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The Written Word: Rajeev Jain (India Photo) Visual magic ….

Philosophy

The world just got a whole much smaller. I'm still in a state of total disbelief. The horrible crimes of recent suicide bomb explosions have gone above and beyond understanding and human logic. How is it that our goals and aspirations can be so different despite the entry of the same mold? As Father, I am always encouraging my two little angels Abigail Jain (17yrs.) and Kimberly Jain (13 years) to work hard, be fair, be honest, be gentle and humane and, above all, be open minded and tolerant of other people.

The terrorists who carried out the deadly plan lied cheated, murdered and found those who do not subscribe to their twisted perversion of faith and morals.

This is a very difficult to be positive, but the future of our children and the rights of a free democracy depends on everyone continuing to protect the choice to pursue what is important and right for each individual.

The market is in a total state of flux. Everyone in our company is scrambling to strengthen existing customers and struggling to keep what they have. Add the challenge of preparing for HDTV and the plethora of choices of formats to the equation and you have a difficult situation.

Climbing to higher planes of the industry was not overnight. Originally from Lucknow and a graduate University of Lucknow and Bhartendu Academy of Dramatic Art (Bhartendu Natya Academy / Bhartendu Natak Akademi), my career took me over the years of Lucknow, Mumbai to pursue my dreams. And companies have varied between organizations, television stations to agencies Advertising and feature articles. Despite all my achievements and of course a variety of skills, I remain faithful to my first love, and is love for cinematography.

I believe that the DOP has one main job: to serve the director's vision of history. Some seem DOP decided to make a film different from the manager – this type of behavior is totally unprofessional, even silly. I try to keep a fully professional attitude whether we turn 16 / 35 mm film, High Def 24P or Video. Shooting is shooting, I try to make every shot as best it can be.

One of the great pleasures of cinema is collaboration. I take great care and effort to put in nothing, but better than I can in every shot. I try to understand the vision that the director tries to bring to the forefront, presenting the vision in all its totality and make it as realistic as possible, then becomes my sole purpose.

Some administrators prefer to control every aspect of the image, and at the other extreme, some prefer to concentrate on directing the actors and just about to leave the photography to me. Most often, of course, the majority of director FIT somewhere in the middle. I am completely comfortable working either means.

The DOP is another job, of course, and it to help the production to stay on time and on budget. I take these responsibilities very seriously as well. Being a cinematographer is much more than just good lighting and camera (even if they are primary, of course), it is also very much a "management" of employment: you are in charge of a number of individuals, departments, equipment, schedules, etc. My experience on the production, large and small, from simple to very complex shoots give me the experience to manage the various responsibilities and balance.

I'm as big a gear head as the guy next door, but please!

The reality is that you 'd better know your customers and be honest with you about your market that makes the most of your business in. The mistake many people make dream what could be and not focus on that is.

For me, I have an eclectic mix of works. I continue to draw Advertising feature films and music videos.

I personally think you'd better enjoy what you do and have as much fun as you can do everything. I had the chance to connect with a lot of great people, both crew and production companies.

I noticed that the instinct is to start to direct my life. I do worry about the "what if s", I simply do what feels good and it seems surprisingly to be solved. The former rule is true, if it seems too good to be true …. Hard work is the only substitute for the lack of natural luck, hell I do not even know how to spell opportunity. As a freelancer, you have to do your luck, you have to sit and think about what type of work you want done and then make contacts, place calls and pursue what you want.

There are a hundred ways to make mistakes and some to go right. There is only single goal: Beautiful images that serve the story and the movement and in the edit.

It was weird one year (2009). I lost a number of spots in Africa, Asia, Europe and Middle because of a slowing economy, war and terrorism East extremism.

And finally, this year (2010) I turned 43.

So, if you receive a call from me one day, do not be too surprised.

MY MISSION
To use my skills, experience and professionalism to provide individuals with cinematography productions and undeniable.

