Light keeps me company – a poet of Light and Shadow – Rajiv Jain (India Photo / Cinematographer / DOP)
Light me keeps company – A poet of shadow and light – Rajiv Jain (India Photo / Cinematographer / DOP)
Shooting Stars: Interview India the country with the most Rajiv Jain Living Photo
The full interviews, Vol. II
Success story of a genius fascinated by the light Rajiv Jain • Awards • Indian Director of Photography • Photo • DOP
Exceptionally gifted overcome technical barriers and shaded atmospheres, in twenty-five Indian Rajiv Jain has become one of the most sought after DOP, after having had a career quite conventional. Rajiv did not let up even though the head and remains modest. After studied drama at the theater school Bhartendu Indian Academy of Dramatic Arts (Bhartendu Natya Academy), Rajiv Jain has made over as assistant camera. Soon, boredom was due to him and he began working on television series which, in twenty-five years, he would try anything and develop his style of work: fast, efficient and conscientious. His curiosity led him to do videos, commercials and short films, eg A Wonderful Love Pyar Mein Kabhi Kabhi was a great success. Now, Rajiv is best known for his work on controversial film Satish Kaushik Badhaai Badhaai Ho, as well as Chandrakant Kulkarni's Mirabai Not Out, Ram Shetty Army, and Chandrakant Kulkarni's Kadach.
Cinemania: You more than 1500 commercials, seven feature films and there is already a "Rajiv" light, is not there?
Rajiv Jain: Yes, it's quite a surprise. It all started with Manika Sharma who had specific requirements for making Kalpvriksh – Tree greeting. She also wanted his film to look like an everyday event as much as possible with natural images, but a world power. She contacted after seeing the function Badhaai Ho Badhaai where natural image was natural, but typical. That's what she wanted, but without light. I had to rebuild a whole new approach with the light, which is a rare thing to have to make on an item. We used daylighting in the field, I used a large number of bulbs as sodium lights. I worked with decoration to create a bright image. With Kalpvriksh Manika Sharma – The Wish Tree is the same principle: we have used the light the sun, using reflectors, mirrors, to direct it where we needed it. The event was a combination of these two approaches, without sources direct light film, everything that comes from windows. We have tested many things. With the constraints, I realized there were other of lighting. There was a reason why I used multiple sources! If I use some light, everything is decided from the start and I work a lot with the art director. When I work on the digital calibration, I know it's not necessary to be able to see everything.
You only work with artists whose world is very strange.
The people I meet have demands, dreams, and extreme individual preferences. So each time it's a new challenge – I have to invent a new system. There is a real role to play, and love, because I do not want to make a film where there were no images to write. As I get bored very quickly, I do not do things twice! People tell me I do a lot of genre films, but I do not think so. Kalpvriksh – The Wish Tree is an atmospheric film with an animation Tex Avery type.
Are you overwhelmed with projects at the moment?
I two films lined up, yes. But I have chosen well, I prefer to take things slowly. I am particularly fascinated by one of them, the fourth pane Raj Kaushal. He wants to make a film and looks rather strange things that do not exist. Recently I was in Mumbai to conduct tests with a new camera HD 4K I could see how the digital process from capture to the projection of the image. I nearly fainted! Very beautiful, the image is completely smooth, very new. I really want to do this film, I think it will be very passionate visually.
Rajiv Jain, Director of Photography Indian Bollywood – Profile Interview Series Vol. # 4
Army, Badhaai Ho Badhaai, continue on Pandu, Kadach, Kalpvriksh – The Wish Tree, Mirabai Not by Pyar Mein Kabhi Kabhi and. But because the partial success of these films is the talent that goes on behind the scene Rajiv Jain and noted director of photography is the genius behind the camera in these movies (among many others).
Rajiv, a graduate Bhartendu Academy of Dramatic Art (Bhartendu Natya Academy), first had his hand in the gallery of studio work in Lucknow, where he worked as a camera operator for short films, which began its journey in his work as director of photography. Now, his vast experience has him one of the cornerstones of photography of the film in Indian cinema. Its output constant hard work and deep knowledge of old technology and the news made him one of the most respected filmmakers there. In 2010, Today, Rajiv Jain still working on new projects, and is wanted by filmmakers, both major and independent for his watchful eye.
I had the opportunity to speak to Mr. Rajiv on his career (and also talk shop, then know that there are some tech-talk here too) while attending a forum devoted to his film work at the Festival this year Kalasha film in Kenya.
