is managed as film school in a school of art, I think it's great! Allows students to make decisions before their chosen field in film and television, either a film director, director, producer, editor, etc. Also better prepare students to work in the industry. It is more than teaching how to make movies. What do you think of the facilities that you recently seen Bhartendu Academy of Dramatic Arts (Bhartendu Natya Academy)?
Bhartendu Academy of Art Facilities Drama is fantastic, I would say, world class. The main production studio is well equipped. The post-production facilities such as editing sound mixing and en suite rooms are exactly as what is used in most Indian movies and television.
I am particularly impressed by the value of film production students recently Bhartendu Academy of Dramatic Art. I think the quality of work is quite high.
I think great that students acquire film projects is the international industry standard for feature films, and most foreign broadcasts on television dramatic. It is rare that students have the opportunity to work with film and digital formats that are becoming more widespread. If you are able to shoot and work with the film, you will be able to work in any format that meets there. It does not work the other way.
What I mean by this is that managers film are the same regardless of the format pull in. However, making requires a different approach, both technically and creatively. These principles can be applied a digital shot, but the film requires a better understanding of lighting and exposure.
Digital Equipment Bhartendu Academy of Dramatic Arts a type and quality, enabling graduates to enter the industry and understand quite well how any other piece of equipment that will face. There is no reason why quality of student projects can not match the quality of business plans, because the equipment they use is the same.
I am especially impressed with the value student film production recently Bhartendu Academy of Dramatic Art. I think the quality of work is quite high.
What was the first break or work is the key to establish in their career path?
I had a series of breaks and I suppose many of them overlook the others. A series of fortunate events could say, but if I had to think of a pause, in particular, was great, one night when I had just finished my demo new photo editing. (A show is like a portfolio of work, a cut of my best photo edited to music.)
As I 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 cinematographer to shoot the Indian part of an international film was on the screen in the Universal Exhibition in Nairobi, Kenya, and they wanted to see showreels.
I went to the post office the next morning and sent mine near express mail. I received a phone call a few days later I confirmed that I had the job. I flew to Nairobi and worked with a professional team to complete My job was the first major.
The people I met in this project enjoyed my work as much as I received a call from a month late and have won in Brunei for make advertising. I ended up going to India with a new Showreel improved. Having international work of the coil raised my profile and got more and better jobs and a agent and I was not there …
A case of time I think!
What qualities do you think are necessary to make a career in the creative industries?
The quality I admire the success of creative professionals is the ability to be proud of their work. Whatever your creative research, I think if you make a the work that you really like and I feel very proud, so lucky to have one of the best jobs in the world.
I think so too challenging, working outside your comfort zone is important to realize that success must be consistent, positive and hard work.
Whatever the level of creativity is, will be a hard slog to get their careers. 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 demonstration, then get ready for the criticism and fight back, never give up and use them to strike again the incentive to work harder and set their highest standards.
I also believe it is important to "passion projects allow you to experiment with ideas or experience. For projects passion, I mean those who do it for the love of it and not pay. I took a lot of "gifts" for my Showreel height and gain experience before starting to charge for my art.
It is also important to work on the network. You never know if the person you might consider a rival may actually be the one to go 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, to always better projects.
For you, what are the Must See 'reference movie in terms of movement is its pioneering photography?
Well, to begin the film in Indian films Kalpvriksh recent films – The Wishing Tree – Dreams are yours just a little too far and soon Continue Released Pandu are quite remarkable. Ja!
No, seriously, some of my favorite and most influential in terms of moving images not the fire with a crane or shot in the Steadicam longest in the world, but those that create a sense of mood and atmosphere. Movies that convey emotions to an audience and help communicate the underlying idea of a story to tell about the characters that dialogue alone could.
I the most influential film for me would be something directed by Satyajit Ray (Aparajito (The Unvanquished), Parasha Pathar (The Philosopher's Stone), The Music Fair (The Room 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 just 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 most recent film that I shot, Kalpvriksh – The Tree of desires.
