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Rajiv Jain – Photography – Cinematographer – Rajeev Jain

Rajiv Jain – Photography – Cinematographer – Rajeev Jain

Information India Film for students ……

Some answers to questions posed by visitors to the site! Drop me a line today.

QUESTION: HOW TO BECOME A DIRECTOR OF PHOTOGRAPHY INDIA?

For people with successful careers in business, the most is often heard that asks how he got where he is. Indeed, as soon as I started to create this website and express my willingness to share this information and answer questions about the production I began to ask questions about what I call "The Big Question."

So I wrote this generic response. I hope it's useful for anyone contemplating a career behind or in front of the camera.

If you ask 10 or even 100 different people as to how you got into this business you get a maximum of 100 different answers. As for me, I had a natural interest, a lifetime in photography partly because of my Guru, whose hobby was black and white photography. Learning and training under him gave me a lot of exposure to this type of photography you soon graduated from a hobby to a full blown passion. At that particular point in time was also involved in making plays for small companies Lucknow theater, and apart from the character roles that also worked behind the scenes as a carpenter / operator of Light: Set construction in these work. All tied together seamlessly.

The experience and training gained in my teenage years back full bore fruit when I decided to enter on a full time job. I started a job as a man of light in a television station, post my experiences in carpentry / game building sharper and improve my skills. I started small time, but eventually grew my vision and my dreams and I saw for myself the possibility of a career industry as a cameraman in television or film, to make this dream a reality i went back to school full time and I majored in Drama (start stage), drama and light design of the production stage. Believe me complete my education was the best I could have done. In addition to a thorough education in different phases of the business that allowed me to focus and refine my natural abilities (which are very visual) to the point that I was sure I wanted to be a filmmaker.

In a way, because of my previous work experience at a television station where I was allowed to do the lighting, cameras, and building systems, etc, I was already far ahead of many of my peers when I started school drama. Still, I continued to hunt for part-time work, the projects, which allows me to work with cameras, lights, etc. A couple of summers before I graduated I worked as a temporary technician in a TV station and just after graduation, I was offered a position of full-time apprentice Binod Pradhan to work behind the scenes of film in Mumbai. While does that work continued making movies bit on the side, as a volunteer to shoot in VHS format, direct and edit anything to anyone as long as pay for the equipment, film, etc. Soon, after working for a period of 8 years the time that covers me and worked at different levels of filmmaking that is, like a spark, grip, key grip, charger, focus puller, camera operator, manager and through constant lobbying and show my work s cameraman offered me a position in a television producer.

From there, after a couple of years of effort and several TV commercials long-form, industrial, corporate documentaries, and serials under my belt, my job was successfully observed by a network independent producer Film / TV / Special Announcements. He made me an offer I could not refuse, that is, to spend a few years in many of the shows it produces for the network. That lucky me put on the map as a DOP and my career has gone well since then.

To foster the desire to become a PDO is similar to saying that he wants to become a movie star. There are no established routes to those objectives. Many try but few succeed. But the fundamentals of the craft can be learned and learned well in a film school. Therefore, case the special privileges granted to a select few (like birth of a great camera or studio executive director), film school is probably the best place to start. Also exposed to a wealth of information on many other aspects of the business.

What you need to know

There are obvious things have to study to be a Declaration of Principles, ie photography, including composition, lighting, movement, and fine arts in general, including music, painting, even sculpture. It also helps if the PDO has a good hand-eye coordination and is good with his hands, with tools. After all, a camera is just a great tool complicated, delicate, with a large number of interrelated parts that must be mastered by the dictatorship of the proletariat. It is also important for a Declaration of Principles to be a good leader, a good communicator and have good people management skills. But one of the most important things that a PDO should know well is often overlooked. The study of the theory of "montage" or editing. Installation The theory is at the heart of what makes "movies" work, either on television or the big screen. It also includes and requires study and understanding of the psychology of human perception – the things that happen between "seeing" and subjectively "perceived."