Aason Hyte: So I'll just let this roll of tape and feel free to just say what you think
Rajiv Jain: I'm not good at making stuff up, so …
AH: I am interested through cinema, and when I find you come to Kalasha Film Festival I thought it would be a good idea to discuss your career and your great body work. I was very curious to know how you got your start in this industry, your education, and so on, basically how wound that you are today.
RJ: It would be easy to tell you about my journey from the drama school, Simply, I am not any film school. The way I learned to go to the movies and see someone else has done on the screen, then go out and try to do it myself. And that's all. I also bought the manual AUC (American Society of Cinematographers) off, which is known as the bible of film. I read the manual and it when I never had a problem shooting and thought I need help.
AH: When you first started watching movies, and more to see a good story, Have you noticed things like framing, lighting widescreen formats, …
RJ: Not at all. At first I technically was not interested. I just went to the movies like everyone else. But I was impressed by them. I about five years old when I saw his first movie ever made and I was impressed by that. But even at a subconscious level, I think, even if I used to ride along a ring and hear my father sing, it was just an experiment that has been buried somewhere in my psyche. I did not start filming until I was about 28 years.
AH: What is the real first job you've been in this industry?
RJ: A guy named Mukul Anand S …
AH: Oh, I'm a fan.
RJ: Absolutely. I decided to shoot commercials in it.
AH: What do you consider the most difficult aspect of your job as director of photography?
RJ: Movies are generally more difficult requiring large control many people and many cameras, and a large surface or sometimes many places. Maintain who organized what some filmmakers are not capable, then they do small films. The short films can be just as difficult for them because the pressure of a short film means they may not have the time to collect their images, and is another set pressure is all difficult.
AH: Would you have a personal style to your work, or does it depend on the director for each project?
RJ: I think everyone can not help but have their own style and he has personality, she comes what they feel is beautiful, it is that they think is a good composition, how they view the world can not help but invade what they do.
AH: How do you feel that the progress of technology has affected your work? I mean that stocks of more recent films, the advance of high definition, the digital revolution ….
RJ: All things you mentioned certainly has an impact on my work, and affect what I do and how I do. It is a challenge for me to keep the information-wise to know what these things all mean. If you talk about digital photography, the challenge is how to get the best quality and is the best system to use. Some of these systems use compression, there are several types of cuts, it is important to understand what is and what it means.
For example, new appliances Red does not use compression at all, but the records on a hard drive and add corrections later. They argue thereby to obtain better quality, and so on, the point is that it is important to understand all these things take a decision on your own role, if you take digital pictures, the system you want to use. Panasonic has a system where they use curves to correct what their camera Actually, it looks more like the movie and it's pretty impressive.
AH: What is your position on the high-definition over to 35mm film?
RJ: It is not simply having an opinion but your opinion must be based on facts. And the fact is that the film is probably about twice the quality as the best high definition a. The cinema is always the best. Part of the reason is the flexibility that you get the movie far exceeds anything you can get high-definition video even at this time. Someday it may get better, but for the moment, the film far-reaching the quality of quantity of information that can be captured in a small area. Film still stands as a leader, and new stock that Kodak is launching the has an extra stop of latitude to both top and bottom. It is absolutely beautiful.
AH: What is your favorite kind stock that you have worked? I know that we do get the right technique, but I love it.
RJ: I stand with Kodak film and new shares that the additional flexibility, you can get both in their 500 ASA film and you can get it in their stock day as well. It keeps getting better.
AH: How to obtain the release prints? Do you have a favorite?
RJ: It depends. Kodak has more than one choice of materials to print for free. For example, it is milder, it is shown in more detail, and so on. You choose your equipment in accordance with the image you post. There is no better person. It is one that showcases your product best.
AH: Do you have a personal preference in which aspect ratio to shoot in each project?
RJ: It does not matter What aspect too the director decides to shoot in. It's a different composition, you call differently against one another format. Close-ups are easier in spherical 1.85:1 format, and in one of the screen sizes that you need to do a little differently. They both work and both have their own challenges. If you are representing a wide horizontal view and you want the big screen to show the territory, then it is a good choice. If is a little tight, personal film, so maybe not.
AH: What is your position on the Super 35 widescreen format? (Super 35 is a process where the ball wide negative film is shot in the 1.85:1 "flat" format and then converted into an optical release print anamorphic.
RJ: Super 35 is a large format. This is one of the best choices you can make today, and the reason its best, it now because of digital intermediate print.
AH: Absolutely, that was actually my next question, have changed how digital intermediate film processing laboratories in today.
