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Interview With The Director Of Photography For 'Ajintha - An Untold Story' 'Ajintha' cinematogra
Interview With The Director Of Photography For 'Ajintha - An Untold Story'
'Ajintha' cinematographer/ dop Rajeev Jain talks about what it was like working with Nitin Desai and the rest of the cast, as well as his inspiration for the overall visual look of the film.
The guys over at Cimices were given the opportunity to speak with Rajeev Jain, the director of photography for 'Ajintha'. He goes into detail about his inspiration for the visual look of the film, and what it was like to work with Nitin Desai and the rest of the cast.
Ajintha story takes place in two different times: during 1819 (Captain John Smith time) and in 1844 (Major Robert Gill time). In the case of 1819, can you describe to us, in terms of lights and shadows, how did you portray Ajintha’s realm?
Well, we had to create a Utopian world in 1819 and many of the influences for the lighting came from paintings that had these references: a shadow less, glowing world; one where there are no obvious sources of light other than fire, moon and sun. Earth is a mix of cyan mercury lamps, fluorescents and incandescent light coming from all directions... 1844 has the opposite... single source, soft glow that wraps around our characters faces and has an intangible origin. I was also very inspired by yours underwater photography at waterfall, it's amazing how deep space and the ocean have a similar mystery.
In a movie like Ajintha, that is played in cinemas, is there any extra problem for a cinematographer? How does your job proceed in this case? What kind of tools did you use for Ajintha’s cinematography?
We decided to convert effects in post and found that what creates depth and dimension in tradition photography creates great dimensionality when it is converted... you can't give depth to a flat image. Minor adjustments were made but this method of post conversion does not create any problems during the shoot. We used a veritable arsenal of tools, we shot on Red Epic cameras and Arri Master Prime lenses, liberal use of Steadicam, Jimmy jib, remote heads and 2 megatons power of lighting to name a few.
As your job concerns the final look of the film, did you use as reference some of the thousands pages from the book produced in these last decades?
Yes I got read books upon books for work!!! I was particularly inspired by the triply and imaginative illustrations of ND Mahanor , his boldness of poetry was our main source of inspiration.
What was it like to work with the cast? In particular Philip Scott Wallace and Sonalee Kulkarni?
The cast was superb, both in talent and in their humanity and sense of team spirit. I think everyone on the film was happy and inspired to be there and we all gave our utmost to its creation. Ultimately having this calibre of artists to light and photograph is the ultimate in film making.
Tags: Philip Scott Wallace, Sonalee Kulkarni, Ajintha, Nitin Desai, Director of Photography, Cinematographer, Rajeev Jain, Rajiv Jain
'Ajintha' cinematographer/ dop Rajeev Jain talks about what it was like working with Nitin Desai and the rest of the cast, as well as his inspiration for the overall visual look of the film.
The guys over at Cimices were given the opportunity to speak with Rajeev Jain, the director of photography for 'Ajintha'. He goes into detail about his inspiration for the visual look of the film, and what it was like to work with Nitin Desai and the rest of the cast.
Ajintha story takes place in two different times: during 1819 (Captain John Smith time) and in 1844 (Major Robert Gill time). In the case of 1819, can you describe to us, in terms of lights and shadows, how did you portray Ajintha’s realm?
Well, we had to create a Utopian world in 1819 and many of the influences for the lighting came from paintings that had these references: a shadow less, glowing world; one where there are no obvious sources of light other than fire, moon and sun. Earth is a mix of cyan mercury lamps, fluorescents and incandescent light coming from all directions... 1844 has the opposite... single source, soft glow that wraps around our characters faces and has an intangible origin. I was also very inspired by yours underwater photography at waterfall, it's amazing how deep space and the ocean have a similar mystery.
In a movie like Ajintha, that is played in cinemas, is there any extra problem for a cinematographer? How does your job proceed in this case? What kind of tools did you use for Ajintha’s cinematography?
We decided to convert effects in post and found that what creates depth and dimension in tradition photography creates great dimensionality when it is converted... you can't give depth to a flat image. Minor adjustments were made but this method of post conversion does not create any problems during the shoot. We used a veritable arsenal of tools, we shot on Red Epic cameras and Arri Master Prime lenses, liberal use of Steadicam, Jimmy jib, remote heads and 2 megatons power of lighting to name a few.
As your job concerns the final look of the film, did you use as reference some of the thousands pages from the book produced in these last decades?
Yes I got read books upon books for work!!! I was particularly inspired by the triply and imaginative illustrations of ND Mahanor , his boldness of poetry was our main source of inspiration.
What was it like to work with the cast? In particular Philip Scott Wallace and Sonalee Kulkarni?
The cast was superb, both in talent and in their humanity and sense of team spirit. I think everyone on the film was happy and inspired to be there and we all gave our utmost to its creation. Ultimately having this calibre of artists to light and photograph is the ultimate in film making.
Tags: Philip Scott Wallace, Sonalee Kulkarni, Ajintha, Nitin Desai, Director of Photography, Cinematographer, Rajeev Jain, Rajiv Jain
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