JAIN RAJEEV s TAKE ON ……

PREP
I work on complex problems in preparation to perform simple solutions in production. The location scouts, announces shot, story boarding, script meetings, watching the rehearsals, testing stock, lenses, makeup and wardrobe, planning and collaboration with department heads – I do wing it. I am preparing for the point where I can use my intuition to respond to the unexpected rise above the game plan and take the film to the next level.

ADMINISTRATION
What gets me happy – is to work with directors who are passionate risk. If the film is meticulously storyboards or improvisation, by preparing to wrap up, I try to unlock what the director has in mind, understand, enhance and capture.

PRODUCERS
I know how to work with a producer for a dollar fifteen cents. Whether tapping my extensive contacts to the successful planning of crew and equipment, to find innovative and ingenious ways a film, nailing a shot to take – I take no fees for granted.

CREW
I have the contacts to develop lighting apparatus and the crew for most companies of any project and the experience to delegate and supervise. My List skills and aspirations bigger than their job titles, but also the attitude to keep the fun. I commend the crew who take the initiative, love movies and read the script.

STYLE
I hope I am not accused of having. I want the audience to feel what I shot, do not pay attention to how he was shot.

FRAME
I'm for change. I frame the drama.

LIGHTING
I think there's no better way to light. Each film has its own requirements. Some administrators may want 360 trucks degree while others do not move the camera at all, others like working with brands and some do not, schedule another 20 shots per day while the other 10. In any case, I must find an approach that strengthens instincts of the director, remains in the production of resources while at the end of the day, illuminates the drama.

FORMAT
Whether in Super 16 HD or 35mm, I am agnostic format. I work closely with the director and producer not only choose a viable format, but also to exploit maximum.

EQUIPMENT
Through my contacts with suppliers and rental houses, my collaboration with key personnel, and years of shooting at different levels – I still pay for the production of unnecessary gear, while ensuring that we needed. But I think also find ways to make the most of what you have.

POST
My job does not end on the shelf. I oversee the look Film dailies to digital intermediate release prints. Based in the eye of the RFP is essential in creating the finish and the maintenance of visual continuity and integrity.

MOVIES
From classics to the new version of the horror romance, I know that my films and genres. It is the experience of escaping into a great movie that I am passionate. I am not a head gadget, do not fall in love with plans or obsessed about technical issues. I obsessed with movies that move me and do everything I can be part of those decisions.

During the famous DP …… some

… I Believe

"I confess a fondness for publicity. It is the perfect blend of many skills. You have 30 seconds to sell the public a product or idea using the visual techniques of lighting and camera movements to reflect and comment on current culture. "

"Each director brings a different perspective of the workplace. Their backgrounds vary as much as the products are and that diversity is what makes each different job unique. My challenge as a cameraman to capture that special uniqueness about the movie. "

"I never wanted to be stationed in advertisements. I do not limit myself to just shoot cars or table. My experience is still photography, documentaries and drama. I traveled my whole life and I want to incorporate that into my work. Advertising reflect the constantly changing markets and the public. This requires means to aware of changes in the goals, the stock of films and accessories as well as to participate actively in the rapidly evolving technology of digital imaging. "

"Filming children is the epitome of spontaneity. You must be ready at any moment something happens. It has everything to do with lighting and planning. You also have to find the right place for the camera so that children can work in a given space and be at ease, without much noise and distraction … finger on the trigger. "

"If you know how light it was not matter what you shoot. If you do not know how the light … It does not matter what you shoot. "- On the filming of High Def vs. Fire:

"The cinematography is the art and craft of the authorship of visual images for movies that extends from design and pre-production through post-production to final presentation of these images. All and all processes that may affect these images, are the direct responsibility and interest photography. Images is not a subcategory of photography. Instead, photography is a profession, but the director uses in addition to other measures physical, organizational, management, interpretation, and image manipulation techniques to effect one coherent process. Cinematography is a process of creation and interpretation, which culminates in the authorship of an original work rather than merely recording a physical event. The images that the filmmaker brings to the screen from the artistic vision, imagination, and skill of the director photography work in a collaborative relationship with other artists.