RJ: It changes This way, if you're shooting widescreen, Super 35, because all the lights and houses which are the distribution of films have to shake the image to use their objective – which is a bit silly, but it is something money – you must go through a stage later in the movie Super 35 to get back to a picture in a hurry. You do not need to do a digital intermediate.
AH: What's great is too recently that digital intermediaries have recently moved to the 4K resolution, as opposed to 2k resolution, this which greatly improves the printing quality. "Kalpvriksh – The Wish Tree" and "Carry on Pandu" are examples of films shot in Super 35 and DI'ed 4K resolution and they look absolutely breathtaking on screen.
RJ: Oh yeah. You are doubly the quality of your image, digital, but they have yet to back the film quality a bit …
AH: But I want it like than the film. You go to the theater to see the film, not digital. A large number of films shot in HD look a bit disappointing for me [when transferred the film ...]
RJ: Digital in both sound and image quality was more severe, and sometimes the detail is not smooth you get from a target, especially a lens is blurred in the background and foreground sharpness, which tends to bring the image before and concentrate your attention better. In such situations, sometimes digital does not feel quite right that this is not quite as natural disasters and natural in terms of a wood in a tree or the sensation of someone's hand. This kind of human experience, you are likely later in the Digital sometimes you're in the movie.
AH: And you're still at work. What are you working on now?
RJ: I just finished a photo in Kenya with his right front let go and we are publishing right now. It is being implemented as we speak.
AH: Who do you say a few of your favorite directors? Do you have major influences on your work?
RJ: Subroto Mitra is one of the largest –
AH: Yes, absolutely. His work on Pather Panchali, my favorite movie, is unforgettable.
RJ: But Subroto Mitra, it is one of the great filmmakers of many stars there, although I do not want not to each other, and why I do it because as great as Subroto Mitra was, he was different from other filmmakers on there.
Subroto Mitra likes to come up with new formats and new ways of developing film and he did a lot of that over years. Many others have tried, but again, it depends on who you are and what you think is great. If it's worth, if you see the difference, the better. Many times, when you try to take someone else's techniques and reproduce, you are not after the same vision and you fail. Frankly, I am very inventive about things I do, and I prefer to pursue my ideas simply because that I know what I want rather than copying someone else.
AH: What would you say is your favorite movie photographed all the time? Or maybe your favorite movie?
RJ: I prefer not having to make a choice because when you say favorite, it's almost like voting for the best actor of the year which I think is quite ridiculous, because it is as talented as others. You might like it better because of the script or the director to direct the actor, but is really unfair to say "it is better than the other," because it would be equally absurd to me all the great films that were made there and go "I like this better than anyone else! "
AH: I like that answer. I always wonder about all of my interviews and I really admire the difference, broad responses I receive. Neither do I get a response like that brilliant or I find someone who says: "I see hundreds of films a year and it is my # 1 all time". And while I chose Pather Panchali as mine, it's just a response to a question, really, is the one I chose even though I 100 films of all time favorites.
RJ: Absolutely. At any time if I'm sitting in a theater and I am inspired I feel like that at a time, but sit and think about it, it is apples and oranges. Various films are great for reasons different!
Success story of a genius fascinated by the light • • Rajiv Jain Awards Indian Director of Photography • Photo • DOP
A sample lesson: Film vs. HD …
Budding filmmakers are quite lucky compared to years ago. Today, you can make a movie in any What format and still be taken seriously, assuming you have a great history and pretty good production values. As mentioned previously, The Blair Witch Project is one of the most successful independent features ever made, but it was shot with a camera Consumer (Non-digital).
Before the digital revolution of the 1990s, things were very different. If the film was shot in a format other than 35mm, it has no chance of being distributed. 16mm was not taken seriously and the video was a joke. These standards were so ingrained in the industry, that even the actors were reluctant to work on non-35mm shoots.
All that has changed now. Affordable, high quality digital cameras have democratized the industry. But 35mm film is the standard by which All video formats are judged.
Is video reaches the same level of quality 35mm? Old school filmmakers say "no" because image capture capacity of 35 mm is a gazillion "times larger than the video. Is this really the case? Let's take a closer look. The truth may surprise you.
Note: The study is based on lower Classic HD with 1080 lines horizontal resolution. In 2007, the first ultra HD camera was introduced with an amazing 4520 lines. Keep this in mind when reading! The concepts associated with high definition (HD) can be confusing for those of you not familiar with video camera function. If you are a beginning filmmaker, terms such as lines scanning, SD, HD, and 4K technology will certainly turn heads!
