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Light Keeps Me Company - A poet of light and shadow - Rajiv Jain (India Photography / Director of Photography / PDO)

Light Keeps Me Company - Poet of Light and Shadow - Rajiv Jain (India Photography / Director of Photography / PDO)

Shooting Stars: Interview with the largest Living Photography of India Rajiv Jain

The full interviews, vol. II

Success story of a genius of lighting • Rajiv Jain • Award-winning Indian director of photography • Photography • Declaration of Principles

Exceptional talent to overcome technical barriers and shady environments, in twenty years, India Rajiv Jain has become one of the most sought for DOPS, who had an unconventional career. Rajiv has not let fame go to his head, and although still modest. After studying drama in drama school Bhartendu Indian Academy of Dramatic Arts (Bhartendu Natya Academy), Rajiv Jain has done work as an assistant cameraman. Soon, boredom stronger than he was and he began working in television series, where twenty-five years of experience with everything and the development of his style of work: Fast, efficient, conscientious. His curiosity led him to make clips, commercials and short films, for example, a wonderful love for Pyar Mein Kabhi Kabhi was a great success. Rajiv is now best known for his work in the controversial film by Satish Kaushik Badhaai Ho Badhaai, and Chandrakant Kulkarni's Mirabai Not Out, Ram Shetty army and Kadach Chandrakant Kulkarni's.

Cinemania: You have to trade above 1500, seven features that are already "Rajiv" light no?

Rajiv Jain: Yes, it's quite a surprise. It all started with Manika Santiago, who had some specific requests for taking Kalpvriksh - The tree wishes. He also wanted his film resembles a daily practice, as far as possible, with natural images, but a universe powerful. He contacted me after seeing the role of Badhaai Ho Badhaai where natural image was natural, but typical. That's what you want, but without the light. I had to rebuild a completely new approach to light, which is a rare thing and not have to do a function. We made use of natural lighting in the area, I used a lot of sodium like light bulbs. I worked hard with the decor to create a bright image. With Manika Kalpvriksh Santiago - Tree desire, which is the principle used is the same as the light the sun through the use of reflectors, mirrors, with a view to lead we needed. The test was in combining these two approaches, without sources direct light film, everything from the windows. We have tried many things. Limitations, I realized that there were other forms of lighting. There is a reason that uses multiple sources! If I use low lighting, everything is decided from the beginning and I worked with the director of Art. When I work in the digital calibration, I know it is not necessary to be able to see everything.

Only work with artists whose world is very strange.

The people I know have requirements, dreams, preferences and different extremes. Thus, whenever a new challenge - I have to design a new system. There is a real role to play, and I want because I want to make a film where there are no images for writing. And because I get bored very fast I like doing things twice! People tell me to do a lot of genre films, but I think not. Kalpvriksh - The tree is a desire animated film atmosphere with a kind of Tex Avery.

Is loaded with projects at the moment?

I have two movies in a row yes. But I have chosen, I prefer to take things slowly. I am particularly fascinated by the fourth component of Raj Kaushal. He wants to make a movie and looking rather strange things that do not exist. Recently I was in Mumbai to make testing a new HD camera at 4 K. I could see the process of acquiring digital projection image. I nearly fainted! It is very thin, the image is completely smooth, very new. I really want to do this movie, I think visually very passionate.

Rajiv Jain, Indian Bollywood Photography - Profile Interview Series Vol. # 4

Army Badhaai Ho Badhaai, Carry On Pandu, Kadach, Kalpvriksh -- The Tree of Desire, and Mirabai not Pyar Mein Kabhi Kabhi. But because the partial success of these films is the talent that goes on behind the scene photography and noted Rajiv Jain is the genius behind the camera these moving images (among many others).

Rajiv, a graduate of Bhartendu Academy of Dramatic Arts (Bhartendu Natya Academy), first worked hand in the photo studio in Lucknow, where he worked as a cameraman for short films, he began his how to work as a cinematographer. Now, his experience made him a mainstay of photography film in Indian cinema. His consistent production Working hard and deep knowledge of technology old and new in what has become one of the most respected filmmakers everywhere. In 2010, current, Rajiv Jain is working on new projects, and is wanted by the filmmakers, independent seniors, his watchful eye.

I had the opportunity to speak with Mr. Rajiv on his career (and also about the shop, so be warned that there is some technical talk on here too), while attended a meeting of film dedicated to his work in Kalash this year Kenya International Film Festival.

