16mm Film

Archive for the ‘16mm To HD’ Category

What is cheaper?
Buying a Digital HD miniDV Camcorder
or…
Buying a 16mm Camcorder

If you’ve watched television during prime time recently you no doubt have seen it. The banner line at he bottom of the screen, usually accompanied by some sort of special sound effect, that reads, “This program broadcast in High Definition where available”. Media technologists, broadcasters and even the salesmen at Circuit City have been talking about HD for years and now it has finally arrived. But what does it mean for you? Sure you can get clearer pictures and better sound on your television. But how can that affect your business? High Definition technology means more than just clearer images for the networks it can also have a direct impact on your marketing and communications strategy.

When considering your next video or multimedia project you should consider the following reasons to use High Definition technologies.

· HD looks better. Even when finished and released in standard definition television, down-converted High Definition images are noticeably superior to footage shot in any traditional video format. Finished in HD and viewed on an HD monitor, the widescreen images are simply astonishing.

· HD has a bigger impact on the audience. The goals of multimedia programs like training videos, Public Service Announcements, and marketing overviews are to inform, persuade, entertain, and motivate the viewer. With professional lighting and camerawork, HD provides clarity, image detail, and color warmth, which carry through to the final product. Stories told with HD images have an impact on viewers that is not possible in standard video formats. HD programs are more beautiful and powerful, convey more information, and hold viewers’ attention longer.

· HD retains its value. Part of the value of any video production is the raw footage that can be re-used in future programs. As the viewing public moves toward acceptance of widescreen, digital, and high definition images, HD footage will retain its usefulness for the next decade, while ordinary footage suffers serious degradation when up-converted to HD formats.

· HD is a mature medium. In development since 1981, HD cameras and other equipment are as flexible and tested as standard definition equipment. In the field, portable HD cameras are rugged and lightweight — similar in size to Standard Definition Betacam cameras and they provide equal sensitivity in available light situations. In addition HD field cameras can be outfitted for studio use for pre-produced or live program production. Images captured in HD can be digitally edited in linear and non-linear editing suites and output to DVD, Digital videotape, or as streaming media on the Internet.

· HD is a better investment. The cost of shooting in HD isn’t much higher than shooting in standard broadcast formats like BetacamSP, Digital Betacam, or high end DV formats. And the cost for HD’s film like images is far lower than 16mm and 35mm film. With its moderate cost, superior color and image, power to reach audiences, and long shelf life, HD simply offers more value.

Rajiv Jain Cinematographer – A Snapshot……  

Rajeev Jain, Kenyan Indian Cinematographer is a Visual Storyteller who loves to explore and collaborate with diverse styles and formats through the lens of a camera and with lighting. His shooting credits and experiences include features, shorts, promos, television, commercials and music videos. Rajeev has traveled throughout the Asia, Europe & Middle East shooting in demanding and diverse environments. With his vast experience in a variety of mediums, he has a unique ability to adapt to an assortment of challenging environments and personalities.  – The Pioneer, Jan 2010

NATIONALITY: Indian

DATE OF BIRTH: 29th Nov, 1968

RESIDENCE: Dubai, Mumbai & Nairobi

WORK EXPERIENCE: Critically acclaimed Kenyan Indian Director of Photography with a successful career spanning 21 years (7 years in camera profession and 14 years as DOP)

PROFESSIONAL GUILD: Full member I.C.S. (Indian Cinematographers Society) and W.I.C.A. (Western India Cinematographers Association)

SPECIALIZATION: Good reputation in visualization, camera mise-en-scene, and particularly, lighting design. Expertise in 35mm anamorphic cinematography (Cinemascope), and the “forgotten” art of black & white cinematography. Experience with the latest Digital Video systems from DV to High Definition.

FORMAL TRAINING: Bhartendu Academy of Dramatic Arts (Bhartendu Natya Academy), India. The School has a respected international reputation.

ADDITIONAL TRAINING: Studied under internationally renowned cinematographers: Ashok Mehta ISC, WICA, Binod Pradhan ISC, WICA and Late K.K. Mahajan ISC, WICA. Participated in workshops with Late Subroto Mitra ISC, WICA and Late Jal Mistry ISC, WICA.  

JOB DESCRIPTION: Designation: Head of the Camera (Lighting & Operations) Dept.
Division : Film and TV Department : Camera
Grade : 8H

JOB PURPOSE: Leading and coordinating the work of the camera and lighting team on Camera Operations. To meet the visual requirements of the Producer or Director. Working as part of the camera crew in studios, and on location, operating various types of camera equipment. In addition, the opportunity to lead and support colleagues will be available for suitable operators, taking increased responsibility for scheduling, developing and appraising others.

REPORTING DETAIL: I will report directly to Producer / Executive Producer / Line Producer / Resource Coordinator.

CONTEXT: I will provide specialist craft skills and facilities to both internal production and independent programme makers. 

