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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 heinous crimes of recent suicide bombings were beyond comprehension and human logic. How is it that our goals and aspirations can be so different despite coming from the same mold? As a parent, I am always trying to encourage my two little angels Abigail Jain (17yrs.) and Kimberly Jain (13 years) to work hard, be fair, be honest, be kind and humane, and most importantly, be open minded and tolerant of others.

The terrorists who carried out the deadly plan lied, cheated, murdered and judge all others who did not subscribe to their twisted perversion of faith and morals.

This is a very difficult time being positive, but the future of our children and the rights of a free democracy depends on all continuing to protect the option of pursuing what is important and appropriate for each individual.

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

Climbing to the higher planes of the industry was not overnight. A native of Lucknow and a graduate of the University of Lucknow and Bhartendu Academy of Dramatic Art (Bhartendu Natya Academy / Bhartendu Natak Akademi), my career has led me in recent years in Lucknow, Mumbai in search of my dreams. And companies have changed organizations, television stations to advertising agencies and features. Despite all my achievements and abilities varied, obviously, I'm still very loyal to my first love and that is love for filmmaking.

I believe the Declaration of Principles is a major task: to serve the director s vision of history. PDO Some seem determined to make a different film to which the director is making – such behavior is completely professional, even silly. I strive to maintain fully professional attitude whether we are pulling 16 / 35 mm, High Def 24P or Video. Shooting is shooting, I try to make each shot the best it can be.

One of the great pleasures of cinema is collaboration. I take great pains and efforts to put in nothing but the best I can in each shot. I try to understand the vision that the director is trying to bring to the forefront, presenting that vision in all its totality and that is as realistic as possible, then it becomes my sole purpose.

Some managers prefer to control every aspect of the image, and at the other extreme, some prefer to concentrate on the direction of the actors and practically leave the photography up to me. More commonly, of course, most of director s fit somewhere on the average. I either fully working comfortably.

The Declaration of Principles has another job, of course, and that production is helping to keep the program and within budget. I take those responsibilities very seriously as well. Being a director of photography is much more than simply being good lighting and camera in (although the principals are, of course), is also largely a "management" of employment which is in charge of a number of people, different departments, teams, schedules, etc. My experience in production of large and small, from very simple to very complex outbreaks gives me the experience to handle the various responsibilities and balance.

I am a head as large as any other art, but please!

The reality is that it is best to know your customer and be honest with you about the market making the most of your business in The mistake that many people who are dreaming about what could be and not focus on what it is.

To me, I have an eclectic mix of works. I continue to shoot Commercials, Movies and Videos.

Personally, I think it's better than enjoying what you are doing and have fun as much as possible while doing it. I've been very fortunate to connect with a lot of great people, both crew and production houses.

I have noticed that the drive is beginning to rule my life. I do not care about the "what if s", I do what feels good and, surprisingly, seems to work. The old rule is true, if it sounds to good to be true …. Hard work is the only substitute for the lack of natural luck, hell not even know how to spell the luck. As a freelancer, you have to make your fortune, you have to sit and think about what kind of work you want done and then make the contacts, place calls and find out what is what you want.

There are hundreds of ways to go wrong and only a few to go right. There is only one goal: beautiful pictures that serve the story and flowed into the edition.

It's been a strange year (2009). I've lost a series of commercials in Africa, Asia, Europe and Middle East because of the slowing economy, war and terrorism, extremism.

And finally, this year (2010), which turned 43 years.

So if you get a call from me one day not be too surprised.

MY MISSION
To use my skills, experience and professionalism to offer productions distinct and compelling cinematography.

Rajeev Jain s TAKE IN ……

PREP
I work on problems preparedness to execute complicated simple solutions in production. Location scout, draft list, the story boarding, script meetings, show trials, the evidence of values, sunglasses, makeup and costumes, to programming and working with department heads – not improvise. I prepare for the point where I can use my intuition to respond to the unexpected, rise above the game plan and take the film to a higher level.

DIRECTORS
What excited me – is to work with passionate managers to take risks. If the film is meticulously storyboard or improvisation, preparation to wrap, try to unlock what the director has in his head, I understand, refine and capture him.

PRODUCERS
I know how collaborate with a producer to get a dollar from fifteen cents. Whether playing my numerous contacts efficiently crew scheduling and equipment; to find innovative ways and resources to make a film, nailing a shot at taking one – what I assume any expenses.

