Archive for February, 2011

life through the lens

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What can I say, I was shooting for the movie …

Over the years, I had the opportunity to work with some of the best directors treat. The great thing is that I was exposed to many different approaches and styles. I have learned what I like and I have learned to solve the problem for a variety of lighting situations.

Administration include Akira Kurasawa Ran;. Tony Scott “Enemy of the State, Gladiator, Ridley Scott, Gus Van Sant’s Good Will Hunting, and Michal man inside and heat.

issue, I born 29th November 1964 was to a civilian hospital in Lucknow, India, a working class family (Indian term. Lower middle class family), the core of the Hindi-speaking family, I spent my apprenticeship in Etawah is embedded in Uttar Pradesh, India, where I grew up, he a city of Horses .. was at a bank on a horse. I had a great child-hood well. We came from a fairly closed in urban areas, and suddenly I was in this environment where you could ride a bike in the bush. We also had the flow. It was beautiful. I love Outback and large open spaces. My father worked in a bank and we moved / on the transfer of every two to three years. My mother’s world to his children and home-centered, as you see, I led a very sheltered childhood with little or no contact with the outside world, so to speak off. My father did not have a camera, the Instamatic fascinates me, but I was able to get my hand but its funny somewhere, my interest in photography actually I was allowed to develop to the camera my father received me as a doctor, engineer or IAS officer

QUESTION: .. Do you intend to follow in the footsteps
father Rajiv Jain: .. I do not think I’ve ever seen me in the banking industry, I saw the movie bug when I about 10 or 11 years old, was a film by Satyajit Ray called Shatranj Ke Khilari was filmed in my neighborhood in Lucknow. I looked at the truck the road, then skidded to the house where they shot. I watched them put up lights and cameras, I was totally in awe

QUESTION: .. there are other influential people in your family
Rajiv Jain: My mother is a religious person, I have often observed, she asks, I do not think that I have. I need for all the prayers that have risen to prepare. Our work and our future, my mother is extremely worrying. I still remember that moment like it was yesterday, I was with mom when she authorized chatting dinner dishes and he would ask me what I do with my life after I graduated from drama school, was at this point I have a piece of 35mm film was still in his hand, “I like something with this,” I said watching the film do. It’s a long way since then, but my mother supported me in those formative years and guided me every step of the road. I absolutely wanted to join the Film & Television Institute of India, but I could not qualify for admission, but the postponement of photography to cinematography and drama seemed a very natural development

Q:. Were you interested in films at that time
Rajiv Jain: Ya you! like any kid my age the film world fascinated me, it was not the case to be Star Struck every aspect of the movie interested me, it came as a very spontaneous response, if one of my favorite time faculty (Guptaji) asked me what I wanted to be in life? “I want a career for myself in the world of film I want to create the magic behind this screen. So yes, is my love back to the cinema a long way. I grew up just Hollywood and Indian films. I do not have on foreign films drawn. American films were the ones I enjoyed seeing. Not more than most children, but I managed to see the great success of the time. My father took me to see Lawrence of Arabia, Dr. Strangelove, The Longest Day to see the 1970′s. He loved the great historical dramas. I was a lover of cinema in the 1980s, when I went drama school in Lucknow. Some of my friends and I randomly Bohemia find folk music and classical dance-drama, professional theater group, Amateur Photography club again and underground cinema called Lucknow Film Society. They showed classic films and new wave. They were projected as a rule, 16 mm images on a wall. That’s where I discovered the world of cinema. I remember Metropolis Citizen Kane , and the films of Bergman, Fellini, Truffaut, Welles, Jean Cocteau and Stan Brahkage. It was during my high school and college years late in beginning. I began to read about movies and directors and began to photographs. I was a movie that my life saw then changed, it was shot a film called Goddard contempt Raoul Coutard. It was a film in Cinemascope, which is very similar to what I do in photography, of course, twenty years ago. He used a lot of primary colors. It was a film that placed great importance on the composition and he had some big shots, long tracking shot of two people walking towards a big red wall. It was the first time I got the connection in my mind that perhaps the film that was where my career was headed. I began to feel restricted by the photography. It was the first time I realized the potential of cinema that can be told through a narrative in a visual way

QUESTION. Were there specific films that made an impression on you />

Rajiv Jain: My first encounter with the physics of light came by chance one day when I fall cleaning brushes in a dark garage, the light through a crack. projected an image on the wall turn the area into a giant camera obscura. My first contact with film a camera, a darkroom process, the appropriate size of my apartment. It turns out that one Jija Surendra ji (sister universal law), he was very eager 35mm photographer who still has his Nikon camera around his neck stretched interested. He is Photography and encouraged me to go with him to Kanpur to still images of a student demonstration in 1980 s. This was my first experience with a camera where I can express myself through photography. I began to try manuals photo to learn about the composition experience. I saw how photographers used art in the foreground and the colors and light and shadow. that fueled my desire more and more. I had a full time job shooting in a dark room and went to a photo studio at night and on .. Weekend It was not just satisfying my thirst for more on photography After graduating from Lucknow in 1985 I moved to Mumbai and started as a runner / trainee / a series of low-budget features and industry

QUESTION:. Have you thought about this moment in your life that you wanted in the film narrative to get />

QUESTION:. How did you .? began in the What has
Rajiv Jain I as a runner, apprentices, trainees, Funke, grip, key grip began, charger, best boy, assistant camera and gaffer went (Indian term: Assistant Chief DOP).

