Light keeps me company – A Poet of Light and Shadow – Rajiv Jain (India Photography / Cinematographer / DOP)
The light makes me Company – A Poet of Light and Shadow – Rajiv Jain (India Photography / Cinematographer / DOP)
Shooting Stars: Interview with € ™ s Greatest Indiae Rajiv Jain Life Photography
Interviews, vol. II
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Success story of a genius fascinated by the light â € ¢ â € ¢ Rajiv Jain Director of Photography Award-winning Indian â € ¢ â € ¢ DOP Photo
Exceptionally talented in overcoming technical barriers and atmospheres dark, in twenty years India Rajiv Jain has become one of the most coveted DOPS, having had an unconventional career. Rajiv Hasna € ™ t let fame go to his head and although still modest. After studying drama at the theater school of Indian Academy of Dramatic Art Bhartendu (Bhartendu Natya Academy) Rajiv Jain made some seasons as an assistant cameraman. Soon, boredom got the better of him and began working in television sets where, in twenty-five years was to experiment with everything and develop your work style: fast, efficient, conscientious. His curiosity led him to make clips, advertising and films, for example a Wonderful Love Pyar Mein Kabhi Kabhi of which was a great success. Rajiv is now best known for his work in Satish Kaushik € ™ s controversial film "Ho Badhaai Badhaai, as well as Chandrakant Kulkarni € ™ s Mirabai Not Out, Ram Shetty € ™ s Army, and Chandrakant Kulkarni € ™ s Kadachit.
Cinemania: You have made over 1500 commercials, seven features, and there is a "light Rajiv" Right?
Rajiv Jain: Yes, itâ € ™ s one big surprise. It all started with Manika Santiago had specific demands Kalpvriksh to perform â € "The tree of desire. She also wanted his movie to look like an everyday practice as much as possible, natural image, but a powerful universe. She contacted me after seeing the role of Badhaai Ho Badhaai where natural image was natural, but typical. Well € ™ s what I wanted, but without the light. I had to rebuild a completely new approach to light, which is quite rare to have to do in a function. We use of natural light in the field, I used a lot of sodium light bulbs. I worked hard with the decor to create a bright image. With Kalpvriksh Manika Sharma â € "The tree of desire, which was the same principle: that is only used sunlight through the use of reflectors, mirrors, to direct it when we needed it. The ordeal was a combination of these two approaches without direct sources of light the film, which came from the windows. We tried a lot of things. With the constraints, I realized that there were other forms of lighting. There was a reason for using multiple sources! If I use a little light, everything is decided from the beginning and I work a lot with the art director. When I work in the digital calibration, I know itâ € ™ s not necessary to be able to see everything.
Only artists whose work is very strange universe.
The people I know have demands, dreams, and preferences different extremes. So every Once itâ € ™ sa new challenge â € "I have to invent a new system. Thereâ € ™ s a real role to play, and I like because I wouldnâ € ™ t want to do a movie where there were no pictures of writing. And as I get bored very quickly, I donâ € ™ t as doing things twice! People tell me to do a lot of genre films, but I donâ € ™ t think so. Kalpvriksh â € "The Tree of Desire is a film of the atmosphere with an animation of Tex Avery type.
Are you full of projects at this time?
I have two films lined up, yes. However, Iâ € ™ ve made a good choice, I prefer to take things in stride. Iâ € ™ m particularly fascinated one of them, the fourth film by Raj Kaushal. He wants to make a movie and looking rather strange things that donâ € ™ t exist. Recently I was in Mumbai to test a new 4K HD camera was able to see the digital process from capture to the projection of the image. I almost fainted! Itâ € ™ s very fine, the picture is completely smooth, very new. I really want to make this film, I think it will be very passionate visually.
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Rajiv Jain, Bollywood Photography in India – Profile Interview Series Vol. # 4
Army Badhaai Ho Badhaai continue Pandu, Kadachit, Kalpvriksh â € "The tree of desire, and Mirabai not Pyar Mein Kabhi Kabhi by. But the reason for these partial successes € ™ Films is the talent that goes on behind the scene, and noted cinematographer Rajiv Jain is the genius behind the camera in these films (among many others).
Rajiv, a graduate of Bhartendu Academy of Dramatic Arts (Bhartendu Natya Academy), first had his hand in the gallery of studio work in Lucknow, where he worked as a cameraman for Short Films, which started its way into his work as director of photography. Now his vast experience has become one of the pillars of the photograph of the film in Indian cinema. His steady output of hard work and deep knowledge of old and new technology has made him one of the directors most respected photography there. In 2010, current, Rajiv Jain is working on new projects, and is wanted by the filmmakers, both major and independent by his caretaker eye.Â
I had the opportunity to speak with Mr. Rajiv about his career (and also talk about work, so be forewarned that Thereâ € ™ sa bit of tech-talk here too), while attending a forum dedicated to his film work in this yearâ € ™ s Kalasha Film Festival, Kenya.Â
Aason Hyte: So Iâ € ™ m just going to let this roll of tape and feel free to say just Whatâ € ™ s in her mind
Rajiv Jain: Iâ € ™ not good at inventing things am, SOA € | Â Â
AH: I am interested in photography, and when I heard he was coming to Kalasha Film Festival thought it was a great idea to talk about his career and in his immense work. € IA ™ ve been very curious as to how you got your start in this industry, education, and so on, basically how it ended as you are today.
