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Light keeps me company – A Poet of Light and Shadow – Rajiv Jain (India Photography / Cinematographer / DOP)

The light makes me company – a poet of Light and Shadow – Jain Rajiv (India Photography / Cinematographer / DOP)

Shooting Stars: Interview with India's largest photography Vida Rajiv Jain

Interviews, vol. II

Success story of a genius fascinated by light • Rajiv Jain • Award-winning director of photography india • Photography • DOP

Exceptionally gifted in overcoming technical barriers and gloomy atmosphere, in twenty years India Rajiv Jain has become one of the most DOPS sought after, having had an unconventional career. Rajiv has not let fame go to her head and although still modest. After studying theater school theater Bhartendu Indian Academy of Dramatic Arts (Bhartendu Natya Academy), Rajiv Jain made some seasons as an assistant cameraman. Very quickly, the Boredom took hold of him and he began working on television sets where twenty-five years experimenting with everything and develop his style of work: quick, efficient, conscientious. His curiosity led him to make clips, advertising and films, for example a Wonderful Love Pyar Mein Kabhi Kabhi of which was a great success. Now Rajiv is best known for his work on the controversial film Badhaai Ho Badhaai Satish Kaushik, as well as Chandrakant Kulkarni Mirabai is not out, Ram Shetty of Army and Kadachit Chandrakant Kulkarni.

Cinemania: You have made over 1500 commercials, seven features, and there is a "light Rajiv" Right?

Rajiv Jain: Yes, it's quite a surprise. It all started with Manika Santiago had special demands conducting Kalpvriksh – The tree of desire. She also wanted his movie resemble everyday as much as possible, with natural images but a powerful universe. She contacted me after seeing the role of Badhaai Ho Badhaai where the natural image was natural, but typical. That's what I wanted, but without the light. I had to rebuild a completely new approach to light, which is quite rare to have to do in a function. We use natural lighting in the field; I used a lot of sodium light bulbs. I worked hard with the decor to create a bright image. With Kalpvriksh Manika Sharma – The tree of desire, is the same principle: that is only used sunlight through the use of reflectors, mirrors, to direct it when we needed it. The ordeal was a combination of these two approaches, without direct light sources of film, which came from the windows. We tried a lot of things. With the limitations, I realized that there were other ways lighting. There was a reason why I used multiple sources! If I use a little light, everything is decided from the beginning and I work a lot with the art director. When I I also work in the digital calibration, I know it is not necessary to be able to see everything.

Only artists whose work is very strange universe.

The people I know have demands, dreams, and preferences different extremes. So every time a new challenge – I have to invent a new system. There a real role to play and I like, because I like to make a film where images had not written. And as I get bored very quickly, I do not like doing things twice! People tell me to do a lot of genre films, but I do not think so. Kalpvriksh – The wish tree is a movie of the atmosphere type with an animation of Tex Avery.

Are you full of projects at this time?

I have two films in a row, yes. But I have chosen well, I prefer to take things slowly. I am particularly fascinated by one, the fourth film by Raj Kaushal. He wants to do once strange film and looking for things that do not exist. I was in Mumbai recently to test a new 4K HD camera I had the opportunity to see the digital process from capture to projection of the image. I almost fainted! It is very thin, the image is completely smooth, very new. I really want to make this film, I think it will be very passionate visually.

 

Rajiv Jain, Director of Photography Indian Bollywood – Vol profile series of interviews. # 4

Army Badhaai Ho Badhaai continue Pandu, Kadachit, Kalpvriksh – The tree of desire, and Mirabai not Pyar Mein Kabhi Kabhi by. But the reason for partial success for these films is the talent that goes on behind the scene, and noted cinematographer Rajiv Jain is the genius behind the camera in these films (among many others).

Rajiv, a graduate of Bhartendu Academy of Dramatic Arts (Bhartendu Natya Academy), first had his hand in the gallery of studio work in Lucknow, where he worked as a cameraman for Short Films, which started its way into his work as director of photography. Now his vast experience has made him one of the basics of film photography in the cinema of India. His steady output of hard work and deep knowledge of old and new technology has become a of the most respected filmmakers out there. In 2010, current, Rajiv Jain is working on new projects, and is sought after by major or independent filmmakers, for careful look.