Aason Hyte: So I'll let this roll of tape and feel free to say whatever is on your mind --

Rajiv Jain: I do not do well things up, so ...

AH: I am interested in photography, and when I heard coming Kalash Festival film I thought it would be a good idea to talk about his career and his great work. I was very curious how you started in this industry, education, and so on, basically, it ended as you are today.

RJ: It would be easy to tell you about my training in drama school, and they are not just any film school. How I learned to go directly to the film and see what someone else was on the screen, then go out and try myself. And that's all. I also bought the manual ASC (American Society of Cinematographers) puts out, which is known as the bible of the film. I read the manual and read it when I had a problem shooting and thought he needed help.

AH: When you started watching movies, and more to see a good story, they noticed many things such as design, lighting, widescreen formats ...

RJ: Absolutely not. At first I was not interested technically. I just went to the cinema, as everyone. But I was impressed for them. I was about five when I saw the first sound film made and was impressed by that. But at a very subconscious level, I believe, although I used to go along a ring and heard my father sing it just an experience that was buried in my psyche somewhere. I did not start shooting moving images until I 28.

AH: What was the first real work I've been in this industry?

RJ: A guy named Mukul S Anand ...

AH: Oh, I'm a fan.

RJ: Sure. I decided to shoot some listings below.

AH: What do you think the most difficult aspect of his work as director of photography?

RJ: More movies are often those that require significant control that many people and many cameras, and a large area or, sometimes, many places. Stay organized is something that some filmmakers are incapable of, making small films. The short films can be so difficult for them, because the pressure short film means that you can not have the time to collect their images correctly, and another pressure is defined, which is equally difficult.

AH: Would you say you have a personal style to his work or not depends on the director of each project?

RJ: I think not everyone can fail to have their own style and personality is what they think is beautiful, it is what I think is a good composition, how come the world can not stop the invasion of what they do.

AH: How do you feel that the progress Technology has influenced your work? I mean the kind of films most recent advance of high-definition digital revolution ....

RJ: All things that you mentioned certainly affect my work, and it influences what I do and what I do. It is a challenge for me, wise to keep the information to know what all this can be. If you talk about digital photography, the challenge is whether how to get the best quality and this system is best to use. Some of these systems use compression, several types of compression, it is important understand what is and what it means.

For example, new network camera does not use compression for all but the recordings on a disc drive and add the following corrections. They argue that, for better quality, and if the point is that it is important to understand all these things, to make a decision on his own part, if you are digital cameras, the system would use. Panasonic has a system where the curves are used to correct what the camera makes it more like the film and it's pretty impressive.

AH: Where are they in HD compared in 35 mm film?

RJ: Not a problem just to have an opinion but your opinion must be based on facts. And the fact is that the film is probably twice as better quality than HD did. The cinema is always the best. Part of the reason is the flexibility that you receive in the film far exceeds anything you can get high-definition video, however, at this time. One day, may improve, but for now, the film as a large quantity of information that can be captured in a small area. Movie still holds the lead, and new actions Kodak kicks off a stop extra flexibility in both up and down. It is absolutely beautiful.

AH: What is your favorite genre actions that you have worked? I know that we really see the technical right, but I love it.

RJ: I'm staying with Kodak Film and new actions that extra flexibility, you can get both in his film of 500 ASA and you can get values in their daily activities too. It gets better.

AH: What print version? Do you have a favorite?

RJ: It depends. Kodak more than one option of printing operations for liberation. For example, it is softer, more detail, and so on. You must select your stock according to the table he pitches. There is no better. It is one that shows their product the best.

AH: Do you have a personal preference in which the aspect ratio of each project in turn?

RJ: whatever what aspect the director decides to film is a different composition, writing in a different format against the other. Close-ups are more Easy on the spherical 1.85:1 format and in any of the widescreen formats you need to do a little differently. Both work and both have their own challenges. If you are showing a great view horizontally and you want the big screen to show the territory, then it is a good choice. If you are a little tight, the movies, then maybe not.

AH: When in widescreen Super 35? (Super 35 is a process where the negative spherical panoramic film is a shot in the 1.85:1 "flat" optical format and then converted to an anamorphic print version.

RJ: Super 35 is a great format. It is one of the best choices you can make today, and why is his best in digital printing.