RJ: It would be easy to tell you about my experience drama school, and they just did not go to any film school. The way I learned to go directly to the movies and see what someone else was doing on the screen, and then go out and try to do it myself. And that was it. Also I bought the manual that the ASC (American Society of Cinematographers) sets out what is known as the bible of the film. I read the manual and refer to it when I had shooting a problem and thought I needed help on.Â
AH: When you began to watch movies, besides going to see a great story, I know you realize things as framing, lighting, widescreen formats € |
RJ: No, absolutely not. At first, t ™ € wasnâ technical stakeholders. I just went to the movies like everyone else. But I was impressed by them. I was about five years when I saw the movie first sound ever made and I was impressed by that. But on a very subconscious level, I suspect, though used to riding a cycle along and hear my dad sing, it was just an experience that was buried somewhere in my psyche. I didnâ € ™ t start shooting movies until I was 28 years.
AH: What was your first real job he had in this industry?
RJ: A guy by the name of Ananda Mukul S € | Â
AH: Oh, Iâ € ™ ma fan.
RJ: Of course. I decided shoot a few commercials him.Â
AH: What is considered the most difficult aspect of his work as director of photography?
RJ: The most difficult films are usually the biggest control require a lot of people and lots of cameras, and over a large area, or sometimes many places. Keeping organized is something that some directors of photography are not able to, so you get smaller movies. Small movies can be so difficult for them, because the pressure of a small film means you do not have the correct time to collect their images, and thatâ € ™ s one final pressure thatâ € ™ s equally challenging.
AH: Would you say who has a personal style to his work or not depends on the director of each project?
RJ: I think the whole world can not fail to have their own style and comes from the personality, but comes from what they feel is beautiful, comes from what they think is a good composition, how they see the world can not fail to invade the that it do.Â
AH: How do you feel that the advance of technology has affected your work? I mean newer types film, the advance of high-definition, digital revolution € |.
RJ: All things that you mentioned definitely affect my work, and affect what I do and how I do. Itâ € ™ sa challenge for me to keep the wise to know what does all this things. If youâ € ™ re talking about digital photography, the challenge is how to get the best quality and which system is best to use. Some of these systems use of compression, there are several types of compression, it is important to understand what is and what it means.
For example, new network cameras do not use compression at all, but the records on a hard drive and add corrections later. They claim that for better quality, and so on, the point is that it is important to understand all these things, to make a decision on his own part, if youâ € ™ re shooting digital, the system to use. Panasonic has a network using the curves to correct what your camera does it is more like the movie and it's pretty impressive.Â
AH: Where you stand in HD compared to 35mm film?
RJ: It isnâ € ™ t matter of just having an opinion, but their opinion should be based on facts. And the fact is that the film is probably about double the best quality high definition ha. Film is still the best. Part of the reason is the latitude that is obtained in the film far exceeds anything you can get high-definition video, however, at this point in time. One day can improve, but at the moment, the film now out of reach as the amount of information that can be captured in a small area. Film still stands as the leader, and the new shares that Kodak is putting out extra stops of latitude on both the top and bottom. Ita € ™ s absolutely beautiful.Â
AH: Whatâ € ™ s your favorite kind of actions that youâ € ™ ve worked? I know that weâ € ™ re doing right now really technical, but I love it.Â
RJ: I meet a movie Kodak and its new operations is an additional margin, you can get as much as 500 ASA film and you can get in stock with natural light as well. Is getting better.Â
AH: What version prints? Do you have a favorite?
RJ: It depends. Kodak has more a choice of print material for release. For example, one is softer, one more detail, and so on. You have to choose your stock accordance with the table you are releasing. There isnâ € ™ t improved. Itâ € ™ s one that shows their product better.
AH: Do you have a personal preference in which the aspect ratio to shoot in each project?
RJ: It doesnâ € ™ t matter too much on what aspect composition director decides to shoot in. Itâ € ™ sa different, written in a different format against the other. The first planes are easier on the spherical 1.85:1 format and in any of the widescreen formats that have to do a little different. Both work and both have their own challenges. If youâ € ™ re showing a horizontal view large and you want the widescreen to show the territory, then thatâ € ™ sa good choice. If itâ € ™ sa little tight, personal film, then maybe not.
AH: What do you think about widescreen format 35 Super? (Super 35 is a spherical widescreen process where Filma € ™ s negative is shot in the 1.85:1 format œFlatâ € € and then become an anamorphic optical print version.