I want the audience feel as if you were there in Kalpvriksh, with the characters, feel, smell and taste.
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illuminate: the best moments of the film from Kalpvriksh – The Wishing Tree
An interview with Rajiv Jain, India Photo Rajiv Jain and owner of Movies, Photos and handles – Dubai – Madrid – Nairobi.
Q: What is the title of your job? When you're working?
R: chief cameraman, director photography. I My company, Rajiv Jain Cinema, Film and mangos, and I've been doing for about twenty years.
Q: How long have you been director?
A: I've been doing for several years, but I started my own business in about 2005.
Q. What type of training do you need to become a filmmaker?
R: I went to Bhartendu Academy of Dramatic Arts. I two-year degree diploma in performing arts. What to me to be able to see how the industry has changed significantly. After leaving college, children should only start their own business. First, must decide what to do in the industry and then go ahead. The sky is the limit according to the career you choose.
Q: What is the most you like your job?
R: Work me. Having the freedom to make their own decisions, make your own way in what you do. But you can spend a month without working, if you're on your own, so it definitely puts on a path of business and a creative career. Take charge of the business, not just the liberal arts. The film industry is a business, like the music industry. It has a starter.
Q: What is your typical day at work.
A: What jobs? Normally when I'm not working, I'm in my office doing paperwork. On the desktop, you may have to go somewhere locally and can be from two to thirty days. Many of our orders is remote locations. Each piece is unique. As soon as you think it is typical, changes.
Q: What is your career before becoming director of photography? Do you think that helped prepare her to become a massage therapist?
A: I was doing theater, photojournalism, working in a local chain and make a decent profit. I found it essential to incorporate of my words, and when I started taking photographs and filming, I realized that what I am most passionate. But when you have a creative bone in your body, such as writing, is easier to grow in other aspects of different jobs.
Q. What characteristics do you think are necessary to succeed as a cinematographer?
A: Everyone has different ways to succeed. But you have to maintain. Drafting Tables and graphs has changed so much. The whole dynamic has changed completely. You have to be totally flexible and keep the current trend.
Q: Would you say it is imperative to have a college education for a race like this?
A: I do not think is essential, but what I have to leave the University network much. I do that is a necessary condition to one hundred percent. But of course, you should have a good school to teach you what you need. When the university, you need to start working on creating a portfolio and a school can avoid it. If two people have the same job and that both had impeccable portfolio, but also made a career of four years, you can bet that nobody is going to land the job. Being in the industry full time, not only independent, which means that it is important for that title.
Q. Would you recommend this career to someone else?
A: Yes, I can not think of anything better than do. I see things that people do not see. Is it for everyone? I do not think so. You must 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 of what the industry is in the field. It is difficult to have only 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 move career, in your case?
A: The people of retirement and go. No, but seriously, I'm going to do more projects. I want complete control of my future projects.
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Kalpvriksh – The Tree of Desire – Dreams are yours just a bit far – Photo Rajiv Jain
Twice a winner of India Rajiv Jain Photo WICA ICS Creates Global Task light, shadows, in his recent film Kalpvriksh dreams are yours desires tree just a little far
Rajiv Jain has a way to see that you have an image to its outer limits. In his later years as an assistant, electrician, adhesion and in the last 16 years as director of photography, developed visual sensibility and experience.
Rajiv is inspired by directors like Satyajit Ray (Pather Panchali) and DOP Ashok Mehta, 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 the characters to make in the dark is a real art, "he said. Ashok Mehta allows his characters to operate in the dark. He turned to all black people are really rich – but you can see everything.
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 offers a variety of visual possibilities. Kodak shot mainly in order to differentiate the outdoor stage, Rajiv experimented with water filters to get hot and blue the look he wanted. The result is a dark journey, almost unreal, in the minds and actions of strange characters in the film.
initial collaboration in a film is essential, says Rajiv.
It is important for me to go through the script scene by scene with 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 person at that time, and how the characters move around the stage. Also share photos and movies, which gives us a visual to work.