KEY ACCOUNTABILITIES, TASKS, AND DUTIES: 1. Study the script.
2. Interpret how the scenes should look.
3. Select which cameras and equipment are suitable and to be responsible for all aspects of camera operation and associated equipment and ensure equipment is operating to given specifications.
4. Decide on the location of the cameras and lights.
5. Set up the cameras and equipment such as lighting rigs to meet production objectives.
6. Work with and follow the instructions of the Producer / Director.
7. Advise on the best way to shoot or film a scene.
8. Operate the cameras to film or record the action and to operate associated equipment to the highest technical and artistic standard.
9. Serve as liaison between talent, directors, and the producer and to discuss with Producer or Director, the proposed style and treatment of any given programmer and to advise the production of potential equipment and staffing requirements.
10.Allocate tasks and assist in supervise a team of camera operators as delegated with the director in the field / studio.
11 Arrange lighting on sets and to be aware of, initiate, and develop creative lighting techniques as styles and equipment change and to light the area/s of action to achieve the appropriate exposure, taking account of production requirements and subsequent operations and treatments.
12. Perform other duties as needed and as directed by department head and to be the leader of the      Camera team and act as principal point of contact in dealing with the production, consulting with other members of the team on matters arising from the needs of the programme.
13. To liaise with other realization team members on the implications for their work of the intended visual treatment of the subject matter.
14. To be responsible for the care of the equipment, and associated Health & Safety matters and to advise the Director of any risks arising from the proposed method of shooting.
15. Keep abreast of new equipment, production techniques and changing work practice.

CAMERA SUPERVISION: 1. Supervision of Studio / on location Camera operations.
2. Rigging of camera equipment.
3. Planning of camera moves.
4. Liaison with Directors, Producers and Lighting staff.
5. Effective deployment of resources.
6. Supervision of staff.

LIGHTING: 1. Designing and planning original studio lighting.
2. Setting up studio lighting.
3. Operating studio lighting for rehearsal, live and recorded programmes.
4. Working to deadlines and budgets.
5. Effective deployment of resources.
6. Interpreting and realizing Producers programme and artistic aspirations.

COMPLEX LIGHTING DESIGN: Color separation overlay (CSO) work
i ) for specialist studio programmes
ii ) for feature programmes on location

CREATIVE INPUT: 1. Advise & guide on story treatments in terms of production values & technical viability.
2. Direct the programme.
3. Carry out directing, either on location or studio taking into account time constraints, lighting requirements & film-making techniques.

TEAM LEADERSHIP: 1. to act as a point of contact for customers of the department.
2. Schedule other members of the Resources team, deciding where necessary the appropriate level & nature of support required providing a quality service.
3. Responsible for appraisal, development & guidance of less experienced members of the team.

CUSTOMER LIAISON: 1. explains clearly the technical & operational facilities & limitations to programme – makers.
2. Interpret the requests of our customers & within budgetary limitations; realize their artistic     requirements in the most creative way possible to contribute ideas to the programme.

FINANCIAL/ BUSINESS AWARENESS: 1. Plan & organize assignments & projects, ensuring the workload is prioritized around broadcast     deadlines & Resources business requirements.
2. Awareness of the compromise between cost-efficiency required by the Resources business & the     creative/artistic input which our customers often seek or expect.
3. To return all paperwork required by the department promptly; in particular timesheets.
4. Scan market to make contacts for independent or corporate customers.

KEY SELECTION CRITERIA: 1. Operational knowledge of all film and video formats currently in use.
2. A thorough knowledge of both camera operations and lighting techniques and associated equipment at a high level, gained by experience in Camera Operations & Lighting.
3. Advanced artistic ability.
4. Highly developed interpersonal skills.
5. Ability to work under pressure and meet deadlines.
6. Ability to interpret and apply production house corporate policy and procedures. 

HEALTH AND SAFETY KNOWLEDGE: 1. Risk Assessment,
2. Manual Handling,
3. Fire Safety Awareness,
4. Electrical Safety,
5. Noise at Work,
6. Display Screen Awareness.
7. Ensure a safe workplace through the removal of potential OH & S hazards and applying production     house corporate policy and procedures.  

EXPERIENCE: I have 21 years experience in a broadcast, TV, video, media, film and entertainment environment. 

SKILLS: Ability to:
1. Appreciate the cost implications associated with camera operations and lighting techniques.
2. Display excellent communication skills, tact and diplomacy and liaise with people at all levels.
3. Balance conflicting demands and respond to changing requirements.
4. Be a good team player. 

PERSONAL ATTRIBUTES/ COMPETENCIES: 1. Clear understanding of the importance of customer service and the ability to put it into practice.
2. An understanding of the basic requirements of post production, sound, design and other related crafts.
3. Commitment to training, development and appraisal.
4. A knowledge of and commitment to Production House and its values.
5. A current, clean driving license.
6. Normal color vision and hearing.

Working for Television and Motion Pictures :

Job Title:  Director Of Photography / Cinematographer / Lighting Cameraman / Videographer / Camera Operator.

Worked on these Cameras :

Movie Cameras : Millenium Panaflex XL, Platinum Panaflex, Golden Panaflex G II, Moviecam Compact, Arriflex 35mm BL IV-S Evolution, Arriflex 535 A, Arriflex 535 B, Arriflex 435ES Advanced, Arriflex 35mm III, Arriflex 16 SR-III Advanced, Arriflex 16 SR-II High Speed, PhotoSonics (4B,4C,4E,4ER).