I had the opportunity to speak with Mr. Rajiv about his career (and also talk of work, so be forewarned that there is a bit of tech-talk here too) while attending a film forum dedicated to his work Kalasha in Film Festival, Kenya.

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

Rajiv Jain: I'm no good inventing things, so …

AH: I am interested in Film, and when I found out I was coming to the Film Festival I Kalasha that would be a great idea to talk about his career and his immense work. I've been very curious about how you got your start in this industry, education, and so on, basically how it ended as you are today.

RJ: It would be easy to tell you about my experience drama school, and that simply was not any film school. The way I learned to go directly to the movies and see what someone else was doing on the screen, and then go out and try to do it myself. And that's it. I also bought the manual that the ASC (American Society of Cinematographers) puts out, which is known as the bible of cinema. I have read the manual and referred to it when I had a problem shooting and thought I needed help.

AH: The first time began to watch movies, besides going to see a great story, you realize things like framing, lighting, wide-screen formats …

RJ: Not at all. At first, I was not interested technical. I just went to the movies like everyone else. But I was impressed by them. I was about five years when I saw the first sound film ever made and I was impressed by that. But on a very subconscious level, I suspect, though used to ride along a circle and hear my father singing, it was just an experience that was buried in my psyche somewhere. I do not start shooting movies until I was 28 years.

AH: What was the real first job was in this industry?

RJ: A guy by the name of Mukul S Anand …

AH: Oh, I'm a fan.

RJ: Of course. I decided to shoot some ads under his command.

AH: What is considered the most difficult aspect of his work as director of photography?

RJ: Movies often more difficult that require the greatest control of a lot of people and lots of cameras, and over a large area, or sometimes many places. Keeping organized is something that some directors of photography are not able to, so they make smaller films. Small movies can be so difficult for them, because the pressure of a small film means you do not have adequate time to collect their images, and that is another definite pressure is just as difficult.

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

RJ: Think that everybody can not have your own style and personality that comes, it's about what they feel is beautiful, comes from what they think a good composition is how they see the world can not fail to invade what they do.

AH: How do you feel that the advance of technology has affected your work? I mean newer types of film, the advance of high-definition digital revolution ….

RJ: All things that you mentioned will definitely affect my work, and affect what I do and how I do. It is a challenge for me to keep the information scientist to know what all these things mean. If you are talking about digital photography, the challenge is how to get the best quality and which system is best to use. Some of these systems use of compression, there are several types of compression, it is important to understand what is and what it means.

For example, new network cameras do not use compression at all, but the records on a hard drive and add corrections later. They claim that for better quality, and so on, the point is that it is important to understand all these things, to make a decision on his own part, if you're shooting digital, the system you want. Panasonic has a network using the curves to correct what does your camera is more like the movie and that is quite impressive.

AH: What do you think about HD versus 35mm?

RJ: It's not a matter of just having an opinion, but their opinion should be based on the facts. And the fact is that the film is probably about double the best quality high definition ha. Film is still the best. Part of the reason is latitude as you get into the film far exceeds anything you can get high-definition video, however, at this point in time. May someday improve, but at the moment, the film away, comes to the quality of the amount of information that can be captured in a small field. Film still stands as the leader and the new shares that Kodak is putting out extra stops of latitude on both up and down. It is absolutely beautiful.

AH: What is your favorite kind of actions that you have worked? I know we're REALLY doing fine art now, but I love it.

RJ: I prefer the Kodak film and its new operations is an additional margin, you can get as much as 500 ASA film and you can get in stock with natural light as well. It continues to improve.

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

RJ: It depends. Kodak has more than one stock option of printing for release. For example, one is softer, one more detail, and so on. You have to choose your stock in accordance with the image they are broadcast. There is no better. It is a product that shows its best.

AH: Did you have a personal preference in which the aspect ratio to shoot in each project?

RJ: It does not matter too much what it looks director decide to roll in. It is a different composition, writing differently in one format to another. Close-ups are easier on the spherical 1.85:1 format, and in any of the widescreen formats that have to do a little different. Both work and both have their own challenges. If you are showing a horizontal view and you want the widescreen to show the territory, then that is a good choice. If you are a little tight film, personal, then maybe not.

AH: Where do you stand on the widescreen format Super 35? (Super 35 is a spherical widescreen process where the film negative is a shot in the 1.85:1 "flat" format and optically becomes an anamorphic print version.