CREW
I have contacts to bring a camera and lighting equipment for almost any project of size and experience to delegate and supervise them. My list has strengths and aspirations bigger than their job titles, but also have the attitude to keep it fun. I hire the crew to take initiative, love films and reading the script.

STYLE
I hope not accuse me of it. I want the audience to feel what I shot, not paying attention as how he was shot.

FRAMING
Triggering of the edition. I frame for the drama.

LIGHTING
I think there is no better form of light. Each film has its specific requirements. Some directors may want to fork 360 degrees, while others do not move the camera to all, others like to work with brands, while some not, some 20 shots a day program, while some only 10. In all cases, I have to find an approach that strengthens the director s instincts, remains within the production of s resources, while at the end of the day, explains the drama.

FORMAT
If Super 16, HD or 35mm, I'm agnostic format. I work closely with the director and producer choose a format not only viable but also to get the most.

TEAM
Through my contacts with vendors and rental houses, and my collaboration with staff key, and years of a shooting in a variety of levels – I keep productions from paying unnecessary gear, and make sure we have what we need. But I also believe in search for ways to get most of what you have.

POST
My job does not end the set. I oversee the look of the film of the digital intermediate print journals through liberation. In the post, the DP s eye is essential in creating the final touches and maintain continuity visual and integrity.

VIDEOS
From classic remake of horror to romance, I know that my films and genres. Is the experience of leaving a great movie that I love. I'm not a gadget head, fall in love with injections or obsessed with technical issues. I obsess over the movies that move me and do everything possible to be part of them.

Quotes from some …… DP famous

… I Believe

"I admit a fondness for the ads. It's the perfect mix of many skills. You have 30 seconds to sell the public a product or idea using visual techniques of lighting and camera movement to reflect and comment on current culture. "

"Each director brings a viewpoint different from the workplace. Their backgrounds are as varied as the products and make that diversity is what makes each job different and unique. My challenge as camera is to capture that special uniqueness in the film. "

"I never wanted to be pigeonholed in advertisements. I do not mind I will just shoot only cars or table. My background is photography, documentary and drama. I've traveled my whole life and I incorporate that into my work. Ads reflect the constant change markets and the public. This requires a means of being aware of the evolution of lenses, film stocks and accessories as well as to participate actively in the rapidly evolving technology of digital imaging. "

"Kids ride is the latest in spontaneity. You have to be ready at any time for something to happen. Everything has to do with enlightenment and planning. You also have to find a suitable place for the camera so that children can work in one place and feel comfortable, without much noise and distraction … finger on the switch. "

"If you know how to light, no matter what you shoot. If you do not know how to light … no matter what you shoot. "- On film shoots shots against High Def:

"The Cinematography is the art and craft of the authorship of visual images for movies that extends from the design and pre-production to post-production until the final presentation of these images. Any and all processes that may affect these images, are the direct responsibility and interest in photography. Photography is a subcategory of photography. Rather, the photograph is more than a craft that the cinematographer uses in addition to other physical activities, organizational, management, interpretation, and image manipulation techniques to carry out a consistent approach. Cinematography is a creative process and interpretative, which culminates in the authorship of an original work rather than merely recording a physical event. The images that the filmmaker has come to the screen artistic vision, imagination and skill of photography in a collaborative relationship with other artists. "

"The Cinematography is the process of capturing a vision on film. As both an art and a craft that is a dynamic process that involves the composition of light, shadow, time and movement. For the cinematographer this requires a synthesis of skills and creative sensibility.

"A lot work that happens between exploration and shooting and that can be a very tedious process. In the end, if any of that behind the scenes work shows in the final product, then I think the work has not been in vain.

Q & A with Rajeev Jain, Indian Wicca ICS On Film Photography

India Director of Photography Rajeev Jain, ICS Wicca is a cinematographer based in Mumbai, India. Rajeev specializes in shooting television commercials in movie format picture 35 mm of movement, as well as digital HD formats. Rajeev started in the early days of the music video revolution, before venturing into narrative cinema. His eclectic body of work includes Army, Badhaai Ho Badhaai, Carry On Pandu, Kadachit, Kalpvriksh – The tree of desire, Mirabai Notout, Pyar Mein Kabhi Kabhi and Rasstar.

Q: Where were you born and raised?

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

QUESTION: What about your parents?