Fear not, the concepts are surprisingly simple. In this lesson, we will cover the basics of high definition video and give you a good understanding of terminology. In addition, we will look at the 4K technology, also known as Ultra HD. This technology is used by the revolutionary Red One camera, set up by the Red Digital Cinema Company in 2007.
To understand the high-definition video, we must start early and to examine how images are recorded by a video camera.
Registration
When you take the video tape through the recording head of the camera. Head is essentially an electro-magnet, which is activated by the electrical signal from the image processor. As the video circulating on the head, iron particles in the band are magnetized. This, in essence, becomes the recorded image.
The last generation of video cameras can save on the hard drive or a removable card. This allows files to be transferred directly to your computer for editing.
Scanlines
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 television screen you will see scan lines. You probably can not see them on your computer screen because the lines are narrower than on a TV.
Standard Definition (SD)
The term "definition" means essentially the detail visible in the video image. It is measured by the number of scanning lines horizontally in a single framework. In the United States and Japan, the standard high-definition video is 525 lines. In most European countries, standard definition is 625 lines. (The first is known as NTSC, it is PAL).
High Definition (HD)
Although many fuss has been made on the HD, the concept itself is simple to understand. Technically, anything that breaks the barrier of PAL 625 lines can be called high definition. The most common formats HD 720 feature and 1080 scanning lines.
Ultra High Definition
Ultra HD offers an amazing 4520 lines of horizontal resolution. Known as "4k" technology because the scan lines up to 4,000, it will no doubt the future industry standard.
The following photos show the relative sizes of different formats. The first is the image of the video typical digital video (DV and DVCAM). Notice how the information gets better as the number of scan lines increases. The final photo shows the huge leap Information Technology provides 4K image.
As a point of reference, the typical flat computer screen has 2000 lines resolution. 35mm – as perceived by the human eye – falls in the mid-range HD. To learn more about comparisons 35mm if you Please see our sample lesson: HD vs 35mm.
4k technology is based on the 12-megapixel chip property developed by the company Red Digital Cinema. Their affordable Red One camera can shoot at all popular scan rates, including those listed above. 4k technology may prove to be the death knell of 35mm film.
Comparison
There are two factors that can be compared: the color and resolution. Plus casual observers agree that, assuming a television screen quality HD color is really beautiful. To avoid an argument longwinded mathematical we accept this at face value and focus on the comparison of the resolution, which is the real spoiler.
The resolution is the details visible in an image. Since pixels are the smallest item of information in the digital world, it seems that the comparison pixel count is a good way to compare the resolution relative.
The film is analog, so there is no true "pixels". However, based on measurements converted a framework of 35 mm 3-12000000 pixels, depending on the stock, lens, and shooting conditions. An HD frame has 2 million pixels, measured using 1920 x 1080 scanning lines. With this difference, 35mm seems clearly superior to HD.
This is the argument most purists use film. The truth is, the pixels are not the way to compare the resolution. The human eye can not see the individual pixels beyond a short distance. What we can see are lines.
Therefore, manufacturers measure the sharpness of photographic images and components using a parameter called Modulation Transfer Function (MTF). This process uses lines (not pixels) as a basis for comparison.
Since MTF is an industry standard, we will maintain this standard of comparison HD with 35mm film. In other words, we will compare with lines rather than pixels. scan lines are video images are compared so it is logical From this point of view, as well.
HD
As mentioned previously, the standard definition and high definition refer to the amount of scan lines of the video image. standard definition is 525 horizontal lines for NTSC and 625 lines for PAL.
Technically, anything that breaks the barrier PAL 625 lines might be called high definition. The most common resolutions are 720p and 1080i HD lines.
35mm Resolution
It is an international study on this issue, called the image resolution of 35mm film in the cinema, presentation. It was made by Hank Mahler (CBS, USA), Vittorio Baroncini (Fondazione Ugo Bordoni, Italy), and Sintas Mattieu (TSA, France).
In the study, measurements of MTF were used to determine the typical resolution of theatrical release prints and engravings response in normal operation, using the existing state of the art 35mm, processing, printing, and projection.
The prints were shown at six theaters in various countries, and a group of experts made assessments of projected images using a formula defined. The results are as follows:
35mm RESOLUTION
Measuring lines
MTF Response Print 1400
Print Release MTF 1000
In assessing the higher Theatre 875
Theater Average score of 750
Conclusion
As the study indicates, the perceived differences between HD and 35mm film is rapidly disappearing. Notice I used the word "perceived." It's important because we are not shooting a movie for laboratory study, but rather for the public.