RJ: Super 35 is a large format. It is one of the best choices you can make today, and the reason for its better now because of digital printing intermediate.

AH: Exactly, that was actually my next question, how has changed the digital intermediate film processing laboratories today.

RJ: Changes in this way, If you're shooting in widescreen, Super 35, because all projectors and homes that are distributing the film have to tighten the image to use his glasses – which is a bit stupid, but money is one thing – you then have to go through a step further in the film in Super 35 to get it back a compressed image. You do not have to do with a digital intermediate.

AH: What is great is also recently that the intermediate have recently uploaded to digital 4K resolution compared to 2k resolution, which greatly improves print quality. "Kalpvriksh – Tree of desire "and" Carry Pandu "are examples of films shot in Super 35 and DI'ed to 4k resolution and look absolutely stunning on screen.

RJ: Oh yeah. You double your image quality, digitally, but still have to rewind the film quality a bit …

AH: But I still want it to look like film. You go to a theater to see the film, not digital. Many of the films made HD seem a bit disappointing for me [when transferred to the film ...]

RJ: Digital, both in sound in image quality is most severe, and indeed at times the detail lacks the smoothness you get from a lens, a special lens which is out of focus in the background and clear approach in the foreground, which tends to bring that image forward and focus your attention on it better. In situations like that sometimes digital does not feel so good, is not as natural, and natural disasters in terms of a forest in a tree or touch someone's hand. That kind of human experience, you're kind of a greater distance digital times what is film.

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

RJ: I completing a table in Kenya, with its right front let go and we're editing right now. It is being developed at this time.

AH: Who would you say are some of your favorite filmmakers? You have a major influence on your work?

RJ: Subroto Mitra is one of the great –

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

RJ: But as Subroto Mitra, one of many filmmakers out there, although I do not want to put one above the other, and the reason why that should not be as large as Subroto Mitra was, he was different from the directors of photography out there.

Subroto Mitra like to come to new formats and new ways to develop the film and had made a lot of that over the years. Many others have tried, but again, depends on who you are and what I think is cool. If it's worth the effort, if you see the difference, then great. A lot of times, when trying to make someone else's art and play, you are not following the same vision and not you. Frankly, I am very inventive things I do and I would prefer to pursue my own ideas, simply because I know what I want instead of copying someone else.

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

RJ: I prefer not having to make a choice because when you say favorite, is almost like voting for the best actor of the year which I think is totally ridiculous because you are so talented as the other. May prefer because of the script or the director of the direction of the actor, but it is really unfair to say "this is better than the other" because it would be equally absurd to me all the great movies that have been out there and go "I like that one better than anyone else!"

AH: I like that answer. I always ask this out of all my interviews and I really admire different, broad answers you receive. I also get a brilliant answer like that or get someone that says "watch hundreds of movies every year and this is my # 1 of all time." And while I choose as Pather Panchali mine is only one answer to a question, really, is what I choose in spite of having about 100 favorite movies of all time.

RJ: Of course. At any given time, if I'm sitting in a theater and I feel inspired me that way in a moment, but to sit and think about it, it's apples and oranges. There are several big movies for different reasons!  

Success story of a genius fascinated by light • Rajiv India Jain • Award-winning Director of Photography • Photography • DOP

 

A Sample lesson: HD vs Film …

Aspiring filmmakers are fortunate compared to years ago. Today, you can make a movie in any format and still taken seriously, if you have a great history and pretty good production values. As mentioned, The Blair Witch Project is one of the most successful independent films ever made, however, was shot with a consumer video camera (not digital).

Before the digital revolution of the 1990s, things were very different. If the movie was filmed in a format other than 35 mm, which was not given the opportunity be distributed. 16 mm was not taken seriously and video was a joke. These standards were so ingrained in the industry, even the actors were reluctant to work on non-35mm shoots.

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

Video Have you reached the same level of quality in 35 mm? old-school filmmakers say "no" because the capacity capture images of 35 mm is a "gazillion" times greater than the video. Is this really so? Let's take a closer look. The truth may surprise you.

