Posts tagged Indian

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.

My favorite is the style of shooting with natural lighting, motivated light sources. I like working with big soft source, “paint” then in the shade. I work very hard to ensure that what the story is told, is reinforced with light and images.

For me, the best film of the kind of tune to another world? Cinematography that brings you the experience of history and makes you forget that you are watching a movie. Welding and realistic.

The great masters of the light that inspires me Spinnoti including Dante, CSA Heat, The Insider, Vilmos Zsigmond, ASC Sugarland Express, The Deer Hunter, Don Burgess, ASC Cast Away and contact, and John Toll for his brilliant work about Legends of the Fall. Finally, the greatest master of the light in my opinion, Rembrandt. His art has truly been an inspiration to me. admire is my favorite song of the Polish Rider, a beautiful work of art

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.

I was lucky enough to be able to do a living what I love to make . Where are you born and raised
Rajiv Jain: “

A CONVERSATION WITH Rajiv Jain (ICS / WICA)

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: Your qualifications … ..
Rajiv Jain: I went to the University of Lucknow in Lucknow, Uttar Pradesh and also I had the chance, the Academy of Dramatic Arts Bhartendu (Bhartendu Natya Academy / Bhartendu Natya Akademi go), I specialized in Lucknow on stage Craft and a minor in stage lighting, the intention of a designer light

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)

Rajiv Jain. usually has to be the story, but there are people who work so talented and well who I am always inclined to say, yes I will go where I think it is mostly the story of me I pack not necessarily think about it visually at this point would be ideal …. I want to see a movie. I am also looking for something other than what I’ve done so far. I want diversity. It is a combination of things. At first I thought the script was the most important thing, but I discovered scripts are constantly changing. It is not so much about the plans that you made. Cinematography is create the environment. A film is a reflection of a series of two-dimensional images on a white screen . projected, it is static flashes of light projected through a lens that suggests somehow make the brain of people in the audience and create a three dimensional world on the move, if you agree to make a movie, a moral obligation -. it is an obligation that you owe the director and the public. There must be continuity of vision that the public have the feeling that a piece makes life witness. I tend to be more interested in the concept of a film wonder. I tell the director to me, what with the film to do. There was a movie called the army. The film is two and a half hours, and it is the only film I on two sides, working changes on which only during the shooting. He is the best writer in an Indian film, . I have ever worked there are not many filmmakers had in India, because many of them are on TV, I tried to train me to understand what is needed to QUESTION:. . What were the other low-budget films you worked on
Rajiv Jain: I do not claim Pyar Mein Kabhi Kabhi ago The first thing I did of my being an independent, was a small film called Rasta, the was shot in the course. 15 days in Jaisalmer and was never published. It was my first full-fledged narrative. I have other films later. These films play an important role in the implementation of things together in the following films, because you won learn from your mistakes . They learn that there is no time like this in the movie. There is no return. you need to plan and persevere in difficult times for the film. The lower budget and independent films are hard times all the time. There is no easy draw because the powers of trade are determined, learned on your shoulders. The main thing I do is to make these movies that you will respond at some point. You have at your own pace, and remain loyal to that end. If we Pyar Mein Kabhi Kabhi ( 1998) I had a clear idea of the topic and tells us how the appearance of shape, but I did not know he worked until he projected. I was appalled to find in newspapers and do not know whether I was on the right track when I saw the first rough cut, it was probably my worst experience and exciting

Question … Her work includes two last functions Badhaai Ho Badhaai The last was Describe your experience shooting. a feature comedy
Rajiv Jain: .. comedy, the tragedy I think the hardest part is that when we pull all of this court, it is only going to be like a flat comedy comedy look promising, but you still want to see the texture. games. In the comedy, I think a lot of time playing it static, as it is comedy, it’s not a joke. When the joke goes through, you should listen. If you move to tell the camera to the joke, it is disturbing. Well, if you move the camera to a reaction in the image itself, that is another matter. I think comedy is harder than the theatrical lighting. There are different levels of comedy, and I see photographs of each level differently