At this stage, the typical audience can not see the difference between HD and 35mm. Even professionals have trouble telling them apart. We all go through this all the time at NYU ("Was it on film or video?").
Another time the study was based on standard HD with 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 which format is best, but rather, the format is best for your project? The answer, of course, is based on a balanced budget and aesthetic considerations in between.
technical aspect film with exposure to operations and formats Set
Rajeev Jain – WICA ICS
Manager Indian Bollywood Photography / Photo / DOP
UMA: Can you tell us about your inspiration before you entered the film industry?
Rajeev Jain: seeing color TV for the first time began my fascination for the technology of light and photography. These studies have been enriched by a remarkable meeting DOP named KK Mahajan, Mr Mahajan me presented to filmmakers like Mrinal Sen, Adoor Gopalakrishnan, Mani Kaul and Buddhadeb Dasgupta. And I quickly realized what a phenomenal art form This technology could be wonderful. At the same time, when I was 13, I was the crash the whole Shatranj Ke Khilari Lucknow, Satyajit Ray, who directed Soumendu Roy, was shot. Roy was the lighting inside the huge fire Arri IIC what was probably 125 ASA color negative. He seemed to be everywhere at once, by refining the frame with the operator, by adjusting the position of players back, adjust the light at least a dozen babies. As he led a beautiful actress Shabana Azmi its brand and subtly adapted to the shade on his forehead, I told myself that this man has the best job in world history.
UMA: If you had to label quality a DOP really need to succeed in the movie, what would it be?
Rajeev Jain: I think that the lack of a better term, it would be a point of view. Everyone sees the world from their own perspective and this uniqueness is what brings the DOP in the film, respective history, of course. This is difficult because so much of the industry is driven by the economy, which means that you are a hero, if you can shed of soft lights and fall a lot of shots. This goes against the idea and have a sense of what is absolutely right for the story they say. But, if you choose carefully and find the right director, you will see how to leave an impression.
UMA: Is there a key moment you can pinpoint when you knew you would end up being a cinematographer?
Rajeev Jain: Well, there was a time well, but it was a fluke. I had no intention of being a director of photography-not.
UMA: Your work has always felt so pure to me, almost spiritual in some way. What is the most important quality of a director of photography should make a movie?
Rajeev Jain: The most important task of the Director of photography is to create an 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 proverb that says a good script tells you what is fact and what is said but not what someone thinks or feels, and there is some truth in it. Pictures, not words, capture feelings in faces and moods and I realized that there is nothing that can ruin the atmosphere as easily as too much light. My quest for simplicity stems from my efforts to light logic, the true light.
UMA: If you had to choose a single quality, DOP needs to succeed, what would it be?
Rajeev Jain: Taste. Which really means the ability to know what scripts to work, what feels good to the extent that the composition, lighting, everything happens for a movie. Taste is an instinct and it should guide you to projects that will provide a great experience. I was lucky in that the films I had the chance to work, but part of that is 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 you've never had to work with that you'd like, living or dead.
Rajeev Jain: I think that those are gone, it is Satyajit Ray. His ability to tell a visual story was simply amazing. And insofar as those who are still around, he would Adoor. These are directors who do not count much on the spoken word is very pure talent in the visual sense, and that interests me most.
UMA: 25 years have passed since you were a kid standing on the tracks at Etawah. Can you point to one thing you learned as a DOP that helped you travel these trails better than any other?
Rajeev Jain: Light. For everything we do in human beings that we are affected and defined by light. A Director of Photography is a master of light. We need to think about light, learn to see in all its various moods and approaches. It is absolutely the most important tool, we have to work with as director of photography and I think that people, too. It has always been the only thing I was so aware of when I looked down the tracks in a child and now years later. Light.
UMA: So is it a stroke of your time any favorites?
