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light keeps me company – a poet of light and shadow – Rajiv Jain (India Photography / Director of Photography / DOP)

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

The full interview, vol. II

Success story of a genius fascinated by light? Rajiv Jain ¢ â? ¢ award winning Indian director of photography? Photography ¢ â? ¢ DOP

Gifted has overcome technical obstacles and shady areas in 25 years, India’s Rajiv Jain

be searched by one of the most sought after DOPS had a career not quite conventional. Rajiv did not let fame go to his head well and remains modest. After studying drama at the Drama School Bhartendu Indian Academy of Dramatic Arts (Bhartendu Natya Academy), Rajiv Jain has taken over as an assistant cameraman. Soon the boredom by him, and he worked on series television, where experiment in 25 years, and it would develop his style of work: fast, efficient and conscientious. His curiosity led him to videos, commercials and short films to do, for example, was a wonderful Love Kabhi Kabhi Pyar a great success. Now, Rajiv best for his work on Satish Kaushik Badhaai Ho Badhaai known controversial film, and Chandrakant Kulkarni Mirabai not advertised, Ram Shetty of the army, and Chandrakant Kulkarni Kadach.

Cinemania: You have over 1500 commercials, seven feature films and already has a “Rajiv” Light is not

Rajiv Jain? : Yes, it’s quite a surprise. It had all started with Manika Sharma, containing specific requirements to achieve Kalpvriksh A? The Wishing Tree. They also wanted his film is like an event every day as much as possible with natural images, but a world power. They contacted me after he Badhaai Ho Badhaai the function of where natural image was of course, but typical. That’s what they wanted, but without the light. I had a completely new approach to the light, which is very unusual to do on a feature to rebuild. We have natural light in the field, I have a lot of sodium lamps and lighting. I worked a lot with the decor to create a bright image. Manika Sharma with a Kalpvriksh? The Wishing Tree, it was the same principle: We will only sunlight reflectors, mirrors, around them, where we used to steer. The event was a combination of these two approaches, without direct light sources, films, anything that comes out of the windows. We have tested many things. With the restrictions, I realized there were other means of illumination. There was a reason I have multiple sources! If I use something light, everything is decided from the beginning, and I work a lot with the art director. If I is to be able to see everything on digital calibration work, I do not know necessary.

They only work with artists whose world is very strange.

people I’ve met the needs, dreams and tastes different extremes. So every time there is a new challenge? I need to invent a new system. It is a real role to play, and I love it because I do not want to make a movie where to write it any pictures. And since I get bored very quickly, I do not know how to do things twice! People tell me I do a lot of genre films, but I do not think so. Kalpvriksh â? The Wishing Tree is an atmospheric film with animation Tex Avery type.

are overwhelmed with projects at the moment?

I have two films lined up, yes. But I have chosen well, I prefer things go slow. I am particularly fascinated by one of them, the fourth feature film by Raj Kaushal. He wants to make a film and is quite strange looking things that do not exist. Recently I was in Mumbai for the test with a new HD camera in 4 K. I could the whole digital workflow from capture to image projection. I nearly fainted! It is very thin, the image is completely smooth, very new. I really want to make this film;. I think it will be visually very passionate

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Rajiv Jain

Indian Bollywood Photography – Profile Interview Series Vol # 4

Army Badhaai Ho Badhaai bear the Pandu, Kadach, Kalpvriksh â? The Wishing Tree, Mirabai not go out and Pyar Mein Kabhi Kabhi. But the reason for the partial success of these films is the talent that goes on behind the scenes, and noted cinematographer Rajiv Jain, the genius behind the lens of these films (among many others).

Rajiv, a graduate of Bhartendu Academy of Dramatic Arts (Bhartendu Natya Academy), first had to work his hand in Photo Studio in Lucknow, where he worked as a cameraman for short films, which started its way into his work as Director of Photography . Now, his experience made him one of the cornerstones of photography film in Indian cinema. His performance made constant hard work and deep knowledge of ancient art and the messages it one of the most respected filmmakers in the market. In 2010, Rajiv Jain today are constantly working on new projects and is used by the filmmakers, both large and independent, for his careful eye.Â

I would have had the opportunity to talk to Rajiv on his career (and talk shop, so There’s a bit warned Tech-Talk also here), while attending a forum dedicated to his film work this year Film Festival Kalash, Kenya.Â

Aason HYTE: So I will let this roll of duct tape and feel is free to say what’s on your mind,