AH: Exactly, that was my next question, how have digital intermediate film development laboratories.

RJ: It changes like this, if you record in widescreen, Super 35, since all the projectors and the houses they distribute films have to shake the image to wear your glasses - which is a bit stupid, but it's a money issue - then they must go through an extra step in the film in Super 35 to recover a compressed image. You do not have to do with a digital intermediate.

AH: that is great too recent for the digital intermediate made recently to 4K resolution opposing the resolution 2K, which greatly improves print quality. "Kalpvriksh - The Tree of Desire" and "Carry On Pandu 'are examples of films Super 35 and DI'ed resolution 4K and look absolutely stunning on the screen.

RJ: Oh, yes. You are doubly quality digital image, but has yet to safeguard the quality of the films a bit ...

AH: But I still want it resembles that of cinema. You go to the theater to see the film, not digital. Many of the films shot in high definition seems a little disappointing for me [when transferred to film ...]

RJ: Digital, image and sound quality is more severe, and in fact sometimes lacks detail sweetness you get from a lens, a special lens is blurred in the background and foreground approach, which tends to make the image forwards and focus your attention on the best. In situations like that, sometimes, digital does not feel so good, not as natural, and individuals with the terms of a forest on a tree or touch someone's hand. This kind of human experience, you're away the case of digital sometimes what is on film.

AH: And you keep working hard. What work now?

RJ: I just finished a painting in Kenya with his right front let go and we're editing right now. She now trains.

AH: Who do you think are some of your favorite directors? Have you any influence over important part of your job?

RJ: Subroto Mitra is a major --

AH: Yes, absolutely. His work in Pather Panchali, my favorite movie, is unforgettable.

RJ: But Subroto Mitra, one of many directors out in this place, but I will not put one above the other, and why it should not be as great as was Subroto Mitra, was different from that of other filmmakers there.

Subroto Mitra loves to find new formats and new ways to develop the film and made a lot of that over the years. Much others have tried, but again, depends on who you are and what they think is great. If it's worth, if you see the difference then great. Many times, trying to take another person technique and the play, not after the same vision and go away. Things Frankly, I am very inventive I do and prefer to pursue my ideas, I just know what I'm looking for someone rather than reproductions.

AH: What would you say is your favorite movie of all time shot? Or even your favorite movie?

RJ: I prefer not having to make a choice, because when it says favorite is almost like voting for the best actor of the year, which I think is totally ridiculous, because one is as talented as others. You may prefer the script or the director the address of the actor, but he is really unfair to say "this is better than another," it would be equally absurd to me, all the great films that have been there and sees "I like it better than anyone!

AH: I like that answer. I always ask myself all my interviews and I really admire the difference, great answers I get. I also get a brilliant response to that or I like someone who says "watch hundreds films a year and this is my # 1 all time. "And if I chose Pather Panchali like mine, is a response to a question, really, is that even if I have selected about 100 films of all time.

RJ: Sure. At some point, if I'm sitting in a theater and I feel inspired, I feel like that at the time, but to sit and think about this, it is apples and oranges. Different films are great for different reasons!

Success story of a genius to light • • Rajiv Jain award winning Indian director of photography • Photography • Declaration Principles

A typical lesson: HD vs Film ...

Aspiring filmmakers are very fortunate compared to years ago. Today, you can make a film in almost any format and still be taken seriously, if you have a great story and production values excellent. As mentioned, the project of the Blair Witch is one of the most independent films ever made success, however, was filmed with a camera video for consumers (not digital).

Before the digital revolution of the late 1990s, things were very different. If the film was shot in a format other than 35mm, which had no chance of being distributed. 16 mm, was not taken seriously and video was a joke. These standards have been so deeply rooted in industry, even the actors are reluctant to work on non-35mm shoots.

All that has changed now. Affordable digital cameras of high quality have democratized the industry. But 35mm is the standard by which All video formats are judged.

To reach the same level of video quality than 35 mm? Old school filmmakers say "no" because the catch Image capacity of 35 mm is a gazillion "times the video. Is this really true? Let's take a closer look. The truth may surprise you.

Note: The following study is based in Classic HD with 1080 lines of horizontal resolution. In 2007, the first camera ultra high definition was introduced with an amazing 4520 lines. Keep in mind that while reading! The concepts associated with high definition (HD) may be confuse the unfamiliar with the video camera function. If you are a filmmaker first, words such as scanning lines, SD, HD and 4K Technology will undoubtedly make you head spin!

