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Directors Cut

Sonic Adventure DX Director’s Cut and 2: Battle NINTENDO Gamecube $29.99

D’s Diner Director’s Cut for 3DO DnoShokutaku Japanese $36.00

Star Ocean 3 Director’s Cut $49.01

Tales of Destiny Director’s Cut [Premium Box] $86.79

Fatal Frame II: Crimson Butterfly (Director’s Cut) (Xbox, 2004) $20.00

Broken Sword SHADOW OF THE TEMPLARS THE DIRECTOR’S CUT NEW NINTENDO DS $13.99

Grand Theft Auto (Director’s Cut) (Sony Playstation 1, 1999) $9.97

SONIC ADVENTURE DX : DIRECTORS CUT – GC / Wii – COMPLETE $9.47

Gone In 60 Seconds Director’s Cut (UMD-Movie, 2005) $14.99

Sonic Adventure DX (Director’s Cut Edition) (Nintendo GameCube, 2003) $17.95

Sonic Adventure DX (Director’s Cut Edition) (Nintendo GameCube, 2003) $2.00

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Assassins Creed DIRECTORS CUT * PC SHOOTER * NEW $9.99

Heavy Rain: Directors Cut (Sony Playstation 3, 2011) $16.49

Sonic Adventure DX (Director’s Cut Edition) (Nintendo GameCube, 2003) $13.75

Medal of Honor Pacific Assault Director’s Cut Disc Only $2.81

Sonic Adventure DX (Director’s Cut Edition) Nintendo GameCube/Wii, COMPLETE!!! $13.99

Sonic Adventure Dx – Directors Cut $9.99

Assassins Creed Directors Cut $7.99

Resident Evil Director’s Cut PS1 Great Condition Fast Shipping $29.93

Nintendo Gamecube / Wii Game Sonic DX Director’s Cut $18.00

ASSASSINS CREED DIRECTORS CUT 2008 XP – VISTA PC DVD $12.00

Playstation PS1 Resident Evil Directors Cut Complete Video Game $25.46

Sonic Adventure DX (Director’s Cut) for Gamecube/Wii ~ Very Good! $16.00

Assassin’s Creed (Director’s Cut Edition) (PC, 2008) $0.99

Assassin’s Creed PC DVD Director’s Cut Edition~Never Played~But Package is Open $29.99

Heavy Rain: Directors Cut (Sony Playstation 3, 2011) $15.00

ASSASSINS CREED DIRECTORS CUT (PC Games) * BRAND NEW & SEALED * XP * VISTA * 7 $9.95

Jack Orlando: Director’s Cut (PC Games) $14.99

Gone In 60 Seconds Director’s Cut (UMD-Movie, 2005) $13.00

Heavy Rain: Directors Cut (Sony Playstation 3, 2011) $24.95

Fatal Frame II: Crimson Butterfly (Director’s Cut) (Xbox, 2004) Complete $19.99

Broken Sword: Shadow of the Templars Director’s Cut Wii $43.17

Sonic Adventure DX (Director’s Cut Edition) (GameCube & WII) 2003-action $13.95

King Arthur: Director’s Cut (UMD-Movie, 2005) $7.99

Star Ocean 3 Director’s Cut $41.19

Resident Evil: Director’s Cut (Sony PlayStation 1, 1998) Complete Rare GH $15.95

Resident Evil (Director’s Cut Edition) (Sony PlayStation 1, 1997) complete $19.89

Fatal Frame II: Crimson Butterfly (Director’s Cut) (Xbox, 2004) GAME AND CASE $30.00

Sonic Adventure DX (Director’s Cut Edition) (Nintendo GameCube, 2003) $7.00

Gone In 60 Seconds Director’s Cut (UMD-Movie, 2005) $7.05

Sonic Adventure DX (Director’s Cut Edition) (Nintendo GameCube, 2003) $9.95

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Light keeps me company – A Poet of Light and Shadow – Rajiv Jain (India Photography / Cinematographer / DOP)

The light makes me Company – A Poet of Light and Shadow – Rajiv Jain (India Photography / Cinematographer / DOP)

Shooting Stars: Interview with India's largest photo Vida Rajiv Jain

Interviews, vol. II

Success story of a genius fascinated by light • Rajiv Jain • Award-winning director of photography india • Photography • DOP

Exceptionally gifted in overcoming technical barriers and gloomy atmosphere, in twenty years India Rajiv Jain has become one of the most DOPS sought after, having had an unconventional career. Rajiv has not let fame go to her head and although still modest. After studying drama in Theatre School Bhartendu Indian Academy of Dramatic Art (Bhartendu Natya Academia), Rajiv Jain made some seasons as an assistant cameraman. Very quickly, the Boredom took hold of him and he began working on television sets where twenty-five years experimenting with and developing all your work style: quick, efficient, conscientious. His curiosity led him to make clips, advertising and films, for example a Wonderful Love Pyar Mein Kabhi Kabhi of that was a great success. Now Rajiv is best known for his work on the controversial film Badhaai Ho Badhaai Satish Kaushik, as well as Mirabai Chandrakant Kulkarni is not out, Ram Shetty Army and Chandrakant Kulkarni Kadachit.

Cinemania: You have made over 1500 commercials, seven characteristics, there is already a "light Rajiv" Right?

