Interview: "kalpvriksh" Cinematographer Rajiv Jain - Ics Wica

Interview: "kalpvriksh" Cinematographer Rajiv Jain - Ics Wica

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Interview: "Kalpvriksh" Cinematographer Rajiv Jain - ICS WICA

Kalpvriksh is a revelation in a number of ways. Its the directorial and writing debut from Manika Sharma, the leading filmmaker who is best known for her music videos and commercials. Actor Shabana Azmi, who often plays the flummoxed leading woman, reveals an incredible new dimension to her thespian talent. And the Indian Cinematographer/ DOP Rajeev Jain lit the film. The fact that it might just scoop a pantryful of awards in the coming season is another pleasant surprise.


It could be you



The story of Rajeevs engagement on Kalpvriksh is the stuff of dreams. Rajeev met up for a coffee with her, showed his reel, and ten days later received a call from director Manika Sharma enquiring about his availability for her first picture.



I read and then re-read the script over to meet Manika, he says. It was amazing. I loved it and was sure I wanted to shoot it. When I met Manika she told me she had seen lots of reels, but mine stood out because it had a Indian flavour, very personal style that she wanted in her film. We got on really well and, after two hours of meeting, she offered me to do her film. You think these things never happen, but it happened to me.



Rajeev, an Indian Cinematographer, DOP, spends his time between Nairobi, Dubai and Mumbai, shooting commercials, music videos and any other kind of projects, as far as he finds something interesting on them, although he admits to being more focussed on features in the last two years. As a student he attended BNA, Bhartendu Natya Academy of Dramatic Arts, specialising in drama, but also trying his hand at cinematography as well as directing. But it was at the Bhartendu Natya Academy of Dramatic Arts in Lucknow where he decided to focus only on cinematography. Kalpvriksh is his seventh feature, after completing Kadachit directed by Chandrakant Kulkarni, and Wanuri Kahiu's Rasstar. Just recently he finished Carry on Pandu, directed by Chandrakant Kulkarni.



I love cinema in all of its many different aspects, he says. At drama school I found I was an average director, but discovered I was best at creating pictures, moving images that could say something using the light and the camera. I think I am good at helping other people to be good. I also realised the DP is one of the ones who has more fun on set both creatively and with the crew.

Creating the look

Working closely with the director on establishing the look for Kalpvriksh, Rajeev began by eyeing National Geographic Magazine covers from the 1960s, examining the textures, colours, grain and overall images of the nature and trees. He also investigated the photography of famous nature photographers, noted for bringing a aesthetic and visceral nature into photography, whose influence is evident in major publications to this day. For other steers on textures and tones, and to witness how the camera and lighting let the story unfold,

Manika had a clear idea about what she wanted in terms of colours and shapes, says Rajeev. So we started from there and built up other things like the style, the textures and how the camera would tell the story in an interesting way.

Manika also wanted lots of close-ups, not just of faces, but extremely tight shots of eyes, really red lips, as well as mirrors and reflections. We liked the idea of the images exploring this kid "Shawn" who is looking into himself and then out at the world, trying to discover what he wants both within and without. What a mirror reflects is not what it is, but how you see it.

Overall, Rajeev describes the look of Kalpvriksh as a sharp, modern image, but reminiscent of the past. Accordingly, he selected Kodak 5279 500 ASA, one of the older Vision film stocks that has now been discontinued. I think we were one of the last productions to shoot on this stock in India. We fell in love with its colour, texture and grain, he enthuses.

The camera package, including Arricam, was hired from Mumbai. Rajeev framed Kalpvriksh in 2.35:1, using aspherical primo lenses, but also packing a PMZ Zoom to use as a more versatile tool.

Manika and I both knew from day one that 2.35:1 framing would suit the script. I like the way shapes organise themselves in the frame in this format. Along with 4:3, to me its the most beautiful aspect ratio to work with. I dont really like middle ground such as 16:9.

The production shot at practical locations around the Mumbai, including Mahabaleshwar and Ladakh, over a surprisingly tight 55-day schedule.

One of the things that that got me the job was the TV work I have shot in Dubai and Nairobi, where its all about shooting to schedule, he says. All the films I have shot so far have been done on time. Its difficult for everyone on a short production time goes by quickly, and you need to make decisions fast. We would have liked more time, but it was what it was.