"Cinematography is the process of capturing a vision on film. As both an art and a profession, it is a dynamic process that involves the composition of light, shadow, time and movement. For the director of photography This requires a synthesis of technical skills and creative sensibility.

"Much of the work happens between Scouting and making of view and it can be a very tedious process. Ultimately, if the work shows that behind the scenes in the final product, then I think that the work was not for nothing.

Q & A with Rajeev Jain ICS WICA photo Indian film

Director Indian photography, Rajeev Jain, WICA ICS is a filmmaker based in Mumbai, India. Rajeev specializes in shooting television commercials in 35mm motion picture film and digital formats HD. Rajeev started in the early days of the music video revolution, before venturing in narrative cinema. His eclectic body of work includes the Army, Badhaai Badhaai Ho, continue Pandu, Kadach, Kalpvriksh – The Wish Tree, Mirabai Notout, Pyar Mein Kabhi Kabhi and Rasstar.

QUESTION: Where were you born and raised?

RAJEEV: I was born in Lucknow, India. There no major event that happened to me as a young person who inspired me to be a filmmaker. This was certainly not the quality of light in Lucknow. I remember he was gray, brown complexion was of the circulation and the dark sky. But as I say that I'm aware of the pallet removed from the place affects me emotionally. Saturated jumped cons as neutral, as in a dream or a nightmare post-industrial.

QUESTION: What are your parents?

RAJEEV: My parents were just ordinary people. I do not think they were particularly ambitious for me. Their main concern, I think, that I was not an embarrassment. We moved to Etawah and then return to Lucknow, where I completed my studies. My degrees were in Theater Arts.

QUESTION: Do you have a career goal this moment in life?

RAJEEV I wanted to be a writer, but as Rakesh Mohan I was thinking too much and too little writing. Too say that I was more a player, then a writer, scholar, poet and more. I was very interested in semiotics and structuralism (The study of how the language of ideas code). Initially, I studied how the language spoken and written language work, but are more interested in how the codes have worked in other languages as the language of film. My interest in the cinematic language led me to a fairly complicated to cinematography.

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

RAJEEV: I became very interested in understanding how to modify the light, composition, Camera angles and camera movements filmmaker changes the public perception of the visual event, and thus the emotional response spectator. It is hard to quantify. I specifically remember not thinking back to when I see Pather Panchali a child, and how his images were always remained in my imagination, not only for their sheer beauty and magnitude sublime, but because they affected me emotionally, striking a chord, but unconscious. Later I saw that Ray "The Apu Trilogy." I had much the same answer, but now my understanding has been informed by my studies. It is fair to say that the photograph of these two films, Subroto Mitra, are those who have most influenced my decision to become filmmaker.

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

RAJEEV: Writing essays and articles on film. I realized that the images of the film worked much the way the spoken and written language functioning. You want to express some ideas. It is culturally understood and agreed codas. These forms, which we call letters, agreed pronunciations. These words form letters. These words have agreed meanings. But it is obviously arbitrary. The word "cat" is not innate "catness" about it, but hearing this word the listener is idea in their brain. A cat. We can then add adjectives, and qualifiers, 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, is a language far more complex. 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 less potential – the more words that are added in more literary forms, the more specific meaning. An image provides both specific and non-specific meanings. It can work on multiple layers, conscious or not.

QUESTION: Have you had any mentors or you were completely self-taught?

RAJEEV: I learned a lot of other DPs. But it is mainly from the study of their work. Ashok Mehta and I talk a lot, and gave me a lot. But I was self taught. I studied art extensively, especially the artists of the 20th century beginning century, and artists in the late 19th century. I learned about light from them. I stole an idea of all the good movie I have seen, no doubt. Particularly the work of Subroto Mitra (ISC), Ashok Mehta (ISC), Binod Pradhan and Santosh Sivan (ISC).