A graduate of Bhartendu Academy of Dramatic Arts in theater and photography principles, Rajiv took a class film. Intrigued by the middle of the movie, saw the opportunity to combine their interests in the advertisements of the film. Looking for a way to learn the camera, offered your help (not paid) the cameraman Subroto Mitra to learn the craft.
He was very learned of his package SR, lentils were, and how to load magazines, " said. Then he began working in documentaries about Nehru Shyam Benegal.
In 1996, Rajiv has the first opportunity to make a film, the Army, with Mukul Anand. After eight weeks of shooting stress – each of his movements were monitored.
After six functions, then came Kalpvriksh in 2007, Rajiv has to explore a new visual technique to add nuance to the story. The film has a dream trip that Rajiv wanted to give a dreamlike quality. We tested the filters and the referral process chlorine to give this part of the film his own feeling, "he said." Instead, it decided to use a swing tilt, a camera accessory that allows the operator to modify the development plan. He chips in various parts of framework development, it is difficult to a general plan, because the greater depth of field.
Rajiv is currently finishing production on the operation of Pandu, have a shot in Mumbai and advertising decisions.
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Full of Surprises! Rajiv Jain, director of photography india / PDO, talks about … KALPVRIKSH (The Wishing Tree): Your dreams … Are they too far …
Like any artist, Rajiv was born with an innate talent burnished by experience and cultural influences. Born in 1968, his first introduction to the magic of cinema came as he watched his uncle as a projectionist in Ravindralaya Theatre, Lucknow. "I remember this little movie screening room and see 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 the pictures and try to understand history. Show Uncle Charlie Chaplin films, which, of course, silent. There is no doubt that his dream has become a film director in my heart. "A native of India, Rajiv Jain ICS WICA filmmaker Bhartendu studied at the Academy of Dramatic Art in Lucknow, India.
The day after the end of their studies, Rajiv went to work as an intern in an anamorphic image. He has contributed to ten other films as a camera assistant before becoming a dictatorship the proletariat. "From that moment, I considered that the camera or a pen that is used to draw," he said. "The operation of 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 1 / 2 seconds to zoom. It was a great lesson for me, learning to do all the elements of a ball work in this period. "
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 like solving the conflict between light and darkness, cold and heat, blue and orange or other contrasting colors. There must be a sense of energy or movement change. A feeling that over time – lights up the night light, which comes in the morning. Life becomes death. Making a film is a journey and documentation with the light on the style best suits this image … including the concept behind it.
The first important decision regarding the images was shot anamorphic (2.4:1) format, as they did in Kalpvriksh – The Wishing Tree. Manika said Rajiv likes manipulating subjective viewpoints and objectives, sometimes in the same framework, but at the same time. In a simple example, starting a fire on a topic, then a player will not occur in the frame, creating a ball over his shoulder, the evolution of the subjective – in which the viewer sees what the character sees – the goal. "One of my first suggestions shooting Kalpvriksh – The Wishing Tree Super 35 format," Rajiv continues. "I was giving the film an advantage not expect to see in the drama. I felt that we could use the broader context of creating a feeling of claustrophobia in the Cave of the composition more interesting and Shabana Shabana show in the world. "She, director Manika Sharma, designer Mansi and other potential team members Kalpvriksh discussed for creative writing – the Wishing Tree in large format, while relying on these visual references, another drama with a theme unlikely. Although the scenes Manika storyboards, sketches Rajiv used primarily as a communication tool. During the shooting the director is left open to the wind of storyboard to exploit opportunities unexpected. designer "Our production designer and costume Mansi given us rich sets and costumes. While pushing two stops in development is not always true colors, their collaboration with this technique has allowed us (especially in the dinner sequence Fantasy /) to have a hot scene and yellow toward the future, as if that was lighted candle light era, "he said.