RJ: Super 35 is a great format. Itâ € ™ s one of the best choices you can make today, and why now is the best digital intermediate printing.Â
AH: Exactly that was actually my next question, how digital intermediaries have changed in film processing laboratories today.
RJ: Changes thus, if youâ € ™ re shooting in widescreen, Super 35, because all the projectors and the houses that are distributing the film has to squeeze the image to use their lenses – which is a bit stupid, but itâ € ™ s something a price â € "then you have to go through a step further in film Super 35 to get it back to a compressed image. You do not have to do with a digital camera intermediate.Â
AH: Whatâ € ™ s also great recently that have risen recently digital intermediate resolution instead of 2k 4K resolution, which greatly improves print quality. œKalpvriksh â € â € "The Wish Tree € and â € € œCarry in Pandu are examples of films shot in Super 35 and DIA 4k € ™ ed a resolution and they look absolutely stunning on the screen.
RJ: Oh yeah. Youâ € ™ re bending image quality, digitally, but they have yet to back the quality of the film a little bita € | Â
AH: But I still want it to look like film. Youâ € ™ re going to the cinema to see the film, not digital. Many of the films shot in high definition seem a bit disappointing for me [when transferred to Shoot € |]
RJ: Digital, both in sound and image has a higher quality severe, and indeed at times the detail lacks the smoothness you get from a lens, a special lens thatâ € ™ s out of focus in the background and focus in the foreground which tends to bring that image forward and focus your attention on it better. In situations like that, sometimes the digital doesnâ € ™ t feel so good, that isnâ € ™ t so natural, and natural disasters in terms of a forest in a tree or a feeling of someoneâ € ™ s hand. What kind of human experience youâ € ™ re kind of digital farther sometimes as film.Â
AH: And youâ € ™ re still hard at work. What are you working now?
RJ: I just finished a painting in Kenya with her letting go and Eyebrow right weâ € ™ re editing at this time. Itâ € ™ s to be done as we speak.Â
AH: Who would you say are some of your favorite filmmakers? You have a major influence on your work?
RJ: Subroto Mitra is one of the great â € "Â
AH: Oh, absolutely. His work in Pather Panchali, my favorite movie, is unforgettable.
RJ: But as Subroto Mitra, heâ € ™ s one of the many great filmmakers out there, although I donâ € ™ t put one above the other, and reason why donâ € ™ t is because as great as Subroto Mitra was, he was different from the filmmakers out there.
Subroto Mitra likes to come to new formats and new ways of developing film and heâ € ™ s done a lot of that over the years. Many others have tried it, but again, it depends who you are and what I think is great. If itâ € ™ s worth the effort, if you see the difference, then fine. Many times when trying to bring someone else € ™ s art and play, youâ € ™ re not after the same vision and not you. Frankly, Iâ € ™ m very ingenuity of things I do, and I prefer to follow my own ideas, simply because I know what Iâ € ™ m after instead of copying someone else.Â
AH: What would you say is your favorite movie of all time photographed? Or even your favorite movie?
RJ: Iâ € ™ d not have to make a choice, because when you say favorite, itâ € ™ s almost like voting for the best actor of the year, which I think is totally ridiculous because one is as talented as the other. You may prefer because of the script or the director of the address of actor, but it is really unfair to say â € "This one is better than the € other because it would be equally absurd to me all the great movies that have been out there and go â € OEI like one better than others: â €
AH: I like that answer. I always ask this for all my interviews and I admire much to the different responses that I get huge. I either get a brilliant response like that or get someone that says â € œI see hundreds of films a year and this is my # 1 of all Timea €. And while I choose as my Pather Panchali, itâ € ™ s only one answer to a question, in fact, itâ € ™ s the one I choose even though I have about 100 movies of all time.A
RJ: Of course. At one point, if IA € ™ m sitting in a theater and Iâ € ™ m inspired me to feel that way once, but to sit and think about it, itâ € ™ s apples and oranges. Different films are great for different reasons! Â
Success story of a genius fascinated by the light â € ¢ Rajiv Jain â € ¢ Award-winning director of photography india â € ¢ â € ¢ Photo DOP
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One lesson of the sample: HD vs Film …
Aspiring filmmakers are very fortunate compared to years ago. Today, you can make a movie in any format and still be taken seriously, even if you have a great history and pretty good production values. As mentioned, The Blair Witch Project is one of the most successful independent films ever made, however, was filmed with a video camera consumption (not digital).
Before the digital revolution of the 1990s, things were very different. If the movie was filmed in a format other than 35 mm, had no chance of being distributed. 16 mm was not taken seriously and video was a joke. These standards were so ingrained in the industry, even the actors were reluctant to work on non-35mm shoots.
That has all changed now. Affordable, high quality digital cameras have democratized the industry. Still, film 35mm is the standard by which all video formats are judged.Â
Have you reached the same quality video at 35 mm? Old school filmmakers say "no" because the ability to capture images of 35 mm is a "gazillion" times greater than the video. Is this really so? Let a closer look. The truth may surprise you.
