Master of Light: Conversation with Contemporary Bollywood Cinematographer ? Rajeev Jain ICS WICA
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possible aggression. It’s very ambiguous, yet the spatial dynamics really underscore the feeling.”
There is a great advantage in working on location versus a studio. For example, the muslim house I mentioned had real marble floors. An experienced DOP knows how to utilize this reality something he can only simulate in a studio,” mused Rajiv. Reflectors were used extensively throughout the film, usually on the fill side to pick up some ambience or an edge of the keylight, and to redirect some of that light to the fill side. In most cases it was very subtle, however, just reflecting in the shine of the skin. “We used the reflectors as almost more of an eyelight,” Rajiv says. “There is such tension between these three characters. There are a lot of internal emotions beneath the surface of this movie. I felt that the audience needed to have access to the internal
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