QUESTION: Do you than yourself as an artist, a technician or both?

RAJEEV: I think it is a very important distinction. I do not want to sound pretentious but if one considers the nature of art, it is intended to give us new eyes to see the world. I want the public to react viscerally that our intentions are to a film. I think the film works very much like the music in that it is difficult to measure or quantify why the public responds to what we do. So it's an art. And its practitioners must be artists.

QUESTION: Tell us about your analogy of music and film.

RAJEEV: I can sit in dailies and I see other people watching the movie with me physically and emotionally respond images, but it is very difficult to quantify what they respond to. If you look at the people listening to music, they can also respond, but you would be hard to quantify why they react.

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

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

QUESTION: The collaboration between directors and directors of photography is unique.

RAJEEV: One important thing about this is that the filmmakers are working to integrate their vision of a film with the director's vision.

QUESTION: Is it the music of many videos you shot you influence today?

RAJEEV: Not really. None of my films resemble clips music, but the great thing about music videos is that we could experiment with different lighting, film stocks, lenses and filters. We decide to try to put four filters on the lens current process, the film, or put a negative through a process of post reversal film to see how it comes out, and then try again in the opposite direction. It was a great way to learn.

QUESTION: Are there other filmmakers whose work you follow?

RAJEEV: I can cite all the obvious names, but the truth is that I learn all filmmakers. I can watch a television program shot by a filmmaker 29 years and find something he or she has that is very interesting. I am constantly learning from other people. I still read all the magazines and journals on film and photography that I can get my hands on. I have studied art. I collect books of photographs and paintings. But this is not only good work that others do that I learn from. I learn from my own mistakes I had ample opportunity to do over the past 20 years. When my son Adam was in seventh grade, he wrote an essay in which he was required to say who was his hero. He said it was me. "My father my hero is because he messes all the time, and it allows me to see. "I am therefore allowed to mess about. I think it's a lesson extremely important to learn. It is allowed to pollute, and you'll sometimes mess if you're willing to push the limits of your boat.

QUESTION: Is it the influence of other mentors your thoughts?

RAJEEV: I was a graduate of the University Lucknow for a short period. That's where I met Renu Saluja was a very important mentor. She pointed at down some interesting avenues regarding the theory of cinema.

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

RAJEEV: Early in my career all that was offered was a movie I wanted to do. Today, two things are likely affect my decision. The first is my first meeting with the director. This relationship is like a marriage that, surprisingly, much more intense. You whether you will be able to agree with this person for the time you'll be together. I think I got along well with most 90 per cent of the directors with whom I worked, and many are still friends. The second thing is photography. I am always interested in do something new and different. If the project is very similar to what I did before, and the script is not very big, so it is less likely, I'm interested. Sometimes a project comes along that is so interesting that it is impossible to resist.

QUESTION: What Say you do for students and other young filmmakers when they ask you to share the secret of success? Did you tell them the truth about the ratings?

RAJEEV: I think we should be patient and not let yourself believe that things will happen quickly. You need integrity and honesty about who you want to become. In this way, even if you fail, you can fail with some dignity. If you compromise and do not, what you have left?

………………………………………….. ………………………………………….. …………………………………………..

Rajeev Jain, WICA ICS – Indian Photo / DOP, talks about … Kalpvriksh – The Wish Tree – Your dreams are just a bit far

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

The day after the end of his studies, Rajeev went to work as an intern on an anamorphic image. He contributed ten more films as an assistant cameraman before becoming a DOP. "From that moment, I considered that the camera is like a pen you use to draw pictures, "he said." Exploiting a camera is mainly on the composition and rhythm. I also used the device photo for 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 make every element of a work shot in that time. "

I thought it was fascinating that the film speaks a common language that everybody can understand, "he recalls." This is particularly true for photography, because we are communicating with the public non-verbal. "For me, making a film is like solving conflict between light and darkness, cold and heat, blue and orange or other contrasting colors. There should be a sense of energy, or change of motion. A sense that time passes – the light turns night, which comes in the morning. Life becomes death. Making a film is like a trip documentation and use of light in the style that best suits this picture … including the concept behind it.

