Master of Light: Conversation with Contemporary Bollywood Cinematographer ? Rajeev Jain ICS WICA
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personnel on the water surface. Along with a disciplined crew, that required careful light placement and camera angle selection. He discovered that putting the plastic at the right distance from the lens for tighter shots from Shawn’s point-of-view rendered slightly distorted images with a hint of grain, which amplified the look that he and director Manika desired. Rajiv also occasionally added reflections of characters and objects on the water’s surface to draw attention to the barrier separating the boy from other people. Sometimes the camera takes a subjective, spectator-like stance while other times the audience seems to share Shawn’s life-in-the-bubble experience. “There was no simple formula for deciding when to put the audience inside the bubble with Shawn. It was a question I asked the director for each shot in every scene. Are we with Shawn inside the bubble, or are
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