Note: The study below is based on the classic high-definition 1080 lines horizontal resolution. In the year 2007, the first camera Ultra HD is introduced with an incredible 4520 lines. Keep this in mind when reading! The concepts associated with the high definition (HD) video can be confusing to those who are not familiar with video camera function. If you are a beginning filmmaker, terms like scan lines, SD, HD, 4k and technology certainly make your head turn!

Fear not, because the concepts are surprisingly simple. In this lesson, we'll cover the basics of high definition video and give you a practical understanding of the terminology. In addition, we will see 4k technology, also known as Ultra HD. This technology is used for the innovative camera Red One, presented by the Red Digital Cinema Company in 2007.

To understand high-definition video, we start from the beginning and examine how images are recorded by a video camera.

Recording

Video recording, magnetic tape travels through the recording head of the camera. The head is essentially an electromagnet, which is activated by the electrical signal from the image processor. A As the tape travels over the head, the iron particles on the tape are magnetized. This, in essence, becomes the recorded image.

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

Scan lines

The video image is recorded a horizontal line at a time. These lines are called lines exploration and the process is known as scanning. If you look closely at a TV screen you will see the scan lines. You probably can not see them on the monitor the computer because the lines are narrower than on a TV.

Standard Definition (SD)

The term "definition" basically means the detail visible in the video image. It is measured by the number of horizontal scan lines in a single frame. In the United States and Japan Standard definition video is 525 lines. In most European countries, the standard definition is 625 lines. (The first is known as NTSC, the latter is PAL).

High-definition (HD)

Although much talk has been done on HD, the concept itself is simple to understand. Technically, anything that breaks the barrier of 625-line PAL can be called high definition. The most common HD formats and property of 720 1 080 scan lines.

Ultra High Definition

Ultra HD has an incredible 4520 lines Horizontal resolution. Known as "4K" technology because the scan lines than 4,000, which will undoubtedly be the industry standard in the future.

The following photos show the relative size of different formats. The first represents the typical frame of digital video (DV and DVCAM). Note details of the improvement as the number of scan lines increases. The photograph illustrates the final leap in imaging technology provides details of 4k.

As a point of reference, the typical computer monitor flat screen with 2,000 lines of resolution. 35mm – as perceived by the human eye – falls in the midrange HD. For more information on comparisons of 35 mm please see our sample lesson: HD vs 35 mm.

4K technology is based on 12 proprietary chip developed by the company Megapixel Red Digital Cinema. Its affordable Red One camera can shoot all popular scanning rates, including outlined above. 4K technology can be the death knell for 35mm film.

Comparison

There are two factors that can compare the color and resolution. Most casual observers agree that, based on a television monitor quality, HD is really great color. To avoid tedious mathematical argument, let's accept this at face value and focus on the comparison of the resolution, which is the real spoiler.

Resolution is the visible detail in an image. Since the pixels are smaller point information in the digital world seems to have comparing pixel is a good way to compare relative resolution.

Film is analog so there are no real "pixels." However, based on converted measures, a frame of 35 mm has 3 to 12 million pixels, depending on the population, the lens and shooting conditions. HD frame has 2 million pixels, As with 1920 x 1080 scan lines. With this difference, 35 mm seems far superior to HD.

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

Consequently, manufacturers of measuring the sharpness of photographic images and components using a parameter called Modulation Transfer Function (MTF). The process uses lines (not pixels) as a basis for comparison.

Since NMS is an industry standard, we will maintain this standard for comparison High Definition 35mm film. In other words, let's make a comparison with lines instead of pixels. scan lines are the images Video how it compares, so it makes sense from this standpoint, too.

HD Resolution

As discussed previously, the standard definition and high definition refer to the amount of scan lines in the video image. standard definition is 525 lines horizontal lines for NTSC and PAL 625.

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

Resolution 35 mm

There is an international on this issue, called Image resolution 35mm film in the Theater Presentation. Was carried out by Hank Mahler (CBS, United States), Vittorio Baroncini (Ugo Fondazione Bordoni, Italy), and feeling Mattieu (CST, France).

In the study, MTF measurements were used to determine the resolution typical release in theaters and prints printed response in normal operation, using state of the art 35mm film, processing, printing and projection.

The prints were screened at six theaters in several countries, and a panel of experts made the assessments of the projected images using a formula well defined. Results are as follows:

RESOLUTION 35 mm

Measurement lines

Print MTF Response 1400

SMN Print 1000 Released

Theatre The best assessment of 875

Theatre Average of 750 reviews

Conclusion

As the study indicates, the differences between HD and 35mm film are rapidly disappearing. Notice I use the word "perceived." This is important because we are not filming a movie for the laboratory study, but rather for the audience.