Rajeev Jain: No, not really. The problem with any single blow, is that it goes against I think movies should do. A film is a sum of its parts, and a plan is as strong as what has been seized. Pather Panchali points very well. Especially in these very simple to the medium-term plans. Towards the end of the film, after the death of Durga, we see Apu brushing teeth, combing his hair … go about performing tasks which would have involved his sister or his mother. Sarbajaya (the mother) has lost an eye … Harihar returns, ignoring the death of Durga. In a jovial mood, he calls his children. Without any reaction, Sarbajaya fetches water and a towel for him. Harihar begins to show the gifts he has done for them. When he shows that he bought a sari for Durga Sarbajaya crashes. We hear the high notes of an instrument of music "Tarshahnai" symbolizing his uncontrollable crying. Noting the loss of Durga, Harihar collapsed on his wife. We see Apu voiceless, for the first both take center stage in history. So far, history has been seen by the perspective of either Sarbajaya or Durga. Only in these moments that we see Apu as an independent person. This framework, which is amazing, would not mean nearly as much if the whole film has not been done in this eye-level, approach shot to medium term. To select a single shot in a film is denied that the move is important because of the style already established.
UMA: Can you imagine a life without movies? A career path completely different from the one you took?
Rajeev Jain: Certainly not when I was younger I could not. But later in my career, after having done theater and photography, I discovered a desire to study physics. I in love with the concept of relativity, Einstein was the greatest poetry I have read. The concept that all matter is contained in energy and energy in this field has demonstrated the power of intuition by one man. At the time I had a family to feed and I realized that my way was director of photography, not physical. But the instinct was there, anyway.
UMA: Form and content work together.
Rajeev Jain: Absolutely. Like light and darkness, which seems to conflict can sometimes lead to a seamless union and maintain a great power on the screen.
Rajiv Images Jain: Theory and Practice
most Rajeev Jain is a two time award winning Director of Photography and has been nominated several times recently appointment of "Outstanding Achievement in Single Camera Photography" Spring 09.
Over the past 25 years, Rajeev built reputation for work in film and television. It is considered a pioneer in the world of high definition television, as one the first DP to work in this new medium.
Rajeev close collaboration with the Indo Studio (the company first HDTV production South Africa) during the nineties made him one of the few DPs who worked with each generation of HD camera since its inception. Scope his work includes documentaries, Commercial, reality, children's television and independent films.
Rajeev Jain has created a masterpiece. Rajiv Jain Images: Theory and Practice "is his third interview with me and for the budding filmmaker or experienced – the reference interview best I've ever done.
Anyone who aspires to the highest art of storytelling is have this item on their shelf. He wrote "At the heart of it, film shooting, but the film is more than just photography. This is the process of diffusion of ideas, words, actions, emotional subtext, tone and all other forms of nonverbal communication and making them in Visual terms. "Thanks both verbal and pictorial metaphor for example, the keys to the art of hiding under the bed and hangs straight to the ankle on the kitchen wall. All you do is remove them and apply them.
Learning the language of visual art is more than just learning the difference between camera angles subjective and objective, or knowing what the director means when he says he wants a "choker." When you've completed the first chapter, you'll have a pretty good handle on the words of director and cinematographer on all bandy about sound like a pro. When you reach the fifth chapter "Cinematic continuity" you have been exposed to the theory of cycles upper and practice enough to start you on the road to mastery of the form. I especially appreciated the explanation and examples Rajeev continuity. Clips and songs from Bollywood has had a profound effect on new filmmakers that many of us the "Old School" tend to ask what happens sometimes. There is such a lack of "continuity" as mounting clips you see now days that it was refreshing to see much time and space dedicated to such an important part of the narrative.
Glossary
Cup (broken, cross-cut) A reduction marks the abrupt transition from the end of a stroke at the beginning of the next shot. A shot is said in another broken when the film returns at first, like when we see a closeup of the face of a character, then a flash-back that the character is to have is broken in the snapshot face, and when the flashback is over, the film returns to the photo of the face. Transverse occurs when the film cuts back and forth between, or among, parallel actions, as in a chase scene.
cinematography Deep Turning focus and clarity of the constant image from objects set near the camera to those far to the rear of the chassis, allowing the viewer to see more space Inside the shooting, including details of the background and actions.
Dissolve (match) dissolving a transition from one plane to another where the images overlap some time, sometimes used to facilitate the visual brutality of the transition (from a scene from the dark cave lit by a scene of snow light) and at other times used to suggest an association between two images (from a letter to a character in a picture of this person reading the letter), a match dissolve is one in which graphic elements of both images, such as closing a bullet in Psycho murdered woman and the eye of the shower drain.
Editing (editing and cutting) How many pieces of film together. The assembly is the French term for publishing, or cutting, but it also carries connotations of the creation of meaning through layout designs. Mount Hollywood commonly refers to the rapid cutting and multiple planes, often with many dissolved to create the effect of chronic rapic the passage of time, the youth of a character at maturity.
