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NEW NIKON D90 KIT (18-105MM VR LENS)+1 YR WARRANTY (100% NIKON MALAYSIA) $1,250.00

Rajeev Jain – Director of Photography Indian

Life through the lens ….

What I can say I've been shooting the movie since …

Through the years, I had the opportunity to work with many top directors of photography around. Good thing I was exposed to many approaches and styles. I learned what I liked and learned to solve a wide variety of lighting situations.

My favorite is the lighting style to shoot with a natural, light sources motivated. I like working with large soft sources and then "paint" in the shadow areas. I work very hard to ensure that whatever the story being told is greater and communicated with the light and images.

To me, the best picture is the guy who leads to another world? film that offers the experience of history and makes you quickly forget you're watching a movie. Seamless and realistic.

The great masters of light that inspired me include Spinnoti Dante, heat ASC, Insider, Vilmos Zsigmond, ASC Sugarland Express, The Deer Hunter, Don Burgess, ASC Cast Away, and contact, and John Toll for his brilliant work on Legends of the Fall. Finally, the greatest master of the light in my opinion is Rembrandt. His art has been truly inspirational for me. My favorite piece is The Polish Rider, a magnificent work of art.

I admire directors are Akira Kurosawa Ran, Tony Scott, Enemy of the State of Ridley Scott Gladiator, Gus Van Sant's Good Will Hunting, and Michal Mann insider and heat.

I have been blessed to be able to make a living doing what I enjoy doing. "

A CONVERSATION WITH Rajiv Jain (ICS / WICA)

Q: Where were you born and raised?
Rajiv Jain: I was born on November 29, 1964 in Civil Hospital, Lucknow, India, in a working class (Indian term: the lower middle class family), the hard core Hindi speaking family. I spent my formative years in Etawah is located in the state of Uttar Pradesh, India. That's where I grew up. It was a city of a horse with a bank a single horse. I had a great childhood though. We come from a very tight urban area, and suddenly I was in this environment where I could bike to the mount. Also the river had. It was beautiful. I loved the interior and open spaces. My father worked in a bank and moved / on the transfer of two or three years. My mother is the world around her children and home as well as you can see, it took me a very sheltered childhood with little or no contact with the outside world so to speak out. My father had an Instamatic camera that fascinated me, but I was forbidden to get my hands on it, is fun, but somewhere in my interest in photography that are currently banned me touching the camera. I imagined my dad as a doctor, engineer or IAS officer.

QUESTION: The classification …
Rajiv Jain: I went to the University of Lucknow in Lucknow, Uttar Pradesh, and I've been lucky enough to go to the Academy of Dramatic Art Bhartendu (Bhartendu Natya Academy / Bhartendu Natya Akademi), Lucknow. I majored in stage Crafts specializing in stage lighting, with the intention of becoming a lighting designer.

QUESTION: will follow in the footsteps of his father?
Rajiv Jain: I do not think I never saw in the banking profession. In fact, I caught the filmmaking bug when he was about 10 or 11yrs old. A film by Satyajit Ray Shatranj Ke Khilari call was being filmed in my neighborhood in Lucknow. Vi trucks going down the street, and then snuck around the house where they were rolling. I saw them setting up lights and cameras. I was in complete awe.

QUESTION: Were there other influential people in your family?
Rajiv Jain: My mother is a religious person. I had often seen his prayer, I do not need to develop so that all those prayers were for. Our race and our future was my mother is the greatest concern. I still remember that moment like it was yesterday, I was chatting with her mother as she cleared the dinner dishes and it happened to me do what I wanted to do with my life after getting my diploma from the school of theater, Just then I had a piece of 35 mm film still in my hand "I like to do something with this" I said watching the film. It was a long way since then, but my mother was beside me in those formative years and guided me every step of way. I really wanted to join the Film and Television Institute of India, but did not qualify for the entrance examination, however, pass the theater and film photography seemed a very natural progression.

