Philosophy
The world just got a whole lot smaller. I am still in a state of total disbelief. The horrific crimes of recent suicide bomb blasts were beyond comprehension and human logic. How is it that our goals and aspirations can be so different in spite of coming from the same mould? As a father, I am always trying to encourage my two little angels Abigail (16yrs.) and Kimberly (12 yrs) to work hard, be fair, be honest, be kind and humane and most importantly, be open minded and tolerant of other people.
The terrorists who executed this deadly plan lied, cheated, murdered and judged all others who did not subscribe to their twisted perversion of faith and morality.
This is a very difficult time to be positive, but the future of our children and rights of a free democracy depends on everyone continuing to protect the choice to pursue what is important and right for every individual.
The marketplace is in a total state of flux. Everyone in our business is scrambling to firm up existing clients and struggling to keep what they have. Add the challenge of preparing for HDTV and the plethora of format choices to the equation and you’ve got a difficult situation.
Climbing to the higher planes of the industry was not overnight. A native of Lucknow and a graduate of University of Lucknow and Bhartendu Academy of Dramatic Arts (Bhartendu Natya Academy/ Bhartendu Natak Akademi), My career has taken me over the years from Lucknow, to Mumbai / Bombay in pursuit of my dreams. And the companies have ranged from organizations, TV stations to ad agencies and Features. Despite all my accomplishments and obviously varied skills, I remain very true to my first love, and that is the love for cinematography.
I believe that the DOP has one primary job: to serve the director s vision of the story. Some DOP seem bent on making a different movie than the one the director is making - such behavior is completely unprofessional, even silly. I strive to maintain a fully professional attitude whether we are shooting 16/ 35mm film, High Def 24P or Video. Shooting is shooting, I try to make every shot the best it can be.
One of the great pleasures of filmmaking is the collaboration. I take great pains and efforts to put in nothing but the best i can into each shot. I try to understand the vision that the director is striving to bring to the fore- front, presenting that vision in all its totality and making it as realistic as possible then becomes my sole purpose.
Some directors prefer to control every aspect of the image, and at the other extreme, some prefer to concentrate on directing the actors and pretty much leave the photography up to me. Most commonly, of course, majority of director s fit in somewhere the middle. I am completely comfortable working either ways.
The DOP has another job, of course, and that is to help the production to stay on schedule and within the prescribed budget. I take those responsibilities very seriously as well. Being a Director of Photography is much more than just being good at lighting and camerawork (although those are primary, of course); it is also very much a “management” job: you are in charge of a number of people, different departments, equipment, schedules etc. My experience on productions large and small; from very simple to very complex shoots gives me the experience to handle the various responsibilities and keep the balance.
I am as big a gear head as the next guy, but please!
The reality is that you had better know your client and be honest with yourself about which marketplace your doing most of your business in. The mistake a lot of people make is dreaming about what might be and not concentrating on what is.
For me, I have an eclectic mix of works. I continue to shoot Commercials, Feature Films and Music Videos.
I personally believe that you better enjoy what you are doing and have as much fun as you can while doing it. I have been very fortunate to hook up with a bunch of great people, both crew and production houses.
I have noticed that instinct is starting to rule my life. I no longer fret about the “what if s”, I just do what feels right and amazingly it seems to work out. The old rule is true, if it sounds to good to be true…. Hard work is the only substitute for lack of natural luck, hell I do not even know how to spell luck. As a freelancer, you have got to make your luck, you have got to sit back and think about what type of work you want to do and then make the contacts, place the calls and pursue what it is you want.
There are a hundred ways to go wrong and only a few to go right. There is only one goal: Beautiful pictures that serve the story and flow together in the edit.
It has been a weird year (2007). I lost a number of commercials in Africa, Asia, Europe and Middle East due to the downturn in the economy, war and terrorist extremism.
And finally, this year (2008) I turned 43.
So, if you get a call from me one day, do not be too surprised.
MY MISSION
To use my skills, experience and professionalism to provide productions with distinct and compelling cinematography.
RAJEEV JAIN s TAKE ON……
PREP
I work out the complicated problems in prep to execute simple solutions in production. From location scouts, shot listing, story boarding, script meetings, watching rehearsals, testing stock, lenses, makeup and wardrobe, to scheduling and collaborating with department heads - I do not wing it. I prepare to the point where I can use my intuition to respond to the unexpected, rise above the game plan and take the film to the next level.
DIRECTORS
What gets me excited - is to work with passionate directors who take risks. Whether the film is meticulously storyboarded or improvisational, from prep to wrap, I try to unlock what the director has in their head, understand it, refine and capture it.