Working with the crew

Of course, being in charge of the cinematography with major stars and veteran crew, might have proven daunting to some, but Rajeev appears to have taken taken it in his stride,

I was surrounded by young, older and more experienced people. And yes, I got some looks and a few comments, especially during the first days. But I didnt hide behind anything, and was always myself. I may not be the most experienced cinematographer, but I know what I like and what I want. So I concentrated on my job, and after a few days they were comfortable, and felt I had the skills to be there, he says.

Rajeev admits that he didnt know any of his crew prior to the shoot, but really enjoyed working with new people, such as , my amazing gaffer. When I met him I realised we were made for each other the young kid and the seasoned veteran both, sharing a similar approach to filmmaking.

As for working with Manika Sharma, he says, As one of the top filmmaker in Bollywood, Manika is a very particular guy in the sense is that he is a genius like very few are. It was a joy and an inspiration to work with someone who is so creative, sharp and imaginative. It made my job easier, as she thinks about images and puts beauty in front of the camera. She would tell us the basics of what she wanted, like the positions of the actors, and we would take it on from there.

Speaking about the lighting strategy on the film, Rajeev says, Manika and myself all like the same kind of lighting and knew the approach lots of contrast and plenty of soft lights to see the eyes, faces and expressions, to create intimacy. We didnt have a lot of time, but we did have a clear concept. So we would talk about it and I made it happen. We used a lot of directional soft light, sometimes bounce, often through diffusion, and at specific moments we used hard light. Things kept changing as per the needs of the scene or the space. It was all about creating the right mood.

An example is a scene with when Fat girl visits Shabana for an intimate supper. Rajeev discovered the walls and ceiling of the location to be almost entirely dark, which can cause problems for lighting, yet created a scene with bounced light that is bright but soft, suffused with a passionate blue hue. The lighting placement was made all the more difficult as the camera revolves around them. To help solve the problem, whilst keeping the creative brief in mind, the scene was carefully choreographed and Rajeev fitted the camera with a 32mm lens, which took the camera within touching distance of the actors as required.

Moving the camera

The camera is intentionally often static in Kalpvriksh, a concerted effort being made to only introduce camera movement in tune with the dynamics and rhythm of the story.
As an example, at the beginning of the film when Manmeet takes his morning coffee, the camera tracks around the empty house, before pulling back from his midshot to a wide view of the house The way the camera moves through this scene was designed to evoke Manmeets feelings of loss, emptiness and solitude, he says.

Of course, there were some happy accidents during the production. The film has a number of flashbacks, one of which is a B&W scene (shot in colour and desaturated in post), filmed at Mumbai. It was the first day of the shoot, and the sun played to Rajeevs advantage, not only allowing him to use just natural light, but to create in-camera silhouettes of one face whilst illuminating the other in the same frame. I was lucky, the sun was in exactly the right place, and it played my role.

In response to a question about what he learnt shooting Kalpvriksh, Rajeev says, I could probably write a book about that. Most importantly, I learnt how to approach shooting, with a big crew and to choose talented people around you to bring their skills. Its all about people, whether they are actors or the crew, trusting each other and making it work. It has also re-emphasised the importance of the director and the script. Its made me realise that reading scripts and working closely with a director is maybe the most important part of my job.

Kalpvriksh is due for release in March in India. But if you cant wait until then to see Rajeevs cinematographic work, Buried, the story of a Indian contractor working in Bihar Coal Mines who wakes to find he is buried alive inside a coffin, will premiere at the Sundance Festival at the end of January.

About the Author:

I am an author and teacher, teaches cinematography and advanced film production, as well as a course through the Extension entitled, Cinematography for Directors. I have shot numerous short films, independent feature films and documentaries that have screened in film festivals around the world and also taken on the role of producer, director, and editor on many projects.

For further reading : http://www.rajeevjain.com/

Tags: Bollywood, Cameraman, Cinematographer, Director of Photography, DOP, India, Indian, Kenya, Kenyan, Mumbai, Videographer, Rajiv, Rajeev, Jain

About the Author:
I am an author and teacher, teaches cinematography and advanced film production, as well as a course through the Extension entitled, Cinematography for Directors. I have shot numerous short films, independent feature films and documentaries that have screened in film festivals around the world and also taken on the role of producer, director, and editor on many projects.



Article Originally Published On: http://www.articlesnatch.com


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