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

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

RAJEEV: I wanted to be a writer but as Rakesh Mohan I thought too and wrote very little. That is too say it was more then a reader of a writer, more academic, then a poet. I much interest in structuralism and semiotics (the study of how ideas coded language). Initially I studied how the spoken and written language worked, but then became more interested in how the codes work in other languages as the language of film. My interest in film language which put me in a fairly complicated to cinematography.

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

RAJEEV: I was very interested in understanding how the alteration of light, composition, camera angles and motion picture camera alters public perception of the visual event, and thus the public's emotional response. It's a hard thing to quantify. I remember specifically thinking about returning Pather Panchali see when I was a child, and how his image had always been in my imagination, not only for its sheer beauty and scale of the sublime, But because it affected me emotionally, hitting a bit of rope unconscious but responsive. Later I saw Ray's Apu trilogy. I had the same answer, but now my understanding was informed by my studies. It would be accurate to say that the filmmakers of these two films, Subroto Mitra, were the most influenced my decision become a filmmaker.

QUESTION: How to make a connection between words and the photograph?

RAJEEV: In the writing of essays and articles on the film. I realized that images of the film worked much the way the spoken / written language works. Wishes to express some ideas. There Codas culturally agreed and understood. These forms, which call letters have agreed pronunciations. These letters form words. These words have agreed meanings. But of course is arbitrary. The word "cat" has no innate "catness" about it, but hearing this word the listener form idea in his brain. A cat. Then can add adjectives and qualifiers, to be a black cat or a black cat angry. These words are codes, but not universal codes. They are specific to a culture that shares that language. Photography in some respects a more complex language. The denotative (specific) or connotative (symbolic or implicit) meaning of an image can be ambiguous, but also complex. Perhaps the most literary analogy is the haiku poem. The fewest number of words have a greater potential significance – The words that are added in a more literary, more specific meaning. It offers a specific image and not specific meanings. You may work on many layers, and not conscious.

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

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

Q: Do you think of yourself as an artist, a technician or both?

RAJEEV: I think it is a very important distinction. I do not want to seem pretentious, but considering the nature of art, ie give us new eyes to see the world. Want to the audience to respond viscerally to what our intentions for a movie. I think the film works very much like music, because for us it is difficult to measure or quantify what the public responds to what we do. So it's an art. And its practitioners should therefore be artists.

Q: Tell us more about the analogy of music and film.

RAJEEV: I can sit in the newspapers and see that other people see the movie with me reply physically and emotionally to images, but it is very difficult to quantify what they are responding. If you watch people play music, you can also respond but difficult to quantify because why are responding.

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

RAJEEV: Part of the problem lies in our collective culture. Films are reviewed as the theater, rather than as a unique art form. Critics speak of scripts and performances. They talk about things I understand, but they understand that their own cultural background are mainly in traditional theater, but can not admit it. In this context, the cinematography and music are not defined, except to say they were beautiful, because there is a particular language, developed in criticism for its description. Unfortunately, many respondents do not recognize how decisions made by the Director, filmmaker and composer had a profound impact on gut reactions and intellectual responses from the audience. I'm not saying that filmmakers are not recognized. We are, at least within industry, but not in the consumer press. I think I have not read a single review that mentioned the importance of Subroto Mitra (ISC) decision to use film 16mm and other formats in some scenes on the river, but had a profound impact. I believe a significant artistic decision worthy of comment, in fact, essential for public awareness of artistic treatment of the film.

Q: The collaboration between the directors and cinematographers is unique.

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

QUESTION: Does the music influence many videos shot today?

RAJEEV: Not really. None of my films look like music videos, but the great thing about music videos that can experiment with different lighting, film types, lenses and filters. We decided to try to put four filters on the lens, the process of the strength of the film, or put a negative through a reversal film post-production process to see how it comes out and then try again conversely. It was a great way to learn.

Q: Are there other filmmakers whose work continues?

RAJEEV: What can I mention all the obvious names, but the truth is that I learned from all the movies. I see a shot of a television picture 29 years old and find something he or she he is very interesting. I am constantly learning from others. I still read all the magazines and the newspaper about the film and I can picture in my hands. I continue to study art. I collect books of photographs and paintings. It's not just the good work others are doing to learn. I learn from my mistakes that I have had ample opportunity to make over these past 20 years. When my son Adam was in seventh grade, he wrote an essay in which he was obliged to say that was his hero. He said that I was. "My father is my hero because it breaks all the time, and let me see it." So I feel good about spoiling. I think it is a very important lesson to learn. You can spoil, and sometimes mess up if you're willing to push the boundaries of his craft.