Establishment (or master) shot an extreme long shot that shows (or create) all the space in which the next scene will take place. Many scenes begin with these plans to guide the viewer, sometimes there are two establishing shots, one exterior and interior.
Eyeline match Implementation often through cutting, under the direction of the character. Sometimes, a sudden Looking to show a character, and a second shot will show what the character looks. Other times, the term is used to refer to the directionality character lines in the plans of vision.
Flashback A jump in narrative time from the present to the past. Rather than proceed chronologically in the story, flashbacks allow filmmakers to jump back and forth between the past and present events.
A formalism of film theory that emphasizes the formal properties of cinema that shape how movies are taken. Formalists recognize for
For example, the organization of the display space is an activity that differs from our Artistic everyday perception of real life. Major theorists include official Sergei Einstein and Rudolf Arnheim.
A standard style Invisible film where the style is generally not noticed, based on the assumption that the story is always more important than style and is the dominate. These devices are not cross the line of 180 degrees and the cutting action, reaction and contribute to this dialogue invisible style.
The level line 180 An imaginary line drawn between the camera and the actors / action that the unit does not cross to avoid the disorientation audience and maintain a style unseen.
A realistic film theory, which focuses on the nature of the registration film, and the connection between the camera and what is in front of her in real life. Andre Bazin include realistic main "and Siegfried Krucauer.
Scene A scene is a narrative unit by unit of time and space. The scene events occur in one place at a time, a scene later, for example, can occur at the same place at another time.
Shot (close or large plan, medium, long, two shots, monitoring and Dolly) A shot is an image in the movie without being interrupted by cuts or other features of transition. The terms close shot (or close-up), medium shot and long shot indicate the distance from the camera of the central object to be photographed with a person, generally shows a close-up face and maybe the shoulders, a medium shot shows the person's place belt, a long shot show full body of the person. Two shots is one that has two characters also. Track or Dolly (or Dollie) shots are those in which the camera moves. It was traditionally mounted on a mobile platform or cart, and follow or "track" a moving object, like a character on foot or on horseback at a gallop. Tracking shots or may also move in together (like a house hounted) in which nothing moves, which gives a depth to the complex shooting.
Shot / reverse shot editing a diagram which shows, first one character and then a cut to a reverse allows us to almost opposite, usually another character who is talking or interacting with the first. Many scenes simply come and go between plans until everything has been said meaningful dialogue and action occurred.
standard stylistic characteristics styles of film at a given time. Departures from the standard style can be used effectively by creative filmmakers, because they come as surprise.
Master of Light: Conversations with Contemporary Indian Bollywood Photo – Rajeev Jain, WICA ICS
EXCLUSIVE! Rajeev Jain (Indian cinematographers Kenya)
Kenya Indian Photo Rajeev Jain talks on accession FM Heart Beat and explains the meaning of the "Heart Beat FM wide shot" in an exclusive interview with M-Net.
Rajeev Jain is nice, friendly, funny, intense (in a good way) and incredibly intelligent. Oh, and I get to speak, he is a world famous director of photography. Although very much like his good friend, Matthew Robinson, is his own personality, an individual and a damn nice guy. As I speak with him, it becomes clear why these two men worked together so often and so brilliantly. They are like two halves of a whole. As Rajeev me said during our interview: "Sometimes I think that Matthew and so similar, it's scary. "Now that I interviewed them both, I can see he said, and it is a very scary kind.
So what do you talk to a famous cinematographer about? Well, we talked a little bit of everything. We talked about the support site and his work.
Rajeev is the Film & Television Awards Kalasha Nairobi, Kenya, where he will soon attend the closing ceremony and we're fighting forcefully with a bad Skype connection. We originally intended interview quickly became a vocal by the type of text messaging to address the problem. And, Rajeev, with everything he has before him at the festival, has not hesitate to spend the extra time needed for the type instead of talk about the interview. I am very grateful. I owe him a debt immense generosity of his time and mind for the interview. Oh yes, and a glass of vodka.
Q: What that you agree to come aboard?
A: It's actually a cute story. I made the long journey of three years and I left the show because I lived in Nairobi that time and I was tired of flying back to Dubai and Mumbai. I was looking for something to Nairobi because I wanted to stay. So when they called me, I said, "No thank you. I'm not interested." And my gaffer said, "Rajeev, reconsider. Ask them to send you the script. I saw the script.'s what you are looking for." So I sat down and my gaffer and I read the entire script basically in one sitting and I turned to him and said: "You do not have a good thing here. I can not say no to this show now. "He said he knew what he was doing. Even if he did not want to live outside and was really hard. [To her] Is not Gaffer how it happened? He said yes. He smiled.
