Perfect Swing Machine

Master of Light: Interview with Director of Photography Contemporary Bollywood â € "Rajeev Jain ICS WICA

Master of Light: Conversation Contemporary with Bollywood Cinematographer â € "Rajeev Jain ICS WICA

Rajiv Jain â € "Indian Cinematographer / DOP – The complete interviews, Vol. Ia

The Shape of Light â € "Rajiv Jain Paintings with his camera

Rajeev Jain (Birth: 1968, Lucknow) began working as a cinematographer in 1993, after serving an apprenticeship as an assistant camera and camera operator. Since then, Rajeev has worked as director of photography with some of indiaa € ™ s most esteemed directors, in some cases, establishing a close and intimate association. We met Rajeev Jain in India, at a seminar five-day organized by the Club of New Delhi for the film The Shape of Light, an event which was attended by hundreds of students, filmmakers from across India.

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How has the film changed in the last fifteen years?

I went the Bhartendu Academy of Dramatic Arts (Bhartendu Natya Academy) in Lucknow during the period of New Wave. We have witnessed a quality film which had € ~ â € ™ unchained itself in several meanings in the films of the period until the end of the 1980A € ™ s. Even the editing was much more liberated, and Cinematographer / administration, with Gautam Ghose in the foreground, were looking greater freedom. Even when he was shot, using hand held cameras, using natural lighting, or lighting in a way that seemed natural, such as through open windows, etc. This means absolute freedom whatsoever with the camera movements and lighting.

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And in our country?

In India, it was still a more classic style of photography, and I refer as Subroto Mitra, Sudhendu Roy, who has worked with Satyajit Ray to Agantuk (1991). Meanwhile other new filmmakers with different ideas have emerged, like Ashok Mehta (36 Chowrangi Lane), especially with black and white. But this picture in black and white with its own aesthetic beauty itself was a characteristic feature of the merger of the lighting atmosphere or atmosphere. Therefore, from this point perhaps the film has acquired a greater significance, a complete symbiosis with the film and narration.

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Then the meeting between the director and the director of photography influence the career of one or the other?

During the seminar, a meeting of a good cinematographer and a great poet. With the film Ray, the other First, it was undoubtedly a milestone with the arrival of Pather Panchali (1955) forward.

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What filmmakers made a particular impression on you?

The relationship with Shyam Benegal on Tota Maina (TV Series) was for me an event I remember with great emotion to this day. I meet people who confide in me that they have decided to become a director photographer after seeing this series, or administrators who have decided to enter film thank you for Tota Maina. For example, one day there was a Kenya boy who was in my house who decided to come to India to make TV seial after seeing Tota Maina. It was an important film for many people, and much more for me because I have been fortunate to work with Shyam Babu.

How did you meet?

It was quite by accident. He was seeking a cinematographer who was also mentally prepared for this adventure and through various sources, my name has been raised. One of my friends who worked as assistant director introduced me to Shyam Babu. I I remember when he called to tell me Shyam Benegal who wanted to meet me. We met at his office for tea and end of the meeting, he released script and offered me. I can feel the emotion of that moment now.

Can you tell us about the TV series A € ™ s â € ~ dynamic photographed € ™?

Shyam Babu used to say that television uses time as a narrative element, while the picture remains generally constant for the duration of a sequence. This is precisely the time that has € ~ € ™ photographed dynamic exploits to make a different texture to the film. One example is the weather in nature if, During a cloudy day the sun comes out at some point this will change the state of light. In a space inside if someone enters in a dark room and turns on the light, it will change the state of light. However, not all related to specific actions. This speech is amplified in Tota Maina, where in addition to variations in natural light were added variations that correspond to their emotions rather that a sense of logic.

During some scenes you also use different shutter speeds, sometimes barely perceptible.

During the filming Shyam Babu would ask for some specific frameworks, a slight increase in shutter speed, barely perceptible, and thus far the effect of idling, we have been accustomed to see in several television series. This was only to have more suspension, therefore, still serving a certain atmosphere in the series. Technically, this speed variation consisted a slight adjustment of the diaphragm. Shyam Babu was very precise and demanding with his choice of photography, not only me but the whole company was so impressed by his personality that we have voluntarily complied with its requests.

During this seminar, you deplored the fact that it becomes increasingly difficult to make a film in India, with special attention to cinematography. Why?

Mainly because there is a lack of respect for the profession in India. In the few films I shot with foreign crews and production is, I discover more professional respect. Then of course there is the lack of preparation, for if the films are not well prepared, you will end by improvising on the set. Another reason is the understanding of the shooting schedule, because if you shoot a film in ten weeks or five weeks, the result will be significantly different. With the advent of digital editing it is also the tendency to spend the entire negative through telecine and then in AVID, without feeling that we call â € ~ dailiesâ € ™ which I think are very important for control potential technical problems. This happened with a film shot abroad, where an entire scene had to be reshot Only after discovering a problem of exposure during assembly.

Strictly technically speaking, why is it that Indian films are no longer manufactured with the same care as in the past?

Perhaps what is lacking is a real love of cinema. The problem is there are no more producers understand that invest in projects around them. We no longer the person who loves the film so that they want it is as beautiful as it can. The device is now making the only film with budget in mind, sometimes regardless of That the film is good or not. Â Â Â Â Â Â Â Â Â Â

AUTHOR BIOGRAPHY € ™ s: Tony Parsons (born 6th November 1953) is a British journalist, broadcaster and author. He began his career as a music journalist on the NME writing about punk music. He later wrote for The Daily Telegraph before moving on to writing his current column for the Daily Mirror. Parsons was a time a regular guest on both BBC arts program review of The Late Show, and yet rarely appears on the successor Newsnight examination, he also briefly hosted a series on Channel 4 called Big Mouth. He is the author of the multi-million selling Man and Boy (1999). Parsons had written several novels including The Kids (1976), Logic Platinum (1981) and Limelight Blues (1983) before he found great success by focusing on the tribulations of a thirty something men. Parsons has since published a series of best-selling novels â € "One For My Baby (2001), Man and Wife (2003), The Family Way (2004), Stories We Could Tell (2006), My Favorite Wife (2007) and Starting Over (2009). His novels typically deal with relationship problems, drama and the emotional trauma of men and women of our time. Many believe that the content of her work is low.

Tags: bollywood, director of photography, photography Director of the Division, in India, Indian, Jain, kalpvriksh, Mumbai, Rajiv, Rajeev, videographer

Making Star of Ras â € "Indian Kenya Photo Rajiv Jain

RAS STAR IS CURRENTLY FEATURED IN THE MUSEUM OF INTERNATIONAL WOMEN'S FILM FESTIVAL.