QUESTION: Are any other mentors influence in their thinking?

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

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

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

QUESTION: What Have students and other young filmmakers, when they ask you to share the secret of success? You tell the truth about the odds?

RAJEEV: I think you have to be patient, and not left to believe that things will happen quickly. You need integrity and honesty about who you want to be. Thus, even if you can not fail with some dignity. If commitment and not what's left?

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Rajeev Jain, ICS Wicca – Indian Photography / PDO, talks about … Kalpvriksh – Wish Tree – Your Dreams Are so close

Like any artist, Rajeev was born with the innate talent burnished by experience and cultural influences. Born in 1968, their first introduction to movie magic wine while watching his uncle as a projectionist in Ravindralaya Theater, Lucknow. "I remember sitting in that little screening room and watch movies with my uncle" Indian filmmaker recalls. "It was like watching silent movies because I could not hear the sound in the cabin. I just saw the pictures and trying to understand history. My uncle showed us films of Charlie Chaplin, who, of course, were silent. There is no doubt that he put his dream of becoming a director of photography in my heart. "Originally from India, cinematographer Rajeev Jain ICS Bhartendu Wicca studied at the Academy of Dramatic Art in Lucknow, India.

The day after finishing his studies, Rajeev went to work as an apprentice in an anamorphic image. He contributed to ten films as camera assistant before becoming a dictatorship of the proletariat. "From that moment I felt that the camera is like a pen that is used to draw pictures," he says. "Operating a camera is mainly on the composition and rhythm. He also operated the camera for Bollywood songs. It was very primitive. During shooting, someone with was the time clock every pan and zoom. He'd say, 'You have 5 1 / 2 seconds to make zoom. "It was a great lesson for me, learning to make each element of a working fire in that amount of time. "

I found it fascinating that the film speaks a common language that everyone in the world can understand, "he recalls." This is especially true for filmmakers, because we are communicating with the public non-verbal. "For me, make a movie is like the resolution of conflicts between light and darkness, heat and cold, blue and orange or other contrasting colors. There must be a sense of energy or change of motion. A sense that time is passing – the light turns into night, returning to the morning. Life becomes death. Making a movie is like the documentation travel and use of light in the style that best suits that particular frame … the concept behind it.

The first important decision regarding the images was shot in anamorphic (2.4:1) format, as they had in Kalpvriksh – The Wishing Tree. Manika said Rajeev who likes to manipulate the points of subjective and objective, sometimes in the same frame, or even simultaneously. In a simple example, start shooting on a topic, then an actor will step in the frame, creating an over-the-shoulder shot, the modification of the subjective – in what the viewer sees what the character sees – for the purpose. "One of my first suggestions was shooting Kalpvriksh – The Wishing Tree in the Super 35 format, "Rajeev continues." I felt the film would give an advantage not expect to see in the drama. I felt I could use the broader framework to create a sense of claustrophobia in the cave and Shabana more interesting composition Shabana shows in the world. "She, director Manika Sharma, Mansi designer and creative team members discussed possibilities for the composition of Kalpvriksh — The Wishing Tree, widescreen format, while those based on visual references as another drama with an unlikely topic. Although Manika storyboard scenes, Rajeev's sketches used primarily as a communication tool. During filming, the director is still open to veer from the storyboards to exploit opportunities unexpected. "Our production designer Mansi and costume designer makes us rich and costumes. Despite that push two stops in development sometimes not is so faithful to the colors, their collaboration with this technique has allowed us (especially at dinner / fantasy sequences) to have a warm, yellow aspect, scene of light, as if everything is lit the candle, "he says.

In a scene dramatically lit, the school principal (Mahabano Kotwal) sitting in the chair, looking out a window in the rain. "The whole scene was illuminated with a daylight drive, a ARRI 6K," said Rajeev. "We brought light through the window. To the light of the door, we used a 4 by 4 mirror just outside the frame on the right. The light is modulated by the rain on the window, and extended about the book. We were 'gathering chestnuts. It was fortuitous, and it worked out with a light "." To fill light on this film, we used very well, very little or none at all, "he adds." I think the types of film we were using, if a bit overexposed, you can read the details Shadow incredibly well. When I saw the photo in the Theater of the screen 70 meters wide, on the dark side, which is dead black, you can actually see the hairs enter the heads of the actors. It looked very interesting. I hope it works on a subconscious level of the audience. "While Rajeev knew he could not shoot wide open in T2 or T2.8 one-because the Super 35 format chosen has a depth – still wanted this tool to give the story a greater presence on the stage. The larger negative allowed him to push the envelope. And he knew that the grain still be acceptable if the T2.8 was within the ranges of T4 in the interiors. "We can still use the actual sources and would be difficult for our camera crew to keep focus, "says confidently.