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 terminology. In addition, we 4k technology, also known as Ultra HD. This technology is used by the pioneer of the Red One camera, made by Red Digital Cinema Company in 2007.

To understand high-definition video, we have start early and to examine how images are recorded by a video camera.

Registration

When video recording, tape moves through the head camera recording. The head is essentially an electro-magnet, which is activated by the electrical signal from the image processor. As the band moves to the head, iron particles on the tape are magnetized. It is essentially becomes the recorded image.

The next generation of video cameras can record on the hard drive or a removable card. This allows files to be transferred directly to your computer for editing.

Scan lines

The image of the video recording of a horizontal line at a time. These lines are called scan lines and the process is called exploration. If you look closely at a television screen you will see the scan lines. It may not be seen on the computer screen because that the lines are too narrow for a TV.

Standard Definition (SD)

The term "definition" means, essentially, visible in the video image details. It is measured by the number of horizontal scanning lines within a single framework. In the United States and Japan video standard HD is 525 lines. In most European countries, the standard definition is 625 lines. (The first is known as NTSC, PAL is the latter).

High Definition (HD)

Although much hype has been put on high definition, the concept itself is simple to understand. Technically, everything breaking the barrier of 625-line PAL can be called high definition. The most common formats including HD 720 and 1080 lines of exploration.

Ultra High Definition

Ultra high definition has an incredible 4520 lines of horizontal resolution. Known as "4K technology," because the scan lines above 4,000, which will probably be the future standard in the industry.

The following photos show the relative sizes of different formats. The first table represents a typical digital video (DV and DVCAM). Note that improves detail the number of scan lines increases. The final photo shows the great jump in image details 4k technology offers.

As a point of reference, the floor of a typical computer screen has 2000 lines of resolution. 35mm film - as perceived by the human eye - is in the mid-range HD. For more information 35mm comparisons if Please see our sample lesson: HD vs 35mm.

4k technology is based on a proprietary 12-megapixel chip developed by the company's red digital cinema. Its affordable Red One camera can record all the popular types of exploration, including those listed above. 4k technology can be the knell of 35mm film.

Comparison

There are two factors that can compare the color and resolution. Most observers Occasional agree that, based on a television screen HD color quality is excellent. To avoid a mathematical argument without end, we accept at face value and focus on the comparison of the resolution, which is the real spoiler.

The resolution is visible in detail image. Because pixels are the smallest piece of information in the digital world, it seems that comparing the number of pixels is a good way to compare the resolution.

The film is analog, it is not real "pixels". However, based on measurements conversion, 35 mm frame account of 3 to 12 million pixels, depending on the population, the goal and shooting conditions. A frame of HD has 2 million pixels, measured with 1920 x 1080 lines of exploration. A difference of 35 mm seems far superior to HD.

This is the argument of the film purists use. The truth is, the pixels not how to compare the resolution. The human eye can not see individual pixels beyond a short distance. What we see are lines.

Therefore, the manufacturers to measure the sharpness of photographic images and components using a parameter called Modulation Transfer Function (MTF). This method uses lines (not pixels) as a basis for comparison.

Since the MTF is an industry standard, we will maintain this standard for comparison High Definition 35mm film. In other words, make the comparison with lines instead of pixels. Scanning lines are video images of how to compare it is therefore logical that point of view, too.

HD Resolution

As discussed above, the standard definition and high-definition refers to the number of scanning lines of the video image. Standard definition is 525 horizontal lines for NTSC and 625 lines of PAL.

Technically, anything that breaks the barrier of 625-line PAL could be called high definition. The most common resolutions are the lines 720p and 1080i HD.

35 mm resolution

It is an international study on this question, resolution of the image called 35mm film in the presentation theater. Has been performed by Hank Mahler (CBS, USA), Vittorio Baroncini (Ugo Bordoni Foundation, Italy) Mattieu Sintas (CST, France).

In the study, the MTF measurements were used to determine the typical resolution copies in Film printing facilities and intervention in normal operation, using state-of-the-art 35mm film, processing, printing and projection.

The prints were shown at six theaters in several countries and a group of experts conducted an assessment of projected images using a formula defined. The results are as follows:

Resolution 35 mm

Measurement lines

Answer Print NMS 1400

Print Release MTF 1000

Highest score 875 Theater

Theater average of 750 reviews

Conclusion

Since the study, the perceived differences between HD and 35mm film disappear quickly. Note that using the word "apparent". This is important because we do not make a film for the laboratory study, but rather to the public.