At this point, not the typical audience can see the difference between HD and 35 mm. Even professionals have a hard time differentiating them. We go through this all the time at NYU ("Was it done in film or video? ").

Once again, the study was based on the standard high-definition 1080 lines of horizontal resolution. Now they have ultra 4 520 HD 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 the best, but rather, what format is best for your project? The answer, of course, is based on a balance between aesthetic and budgetary considerations.

Technical aspects of film exposure Game Operations and Formats

Rajeev Jain – WICA ICS

Bollywood India Director of Photography / Photography / DOP  

UMA: Can you talk about their inspirations before went into the film?

Jain Rajeev: See color television first started My fascination with the technology of light and photography. These studies were enriched by a meeting of notables DOP called KK Mahajan, Mr Mahajan introduced me filmmakers like Mrinal Sen, Adoor Gopalakrishnan, Mani Kaul and Buddhadeb Dasgupta. And soon realized what a great art form this technology could be wonderful. Almost at the same time, when I was 13, was the door slamming all Shatranj Ke Khilari in Lucknow, who was directing and Roy Satyajit Ray Soumendu, was shooting. Roy was lighting the huge interior shot Arri IIC in what was probably 125 ASA color negative. It seemed to be everywhere at once, improve the framework with the holder, adjust the positions of the players in the background, adjust the light of at least a dozen babies. As was a beautiful actress Shabana Azmi to your brand and subtly adjusted the shadow on the forehead, I thought to myself that this man has the best job in world history.

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

Rajeev Jain: I think that in the absence of a term better, it would be a point of view. Everyone sees the world from his own perspective and this uniqueness is what the Declaration of Principles brings to the film, respective of history, of course. It is difficult now, because the industry is driven by the economy, which means you're a hero if you can throw a few soft lights and remove a bunch of shots. This goes against having an idea and a sense of what is absolutely appropriate for that story you are telling. But, if you choose carefully and find the right director, his view will leave an impression.

UMA: Was there a turning point that can signal when I knew I would end up being a cinematographer?

Rajeev Jain: Well, there was a good time, but it was pure chance. I had no plans to become a director of photography, none at all.

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

Rajeev Jain: The task Principal's important 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 saying that a good script that tells you what is being done and what is said, not what someone thinks or feels, and there is some truth in that. The images not words, capture feelings in faces and atmospheres and I realized that there is nothing that can ruin the atmosphere as easily as too much light. My struggle for simplicity derives from my struggle for light logic, the true light.

UMA: If you had to pick one quality a PDO need to be successful, what would it be?

Rajeev Jain: Sabor. What really means the ability to know what strings command to work, what feels good in terms of composition, lighting, everything that happens during a movie. Taste is an instinct that should guide you towards projects will provide a great experience. I've been lucky in terms of the films I had the opportunity to work, but part of that is my ability to go with what feels entitled to rely on my taste and see where it's going to take me.

UMA: I wonder what the director never got to work with what you wanted, dead or alive.

Rajeev Jain: I think that those already not everything, it would Satyajit Ray. His ability to tell a story visual was just incredible. And what is still, it should be Adoor. These are the directors who are not dependent on the spoken-word is very pure talent in the sense of sight, and I am most interested.

UMA: 25 years have passed since I was a small boy standing on railroad tracks in Etawah. Can you tell me one thing I've learned as PDO which helped him travel the tracks better than any other?

Rajeev Jain: Light. For everything we do as human beings who are affected and defined by light. A picture director is a master of light. We must think about light, learn to see in all its moods and different approaches. It is absolutely the most important tool we have to work as a cinematographer and I think, as people, too. It was always what I was so aware of when I was looking at the railroad tracks as a child and now years later. Light.

UMA: So is that a shot of your favorite forever?

