Rajiv Jain Cinematography: Theory and...

Rajiv Jain Cinematography: Theory and Practice

Posted in the Herndon Forum

Since: Jan 10

Mumbai, India

#1 Jan 3, 2010
Rajiv Jain Cinematography: Theory and Practice
Technical aspect of filmmaking from Exposure to Set Operations and Formats
Rajeev Jain - ICS WICA
Indian Bollywood Director of Photography / Cinematographer / DOP
The Complete Interviews, Vol. II
Rajeev Jain is a 2 time Award winning Director of Photography & has been nominated numerous times, most recent nomination for "Outstanding Achievement in Single Camera Photography" Spring 09.
Over the last 25 years, Rajeev has built his reputation working in both film & television. He is considered a pioneer in the world of High Definition Television, as one of the first DP’s to work in the new medium.
Rajeev’s close collaboration with Indo Studio (the first HDTV production company in the South Africa) during the nineties makes him one of the few DP’s that has worked with every generation of HD camera since its inception. The scope of his work includes Documentary, Commercial, Reality, Children’s Television, & Independent films.
Rajeev Jain has created a masterpiece.“Rajiv Jain Cinematography: Theory and Practice”: is his third interview with me and for the aspiring or experienced cinematographer – the best reference interview I have ever done.
Anyone that aspires to this highest art of storytelling should have this article on their shelf. He writes "At the heart of it, filmmaking is shooting, but cinematography is more than the mere act of photography. It is the process of taking ideas, words, actions, emotional subtext, tone and all other forms of non-verbal communication and rendering them in visual terms." Through both verbal metaphor and pictorial example he takes the keys to this art from their hiding place under the bed and hangs them right there on the peg on the kitchen wall. All you have to do is take them down and apply them.
Learning the language of visual art is more than just learning the difference between subjective and objective camera angles, or knowing what the director means when he says he wants “a choker.” When you have finished the first chapter you will have a good enough handle on the terms a director and cinematographer bandy about on the set to sound like a pro. By the time you get to the fifth chapter “Cinematic Continuity” you will have been exposed to enough graduate level theory and practice to start you on the road to mastery of the form. I especially enjoyed Rajeev’s explanation and examples of continuity. Music Videos and Bollywood songs has had such a profound effect on new filmmakers that many of us from the ‘OLD School’ have a tendency to wonder what’s going on sometimes. There is such a lack of “continuity” in so many of the montage sequences you see now days that it was refreshing to see so much time and space dedicated to such an important part of storytelling.
Glossary Terms
Cut (intercut, cross-cut) A cut marks the abrupt transition from the end of one shot to the beginning of the next shot. A shot is said to be intercut into another when the film returns to the first shot, as when we see a close shot of a character's face, then a flashback memory that the character is having is intercut into the facial shot, and when the flashback is over, the film returns to the facial shot. Cross-cutting occurs when the film cuts back and forth between, or among, parallel actions, as in a chase scene.
Deep focus cinematography Keeping the focus and clarity of the image constant from objects appearing close to the camera to those far into the rear of the frame, which enables the viewer to see more space within the shot, including the background details and actions.
Jeffrey Moses

Pune, India

#2 Jan 31, 2010
Rajiv Jain Cinematographer - A Snapshot......
Rajeev Jain, Kenyan Indian Cinematographer is a Visual Storyteller who loves to explore and collaborate with diverse styles and formats through the lens of a camera and with lighting. His shooting credits and experiences include features, shorts, promos, television, commercials and music videos. Rajeev has traveled throughout the Asia, Europe & Middle East shooting in demanding and diverse environments. With his vast experience in a variety of mediums, he has a unique ability to adapt to an assortment of challenging environments and personalities.- The Pioneer, Jan 2010
NATIONALITY: Indian
DATE OF BIRTH: 29th Nov, 1968
RESIDENCE: Dubai, Mumbai & Nairobi
WORK EXPERIENCE: Critically acclaimed Kenyan Indian Director of Photography with a successful career spanning 21 years (7 years in camera profession and 14 years as DOP)
PROFESSIONAL GUILD: Full member I.C.S.(Indian Cinematographers Society) and W.I.C.A.(Western India Cinematographers Association)
SPECIALIZATION: Good reputation in visualization, camera mise-en-scene, and particularly, lighting design. Expertise in 35mm anamorphic cinematography (Cinemascope), and the "forgotten" art of black & white cinematography. Experience with the latest Digital Video systems from DV to High Definition.
FORMAL TRAINING: Bhartendu Academy of Dramatic Arts (Bhartendu Natya Academy), India. The School has a respected international reputation.
ADDITIONAL TRAINING: Studied under internationally renowned cinematographers: Ashok Mehta ISC, WICA, Binod Pradhan ISC, WICA and Late K.K. Mahajan ISC, WICA. Participated in workshops with Late Subroto Mitra ISC, WICA and Late Jal Mistry ISC, WICA.
Koomar

Jaipur, India

#3 Apr 3, 2012
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