Rajiv Jain: I’m not good at things, SOA | Â Â

AH: I’m interested in film, and when I found? They come to Kalasha Film Festival I thought it would be a good idea about your career and your immense work to speak. I was very curious about how your start in this industry, the training is lost and so on, basically the way that you wind up today

RJ. It would be easy to tell you about my trip to acting school, simple, I’m not in any film school. The way I learned, going to movies and see what someone else has on the screen, then go and try to do it yourself. And that’s all. I also bought the manual that the ASC (American Society of Cinematographers) published, which is known as the bible of the film. I read the manual and, if I have a problem shooting and I thought I needed help on.Â

AH: If you have started and more movies to see a good story, have you noticed things like the design, lighting, screen formatsâ p> ??| RJ: None more. At first I was not interested in technology. I just went to the movies like everyone else. But I was impressed by them. I was about five when I saw the first sound film of all time and I was impressed by it. But even at a subconscious level, I think, although I used to cycle along a singing and I hear my father, it was just an experiment that was buried somewhere in my psyche. I did not start shooting until I was about 28 years.

AH: What was the first real work you have in this industry

RJ: A man named Ananda Mukul S | A

AH: ?. Oh, I’m a fan

RJ: Absolutely. I decided to shoot commercials in him.Â

AH: What do you think do the most difficult aspect of your work as a filmmaker

?

RJ: films are usually more difficult ones that require a large order from a large number of people and thousands of cameras and a large surface or sometimes many places. Keeping organized, this is something that the filmmakers not in a position so that they smaller films. The short films can be just as difficult for them because the pressure is a little film, they do not have the time to share their pictures, and this is another pressure is defined as difficult.

AH: If you have a personal style to your work, or is hanging on the ladder for each project

RJ I think everyone can not help but have their own style and personality comes, it comes from, what they feel is beautiful, she has what they think is a good composition, as they can not help the world, what they think of `Staff

AH: How do you feel that the progress of technology has to influence your work? I mean that stocks of the newer films, the advent of high definition, the ‘digital revolution ??|.

RJ: All the things you mentioned certainly affect my work and influence what I do and how I do it. It is a challenge for me to keep information-wise to know what these things all. When 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 different types of cuts;. It is important to understand what is and what it

means, for example, the new Red cameras use no compression at all, but the records on a hard disk and add corrections later. They claim that by improved quality, and so on, the point is that it is important to understand all these things take a decision on your part is when you’re shooting digital, you want to use the system. Panasonic has a system where they use curves to correct what you do camera so that it looks more like film and quite impressive.Â

AH: What is your position on the HD from a 35mm film

RJ: It is not about only one opinion, but your opinion must be based on facts. And the fact is that the movie is probably about twice the quality as the best high-definition a. The film is still the best. Part of the reason is the flexibility that you go far in the film about everything you can get high-definition video yet, at this time. One day, he can do better, but for now, the film far-reaching the quality of quantity of information that can be detected in a small box. Film still stands as a leader, and new stock that Kodak provides additional scope for links to the top and bottom do. It is absolutely beautiful.Â

AH: What is your favorite kind of stocks you are working? I know we get really technical now, but I like it.Â

RJ: I am using Kodak film and new stock that has the added flexibility, you can both get in their 500-ASA film, and you can download it from their stock of natural light as to get it. He holds better.Â

AH: What press? Do you have a favorite?

RJ: It depends. Kodak has to print more than one choice of materials for release. For example, it is softer, it is shown in detail, and so on. You need your stock to the image you choose to relax. There is no better. This is a problem that highlights your best products.

AH: Do you have a personal preference, the aspect ratio for each project

RJ shoot: It’s not important to which aspect of the decides to shoot in. It’s a different composition, treat each other differently format. Close-ups are easier in spherical 1.85:1 format and in any format widescreen you have to make a little different. They both work, and both have their own challenges. If you have a large horizontal display and show that the big screen to watch for the area, then it is a good choice. If it’s a little tight, personal film, perhaps not.

