The Written Word: Rajeev Jain (Indian Cinematographer) Visual wizardry….
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almost instantaneously,” he says. “It’s extremely effective visually. It seems to work on a number of different levels. Using this different approach seems to freshen up all your overs and reverses. There’s a very interesting scene between Shabana and kid that was staged on an under the tree, and there’s a sense of disquiet and 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 Rajeev. 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
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