Raj next job was a short film, Rasstar, based on the life of rapper Nazizi Kenya, which was broadcast on M-Net.

Synopsis: A teenage rapper, Amani, a faithful Muslim family teams up with his brother Abdosh a crook emerging to find a way to make money And get her in the final talent show. As the story unfolds, Amani and her brother catching a local gangster and a stolen phone incident and use his brother's glib tongue to get them out. For absolute blind luck they manage to find the money they need only to come to blows with their Uncle Shaka, the family patriarch and Mlandimu, the local gangster who finally saves.

Rajeev Jain, familiar Bollywood Filmmaker and Director of Photography, discusses his new winning film, Ras Star, and the single camera approach he uses specifically for this film about a young woman € ™ s quest for life. With training as director of photography for features such as the Army, Badhaai Ho Badhaai, Carry On Pandu, Kadach, Kalpvriksh â € "the Tree not wish to Mirabai and Pyar Mein Kabhi Kabhi, Rajiv has had enough experience behind the goal of making the jump to film. He also credits the cinematography award-winning TV series Heartbeat Kenya FM.

Where are you and how did you become a cinematographer?

[Raj] I am from Lucknow in the north-west India. My first degree is in science and it took a while to find my way in a world more artistic. After several bends I found myself Bhartendu Academy of Dramatic Arts (Bhartendu Natya Academy) to study drama. I managed to run a few plays short and not camera for many others. Since I liked the two documentaries and dramatic with each camera inform and advance the other.

How do you approach the film's Rasstar?

[Raj] Through discussions with Wanuri, finding films that we liked visually botha. We wanted to find different looks for each floor and a different look to the present day. We found a visual theory "for each section (eg a color dark red and black history Amani, long lenses for history Abdosh and lenses wide Mlandimu). The eyes must be able to implement quickly (then helped in the ranking) because of the very tight timetable. We then applied the theory to a visual list of plans (which we often had to do this night ahead due to changing locations or are not yet found)

What was it like working with high definition for the first time?

[Raj] With a 35mm camera you are looking directly through a fine lens and seeing the scene in color and can trust your eyes, through the photographic process. With a small HD camera, you look a little picture in black and white in the viewfinder Therefore a large (ideally 24 ") HD monitor to judge correctly what you're shooting. It's huge and totally impossible with a small crew anda low budget if we have succeeded with a 14 "monitor a fair amount of time, but on a mountain or on a remote beach just a small battery monitor is possible. It was very frustrating and leads to things that could have been better.

HD is horrible to see whether an area is overexposed. This proved more problematic outdoors that we chose to shoot lenses wide sense there was a lot of sky in the plan. Unfortunately the weather was particularly flat and overcast but relatively brilliant white.

The biggest advantage to HD was able to travel much lighter with a couple of zooms into the city for example and be capable of shooting 2 hours worth of equipment without trouble (which would have been about 12 big boxes of 1000 feet of film to transport and load). It also meant Wanuri and I could go off on weekends and shots of a film city and pick-up very easily.

The importance telling stories?
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[Raj] The tale is a huge part of life at an early age. Itâ € ™ the way find meaning in the world. For a child Itâ € ™ s one way of understanding the world through the metaphor â € "not a child thinks that way.

If the world exploded and laggards upa he met some wouldn € ™ t be long before they gathered around a fire and someone started telling stories to make sense of things. Stories to entertain, to provide an escape or catharsis, stimulate reflection and debate and make you laugh.

What was the best thing about making Rasstar?

[Raj] The best thing was being in a beautiful corner of the world of work on a script that uses the slums of Kenya as part of the story.

What was the worst thing?

[Raj] The first day of action sequence on the market. The crowd took so long to get on the place that we, the crew were reduced to beards of moss and a feature documentary on clouds (the though very thin clouds).

Can you tell us a couple of interesting / little known / things behind the scenes on the set of Rasstar?

[Raj] Wanuri is certainly one of the hardest working directors IA € ™ ve worked with but I think I found its limit, a Saturday evening. We shot in pub (performance climax) and pick-strokes of the UPA and had the choice to go to the local pub where some of crew were tucking into lamb shank and Downing fine beer or head. The light seemed too tempting but if we are directed towards God and thank you we did not because the light was more astonishing. Deep red light bounced on making their shine on a black background. Over there were so many midges we had to set the camera running and running away for clustering around the camera. We shot for centuries and the light was dim, but still great approaching. I tried to get one last shot with long DJ console in the foreground when Wanuri suggested that we had enough and must go, words I never thought shea € ™ d say! (The plan is a nice and made the final film).

Have you worked on something as Rasstar?

[Raj] Rasstar Since Iâ € ™ ve shot the film Kalpvriksh â € "the Wish Tree. It was a great experience filming in a place as decreased and interesting. Mahableshwar I filmed a half-hour comedy for Channel: "The smallest man in the city" and IA ™ € ve also filmed and edited a documentary half-hour to Dubai on a maid who works in Dubai. I was recently on a low Dop have a budget of € € œCarry on Pandu.

My Style Images | by Rajiv Jain | Indian Bollywood Cinematographer

FIRST PRESENTATION:

For some time, I intended to write my opinions about the film and my aesthetic style and now here it is. This does not mean I follow dogmatic – it is simply what works for me as a wide strokes. Director Photography Indian, I should be able to give the director or producer whatever Look I'm asked. But within the constraints visual and aesthetic of any production – or the occasional lack of it – part of me is still there. Rules were meant to be beaten – but only when you have a complete understanding of the rules. I can not claim to know everything, I learn every production. Here are some of my thoughts …

The aesthetics of a project must be established early in the audience. It's embarrassing introduce a new aesthetic style or too late in writing a story without any real justification or motivation.

Another area that is too little attention is on fire weather – the shots that fill the space between scenes. It gives the audience some time to breathe and think and can be a time for music to affect the audience.

I graduated filters are too fake and unnatural. It focuses not our attention and instead, usually called attention to itself. I do not think I ever used and they have not yet been criticized for my decision.Â

Most directors cut too soon on both the shelf and editorial. On the plateau, Expect to say "Cut".  Sometimes, a player may give a gem of a moment at the end of a scene if you wait. It's worth it and I am surprised how often a director will use this time in the final cut. It's nice to take a player at the end of certain scenes to allow the public to take in the moment and reflect.Â

People change and so do their views. So, I'm sure my opinions are liable to change, too. Until then …

Cooked Art: Images … by Pocket â € "Indian Sized Photo Rajiv Jain

I love movies which were made as a work of art: Every scene is masterfully photographed for composing genius to create lines of action, balance symmetrical, with a nice use of space, texture, color, and perspective. Here are two movies I saw recently, and depict visual language wonderful.