Like many of his colleagues, picture Rajeev Jain has many concerns about changes that can be introduced to the images during post-production process of our electronic age. These considerations only intensified when dealing with a profusion of visual effects, that was the case Kalpvriksh – The Wishing Tree. "I tried to make a concerted effort to remain as involved in post production as possible – it is sometimes difficult because it is' off for the next job – to work with digital effects and optical house to ensure that there would be no problem with the printing process response. "I see no light in the shot," he says. "The teacher shot that began with an impossible shot to light. We are stuck back in the corner with a 35 mm lens and was a two-way mirror in the background. So Rajeev Jain used a technique called 'drill. In short, you're usually shooting horizontally across a room, and there are horizontal surfaces as the tops of the chimneys and tables. If you come directly from above with a light and drill down on the surface, works quite well. Not a bad idea. If the light comes a place that is not normal or usual, people seem to accept the item being illuminated without finding out what's really happening in terms of a source. Shadows go to down, so do not end up looking strange or calling attention to the source. You see it on the table, then this is the table and the lights of the faces to a degree. It's interesting because lighting is not the people at all. 're Lighting environments that are in

Anamorphic gives you the space in the frame to do that, "says Rajeev. "Manika has no problem filling a frame in a contemporary anamorphic picture. The story also looks elegiac, so it seemed better to say that without the video of rock cutting and frenetic camera movement. With the incredible cast, we knew this film would be about the proceedings. All these ideas – like "if it is not broke, do not fix 's' – into account in our decision to shoot anamorphic." To determine a visual approach suitable for different moods Kalpvriksh services – The Wishing Tree, Manika and Rajeev decided to forgo much of the usual business to see other films in preparation. "We use a lot of work book, referring to other artists working in two dimensional forms, photography and drawings of all, "Rajeev concerned." This was a good and different way of preparation. As for movies to see how a particular sequence is worked great, but this approach introduced me to this incredible turn of self-education, ranging from photography until 1890 "so far. Now I can not stop buying books. It's amazing how much visual reference source material is there when I get back to basics. These were great starting points for us.

The filmmaker also had to avoid revealing reflections of the camera gear and personnel on the water surface. Along with a disciplined team, which requires careful light placement and selection of camera angle. He found that the introduction of plastic at the correct distance from the lens, reinforcing shots Shawn from the point of view slightly distorted images rendered with a hint of grain, which amplifies the look he wanted and the director Manika. Rajeev also occasionally added reflections of the characters and objects on the surface of the water to draw attention to the barrier separating the child from others. Sometimes the camera subjective shot, the spectator-like pose, while other times the public seems to share the life of Shawn-in-the-bubble experience. "There was no formula simple to decide when to put the audience inside the bubble with Shawn. It was a question asked the director for each shot in each scene. Are we with Shawn in the bubble, or it was, to integrate?

I did not believe this and obviously neither the director nor producer James Manika Rhombus Films. Another photo shot in an old house in Bollywood forced us to actually operate two generators to power all the lights. By the time they were made, however, was able to fire two thirds parts of a long sequence of dollying along with the reflections seen in a long pond at night (the cave Shabana's). "I think it is a visual reflection of the fact that one's position in life can change almost instantaneously, "he says." It's very effective visually. It seems to work in a number of different levels. With this different approach seems to refresh all your extensions and setbacks. There is a very interesting scene between Shabana and child that was staged in a low tree, and there is a sense of concern and possible aggression. It is very ambiguous, but the spatial dynamics really emphasize the feeling. "

There is a great advantage in the work place front of a studio. For example, the Muslim house I mentioned was real marble floors. An experienced DOP knows how to use this really something that can only simulate in a study, "he reflected Rajeev. reflectors are widely used throughout the film, usually in the filling to pick up some atmosphere or an edge of the KeyLight, and redirect some of that light to the filler. In most cases it was quite subtle, however, reflects only the brightness of the skin. "We have used the spotlight, as almost more of a Eyelight "says Rajeev." There is so much tension between these three characters. There are a lot of inner emotions below the surface of this film. I felt that the public needs access to the internal life of the characters, so I tried to keep going eyelights, especially when set on foreground. It is often shot with a small reflector at the last minute.