Rajiv Jain: Yes, it's quite a surprise. It all started with Manika Santiago had specific demands for the realization of Kalpvriksh – The tree of desire. She also wanted his movie to look like an everyday practice as much as possible, with natural images, but a universe powerful. She contacted me after seeing the role of Badhaai Ho Badhaai where natural image was natural, but typical. That's what I wanted, but without the light. I to rebuild a completely new approach to light, which is a Very Rare thing to have to do in a function. We made use of natural light in the field, I used a lot of bulbs of sodium lights. I worked hard with the decor to create a bright image. With Kalpvriksh Manika Sharma – The tree of desire, which was the same principle: that only using sunlight through the use of reflectors, mirrors, to direct that we needed. The ordeal was a composite of these two approaches, without sources direct light film, which came from the windows. We tried a lot of things. With the constraints, which realized that There Were other forms of lighting. There one reason that uses multiple sources! If I use a little light, everything is decided from the beginning and I work a lot with the art director. When I work in the calibration digital know it is not necessary to be able to see everything.

I only work with artists whose universe is very strange.

People I know have demands, dreams, different and extreme preferences. So every time a new challenge – I have to invent a new system. There's a real role to play and I like, I do not like making a movie where there were no pictures of writing. And as I get bored very quickly, I do not like doing things twice! People tells me to do a lot of genre films, but I do not think so. Kalpvriksh – The wish tree is an atmospheric film with an animation of Tex type Avery.

Are You loaded with projects at this time?

I have two movies in a row, yes. But I have chosen well, I prefer taking it easy. I am particularly fascinated by one, the fourth film by Raj Kaushal. He wants to make a movie and looking rather strange things do not exist. Recently I was in Bombay for testing with a new HD camera 4 K. I had the opportunity to see the digital process from capture to image projection. I almost fainted! It is very fine, the picture is completely smooth, very new. I really want to make this film, I think it's very passionate visually.

 

Rajiv Jain, Director of Photography Indian Bollywood – Vol profile series of interviews. # 4

Army Badhaai Ho Badhaai continue Pandu, Kadachit, Kalpvriksh – The Tree of Wishes, Mirabai not out and Kabhi Kabhi Pyar Mein. But the reason these movies partial success is the talent that goes on behind the scene, and noted cinematographer Rajiv Jain is the genius behind the lens of these films (among many others).

Rajiv, a graduate of the Academy of Dramatic Bhartendu Arts (Bhartendu Natya Academy), first had his hand in the gallery of studio work in Lucknow, where he worked as cameraman for short films, which began his journey in his work as director of photography. Now his vast experience has made him one of the pillars of the photograph of the film in Indian cinema. Their constant output of hard work and deep knowledge of old and new technology has become one of the most respected filmmakers out there. In 2010, current Rajiv Jain is working on new projects, and is sought after by major or independent filmmakers for their watchful eye.

I had the opportunity to speak with Mr. Rajiv about his career (and also talk about work, so be forewarned that there is some tech-talk here too) while attending a forum dedicated film to work in Kalasha Film Festival this year, Kenya.

Hyte Aason: So I'll just let this roll of tape and feel free to only say what's on your mind-

Rajiv Jain: I am not good at inventing things, so …

AH: I interested in cinematography, and when I heard he was coming to Kalasha Film Festival thought it was a great idea to talk about her career and her immense work. I have been curious as to how you got your start in this industry, education, and so, basically like how You Are finished today.

RJ: It would be easy to tell you about my experience drama school, and they just did not go to any school cinema. The way I learned to go directly to the movies and see what someone else was doing on the screen, and then go out and try to do it myself. And that was it. I also bought the manual that the ASC (American Society of Cinematographers) puts out, which is known as the bible of the movie. I have read the manual and referred to it when I had a problem trip and thought I needed help.

AH: When I first started to watch movies, besides going to see a great story, I know you realize things like framing, lighting Widescreen …

The RJ Absolutely not. Initially, I was not interested technical. I just went to the movies like everyone else. But I was impressed by them. I was about five when I saw the first movie ever made sound and I was impressed by that. But on a very subconscious level, suspect, though used to riding a cycle along and hear my father sing, it was just an experience who was buried in my psyche somewhere. "I did not start shooting movies until I was 28 years.

AH: What was the first time you had real work in this industry?

RJ: A man by the name of Mukul Anand S …

AH: Oh, I'm a fan.

RJ: Of course. I decided to shoot some listings under his command.

AH: What would you consider the most difficult aspect of his work as director of photography?

RJ: The films are more difficult be the largest that require control of a bunch of people and lots of cameras, and over a large area, or sometimes many places. Keeping organized is something Some filmmakers are not capable of, so you get smaller movies. Small movies can be so difficult for them, because the pressure of small film means You Can not have the time to properly collect their images, and this is another pressure that is defined as difficult.

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

RJ: I think that everybody can not stop to have their own style and personality that comes, but comes to what they feel is beautiful, this is what a good composition is how the world can not see stop invading what they do.

AH: How do you feel that the advance of technology has affected your work? I mean most new types of film, the advance of high-definition digital revolution ….

RJ: All things that you mentioned definitely affect my work, and affect what I do and how I do. It is a challenge for me to keep the wise to know what all these things mean. If you are talking about of digital photography the challenge is how to get the best quality and which system is better to use. Some of these systems use compression, there are several types compressions, it is important to understand what it is and what it means.