So what the hell is a filmmaker? If you want to go into semantics, it means "writing in the movement. But their task, essentially, is to have control over the camera and lighting crews in a scene, and therefore have a little creative input in the final image. Despite considering the fact that the artistic director is responsible for staging the artist storyboard shots the shots and what actually happens, and the director will want to have a piece of the action, then it is not surprising How many movies end up looking great. Here are some guys who have managed to do that (in my opinion soon)

What qualifications Did you study to Bhartendu Academy of Dramatic Arts and when did you finish?

I went directly from high school to Bhartendu Academy of Dramatic Arts and I is a 2 years diploma in Dramatic Arts with specialization in lighting and graduated in 1985. These courses are managed differently now. It is managed rather like a film school of art school, which I find excellent! It allows students to make decisions earlier on their chosen field in films and television, it is a cinematographer, director, producer, editor, etc. It also better prepare students for work in the industry. She teaches more than just how to make films.

That do you think of the facilities that you've recently seen Bhartendu Academy of Dramatic Arts (Bhartendu Natya Academy)?

Facilities Bhartendu Academy of Dramatic Art is fantastic, I would say world class even. The main production studio is very well equipped. Facilities post-production such as editing suites and mixing rooms are sound exactly like what is used in much of the Indian film industry and television.

I am particularly impressed by the value of production of student films recently Bhartendu Academy of Dramatic Arts. I think the type of work is quite high.

I think it is fantastic that the students get to take on projects is the film industry International standard format for feature films, and most overseas Television Drama. It is rare for students to have the opportunity to work with the film now that digital formats are increasingly prevalent. If you are able to draw and work with the film, you will be able work in any format you'll encounter on there.as It doesn t ™ € work in the other direction.

What I mean thereby that the principals of cinema is the same whatever format you shoot in.a However, the film shooting requires a different approach, both technically and creatively. These principles can be applied to digital photography, but the film shooting requires a better understanding lighting and exposure.

The digital equipment to Bhartendu Academy of Dramatic Arts is a standard and quality that will enable graduates to go into industry and understand about the functioning of any piece of equipment they encounter. Over there is no reason why the quality of student projects can not € ™ t match the high quality of projects professionals because the equipment they use is the same.

I am particularly impressed by the value of film production students recently Bhartendu Academy of Dramatic Arts. I think the type of work is quite high.

What was the first break or a job that was the key to setting you on your way in your career?

I had a number of breaks I think and many of them lead each other. A series of fortunate events that you might say, but if I had to think of a particular Big Break was a night where I had just finished editing my new cinematography reel show. (A show reel is like a portfolio of work, a cut Images of my best edited music.)

Just as I finished, an email came to me that was forwarded by someone I barely knew. The email said that Kenyan production company was looking for a Director of Photography India to take advantage of an international film that was on the screen at the World Exhibition in Nairobi, Kenya, and they wanted to see coils show.

I went to the post office the next morning and sent mine off express mail. I received some phone calls days later, confirming that I had the job. one I was flown to Nairobi and worked with a crew professional track on what was my first big job.

The people I met on this project so much enjoyed my work I received a call a month later and they took the plane to turn Darussalam for certain advertisements. I finally returned to India with reel. new show and having improved international work on the coil raised my profile and further me more jobs and better and I have an agent and been Awaya € |

A case of good timing I guess!

What qualities do you need to pursue careers in the creative industries?

The quality I admire in business success is the creative capacity to be proud of ONEA € ™ s own work.A Whatever your quest to create, I think if you do a job you really like and you take great pride then you are lucky to have one of the best jobs in the world.

I also think that self-same difficulty in working outside your comfort zone is important and the realization that to succeed it must be consistent, positive and work hard.

Whatever the creative field, you're in, it will be a hard slog to get over your career. With Creative careers you're judged on your body and your work history. The first thing one need do is create a portfolio, or in my case a reel show, then prepare yourself to criticism and strike back, never give up and use these hit the back as an incentive to work harder and set your standards higher.

I also think that is important to â € ~ Passion projectsâ € ™ that lets you experiment with your ideas or experience. For projects passion, I mean the ones you have to love her and not pay. I shot a lot of â € ~ freebiesâ € ™ for my reel to show the height and gain experience before you start getting paid for my art.

Also Câ € ™ is important to work on your network contacts. You never know when that person you might consider as a rival might actually be the only to move some work your way or introduce you to new employees. The film industry is too small to enemies. We must be as a support network and learn from each other to constantly make plans better.

For you, what are the "must see "reference film on the film, either in circulation or avant-garde?

Although First Film on the recent Indian films Kalpvriksh â € "The tree Wish €" Yours Dreams Are Just A Touch Away "and the soon to be released Carry On Pandu are quite exceptional. Ha!

No, seriously, some of my favorite and most influential films in terms of the film are not with blows or large crane world € ™ s longest Steadicam shot, but those that create a real atmosphere and Movies atmosphere. that convey emotion to the audience and the transmission of sub-text of a story telling about characters that only dialogue never could.

I think the most influential film for me would be anything created by Satyajit Ray (Aparajito (The Unvanquished), The Philosopher's Stone Stone (The Philosopher's), Music Room (The Music Room) for use of mood, atmosphere and cinematic storytelling techniques.

In addition, classics like Pather Panchali (Song of the Road). It took me a while to understand why he is considered the best film ever made. The use of Deep Focus in this film is not only a technical achievement, but also a tale.

I also much like branches of the tree (branches of a tree), Agantuk. They are both very rough and hand stretched at times, but very beautiful and really you feel as if you were € ~ â € ™ inside the film.

That's what I was looking to build on the last film I turned Kalpvriksh â € "The Wishing Tree.

I want the audience to feel as if they were there in Kalpvriksh with the characters, to feel, smell and taste.

Key light: moments of the film since Kalpvriksh â € " The Wish Tree

An interview with Rajiv Jain, Director of Photography and owner of India Rajiv Jain Movies, Pictures and Grips â € " Dubai – Mumbai – Nairobi.

Q: What is your profession? Where are you employed?

A: Directora € ™ s director of photography, cinematographer. I have my own company, Rajiv Jain Movies, Pictures and handles, and IA ™ € did for about twenty-five years.

Q: How long have you been a filmmaker?

A: IA ™ € did for several years, but I started my own business.

Q: What kind of training did you become a filmmaker?