In a spectacular scene on, the school principal (Mahabano Kotwal) sits in the chair, staring the window at the falling rain. "The scene was illuminated by the light of a tough day, an ARRI 6K," said Rajiv. "We did a light through 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 rain on the window and extends to the book. Collection were "brown. It was a happy accident, and everything worked perfectly with a light. "To fill light on this film, we become very, very little or nothing at all," added. "I found that stocks of the film we use, if you overexpose a little, you can read the details in the shadows incredibly well. When I saw the picture theater screen 70-feet wide, on the dark side, death is black, you can actually see the hair on the heads of the actors. I found it very interesting. I hope that works on a subconscious level of the public. "Although he knew that Rajiv could not get wide for a T2 or T2.8–because the Super 35 format chosen has a depth – Still wanted this tool to give the story a bigger stage presence. The more negative that allowed him to push the limits. And he knew that the grain still be acceptable if he had stayed in Q4 T2.8 ranges in the interior. "We still use real sources and would not be difficult for our team to follow development, "said trust.
Like many of his colleagues, Rajiv Jain Director of Photography has many concerns about changes that can be introduced during the post image processing our electronic age. These considerations are intensified when dealing with a plethora of visual effects, which was the case Kalpvriksh – The Wishing Tree. "I tried to make a concerted effort effort to remain as involved in post-production as possible – it is sometimes difficult because it is "Off to the next task – to work with digital effects and camera optics to ensure that no response would be problems with the printing process." No are all the lights in the master plan, "he said." The master plan that began with shooting was not the light. We were stuck in the back corner with a 35 mm lens had a two-way mirror in the background. Therefore used a technique called Rajiv Jain a "Driller. In other words, you are normally shot in a camera horizontal, and there are horizontal surfaces such as coatings and tables. Coming directly on the fire and details on this surface, which works very well. It does not seem bad. If Light comes from a place that is not normal or ordinary people seem to accept the item that was illuminated without actually determine what happens in terms of a source. The shades are lowered to not end up looking strange or draw attention to the source. You see it on the table, then turns the table and the lights faces at some point. It's interesting because you do not lighting is all the people. You are lighting the environment they are in.
Anamorphic gives you the space within which to do, " Rajiv. "Manika has no problem Filling an anamorphic box in a contemporary image. The story also looks elegiac, so it seemed better to put the video uncut rock and frenetic movements of the camera. With the curious distribution, we knew this film would be on performance. All these ideas – and "if it is not broke, do not fix it" – take into account in our decision to shoot anamorphic. To determine an appropriate approach for different visual moods necessary Kalpvriksh – The Wishing Tree, Manika and Rajiv chose to leave much of the regular business of listening to other films during preparation. "We used a lot of workbooks, referring to other artists working in two-dimensional forms, photography and drawings particularly refers Rajiv. "It was a nice and different way of preparation. Viewing the videos to see how a particular sequence of work is great, but I do not mean to approach this turn incredible self-education, which includes photography from 1890 to 'so far. Now, I can not stop buying books. It's incredible the amount of source material for visual reference is here when I get back to basics. These points have been great springboard for us.
The filmmaker also had to avoid reflections revealing picture of equipment and personnel on the surface of the water. With a disciplined team, which requires a careful placement of light and angle selection of the camera. He discovered that the plastic put on the distance from the point of view lens moves closer to Shawn was slightly distorted images a touch of grain, which amplifies the light that he and the director wanted Manika. Rajiv also added some thoughts of the characters and objects on the surface of the water to draw attention on the barrier that separates the child from others. Sometimes the camera takes a subjective position of the viewer, sometimes the public seems to share the experience of Shawn's life-in-the-bubble. "There is no 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 inside the bubble Shawn, or are we Outside Looking In?