For example, new network cameras do not use compression at all, but the records on a disk hard and corrections added later. They claim that for better quality, and so on, the point is that it is important to understand all these things, to take a decision on his own part, whether you're shooting digital, the system you want. Panasonic has a network in which the curves used to correct what your camera makes it more like the movie and that is pretty impressive.

AH: What do You Think about the HD versus film 35 mm?

RJ: It is a matter of just having an opinion, but their opinion should be based on facts. And the fact is that the film is probably about double the best quality high definition ha. Film still the best. Part of the reason is latitude obtained in the film exceeds more than anything you can get high-definition video, however, at this point in time. One day can improve, but at the moment, the film away, comes to the quality of the amount of information that can be captured in a small area. Film still stands as the leader, and new actions that Kodak is putting out additional stops of latitude on both up and down. It is absolutely beautiful.

AH: What is your favorite kind of actions you've worked? I know we're REALLY doing fine art now, but I love it.

RJ: I meet a Kodak film and new operations is an additional margin, you can get both in ASA 500 film and you can get stock in daylight too. It continues to improve.

AH: What version prints? Do you have a favorite?

RJ: It depends. Kodak has more than one option of the shares of printing for release. For example, one is softer, one more detail, and so on. You have to Choose Your stock in accordance with the table you are releasing. There is no better. It is a product that shows Its Best.

AH: Do you have a personal preference in which aspect ratio to shoot in each project?

RJ: No matter what it looks too much on the director decides to shoot in. It is a composition different, written in a different format against the other. Close-ups are easier on the ball 1.85:1 format, and in any format screen Broadband has to do it a little differently. Both work and both have their own challenges. If you are showing a horizontal view large and you want the widescreen to show the territory, then that is a good choice. If you are a little tight film, personal, then maybe not.

AH: What think about wide-screen format 35 Super? (Super 35 is a spherical widescreen process where negative film is shot in the 1.85:1 "Flat" becomes optically format and print a statement anamorphic.

RJ: Super 35 is a great format. It is one of the best options you can do today, and the reason for its better now through digital printing.

AH: Exactly, which actually was my next question, how have the digital intermediate film processing in laboratories today.

RJ: Changes in this way; if you shot in widescreen, Super 35, because all the projectors and the houses that are distributing the film have to tighten the image to use their lenses – which is stupid, but it is a matter of money – then must go through a step further into the film in Super 35 to get it back to a compressed image. You no longer have to do that with a digital intermediate.

AH: The great news is that digital intermediate recently have recently gone up to 4k resolution compared to 2k resolution, which greatly improves the quality of printing. "Kalpvriksh – The Tree of Desire" and "Carry Pandu" are examples of films shot in Super 35 and DI'ed to 4k resolution and they look absolutely stunning on screen.

RJ: Oh yeah. You double your image quality digitally, but still have to rewind the film quality a bit …

AH: But even so i want it to look like film. You go to a theater to see the film, not digital. Many of the films shot in HD look a bit disappointing me [when it is transferred to film ...]

RJ: Digital both in sound and picture quality is more severe, and in fact often to detail lacks the smoothness you get from a lens, a special lens that is out of focus in the background and focus in the foreground, which tends to bring that image forward and focus your attention on it better. In situations like that sometimes digital does not feel so good, it's not as natural, and natural disasters in terms of a forest a tree or touch someone's hand. That kind of human experience, you're kind of a digital distance times greater than they are in the cinema.

AH: And keep working hard. What is working now?

RJ: I just finished a painting in Kenya, with its right front let go and we are editing now. It is being developed at this time.

AH: Who would you say are some of your favorite filmmakers? You have most important influence in your work?

The RJ Subroto Mitra is one of the great –

AH: Oh, dead. Her work in Pather Panchali, my favorite movie, is unforgettable.

RJ: But as Subroto Mitra, one of the filmmakers many out there, although I do not want to put one above the other, and the reason I do is because as great as Subroto Mitra was, he was different from other filmmakers out there.

Subroto Mitra likes to come up with new formats and new ways to develop the film and has done a lot of that over the years. Many others have tried, but again, depends on who you are and what I think is great. If it is worth the effort, if you see the difference, then fine. Many times, when trying taking of another person and playing technique, you are not after the same vision and not you. Frankly, I am very inventive things I do and prefer to follow my own ideas, simply because I know what I look for instead of copying someone else.

AH: What would you say is your favorite movie photographed of all time? Or even your favorite movie?

RJ: I'd rather not have to make a choice because when you say favorite it's almost like voting for best actor in the years that I think is totally ridiculous because one is as talented as the other. You may prefer because of the script or the director of the address of actor, but it is really unfair to say "this is better than the other" because it would be equally absurd to me all the great movies that have been out there and go "I like you more than any other!"

AH: I like that answer. I always ask this because all my interviews and I admire greatly in different general responses I have. I either get a brilliant response like that or get someone who says "I see hundreds of films year and this is my # 1 of all time. "And while I choose Pather Panchali like mine, is only one answer to a question, in fact, is the one I choose, despite that I have about 100 movies of all time.

The RJ course. At one point if I am sitting in a theater, and inspired me I feel that way at a time, but to sit and think about it, is apples and oranges. Different films are great for different reasons!  