A: I went to Bhartendu Academy of Dramatic Arts. I graduated from two year diploma in theater arts. This put me in a position to see how industry has changed significantly. On leaving college, kids should just start their first company. own, they should decide what to do in the industry can go ahead. The skya € ™ s the limit depending on the career path you choose.

Q: What do you like most about your job?

A: Working for myself. Having the freedom to make your own decisions, make your own way on what you want. But you can go a month without work if youâ € ™ re on your own, so definitely put you a firm path and a creative path. Take over the business, not just the liberal arts. Film Industry is a company, as the music industry. You must be a self-starter.

Q: Describe your typical day on the heap.

A: What job? Normally, when IA ™ € m not working, IA M € ™ in my office doing paperwork. Of your office, you might have to go somewhere on the site and can be anywhere from two days to thirty days. Many of our orders are remote locations. Each work is unique. As soon as you think Itâ € ™ s typical change.

Q: What do you career before becoming a filmmaker? Â Do you feel that it helped prepare you to become a massage therapist?

R: I was doing theater, photo-journalism, working at a local station and make a decent gain. I found myself incorporating primordial my words, and when I started taking pictures and filming, I realized that was what Iâ € ™ m most passionate about. But when you have a creative bone in your body, such as writing, Câ € ™ is easier to develop other aspects of a business Created different.

Q: What traits do you feel are necessary to succeed as a filmmaker?

A: Everyone takes different paths to success. But you must maintain. Editing and graphics has changed so much. The whole dynamic has changed completely. You have to be totally flexible and stay with the current trend.

Q: Would you Itâ € ™ s imperative to have a college education for a career like this?

A: I NA T ™ € Itâ € ™ thinking is imperative, but what I got out of college I network a lot. I nâ ™ € t think itâ € ™ its one hundred percent necessary. But, of course, you should have a good school to teach you what you need. When youâ € ™ re in college, you need to start working on the construction a portfolio and the college can help it. If two people went for the same work, and they both had impeccable portfolio, but we also completed a diploma in four years, you can bet that persona € ™ s going to land the job. To be in the industry full time, not only independent means Itâ € ™ s important to get that diploma.

Q: Would - Would you recommend this job to someone else?

A: Yeah. I do ™ € t find anything better to do. I see things that people nâ € ™ t see. Is it for everyone? I nâ ™ € t think so. You must have thick skin. You must work for months. Nâ € ™ t set your expectations too high. Be realistic. My first recommendation would be to go to college and get the job full time. Have an idea that industry is. Itâ € ™ s hard to just have a good portfolio, unless youâ € ™ re a filmmaker surprising. Do without a college is extremely difficult to do.

Q: What is your next career move, if any?

A: Retirement village and go. No, but seriously, IA M € ™ will do more projects. I want complete control of my future projects.

Kalpvriksh – The Wish Tree – your dreams are just Touch Away â € "Rajiv Jain Cinematographer

Twice winner Indian Photo Rajiv Jain ICS WICA Creates Special World of light, the shadows in his recent film Kalpvriksh the Wish Tree, Your Dreams Are Just A Touch Away

Rajiv Jain has a way to see who takes an image to its outer limits. In his last years as an assistant, electrician, grip, and in the last 16 years as director of photography, he developed visual sensitivity and expertise.

Rajiv takes its inspiration of directors like Satyajit Ray (Pather Panchali) and cinematographer Ashok Mehta, ISC (36 Chowrangi Lane) and Binod Pradhan (Parinda) for their use of color and lights and shadows to amplify the emotional content of stories. I found the ability to allow people to operate in the shadow an art, "he said. Ashok Mehta allows his characters to operate in the dark. He lights all if blacks are really rich – but you can see everything.

His work in Kalpvriksh, a film by director Manika Sharma exudes quality time with an advantage. Rajiv was particularly intrigued through non-narrative writing fragmented because it offered a variety of visual possibilities. Shot mainly on Kodak to provide contrast for outdoor scenes, Rajiv experimented with hot and blue filters to get the look he wanted. The result is a dark journey almost surreal in the minds and actions of strange characters in the film.

Until the collaboration prior to any film is essential, says Rajiv.

It is important for me to go through the script scene by scene with the director Manika Sharma, Rajiv said, trying to see what is in his mind. I want to know what the scene is saying, which is the most important person is at that moment, and how the characters move across the stage. We also share photos and movies, which gives us a visual to work from.

A graduate of Bhartendu Academy of Dramatic Arts in Drama and a beginning photography, Rajiv took a course in filmmaking. Intrigued by the movie business, he saw opportunities to combine her interests in film advertisements. Searching a way to learn shooting, he offered his help (unpaid) director of photography to learn Subroto Mitra the profession.

He taught me a lot on his RS package, which the lenses were, and how to load the magazines, "he said. Then he started by working on Shyam Benegal € ™ s documentary about Nehru.

In 1996, Rajiv got the first chance to make a film, Army, with Mukul Anand. After eight weeks of filming stressful – every movement was watched.

After 6 more features, and then came Kalpvriksh in 2007 Rajiv helped to explore a new visual technique of adding the nuances of history. The film has a dreamlike journey that Rajiv wanted to give a dreamlike quality. We tested the filters and a bleach bypass process to give this part of the film its own look, "he said. "We decided instead using a tilt swing, a camera attachment that allows the operator to change the plane of focus. It chips different parts of the frame off home, which is difficult to do in a wide shot because of increased depth of field.

Rajiv is currently finishing production on Carry On Pandu, a feature being shot in Mumbai and make commercials.

Full of surprises! Rajiv Jain, Indian Cinematographer / DOP, speaks … KALPVRIKSH (The Wishing Tree): YOUR DREAMS … ARE JUST A Touch Away …

Like any artist, Rajiv was born with an innate talent honed by experience and cultural influences. Born in 1968, his first introduction to the magic of cinema came while watching his uncle as a projectionist to Ravindralaya Theater, Lucknow. â € OEI remember that I sat in that little screening room and watch movies with my uncle, Â € filmmaker Indian recalls. â € œIt is like watching silent movies because you couldn t ™ € hear the sound in the cabin. I just saw the pictures and try to understand history. My uncle we show the films of Charlie Chaplin, who, of course, were silent. There is no doubt he has his dream to become a filmmaker in my heart.â Â € Originally from India, cinematographer Rajiv Jain ICS WICA studied at the Academy Bhartendu Dramatic Art in Lucknow, India.