The first important decision regarding the visuals was to shoot in anamorphic (2.4:1) format, as they did on Kalpvriksh – The Wishing Tree. Rajeev says that likes to manipulate Manika the subjective views and objectives, sometimes in the same frame, even at the same time. In a simple example, a fire starts on a topic, then a player is not in the frame creating a shot over the shoulder, the evolution of a subjective one – that the viewer sees what the character sees – the goal. "One of my suggestions first shot Kalpvriksh – The Wishing Tree Super 35 format," Rajeev continues. "I felt that the film would give a head start you do not expect to see in the drama. I felt that we could use the broader context of creating a sense of claustrophobia in the cave and Shabana more interesting composition showing Shabana in the world. "She, director Manika Sharma, designer Mansi and other members of the creative team have discussed options for dealing Kalpvriksh – the Wishing Tree in large format, while relying on visual cues such as Another drama with a theme unlikely. Although the scenes storyboards Manika, Rajeev used primarily as a communication tool sketches. During filming, the director remained open blowing storyboard to take advantage of unexpected opportunities. designer "Our production designer and costume Mansi has given us rich sets and costumes. While pushing two stops in development is not always as faithful to the colors, their collaboration with this technique us (especially in the dinner sequence Fantasy /) to have a hot scene and yellow toward the future, as if that was lighted Candlelight was, "he said.

In a scene dramatically lit, the director of the school (Mahabano Kotwal) sits on the chair, looking out the window at the rain falling. "The scene was illuminated with a light tough day, an ARRI 6K," said Rajeev. "We light through the window. In light of the door, we used a 4 by 4 mirror is out of the frame to the right. The light is modulated by rain on the window, and it extended over to the book. We were 'brown collection. It was a happy accident, and everything worked perfectly with a light. "To fill light on this film, we used to be very, very little or no, absolutely," he added. "I find that the stocks of 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, which is black death, you can actually see the hair into the heads of the actors. I found it very interesting. I hope it works on a subconscious level to the public. "Even if he knew Rajeev could not get wide open for a T2 or T2.8–because the Super 35 format chosen has a shallower depth – he still wanted this tool to give the story a presence biggest stage. The most negative allowed him to push the limits. And he knew that the grain would still be acceptable if it remained in the T2.8 Q4 scales on the interior. "We could still use real sources and it would not be difficult for our crew to follow the focus, he said with confidence.

Like many of his colleagues, cinematographer Rajeev Jain has many concerns about changes that can be introduced during the imaging process post our electronic age. These considerations are intensified when dealing with a plethora of effects visual, which was the case with Kalpvriksh – The Wishing Tree. "I tried to make a concerted effort effort to remain as involved in post-production as possible – which is sometimes difficult because it is' off to the next task – to work with digital effects and Optical chamber to ensure that there would not be problems with the printing process response. "You do not see all lights in the master plan, "he said. "The master plan that we started with was not shooting light. We were stuck in the back corner with a 35mm lens and there was a two way mirror in the background. We therefore used a technique Rajeev Jain called a driller. In other words, you are normally shot in a horizontal chamber, and there are horizontal surfaces such as top coats and tables. If you come directly above a fire and drill down on this surface, it works very well. It does not seem bad. If the light comes from a place that is not normal or ordinary people seem to accept the item that was illuminated without really determine what happens in terms of a source. Shadows go down so they do not end up looking weird or attracting attention to the source. You see it on the table, then he comes on the table and the lights faces in a certain extent. It's interesting because you are not lighting at all the people. You are lighting the environment they are in.