Success story of a genius fascinated by light • Rajiv Jain • Award-winning director of photography india • Photography • DOP

 

A sample lesson: Film vs HD …

Aspiring filmmakers are fortunate compared to years ago. Today, you can make a movie in just about any format and still be taken seriously, assuming that you have a great history and pretty good production values. As mentioned, The Blair Witch Project is one of the most successful independent films never has been done, however, was filmed with a consumer video camera (not digital).

Before the digital revolution of the 1990s, things were very different. If the movie was filmed in a format other than 35mm, there was no chance of being distributed. 16 mm, was not taken seriously and video was a joke. These rules were so ingrained in the industry, including actors reluctant to work on non-35mm shoots.

That has all changed now. Affordable, high quality digital cameras have democratized the industry. Still, 35mm film is the standard by which all the video formats are judged.

Have you reached the level of same video quality of 35 mm? old school directors say "no" because the ability to capture images of 35 mm is a gazillion "times that video. Is this really so? Let's take a closer look. The truth may surprise you.

Note: The following study is based on the classic High Definition with 1080 horizontal lines of resolution. In 2007, the first ultra high definition camera was introduced with an incredible 4520 lines. Keep this in mind when reading! The concepts associated with high definition (HD) video can be confusing to those unfamiliar with the video camera function. If you are a beginning filmmaker, terms like scan lines, SD, hd, 4k and technology surely make your head turn!

Fear not because the concepts are surprisingly simple. In this lesson, we'll cover the basics of high definition video and provide a practical understanding terminology. In addition, we will see 4k technology, also known as ultra high definition. This technology is used by One Network's innovative chamber, presented by the Red Digital Cinema Company in 2007.

To understand high-definition video, we have to start at the beginning and examine how images are recorded by a video camera.

Recording

Video recording, magnetic tape Travels Through recording head of the chamber. The head is essentially an electromagnet, which is activated by the electrical signal from the image processor. As a travel video tape the head, the iron particles on the tape are magnetized. This, in essence, becomes the recorded image.

The latest generation of video cameras can be recorded to hard disk or removable card. This allows files to be transferred directly to your computer for editing.

Lines reading

The video image shows a horizontal line at once. These lines are called scan lines and the process is known as scanning. If you look closely at the TV screen you will see the scan lines. Probably can not see on your monitor to the computer because the lines are more narrower than on a TV.

Standard Definition (SD)

The term "definition" basically means details visible in the video image. Is measured by the number horizontal scanning lines in a single frame. In the United States and Japan, standard definition Video is 525 lines. In most European countries the standard definition is 625 lines. (The first is known as NTSC, PAL latter is).

High Definition (HD)

Although much hype has been made on HD, the concept itself is simple to understand. Technically, anything that breaks the barrier of 625-line PAL can be called high definition. The most common HD formats have 720 and 1080 scan lines.

Ultra High Definition

Ultra high definition has an amazing 4520 lines of horizontal resolution. Known as "4K" technology because the scan lines than 4,000, which will undoubtedly be the industry standard in the future.

The following pictures show the relative size of different formats. The first part represents the typical digital video (DV and DVCAM). Note details of the improvement as the number of scan lines increases. The final photo shows the leap in imaging technology provides details of 4k.

As a point of reference, the typical computer monitor screen flat has 2,000 lines of resolution. 35mm – as perceived by the human eye – falls in the midrange high definition. For more information on comparisons 35 mm please see our sample lesson: HD vs. 35 mm.

4K technology is based on the proprietary chip developed 12 megapixel digital network company Cinema. Its affordable Network One chamber can shoot all popular scanning speeds, including those shown above. 4k technology can become Case death of 35mm film.

Comparison

There are two factors that can compare the color and resolution. Most observers Casual agree that, based on a television monitor for quality, HD is really great color. To avoid tedious mathematical argument, let's accept this at face value and focus on the comparison of the resolution, which is the real spoiler.

Resolution is the detail visible in an image. Since pixels are the smaller the information point in the digital world, it seems that the comparison of pixel counts is a good way to compare the relative resolution.

Film is analog so there are no real "pixels." However, based on measurements made, a frame of 35 mm is 3 to 12 million pixels, depending on the population, lens and shooting conditions. An HD frame has 2 million pixels, as with 1920 x 1080 scan lines. With this difference, 35 mm seems much higher than HD.

This is the argument used film purists. The truth is, the pixels are not the way to compare resolution. The human eye can not see individual pixels beyond a short distance. We can see are lines.

Consequently, manufacturers of measuring the sharpness of images cameras and components using a parameter called Modulation Transfer Function (MTF). This process uses line (not pixels) as a basis for comparison.

Since NMS is an industry standard, we maintain this standard of comparison, high-definition 35mm film. In other words, we make the comparison with lines instead of pixels. scan lines are video images how they compare, so it makes sense from this standpoint, too.

HD decision

As previously discussed, the standard definition and high definition refers to the amount of scan lines in the video image. standard definition is 525 horizontal lines for NTSC and 625 lines of PAL.

Technically, anything that breaks the barrier of 625 lines of PAL could be called high definition. The high definition resolution of 720p and 1080i are common lines.

35 mm resolution

There is an international study on this issue, called image resolution of 35 mm film in the Theater Presentation. Was carried out by Hank Mahler (CBS, USA), Vittorio Baroncini (Fondazione Ugo Bordoni, Italy), and feeling Mattieu (CST, France).

In the study, MTF measurements were used to determine the typical resolution of theatrical release prints and engravings response in normal operation, using current state art 35mm film, processing, printing and projection.