The day after graduation, Rajiv went to work as an intern on an anamorphic picture. He has contributed more than ten films as assistant director of photography before becoming a DOP. â € œFrom that moment, I considered the camera or as a pen that you use to draw images, â € he said. â € œOperating camera is mainly on the composition and rhythm. I also used the camera to Bollywood songs. It was very primitive. While we were shooting, someone with a watch each time panning and zoom. He said: â € ~ You have 5 1 / 2 seconds to do ZOOM.ES € ™ It was a great lesson for me, learning to make each element of some work in that amount of time.â €

I thought it was interesting that the film speaks a common language that everyone in Anyone can understand, "he recalls." This is particularly true for photography, because we are communicating with the public non-verbal. "â € OETO me making a film is like the resolution of conflict between light and darkness, cold and heat, blue and orange or other contrasting colors. There should be a sense of energy, or change of motion. A sense that time passes â € "the night becomes light, what is the morning. Life becomes death. Making a film is like a journey and documentation using light in the style that best meets some € pictures | concept behind her.

The first important decision regarding the visuals was to turn in anamorphic (2.4:1) format, as they had done on Kalpvriksh â € "The Wishing Tree. Manika Rajiv explains that likes to manipulate the views subjective and objective, sometimes within the same framework or even the same time. In a simple example, a fire will start on a subject, then an actor will step into the frame, creating an over-the-shoulder shot, the change of subjectivism € "â €" in that the viewer sees what the character sees € "â €" the target. "One of my first suggestions derived Kalpvriksh â € "The Wishing Tree in Super 35 format," Rajiv continues. "I felt that the film would give an edge you do not expect to see in the drama. I felt that we could use the broader framework to create a claustrophobic feeling in the ™ € Shabanaâ s cave and more interesting composition showing Shabana in the world. "She, Manika director Sharma, designer Mansi and other members of the creative team discussed opportunities to compose Kalpvriksh â € "The Wishing Tree in widescreen format, while relying on visual references such as a Another drama with a theme unlikely. Although the scenes Manika storyboards, sketches Rajiv used primarily as a communication tool. During filming, the director remain open for blowing the story board to take advantage of unexpected opportunities. A designer Mansi € œOur production and costume designer who gave us the rich and costumes. While pushing two stops in the development is not always as true to color their work with this technique allowed us (especially in the dinner / Fantasy sequences) to have a warm, yellow-looking scene, as if all that was light was lit candle, â € he said.

In a scene dramatically lit, the principal (Mahabano Kotwal) sits on the chair Looking out the window at the rain falling. â € OETH scene was illuminated by a light hard day, a 6K Arria, â € said Rajiv. â € œWe made a light through the window. As seen in the light of the door, we used a 4 by 4 mirror comes out of frame to the right. The light is modulated by the rain on the window, and it extended over the book. We have been â € ~ collection chestnuts.â € ™ It is a happy chance, and everything worked perfectly with light.â € â € œFor fill light on this film, we used is very, very little or absolutely no, â € he said. â € OEI note that stocks of films we have used, if youâ ™ € re overexpose a little, you can read the details in the shadows incredibly well. When I saw the picture at the theater on the 70-foot Screen wide, on the dark side, which is dead black, you can actually see the hair into actorsâ € ™ heads. I found very interesting. Hopefully it works at a subconscious level of the € audience.â While Rajiv knew that he could not shoot wide open to a T2 or T2.8â € "â €" because the Super 35 format chosen has a shallow depth € "â €" He still wanted this tool to give the story a greater stage presence. The biggest negative has helped to push the envelope. And he knew the grain would still be acceptable if it remained in the range T4 to T2.8 on the interior. â € œWe could still use real sources and Wouldn t ™ € will be difficult for our crew to follow the accent, â € he says with confidence.

Like many of his colleagues, cinematographer Rajiv Jain has many concerns about changes that may be introduced during the imaging process post our electronic age. Such considerations become intensified when one is dealing with a profusion of visual effects, which was the case with Kalpvriksh â € "The Wishing Tree." I tried to make a concerted effort to stay as involved as possible in post-production – which is sometimes difficult because it is' off to the next job – to work with optical and digital effects house to ensure that there would be no problems with the printing process meet. â € œYou nâ € ™ see no light in the master stroke, a € he said. â € OETH master shot that we started with a bang was impossible to light. We were stuck behind in the corner with a target of 35 mm and there was one way mirror in the background. We therefore used a technique called Rajiv Jain € ~ â € driller.â ™ In simple terms, youâ ™ € re shooting normally horizontally in a room, and there are horizontal surfaces like the tops of mantels and tables. If you just directly above a light and drill down on this surface, it works very well. It doesn t ™ € seem evil. If the light comes from a place thata € ™ s not normal or usual, people seem to accept the element thata € ™ s being informed without appearing really out Whatâ € ™ s happening in terms of a source. Shadows go straight down, so they nâ € ™ t end or look strange to call attention to the source. You can see on the table, then it is on the table and lights the faces to a degree. Câ € ™ is interesting because youâ € ™ re not lighting at all the people. Youa € ™ re lighting of the environment thei € ™ re in.

Anamorphic gives you the space within to do, â € said Rajiv. â € œManika not problem of filling a frame anamorphic in a contemporary painting. The story also has an elegiac aspect, it seemed better to say no video rock cutting and frenetic camera movement. With the amazing band, we knew that this film will be on performance. All those ideas € "â €" as well as â € ~ if € ™ aina t broke, nâ € ™ t set Câ € ™ â € "â €" factored into our decision to fire € anamorphic.â define a visual approach suitable for various moods required in Kalpvriksh â € "The Wishing Tree, Manika and Rajiv chose to forgo much of the work common to see other films during prep." We used a lot of book work, referring to other types of artists working in two dimensional forms, photography and drawings mainly Rajiv relates. "It was a pleasant and different prep. In watching film to see how a particular sequence worked is great, but this approach started me on this incredible series of self-education, covering photography from 1890 up 'til now. Now I can not help buy books. It is amazing how many sources of visual reference material is there when you go to the essentials. They were great springboards points for us.