Rajeev Jain: No, not really. The problem is to draw a shot that goes against I think what he should do movies. A film is a sum of its parts and killing one is only as strong as it has before. Pather Panchali points very well. It's mostly done in these very straight in medium shots. Towards the end of the film, after the death of Durga, Apu we brush teeth, comb … goes on tasks, which would have involved his sister or mother. Sarbajaya (mother) has a vacant stare … Harihar returns, unaware of the death of Durga. In an environment jovial he calls his children. The lack of reaction, Sarbajaya to get water and a towel for him. Harihar begins to show the gifts he has brought to them. When displaying bought a sari for Durga, Sarbajaya breaks. We hear the high notes of a musical instrument "Tarshahnai" symbolizing her crying uncontrollably. Aware of the loss Durga, Harihar falls on his wife. We Apu speechless for the first time to take a leading role in history. So far the story is seen through the point of view of each Sarbajaya or Durga. It is only in recent times we see Apu as an independent individual. This framework, which is amazing, it would have meant almost as if the whole film was not done at this point in the eyes, the focus midplane. To select a single shot in a movie is to deny that the vaccine is important for the style already established.

UMA: Can you imagine a life without photography? A totally different career that took?

Rajeev Jain: No, not when I was younger I could not. But later in my career, after I had done theater and photography, I found this desire to go to study physics. I was in love Einstein's concept of relativity, it was the best poetry he had ever read. The notion that any matter contained in the energy and energy concerned shows the power of intuition by a man. At that time I had a family to support and I realized my way was in the film, not physical. But the instinct was there, however.

UMA: Form and content of work in harmony.

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

Rajiv Jain Cinematography: Theory and Practice

Rajeev Jain is a time of two award-winning director of photography and has been nominated on numerous occasions, most recently nominated for "Best Individual Achievement in the photograph of the camera" Spring 09.

In the past 25 years, Rajeev has built his reputation working in film and television. He is considered a pioneer in the world of HDTV, as one of the first associations development to work on the new medium.

Rajeev close collaboration with Indo Studio (HDTV first production company in South Africa) over the decade ninety makes it one of the few AD who has worked with every generation of HD cameras since its inception. Their scope of work includes documentaries, commercials, reality, children's television, and independent films.

Rajeev Jain has created a masterpiece. "Rajiv Jain Cinematography: Theory and Practice "is his third interview with me and for aspiring or experienced cinematographer – the reference interview I've done better.

No one who aspires to this highest art of storytelling must have this article on your platform. He writes: "At the heart of it, cinema is photography, film, but is more than the mere fact of photography. It is the process of taking ideas, words, actions, emotional subtext, tone and all other forms of nonverbal communication and are in visual terms. "Through metaphor, both verbal and pictorial example that takes the keys to this art from his hiding place under the bed and hangs right there in the plug in the wall of the kitchen. All you have to do is take them down and apply.

Learning the language of art visual is more than learning the difference between the angles of subjective and objective, or know what the director means when he says he wants "a choker." When you have finished the first chapter will have a good enough handle on the conditions of a director and cinematographer on crooked on the set of sounding like a professional. Upon reaching the fifth chapter "Cinematic Continuity" you have been exposed to enough theory and practice of graduate to start on the road toward mastery of form. I especially enjoyed Rajeev explanation and examples of continuity. Music videos and songs from Bollywood has had a profound effect on emerging filmmakers that many of us from the "Old School" have a tendency to wonder what is happening at times. There is such a lack of "continuity" in many assembly sequences you see now days that it was encouraging to see so much time and space devoted to such an important part of the narrative.

Glossary Terms

Cut (broken for cross section) A cut that marks the abrupt transition from the end of a shot early in the next shot. A shot is said to be choppy other when the film returns to the first shot, as when we see a closeup of the face of a character, then a flash-back that the character is to be inserted in the shot of the face, and when the flashback is over, the film returns to the facial injection. Transverse occurs when the film back and forth between or between parallel actions, as in a chase scene.

Subduction photograph Keep the focus and sharpness constant image of objects that appear close to the camera for remote in the back of the frame, allowing the viewer to see more space in the making, including details background and actions.

Dissolve (party break) A transition from one shot to another in which the images overlap in a while sometimes used to relieve the visual sharpness of the transition (a scene from a dark cave lit for bright snow scene) and sometimes used to suggest an association between two images (from a letter to a character for a photo of that person reading the letter) A party to dissolve those in which the elements graphs of the two images coincide, as with Psycho Close murdered woman's eye and the shower drain.