Some of the most important dynamics of the moving images we see on TV or in a theater is the dynamic of "cutting" a scene or a glass or frame against another, then another, then another, etc. This dialectical process, this union two things to create a third, then join with another and so on, without end, this is the basic grammar of cinema as we know it and works on many levels. It works in the juxtaposition of scenes, shot in a scene and the elements of image and sound and movement. What direction is the movement of the composition, physical lighting and lead the viewer s eye and the effects are the juxtaposition of these elements with the emotions and perceptions of the viewers? shot wide, medium shot, close up, toward the screen, these progressions are basic to the language of cinema as a subject and verb are the spoken language. These concepts and more are the fundamentals of visual language of moving images and should be well understood by anyone who wants to be a cameraman.

As a director of photography …

Q: Could you define the work of filmmakers? How can one be in the light or electricity?

A: The Director Picture / photo (yes one and the same person) is like a film photographer. All related technical department (camera, lighting and electricity, and grip) describes the work as the work of the AD. One in thirty-four (1 / 34) as does AD. It takes years of professional experience to get your ICS WICA and accreditation.
Ask yourself this question …

So the conclusion is that there is no real set way to become director photography. Ask yourself this question – "What is your life on" What are your hopes and dreams and find a way that best suits your needs. Want to work in the industry, learn from the pros and then start shooting?

… Be prepared for the big drop in pay

A lot of camera assistants work for at least five to seven years and then start shooting. Camera Assistants that much money department whole techie. Money can be bad sometimes, in the sense that we lose sight of their goals because they are offering so much of it. Years pass and suddenly everything you've done is make money.

Be prepared for the big drop in pay, since no land will be $ 2000 – Touching Commercial 3500/day in its first year, much less the top three. Some people start shooting as soon as they come out of film school and five years later could be a DP professional (in my opinion, a professional is someone who earns a living from their craft.)

You need an incident light meter (I recommend Sekonic L398 for beginners) and a spot meter (Minolta F and M). Also practical, working knowledge of various cameras, which means understanding the depth field, the circle of confusion camera operation, and learning and understanding a sense of enlightenment that means understanding the temperature color, gels, broadcasts, farewells, etc, etc.
Advice for volunteers …

The volunteers in the shoot for three reasons:

1. To gain experience or upgrade.

2. To make contacts.

3. as a favor to someone they work with a lot.

Getting volunteers on a property is very difficult because nobody can afford to work for free for eighteen weeks. My teams are loyal to me because I gave them a chance when nobody else would. One of the attendees of the camera just received your letter of FTII was one of the lucky few who were accepted this year for the course of filmmaking. When a crew member can not work with you because they make money they have to respect that.

His personal key has to be experienced, no doubt about that. Everyone can volunteer. I worked in a lot of volunteer trips when I was making the transition from videos corporate filming. The keys always lived and were always usually pay (usually below the scale.) You can do this in the movie format short, but not in a function.

Film is not only an art. It is also a business.

The executive producers tend not to invest in people without experience as director or producer. I've seen ads where people are claiming it could make a function for $ 100,000.00 can do if you are a veteran of the industry that could get a lot of great offers and get people for the people in the industry. For each of them there are hundreds whose film does not get finished for one reason or another. I humbly beg you, do not hold the money man until you've done your job as a producer and everything in place.

Find that gem of a script is character driven, simple and very few places. Actors – you'll have no problem. Finding an actor who has done much work, but not enough in Bollywood s a list and give them a party can not refuse. If you can attach the names of your movie so people are interested and even give you money.

… Filmmaker heart!

I am one of the few people who actually worked in three departments. Most people work in one department. But I think this is what made me a single shooter. Also attracted a lot of directors to because I can do all three depts. I was a technician for rent, but I am a filmmaker at heart. My knowledge of theater and film has helped me immensely in working with principals and understanding that are coming.