The filmmaker also had to avoid revealing reflections of camera equipment and personnel on the surface of the water. With a disciplined team, which required placement light careful selection and camera angle. He discovered that placing the plastic at the correct distance from the lens for closer shots Shawn perspective rendering images slightly distorted with a hint of grain, which multiplied watches that he and the director Manika desired. Rajiv sometimes also added reflections of characters and objects on the surface of the water to attract the attention on the barrier that separates the boy from others. Sometimes the camera takes a subjective, as the position of spectator, while others Once the public seems to share Shawn's life-experience in the bubble. "There was no simple formula for deciding when to put the public at heart bubble with Shawn. It was a question I asked the director for each shot in each scene. Are we with Shawn inside the bubble, or About Us Outside Looking In? "

I didnâ ™ € t believe and obviously neither did nor Manika Sharma director or company Rhombus Films producing. Another photo taken in an old house in Bollywood has forced us to actually operate two generators to power the lights. By the time we do, however, I could get two-thirds of a long sequence of traveling with the light reflections in a pool of long night (Shabanaâ € ™ s cave). â € OEI think itâ € ™ its visual reflection of the fact that ONEA € ™ s position in life can change almost Instantly, â € he said. â € œItâ € ™ s extremely effective visually. It seems to work on a number of different levels. Using this different approach seems to refresh all your purchases and setbacks. There € ™ its very interesting scene between Shabana and the kid that was staged as a tree, and there € ™ SA feelings of anxiety and potential aggression. Câ € ™ is very ambiguous, but the spatial dynamics really underscores the € feeling.â

There is a great advantage to work on the location relative to a studio. For example, the house I said Muslims had real marble floors. An experienced DOP knows how use this fact something, it can simulate that in a studio, "said Rajiv. Reflectors have been used extensively in the film, usually on the side filling to look up a certain atmosphere or an edge of KeyLight, and redirect some of that light on the side of filling. In most cases, it was very subtle, but reflect only the brightness of the skin. â € œWe used reflectors as almost a EyeLight, â € said Rajiv. â € œThere is such a tension between these three characters. There are a lot of emotions interior beneath the surface of this film. I felt that the public should have access to the internal life of the characters, so I tried to keep going Eyelights, especially when Weâ € ™ d get in close. Often it was done with a small reflector thrown in at the last moment.

One of the most important included previsualizing Shabana's character itself. "To nail down, we started working on storyboards with an artist, "said Rajiv," which drew terrible advice and is also a brilliant artist. We told him our thoughts on how Shabana looked and he began to work. Manika credited with creating much of the final appearance since his drawings were used to communicate on hair, makeup and wardrobe departments that Manika looking for his eyes. "Part of the Covered Cave 'involved the use of a wig, which often obscured the face of the actor – who at the occasion to provide a less than ideal lighting. "In hairdressing and makeup tests, I saw that Shabana looked so amazing, they would be difficult to treat for 2 weeks. She had a large helmet and a huge costume also, if there was a question whether we would ever be able to see really. I told Manika that sometimes she was about to become a hair helmet. Being very sensitive to the needs of actors, Manika did not get the hair from her face, so we tried not to mess with him and solve it by ourselves. "

On Kalpvriksh â € "The Wishing Tree, Rajiv opted for Vision 200T (5274) for everything except the external night, explaining that the smooth texture of this non-intrusive emulsion folders deep blacks, accurate color and tonal range wide. Rajiv shooting days outside Eastman EXR 100T (5248), using a filter 81 EF half an accurate and keep the blue cold of winter. Daylight-balanced 250D (5246) Vision of shares been selected for day interiors, while he operated Vision 500T (5279) on most interior and exterior night. Since filming, the director did many tests with different materials to find the right thickness and translucency. "It the same as using a cheap filter on the lens and we realized that any distortion or loss of concentration would be magnified when the optical lab "compressed" images in the ratio of 2.40 point. In addition to choosing the right plastic, it was important for us to record with strong negative images in focus. We were shooting through filters at least 90 percent of the time.

While filming scenes with forest the main actor, Rajiv employees what he calls a Nine-light sandwich. "Others might call it a light book, but in any case, we were bouncing a nine-Light Maxi Brute a piece of cardboard logs, then letting the light through a framework of general circulation with either 216 or grid of light. The resulting soft light striking it had a very good quality, plus a few candles severe beating of feet. This light soft enough to puncture had Shabanaâ € ™ s hair, and I could not control the amount of light just clicking off several globes. But it also required a lot of shortness of breath and took a lot of space. "On other occasions, Rajiv lit forest directing light from most extreme angles. "I came in much lower and more front with his key than I would normally, but the approach has succeeded in leaving hair fall naturally, therefore, while it was hard, it worked. It does make me grateful for the scenes where Shabana is dressed with her hair pulled back, because I could get an advantage to Nice with a light on his side. "

When children arrive the tree before the climax, the production has created the famous set filming the actors in front of blue screen and green screen. These elements were processed digitally composited with plate background stock derived from Ladakh. Harry and Arjun Red Chilliesâ € ™ center hosting plans oversaw visual effect. "I do not think that these scenes might be more credible if we had traveled Ladakh for filming live, "marvels Rajiv." How can you miss when you start with 70 mm base plates? We matched all these plates. "

Over there were a few scenes in daylight there, so we decided that cracks in the ceiling of the cave let the sunlight into hard, "he says." I put signs in the walls behind the players and let some light bounce off the floor. Essentially, however, the scenes of the cave are set at night – Firelight or illuminated by the glow of lanterns and imagined coming off, which is not connected to anything. For water, I chose to use a blue light on some key players, but do not put any wobbling motion because I felt it was distracting. The only flicker on their faces from the actual water. What I did add was an effect slight flicker on the walls, I found to be more pleasant while bringing a bit of realism.

Front-end lab work was produced by Gemini, which provided film dailies. "After his experience in the commercial world where you work on a monitor all the time Manika loved watching the dailies of the film – it has opened a new world for her, "said Rajiv. "For example, there is a plan of Shabana deliver a line at the end of a long shot under the tree. When Manika seen it played back on video [TAP] monitor and it does not feel good for him. It seemed too low in the plan. She noted that perhaps the line should disappear in publishing. After some time, Manika saw projected on a screen giant and liked the shot. "When asked if such a pleasure to extend new on-screen drama and Rajiv smiled and said:" Would you be surprised if I said there is a happy ending?

The filmmaker does not broadcast the camera lens, preferring instead to soften thereon, as required by acting selectively the source. "I've never liked in movies where the overall resolution of the lens changes visibly in cuts to a close during a scene, "he said. "This whole story to the broadcast trucks in front of the lens to [actress] Look 'better' is just crazy to me. I do not want to see the efforts of cinematographer to make someone look good. Instead, I want to see the character, look, and I think what happens when the actor is both wide integrated and properly lit a flattering way. My solution is to soften the light source and the image is as clear as possible. Some people think that lenses Primo is too strong, but I like everything perfect. When you combine years and years of research and development on film stock from Kodak, with what happened in these lenses Arri and laboratory work in Gemini, then put it all into a movie projected on the screen correctly, the This impressive result is perfection! So, I take great pride to ensure a perfect really negative. We may want to mess it later, and it is very well, but I think starting with something well exposed and sharp. "

With so many visual processing necessary to describe perceptions of Shabana's, Rajiv and Manika necessary to adjust the settings from the start for events requiring more elaborate visual effects. "We're telling a story that we see in part through the eyes of a crazy person," Rajiv offers. "It is a incredibly brilliant crazy, but crazy anyway, so there is a sense of fantasy about these visions, but they are not in the tradition of the effects of watching science fiction. We have been presented a wish list of visual effects for budgeting, but returned to prices four or five times higher than we expected. This forced us to withdraw, and that the final decision has worked best for the film we ended up making. Most effects are things we have done with operational guides light, or a combination of these signals with digital enhancement. "

I am happy that watching this movie seems interesting to the eye, but I am also pleased that the visuals do not replace history. Early reviews Shabana praise the performance as one of the best she's ever given, so it would not be logical to do something that took away from this aspect. Many movies now seem overwhelmed by the effects, but Manika is not one to say this type of history.

