Digital Gemini
February 23rd, 2009
 |
No items matching your keywords were found.
|
 |
GEMINI FIRSTMIX USB Midi Software Controller Digital DJ |  |
 |
US $79.95 | 23d 12h 30m |
 |
Refurbished! GEMINI FIRSTMIX Digital DJ USB Midi Software Controller w/MixVibes | |
|
US $64.99 | 6d 21h 42m |
 |
Gemini DJ CNTRL-7 Digital USB MIDI DJ Software Controller w/Soundcard+Virtual DJ | |
|
US $229.95 | 21d 13h 8m |
 |
GEMINI CDM-3610 DJ DIGITAL USB MIDI BEHRINGER EPQ2000 AMP 2 XSP-12 SPEAKERS | |
|
US $939.95 | 29d 17h 38m |
 |
Gemini DJ CNTRL-7 Digital USB MIDI DJ Controller w/ Soundcard +Virtual DJ CNTRL7 | |
|
US $223.99 | 16d 4h 37m |
 |
GEMINI CDM-3610 DJ DIGITAL USB MIDI BEHRINGER EPQ2000 AMP 2 DLS-15 SPEAKERS | |
|
US $939.75 | 16d 19h 47m |
 |
Gemini CD-9800 Dual CD Transport, Direct access keypad, Auto Cue, Digital Output | |
|
US $130.00 | 10d 2h 28m |
 |
Gemini DMIX-600 Digital Music Control Station Grey 889406368309 | |
|
US $467.46 | 9d 20h 31m |
 |
Gemini DMIX-600 Digital Music Control Station Grey | |
|
US $500.45 | 6d 1h 36m |
 |
GEMINI CD-9800 Digital Compact Disc Player | |
|
US $275.00 | 4d 18h 44m |
| Powered by phpBay Pro |
Digital Gemini
Does anyone know where to get the drivers and software for Gemini Digital Camera J44416?
I lost my cd and need to intall the nessary software to use it with my computer. Please help!!!
Try out this link -
http://members.driverguide.com/driver/detail.php?driverid=367516
|
No items matching your keywords were found.
|
|
GEMINI FIRSTMIX USB Midi Software Controller Digital DJ | |
|
US $79.95 | 23d 12h 30m |
|
Refurbished! GEMINI FIRSTMIX Digital DJ USB Midi Software Controller w/MixVibes | |
|
US $64.99 | 6d 21h 42m |
|
Gemini DJ CNTRL-7 Digital USB MIDI DJ Software Controller w/Soundcard+Virtual DJ | |
|
US $229.95 | 21d 13h 8m |
|
GEMINI CDM-3610 DJ DIGITAL USB MIDI BEHRINGER EPQ2000 AMP 2 XSP-12 SPEAKERS | |
|
US $939.95 | 29d 17h 38m |
|
Gemini DJ CNTRL-7 Digital USB MIDI DJ Controller w/ Soundcard +Virtual DJ CNTRL7 | |
|
US $223.99 | 16d 4h 37m |
|
GEMINI CDM-3610 DJ DIGITAL USB MIDI BEHRINGER EPQ2000 AMP 2 DLS-15 SPEAKERS | |
|
US $939.75 | 16d 19h 47m |
|
Gemini CD-9800 Dual CD Transport, Direct access keypad, Auto Cue, Digital Output | |
|
US $130.00 | 10d 2h 28m |
|
Gemini DMIX-600 Digital Music Control Station Grey 889406368309 | |
|
US $467.46 | 9d 20h 31m |
|
Gemini DMIX-600 Digital Music Control Station Grey | |
|
US $500.45 | 6d 1h 36m |
|
GEMINI CD-9800 Digital Compact Disc Player | |
|
US $275.00 | 4d 18h 44m |
 |
Gemini DJ CNTRL-7 Digital USB MIDI DJ Controller w/ Soundcard + Software CNTRL7 | |
0 Bid | US $199.99 | 19h 20m |
| Powered by phpBay Pro |
|
No items matching your keywords were found.
|
No items matching your keywords were found.
