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A conversation with Indian picture, DOP Rajiv Jain ICS WICA;

A conversation with Indian picture, DOP Rajiv Jain ICS WICA;
David Henry Hwang

"I watched movies since I was 7 or 8 years. I saw the replays of Pather Panchali, Aparajito and Parash Pathar makes a particularly deep impression on me. It was like being in another world. … I worked with directors from countries worldwide. The language of cinematography is the same everywhere. We use light as the artists brush control when they are the creation of paintings. There are always new things happening that we can experiment and use different ways. Movies are entertainment, but they are also how we learn more about other people in different times and places throughout the world. "

Rajiv Jain ICS WICA has won 200 advertisements, 8 credits narrative film, in collaboration with filmmakers from around the world, including the army, Pyar Mein Kabhi Kabhi, Badh Ho Badh, Meera Bai Not Out, Kadach, continue Pandu, Kalpvriksh – The Wishing Tree, Ayyo Paji and the first two installments of the Trimurti, GUPT and Chalte Chalte. He has received several awards and nominations for artistic cinema, and is one of the founders of Indian society Cinematographers.

QUESTION: Where were you born and raised?

RAJEEV: I was born and brought up in Lucknow. It is a vibrant city. I guess this would be the same experience that more and more in a city like Mumbai or Delhi.

QUESTION: Is your family in the film industry?

RAJEEV: No

QUESTION: Were you a big movie fan when you were a kid?

RAJEEV: Yes. I loved to watch movies on the big screen since I was 7 or 8 years. I have not had enough pocket money to see movies in the first broadcast, but for 15 cents I could see old re-run foreign films in theaters. I was too young to understand the dialogue and the English subtitles, but I was totally hooked by the fantastic journey into a black box. He delivered me since.

QUESTION: Can you name some movies that impressed you?

RAJEEV: I remember reruns of salon music, Apur Sansar and Devi. Teen Kanya also impressed me deeply.

QUESTION: How do you have now?

RAJEEV: My uncle worked far related the largest, yet the studio in Lucknow, when I was a kid. He often took me to his place of work, showing me all kinds of cameras and I still teaching. At age 20, he put me on the crew to work as an apprentice, trainee and flying / charger so I can earn money. I took all these casual and dizzy. I was quite struck by insensitive enthusiasm and systematic procedure for all departments.

QUESTION: What did you learn by watching them work?

RAJEEV: Many – teamwork, knowledge, professionalism. I remember when they shot with sync sound, all souls on board worked quickly and quietly like a tiptoe. When a good catch was made, everyone cheered and applauded warmly. I also learned to light. It was a totally different system. Lighting in Mumbai at that time was influenced by the American system where the camera and lighting departments were completely separated. When I became director of photography, I could not manage all aspects of work related to the camera. The lighting has been fully supported by the gaffer. For For best results, I had to buy my dinner drink well rigs and discuss with them what I thought of lighting should be as in different scenes. Sometimes they would follow my advice. I felt that as a filmmaker, I control the lighting as a painter's brush controls. Once I read an article quoting a filmmaker describes his job was to paint with light, I totally agree.

QUESTION: How old were you when you started working as director of photography?

RAJEEV: I became director of photography when I was 30 years.

QUESTION: How did you become a filmmaker so early in your career?

RAJEEV: I started working as a focus puller for a year and made 10 productions. At that time, there is a group of young professionals who had studied abroad and returned to work at home. One of them had made a film, Parinda, which became a blockbuster. One day while I was eating lunch in the canteen, a director approached me and asked what I was thinking that the film is a great success. I told I said I liked how the director and DOP manipulated light, it uses soft lighting that has built a natural and realistic instead of a drama staged. A week later, someone came and told me that the new director would know me as his cameraman on his next project. I went to him and explained that I never learned to be one, but he insisted that since he was a cameraman himself, it could help train me. I still remember very much my first day of shooting, I had to manage a triple exposure in a scene with the same actor plays three different roles. We covered a portion of the lens, and exposed a part of the frame. Then we rewound the film and he started twice.

QUESTION: You've also made some plays early.

RAJEEV: I realized my first play (theater / cinema) when I was only 15 years. A former director encouraged me. He said he had only 14 years old when he directed his first play. I also wrote the play. It was a game of comedy. It was an interesting experience, but I remember thinking that I felt better to be a cameraman.

QUESTION: Looking back on this experience, she help you as director of photography?

RAJEEV: Yes. My early experience as a game director gave me a better understanding the difference in the visual dynamics between art films and theater. When working on a film, I must decide if the movement of the camera tells history or focus on the transformation of emotional actors. Fortunately, I was an addict filmgoer from an early age, and see films like Kanchanjungha and helped Abhijan. There is a long list of movies that influenced me.

QUESTION: What is the next step in your career?

RAJEEV: During the late 1990s, a group of young filmmakers who emerged studied abroad. We called the New Wave. They have worked more closely with the photograph, designers and heads of different departments. They discussed everything from the use of colors on the sets, costumes in the style of makeup, and how has worked with the lighting.

QUESTION: If art films are not popular in Mumbai during this period?

RAJEEV: Yes, film art have been very popular in India in the 1990s. I was the cinematographer on films of various art during this period.

QUESTION: Is shooting all the action in Bollywood films difficult?

