Rajeev Jain ICS WICA is one of the best and famous Indian Cinematographer DOP in the Bollywood films

July 15, 2010 - PRLog -- Rajeev Jain ICS WICA is one of the best and famous Indian Cinematographer DOP in the Bollywood film industry.
Rajeev Jain has created magic with his lens in a number of films and advertisements. Many of Rajeev Jain's works have won awards and received accolades. Rajeev Jain was born in the city of Lucknow in the state of Uttar Pradesh in India. He received his education form the Bhartendu Academy of Dramatic Arts, Lucknow. After his education, Rajeev Jain worked under the guidance of the famous Bollywood cinematographers Ashok Mehta, Binod Pradhan and Late K K Mahajan. He was also immensely inspired by the works of Dante Spinnoti, Vilmos Zsigmond, Don Burgess, John Toll and Rembrandt. Rajeev Jain's stint with Bollywood cinema began with the films Parinda, 1942 A Love Story and Bandit Queen where he worked as an assistant cinematographer. After getting valuable experience from his first few films, Rajeev Jain started working on his own. He used his skills and talents in the movies such as Army (1996), Pyar Mein Kabhi Kabhi (1999), Badhaai Ho Badhaai (2002), Rasstar (2006), Meerabai Not Out (2007), Kadachit (2007) and Aiyyo Paaji (2009). He is currently working on a film known as Kalpvriksh - The Wish Tree, which is slated for release in 2010. Rajeev Jain has also worked on a number of advertisements for reputed brands and companies such as Coke, Mercedes, Jindal Steel, Pepsodent and Siyaram. Apart from his foray into the world of cinematography, Rajeev Jain has also worked as a Director of Photography for a number of music videos as well as ad films.
SOFT LIGHTING TECHNIQUES
Generally, filmmaking techniques change slowly over time. For example, directing and producing techniques are pretty much the same now as they were fifty years ago.
Editing and cinematography standards were equally stable until the 1990s when digital cameras and editing systems took the industry by storm. Techniques then changed dramatically within in a short period of time.
More recently, there has been a change in lighting technology and aesthetics. Though this happened with little fanfare, it has been significant nonetheless.
Softer, Lower Intensity
In a nutshell, there has been a shift towards softer, lower intensity lighting. The illumination is achieved primarily with Kino Flos and Chinese lanterns. All of the principles previously discussed still apply (i.e., three point lighting, exposure ratios, etc.).
This approach is used in both film and DV, small and big budgets. Rajeev Jain often uses it in his work, including the acclaimed Kalpvriksh - The Wish Tree. In the shot below the lanterns are right in the frame (the bedside lamps).
High vs. Low Key
In the past, soft lighting was typically used for high key setups. The current breed of cinematographers use soft lighting for both high and low key setups. In fact, a number of scenes in Kalpvriksh - The Wish Tree are low key.
The trick to avoiding the flat look usually associated with soft light is to use side lighting. This results in shadow areas which serve to model the subject. Of course, the precise angle of the light depends on the look you are trying to achieve.
Setup
To create side lighting, the Kinos and Chinese lanterns are placed at strategic points around the perimeter of the set, usually at eye level.
On locations where you want to preserve the natural light, the existing light sources are used as a guide for placement. The Kinos and Chinese lanterns will then serve to enhance the natural light. This approach is often used for documentaries and productions with tight schedules.
Whether you use Kinos or Chinese Lanterns (or both) is a matter of personal choice. The quality of the light is similar, but the fixtures are radically different. Some cinematographers favour Kinos, while others favour the simplicity of the Chinese lanterns.
Fill Light
An additional light sources with soft boxes, diffusers, etc. You can also use reflector panels, background light, kicker and hair light for filling effect. Often barn doors should be used to prevent different unnecessary reflections or illumination of the area you need to stay in the dark.
Fill light is important in creating the key level (mood) of the shot by increasing or decreasing shadows. This principle still holds true here, but with an interesting twist as to how the fill is achieved.
Kinos and Chinese lanterns are low intensity lights. They are so low, in fact, that ambient light on the set is usually enough to act as fill. In other words, in most cases, you will not need a dedicated fill light.
If the ambient fill light is not adequate, you can.
Use a reflector board to bounce light into the shadow areas.
Use an additional fixture (bounced) to raise the ambient light of the set.
Exposure Metering
The principles of exposure and contrast previously discussed still apply, too. The catch is that using an exposure meter at such low light levels becomes increasingly difficult.
Film stocks are becoming faster and DV cameras are approaching the sensitivity of the human eye. It makes sense, then, that your eyes are your best tool in judging exposure and contrast.
Consequently, when light levels are too low for the proper use of a meter, the best approach is to make the lighting look as natural as possible to your eye. Do the final tweaking by checking the shot against a video monitor, particularly highlights and shadows.
Lighting Control
Kino Flo Production Lighting and similar brands have their own accessories for lighting control, including louvers and dimmers. Louvers are used to control directionality and spillage.
Chinese lanterns are a bit tricky because you must improvise. A black skirt made of Duvetyn can be used to direct the light and control spill. Professional Chinese lanterns like those made by Chimera Lighting have their own accessories for lighting control.

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Sparkle Hayter was born in Pouce Coupe, B.C., Canada and raised in Edmonton. In 1980 she ran away to New York City where she ended up in TV news, primarily for CNN. After CNN,.