QUESTION: Would you interested in films in those days?
Rajiv Jain: Because! like any other kid my age in the film world fascinated me was not the case of Star Struck all aspects of the film that interested me, so it was a very spontaneous response when one of my favorite time faculty (Guptaji) asked me what I wanted to be in life? "I want to make a career for me in the film world, I want to create the magic behind the screen." So yes, my love Film goes back a long way. I grew up watching Hollywood movies and India. Not attracted to foreign films. American films were the ones I liked to see. No more than most children, but I managed to see the greatest hits of the era. My dad took me to see Lawrence of Arabia, Dr. Strangelove, The Longest Day during the 1970's. He loved the great historical dramas. I became a fan of movies during the decade 1980, while I went to the School of Dramatic Arts, Lucknow. Some of my bohemian friends and went to find a people and classical music and dance theater company professional theater, amateur still photography and film club called Underground Film Society Lucknow. They show classic films and new wave. Usually 16 mm images were projected on a wall. That's where I discovered the world of cinema. I remember seeing Citizen Kane, Metropolis, and films of Bergman, Fellini, Truffant, Welles, Cocteau and Brahkage Stan. That was during my high school late and early college years. I started reading about films and directors and began to click on the pictures. I saw a movie that changed my life at that time was a movie called contempt Goddard shot Raoul Coutard. It was a movie Cinemascope, which was very similar to what I was doing photography, but of course, twenty years before that. It uses a lot of primary colors. It was a movie who put much emphasis on composition and had shots wide and tracking shots with two little walking against a red wall. That was the first time I the connection in my mind that maybe the film of my career where it was headed. I was beginning to feel limited by the picture. It was the first time recognized the potential of the film, where a narrative story can be told in a visual way.

QUESTION: Were there particular films that made an impression on you?
Rajiv Jain: Citizen Kane, Vertigo, La Regie du jeu, The Godfather and The Godfather II, Tokyo Story, 2001: A Space Odyssey, Dawn, The Battleship Potemkin, 8-1/2, Singing in the Rain, Lawrence of Arabia, Dr. Strangelove, The Bicycle Thief, Raging Bull, Vertigo, Rashomon, Seven Samurai.

Q: Tell us about your background?
Rajiv Jain: My first encounter with the physics of light came by accident. One day, while cleaning brushes in a garage dark light falling through a crack in an image projected on the wall turning the room into a giant camera obscura. My first contact with the film with a camera connected to a dark room the size of my apartment. It so happened that one of the jija Surendra ji (universal-law) was an avid photographer who always 35 mm had his Nikon camera hung around his neck. He got me interested in photography and encouraged me to go to Kanpur, taking with him to frame a manifestation of students in 1980 s. That was my first experience with a camera, where I had the opportunity to express myself through photographs. I began to study photography manuals, trying learn about composition. I watched the art photographers use the foreground and the colors and light and shadows. That fueled my desire to learn more and more. I had a full time job in a dark room and you are a photography studio at night and take pictures on weekends. That was not to satisfy my thirst for learning more about photography. After finishing my studies at Lucknow, in 1985 I moved to Mumbai / Bombay, and started as a runner / trainee / apprentice series low-budget features and industrial applications.

Q: Were you thinking at that moment in his life he wanted to go into the making of the film narrative?
Rajiv Jain: I must admit I never thought it was a great opportunity for me to work in Mumbai / Bombay. It was very, very difficult for the North Indians to gain a foothold Mumbai .. The only other place they were making movies at that time was in Calcutta and Madras. I decided to learn English, with the concept that I can go there and give it a try. Of course, all the work he was doing, I never got into an actual sequence of classes, and I'm partially dyslexic, so it was difficult learn a new language.

QUESTION: How did you get started in business? What did you do?
Rajiv Jain: I started as a messenger, learner, apprentice grip, spark, key grip, charger, assistant, camera assistant and worked my way up gaffer (Indian term: deputy DOP).

QUESTION: How long have you worked as an assistant?
Rajiv Jain: Oh, about 7 to 8 years.