Note: The study below is based on the classic 1080 HD resolution horizontal. In 2007, the first ultra high definition camera was introduced with an incredible 4520 lines. Keep in mind that while reading! The concepts associated with high definition (HD) video can be confusing to those unfamiliar with the video camera function. If you are a beginning filmmaker, terms as scan lines, SD, HD, 4k and technology certainly make your head turn!
Fear not, because the concepts are surprisingly simple. In this lesson, we'll cover the basics of high definition video and provide a practical understanding of the terminology. addition, we see 4k technology, also known as ultra HD. This technology is used by the innovative camera Red One, presented by the Red Digital Cinema Company in 2007.
To understand high-definition video, which must start at the beginning and examine how images are recorded by a video camera.
Recording
When filming the video tape, magnetic travel through camerae € ™ s recording head. The head is essentially an electromagnet, which is activated by the electrical signal from the image processor. As the tape travels over the head, the iron particles on the tape are magnetized. This in essence, becomes the recorded image.
The latest generation of video cameras can record on the hard disk or removable card. This allows files to be transferred directly to your computer for editing.
Scan lines
The video image is recorded a horizontal line at a time. These lines are called scan lines and the process is known as scanning. If you look closely at a TV screen you will see the scan lines. You probably can not see in your computer monitor because the lines are narrower than on a TV.
Definition Standard (SD)
The term "definition" means basically the detail visible in the video image. It is measured by the number horizontal scan lines in a single frame. In the United States and Japan, the standard definition video is 525 lines. In most countries European standard definition is 625 lines. (The first is known as NTSC, PAL latter is).
High Definition (HD)
Although much hype has been made on HD, the concept itself is simple to understand. Technically, anything that breaks the barrier of 625-line PAL can call high definition. The most common HD formats have 720 and 1080 scan lines.
Ultra High Definition
Ultra high definition has an amazing 4520 lines of horizontal resolution. Known as "4K" technology because the scan lines than 4000, which will undoubtedly be the industry standard in the future.
The following pictures show the relative size of different formats. The first represents the typical frame of digital video (DV and DVCAM). Notice how detail improves as the number of scan lines increases. The final photo shows the great leap in imaging technology provides details of 4k.
As a point of reference, the typical computer monitor flat screen with 2,000 lines of resolution. 35mm – as perceived by the human eye – falls in the middle range. HD 35 mm For more information on comparisons please see our sample lesson: HD vs 35 mm.
4k technology is based on proprietary chip developed 12 megapixel Red Digital Cinema Company. Its affordable Red One camera can shoot at all popular scanning speeds, including those shown above. 4K technology can be the death knell for 35mm film.
Comparison
There are two factors that can compare the color and resolution. Most casual observers agree that, based on a television monitor quality, HD is really great color. To avoid tedious mathematical argument, let's accept this at face value and focus on the resolution of the comparison, which is the real spoiler.
Resolution is the detail visible in an image. Since pixels are the smallest item of information in the digital world seems comparing that pixel count is a good way to compare the relative resolution.
Film is analog so there are no real "pixels." However, based on measurements made, a 35 mm frame is 3 to 12 million pixels, depending on the population, the lens and shooting conditions. HD frame has 2 million pixels, As with 1920 x 1080 scan lines. With this difference, 35 mm seems far superior to HD.
This is the argument used film purists. The truth is that pixels are not the way to compare resolution. The human eye can not see individual pixels beyond a short distance. What we see are lines.
Consequently, manufacturers of measuring the sharpness of photographic images and components using a parameter called Modulation Transfer Function (MTF). This process uses the lines (not pixels) as a basis for comparison.
Since NMS is an industry standard, we will maintain this standard Comparing HD to 35mm film. In other words, let's make a comparison with lines instead of pixels. scan lines are the images Video how it compares, so it makes sense from this standpoint, too.
HD Resolution
As previously discussed, the standard definition and high definition refers to the number of scan lines in the video image. Standard definition is 525 horizontal lines for NTSC and 625 lines for PAL.
Technically, anything that breaks the barrier of 625-line PAL could be called high definition. The most common HD resolutions are 720p and 1080i lines.
Resolution 35 mm
There is an international study on this issue, called the image resolution of 35mm film in theatrical presentation. Was carried out by Hank Mahler (CBS, USA), Vittorio Baroncini (Fondazione Ugo Bordoni, Italy) and Mattieu Sintas (CST, France).
In the study, measurements were used to determine SMN the typical resolution of theatrical release prints and engravings response in normal operation, using state of the art 35mm film, processing, printing and projection.