PRODUCERS
I know how to collaborate with a producer to get a dollar out of fifteen cents. Whether it is tapping my extensive contacts to efficiently scheduling the crew and equipment; to finding innovative and resourceful ways to shoot a film; to nailing a shot on take one - I take no expense for granted.
CREW
I have the contacts to put together a camera and lighting crew for most any sized project and the experience to delegate and supervise them. My roster have skills and aspirations bigger than their job titles; but also have the attitude to keep it fun. I hire crew that take initiative, love movies and read the script.
STYLE
I hope I am not accused of it. I want the audience to feel what I shot, not to pay attention as to how it was shot.
FRAMING
I shoot for the edit. I frame for the drama.
LIGHTING
I believe there is no best way to light. Every film has its unique demands. Some directors may want 360 degree dollies while others do not move the camera at all; others like to work with marks while some do not; some schedule 20 shots a day while some just 10. In all cases, I have to find an approach that reinforces the director s instincts, stays within the production s resources while at the end the day, elucidates the drama.
FORMAT
Whether it is Super 16, HD or 35mm, I am format agnostic. I work closely with the director and producer to not only choose a viable format; but also, to exploit it to the fullest.
EQUIPMENT
Through my contacts with vendors and rental houses; my collaboration with key personnel; and from years of shooting at a variety of levels - I keep productions from paying for unnecessary gear, while making sure we have what we need. But I also believe in finding ways to get the most of what you got.
POST
My job does not end on the set. I supervise the look of the film from dailies to digital intermediate through release prints. In post, the DP s eye is critical in creating the finishing touches as well as maintaining a visual continuity and integrity.
MOVIES
From classics to new release, from horror to romance, I know my films and genres. It’s the experience of escaping into a great film that I’m passionate about. I’m not a gadget head, don’t fall in love with shots or obsess about technical matters. I do obsess about films that move me and do all I can to be part of making them.
Quotes from some famous DP’s……
… I Believe
” I admit a fondness for commercials. It is the perfect blend of many skills. You have 30 seconds to sell an audience a product or idea using the visual techniques of lighting and camera movement to reflect and comment upon current culture. “
” Every director brings a different viewpoint to spot work. Their backgrounds vary as much as the products do and that diversity is what makes every job different and unique. My challenge as cameraman is to capture that special uniqueness on film. “
” I never wanted to be pigeon-holed in commercials. I don’t care to restrict myself to shooting just cars or tabletop. My background is still photography, documentaries and theater. I’ve traveled my whole life and I want to incorporate that into my work. Commercials reflect constant change in markets and audience. This medium demands that one be aware of the evolution in lenses, film stocks and accessories as well as to be actively involved in the quickly evolving technology of digital imaging. “
“Filming kids is the ultimate in spontaneity. You have to be ready at any moment for something to happen. It all has to do with lighting and planning. You also have to find the right place for the camera so that the kids can work in a given space and be comfortable without a lot of noise and distraction… finger on switch. “
“If you know how to light, it doesn’t matter what you shoot. If you don’t know how to light… it does not matter what you shoot.” - on shooting film vs. shooting High Def:
“Cinematography is the art and craft of the authorship of visual images for the cinema extending from conception and pre-production through post-production to the ultimate presentation of these images. All and any processes, which may affect these images, are the direct responsibility and interest of the cinematographer. Cinematography is not a subcategory of photography. Rather, photography is but one craft, which the cinematographer uses in addition to other physical, organizational, managerial, interpretive, and image manipulating techniques to effect one coherent process. Cinematography is a creative and interpretive process, which culminates in the authorship of an original work rather than the simple recording of a physical event. The images which the cinematographer brings to the screen come from the artistic vision, imagination, and skill of the cinematographer working within a collaborative relationship with fellow artists”.
“Cinematography is the process of capturing a vision on film. As both an art and a craft it is a dynamic process that involves the composition of light, shadow, time and movement. For the cinematographer this requires a synthesis of technical skills and creative sensibility”.
“A great deal of work happens between scouting and shooting and it can be a very tedious process. In the end, if any of that behind the scenes work shows in the final product, then I think that work has not been for nothing.
Surendra Rahi was born and raised in Delhi, India, surrounded by pet animals. After twenty years as a farmer, he turned to teaching and then to writing children’s books.
Rahi writes mostly about animals: farmyard fantasy, as he likes to call it, often about pigs, his special favorites. He enjoys writing for children, meeting the children who read his books, and knowing that they get enjoyment from what he does.
Among his well-loved books is Kid, The Gallant Kid, which was recently made into a major drama, and was nominated for an Award.
Surendra currently lives with his wife in a small cottage, about three miles from the house where he was born.
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