Question: What did you do when work is completed assistant?
Rajiv Jain: I worked in Mumbai / Bombay in documentaries, industrial and commercial films as a camera assistant and gaffer. All of them were small projects. I worked with a couple of cameras that shoot locally. It was mostly 16 mm and 35 mm a bit, especially to make some money. While doing that was are mainly shooting some short films and documentaries. I was always working on my craft and building my reel, with the idea that one day I would shoot characteristics. When I left the ship for assistance, I a little trick with the help a bit and was running industrial films, documentaries, commercials and other small jobs. Movies filmed medical sales companies promote new products and techniques, small religious dramas for a company T-Series, which distributed to the temples, and some variety shows. I have a lot of jobs through people I met during my days of attendance. It very important to make friends because they are going to want to bring people they know along when they get a job. We had our own rotating group of guys all to different jobs depending on where I was shooting and that gaffing.

Q: When did you decide to concentrate on photography?
Rajiv Jain: Immediately. I thought the process address is too long, and I liked being a cinematographer. During my second year of school theater in 1985, he worked for three to four months for a television station Lucknow. It was my job to select what was good enough to do the program. It was a great practices. I also learned the trade of valet second and first in Mumbai / Bombay, Ashok Mehta, Binod Pradhan and KKMahajan

QUESTION: What was the deciding factor in making that decision?
Rajiv Jain: I do not want to look back someday and regret that I did not try. I did not want 80 years wondering if I could have succeeded. If not, could have gone to Lucknow to know I gave it my best. So, I came to Mumbai / Bombay amid Fuel crisis – only travel by auto rickshaw was a great challenge. I went around interviewing several s DOP because they were much more accessible than the large operations of feature films. There was no way I could get in the door to any of those places. After three months, money was running out. I was walking through a warehouse in Mumbai / Bombay on Saturday, and I could see through an open door that they were building sets. I remember thinking, would not be working on a weekend unless they were behind. So he went in, found the foreman and told him he was a carpenter. He asked me if I had any capacity overall experience? I lied and said yes. It was only half a lie because he had built many sets for plays in school plays. The only similarity is that both are made of wood. They were building sets for television commercials.

QUESTION: Is working as a foreman in the film help?
First in India means Uncle assistant Chief DOP. We have no tradition of gaffer. I approached the thought of a job as director of photography. I would like to bring a new technique or a new type of light to the attention of the photograph that was working, suggesting that it is something that helps tell the story better. I think I learned more from seeing the work of filmmakers other than anything else. One of the few ways to really learn filmmaking is another director of photography. That is what I think knowledge is transmitted. You end up picking up little pearls of wisdom on the road. The most important things I learned watching filmmakers at work were not technical, but how convenient that the set for the director and actors, and how to make a creative rather than a technical environment.

QUESTION: How did you get into the T-series music videos?
Rajiv Jain: I tried to work independently for a while but it was hard to enter the union. There was a company called Super Cassettes Study was directed by the late Gulshan Kumar in Bombay. They had a place of publication and then opened a center for editing online. They were hiring a lot of people at that time and I had some experience as a camera operator and the person crew, so I became a one in all types of maintenance study. I also learned to operate the tape machines. When I got there, it was a very small place in time, so I learned all sorts of things. I had already made two videos on that point. I was working on the study on trade and the union that would bring in lighting cameramen, and I sometimes went to work as an operator for them. I kind of a lighting technician for them, so I've learned more in this study in the space of a year and a half year than anywhere else. It was a very intense training, as it brought high-quality video is recorded in an inch. We used the Sony camera and was quite a good camera. I still think it is better than the cameras that are out there now, but we were always trying to get a film look outside it. We played with filtration and black levels and all types of lighting to see how we could come to resemble a movie.

QUESTION: That sounds like it was a great experience for you?
Rajiv Jain: Yes, I have to pull hard and be very creative with the camera in the video. You must also be in the post process. It was a very exciting editing process, and then we kind of studio effects in, so I have to shoot. That was a good rest real to me, and then the director introduced me to project much more after that. I started making documentaries. I went on tour with them and toured three times. I made a documentary in New Delhi on recording music videos we shot on videotape, all recorded on video documentaries, but actually gave me the opportunity to play with the image and and moving the camera lens. It was great!