The prints were screened at six theaters in several countries, and a panel of experts made the assessment of images projected using a well-defined formula. The results are:
RESOLUTION 35 mm
Measurement  Lines
Answer Print MTFA Â Â Â Â 1400
Launch Print MTFA Â Â Â Â 1000
Theatre Staff Assessment  875
Theatre 750 Average Assessment
Conclusion
As the study indicates, the observed differences between HD and 35mm film area quickly disappearing. Note that using the word "perceived." This is important because we are not shooting a movie the laboratory study, but rather for the audience.
At this point, the typical audience can not see the difference between HD and 35 mm. Even professionals once they find it hard to differentiate. We go through this all the time at NYU ("Was it shot on film or video.")
Once again, the study was based on the standard high-definition 1080 lines of horizontal resolution. Now we have ultra high-definition 4520 lines.
On this basis, the debate is moot. 16mm, 35mm, DV and HD are all tools of the filmmaker. The question is not which format is best, but rather, what format is best for your project? The answer, of course, is based on a balance between aesthetic and budgetary considerations.
Technical aspect of the film from exposure to all operations and formats
Rajeev Jain – WICA ICS
India Bollywood Director of Photography / Photography / Â DOP
UMA: Can you talk about your before you get inspirations in filmmaking?
Rajeev Jain: See color television first began my fascination the technology of light and photography. These studies were enriched by a meeting of notables DOP called KK Mahajan, Mr Mahajan introduced me to filmmakers like Mrinal Sen, Adoor Gopalakrishnan, Mani Kaul and Buddhadeb Dasgupta. And I realized what a great art form, this technology can be wonderful. Almost at the same time, when I was 13, was the door, crashing the set of Shatranj Ke Khilari in Lucknow, that Satyajit Ray was running and Soumendu Roy, was shooting. Roy was This huge indoor lighting, Arri IIC throw what was probably 125 ASA color negative. It seemed to be everywhere at once, improve the framework with the operator adjusting the positions of the players in the background, adjust the light of at least a dozen babies. As was a beautiful actress Shabana Azmi to your brand and subtly adjusted the shadow on the forehead, I thought to myself that this man has the best job in world history.
UMA: If you had a quality label and really DOP need to succeed in movies, what would it be?
Rajeev Jain: I think that in the absence of a better term would be a point of view. Everyone sees the world from their own perspective and this uniqueness is what the Declaration of Principles gives the film on the history, of course. It is difficult now because so much of the industry is driven by economics, which means you're a hero if you can throw a few soft lights and remove a lot of shots. This runs counter to get a sense and feeling of what is absolutely right for that story you're telling. But, if you choose carefully and find the right director, his way to see leave anyone indifferent.
UMA: Was there a turning point that can point when I knew I was going to end up being director of photography?
Rajeev Jain: Well, there was a good time, but it was pure chance. I had no plans to become a director of photography-no at all.
UMA: Your work has always been so pure to me, almost spiritual in a way. What is the most important quality a director of photography should carry a movie?
Rajeev Jain: The Director's most important task is to create photography atmosphere. To interpret the mood and feel the director wants to convey. I mostly perform this task using very little light and very little color. There is a saying that good script tells you what you're doing and what is said, not what someone thinks or feels, and there is some truth in that. The images are not the words, capture feelings in the faces and environments and I realized that there is nothing that can ruin the atmosphere as easily as too much light. My struggle for simplicity derives from my struggle for light logic the true light.
UMA: If you had to pick one quality a PDO needs to succeed, what would it be?
Rajeev Jain: Sabor. What really means the ability to know what scripts to work, what feels good in terms of composition, lighting, everything that happens during a movie. Taste is an instinct that should guide you to projects that will provide a great experience. I have been fortunate in films that have had the opportunity to work, but part of that is my ability to go with what feels right to trust my taste and see where I will take.
UMA: I wonder what the director never got to work with that you would have liked, living or dead.
Rajeev Jain: I think that those already not everything, it would Satyajit Ray. His ability to tell a visual story was just incredible. And to the extent that there still would have be Adoor. These are the directors who are not dependent on the spoken word, his talent is very pure in the sense of sight, and that interests me most.
UMA: 25 years have passed since I was a small boy standing on railroad tracks in Etawah. Can you tell me one thing I've learned as a PDO that helped travelers the tracks better than any other?
Rajeev Jain: Light. For all we do as human beings who are affected and defined by light. Director Photography is a master of light. We must think about light, learn to see in all its moods and different approaches. It is absolutely the best tool important that we must work as a cinematographer, and I think that as people, too. It was always what I was so aware of when I was watching the railroad tracks as a child and now years later. Light.
UMA: So is that a shot of all time favorites?