One of the most important aspects include the nature previsualizing of Shabana herself. "To nail down, we started working on storyboards with an artist," said Rajeev, who drew the fabulous together and is a great artist too. We told him our thoughts on how Shabana looked and went to work. Manika credited with creating much of the appearance end, because his drawings were used to communicate with the hair, makeup and fashion what departments by Manika searched his eyes. "Part of pretext Cave" involved the use of a wig that often obscures the actor's face – that sometimes makes a situation less than ideal lighting. "During the testing of hair and follow-up, I saw that, while Shabana seemed incredible that would be difficult to treat for 2 weeks. He had a big hat and a suit huge too, so it was a question of if we were ever going to be able to really see it. Manika told that sometimes she was about to become a hat-hair. Very sensitive to the needs of actors, Manika not want to get the facial hair, so tried not to mess with her and to settle our own. "

The Kalpvriksh – The Wishing Tree, Rajeev opted Vision 200T (5274) for everything but the night outside, and explained that the soft grain of this lack of intrusive emulsion records deep blacks, true colors and a wide tonal range. Rajeev day on the outside shot Eastman EXR 100T (5248), using a 81-EF filter in half to correct and maintain the blue winter cold. The 250D daylight-balanced (5246) Vision Securities was selected for the interior of day, while exploded Vision 500T (5279) in most interiors and exteriors of the night. Since filming, the director made numerous tests with different materials to find the right thickness and transparency. "It's the same as the economic use of a filter on the lens and we realized that any distortion or loss of interest is magnified when the optical laboratory 'squeezed' images in the aspect ratio of 2.40. Besides selecting the right plastic, it is important for us to record a strong negative images properly targeted. We were shooting through filters at least 90 percent of the time.

While shooting scenes in the forest with the main actor, Rajeev employees what he calls a nine-light sandwich. "Others may call it a light book, but in any case, we were bouncing the light of new maxi brute a piece of board of accounts, and then let the light pass through a framework of general circulation, equipped with 216 or the network of light. The result of a soft light striking quality was very nice, plus some serious blows candles. The light was soft enough to penetrate the hair Shabana, and I could control the amount of light with just one click away from different balloons. But it also demands a lot of flag and took a lot of space. "Other times, Rajeev illuminated by the Forest of the direction of the light from more extreme angles. "I came in much lower and more front with his key to what they would normally, but the approach did dropping hair naturally, so while it was difficult, it worked. It made me grateful for the scenes when Shabana wears her hair back as could get a nice advantage in through lateral illumination. "

When children reach the tree before the completion, production created the famous creation of filming the actors against blue screen and green screen. These elements were then digitally composited with background plates extracted values Ladakh. Harry and Arjun Red peppers in house facilities of supervised visual effects shots. "I do not think that these scenes might be more credible if there was traveled to Ladakh to shoot to live "marvels Rajeev." How can you lose when you start with 70 mm bottom plates? We matched all the dishes .

There were few scenes in daylight there, so we decided that the cracks in the ceiling of the cave hard to leave the sunshine, "he continues." I put some indications of this in the walls behind the actors and let the light bounce on the floor. Mostly however, the cave scenes set at night – lit by fire or filament or out of standby, which is not connected to anything. For water, I chose to use a blue light on key actors slightly, but not to any flicker of movement because I felt it was distracting. The flickering on their faces only comes from real water. What I did was add a slight flicker effect on the walls, which proved to be more pleasant, while lending a bit of realism.

Front-end lab work was done by Gemini film journals provided. "After their experience in the commercial world where he works on a computer screen all the time, Manika film the daily ones view – which opened a new world for her, "said Rajeev." For example, there is a picture of a Shabana delivery of a line at the end of a long shot in the tree. When she saw him play video Manika the [tap] monitor, which did not feel good about it. She seemed too small in the shot. She said that your line should disappear in editing. After some time, Manika was projected onto a large screen and liked the shot. "When asked if that good news extends to the drama on screen, well, Rajeev smiles and says, "would you be surprised if I say there is a happy ending?"