Anamorphic gives you the space within to do, "said Rajeev. "Manika has no problem Filling an anamorphic frame in a contemporary image. History also has an elegiac aspect, it seemed better to say it without cutting the video rock and frenetic camera movements. With the curious distribution, we knew that this film would be on performance. All these ideas – and "if it is not broke, do not fix it' – taken into account in our decision to shoot anamorphic. To determine an appropriate approach for visual moods various necessary Kalpvriksh – The Wishing Tree, Manika and Rajeev has chosen to largely abandon the regular business of listening to others films during preparation. "We used a lot of work book, referring to other types of artists working in forms two-dimensional, photography and drawings mainly, Rajeev relates. "It was a nice and different way of preparation. Watching the movies to see how a sequence particular work is great, but this approach not get me started on this incredible turn of self-education, covering the photograph from 1890 up 'til now. Now, I can not help but buy the books. It is amazing how much source material for visual reference is there when you go back to basics. These points have been great springboard for us.

The filmmaker also had to avoid revealing reflections photo equipment and personnel on the surface of the water. With a disciplined team, which required careful placement of light and camera angle selection. He discovered that putting plastic in the right distance from the lens moves closer Shawn perspective made slightly distorted images with a touch grain, which amplified the light that he and the director Manika desired. Rajeev also added some thoughts of characters and objects on the surface of the water to draw attention to the barrier separating the child from others. Sometimes the camera takes a subjective position of spectator, other times as the public seems to share the experience of Shawn's life-in-the-bubble. "There was no simple formula for deciding when to put the public inside the bubble with Shawn. It was a question I asked the director for each shot in each scene. Are we inside Shawn the bubble, or are we Outside Looking In?

I do not believe that and, of course did not or administrator or company producing Manika Sharma Rhombus films. Another photo taken in an old house we had to Bollywood is to run two generators to power all the lights. When where we did, however, I was able to draw two-thirds of a long sequence of traveling light and reflections in a pool Long night (cave Shabana). "I think it is a visual reflection of the fact that his position in life can change almost instantly," he said. "He is extremely effective visually. It seems to work on a number of different levels. With this different approach seems to refresh all your overs and setbacks. There is a very interesting scene between Shabana and child who has been held under a tree, and there is a feeling of unease and the possible attack. It is very ambiguous, but the spatial dynamics really emphasize the feeling. "

There is a great advantage to work on location in relation to a studio. For example, the Muslim home I said a real marble floor. Experience DOP knows how to use this fact something that can simulate in a studio, "reflects Rajeev. reflectors have been widely used throughout the film, usually side to take some filling ambience or onboard the Keylight, and redirect some of that light on the side of filling. In most cases, it was very subtle, however, a simple reflection of the radiance. "We used reflectors that almost no one EyeLight, Rajeev said. "There is such a tension between these three characters. There are a lot of inner emotions beneath the surface of this film. I felt that the public should have access the internal life of the characters, so I tried to keep going Eyelights, especially when we'd get in close. Often it was done with a small reflector cast at the last moment.

One of the most important aspects included Shabana previsualizing character itself. "To nail down, we started working on storyboards with an artist, "said Rajeev," which has attracted great advice and is also a brilliant artist well. We told him our thoughts on how Shabana looked and he began to work. Manika attributed the creation of much of the appearance Final drawings have since been used to communicate on the hair, makeup and wardrobe services that Manika looking for its look. "Part of Guise Cave "involved the use of a wig that often obscured the actor's face – during which the situation makes for a little light ideal. "For hair and makeup tests, I saw that everything looked amazing Shabana, they would be difficult to treat for 2 weeks. She had a great big hat and a costume too, so there was a question of whether we were ever to be able to really see. I said that sometimes, Manika, she was on the verge of becoming a hair styled. Very sensitive to the needs of actors, Manika did not get the hair from her face, then we tried not to mess with it and solve it by ourselves. "

The Kalpvriksh – The Wishing Tree, Rajeev opted for Vision 200T (5274) for all but the outside at night, explaining that the smooth texture of the emulsion files non-intrusive deep blacks, accurate colors and a wide range tonal. Rajeev outside shooting Eastman EXR 100T days (5248), using a filter to 81 EF-half and keep the blue cold of winter. Daylight balanced 250D (5246) Vision stock has been selected for the interiors day, when he exploited Vision 500T (5279) on most of the interiors and exteriors night. Since the shooting, the director did extensive tests with different materials in search of the right thickness and translucency. "It the same as using a cheap filter on the ice and we 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 experience strong negative images with well-targeted. We toured through the filters at least 90 percent of the time.