Rajeev Jain: No, not really. The problem with singling out a vaccine is that it goes against what I think should make movies. A film is a sum of its parts and killing one is only as strong as it has before. Pather Panchali The points were really well. It's mostly done in these very medium shots straight. Towards the end of the film, after the death of Durga, Apu we brush teeth, comb … go about performing tasks that would implicated his sister or mother. Sarbajaya (mother) has a vacant stare … Harihar returns, unaware of the death of Durga. In a jovial atmosphere that he calls his children. Lack reaction Sarbajaya for water and a towel for him. Harihar begins to show the gifts brought to them. When displaying a sari bought for Durga, Sarbajaya breaks. We hear the high notes of a musical instrument "Tarshahnai" symbolizing her crying uncontrollably. Aware of the loss of Durga, Harihar collapses on his wife. We Apu speechless for the first time taking the center stage in history. So far the story was seen through the point of view of each Sarbajaya or Durga. It is only in recent now we see Apu as an independent individual. This framework, which is amazing, would not mean nearly as much if the entire film had not been done in this stage of eyes, the focus midplane. To select a single shot in a movie is to deny that the vaccine is important for the style already established.
UMA: Can you imagine a life without photography? A totally different career that took?
Rajeev Jain no: No, not when I was younger I could. But later in my career, after I had done theater and photography, I found this desire to go to study physics. I was in love concept of relativity of Einstein, it was the best poetry he had ever read. The notion that any matter contained in the energy and energy concerned shows the power of intuition by a man. At that time I had a family to support and I realized that my way was in the film, not physical. But the instinct was there, however.
UMA: Form and content of work in harmony.
Rajeev Jain: Absolutely. Like light and darkness, which seems to conflict can sometimes lead to a perfect union and have great power on the screen. Â
Rajiv Jain Cinematography: Theory and practice
Rajeev Jain is a 2 time award winning director of photography and has been nominated on numerous occasions, the most recent appointment to the "Outstanding Achievement in Single Camera Photography" Spring 09.
In recent 25 years, Rajeev has built a reputation of working both in film and television. He is considered a pioneer in the world of HDTV, as one of the DPA € ™ s first to work in the new environment.
Rajeev € ™ s close collaboration with Indo Studio (the first production company in HDTV South Africa) during the nineties he became one of the few DPA € ™ s who has worked with each generation HD cameras since its inception. Their scope of work includes documentaries, commercials, reality, Children € ™ s television and independent films.
Rajeev Jain has created a masterpiece.  € œ Rajiv Jain Cinematography: Theory and € Practiceâ: it is his third interview with me and for aspiring cinematographer € or experienced a "reference interview I've done better.
Anyone who aspires to the greatest art the narrative should have this article on your platform. He writes: "At the heart of it, cinema is photography, film, but it is more that the mere fact of photography. It is the process of taking ideas, words, actions, emotional subtext, tone and all other forms of nonverbal communication and make in visual terms. "Through both verbal and pictorial metaphor example he has the keys to this art from his hiding under the bed and hangs there same in the plug in the wall of the kitchen. All you have to do is take them down and apply.
Learn the language of visual art is more than learning the difference between the angles of subjective and objective, or know what the director means when he says he wants to â € œâ € When finished choker.â the first chapter will have a good enough handle on the terms of a director and cinematographer on bandy on the set to sound like a pro. Upon reaching the fifth chapter Continuity € â € œCinematic have been exposed to enough theory and practice of graduate to start on the path to mastery of form. I especially enjoyed Rajeev € ™ s explanation and examples of continuity. Music videos and songs from Bollywood has had a profound effect on new filmmakers that many of us from the â € ~ € ™ OLD School has a tendency to wonder Whatâ € ™ s going on at times. Is such the lack of â € € œcontinuityâ in many assembly sequences you see now days that it was refreshing to see so much time and space devoted to such a part important story.
Glossary of Terms
Cut (broken, cross-cut) A cross marks the transition sharply since the end of a shot for the start of the next shot. A shot is said to be choppy other when the film returns to the first shot, as when we see a close-up the face of a character, then a flash-back that the character is to be inserted in the shot of the face, and when the flashback is over, the film becomes the facial injection. Transverse occurs when the film goes back and forth between, or between parallel actions, as in a chase scene.
photography Subduction Maintaining focus and clarity of the constant image of objects that appear close to the camera for remote in the back of the frame, which allows the viewer to see more space within the shot, including background details and actions.
Dissolve (party break) A transition one shot to another in which the images overlap for a time, sometimes used to relieve the visual sharpness of the transition (from a dark cave lit scene for a snow scene lit) and sometimes used to suggest an association between two images (from a letter to a character to a shot of that character read the letter) A party to dissolve those in which the graphic elements of the two images coincide, as in the foreground of the murdered woman Psycho eyes and the shower drain.
Edition (assembly and cutting) The ways in which various pieces of film are joined together. The assembly is the French term for editing, or cutting, but also connotes the creation of meaning through editing patterns. Mounting Hollywood is commonly referred to court of common rapid multi-shot, often using dissolves many to create the effect of chronic rapic the passage of time, because from a character's youth to maturity.
Set (or teacher) fired a shot that shows extreme (or create) any space where the next scene will take place. Many scenes begin with these shots to guide the viewer, sometimes two shots, one an exterior and interior.