I do not think that and, of course not, or administrator or company production did Manika Sharma Rhombus films. Another photo taken at an old house we had to Bollywood is to run two generators to power all the lights. When where, however, I was able to get two-thirds of a long sequence of light and reflections traveling in a pool Long Night (cave Shabana). "I think it is a reflection visual fact that his position in life can change almost instantly, "he said." He's very effective visually. It seems to work in a number of different levels. With this different approach seems to refresh your stay and all setbacks. There is a very interesting scene between Shabana and child who has been held under a tree, and there is a sense discomfort and possible attack. It is very ambiguous, but the spatial dynamics really focus on feeling. "
There is a great advantage to work in situations in relation to a study. For example, the Muslim home told me that a real marble floor. PDO experience knows how to use this fact something that can be simulated in a study "Rajiv thinks. Reflectors have been widely used throughout the film, usually side to have some atmosphere on board filling or Keylight and redirect some of that light on the filling. In most cases, it was very subtle, however, a simple reflection of the light. "We use the spotlight that almost nobody EyeLight" Rajiv, said. "So great is the 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 the internal life of the characters, so I tried to move forward Eyelights, especially when he was in close. It has often been done with a small reflector issued the last minute.
One of the most important aspects include Shabana preview character. "To nail down, started working in a storyboard artist, "says Rajiv, who has attracted a great council and is a brilliant artist as well. We have said our thoughts about how Shabana looked and started working. Manika credited with creating much of the final appearance since drawings are used to communicate in the hair, makeup and costumes Manika's services sought by their appearance. "Part of Guise Cave" implied the use of a wig, which often obscures the face of the actor – in which the failure of an ideal few lighting conditions. "For hair and makeup tests, that all seemed incredible Shabana would be difficult to treat for 2 weeks. She a great big hat and a suit too, so there was a question whether ever to be able to see really. He said that sometimes Manika, she was about to become a hair fashion. Very sensitive to the needs of actors, Manika got no facial hair, so try not to mess with him and work out for ourselves. "
The Kalpvriksh – The Wishing Tree, Rajiv chosen Vision 200T (5274) for all but out of the night, explaining that the soft texture of the emulsion non-intrusive files deep blacks, accurate colors and a wide tonal range. Rajiv was shooting Eastman EXR 100T days (5248), using a filter to 81 EF-half and keep the cold Blue winter. Daylight balanced 250D (5246) Vision of securities selected for the day indoors, when it exploded Vision 500T (5279) in most interior and exterior at night. Since the shooting, the director made numerous tests with different materials in search of suitable thickness and translucency. "It's like using a cheap filter on the ice and realized that any distortion or loss of interest would be amplified when the optical laboratory "compressed" images in the report of 2.40 point. In addition to selecting the right plastic, it was important for us to record a strong negative images with clear objectives defined. We went through the filters at least 90 percent of the time.
During filming scenes of forests main actor Rajiv employees what he called a sandwich of nine light. "Others might call it a book of light, but if we did any gross Maxi nine-rebound surface part of the board Directors of the heel, then letting the light through a diffusion framework generally equipped with a network of 216 or light. The soft light it is surprising that had a very good quality, plus some serious lumens per square foot pounding. This light is soft enough to penetrate the hair Shabana and I could control the amount of light with a simple click of different balloons. But it also requires a lot of shortness of breath and gave a lot of space. "Other times, Rajiv lit through the forest to make way for multi-angle light ends. "I got much smaller and more head-on with your password you normally do, but the approach has been successful in dropping the hair naturally, yes, all this has been difficult, it worked. I'm just grateful for the scenes where her hair got Shabana backwards, as it could gain an advantage for its beautiful side lighting.
When children reach the tree before the peak, the production has created famous production by filming actors against a blue screen and green screen. These elements have formed a digital stock basic plates taken from Ladakh. Harry and an internal Arjun Red chiles and under the supervision of visual effects shots. "I do not think that these scenes may be more credible if we had traveled to Ladakh firing line, "marvels Rajiv." How can you miss when you start with 70 mm base plate? We matched all of these dishes. "
There was a day some scenes here We have therefore decided that the cracks in the ceiling of the cave allows sunlight hard, "he continues." I put posters on the walls behind and let some players bounce the light of the earth. For most, however, the scenes are set in the cave at night – Accommodation by Firelight or flashlights or off imaginary light, which is not connected to anything. For water, I chose to use a slightly light blue key players, but he made no movement hesitant because I felt he was distracted. Blinking in the face of current water. What I have added a slight flicker effect on the walls, I appeared to be more comfortable while giving a little realism.