Q: How long have you worked as an assistant
Rajiv Jain: Oh, around 7 to 8 years

QUESTION: What do you if you have completed your job assistant
Rajiv Jain. ..? . I worked in Mumbai on documentaries, industrial films and commercials as a camera assistant and gaffer They were all small projects, I worked with a couple of camera men who had fired on the spot, usually 16mm and 35mm earn little, especially money. While I was doing was I was still shooting mostly short films and documentaries. I was always at my business and building my character, with the idea that I shoot one day be subjects of support. When I left the ship, I messed up a bit with a little help and filming industry , documentaries, commercials and other small jobs. I have films for companies, medical products and the promotion of new technologies, small religious dramas for T-series company, which distributes its temples, and some variety. I had many jobs through people who I knew during my days support. It is very important to find friends because they are the ones who do the people they know when they make do a job we have our own group of guys who are getting is, renewable every job is different, depending on who was removed and gaff

QUESTION: .. When you have decided to focus on cinematography
Rajiv Jain: … Immediately I thought the presentation was too long, and I loved it, a Filmmaker During my second year of drama school in 1985 I worked for three minutes four months ago for a transmitter TV Lucknow My job was to select it. was good enough to make the program has a great internship, I also learned the trade . been made with the second and first camera assistant in Mumbai Ashok Mehta, Binod Pradhan and KKMahajan

Question What was the decisive factor in this decision
Rajiv Jain: I do not have a day back and regret that I never tried see I was not even 80 years for me wondering if it was I managed. .. If not I know I could go back to Lucknow, I did my best so I was in Mumbai, came amid an oil crisis -. The trip was a challenge rickshaw I made the rounds of interviews DOP is different because they were much more accessible than large businesses have. There was no way I could get in the door at any of these places. After three months the money was low. I went from a kind of warehouse in Mumbai on Saturday, and I could see if a door opened, they were building sets, I remember, .. it would not work on a weekend, when they were originally so I went, found the master and said him I was a carpenter. He asked me if I had no experience in the construction of landscape? I lied and said yes. It was only a half lie, because I had played many sets built to drama school. is the only common link is that . they are both, you were made of wood building sets for television advertising

. QUESTION: Do you have worked as a gaffer in the film
help India First Assistant Chief Gaffer DOP means that we do not have the gaffer tradition. could. I approached jobs intended as a filmmaker. I want to bring a new technology or a new type of light to the attention of the camera, I worked with, he proposed something that will help tell the story in a better way. I think I have more work learned from watching other directors than anything else. One of the few ways to really learn is the photo of another filmmaker. So I think knowledge is transferred. you end up picking up small pearls of wisdom on the way. The most important things I have learned by watching other directors work not technical, but how the game

Rajiv Jain:. I tried to freelance for a while to work but it was difficult for the Union, it was a company called Super Cassette Studios late by Gulshan Kumar in Bombay out. They had a first-place editing, then they opened a center for online publishing. They were setting a large number of people at that time and I had some experience as a cameraman and person crew so they took me to an all-round studio interview Guy. I also learned how to tape work. When I got there, it’s quite a small place at that time I learned all sorts of things. I had two videos this time made. I worked on things in the studio and they would bring in commercial lighting cameramen Union, and sometimes I work as an operator for it. I had a bit of a boy for them, I learned more in this studio in the space of a year and a half, which was elsewhere. There is a very intensive training, because they brought in high-quality videos while recording a thumb. We have a Sony camera and it was a pretty good camera. I think it’s still better than the cameras that now, but we always try to get a movie looking out. We’d love to see with the filtration and black levels and all types of lighting, play, how we do it like a movie to check

issue. It sounds as if it was a great experience for you
Rajiv Jain: Yes, I have to shoot a lot and very creative with the video camera I have also learned to be in the post-production, it was a.. to shoot really exciting process of assembly, and then we have a kind of studio effects, and I learned. It was a real good break for me and then asked the director myself, for many more projects after that. I started with documentaries. I went to the road and on tour with them in three cases. I have a documentary film in Delhi on the registration of music videos that we shot. on the video, all documentation, which we filmed on video, but it gave me the opportunity to work with the image play and move the camera and the lens was great

Question: What was your first feature film
Rajiv Jain:? My first feature film as an independent army DOP (1994) with Sharukh Khan, Sridevi & Ram Shetty, he ordered it in anamorphic was colored, I changed the contrast with the lighting, eliminate all shades of gray … This is my signature, black and white without gray pure. Late Mukul S Anand visited all the while I was shooting, and later I worked with him> for his production house to its advertising MAD Films (1994)