The prints are projected at six theaters in various countries, and a panel Expert assessments made of the projected images using a well-defined formula. The results are:

RESOLUTION 35 mm

Measurement lines

SMN Answer Print 1400

Print 1000 Release SMN

Theatre Staff Evaluation 875

Theatre Average of 750 reviews

Conclusion

As the study indicates, the differences between the HD and 35mm film are rapidly disappearing. Notice I use the word "perceived." This is important because we are not filming a movie for the study laboratory, but rather for the audience.

At this point, the typical audience can not see the difference between HD and 35 mm. Even the professionals have a time find it difficult to differentiate. We go through this all the time at NYU ("Was it shot on film or video.")

Once again, the study was based the standard high-definition 1080 lines of horizontal resolution. Now we have ultra high-definition 4520 lines.

On this basis, the debate is debatable. 16 mm, 35 mm DV and HD are all tools of the filmmaker. The issue is not the best format, but rather, what format is best for your project? The answer, of course, is based on a balance between aesthetics and budgetary considerations.

Technical aspects of film exposure the set of operations and formats

Jain Rajeev – ICS WICA

Indian Bollywood Director of Photography / Photography / DOP  

UMA: Can you talk about before you get your inspirations in filmmaking?

Rajeev Jain: See color television first started my fascination with the technology of light and photography. These Studies were enriched by a meeting of notables called DOP Mahajan KK, Mahajan M. introduced me to filmmakers like Mrinal Sen, Adoor Gopalakrishnan, Mani Kaul and Buddhadeb Dasgupta. And I noticed what a great art form this technology can be wonderful. Almost at the same time, when I was 13, I was crashing the whole door Shatranj Ke Khilari of Lucknow, which Satyajit Ray, directed and Soumendu Roy, was shooting. Roy was lighting the huge interior shot Arri IIC which probably 125 ASA color was negative. It seemed to be everywhere at the same time, improving the framework with the operator, by adjusting the positions of the players in the background, adjust the light of the least a dozen babies. As was a beautiful actress Shabana Azmi to your brand and subtly adjusted the shadow on the forehead, I thought to myself that this man has the best job in the history of the world.

UMA: if you had a quality label for a PDO really need to succeed in movies, what would it be?

Rajeev Jain: I think that in the absence of a better term would be a point of view. Everyone sees the world from their own perspective and this singularity is what the Declaration of Principles gives the film on the history, of course. It is difficult now because much of the industry is governed the economy, which means you're a hero if you can throw a little soft lights and remove a lot of shots. This goes against the idea and have a sense of what has the whole reason for the story you are telling. But, if you choose carefully and find the right director, his view will leave an impression.

UMA: Was there a key moment that can signal when I knew I was going to end up being a cinematographer?

Rajeev Jain: Well, there was a good time, but it was pure chance. I had no plans to become a director of photography, none at all.

UMA: His work has always felt so pure to me, almost spiritual in a way. What is the essential quality of a director of photography should carry a movie?

Rajeev Jain: The task of the director of photography is creating an atmosphere. To interpret the mood and feel Director wants to convey. I mostly perform this task by using very little light and little color. There is a saying that a good script tells you what you're doing and what is said, but not what someone thinks or feels, and there is some truth in that. The images do not, that is, capturing the faces and feelings in the atmosphere and I've noticed that there is nothing that can ruin the atmosphere as easily as too much light. My struggle for simplicity derives from my sense effort to light the true light.

UMA: If I had to pick one quality a PDO needs to succeed, what would it be?

Rajeev Jain: Sabor. Which means actually the ability to know what scripts to work, what feels good about composition, lighting, everything that happens during a movie. Taste is an instinct and should be directed towards projects that will provide a great experience. I've been lucky in terms of the films I had the opportunity to work, but part of that is my ability to go with what feels right to trust my taste and see where I will drink.

UMA: I wonder what the director never got to work with that would have liked, alive or dead.

Rajeev Jain: I think that those already not everything, it would Satyajit Ray. Their ability to visually tell a story was just incredible. And for those still out there, would have to be Adoor. These are the directors who are not dependent on spoken-word is very pure talent in the sense of sight, and that interests me.

UMA: 25 years have past since I was a young child that standing on railroad tracks in Etawah. Can you tell me one thing I've learned as DOP who helped him travel the tracks better than any other?

Rajeev Jain: Light. For all we do as human beings who are affected and defined by light. A picture director is a master of light. We have think about light, learn to see in all its moods and different approaches. It is absolutely the most important tool we have to work as director of photography and, I think, as people, too. He was always what I was so aware of when I was looking down the railroad tracks as a kid and now years later. Light.

UMA: So is that a shot all of their time favorite?

Rajeev Jain: No, not really. The problem to draw a shot is going against what I believe should make movies. A film is a sum of its parts and only one killed is as strong as what has preceded. Pather Panchali points very well. It's mostly done in these very straight in medium shots. Around the end of the film, after Durga's death, we see Apu brush teeth, comb your hair … go about performing tasks that would have involved his sister or mother. Sarbajaya (mother) has a stare … Harihar returns, without realizing the death of Durga. In a jovial mood says aloud to their children. The lack of response, Sarbajaya to get water and a towel for him. Harihar begins to show the gifts brought to them. When displaying a sari bought for Durga Sarbajaya broken. We hear the top notes of an instrument musical "Tarshahnai" symbolizing her crying uncontrollably. Aware of the loss of Durga, Harihar falls on your wife. We Apu speechless for the first time take the protagonist in the story. So far the story was seen by the viewpoint of each Sarbajaya or Durga. It is only in recent times we see as Apu an independent individual. This framework, which is amazing, would not mean nearly as much if not the entire film was done at this point in their eyes, the focus midplane. To select a single Throw in a film is to deny that the vaccine is important for the style already established.