laboratory work before the final was made by Gemini, which provides daily movie. "After his experience in the commercial world where he works on a monitor at all times, Manika enjoyed watching the film to date – has opened a new world for her "Said Rajiv." For example, 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] feels is not good at it. It seemed too quick off the ball. He suggested that perhaps the line would disappear in the literature. After a while, since Manika projected onto a large screen and instantly loved. "When asked if this new extension of a good drama on the screen and Rajiv smiled and said," would not surprise me if I said there is a happy ending? "
The filmmaker does not use the broadcast the camera lens, preferring to ease his subject according to the needs of selectively affecting the source of light. "I've never liked movies where the global resolution of changes in the lens visible during practice sessions in the first background during a scene, "he said." Any case of spreading heavy front of the lens to [actress] Find "best" is crazy to me. I do not want to see the efforts of the Director of the picture to make someone look good. Instead, I see the character, looks good, and I think what happens when the actor is both integrated in well-lit scene and a form of flattery. My solution is to reduce the light source, and the image is as clear as possible. Some people think that the lenses are too Primo strong, but I like everything perfect. When combined years of research and development on Kodak film stocks, which happened in the lenses Arri and laboratory work with Gemini, then put all this in a movie correctly on the screen, the result is perfection so incredible! If 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 so many treatments necessary to describe the visual perception of Shabana, Rajiv Manika and the need to adjust the settings from scratch events requiring more elaborate visual effects. "We're telling a story that we see in part through a madman's eyes, offers Rajiv. "She is crazy brilliant, but crazy anyway, so there is a sense of fantasy about these visions, but not in the tradition of science fiction effects. Us present a wish list of visual effects for budgeting, but returned four or five times expected price. This has forced us to surrender, and that the decision has worked better end of the film we ended decision. Most effects are things we've done with the practice of light signals, or a combination of these indices with digital retouching. "
I'm glad to see this movie seems interesting to look at, but I'm also happy that the images no substitute for history. In early reviews are praising the performance Shabana as one of the best ever given, it would be logical to do something that was far to be looking. Lots of movies seem overwhelmed by the effects, but is not a Manika say that the kind of story.
Photo When Rajiv Jain ICS WICA Indian is asked if he would do something different today, the master artist responded: "Four-twenty-nine percent of the time when I see my old films, I'm sober. Era 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.
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Q & A with Rajiv Jain ICS WICA Photo Kalpvriksh Indians in the film – The wish tree – Your dreams are just a bit far
India Photo Rajiv Jain ICS WICA is a filmmaker based in Mumbai, India. Rajiv is Photography specializes in television commercials in 35mm motion picture and digital high-definition formats. Rajiv began in the early days of the music video revolution, before venturing into the film narrative. His eclectic work includes the Army, Badhaai Ho Badhaai, continue to Pandu, Kadach, Kalpvriksh – The tree of desire, Mirabai Notout, Pyar Mein Kabhi Kabhi and Rasstar.
Q: 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 person, given the desire to be a filmmaker. It was certainly not the quality of light in Lucknow. I remember it was gray, the traffic has been dyed brown and the dark sky. But as I said that I am aware of the platform out of 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 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.) First 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 by the language of film led me in a fairly complicated to cinematography.
QUESTION: That's interesting. Can it be a little more specific?
Rajiv: I became very interested in understanding how to modify the light, camera angles, composition, and movement of the camera director of photography on the changes in public perception of the visual event, and therefore the viewer's emotional response. It is difficult 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 beauty and magnitude sublime, 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 who have most influenced my decision to be a filmmaker.
QUESTION: How to make a connection between words and photography?
Rajiv: The draft 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 agreed and understood culturally codas. These forms, which we call letters, agreed pronunciations. These letters form words. These words have agreed meanings. But 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. Then can add adjectives and adjectives, to make a black cat or black cat angry. These are code words, but not universal codes. They are specific to a culture that shares in that language. Photography in some respects a more complex language. The denotation (specific) or connotation (symbolic or implicit) meaning of an image can be ambiguous, but also complex. Perhaps the best analogy is the literary haiku. The words have more meaning lower potential – the words that are added in literary forms, the more specific meaning. An image provides both specific and unspecific meanings. You can work on multiple layers, consciously or not.