At this stage, no the typical public can see the difference between HD and 35 mm. Even professionals have trouble distinguishing them. We cross all the time at the University New York ( "Was Shot on film or video?").

Again, the study was based on the standard HD 1080 lines of horizontal resolution. We now have ultra HD 4520 lines.

On this basis, the debate is moot. 16mm, 35mm, DV and HD are all tools of the filmmaker. The question is not what format is best, but this format is best for your project? The answer, of course, is based on a balance between the aesthetic and budgetary considerations.

The technical aspects of filmmaking from exposure to joint operations and formats

Rajeev Jain - ICS Wicca

Indian Bollywood Director of Photography / Photography / PDO

UMA: Can you tell us about your inspiration before you the image?

Rajeev Jain: See color television began my fascination with the technology of light and photography. These studies have been enriched by a remarkable meeting called PDO KK Mahajan, Mr Mahajan, introduced me to directors like Mrinal Sen, Adoor Gopalakrishnan, Mani Kaul and Buddhadeb Dasgupta. And Suddenly I realized what a phenomenal art form this technology could be wonderful. At the same time, when he was 13, I door was crashing all Shatranj Ke Khilari in Lucknow, Satyajit Ray, who directed and Soumendu Roy pulled. Roy was lighting within this vast, Arri IIC ball in what was probably 125 ASA color negative. He seemed to be everywhere at once, perfect connection with the operator by adjusting the positions of actors in the background, adjust the light at least a dozen babies. When you drive a nice actress Shabana Azmi for your brand and subtly adjusted to the darkness in front, I thought that this man has the best job in history the world.

UMA: If you had to label as a PDO really need to succeed in movies, what would it be?

Rajeev Jain: I think that lack of a better term would be a point of view. Everyone sees the world from their own perspective and uniqueness is what the Declaration of Principles provides the film with respect to history, of course. It is difficult now, because a Much of the industry is driven by economics, which means that you are a hero if you can shed some light sweet and Peel many shots. This goes against an idea and an idea of what is absolutely right for the story you tell. But, if you choose carefully and find the right director, his point of view leaves an impression.

UMA: Was there a key moment when it may signal had known you would end up being a filmmaker?

Rajeev Jain: Well, there was a good time, but it was pure chance. I had not planned to be a cinematographer "Absolutely none.

UMA: Your work has always been feeling so pure to me, almost spiritual in a way. What is most important to the quality director of photography should be a movie?

Rajeev Jain: The most important task director of photography is to create an atmosphere. To interpret the mood and feel the director wants pass. I especially do this task using very low light and color very soon. There is a saying that a good script, tells you what fact and what is said, not what someone thinks or feels, and there is some truth in that. Images, not words, capture feelings in faces and environments, and I realized that there is nothing that can ruin the atmosphere as easily as too much light. My quest for simplicity derives My logical effort for light, real light.

UMA: If you had to choose a quality of a need for PDO Success, What would it be?

Rajeev Jain: taste. That really means the ability to know what scripts to work, what feels good in terms of composition, lighting, everything happens for a movie. Taste is an instinct and should guide you to projects that will be offered a large experience. I was lucky then the films I had the opportunity to work, but it is in my ability to go with what feels right to trust my taste and see where it will take me.

UMA: I wonder what the director has not made work with the wanted dead or alive.

Rajeev Jain: I think that no longer exist, would Satyajit Ray. Its capacity to tell a visual story is amazing. And those who remain should be Adoor. These are directors who do not rely much on the floor, his talent is very pure in the sense of sight, and that most interests me.

UMA: 25 years have passed since I a small boy standing on the railroad in Etawah. Can you do something that I learned as a PDO who helped track down the best that other?

Rajeev Jain: Light. For everything we do as human beings who are affected and defined by light. A cinematographer is a master of light. We must think about light, learn to see in all its forms and approaches. It is absolutely the most important tool we have to work as a cinematographer and I think people also. It has always been the only thing that is so conscious of when I looked at the track as a child and now years later. Light.

UMA: So is that a Favorite shot of all time?