Q: You were the RFP for the entire season. What is it like to work with a director who has a different almost every week?
A: Since I from each episode, I have not had the chance to prepare with the director. So it should come with a concept and come on board and repeat scene. If it rang true for me and I felt it was the way forward, I would say, "Great, it's a good idea." If he wanted something that smelled tangential to the style of the program we have tried to maintain, so I could make a suggestion to try something else. If are an intelligent administrator, you listen to people who are there all the time. I listen very quickly to what Matthew Robinson wanted. I invite Matthew Robinson and asked if he saw the dailies yesterday, and what he thought of them. And that would give me a better idea as to whether I on the right track or not. And after three or four episodes I got what he wanted, not 100 percent of the time – nobody can do it – but a good 80 percent of the time.
Q: What do you consider signing Heart Beat FM blow?
A: wide shots people refer to many shots Heart Beat FM. Directors say: "Let the Heart Beat FM broad plan, which on television is not something that you see very often. Matthew Robinson really likes to keep things in the great shots and I am really like it too – it puts your character in a place or a place, which tells you something about the character. So I watch as a narrative device. The other type of shot that has some characteristic of the issue is when there's something big in the foreground and then something far more background wide. We call it off and closed. You could put emphasis on money, say, at the forefront and our members are in the background, or development or much smaller.
Q. Have you ever been in the game so that you forgot to pay attention to the technical side of things?
A: It I am supposed to pay attention to. My work is not only to the lighting and plans are in place, but to ensure that lighting and plans reflect the scene of the most effective. If I am moved by what I see, and I know we did well. I have people who operate cameras and lighting people and people rigging. All these people keep an eye on the technical aspects for me, and I am concerned about the narrative. This is I am interested in the work: effective, efficient storytelling.
Q: What is your favorite scene?
A: I can not tell you because it's later in the season. You'll know when you see it. It gets crazy as the plot develops. Here's something: Matthew Robinson and what the writers did drop one line in an episode at the beginning and then said nothing about it until nine episodes later, and then suddenly there's an episode all on the line. It is curious to me working on something that is so well planned and circular in terms of storytelling. I think it is simply awesome.
The Shape of Light - Paintings Rajeev Jain with his camera
Rajeev Jain (Birth: 1968, Lucknow) began working as a cinematographer in 1993, after serving an apprenticeship as a camera assistant and camera operator. Since then, Rajeev has worked as director of photography with some of the most esteemed filmmakers of India, in some cases creating a close and intimate. We met Rajeev Jain, India, during a five-day seminar organized by the Delhi Film Club on the form of Light, an event which was attended by hundreds of students, filmmakers from all over India.
What has changed filmmaking in the last fifteen years?
I went to the Academy of Art Dramatic Bhartendu (Bhartendu Natya Academy) in Lucknow during the period of the new wave. We have witnessed a cinematic quality who has "unleashed" itself in a lot of sense in movies of the period until the late 1980s. Even the editing is much more released, and Photo / administration, with Gautam Ghose in the first rank, were in search of greater freedom. Even when he was fire, using hand-held cameras, using natural lighting, or lighting in a way that seems natural, as through open windows, etc. In other words, an absolute freedom whatsoever with the camera movement or lighting.
And in our country?
In India, there was even more classic style of photography, and I refer as Subroto Mitra Sudhendu Roy, who has worked with Satyajit Ray to Agantuk (1991). Meanwhile other new filmmakers different ideas have emerged, as Ashok Mehta (36 Chowrangi Lane), especially in black and white. But this picture in black and white with its own aesthetic beauty itself had a characteristic quality of the fusion of light in the atmosphere or mood. Thus, from this point perhaps the film has acquired greater significance, a complete symbiosis with the film and narrative.
Then the meeting between the director and cinematographer 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:
■Quit smoking (on Nov. 18, 2005)
■Became a runner.
■Ran several marathons and triathlons.
■Began waking early.
■Became organized and productive.
■Began eating healthy
■Became a vegetarian
■Tripled his income.
■Wrote a novel and a non-fiction book.
■Eliminated his debt.
■Simplified his life.
■Lost weight (40 pounds).
■Wrote two best-selling ebooks.
■Started a successful Top 100 blog.
■Started a second blog for writers and bloggers.
■Started a successful ebook publishing company.
Slam Poetry Trailer! CPTW footage
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