Edition (Assembly and cutting) The ways in which various pieces of cinema come together. The assembly is the French term for editing, or the court, but also has a connotation the creation of meaning through editing patterns. Hollywood Montage commonly referred to quickly cut together from multiple shots, often using dissolves many, to create the effect of chronic rapic of time, because from a character's youth to maturity.

The establishment of (O Master) fired a long shot that shows extreme (or create) all the space in which the next scene will take place. Many scenes begin with these shots to guide the viewer, sometimes two shots, one outdoor and one indoor.

The establishment of line frequently overlap with the cut, the direction of the character look. Sometimes a shot will show a similar character, and a second shot will show what the character is looking. In other times the term is used to refer to the directionality of the character's lines of vision shots.

Flashback Leap narrative time from the present into the past. Rather than proceeding chronologically through history, flashbacks allow filmmakers to go back and forth between past and present events.

Formalism A film theory emphasizes the formal properties of cinema that the film shape how to make. Formally recognize, for
example, the organization of that screen space is an artistic activity that differs from our everyday perception real life. Large formal theorists include Sergei Einstein and Rudolf Arnheim.

A standard style of filmmaking Invisible in which the style is not usually noticed, based on the assumption that narrative is always more important than the style and dominate it. These devices are not crossing the line 180 degrees and cut into the action, reaction and contribute to this style dialog invisible.

The 180 degree line A line imaginary drawn between the camera and the actors / action that the camera does not cross to avoid confusion and maintain a viewer invisible.

Realism A theory of film emphasizes the nature of film recording, and the connection between the camera and what is before him in real life. most important realistic André Bazin, "and Siegfried Krucauer.

Scene A scene is a certain narrative unity per unit of space and time. The events in the scene occurs in one place at a time, an evening scene, for example, can occur in the same place at a different time.

Shot (foreground or close, medium, long, two shots, and dolly track) A shot is an image in the film without cuts breaks or other transitional devices. The terms close shot (or near), medium shot and shot indicate the distance of the camera from the central object to be photographed with a person, a close-in general, shows the face and maybe the shoulders, a medium shot shows a person from the waist up, long shot shows the whole person body. A two-shot featuring the two characters alike. Tracking or dolly (or doll) shots are those in which the camera moves. Traditionally Mounts a mobile platform or a fork, and follow or "track" a moving object, like a character walking or galloping horse. Tracking and dolly shots can also move through a set (like a house hounted) in which nothing moves, giving a complex depth to the shot.

Shot / reverse issue of firing a publishing model that shows, first one character and then cut to a level that allows us to reverse an almost opposite view, usually another character who is talking or interacting with the first. Many scenes simply go back and forth between these shots until everything has been said meaningful dialogue and action occurred.

The standard stylistic stylistic features of film at any given time. Departures from the standard style can be used with good results by creative filmmakers because they come as a surprise.  

Master of Light: Conversation director of photography with contemporary Indian Bollywood – Rajeev Jain ICS WICA

EXCLUSIVE! Rajeev Jain (Director of Photography Kenya India)  

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

Rajeev Jain is friendly, sympathetic, funny and intense (in a very good) and very smart. Oh, and it occurs to me to mention that is a world renowned director of photography. Although it looks a lot like his good friend, Matthew Robinson, is his own personality, a person, a darned nice guy. Speaking with him is unclear why these two men work together so often and so brilliantly. They are like two halves of a whole. As I said Rajeev during our interview: "Sometimes I think that Matthew and so similar, it's scary. Now that I have interviewed the two, I can see what you're saying and it is a very good terror.

What, then, talk to a famous director of photography on? Well, we talked a little bit of everything. We talked about the support site and his work.

Rajeev is in Film and Television Awards Kalasha in Nairobi, Kenya where he soon will attend the closing ceremony and we are struggling mightily to a SKYPE bad connection. Our interview originally planned vocal quickly becomes an event by type of text messages to remedy the problem. And, Rajeev, with all that lie ahead of him in the festival, does not hesitate one second to spend the extra time needed to write instead of talking about the interview. I am very grateful. I owe a great debt with the generosity of their time and spirit of this interview. Oh, yes, and a glass of vodka.

Q: What made you agree to come aboard?