During filming forest scenes with the lead actor Rajeev employee what he called a sandwich Nine-light. "Others might call it a light book, but in any case, we bounce Maxi Brute Nine-light a piece of the board of directors of the heel, then letting the light through a framework for dissemination usually equipped with a 216 or grid of light. The resulting soft light striking it had a very good quality, plus some serious pounding footcandles. This soft light enough to penetrate the hair Shabana and I could control the amount of light simply by clicking out different globes. But it also requires a lot of shortness of breath and took a lot of space. "On other occasions, Rajeev lit forest directing the light from several angles extreme. "I came more and more low key with his front than I would normally, but the approach managed to drop his hair naturally, yes, all this has been difficult, it worked. I only grateful for the scenes where Shabana is dressed with her hair pulled back, because I could get an edge by its beautiful side lighting.

When children arrive at the tree before the peak, the production has created the famous production by filming the actors in front of blue screen and green screen. These elements have been formed with a basic digital stock plates extracted from Ladakh. Harry and internal service Arjun Red Chillies' supervised the visual effects shots. "I do not think that these scenes might be more credible if we had traveled to Ladakh to shoot the line, "marvels Rajeev. "How can you miss when you start with 70 mm base plates? We matched all these plates. "

There was one day a few scenes here We have therefore decided that the cracks in the cave roof lets the hard sunlight in, "he continues." I put signs in the walls behind players and let some light bounce off the ground. For most, however, the scenes are set in the cave at night – Bed by Firelight or lanterns or imaginary light off, which is not connected to anything. For water, I chose to use a light slightly blue on the key players, but did not put any flickering movement because I felt he was distracted. The flickering on their faces from actual water. What I did add a slight flicker effect is on the walls, which I found to be more enjoyable while giving a little realism.

laboratory work before the end was made by Gemini, which provided film dailies. "After his experience in the commercial world where you work on a monitor the whole time, Manika enjoyed watching daily movie – it has opened a new world for her, "says Rajeev." For example, there is a plan to provide a Shabana line at the end of a long shot under the tree. When he saw the video read Manika [TAP] track, it feels not good about it. It seemed too quick on the ball. She noted that perhaps the line would disappear in publishing. After a while, as it Manika projected onto a large screen and loved instantly. "When asked if this new extension of good drama on the screen as well, Rajeev smiled and said: "Would not be surprised if I said there is a happy ending? "

The cinematographer does not use the broadcast the lens of the camera, preferring to ease his subject according to the needs of selectively affecting the source of light. "I never liked films where the overall resolution of lens changes visibly during the sections in a close-up during a scene, "he said. "Any Case to spread heavy in front of the lens to [actress] Search "best" is just crazy to me. I do not want to see the efforts of the Director of photography to make someone look good. Instead, I want to see the character, look good, and I think what happens when the actor is both integrated into the scene well lit and a flattering way. My solution is to reduce the light source, and the image is as clear as possible. Some people think that lenses are too strong Primo, but I like everything perfect. When you combine Years of research and development on Kodak film stocks, with what happened in those Arri lenses and laboratory work with Gemini, then put all this in a movie correctly on the screen, the result is such incredible perfection! If I take great pride to ensure a very negative perfect. 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 perceptions of Shabana, Rajeev and Manika the need to adjust settings from the beginning events requiring more elaborate visual effects. "We're telling a story that we see in part through the eyes of a madman," offers Rajeev. "She is an incredibly brilliant person crazy, but crazy anyway, so there is a sense of fantasy about these visions, but they are not in Tradition effects sci-fi. We presented a wish list of visual effects for budgeting, but he came back four or five times the price than we hoped. This meant we had to back down, and that the final decision has worked better for the film we found ourselves making. Most effects are things we have done with practice light signals, or as a combination of these indices with a digital enhancement. "