Q: Have you had any mentors or be completely self taught?
Rajiv: I learned a lot other DPs. But it is mainly based on the study of his work. Ashok Mehta I talk a lot, and gave me a lot. But I was self taught. I studied art extensively, especially century artists of the early 20th century, and artists in the 19th century. I learned a lot about light from them. I won a good idea every movie I saw, no doubt. 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 it is a very important distinction. Do not want to sound pretentious, but if one takes into account the nature of art, it is intended that we given new eyes to see the world. I want the time to react viscerally to what our intentions are in a movie. I think the movie works like music, since it is difficult to measure or quantify what the public responds to what we do. So it's an art. And those who practice it must be artists.
QUESTION: How is the analogy of music and film.
Rajiv: I can sit in every day and I see other people see the movie with me physically and emotionally respond to images, but it is hard to quantify what they are. If people listen to music, can also answer, but would be very difficult to quantify why they react.
QUESTION: Let me borrow a phrase from Subroto Mitra, who said, Director of photography are the authors of the images. But this is not widely recognized.
Rajiv: Part of the problem lies in our collective culture. Movies are discussed 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 Culture its own history, especially in the traditional theater, but can not recognize. In this context, movies and music are not included, except say that they were fair; 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 intellectual. 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 El Rio but had a profound impact. I think this is an important decision remarkable artistic, indeed, essential to public understanding of film processing artistic in nature.
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 the best music video was that we could experiment with different lighting, film types, lenses and filters. We decided to try to put four filters in the current target 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. It 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. I am constantly learning from other people. I still read all the magazines and newspapers in the film and photography that could bring the hand. I studied art. I collect books of photographs and paintings. But this is only 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 I's son Adam was in 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 he messes up 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 going to spoil 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. Her down some interesting paths film theory.
Q: How do you decide that something is a movie you want?
Rajiv: Al Early in my career all 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 that, curiously, much more intense. You must decide whether to agree with this person for the time they will be together. I think they are While 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 that it is impossible to resist.
Q: What do you say to students and other young filmmakers, when asked to share the secret of 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 a little dignity. If you do not compromise and what's left?
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Quick Notes by Indian Photo / Rajiv Jain DOP in the film and aspiring filmmakers in India
A fast-fill post "so I try to do something really important wrote:
Most of the hits I get for my blog are people to look for keywords such as "The career of the Indian filmmakers" film "and" how to be a great filmmaker. "I can only offer my personal experience.
Rajiv on advice for young people filmmakers, aspiring artists:
A tip for all filmmakers is to be very aware of the digital age that ¬ s just above us, but always faithful to the film at this time and maybe try both. We're turning the digital film. I had some tests with the film compared to digital and film better. Film still has more information than digital cameras even if they are improving all the time. But the way forward now that the film is very clever is to shoot the film either 35mm or Super 16 and only digital intermediate and put them together in the film to end. I did it with my last three or four films and I go again with my neighbor. ¬ is a really smart movie to be able to use digital technology to manipulate images. (For me, to make decisions the day of shooting), I saved a shooting attack Kalpvriksh average of 10 minutes a day to make decisions such as:
He leaves his rocket à ¬ a window to send the handles to get rid of it. We did not have time. I can fix it digitally. It is very easy ¬ à thereafter.
Here, ¬ s warm light that comes on top of light ± muscosa large flares. We can not get rid of the flares from the top edge. Do not worry. If we are to put flags giants, a ¬ have 20 minutes to do. Forget it. I know that I can fix it digitally.
Occasionally I like knowing that I could make decisions make corrections to a digital intermediate. That SA Ã ¬ very smart. It is more expensive than the traditional calendar, but a ¬ s less expensive all the time. It is just ¬ the norm very soon.