When Indian Photo Rajiv Jain ICS WICA is asked if he would do differently today, the master artist responds, â € œNinety-nine percent of the time when I see my old films I am serene. It was the best I could do at this time of my life with what I had to work. Whatâ € ™ s important is your life and how you evolve as a human being and as an artist.

Q & A with Rajiv Jain ICS WICA Photo Film on Indian Kalpvriksh – The Wish Tree – Your Dreams Are Just A Touch Away

Director of Photography Indian Rajiv Jain ICS WICA is a filmmaker based in Mumbai, India. Rajiv specializes in shooting television commercials in the 35mm format image motion film and HD digital formats. Rajiv began in the early days of the revolution in music video, before venturing into film narrative. His eclectic body of work includes the army, Badhaai Ho Badhaai, continue Pandu, Kadach, Kalpvriksh – The Wish Tree Notout Mirabai, Â Pyar Mein Kabhi Kabhi and Rasstar.

QUESTION: Where were you born and raised?

RAJIV: I was born in Lucknow, India. There was no major event that happened to me as a young person who made me want to be a filmmaker. It certainly wasnâ ™ € t the quality of light in Lucknow. I remember it was gray; was stained brown and traffic the dark sky. But as I say that I'm aware of the range of the oppressed place affects me emotionally. Saturated jumped cons as neutral, as in a dream or post-industrial nightmare.

QUESTION: What are your parents?

RAJIV: My parents were just ordinary people. I nâ ™ € t think they were particularly challenging for me. Their main concern, I think, is that wasnâ ™ € t embarrassment. We moved to Etawah and then back to Lucknow, where I finished my studies. My degrees were in theater arts.

QUESTION: Do you have a career goal at this point in life?

RAJIV: I wanted to be writer, but as Rakesh Mohan I too thought and wrote too little. This also means that I was a reader and a writer, academician then more of a poet. I am very interested in structuralism and semiotics (the study of how language encodes ideas). Initially, I studied how the spoken and written work, but then became more interested in how the codes worked in other languages as the language of film. My interest in language led me to film a rather convoluted to cinematography.

QUESTION: thata € ™ s interesting. Can you be a little more specific?

RAJIV: I became very interested in understanding how changing light, composition, camera angles and camera movements modifies a filmmaker public perception of the visual event, and therefore the hearings € ™ s emotional response. It is a difficult thing to quantify. I specifically remember thinking back to the Pather Panchali when I was a child, and how his image was still remained in my imagination, not only for their sheer beauty and scale of the sublime, but because they have affected me emotionally, some striking unconscious but the reactive bone. Later, I saw Ray's The Apu Trilogy ". I had much the same answer, but now my understanding has been informed by my studies. It would be fair to say that the cinematographer for both films, Subroto Mitra, have been those who have most influenced my decision to become a filmmaker.

QUESTION: How did you establish a connection between words and photography?

RAJIV: In writing essays and articles on cinema. I realized that the images of the film very well how oral and written language works. You want to express certain ideas. It is culturally accepted and understood codas. These forms, which we call letters are agreed pronunciations. These letters form words. These words have agreed meanings. But it is clearly arbitrary. The word â € € œcatâ has no â € € œcatnessâ innate about it, but on hearing the word, the listener is an idea in their brain. A cat. You can then add adjectives and adjectives, to make a black cat or black cat angry. These words are codes, but codes not universal. They are specific to a culture that share this language. Photography in some ways is a much more complex language. The denotative (specific) or connotative (symbolic or implicit) sense of an image can be ambiguous, but also complex. Perhaps the best analogy is the literary Haiku poem. The words least likely to have a greater potential significance â € "the more words are added in more literary forms, the more precise meaning. An image provides both specific and non specific meanings. It can work on multiple layers, conscious or not.

QUESTION: Have you had any mentors or do you was completely self-taught?

RAJIV: IA € ™ ve learned a lot of other DPA € ™ s. Itâ € ™ But s mainly the study of their work. Ashok Mehta and I talk a lot, and HEA € ™ s given me a Great deal. But I was a autodidact. I have long studied the arts and artists in particular in the early 20th century, artists and late 19th century. I learned much about the light from them. Iâ € ™ ve stolen an idea of all the films € ™ good IA've seen, probably. Especially the work ofA Subroto Mitra (ISC), Ashok Mehta (ISC), Binod Pradhan and Santosh Sivan (CSI).

QUESTION: Do you see yourself as an artist, a technician or both?

RAJIV: I think thata € ™ s an important distinction. I nâ ™ € t want to seem pretentious, but if you consider the nature of art, it is intended to give us new eyes to see the world. I want audiences to viscerally respond to what our intentions are for a film. I think the film works very well as music in that it is difficult to measure or quantify why people react to what we do. Thus, it is an art. And its practitioners must be artists.

QUESTION: Tell us about your analogy music and cinematography.

RAJIV: I can sit in dailies and I can see the other people watching the movie with me physically and emotionally respond to images, but it is very difficult to quantify what they react to. If you look at people who listen music, they may also respond, but you'd be hard to quantify why they react.

QUESTION: Iâ € ™ ll borrow a phrase from Subroto Mitra, who said the filmmakers are the authors of the images. But this nâ ™ € t widely recognized.

RAJIV: Part the problem lies in our collective culture. The films are examined in the theater rather than as a unique art form. Critics speak scripts and performances. They are talking about things they understand, but because they understand their own cultural background is primarily in the theater traditional, although they may not recognize. In this context, movies and music do not necessarily € ™ t included, except to say they were beautiful, because there is not a language developed especially in the critical description. Unfortunately, many evaluators nâ € ™ t recognize how decisions taken by the director, filmmaker and composer had a profound impact on the reactions visceral and intellectual responses of audiences. Iâ € ™ m saying that the filmmakers are not necessarily ™ € t recognized. We are at least in industry, but not in the mainstream press. I nâ ™ € t think I read one review that mentioned the importance of Subroto Mitraa € ™ s (ISC) decision to use 16mm film and other formats in certain scenes in the river, which still has a profound impact. I believe that art is an important decision that deserves our consideration, in fact, essential to understanding the audience a filmed ™ € s artistic treatment.