A: It really is a nice story. That had made the long walk for three years and let that show because I lived in Nairobi that time and I was tired of flying back and forth to Dubai and Bombay. I am looking for something in this city, because I wanted to stay there. So when I called I said "No thanks. I do not interested. "And my gaffer said," Rajeev, to reconsider that. Ask them to send the script. I've seen the script. It's what you want. "So I sat down and my gaffer and basically read the whole script in one sitting and I turned to him and said, "You did something very bad here. I can not say no to this show now. "He said he knew what he was doing. Although he did not want to live apart and it was very hard. [For] gaffer Is not that how it happened? He said yes. Smile.

Q: You were the DP for the entire season. How is working with a director who has a different view about each week?

R: As I photographed every episode, I had the opportunity to prepare with the director. So he approached with a concept and come in the set and rehearse the scene. If rang true for me and I felt it was the way forward, I would say, 'Great, that's a good idea. "If I wanted something that was tangent to the style of the show we were trying to maintain, then I could make a suggestion to try something else. If you are a smart director to listen to people who are there all the time. I tuned very quickly to what Matthew Robinson wanted. I would call and ask if Matthew Robinson saw the newspapers yesterday, and what he thought of them. And it would give me a better idea if I was on the right track or not. And after about three or four episodes I have what I wanted, not 100 percent of time – nobody can do that – but a good 80 percent of the time.

Q: What would you consider signing Heart Beat FM shot?

A: The shots shots people refer to as Heart Beat FM. Directors say: "Let us do the Heart Beat FM wide shot," that television is not something that is very often. Matthew Robinson likes to celebrate things in general I can think of shots and really like it too – he says his character in a place or a place, you say something about character. So I see it as a storytelling device. The other type of shot that is characteristic of the series is when something big in the foreground and then little further to the bottom width. We call it wide and closed. It is possible to keep the focus on money, say, in the foreground and are the characters in the background, well outside focus or much smaller.

Q: Did you ever get so caught up in the quality you forget to pay attention to the technical aspects things?

A: That's what I'm supposed to pay attention. My job is not just for lighting and create vaccines, but to ensure the lighting and the shooting scene reflect more effectively. If I am moved by what I see, then I know we've done well. I have people who operate the cameras and people lighting and rigging. All those who keep an eye on the technical side for me, and I am concerned with the storytelling. That's what I am interested in the work: Efficient, effective storytelling.

Q: What is your favorite scene?

A: I can not say I because it is late in the season. You'll know when you see it. Goes crazy as the story unfolds. Here's one thing: What Matthew Robinson and writers do is remove a single line of the first episodes and then not mention anything about it until nine episodes later, and then suddenly there is an episode of it all one line. It is intriguing for me to work on something that is so well planned and circular in terms of its narrative. I think it's just brilliant.

The Form Light – Paintings Rajeev Jain with his camera  

Rajeev Jain (born 1968, Lucknow) began working as the director of photography in 1993, after serving an apprenticeship as a camera assistant and camera operator. Since then, Rajeev has worked as a cinematographer with some of India's most esteemed directors in some cases there is close and intimate. We met Rajeev Jain in India, during a five-day seminar organized by the Film Club in New Delhi on the way to the Light, an event attended by hundreds of students, filmmakers around the country.

How has the film in the last fifteen years?

I went to the Academy of Dramatic Arts Bhartendu (Bhartendu Natya Academy) in Lucknow during the period of the new wave. We witnessed a cinematic quality that he had "triggered" Yes, in many senses cinema of the period until the end of the 1980s. Even the assembly was much freer, and were shooting / Administration, with Gautam Ghose in the lead, the search for greater freedom. Even when it was shot, the use of handheld cameras, using natural light or light in a way that seemed natural, as for example through open windows, etc. In other words absolutely free either camera movement or lighting.

And in our country?

In India there was still a more classic style of photography, and I am referring, as Subroto Mitra, Sudhendu Roy, who worked with Satyajit Ray to Agantuk (1991). Meanwhile, several other filmmakers with new ideas also emerged as Ashok Mehta (36 Chowrangi Lane), especially in white and black. However, this black and white image with its own aesthetic beauty proper had a characteristic quality of the fusion of light into the atmosphere or environment. Therefore, from this point, maybe the film acquired a larger significance, a total symbiosis with film and narrative.

Also Reading: Rajeev Jain ICS WICA – Photo – Director of Photography – DOP – http://www.rajeevjain.com/

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.

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