I'm glad to watch this movie seems interesting to the eye, but I am also pleased that the visual not replace history. Early reviews are praising the performance Shabana as one of the best she's ever given, it is not logical to do all that removed this aspect. Many films today seem overwhelmed by the effects, but Manika is not one to say that the type of history.

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

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- Little Tree – Yours Kalpvriksh dreams are just too far

Twice winner Indian Rajeev Jain ICS WICA Photo Creates Special World of light, shadow, in his recent film Kalpvriksh own dreams Wish Tree are just a bit far

Rajeev Jain has a way of seeing that takes a picture to its outer limits. In his last years as an assistant, electrician, adhesion and in the last 16 years as director of photography, he developed a visual sensibility and expertise.

Rajeev takes its inspiration from directors such as Satyajit Ray (Pather Panchali) and DOP Ashok Mehta, ISC (36 Chowrangi Lane) and Binod Pradhan (Parinda) for their use of color and light and shadow to amplify the emotional content of stories. I find 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 turns everything if blacks are really rich – but you can see everything.

His work in Kalpvriksh, a film by Manika Sharma emerges as a period with an advantage. Rajeev was particularly intrigued by the non-narrative, fragmented script, because it offered a variety of visual possibilities. Shot on Kodak to give mainly Unlike outdoor stages, Rajeev experimented with hot and blue filters to get the look he wanted. The result is a dark journey almost Surrealist in spirit and actions of bizarre characters of the film.

initial collaboration on a film is essential, says Rajeev.

There is important for me to go through the script scene by scene with director Manika Sharma, Rajeev said, trying to see what is in his mind. I want to know what the scene says, which is the most important person at that time, and how the characters move through the scene. We also share photos and movies, which we gives a visual basis to work from.

A graduate of Bhartendu Academy of Dramatic Arts in Drama and a beginning photography, Rajeev took a film class. Intrigued by the middle of the film, he saw opportunities to combine her interests in film advertisements. Seeking a way to learn camera, he offered his help (volunteer) of cameraman Subroto Mitra to learn the trade.

He taught me a lot SR on its package, which the lenses were, and how to load magazines, "he said. Then I started working on Shyam Benegal documentary on Nehru.

In 1996, Rajeev got the first opportunity to make a film, the Army, with Mukul Anand. After eight weeks of filming stress – every movement was monitored.

After 6 more features, then came Kalpvriksh in 2007, Rajeev has explored a new technique to add visual nuances history. The film has a dreamlike journey that Rajeev wanted to give a dreamlike quality. We tested the filters and a bleach bypass process to give this part of the film its own look, "he said. "Instead, we decided to use a tilt swing, a view of the camera attachment which allows the operator to modify the plan development. He chips in various parts of framework development, which is difficult to do in a wide shot because of the increased depth of field.

Rajeev is currently finishing production on the operation of Pandu, a characteristic of a ball in Mumbai, as well as advertisements that.

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Indian Director of photography, DOP, Kalpvriksh, Rajeev Jain, Desiring, Tree

About the Author

Surendra Rahi was born and raised in Delhi, India, surrounded by pet animals. After twenty years as a farmer, he turned to teaching and then to writing children’s books.
Rahi writes mostly about animals: farmyard fantasy, as he likes to call it, often about pigs, his special favorites. He enjoys writing for children, meeting the children who read his books, and knowing that they get enjoyment from what he does.
Among his well-loved books is Kid, The Gallant Kid, which was recently made into a major drama, and was nominated for an Award.
Surendra currently lives with his wife in a small cottage, about three miles from the house where he was born.

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