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Rajiv Jain, Indian Bollywood Photography – Profile Interview Series Vol. # 4

Rajiv Jain, Indian Bollywood Photography – Profile Interview Series Vol. # 4

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Photo by Rajiv Jain Aason Hyte Extraordinaire

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Army Badhaai Ho Badhaai, Carry On Pandu, Kadach, Kalpvriksh â € "The tree of desire, not out and Mirabai Pyar Mein Kabhi Kabhi. But partial reason for these films € ™ success is the talent that goes on behind the scene, and noted Rajiv Jain, Director of Photography is the genius behind the camera movement in these images (among many others).

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Rajiv, a graduate of Bhartendu Academy of Dramatic Arts (Bhartendu Natya Academy) had his first hand in the workshop gallery in Lucknow, where he worked as a cameraman for short films, he began his way work as a cinematographer. Now, his experience made him a mainstay of photography film in Indian cinema. Its production constant hard work and deep knowledge of technology old and new was one of the most respected filmmakers everywhere. In 2010, current, Rajiv Jain working on new projects, and is wanted by the filmmakers, major and independent, her watchful eye.

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I had the opportunity to speak with Mr. Rajiv on his career (and also talk to the shop, so be forewarned that there € ™ some of SA Tech Talk, here too), while the film attended a forum dedicated to working in this Year € ™ s Kalash Kenya Film Festival.

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Aason Hyte: So, I ™ €'ll just let this roll of tape and feel free to say just Whata € ™ s on your mind —

Rajiv Jain: IA € ™ am not good at inventing things, SOA € | Â

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AH: I am interested in photography, and when I heard Kalash Film Festival coming, I thought it would be a good idea to talk about his career and his vast body of work. Iâ € ™ I was very curious how you got your start in this industry, education, and so on, basically, how and who is now completed.

RJ: It would be easy to talk about my training in art school dramatic, and they are not just any film school. The way I learned to go see this movie and someone else was on the screen, then go out and try myself. And that's all. I also bought the manual ASC (American Society of Directors of photography) puts out, which is known as the "bible of the film. I read the manual and read it when I had a problem shooting and thought it should help.

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AH: When you started to watch movies, plus see a great story, noticed many things that were as processing and light widescreen formats € |

RJ: Absolutely not. Initially, T wasn € ™ technically interested. 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 again and I was impressed by that. But at a very unconscious I think if I used to accompany and hear a song cycle with my father, who was only an experiment that has been buried somewhere in my psyche. I didnâ ™ € t start shooting moving images until the age of 28 years.

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AH: What was your first real job you've been in this industry?

RJ: A guy named Ananda Mukul S € |

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AH: Oh, Iâ € ™ MA fan.

RJ: Of course. I decided to film some advertisements about it.

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AH: What do you look the most difficult of his post as director of photography?

RJ: More movies are often those that require significant control that many people and many cameras in a supermarket or sometimes many places. Staying organized is something that some filmmakers are incapable of, make small films. The short films can be so difficult for them, because the pressure of a short film which means that may not have time to collect their images correctly, THATA ™ € s and other defined pressure THATA € ™ s equally difficult.

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

RJ: I think the whole world can not fail to have its own style and personality is what they think is beautiful is what I think is a good composition, how come the world can not stop the invasion they do.

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AH: How do you feel the promotion of technology has influenced your work? I mean last film types, advancement of the high definition revolution Digital € |.

RJ: All things that you mentioned certainly affect my work, and this influences what I do and what I do. Itâ € ™ SA challenge to keep the information I learned about what these things mean. If youâ ™ € talk about digital photography, the challenge is how to get better and that is the best system to use. Some of These systems use compression, several types of compression, it is important to understand what is and what it means.

For example, new equipment Photo Net does not use compression for all but the recordings on a hard drive and add the following corrections. They argue that, for better quality, and thus on, the point is that it is important to understand all these things to make a decision on his own role, if youâ ™ € re digital cameras which the desired system use. Panasonic has a system where the curves are used to correct what the camera makes it more like the film and it quite impressive.

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AH: Where are they in HD compared to 35mm film?

RJ: nâ € ™ ta matter of just having an opinion, but their opinion should be based on facts. And the fact is that the film is probably twice as better quality than high definition. The cinema is always the best. Part of the reason is the latitude at which you receive film far exceeds anything you can get high-definition video, however, at this time. One day, may improve, but for now, the film major as the amount information can be captured in a small area. Movie still holds the lead, and new shares that Kodak is putting out there an extra stop of latitude in both top to bottom. Câ € ™ is absolutely beautiful.

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AH: Whata € ™ s your favorite kind of actions that youâ € ™ ve worked? I know WEA ™ €'re right Getting really technical, but I love it. Â

RJ: I'm with the Kodak film and new actions that extra flexibility, you can get both in his film of 500 ASA and you can get their shares in daylight too. It gets better.

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AH: What print version? Do you have favorites?

RJ: It depends. Kodak has more than one option of printing operations for liberation. For example, it is good, another retail and so on. You must select your stock according to the table he pitches. It nâ ™ € t best. Itâ € ™ s showing off their product the best.

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AH: Do you have a personal preference in which the relationship trying to make each project?