Rajeev Jain: No, not really. The problem is to take a shot that goes against what I think films should do. A film is a sum of its parts and a dose is as strong as what has preceded. Pather Panchali points very well. It is mainly done in these very straight shots in the medium term. Towards the end of the film, after the death of Durga, Apu seen brushing teeth, combing your hair ... range from performing about tasks, which would cause his sister or his mother. Sarbajaya (mother) has a blank stare ... Harihar returns, unaware of the death of Durga. In an atmosphere jovial that appeals to their children. Without any type of reaction, Sarbajaya fetch water and a towel for him. Harihar begins to show the gifts made for them. When viewing a sari bought for Durga Sarbajaya breaks. We hear the high notes of a musical instrument "Tarshahnai" symbolizing crying uncontrollably. Aware of the loss of Durga, Harihar his wife collapsed. We Apu voice for the first time on stage in the center history. Until now, the story was seen through the perspective of each Sarbajaya or Durga. Only in the Last Once we see Apu as an individual self. This framework, which is incredible, it would have meant nearly as much, if not the entire film was made in This eye level, the approach of the aircraft mid-term. To select a single shot on film is undeniable that the vaccine is important for the style already established.

UMA: Can you imagine a life without photography? A completely different way of career that taken?

Rajeev Jain: Of course not, when I was younger, I could not. But later in my career, after having done theater and photography, I discovered the desire to study physics. I was in love with the concept of relativity Einstein was the greatest poetry I read. The notion that all matter contained in the energy and energy in this area shows the power of the intuition of a man. At that time, I had a family to feed and I realized that my way was in the film, not physical. But the instinct is there, however.

UMA: The form and content of work in harmony.

Rajeev Jain: Absolutely. Like light and darkness, which seems to conflict can sometimes lead to a seamless union of a great power on the screen.

Rajiv Jain Photo: Theory and Practice

Rajeev Jain is a time of 2 The award-winning director of photography and has been nominated several times, the most recent nomination for "Outstanding Achievement in Single Camera Photography "Spring 09.

In the past 25 years, Rajeev has built a reputation of working both in film and television. It is considered a pioneer in the world of HDTV, the DP as an early work in new media.

Studio Indus closely Rajeev (the first company to produce high-definition television South Africa) during the nineties, making it one DP of the few who has worked with every generation of high definition camera from its inception. The scope of work includes documentaries, commercials, reality, children's television and independent films.

Rajeev Jain has created a masterpiece. Rajiv Jain Photo: Theory and Practice "is his third interview with me and the director of photography budding or experienced - the best baseline I never did.

Anyone who aspires to the highest art of storytelling must have this article on your platform. He writes: "In his heart, The film is shooting, but the film is more than just photography. The process of adoption of ideas, words, gestures, emotional context, tone and all other forms of nonverbal communication and representation in visual terms. "Through the metaphor of both verbal and example painting that holds the key to the art of hiding under the bed and it hangs in the plug into the wall of the kitchen. All you have to do is reduce and the practice.

Learning the language of visual art is more than learning the difference between the angles of the subjective and objective or know what the director means when says he wants a choker. "When you've finished the first chapter will be quite good in terms of a Director and cinematographer Bandy about the whole sound like a pro. Upon reaching the fifth chapter, "The film continuity" were exposed at the graduate level enough theory and practice to start on the path to mastery of form. I especially appreciated the explanation Rajeev and examples of continuity. Videos and songs Bollywood has had a profound effect on new filmmakers that many of us in the "old school" tend to wonder what happens sometimes. A lack of "continuity" in many sequences of frames that you see now days has been heartening to see that so much time and space for such an important part of the story.

Glossary

Cut (broken, transverse) The court makes the sudden transition from the end of a shot at the beginning of the next dose. A shot is said to be inserted in another film where the yields of the first injection, and when we see a closeup of the face of a character, then a flash-back that the character should be inserted in the facial take and when the reverse is more, the film returns to face the wall. Occurs when cross sections of the film and vice versa, or between parallel actions, as in a scene hunting.

Photography Maintain emphasis Deep Focus and clarity of the constant image of objects that appear near the camera off to the rear of the chassis, which allows viewers to see more space in the plan, including details of background and actions.

Dissolve (out of the game) A transition to another shooting in which the image overlay a time, is sometimes used to relieve the visual abruptness of the transition (from a scene in the dark cave lit a light snow scene) and sometimes used to suggest an association between two images (a letter to a character at a character who read the letter) A party to dissolve one in which the graphic elements of the two images coincide, as in the copy closing psychosis in the eye of the murdered woman and the shower drain.