AH: What is your position on the Super 35 widescreen format? (Super 35 is a process that converts the large negative spherical shot in the 1.85:1 “flat” format, then to an anamorphic optical printing machine from the movie

RJ. Super 35 is a large-scale This is one of the best decisions you make today, and therefore its better now because of the digital intermediate printing.Â

AH. That was actually my next question, such as digital intermediates in the Film Processing Labs today

RJ have changed. It changes the way, if you are in a widescreen movie, Super 35, because all the lights and houses which are the distribution of films, you must press image for the use of their target -. this is a bit stupid, but there’s some money you need through a step further in the film in Super 35 for the return to a picture in a hurry you do not have a digital intermediate . Â do

AH: What is great that only recently have recently resolution 4K digital intermediates versus 2K resolution, which passed the improved print quality “â Kalpvriksh The Wishing Tree.? “and” Carry On Pandu ‘are examples of films shot in Super 35 and DI’ed 4K resolution and they look absolutely stunning on the screen

RJ. Oh yeah You’re doubling the quality of image, digital, but they have not yet the film quality a little Bita | Â

AH.? but I want it to look like film, you go to the theater to the film not digital. . To see a large number of films shot in HD look a little disappointing [for me when Filma ??|]

transferred

RJ: war in both digital picture and sound harder, and sometimes the lack of information on the sweetness you expect from a target, especially a goal that is in the background and the sharpness in the foreground, to bring this picture to the front and concentrate better. In such situations, sometimes digital does not feel inclined to develop quite right that this is not quite as natural, and natural disasters in terms of wood in a tree or the feeling of someone’s hand. This kind of human experience, you are a little further into the digital times when you in film.Â

AH are: And you’re still at work what you work

RJ:.? I’ve just go to a picture in Kenya with his right front leave and who we are today, it is published, we put together

AH speak.Â.? Who do you think are some of your favorite filmmaker you have a great influence on your work

RJ ??? Subroto Mitra is the biggest  Â

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

RJ. But Subroto Mitra, he is one of many filmmakers are, although I do not want to put one over the other, and why I do it because the size of Subroto Mitra, he was different from other filmmakers there.

Subroto Mitra like to bring in new formats and new ways of developing film and he has a lot over the years. Many others have tried, but again, it depends on who you are and what you think is great. If it’s worth it when you see the difference, the better. A lot of times when you try to take someone else’s method and reproduce, you’re not on the same vision and that you will fail. Frankly, I am very inventive about things that I do, and I prefer to pursue my own ideas simply because I know what I’m after

rather than copy someone else.Â

AH: What would you say is your favorite shot of all time, or your favorite movie

RJ: I would want to make better choices, because if you tell a favorite, think it’s like almost vote for the best actor of the year I, is absolutely ridiculous because as like others. you may want to make it better in the script or the director of the talented actors directly, but it’s really unfair to say that “it is better than another” because it would be equally foolish to me, all the great films that were made there and go “I like it better than others”

AH. mag I answer this I always ask this in all my conversations and I really admire the different answers I get . I also get a brilliant answer like that, or I see someone one that says “I see hundreds of movies a year and this is my number 1 of all times.” And while I chose Pather Panchali than mine, there is only one answer to a question, really, c “is my favorite, although I have over 100 movies of all time.I

RJ. Absolutely Someday, when I sit in a theater and I’m excited, I feel like a at a time, but to sit and think it’s apples and oranges. Various films are great for different reasons!

fascinating success story of a genius by light? Rajiv Jain ¢ â € ¢ Award-winning Indian ? director of photography ¢ â ¢ DOP Photography

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A sample lesson: Film vs HD …

rotated Before the digital revolution of the 1990s, things were very different. When the film was on a format shot other than 35 mm, it has no chance to spread. 16mm was not taken seriously, and the video was a joke. These standards were so ingrained in the industry, the actors were reluctant to Non-35mm shoots work.

All that has now changed. affordable, high quality digital cameras, our industry democratized. However, the 35mm standard by which all video formats judged.Â

Does video achieves the same quality as 35mm? say old school film-maker “no” because the image capture of 35 mm a “plethora” is time- . larger than the video is that true, let us nearer the truth may surprise you

Note: The study was based on the following .. Classic HD horizontal lines of resolution with 1080 base In 2007, the first ultra-high-definition camera. introduced with an amazing 4520 lines. Keep this in mind when reading “The concepts with high definition associated (HD) can be confusing, they know you do not, the camera function. If you are a beginning filmmaker terms such as image lines, SD, HD and 4K technology will certainly turn your head!

Do not be afraid

for concepts are surprisingly simple. In this lesson we will be the basis of high definition video cover and give you practical knowledge of terminology. addition we are on technology 4k, also known as Ultra This technology focus HD.A by the revolutionary Red One camera, which is introduced by the company Red Digital Cinema in 2007.

High-definition video to understand, we must begin early and to examine how images are recorded by a video camera.

Registration

If you video tape head travels take out the camera. The head is essentially an electro-magnet, through the electrical activated signal from the image processor. Like the video circulating on the head, the iron particles are magnetized in the band. This, in essence, the captured image.