Q: What was your first feature?
Rajiv Jain: My first film as an independent DOP Army (1994) starring Sharukh Khan, Sridevi & Ram Shetty directed. Color was anamorphic. I changed the contrast with the lighting to eliminate all the shades of gray. That was my signature, blacks and pure whites with no gray. Mukul S Anand Finals visited the set while filming, and then worked with him for his production house MAD Films your ads (1994).

QUESTION: What do you look for when reading a script? It's the story, the director, a combination or something else?
Rajiv Jain: In general, it is history, but some people are so talented and good to work with I'm always willing to say yes, I will go to any part. I think above all is the story that has to grab me. I think visually not necessarily at the time … Ideally I would love a movie to see. Also I'm looking for something different from what we've done before. Longing variety. It is a combination of things. At first I thought the script was most important, but I have found scripts are constantly changing. Not so much about the shots you do. Cinematography is the environment it creates. A film is a reflection of a series of images two-dimensional projected onto a white screen. It flashes static light projected through a lens that somehow stimulates the brains of people in the audience and create a world that moves in three dimensions. When you commit to a film, you are making a moral obligation – an obligation it owes to the principal and the audience. There must be a visual continuity that makes the audience feel like they have witnessed a slice of life. I tend to be more interested in the concept a movie. I ask the manager to tell me they want to do with the film. There was a movie called Army. The movie is two hours long, and is the only movie I worked on only two pages modified during shooting. It's the best script in an Indian movie I've ever worked. Not many filmmakers with experience in India because many of them are on TV. I have tried to train myself to understand what is necessary to make a film for the cinema.

QUESTION: What were some of the low-budget films from other you worked on?
Rajiv Jain: I'm not saying that Mein Kabhi Kabhi PyAr earlier. The first thing I did of me was a small independent film called Rasta who was shot in 15 days in Jaisalmer and was never published. It was my first full account of the experience. I other films after that. These films played an important role in putting things in later films, as they learn from their mistakes. You learn that there is no time as the current film. No turning back. You need to plan and persevere in the difficult moments in a movie. The lower budget and independent films, hard times all the time. No meeting easy for the powers of trade are paying down on your shoulders. The main thing I learned doing these films is that you have to answer yourself with time. You have your own pace and stay true to that purpose. When we PyAr Mein Kabhi Kabhi (1998) had an idea clear objective and told us how to shape the look, but I did not know he worked until he was projected. I was terrified of looking in the papers and not knowing if he was track. When I saw the first cut in the first place, it was probably my most frightening and exciting experience.

QUESTION: His recent work includes two features. The latter was Badhaai Ho Badhaai. Describe your experience filming a comedy.
Rajiv Jain: Comedy can be a tragedy. I think the hardest part is that if we throw mostly flat, is only going to look like a flat comedy. The comedy is brilliant, but still want to see the texture of the sets. In comedy, I think a lot of times you play static because it is comedy, this is not the joke. If the joke is going under, people should be listening. If you move the camera to tell the joke, is a distraction. Now if you move the camera to a reaction in self-image, which is a different thing. I think comedy is harder to light drama. There different levels of comedy and see photographically different level.

QUESTION: How did you get started commercial production?
Rajiv Jain: While still was helping the camera, the production company called and said the agency wanted to shoot his next commercial. I had never shot film 35 mm, so I was shocked. I still remember the board with my name on it. That was a magical moment. The commercial went well, and lead to other ads, mainly in India. Commercial shots, I have learned to work with many different people, jumping from one project to another, with many different looks and locations. I think I have applied much of what I learned from shooting commercials to the characteristics of fire. It is not a conscious thing. I was just in very different situations the solution of the same types of problems.

QUESTION: Who were some of the filmmakers who worked on the ads?
Rajiv Jain: I have worked with KK Mahajan, Binod Pradhan, Vikas Sivaraman and Ashok Mehta.