QUESTION: The collaboration between administrators and directors of photography is unique.

RAJIV: An important thing about this collaboration is that the filmmakers must integrate their vision of a film with l '™ € Director s vision.

QUESTION: Do the videos you've taken a lot of music influences you today?

RAJIV: Not really. None of my films resemble music videos, but the great thing about music videos was that we could experiment with lighting different film stocks, lenses and filters. We would like you decide to try to put four filters on the lens, a process of strength film, or put a negative by a reversal process of post-production film to see how it comes out, then try again in the opposite direction. This was an excellent how to learn.

QUESTION: Are there other filmmakers whose work you follow?

RAJIV: I can mention all the obvious names, but the truth is that I learn all the filmmakers. I can watch a television program shot by a young 29, cinematographer old and find something he or she has done this is very interesting. Iâ € ™ m constantly learning from other people. I still read every magazine and newspaper on film and photography that I can raise my hand. I still study art. I collect books of photographers and paintings. But Itâ € ™ s not only good work that others do I learn by. I learn from my own mistakes I had ample opportunity to do so during the past 20 years. When my son Adam was in seventh grade, he wrote an essay about it was necessary to say who was his hero. He said it was me. â € œMy father is my hero because he messes up the whole time, and it lets me see it.â € So I feel good with upside. I think thata € ™ its extremely important lesson to learn. Câ € ™ s okay to mess up and you'll sometimes mess up ™ € If youâ re ready to push the limits of your boat.

QUESTION: Is this other mentors influence your thinking?

RAJIV: I graduated from the University of Lucknow for briefly. Thata € ™ s where I met Renu Saluja, who was a very important mentor. It makes me, very interesting avenues regarding film theory.

QUESTION: How do you decide that something is a film you want to do?

RAJIV: Early in my career, all that was offered was a movie I wanted to do. Today, two things are likely to affect my decision. One is my first meeting with the director. This relationship is similar to a marriage that, curiously, much more intense. You must decide if youâ ™ € will be able to agree with this person for the long time that youâ € ™ re going to be together. I think I got along well over 90 percent of the directors with whom I worked, and many have remained friends. The second thing is photography. Iâ € ™ m always interested in new things and different. If the project is very similar to what I did before, and the script is not great, then it is less likely, I'll be interested. Sometimes one comes along that project is so interesting that it is impossible to resist.

QUESTION: What do you think students and other young filmmakers when they ask you to share the secret of success? Did you tell them the truth on the ratings?

RAJIV: I think we must be patient and do not let yourself believe that things will occur quickly. You need integrity and honesty about who you want to become. In this way, even if you fail, you fail with some dignity. If you compromise and fail, what do you have left?

Quick Notes by Indian Cinematographer / DOP Rajiv Jain on cinematography and Indian aspiring filmmakers:

A quick "filler" post If I try to get something really substantial wrote: Â

The most hits I get for my blog are people looking for keywords like "Indian Cinematographers" "The Career of cinematography path "and" how to be a great filmmaker. I really can only offer my personal experience.

Rajiv on advice for young, aspiring cinematographers Indian:

A board

About the Author

Tony Parsons (born 6th November 1953) is a British journalist broadcaster and author. He began his career as a music journalist on the NME, writing about punk music. Later, he wrote for The Daily Telegraph, before going on to write his current column for the Daily Mirror. Parsons was for a time a regular guest on the BBC Two arts review programme The Late Show, and still appears infrequently on the successor Newsnight Review; he also briefly hosted a series on Channel 4 called Big Mouth. He is the author of the multi-million selling novel, Man and Boy (1999). Parsons had written a number of novels including The Kids (1976), Platinum Logic (1981) and Limelight Blues (1983), before he found mainstream success by focussing on the tribulations of thirty-something men. Parsons has since published a series of best-selling novels — One For My Baby (2001), Man and Wife (2003), The Family Way (2004), Stories We Could Tell (2006), My Favourite Wife (2007) and Starting Over (2009). His novels typically deal with relationship problems, emotional dramas and the traumas of men and women in our time. Many believe the content of his work is weak.

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Swing Perfect Golf Training Aid $79.95 Swing Perfect Golf Training Aid Swing Perfect! is a revolutionary new golf swing trainer that helps you set the perfect swing path into your muscle memory. Swing Perfect is the only swing trainer that analyzes swing plane and club face position simultaneously through your complete swing and gives you immediate, continuous feedback when you swing any club, anywhere, indoors or out, at home, on the driving range, even on the course. An instructional video on how to use SwingPerfect! is also included. Swing Perfect is universal for both right and left handed golfers. The Swing Perfect trainer uses advanced electronic microcircuitry, a minature swing analyzer gyroscope and a unique four-position switch to help align your swing to within 3* of the perfect plane. If you move beyond the plane, don’t rotate or transfer your weight correctly, you’ll feel a slight vibration in the grip, just enough to alert you to adjust what you’re doing. Swing Perfect! is manufactured by a leading ISO certified aerospace firm and calibrated to 0.010 of an inch tolerance. The SwingPerfect trainer is durable, with no mechanical moving components within the swing sensing system. The Swing Perfect Golf Training Aid is simple: * Lightweight – just 2.3 ounces, won?t affect club head weight. * Compact – fits in your palm, pocket or golf bag. * Easy to use – simply snap Swing Perfect! on directly under the grip on any standard 58 size shaft, attach the safety band and you’re ready to practice. Swing Perfect is advanced: * Uses cutting-edge, patented, aerospace technology to help align your swing to within 3? of the perfect plane. * Uses Vibe Feedback to alert you immediately if your swing mechanics deviate from the perfect plane. * Backed by 7 years of development with 5 U.S. patents Swing Perfect is versatile: * Universal for Right or Left Handed Golfers * Works if you?re short or tall. * For beginners to advanced players.

Swing $39.99 From the world’s bestselling programmingauthor. Using the practicalpedagogy that has made his other Beginner’sGuides so successful, Herb Schildt provides new Swingprogrammers with a completely integrated learningpackage. Perfect for the classroom or self-study, Swing:A Beginner’s Guide delivers the appropriate mix of theoryand practical coding. You will be programmingas early as Chapter 1.

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