UMA: Can you imagine a life without photography? A career completely different path from that taken?

No Rajeev Jain: No, not when I was younger I could. But later in my career after doing theater and Still Photography, I found this desire to go to study physics. I was in love with the concept of relativity of Einstein, who was the best poetry they had ever read. The notion that any matter contained in the energy and the energy in question shows the power of intuition by a man. Then I had a family to support and I realized that my way was in the film, not physics. But the instinct was there, however.

UMA: Form and content of work in harmony.

Rajeev Jain: Absolutely. As light and darkness, which seems to conflict can sometimes lead to a seamless union with great power on the screen.  

Rajiv Jain Cinematography: Theory and Practice

most Rajeev Jain is a two time award-winning director of photography and has been nominated on numerous occasions, recent nomination for "Outstanding Achievement individual in the photograph of the camera, "Spring 09.

In the past 25 years, Rajeev has built his reputation working in film and television. He is considered a pioneer in the world of HDTV, as one of the first associations to work on developing the new medium.

close Rajeev collaboration with Indo Studio (HDTV first production company in South Africa) during the nineties he became one of the few who has worked AD with each generation of HD cameras since its inception. Their scope of work includes documentaries, commercials, reality, children's television and independent films.

Rajeev Jain has created a masterpiece. "Rajiv Jain Cinematography: Theory and Practice" is his third interview with me and for aspiring cinematographer or experienced – the reference best interview I've ever done.

Anyone who aspires to this highest art the narrative should have this article on your platform. He writes: "At the heart of it, the film is picture, but the film is more than mere fact of photography. It is the process of taking ideas, words, actions, emotional subtext, tone and all other forms of nonverbal communication and are in visual terms. "Through metaphor, both verbal and pictorial example is the key to this art from his hiding under the bed and hangs there in plug in the wall of the kitchen. All you have to do is take them down and apply them.

Learn the language of visual art is more than learning the difference between subjective camera angles and objective, or know what the director means when he says he wants a "choker." When finished the first chapter have a good enough handle on the terms a director of photography and bandy About on the set to sound like a professional. Upon reaching the fifth chapter "Cinematic Continuity" you have been exposed to sufficient theory and practice to graduate to start on the path toward mastery of form. I especially enjoyed Rajeev explanation and examples of continuity. Music videos and songs from Bollywood has had a profound effect on new filmmakers that most of us from the 'Old School' they have a tendency to wonder what is happening often. Such is the lack of "continuity" in many assembly sequences you see now days that it was encouraging to see so much time and space dedicated to such an important part of the narrative.

Glossary of Terms

Cut (broken, cross-cut) A cut that marks the abrupt transition from the end of a shot for the start of the next shot. A shot is said to be labored to another when the film returns to the first shot, as when we see a closeup of the face of a character, then a flash-back that which are inserted character is shot in the face, and when the flashback is over, the film returns to the facial injection. Transverse occurs when the film back and forth between, or between parallel efforts, like a scene of persecution.

Subduction photo Maintain focus and clarity constant image of objects that appear close to the camera for remote in the back of the frame, allowing the viewer to see more room in the shot, including background details and actions.

Dissolve (party break) A transition from one shot to another in which the images overlap to a time, sometimes is used to relieve the visual sharpness of the transition (from a dark cave lit scene for a scene of snow lit) and sometimes used for suggest an association between two images (from one letter to a character to a picture of that person reading the letter) A party to dissolve those in which the elements graphs of the two images coincide, like the closing shot in Psycho murdered woman's eye and the shower drain.

Edition (assembly and cutting) the ways in which various pieces of film are joined together. The assembly is French for editing, or cutting, but also connotes the creation of meaning through editing patterns. Hollywood Montage commonly refers to the rapid cutting in common multi-shot, often using dissolves many, to create the effect of chronic rapic of time, because from a character's youth to maturity.

The establishment of (or master) fired a long shot that shows extreme (or create) all the space in which the next scene will take place. Many scenes start with these shots to guide the viewer, sometimes two shots, one outside and one inside.

The establishment of line frequently overlap with the cut, the direction of the character look. Sometimes, one shot shows a similar character, and show a second shot what the character is looking. Sometimes the term is used to refer to the directionality of the character's lines of vision within shots.

Flashback A jump in the narrative time from the present into the past. Instead of proceeding chronologically through history, flashbacks allow filmmakers to go back and forth between past and present events.

A theory formalism movie emphasizes the formal properties of film that shape how movies are made. Formally recognize, for
example, the organization of that space Artistic screen is an activity that differs from our everyday perception of real life. Major theorists include Sergei Einstein formal and Rudolph Arnheim.

Invisible A standard style of filmmaking in which the style is not often note, based on the supposition that the narrative is always more important that style and dominate it. These devices are not crossing the line of 180 degrees and cut into the action, reaction and dialogue contribute to this invisible style.