RAJEEV: In action movies, there are actually three types action. The first is the struggle against the hand action, the camera captures every physical movement of the actor and his rivals. The second is the action stunt, including the physical and stunt cars. Thirdly, the work of wire, which has been used frequently in the stories periodicals. Sometimes we have been 20 or more in a fight until the action sequences was perfect.

QUESTION: We understand that you're one of the founders of the Indian Cinematographers Society (ICS). Why and how was founded this organization?

RAJEEV: Yes, I was one of the founders. The company was founded in 2008 after two years of research on what our mission should be. A member of the American Society of Cinematographers (ASC) who worked in Mumbai gave us advice and guidance. We have organized seminars and workshops, and famous filmmakers willing to come to Mumbai and to share their knowledge and ideas with our members.

QUESTION: We noticed that you've made films in many different countries.

RAJEEV: I've shot films in at least 32 cities and other places in different countries. I learned that no matter what language is spoken, the words are very much the same film. Everything I to do upon arrival is to learn to speak these words – up, down, left, right, so far, close, high, low, fast, slow, spot and flood – in their dialect and that's all. We can work together like fish in the pond.

QUESTION: You've fired about 2,000 advertisements, 10 film credits, and have won best cinematography prize and many other appointments your peers in various festivals. However picture seems to be your main passion. Can you tell us about one of your recent photo projects in 2010, KALPVRIKSH (LA Wish Tree): your dreams .. Are just too far …?

RAJEEV: Kalpvriksh is directed by Manika Sharma. It is a story 2000 year old trees, the story revolves around villagers who turned against them. The film was produced at different locations India. We shot the scenes with no less than 500 extras in costume.

QUESTION: How did you prepare for an epic film like that?

RAJEEV: Manika is a woman in high demand. She asked that the film must have your memories on one condition – we must not repeat what has already been tried and used. One day I wandered around the road Mahabaleshwar, a renowned antique sales district. I understand that any Street consists of a common tone, copper. I then went to the post house and asked the technician there to help blend different shades of shades of copper, and applied to the film that I shot while scouting. During the presentation, Manika chose the average level, which is very close to monochrome.

QUESTION: What format was Kalpvriksh product and why?

RAJEEV: Kalpvriksh was produced in Super 35 format, because that the scope of the story called for a wide aspect ratio. I knew we would be covering many scenes with camera operators multiple. I expected that I would re-composition of crops in DI, corresponding to different camera shots for the continuity and the light color setting end, the darkness, and contrast

QUESTION: What is the color palette for this film?

RAJEEV: During the first half of the film, which describes the revolt of the villagers, we used medium-copper tones with a very slight improvement skin tone on each player to focus their difficulties. Little by little more color was added until the full, deep red blood lust representative was reached.

QUESTION: One of the interesting things about the film is that public innate understanding that things like colors, light and darkness are like the words they hear. Do you agree?

RAJEEV: Yes, of course the public does not understand, and at least nobody would recall the dirt very white light, but it must be subtle and devoid of character distinctive. Our use of color reflects the mood and what happened in history, but it was not obvious.

QUESTION: We understand that it was your first use of KODAK 5219 VISION3 film. What were your impressions of how that progress Technology affects the film?

RAJEEV I have seen improvements in resolution, contrast, sharpness and black tones. These types of developments give you more freedom to express your ideas and feelings.

QUESTION: You're filming in the world whole and with filmmakers who are from India from other countries. Do you think that cinema is an art world and industry?

RAJEEV: Certainly. When you travel in a new place, saw the familiar landscape, the experiences of different environments, he broadened his perspective be. My experience tells me that when I work abroad, the freshness of the evolution of different environments the composition.

QUESTION: People are born to be Director of photography or is it something you can learn?

RAJEEV: I think some people are endowed with an instinct for storytelling graphics, but being a filmmaker is a constant process of learning. I often read article on other filmmakers and their films to watch. Moviemaking has only been about 100 years. There are always new things that password that we can experiment and use different ways.

QUESTION: Do you think that films play a role in our society beyond entertainment?

RAJEEV: The magic of animation is also the sense that inspires viewers of emotion, love and value. It also helps to strengthen the reach viewers in life and sometimes it is useful mentally satisfy the fantasies of viewers inconceivable.

QUESTION: Are you optimistic about the future of the film industry?

RAJEEV: I am optimistic. With more and more studios overseas setting up production in India due to its large market and countless unspoiled natural beauty, the film industry should be more prosperous in the foreseeable future.

QUESTION: Are young Filmmakers want to ask your advice?

RAJEEV: Yes, and I advise them to challenge themselves, because filmmaking is hard work and you still continue to learn. You must use your imagination and continue to dream and learn what we can do to tell stories interesting. I tell them they must reach their peers around the world and learn from each other

About the Author

Born in Los Angeles, David Henry Hwang is the son of immigrant Chinese American parents; his father worked as a banker, and his mother was a professor of piano. Educated at Stanford University, from which he earned his B.A. in English in 1979, he became interested in theatre after attending plays at the American Conservatory in San Francisco. His marginal interest in a law career quickly gave way to his involvement in the engaging world of live theatre. By his senior year, he had written and produced his first play, FOB (an acronym for “fresh off the boat”), which marked the beginning of a meteoric rise as a playwright. After a brief stint as a writing teacher at a Menlo Park high school, Hwang attended the Yale University School of Drama from 1980 to 1981. Although he didn’t stay to complete a degree, he studied theatre history before leaving for New York City, where he thought the professional theatre would provide a richer education than the student workshops at Yale.

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