The establishment of line frequently overlap with the cut, the direction of the character's eyes. Sometimes, one shot shows a character looking, and a second shot will show what the character is looking. Sometimes the term is used to refer to the directionality Character lines of vision within shots.
A flashback narrative leap in time from the present into the past. In Instead of proceeding chronologically through history, flashbacks allow filmmakers to jump back and forth between past and present events.
Formalism A film theory emphasizes the formal properties of film that shape how movies are made. Formally recognize, for
example, the organization of that screen space is an artistic activity that differs from our everyday perception of real life. Large formal theorists include Sergei Einstein and Rudolph Arnheim.
Invisible A standard style of filmmaking in which the style is not usually noticed, based on the assumption that narrative is always more important than the style and dominate it. These devices are not cross the line of 180 degrees and cut into the action, reaction, and dialogue contribute to this style invisible.
The 180 degree line An imaginary line drawn between the camera and the actors / action the camera does not cross to avoid confusion and maintain a viewer invisible.
Film realism theory that emphasizes the nature of film recording, and the connection between the camera and what is before him in real life. realistic most important being André Bazin and Siegfried "Krucauer.
Scenes A scene is a narrative unit by unit of time and space. The events in the scene occurs in one place at a time, a later scene, for example may occur in the same place at a different time.
Shot (Close or near, medium, long, two shots, and dolly track) A vaccine is an image in the movie uninterrupted by cuts or other devices transition. The terms close shot (or near), medium shot and shot indicate the distance of the camera from the central object to be photographed with a person, fore in general, shows the face and maybe the shoulders, a medium shot shows a person from the waist up, a long shot of the whole body of the person shown. Two hits is the one with two characters alike. Tracking or dolly (or doll) shots are those in which the camera moves. It was mounted on a platform traditionally phone, or a car, and could follow or "track" a moving object, like a character walking or galloping horse. Tracking dolly or injections also can move through a set (like a house hounted) in which nothing moves, giving a complex depth to the shot.
Shot / reverse shot editing editing model shows, a character first and then cut to a level that allows us to reverse a vision almost front, usually another character who is talking or interacting with the first. Many scenes simply go back and forth between these shots until all meaningful dialogue has been spoken and action has occurred.
The standard stylistic stylistic features of film at a given time. Departures style rule can be used with good results by creative filmmakers because they come as a surprise. Â
Master Light: A Conversation with the contemporary Indian Bollywood Photo â € "Rajeev Jain ICS WICA
EXCLUSIVE! Rajeev  Jain (Director of Photography India Kenya) Â
Photo Rajeev Jain India Kenya talks about joining Heart Beat FM and explains the meaning of "Heart Beat FM wide shot" in the M-net € ™ s exclusive interview.
Rajeev Jain is friendly, sympathetic, funny and intense (In a very good) and very smart. Oh, and it occurs to me to mention, a renowned director of photography. Although it looks a lot like his good friend, Matthew Robinson, is its own personality, a person, a darn good guy. Speaking with him is unclear why these two men work together so often and so brilliantly. They are like two halves of a whole. As Rajeev told me during our interview, â € œSometimes Matthew and I think so much alike, itâ € ™ s € scary.â Now that I have interviewed the two, I can see what you are saying and itâ € ™ sa very good kind of fear.
So what do you talk to a famous director of photography on? Well, we talked a little bit of everything. We talked about the support site and work.
Rajeev is in Film and Television Awards Kalasha in Nairobi, Kenya where he soon will attend the closing ceremony and we are struggling mightily with a bad Skype connection. Our interview originally planned vocal quickly becomes made by a type of text messages to remedy the problem. And Rajeev, with all that is before him at the festival, doesnâ € ™ t hesitate for a second to spend the extra time needed to write instead of talking about the interview. Iâ € ™ m very grateful. I owe a great debt to the generosity of their time and spirit of this interview. Oh, yes, and a glass of vodka.
Q: What made you agree to come aboard?
A: It really is a nice story. That had made the long walk for three years and let that show because I lived in Nairobi that time and I was tired of return flight to Dubai and Mumbai. I was looking for something in this city, because I wanted to stay there. So when he called me said, "No, thanks. I'm not interested." And my gaffer said: "Rajeev, reconsider that. Ask them to send the script. I have seen the script. It's what you're looking for." Then I sat down and my gaffer and I've read the entire script, basically once and I turned to him and said, "You did something really bad here. I can not say not this show now. "He said he knew what he was doing. Although he did not want to live apart and it was very hard. [For] gaffer Is not that what happened? He said yes. Smile.
Q: You were the DP for the entire season. What's it like working with a director who has a vision different almost every week?