The line of 180 degrees An imaginary line between the camera and the actors / action that the camera does not cross to avoid confusion spectator and maintain a invisible.

A Realist film theory that emphasizes the nature of film recording, and the connection between the camera and what is before him in real life. most important realistic André Bazin and Siegfried `Krucauer.

Scenes A scene is a narrative unit by unit of time and space. The events in the scene occurs in one place at a time, one later scene, for example, may occur in the same place at different times.

Shot (foreground or near, medium, long, two shots, and dolly track) A vaccine is a image on the film uninterrupted by cuts or other transitional devices. The terms closely shot (or close), medium shot, and indicate the distance long shot of the camera from the central object to be photographed with a person, a general foreground, shows the face and maybe the shoulders, a medium shot shows the person's waist above, a long shot of the whole body of the person shown. A two-shot featuring the two characters alike. The tracking or dolly (or doll) shots are those in the camera moves. It was traditionally mounted on a dolly or a cart, and follow or "track" a moving object, like a character walking or galloping horse. Tracking and dolly shots can also move through a set (like a house hounted) in which nothing moves, giving a complex depth to the vaccine.

Shot / reverse shot editing an edition model which shows, first character and then cut to a level that allows us to reverse an almost opposite view, typically to another character who is talking or interacting with the first. Many scenes just go and forth between shots that meaningful dialogue until all has been said and the action has occurred.

The standard style stylistic features of film at a given time. Departures from the standard style can be used with good results by creative filmmakers because they come as a surprise.  

Master of Light: A conversation with director of photography contemporary Indian Bollywood – Rajeev Jain ICS WICA

EXCLUSIVE! Rajeev Jain (India, Kenya Director of Photography)  

Photo India Kenya Rajeev Jain talks about joining Heart Beat FM and explains the meaning of "Heart Beat FM wide shot" in an exclusive interview M-net.

Rajeev Jain is friendly, friendly, fun and intense (a very good) and very smart. Oh, and I happen to mention that is a world renowned director of photography. Although very similar to his good friend, Matthew Robinson, is his own personality, a person, a darn good guy. Speaking with him is unclear why these two men work together so often and so brilliantly. They are like two halves of a whole. As Rajeev told me during our interview: "Sometimes I think Matthew and so similar, it's scary." Now that I have interviewed the two, I can see what you're saying and it is a very good horror.

So what do you talk to a famous director of photography on? Well, we talked a bit of everything. We talked about the support site and his work.

Rajeev is in Film and Television Awards Kalasha in Nairobi, Kenya where he soon will be on the closing ceremony and we are struggling mightily with a bad connection SKYPE. Our first interview for voice soon becomes a kind made by text message remedy the problem. And Rajeev, with all that is before him at the festival, does not hesitate one second to spend the extra time needed to write instead of talking about the interview. I am very grateful. We owe a great debt to the generosity of their time and spirit of this interview. Oh, yes, and a glass of vodka.

Q: What did you agree to come aboard?

A: It's actually a nice story. That had made the long walk for three years and left that show because I lived in Nairobi that time and I was tired of flying back and forth to Dubai and Mumbai. I was looking for something in Nairobi because I wanted to stay there. So when I called I said, "No, thanks. I do not care." AND my gaffer said: "Rajeev, to reconsider. Ask them to send the script. I've seen the script. It's what you're looking for. "So I sat down and my gaffer and I've read the entire script, basically once and I turned to him and said, "You've done something really bad here. I can not say no to this show now." He said he knew what I was doing. Although he did not want live apart and was very hard. [For] gaffer Is not that what happened? He said yes. He smiles.

Q: You were the DP for the entire season. What's it like working with a director who has a different view almost every week?

A: As I photographed every episode, I had the opportunity preparation with the director. So he approached with a concept and come on set and rehearsing the scene. If rang true for me and I felt was the way forward, I would say: "Big, that's a good idea." If I wanted something that was tangential to the style of the show they were trying to maintain, then I could do a suggestion to try something else. If you are a smart director to listen to people who are there all the time. I tuned in very quickly to what Matthew Robinson wanted. Robinson Matthew I would call and ask if he saw the papers yesterday, and I thought of them. And it would give me a better idea if I was on the right track or not. And then of about three or four episodes I have what I was looking, not at 100 percent of the time – nobody can do that – but a good 80 percent of the time.

Q: What would you Heart Beat FM signature shot?

A: The shots shots people refer to as Heart Beat FM. Directors say: "We will the Heart Beat FM wide shot, "that television is not something you see very often. Matthew Robinson likes to celebrate things in general shots and I really like it happens also – what makes your character in a place or a place, you say something about the character. So see it as a storytelling device. The other type of shot that is something typical of the series is when something big in the foreground and then something else away in the background width. We call it wide and closed. It is possible to maintain attention in money, say, in the foreground and background characters are either unfocused or much smaller.

Q Did you ever get so caught in the quality you forget to pay attention to the technical side of things?

A: That's what I need to pay attention. My work is not only for lighting and set fire, but to ensure that lighting and the shots reflect the scene more effectively. If I am moved by what I see, then I know we've done well. I have people who operate the cameras and people lighting and rigging. All those people keep a eye on the technical side to me, and I'm concerned with storytelling. That's what interests me about the job: Efficient, effective storytelling.

Q: What is your favorite scene?