(Editing Editing and cutting) how the various pieces of film together. The assembly is the French word for editing, or cutting, but also has connotations of creating meaning through layout designs. Hollywood Montage refers generally the rapid cutting and multiple photos, often using many dissolved to create the effect of chronic rapic time, like a character from youth to maturity.

The establishment of one (or teachers) took a very long shot that shows (or create) a space where the next scene will take place. Many scenes begin with these plans to guide the viewer, sometimes there are two vaccines that are defined, an external and interior.

Line of sight coincide with the establishment often through the court, the direction of the character's eyes. Sometimes, a shot showing a character in appearance, and a second shot will show what the character is looking. Other times, the term used to describe the directionality character lines of sight in shots.

Flashback A jump in the time of this story back. In Instead of proceeding chronologically through history, flashbacks allow filmmakers to come and go between the past and the present.

Formalism of the theory of film that focuses on the formal properties of movies that shape the way films are made. Formal recognition for
For example, the screen space is the organization an artistic activity that is different from our everyday perception of real life. Major theorists include formal Sergei Einstein and Rudolf Arnheim.

Invisible standard style film in which style is generally not noticed, based on the assumption that the story is always more important than the style and dominate. These devices are not cross the line of 180 degrees and cutting on action, Response and dialogue contribute to this style invisible.

The line of 180 degrees to an imaginary line drawn between the camera and the actors / action camera will not cross to avoid confusion and maintain a viewer invisible style.

The realist theory film focuses on the nature of the movie recording, and the connection between the camera and what is in front of her in real life. The most realistic Important Andre Bazin and Siegfried "Krucauer.

Scenes A scene is a certain narrative unity per unit of time and space. The events in the world while a later stage, for example, may occur in the same place at another time.

Shot (shot near or close-up, medium, large, two shootings, surveillance and Dolly) A photo is an image in the film uninterrupted by cuts or other transitional devices. The terms close (or close-up), medium shot, long-term project and indicate the distance between the camera object Central to be photographed with someone, usually in the foreground, shows the face and maybe the shoulders, a medium shot shows the size of the individual, Long shot shows the whole body of the person. A two-shot featuring the two characters alike. Traveling or Dolly (Dollie or) are those in which the camera moves. It has traditionally been mounted on a platform in motion, or platform, and will continue or "theme" a moving object, as a character walking or galloping horse. Dolly Tracking or injections may also move through a set (like a house Hounted), in which nothing moves, which gives a depth to the shooting complex.

Shot / A Counter-field model Mounting assembly which shows first character and a cut to a reverse plan gives us a vision nearly opposite, usually another character speaking or interacting with the first. Much scenes just go back and forth between shots until all those constructive dialogue took the floor and the action took place.

Standard stylistic traits of style of film to a determined time. Departures from the standard style can be successfully used by creative filmmakers, because it is a surprise.

Master Lighting: Conversation with the contemporary Indian Bollywood Photography - Rajeev Jain ICS Wicca

EXCLUSIVE! Rajeev Jain (India From Kenya Director of Photography)

Kenya Photography Indian Rajeev Jain talks about joining Heart Beat FM and explains the meaning of "Heart Beat FM wide shot" of the M-interview exclusive Net.

Rajeev Jain is good, great, fun, intense (in a very good) and very intelligent. Oh, and I see no mention that there is a world-famous director of photography. Although it is much like his good friend, Matthew Robinson, who is his own personality, a person and a damn good rate. To him speak, it becomes clear why these two men have worked together so often and so brilliantly. They are like two halves of a whole. As Rajeev told me our interview: "Sometimes I think that Matthew and yet so similar it's frightening." Now that I interviewed the two, I see what you say, and is a very good scary.

So what do you talk to a famous director of photography? Well, we talked a little of everything. We talked about the support site and work.

Rajeev is in the Kalash Film & Television Awards in Nairobi, Kenya, where he will soon attend the closing ceremony and we are dealing forcefully with a bad Skype connection. Our source for a voice conversation quickly becomes one made by type of text messages to remedy the problem. And Rajeev, with everything he has before him at the party, does not hesitate a seconds to pass the additional time required to write instead of talking about the interview. I am very grateful. I am greatly indebted to the generosity their time and spirit of this interview. Oh yes, and a glass of vodka.