The latest generation of video cameras on the record hard drive or removable card. This allows files to edit directly on your computer.

Scan Lines
The video image stored in a horizontal line at a time. These lines are called scan lines and the process is known as scanning. If you look closely at the screen, you’ll scan lines. you probably can not see it on your computer screen because the lines are thinner than on TV.

Standard Definition ( SD)

are

The term “definition” refers primarily to detail visible in the video image. It will be by the number of horizontal lines measured within a single framework. In the United States and Japan is the standard definition video 525 lines. In most European countries, the standard definition lines.Â-625 (The first is known as NTSC, PAL, it is)

.

High Definition ( HD)

Although much hype has been done on the HD, the concept is understood to be easy. Technically, nothing, that the barrier PAL 625 lines above definition high can break. The most common HD formats function 720 and 1080 lines.

Ultra High Definition

Ultra HD offers an amazing 4520 lines of horizontal resolution. Known “4K” technology, since the scan lines until 4000, it is undoubtedly the future of the are industry standard.

The following photos show the relative importance of different formats. The first is the image digital video standard (DV and DVCAM). Notice how detailed increases the number of scanning lines improved. The last photo . offer shows the huge technological leap 4K image

a point of reference, has the typical flat computer screen resolution of 2000 lines -. 35mm perceived as the human eye – is to find out in the middle range. HD more 35mm comparisons, see our sample lesson: HD vs 35 mm

4K technology is developed on the property 12-megapixel chip from Red Digital Cinema Red One camera .. affordable your photos, all killed popular companies, including the . above 4K technology could be used as the death knell of 35mm

comparison

There are two factors can be compared. the color and resolution of most casual observers agree that under the assumption of a TV screen HD-quality color is really nice to avoid a mathematical argument verbose to accept this value .. nominal and focus on the comparison of the resolution, which is the real spoiler.

The resolution is the

visible detail in an image. Because pixel is the smallest element of information in the digital world, it seems that the comparison is to compare the number of pixels is a good way, the relative resolution.

film is analog, there is no real “pixels.” However, based on measurements converted a frame of 35 mm 3 to 12,000,000 pixels, depending on the stock, the target and the shooting conditions. An HD frame has 2 million pixels, measured at 1920 x 1080 lines. This difference seems clearly superior to 35mm HD.

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

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

Since

MTF is an industry standard, we will maintain this standard for comparing HD 35 mm film. In other words, we are not to be compared with lines and a pixel. scanlines are Video images are compared, it is like this as logical.

HD-resolution

As stated above, the standard definition and high definition on the amount of scan lines of the video image to . reference standard definition is 525 lines for NTSC and 625 horizontal lines for PAL.

Technically, nothing, that the barrier PAL 625 lines might be called High Definition breaks. The most common resolutions of 720p and 1080i HD lines.

35mm resolution

This is an international study on this topic, the resolution of 35mm film referred to the cinemas, presentation. It was Hank Mahler (CBS, USA), Vittorio Baroncini (Fondazione Ugo Bordoni , Italy) and Matthew Sintas (CST, France).

Produced in the study, MTF measurements were used to determine the typical resolution of theatrical release prints and print publication in the normal operation of the existing state of the art 35mm, processing, . printing and projection

resolution 35mm

 Measurement Lines

Answer

Print MTFA Â Â Â Â 1400

Print MTFA Â Â Â Â 1000

Theatre Assessment top 875

Assessment

average Theater 750

Conclusion

As the study shows, the difference collected between HD and 35mm film area are fast disappearing. Notice I use the word “perceived. “This is important because we do not shoot is a film for the laboratory study, but to the public.

You can at this point is not the typical public the difference between HD and 35mm. Even professionals trouble, have them apart. We through the whole time at NYU (“Is it turned on film or video p> ?”). Again, the study of the HD with 1080 horizontal lines of resolution. We have now been ultra HD 4520 line.

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

technical aspect of filmmaking from exposure to a number of operations and formats

Rajeev Jain -. WICA ICS

Indian Bollywood Director of Photography / Photography / DOP

UMA: Can you tell us about your ideas before you arrive in the movie

Rajeev Jain . Seeing color television my fascination began with the technology of light and photography, referred to these studies by a remarkable meeting DOP KK Mahajan enriched introduced Mr. me Mahajan filmmakers like Mrinal Sen, Adoor Gopalakrishnan, Mani Kaul and Buddhadeb Dasgupta And I did. realized what an art