R: I can not say because it's late in the season. You'll know when I see it. It gets crazy as the story develops. Here's one thing: What Matthew Robinson and writers not drop a single line in one of the first episodes and then not mention anything about until nine episodes later, and then, suddenly, there is an episode of it All One line. It's interesting for me to work on something that is so well planned and circular in terms of its narrative. I think it's just brilliant.

The form of the Light – Rajeev Jain Paintings with his camera  

Rajeev Jain (born 1968, Lucknow) began working as a cinematographer in 1993, after serving an apprenticeship as a camera assistant and operator camera. Since then, Rajeev has worked as a cinematographer with some of the most popular directors of India, in some cases to establish a close partnership and intimate. We met Rajeev Jain in India, during a five-day seminar organized by the Film Club in New Delhi on the shape of the light, an event that saw the participation of hundreds of students, filmmakers from all over India.

How has filmmaking in the last fifteen years?

I went to the Academy of Dramatic Arts Bhartendu (Bhartendu Natya Academy) in Lucknow during the period of the new wave. We witnessed a cinematic quality that he had "triggered" yes, in many ways in the contemporary movie to the end of the 1980s. Even the assembly was much freer and Photography / Directors, with Gautam Ghose in the van, were in search of greater freedom. Even when it came to shooting, the use of handheld cameras, natural lighting, or lighting in a way that seemed natural, such as through open windows, etc. In other words absolutely free either camera shake or lighting.

And in our country?

In India there was still a more classic style of photography and I am referring, and Subroto Mitra, Roy Sudhendu, who worked with Satyajit Ray to Agantuk (1991). Meanwhile, other filmmakers with different new ideas were emerging too, like Ashok Mehta (Chowrangi Lane 36), especially in black and white. But this black and white image with its own aesthetic beauty had a property right the quality of the fusion of light into the atmosphere or environment. Therefore, from this point, maybe the film gained a larger significance, total symbiosis with film and narrative.

Can the meeting between the director and cinematographer of the influence of one's career or another?

During the workshop a meeting of a good director of photographer

About the Author

Leo Babauta is the author of The Power of Less and the creator and blogger at Zen Habits, a Top 100 blog with 130,000 subscribers — one of the top productivity and simplicity blogs on the Internet. It was recently named one of the Top 25 blogs by TIME magazine.

Babauta is considered by many to be one of the leading experts on productivity and simplicity, and has also written the top-selling productivity e-book in history: Zen To Done: The Ultimate Simple Productivity System. It has sold thousands of copies and has reached tens of thousands of readers.

Babauta is a former journalist and freelance writer of 18 years, a husband and father of six children, and lives on the island of Guam where he leads a very simple life.

He started Zen Habits to chronicle and share what he’s learned in his life transformation that started in 2005. In two years, he changed a number of habits through the effective habit-change techniques he shares in The Power of Less:

■Quit smoking (on Nov. 18, 2005)
■Became a runner.
■Ran several marathons and triathlons.
■Began waking early.
■Became organized and productive.
■Began eating healthy
■Became a vegetarian
■Tripled his income.
■Wrote a novel and a non-fiction book.
■Eliminated his debt.
■Simplified his life.
■Lost weight (40 pounds).
■Wrote two best-selling ebooks.
■Started a successful Top 100 blog.
■Started a second blog for writers and bloggers.
■Started a successful ebook publishing company.

what is the chemical mixture for the "V" for chemical mixture shaken residents evil directors cut on PS3?

I have the book gives U with the order, but I can understand that? Anyone know the order?

This is an excerpt from a guide, credited to my source. 02.05.1919 The Board of Chemistry (Chemicals The UMB, V-Jolt) When you came here to start mixing chemicals. Conference # 12 "This is what you do. First, get the 3 bottles, but must be bright, so you can not lose. Do not make the room. A mixture of them, all you have to do is combine the bottles containing the chemical you mentioned. The water is in the sink, water is UMB # 1. The UMB # 2 is on the platform in front of the sink. UMB No. 4 is on the shelf in the back of the room. Mix water w / UMB No 2. That will make NP-003. Then mix the new NP-003 w / UMB # 4. That will make UMB # 7. Then UMB # 2 w / UMB # 4. That will make Yellow-6. Newly Yellow-6 w / newly UMB # 7. That will take UMB # 13. Then get water and UMB # 2 again and mixed to achieve -003 NP again. Then new NP-003 w / fresh UMB # 13. Hope this helps, just refer to this file, so it helps to take this: "V Jolt" Report "————— As I said in the last report, there are some common features found in plant cells infected by the Tyrant virus. They have also found other information through some interesting experiments. Find an element that destroys these plant cells rapidly in "UMB No.16", a series of the UMB chemicals that we use for this experiment. We named this "UMB No. 16" as "V-JOLT. In our calculation takes less than 5 seconds to destroy the plant 42, if we put the V-JOLT "directly on the root. Is necessary to mix some of the series of UMB chemicals in a specific order to create a "V-JOLT. But the UMB series chemicals may generate a poisonous gas that is harmful to the human body. Take extra care should be taken when handling these chemicals. The following are the types of chemicals and their characteristics UMB series soon. UMB No.2 Red NP-003 Purple UMB No. 4 Green Yellow-6 Yellow # 7 White UMB UMB No.13 Blue (stimulating smell) V-JOLT (UMB No.16) Brown "GOOD LUCK = D