Video Cameras and Hi – Def. Cameras : Panavision HD Digital HDW – F 900, Sony BVP – 900 P, Sony HDC – 900, Sony HDW – F 900 HD Cam 24P Cine Alta Camcorder, Sony HDW-700, Sony DVW – 790 WSP, Sony DNW – 90 WSP, Sony DSR – 500 WSP, Sony DSR – 300, Sony AJD – 900 W, Panasonic AJ-HDC24A, Ikegami Cameras ( HLV-59 Digital and HL45 Digital ).

Steadicam / Panaglide: Ultra Cine, Ultra Elite, SK 2, Pro Vid 2+, Mini and Steadicam JR.

Mounts: Tyler Helicopter Mounts.

Cranes: Panavision Super Tehno Crane, Triangle Jimmy Jib, Akela Plus, Strada, Scanner Classic Crane.

Dollies: Super Pee Wee IV, Fisher 11, Sports Dolly, Ultra Steer Dolly, Lencin Pedestal.

Lights: Chimmers, 575W – 18KW Ballast, HMI Pars, Kino Flo s, D.C.Arcs and Bogen Avengers.

Tools: Power Pod, Hi – Lo Platform, Doggie cam, Revolution Lens System, Periscopes, Probes, RCU, ICU, Weaver Steadman, Intervalometer.

Career Highlights: – Director of Photography with 14 years (1993-2008) experience on features, commercials, television and music videos. Gofer, Apprentice, Camera Trainee, Spark, Grip, Key Grip, Best Boy, Gaffer, Focus puller, Clapper loader and Camera Operator with 7 years (1985-1992) experience in various mediums. Experience in Super 16, 35 and digital – HD video High quality, creative and artistic with lighting and imagery protection.

I am interested in inventive and innovative projects and productions requiring his artistic experience and skills in a highly collaborative environment. Please see my Curriculum Vitae for details on productions and projects.

Rajeev is looking to hearing from you and making your vision a reality.

CREDITS: 7 Feature Films                                                                                                         5 Second Unit Feature Films ( Additional Cinematography )
5 Short Films
1032 Commercials / TVCs
105 Industrial – Corporate Films – TV Specials – Magazines – Documentaries
43 Music Videos
6 TV Serials

SPECIAL SKILLS:

SPECIAL EFFECTS – I have experience with Blue Screen, Front & Rear Projection, Process Plates, Miniatures, Lasers, Anamorphic and Motion Control.

AERIAL PHOTOGRAPHY – I have a lot of experience shooting from helicopters and fixed wing aircraft with Tyler, Continental and gyrostabilizers systems.

EXTENSIVE FOREIGN SHOOTING: An area of interest to me has been the blue and green screen matte process.

Recently I shot 30 spots on a huge green screen for Promotions. Also lighting virtual reality sets for a commercial, a company in Mumbai / Bombay who specializes in virtual environments.

The best part is designing appropriate lighting for the many environments in which the various shots will be placed.

I have worked with over 175 Producers, Production Houses for 14 years, photographing many live-actions, commercials, feature, filmed, prime-time network specials and series.

I have worked with Effects Supervisors on numerous projects. I was a 35mm motion-control cameraman. I was also a Second Unit and Effects Unit Director of Photography on numerous Commercials.

Over the years my mind’s eye has become accustomed to seeing an image lit, even before I have pulled a light from the truck. The many projects mixed with new equipment technology have made going to work fun and exciting in an ever changing industry.

I was also the twice nominated Director of Photography. Since 1993 I have worked as the Director of Photography of several independent films.

I am an active member of the Indian Cinematographers Society and Western India Cinematographers Association.

I currently shoot 200 to 250 days a year in 35mm 16mm and tape.

Tags: Bhartendu, Natya, Academy, of, Dramatic, Arts, Cinematographer, Director of Photography, India, Indian, Kalpvriksh The Wishing Tree, Kenya, Kenyan, Rajeev Jain, Rajiv Jain

Author: AUTHOR OF “ONENESS: GREAT PRINCIPLES SHARED BY ALL RELIGIONS” JeffreyMoses is a business writer and the bestselling author of Oneness: Great Principles Shared by all Religions. He has written more than a dozen books, including many memoirs for individual clients. CORPORATE HISTORIES AND FINANCIAL WRITER: As a business and financial writer since 1984, Jeffrey has worked with advertising agencies, banks, national insurance brokers, attorney and CPA firms, hospitals, manufacturing companies, telecommunications companies, and businesses of all kinds to produce promotional material and corporate literature. In addition, he now specializes in writing Corporate Histories for companies and personal memoirs for individuals.

I had to laugh when I saw an advertisement on TV that Rudolph the Red Nose Reign deer is now in HD format and enhanced.

My immediate thought was crisper grain of the 16mm film and now enhanced with political correctness, shortened even more for longer/frequent commercials. Oh, and high-speed credits at the end, to ensure more commercial time.