A: As I photographed every episode, I had the opportunity to prepare with the director. So he approached with a concept and come on set and rehearsing the scene. If rang true for me and I felt it was the way forward, I would say, 'Great, that's a good idea. " If I wanted something that was tangential to the style of the show we were trying to maintain, then I could make a suggestion to try something else. If you are a director listen to intelligent people who are there all the time. I tuned in very quickly to what Matthew Robinson wanted. I would call and ask Matthew Robinson if you saw the papers yesterday, and what he thought of them. And it would give me a better idea if I was on the right track or not. And after about three or four episodes I have what I wanted, not 100 percent of the time – nobody can do that – but a good 80 percent of the time.
Q: What to consider signing Heart Beat FM shot?
A: The shots shots people refer to as Heart Beat FM. Directors say: "Let's make the general plan Heart Beat FM" on TV is not something you see very often. Matthew Robinson likes to celebrate things in general I can think of shots and really like it too – puts him in his capacity as a place or premises, you say something about the character. So I see it as a storytelling device. The other type of shot that is characteristic of the series is when something big in the foreground and then a little further to the bottom width. We call it wide and closed. It is possible to keep the focus on money, say, in the foreground and our characters are at the bottom or out of focus or much smaller.
Q: Did you ever get so caught up in the quality you forget to pay attention to the technical things?
A: That's what I'm supposed to pay attention. My job is not just for lighting and set shots but to make sure that the lighting and shooting the scene reflected in the most effective manner. If I am moved by what I see, then I know we've done well. I have people who operate the cameras and people lighting and rigging. All those who keep an eye on the technical side for me, and I am concerned with the storytelling. That's what interests me about the job: Efficient, effective storytelling.
Q: What is your favorite scene?
A: I say I can not because it is late in the season. Youâ € ™ ll know when you see it. It gets crazy as the story unfolds. Here is one thing: What Matthew Robinson and writers do is to drop a single line in an early episode and then not mention anything about it until nine episodes afternoon, then suddenly there is an episode all about a single line. It is intriguing to me to work on something that is so well planned and circular in terms of his narrative. I think it's just brilliant.
 The Shape of Light ⠀ "paints with his camera Rajeev Jain Photo
Rajeev Jain (born 1968, Lucknow) began working as a cinematographer in 1993, after serving an apprenticeship as assistant camera and camera operator. Since then, Rajeev has worked as a cinematographer with some of Indiae € ™ s most esteemed directors, in some cases establishing a close and intimate association. We met Rajeev Jain in India, during a five day seminar organized by the Film Club in New Delhi the form of Light, an event attended by hundreds of students, filmmakers from all over India.
How photography has changed in the last fifteen years?
I went to the Academy of Dramatic Arts Bhartendu (Bhartendu Natya Academy) in Lucknow during the period of the new wave. We witnessed a cinematic quality that had â € ~ unchainedâ € ™ itself in many ways, in films of the period until the end of the 1980th € ™ s. Even the assembly was much freer and Photography / Administration, with Gautam Ghose in the van, went in search of greater freedom. Even when it came to shooting, the use of handheld cameras, natural lighting, or lighting in a way that seemed natural, such as through windows open, etc. In other words, an absolute freedom either camera movement or lighting.
And in our country?
In India there was still a more classic style of photography, and I am referring, as Subroto Mitra, Sudhendu Roy, who worked with Satyajit Ray to Agantuk (1991). Meanwhile, other new filmmakers emerged with different ideas too, like Ashok Mehta (36 Chowrangi Lane), especially in black and white. But this black and white image with its own aesthetic beauty proper had a characteristic quality of the fusion of light into the atmosphere or environment. Therefore, From this point, maybe the film acquired a larger significance, a total symbiosis with film and narrative.
Can the meeting between the director and the director of photography influence the career of one or the other?
During the seminar, a meeting of a good director of photographer
About the Author
Leo Babauta is the author of The Power of Less and the creator and blogger at Zen Habits, a Top 100 blog with 130,000 subscribers — one of the top productivity and simplicity blogs on the Internet. It was recently named one of the Top 25 blogs by TIME magazine.
Babauta is considered by many to be one of the leading experts on productivity and simplicity, and has also written the top-selling productivity e-book in history: Zen To Done: The Ultimate Simple Productivity System. It has sold thousands of copies and has reached tens of thousands of readers.
Babauta is a former journalist and freelance writer of 18 years, a husband and father of six children, and lives on the island of Guam where he leads a very simple life.
He started Zen Habits to chronicle and share what he’s learned in his life transformation that started in 2005. In two years, he changed a number of habits through the effective habit-change techniques he shares in The Power of Less:
â– Quit smoking (on Nov. 18, 2005)
â– Became a runner.
â– Ran several marathons and triathlons.
â– Began waking early.
â– Became organized and productive.
â– Began eating healthy
â– Became a vegetarian
â– Tripled his income.
â– Wrote a novel and a non-fiction book.
â– Eliminated his debt.
â– Simplified his life.
â– Lost weight (40 pounds).
â– Wrote two best-selling ebooks.
â– Started a successful Top 100 blog.
â– Started a second blog for writers and bloggers.
â– Started a successful ebook publishing company.
My Digital Horse Art
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