Q: What do you agree to board?

A: It really is a beautiful story. I made the long road of three years and indicated on the left, because I lived Nairobi that time and I was tired of the return flight to Dubai and Bombay. I was looking for something to Nairobi because he wanted to stay. So when I called I said, 'No, thank you. I'm not interested. And my uncle said, "Rajeev, to reconsider. Ask them to send script. I saw the script. It is what you are looking for. "Then I sat down and my uncle and I read the entire script, essentially, in a meeting and went to him and said: You've done something very wrong here. I can not say no to this show now. "He said he knew what he was doing. Although it willing to stay away and was very hard. [To his uncle] Is not this what happened? She said yes. Smile.

Q: Were you the RFP for the entire season. How to work with a director who has a different view of almost every week?

A: Since I turned each episode, I had the opportunity to prepare with the principal. Also, he would arrive at a concept and come to develop and rehearse the scene. If rang true for me and I felt the way I would say: "Yep, it's a good idea. "If I wanted something that was mixed with the style of performance that we try to keep, so I could make a suggestion to try something else. If you are a smart director who listen to people who are there all the time. I listen very quickly to what Matthew Robinson wanted. Matthew Robinson I call and ask if he had seen the papers yesterday, and I thought of them. And I would give a better idea if I was on the right track or not. And after three or four episodes, he got what he wanted, not at 100 percent of the time - nobody can - but a good 80 per cent of the time.

Q: What do you consider signing Heart Beat FM shooting?

A: People shooting wide shots are considered beating Heart FM. Directors say: "Let's make the heart beat shot FM, which television is not something you see often. Matthew Robinson likes to keep things more shots and I'm really, too - that puts your character in a place or a place that speaks volumes about his character. While it is a narrative device. The other type of shot that is characteristic of the issue is when something big in the foreground then a little further to the bottom width. We call it off and closed. You can keep the focus on money, say, first and our characters are at the base or off-topic or smaller.

Q: Any Once so caught up in the quality you forget to pay attention to the appearance technical things?

A: That's what I have to be careful. My work is not only for lighting and set designs, but to ensure that the lighting and shots reflect the scene more effectively. If I am moved, I see so I know we did well. I people who operate the cameras and people are lighting and rigging. All those who keep an eye on the technical side for me, and I am concerned the tale. That's what interests me in the efficient use and stories.

Q: What is your favorite scene?

A: I can not say because it's late in the season. You know when you see it. It is crazy that history place. Here one thing: What writers Matthew Robinson and not drop a single line in the first episode and then do not mention something about this up to nine episodes later, and then suddenly there's an episode of it all one line. It is interesting for me to work on something that is so planned and the circular in relation to its narrative. I think it's just great.

The shape of the Light - Rajeev Jain paints with his camera

Rajeev Jain (b. 1968, Lucknow) began working as a filmmaker in 1993 After an apprenticeship as a camera assistant and camera operator. From then, Rajeev has worked as a cinematographer with some of the directors more popular in India, in some cases to establish a close and intimate association. We met Rajeev Jain India, the seminar five-day organized by the Running Club in New Delhi on the form of light, an event which saw the participation of hundreds of students, filmmakers across the country.

How did the movie in the last fifteen years?

I went to the Academy of Art Dramatic Bhartendu (Bhartendu Natya Academy) in Lucknow during the period of New Wave. We have seen a quality film there was "Unchained" itself in many ways, in films of the period until the late 1980s. Even the editing is much freer, and photography / Administration with Gautam Ghose in the van, were in search of greater freedom. Even when he was shot using hand-held cameras, using natural light or lighting in a way that seemed natural, as through open windows, etc. In other words, a movement of absolute freedom, or the camera or lighting.

And in our country?

In India, it was more classical style picture, and I am referring, as Subroto Mitra, Sudhendu Roy, who has worked with Satyajit Ray in Agantuk (1991). Meanwhile, other new filmmakers with different ideas have emerged, like Ashok Mehta (36 Chowrangi Lane), especially in black and white. But this picture in black and white with its own aesthetic beauty had adequate quality characteristic of the fusion of light in the atmosphere or environment. Thus, From this point of the image can be acquired more importantly, a total symbiosis with the film and narrative.

The meeting between the director and the director the influence of professional photography one or the other?

During the seminar, a meeting of a good manager photography

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