QUESTION: Did you move back and forth between commercials and function?
Rajiv Jain: I did almost a film in three years. The rest of my time was in commercials. Commercial work is very interesting because you can try a lot of tools first. In India now, the ads interest much to the aesthetics of what is like photography, and learn to create different worlds and are eager for such non-realistic worlds. I learned to take risks, because if you want to achieve something special you have to try and sometimes succeed and sometimes not, but then that is part of the learning process.

QUESTION: Has it affected the way the ads to record movies?
Rajiv Jain: You get a firmer understanding of the possibilities of what can be achieved by photography. You get a lot of experience in creating different looks in different ways it can be applied to a film. The more you shoot, the more you learn. Occasionally, you discover something new to be built.

QUESTION: Do you have a particular style that makes it recognizable work?
Rajiv Jain: I think each one has his style, but I would like someone to go to a movie theater and say, 'Oh, Rajiv Jain shot because his style. "I would like to say," Oh, who shot that? I think you have to be more versatile in their search these days. Each film is different, what they like to think that you can put something different in each film as opposed to creating a look repetitive.

QUESTION: How many features, commercials, music videos he shot?
Rajiv Jain: 6 ads has almost 1032, 43 150 music videos and documentaries, corporate videos and industrial applications.

Q: Have all your projects have limited to India or has foreign releases as well?
Rajiv Jain: I shot in Austria, France, India, Kenya, Malaysia, Mauritius, Nepal, Netherlands, Russia, Singapore, Sri Lanka, Switzerland, Uganda, United Arab Emirates and United Kingdom.

QUESTION: How did you finally get into the India Society and director of photography Western Association of India s picture?
Rajiv Jain: You may apply to join the Association. I had experience in commercials and movies as an assistant and as director of photography on five films. I had much better documentation as an assistant for the union. I was a Charger KKMahajan five features and two television series, and I was assistant in two functions Binod Pradhan and approx. Ashok Mehta 300 commercials and two functions and approx. 100 ads. I threw focus of a year until I moved to assistant head camera operator b.

QUESTION: Is the film a talent born with a skill that learns, or both?
Rajiv Jain: I think it must have been born with the ability to visualize. Boy, I spent much time looking out the window at school when I should have been looking in books. I scolded so many times. I grew up and I'm still doing it. I still fantasize, think more than a normal person dare to do. Outside of that kind of reverie, which end up making images that have a kind of reality itself. The films have influenced the way we love, what we wear, how we eat, how we walk, how we talk and how we act in everyday life. You must be able to cross the bridge in the world imagination and be able to walk back. One of the tricks is that you have to know how to handle light. You must have an idea of ​​the different types of light. Where do you get that knowledge? You have to know movie like the back of his hand. That is a skill, and others who need to learn. Even as a kid, I responded to light emotionally. It is always a part of me. The film caught me at a young age and gave me a voice that had in any other part of my life. I have the luck to have found an outlet for that. Not ca imagine doing anything else.

QUESTION: Finally did you ever get used to the fact that you're living your dream?
Rajiv Jain: The night before that I shot my first commercial for Mukul Anand S late, I have only two hours sleep and panic I had a dream that our whole inner hall had been built less than half of the scale, that was like. I could not walk on it the film, much less in it. There was no room for lights and actors. In my dream I kept asking, 'How are we going to shoot in this space, "After 600 commercials and 5 films later, still not much sleep the night before the first day of shooting. The truth is that I feel incredibly fortunate to be able to make a living by using shapes, colors, contrast and movement to bring history to life. I love working with the director, production designer and the actors and the passive collaboration with the composer, editor and writer. When I hear a soundtrack and carefully crafted images I photographed are joined on the screen that brings tears to my eyes. It really is amazing how music can improve my work. I talked to the composers of this and tell me it's the same for them when they hear music and see how the picture with him. We have almost no contact during the filming, but they are key partners in the emotions that give life to the screen.

QUESTION: Do you feel a sense of responsibility, because many people will be influenced by the movies they do?
Rajiv Jain: I feel a responsibility to the public for a business that I have loved all my life. I have a lot of pride in the fact that I can work in Bollywood in the tradition of the great filmmakers who were here before us. The films have made a difference in our lives, and we have a responsibility to give something in return.

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