RJ: ™ € doesn t much matter what aspect the director decides to ITA € ™ film composition different, writing in a different format against the other. Close-ups are easier on the spherical 1.85:1 format, and in two sizes large screen you have to do a little different. The work and both have their own challenges. If youâ ™ € re showing a horizontal view large and you want the large screen to show the territory, then THATA € ™ SA right choice. If Itâ € ™ SA bit tight, personal films, then maybe not.

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AH: When in widescreen Super 35? (Super 35 is a spherical widescreen process where films ™ € s negative is shot in 1.85:1 format â € € œFlatâ then becomes optically copy operating anamorphic.

RJ: Super 35 is a great format. Câ € ™ is one of the best options you can do today and why he is better now, thanks to digital printing.

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AH: Absolutely, that it was actually my next question, how have evolved to the development of digital intermediate film in laboratories.

RJ: Is amended to read as if youâ € ™ re shooting in widescreen, Super 35, since all the lights and houses which distribute the film to press the image to be his glasses – which is a bit stupid, but Câ € ™ its about money â € "you must go through an extra step in the film Super 35 to recover a compressed image. You do not have to do with a digital intermediate.

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AH: Whata € ™ s too much recently that digital intermediaries have recently increased to 4k resolution Opposition to the 2K resolution, which significantly improves print quality. œKalpvriksh â € â € "The tree Wish œCarry € and â € in € Pandu are examples of films shot in super 35 and DIA € ™ ed in 4k resolution and look absolutely beautiful on the screen.

RJ: Oh, yes. You € ™ re double its image quality in digital, but has yet to safeguard the quality of the film a little bita € |

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AH: But I still want it resembles that of cinema. Youa € ™ go to the theater to see the film, not digital. Many movies filmed in high definition seems a little disappointing for me [when transferring film to € |]

RJ: Digital in both sound and picture quality is more severe, and even the details have not the finesse that you get a lens, a special lens THATA € ™ s out of focus in the background and foreground approach, which tends to make the image forward and focus on the best. In such situations, sometimes digital doesn € ™ t feel so good, that nâ € ™ t quite as natural and individuals under a tree in a forest or a sense of someone € ™ s hand. This kind of human experience, youâ € ™ re kind of digital still time to what is on film.

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AH: And youâ ™ €'re still at work. What are you working now?

RJ: I just finished a painting in Kenya with his right front let go and WEA € ™ re editing it now. Itâ € ™ s meet at this time.

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AH: Who you think some of your favorite directors? You have a great influence on your work?

RJ: Subroto Mitra is one of the great â € "

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AH: Yes, absolutely. His Working in Pather Panchali, my favorite movie, is unforgettable.

RJ: But Subroto Mitra, HEA € ™ s one of many great filmmakers, but I nâ € ™ t want to put one above the other, and why donâ ™ € t because as great as Subroto was Mithra, was different filmmakers there.

Subroto Mitra likes to get new formats and new forms of development of film and HEA € ™ s done a lot of this over the years. Many others have tried, but again, depends on who you are and what you think is great. If Itâ € ™ s worth the effort if you see the difference, then great. Several times, when you try to bring someone Elsea € ™ s art and play, youâ € ™ re not following the same vision and do not go. Frankly, things Iâ € ™ m very inventive I do and prefer to pursue my own ideas, simply because I know what else € ™ m after the copy instead of someone else.

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AH: What would – what is your favorite movie of all time shot? Or even your favorite movie?

RJ: Ia € ™ d not have much more to make a choice, because when you say favorite, Câ € ™ is like vote for the best actor of the year that I find totally ridiculous because it is as talented as others. You prefer the script or director in May of address the actor, but it is really unfair to say â € "This is better than Other € because it would be equally absurd to me, all great films have been there and go â € OEI like this better than others! â €

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AH: I like this response. I always ask all of my interviews and I really admire the different answers I find wide. I also get an answer brilliant and I feel like someone who says â € OEI watch hundreds of films every year and this is my # 1 for every € Timea. And while I chose Pather Panchali like mine, Itâ € ™ s just a response to a question, in fact, itâ € ™ s the one I choose in spite of nearly 100 films of all time. Â

RJ: Absolutely. At any given moment, if I am M € ™ sitting in a theater and IA M € ™ me want to feel that way once, but to sit and reflect, itâ € ™ s apples and oranges. Different films are great for different reasons!

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Author € ™ s Bio: Dr. Aason Hyte is a professor in the Department of Sociology and Human Rights Center of the University of Essex in the United Kingdom. He worked with UNIFEM in the conceptualization of its biennial review progress of men in the world and was the first coordinator of men progress in the world 2000. He is the author of the Mars Men's World 2002: Volume 2: Gender Equality and the Millennium Development Goals. Dr. Aason also currently serves as advisor to UNIFEM gender responsive budgets. He is the author of numerous articles and presentations on gender and development, and co-editor (with caraway Careen Grown and neutral) two special issues of world development.

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Tags: bollywood, cinematographer, director of photography, DOP, DP, Dubai, India, India, Jain, kalpvriksh, Kenya, Kenya, Mumbai, Rajeev, Rajiv, videographer

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2AMP need an adapter 12 volts AC.

I need a 12 volt AC adapter 2AMP, anyone knows about availability? need the help of a Kodak digital picture frame, the adapter of accidentally frying 110volts input and connected to the output of 220volt here in India.

There is a 4 amp, one in the link below. This would give him some space for them can run cold. He also sent me links to two others which are 2 Amp. Good luck.