I think (it's a good ¬ s) to young filmmakers to embrace (and) to visit the homes Digital (which) are more than happy to show people around (and) to show them the ropes. Ã ¬ is truly unique experience. Once he did, never looking back.
I have not done ads long and I just tend to go according to function. (But) the majority of the directors who roll ads if they go ahead without a doubt the opportunity to see the technology digital work, if they are in the process of television.
Now, the master of the camera, Rajiv Jain:
Indian is my favorite picture:
Ashok Mehta (36 Chowringhee Lane, Moksha, Bandit Queen)
Binod Pradhan (Parinda, Devdas)
KK Mahajan (Coro, Maya Darpan, Uski Roti Sara Akash)
Santosh Sivan (Dil Se, Iruvar, Kalapana, Perumthachan)
Y
Subrata Mitra (Pather Panchali, New Delhi Times)
You really should check them. I wrote about a couple of them.
As a career path, I still think to myself. I remember listening to the photo of the Ashok Mehta how it got to the point of firing characteristics. He worked as an assistant cameraman and camera op for a while until he gets a regular gig commercial shooting. Finally he got up photography, and fired a series of films, including 36 Chowringhee Lane and Bandit Queen. It took about 10 + 30 years to reach the level it is today. And so many, I learned too. It will take about 10 years on average to become a "success" (In terms of big Bollywood) in your area.
All I can advise is to go on set. Get a film crew, who either PA, camera assistant, camera op, or the person who cleans If dirt chamber. See the filmmaker. Listen to the filmmaker. Ask questions in Photography crew. Whatever you do, even if more work is stupid bored on the set, it will be spectacular and incredibly happy to do. People will notice your attitude. Make friends, but especially with the team, not just the filmmaker. (Also, make friends with the assistant director. They can give good recommendations.) Learn everything you can. Get a camera (SLR or video camera) and study their own style. Try something new every day.
As for how to be a great picture:
Remember that you tell a story. And the use of this story with humility, loyalty, creativity, passion and open eyes.
And make sure you know what you do, or become very good at undermining it. (Another post about "know [the of] what you do "is mid-write, and some thoughts on the Indians is a filmmaker so far in my journey. Should be interesting.)
For filmmakers are making movies, you can not have had that opportunity, but I recommend going to a digital home. I did all my work Prasad. They have the resources of all the leading optical engineers and designers, (and) electronic experts Panavision. Prasad is really wonderful, "has been a great help to get to know that I have a good laboratory and large chambers.
I believe that aspiring filmmakers should be aware of digital formats and ³ ³ Filma, but tend to be (pause) Digital cameras do not neglect, but I'm back later, whenever you can. (Laughter) I am a bit guilty for not actually follow the latest technology in measuring of digital (HD) cameras are concerned, but I've been tested. I'm still a man of cinema. I love movies.
About the Author
Sparkle Hayter was born in Pouce Coupe, B.C., Canada and raised in Edmonton. In 1980 she ran away to New York City where she ended up in TV news, primarily for CNN. After CNN, she moved to Pakistan and went into Afghanistan with the mujahedin to cover the Afghan war against the Soviets. After one particularly harrowing four-hour trek through a minefield behind some Frenchmen and a flatulent packhorse, she decided to give up full-time journalism. Upon her return to New York City, she, in short order, got married, took up stand-up comedy, sold her first novel, moved to Tokyo, moved back to New York into the fabled Chelsea Hotel, got a divorce, published five more novels, and got a tattoo. She has written for The New York Times Op-Ed page, The Nation and The Toronto Globe and Mail, was a regular panelist on CNN’s issue-oriented talk show CNN & Company, and has also appeared on Diplomatic License (CNN), Good Day New York, NPR, CBC, BBC and Paris Premiere. She still performs stand-up comedy occasionally, and last appeared at Stand-up New York and Don’t Tell Mama in Manhattan in 2001. At the moment, she is living in Paris and working on a novel set there. http://www.noexit.co.uk/hayter.htm
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