. QUESTION: How did you start advertising
Rajiv Jain. When I help in the camera, called the production company and said the agency wanted me to their next spot I had never seen 35mm film, which shocked me shot. I still remember the slate with my name on it. It was a magical moment. The commercial was good, and that led to other indicators, particularly in India. shooting commercials, I learned to work with many people jumping from one project to another with many different looks and locations. I think I made a lot of what I learned from the shooting of commercials on the characteristics of shooting. This is no conscience. I thing comes in so many different situations to solve the same types of problems

QUESTION:. Who were some of the directors you worked with advertising
Rajiv Jain: Did you go: I’m with KK Mahajan, Binod Pradhan, Vikas Sivaraman and Ashok Mehta

QUESTION. back and forth between advertising and function
Rajiv Jain:. I have almost a movie in three years, the rest of my time was on the commercials commercial work is very interesting because you try a large number of tools early.. In India today, advertising a lot of contact with the aesthetic is like photography, and learn to create different worlds and they are committed to this type of non-realistic worlds have. I learned to take risks, because if get you something special do should you try and sometimes succeed and sometimes not, but that’s part of the learning process

QUESTION:. Do ads influence on the way to make a movie
Rajiv Jain type?. them a firmer grip of the possibilities of what you have to do much with photography Erfahrung.Haben a special style that makes your work visible
Rajiv Jain: I think everyone has his style, but I do not want someone go to a movie theater and say, ‘Oh, Rajiv Jain shock, because it’s his style. I would say,’ Oh, who is killing who? “I have you to be more flexible in your eyes today. Think Every film is different, so you think you can put something different in every film, rather than a look repetitive.

QUESTION: How many features, commercials, music videos shot
Rajiv Jain: 6 functions, almost 1032 commercials, 43 music videos and 150 documentaries, corporate videos and Industry

QUESTION:. Do you have all of your projects is limited to India or do you shoot abroad and
Rajiv Jain: I shot in Austria, France, India, Kenya, Malaysia, Mauritius, Nepal, Netherlands, Russia, Singapore, Sri Lanka, Switzerland , Uganda, United Arab Emirates and United Kingdom

. Question: How did you finally Cinematographers in Indian society and Western India Association filmmakers s
Rajiv Jain. You can require that get in the union I had experience both in commercials and movies as an assistant and as a director on five films j. “Had much better documentation as an assistant for the Union. I was a loader for KKMahajan five features and two TV series, and was an assistant on two features Binod Pradhan and about 300 commercials and Ashok Mehta on two Model 100 Commercials I moved to concentrate for a year until I moved to Associate Chief; .. camera operator b

Question: The film is a talent with you, a skill that you learn, or both
Rajiv Jain. Born you?. I think we are born with the ability to have a view as a child I have I spent much time looking out the window at school, when I searched for books. I often scolded. I grew up, and yet have I always do. I still dream, more than I think the average person would want to risk it. In this kind of reverie, you get images that take on a kind of reality that is their own. The film-making have the way we influence love, what we wear, how we eat, how we walk, we talk and how we act in everyday life. you can go on deck in this imaginary world and should be able to run again. One of the things you need to know how to manage light. You need a sense of different kinds of light. Where do you get this knowledge? You know movie like the back of your hand. It is a skill one must learn, among other things. Even as a child, I responded emotionally to the light. It’s always been a part of me. filmed me at a young age and he gave me a voice I have in any other part of my life I’m getting happy, found an outlet for which I did not think about anything else

QUESTION: And have you ever … s used ‘to the fact that you live your dream
Rajiv Jain: The night before my first commercial for Late Mukul Anand S shot I only had two hours sleep and I had a dream of panic that our whole inner lane less than half scale was built, it was like. We could not go much less about the movie on it. There was no place for our . luminaires or actuators In my dream I said later, after 600 commercials and 5 feature films “How can we get in this room,” I do not know much sleep the night before the first day of shooting The truth is that I feel incredible. to earn fortunate my living by using shapes, colors, contrast and movement, to bring the story to life. I had with the director, producer and actor working love liabilities collaboration with the composer, editor and writer. If I have a score of music and carefully crafted images that I meet at the screen shot I have tears in their eyes to hear. It really is amazing how