The fund ………………

Final advice: If you really want to succeed as a PDO (or anything else in life) – be tenacious! Never give up! However, be prepared to spend many years, even frustrating to find the way and climb the ladder. Since there is no fixed route to become a cinematographer or director or actor the way is often unclear and may be very frustrating. But if you look at the careers of those who have been successful in this business you will see three things have in common: the tenacity, toughness and tenacity! Of course, talent is important, but that's just a lot of hard work and desire to stick to it. Become a doctor, lawyer or engineer is easy compared because the road is clear. If you just do the job, you get the title. It is very cut and dry. Making your own way in this business is much more difficult and that's really what separates the wheat from the chaff.
And do not forget the fate and destiny. You will need lots of it. Not the type you need when you are rolling the dice, but the kind that exists, "at which time and preparation to meet!" That kind of luck you can do for yourself. Al be prepared, fully prepared to take the opportunity when it arises. And that diligent preparation will also be exposed to many opportunities and and see how to create your own.

Remember – visions are worth fighting.

What the mind can conceive, you can achieve if you believe.

RESPONSIBILITIES OF DIRECTOR OF PHOTOGRAPHY / MUSIC

The responsibilities of the directors of photography "as shown below are an attempt describe the functions of a director of photography is likely to encounter during his career. No two jobs are the same and duties will shrink or expand depending on the scale and job complexity. As can be seen, there is a huge amount that a director of photography is necessary to know and do and this can only be learned over a number of years shooting. Our thanks to John Hora ASC, which has developed this list for publication in? Director of photography in America? Magazine. It has been adapted slightly to web site to reflect India's technical terminology.

I pre-

A. Conceptual research and design
* Discuss all aspects of writing and the focus of the directors of photography in preliminary talks with the director
* Analyze script as a whole
* Analyze the structure of the story
Analyze characters
* IP, events, general affairs and the proper design elements
Style * Design, visualize approach
* Continue discussions with the director in the new ideas
* Agree with the director
* Discuss and reach agreement with the production designer
* Discuss and agree with the technical adviser.

B. Research and Design Practice.
* Determine budget needs or find out
* Scout and approve locations
* Plot position of the sun for locations
* Check weather local
* Check the tide tables near the sea
* Review, discuss and approve the plans established
* Review, discuss and approve plans for location for stages
* Review and approve the accessories, picture cars, planes, boats, horse-drawn vehicles, models and miniatures

C. Techniques Research and Design.
* Visit the laboratory to calibrate, modify and evaluate the exposure system for any combination of electronic image capture or chemistry, and establish developing, printing, set time and transfer protocols
* Check equipment suppliers
* Explore new Teams
* Learn how the new equipment works
* Inventing (or cause to be invented) special equipment or techniques to show
* Standardize and effects to create bible for show
* Help establish and approve all storyboards
* The design (or have designed) and approve any incorporated attachment or practical lighting
* The lighting design plots and rigging plan of the stages and places grip manager and key

D. Quality Control
* Select and approve the crew, film, laboratory equipment, second unit and visual effects teams
* Oversee the production and testing of new equipment modified
* Visit construction joint
* Approve wild walls, pieces of roof and any all moving parts
* Check lighting fixture crew
* Walk locations and scenarios with all departments to discuss the requirements
* Approve fixed colors and textures
* Approve suit colors and textures
* Approve the makeup and hair
* Generate (or have generated) and approve equipment lists for the camera, electrical and grip
* Check daily cinemas of the principles of good

E. Application
* Cast substitutes
* The train crew to use any new equipment
* Horse sites and stages with the director and the firing device plan
* List special equipment production manager and indicate the number of days required
* Work with the assistant director shooting schedule (order and days needed for each scene)
* Estimate and material for the film (type, size and quantity)
* Build (or have generated) and pass the rig and the firing of labor and man-days
* Assist other departments to get the necessary equipment for labor, and evidence
* Drop all departments and heads of the visit at least twice a day to answer any questions
* Mediate problems between departments
* Check the burden of production trucks or cargo containers for the placement or international shipping
* Visit sharing throughs and test execution
* Advice and support from the director about any problems
* Support production problems