The cinematographer does not use diffusion on the camera lens, preferring to ease his subject as needed to selectively affecting the source of light. "Never I liked that in the movies when the general resolution of the lens changes visibly during the cuts to the fore during a scene "he says." Business dissemination to all heavy in front of the lens so that [the actress] look "better" is crazy to me. I do not want to see the effort of photography to make someone look good. Instead, I want to see good-looking character, and I think what happens when the actor is part of the scene lit correctly and flattering. My solution is to soften the light source, and let the image be as clear as possible. Some people think that Primo lenses are too sharp, but I love everything perfectly. When combined years and years of research and development in populations of Kodak film, which has happened in these lenses Arri and laboratory work at Gemini, and then put all that in a movie is projected on the screen correctly, the result is impressive as perfection! So I take a lot of pride in delivering a true negative ideal. You may want to mess later, and that's fine, but I think in the beginning of something well-exposed and acute. "

With all the necessary visual treatments to illustrate the perceptions of Shabana, Rajeev and Manika necessary to decide the parameters from the beginning of the most complex visual effects required. "We're telling a story that is partly through the eyes of a crazy person" Rajeev offers. "She's a very bright crazy, but crazy, however, so there is a sense of fantasy of these visions, but not in the tradition of effects of science-fiction film. We presented a wish list of visual effects for budgeting, but it became a price four or five times more than we expected. This has forced us to retreat, and that the decision ultimately worked best for movie ended up doing. Most the effects are things we did ourselves, with practical light signals, or a combination of signals with a digital enhancement.

Me are glad that this film is interesting in the eyes, but I'm also glad that pictures are no substitute for history. Early reviews are praising Shabana's performance as one of the best that ever since, so no sense doing something that took away from that. Many films seem overwhelmed by the effects, but Manika is not one to say that kind of history.

When asked Rajeev Jain Indian Photography, if ICS Wicca, I would do anything different to day Today, the artist teacher replies, "Ninety-nine percent of the time when I see my films I am serene. It was the best I could do at that point in my life by what we had to work. The important thing is his life and how to evolve as a human being and artist.

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Kalpvriksh – The Wishing Tree – Dreams Are Yours so close

Two time winner of Indian Photography Wicca Rajeev Jain ICS Creates Global Task lighting, shadows in his recent film Kalpvriksh his wish tree Dreams are so close

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

Rajeev takes its inspiration from directors like Satyajit Ray (Pather Panchali) and filmmakers Ashok Mehta, ISC (36 Chowrangi Lane) and Binod Pradhan (Parinda) for use of color and light and shade to extend the emotional content of stories. I think the ability to allow the characters to operate in the shadows is a real art, he says. Ashok Mehta allows his characters to operate in the dark. Turn around so that blacks are really rich – yet you can see everything.

His work in Kalpvriksh, a film director James exudes a quality Manika period with an advantage. Rajeev was especially intrigued by the non-narrative, fragmented writing, offering a variety of visual possibilities. Kodak Shooting especially for contrast to the exterior shots, Rajeev experimented with warm filters and blue to get the look he wanted. The result is a stark, almost surreal journey into the minds and actions of the odd characters of the film.

To face collaboration is essential in any film, Rajeev emphasizes.

It is important for me to go through the script scene by scene with the director Manika Sharma, Rajeev says, trying to see what's on your mind. I want to know what the scene is, that the most important character is at that time, and how the characters move through the scene. In addition to sharing photos and movies, it gives a visual base to work.

A graduate of Bhartendu Academy of Dramatic Arts Drama and principle photography, Rajeev took a course in cinema. Intrigued by the medium of film, saw the possibilities of combining their interests with the movie in ads. Looking for a way to learn camerawork, offered to help (unpaid) to cameraman Subroto Mitra to learn the trade.

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

In 1996, Rajeev has the first opportunity to shoot a movie, the Army, with Mukul Anand. After eight weeks of shooting on stress – every movement was observed.

After 6 more features, then came Kalpvriksh in 2007, Rajeev allowed to explore a new visual technique to add nuance to the story. The film includes a dream trip Rajeev wanted to give a dreamlike quality. We tested the filters and a bleach bypass process to give this section the movie of your own special look, "he says." Instead he decided to use a tilt swing, a view camera attachment that you allows the operator to change the plane of focus. That we will launch various parts of the structure out of focus, which is hard to do at a general level, due to greater depth field.

Rajeev is currently finishing production of Carry On Pandu, a feature shot in Mumbai and in commercials.

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India, Photography, DOP, Kalpvriksh, Rajeev, Jain, Wishing, 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.