F. Tests
* Shoot-style tests
* Shoot the laboratory tests
* Shoot for the lighting test of the main actors
* Shoot the camera and lens tests
* Shoot the wardrobe and makeup tests
* Shoot the testing of all special effects processes, fixtures or unusual methods

Take II

A. Planning
* Review and approve all call sheets and shooting order of the day? s work

B. Lock
* See test scene to be shot
* Device list with the director shooting (Coverage)
* Select the lens and composition, show the director for approval
* Composing and safe movement to fulfill the task scene
* Work mechanical problems with the camera, dolly and crane grips
* Set any camera movement signals,
* Alternate location and test, improve
* Ensure proper coverage of the scene to the editor
* Work with the assistant director of the background action

C. Lighting
* Lighting design to show system / best location in relation to history, style and dramatic content
* Light from each actor to reinforce and reveal character
* Make the mood and tone of light to help tell the story
* Design of light for a minimum reset time between configurations
painter * Use to control lights, shadows, aging, dusting down sets and Accessories
* Set and match the value of light, color, volume, and contrast of each facility (exhibition)
* Set the signal lights (light sound, lights, color changes and any programming required)

D. Preparation
* Resolve any sound problem
* Work with no problem with other departments
* To review, adjust and approve all the tricks with the stunt coordinator
* Set the additional cameras needed for tricks
* Double security check with all concerned
* Show shot to the director to make any final changes
* Get the mechanics for players final test, to resolve any outstanding problems

E. Photography
* Photography Scene
To approve or correct take
* Check the parameters and restart the next shot
* Shoot any plate
* Shoot any video material playback
* Go to next step

F. Administrative
* Define the configuration for the first time in the morning and after lunch
* Make sure you have still images of the scene
* See that? Making? and / or equipment necessary to obtain images EPK
Script supervisor * Make notes of any camera or lighting special
* Check film raw stock inventory
* Try to shoot up short ends
* Check that the camera logbook keeps up
* Full day of work
* Discuss first installation for the next day
* Make sure the camera crews, power and grip to get all copies of equipment rental or purchase and approve invoices before paying vendors counters
* Be wary of any future or ongoing production at the end of the day
* Check for return of all unused equipment

G. Quality Control
* Call for lab report
* View the previous day in the daily work planned with the director, producer, editor and camera equipment
* Discuss and approve daily
* Consult makeup, costumes, production design and assistant director on daily
* View, analyze, correct or approve the second unit or daily effects
* Order reprints if necessary

H. Training
* Teach actors from the film technique (hitting marks, frame size, lenses, etc)
* Formation of the camera crew to the next higher job

I. Contingency
* If the director is the day of disabled finished shooting his or her

III. Post

A. Other Photography
* Discuss and be aware of deadlines for all post
* Photograph or approve any additional scenes, inserts, special effects or second unit sequences

B. Calendar (Color and density)
* Time and approve trailer from theaters and TV
* Approve all compositions optical and digital effects
* Time Image
* ReTime to correct

C. Quality Control
* Approve final response printing
* Director of OK Show
* Approve interpositive (IP)
* Approve internegatives (EN)
To approve the release prints
* Approve original negative impressions show
* Approve the blasts or reductions

D. Telecine / color correction
* Monitor and approve the original film or digital transfer to electronic media or film (high-definition NTSC, PAL, teachers scam, digital intermediates, the master file, etc.)
* Monitor and approve all transfers to and from digital intermediate
* Monitor and approve all mailboxes, pan and scan or a change in film format
* Monitor and approve the correction tape color tape, VHS, DVD, projection digital media, etc.
* Show the electronic transfer to the director of OK

E. Advertising
* Take out an advertisement (newspapers, magazines, Internet, radio, TV, DVD commentary, etc)

F. Restore File
* Will be available for any future reissue, reprinting file or electronic transfer of the film.

This list of duties of director of photography was published in http://www.rajeevjain.com/

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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