|
|
Gemini $12.49 Gemini |
|
|
Gemini PS-828EFX $229.95 Gemini PS-828EFX Gemini PS-828EFX Description: 4 channel, 12" mixer, DSP effects Gemini has announced the revamping of their populist PS-828x mixer. The new PS-828EFX mixer is still the model of price-performance excellence, but now features on-board digital effects. The three effects -- flanger, filter and "trans" (phaser) -- were deigned with ease-of-use in mind. They're each activated by a one touch dedicated button, with a large shuttle-style rotary knob to adjust effects parameters. The PS-828 EFX is a Professional 12" 4-channel mixer based off the freshly updated and ergonomically re-designed PS-828x, but with the added feature of built-in Filter, Flanger & Trans effects. Equipped with all the essentials such as Gemini's unparalleled Rail Glide™ Crossfader, 6 line, 2 convertible phono/line RCA inputs, 3 band rotary line EQ with rotary gain channel control, VU meters with Master/Cue option, free iPod® Friendly cable for iPod® connectivity, plus the added bonus of one touch effects control with adjustable EFX parameter wheel; the PS-828 EFX proudly carries on the 828 legacy for the new generation of soon-to-be legendary DJ's. Get Your Gemini PS-828EFX Today! |
|
|
Gemini CDMP-1300 $219.95 Gemini CDMP-1300 Gemini CDMP-1300 Description: Single 2U CD/MP3/USB Player, scratch, BPM/ID3 text, balance output & remote Gemini's CDMP-1300 Professional 2U Single CD/MP3/USB Player is the perfect installation piece for someone looking to dive into the digital spectrum while still utilizing CDs. Providing digital connection via built-in USB inputs, this unit delivers optimum flexibility and the convenience of both CDs and MP3s! Equipped with top of the line features such as a VFD screen, BPM read out, Anit-Shock™ using RAM buffer memory, instant-start and cue with preview and seamless loop with reloop, the CDMP-1300 is the ideal unit to introduce you to world of high quality MP3 performance technology. Gemini CDMP-1300 Features: Audio CD, CD-R & MP3 compatible Plays MP3 files from USB storage device* Balanced XLR outputs BPM (TAP) Read Out Remote Control Anti-shock using RAM buffer memory 2 Selectable Jog modes Pitch Bend/Search Instant-start & cue with preview Single & continuous play modes Seamless loop with reloop Pitch bend via jog wheel or buttons Three mode time selection Frame accurate search Bright VFD display Variable pitch control with three settings +/- 8,16 & 24% - *(FAT 32 formatted storage devices only) Unit Dimensions: 19" x 10" x 3.5" (482 x 255 x 89 mm) Remote Dimensions: 19" x 3.5" x 2.75" (482 x 133 x 70 mm) Weight: 7.8 lbs. (3.5 kg) Shipping: 10.7 lbs. (4.89 kg) Get Your Gemini CDMP-1300 Today! |
|
|
Gemini CDMP-2600 $349.95 Gemini CDMP-2600 Gemini CDMP-2600 Description: Dual 2U CD/MP3/USB Player, scratch, BPM/ID3 text, seamless loop, & Anti-Shock Designed to make MP3 easier and more affordable, Gemini's CDMP-2600 Professional CD/MP3/USB Player is the perfect rack mountable unit for your mobile DJing or club installation needs. Simply pop in all your digital songs stored on your USB key/flash drive via USB inputs and you are ready to mix! In addition to being MP3 and USB MP3 compatible, the CDMP-2600 also has Audio CD and CD-R compatibility so you don't have to forget about all your CDs! Boasting an impressive array of features DJ's need and want, as well as the convenience of MP3 and CD, the CDMP-2600 is sure to take your performance and mix to the next level. Gemini CDMP-2600 Features: Professional 2U Dual CD/MP3/USB Player Audio CD, CD-R & MP3 compatible Plays MP3 files from USB storage device* TAP BPM Read Out Anti-shock using RAM buffer memory 2 Selectable Jog modes Pitch Bend/Search Multifunction scroll knob for MP3 folder navigation Instant-start & cue with preview - Single & continuous play modes One Seamless loop per side with reloop Pitch bend via jog wheel or buttons Three mode time selection Frame accurate search Bright VFD display Variable pitch control with three settings +/- 8,16 & 24% Fully programmable with repeat function *(FAT 32 formatted storage devices only) Main Unit Dimensions: 19" x 3.5" x 10" (482 x 88.5 x 254 mm) Controller Dimensions: 19" x 3.5" x 2.75" (482 x 133 x70mm) Main Unit Weight: 13.7 lbs. (6.2 kg) Controller Weight: 4 lbs. (1.5 kg) Shipping: 21 lbs. (9.5 kg) Get Your Gemini CDMP-2600 Today! |
|
|
Gemini iTRAX-BLK $129.95 Gemini iTRAX-BLK Gemini iTRAX-BLK Description: Dual iPod® 2 channel mixing station, USB port Gemini iTRAX-BLK Features: iPod™ Mixer Console Dual docking stations for Apple iPod™ digital music players USB port with dock switch allows library management via PC 2 Phono/Line convertible inputs for use with additional devices 3-Band rotary EQ with gain and cut feature per channel 1/4" (6.35mm) Mic input with 2-Band EQ controls Master and Record RCA outputs Input selection switches Cue section with CH1/CH2 cue fader User replaceable X-Fader Lightweight, slimline design for complete portability Dimensions 12.5" x 4.2" x 14" (317.5 x 107 x 355.6mm) Weight 12 lbs (5.44kg) Get Your Gemini iTRAX-BLK Today! |
|
|
Used Gemini Pmd02 4Ch 19In Rkmt Dj Mixer W/Digital Sound Fx $49.99 In Store Used USED GEMINI PMD02 4CH 19IN RKMT DJ MIXER W/DIGITAL SOUND FX |
|
|
Gemini iTrax iPod Mixer $109.99 12 lb 4.20" Height x 12.50" Width x 14" Depth Dual docking stations for Apple iPod digital music players USB port with dock switch allows library management via PC 2 Phono/Line convertible inputs for use with additional devices 3-Band rotary EQ with gain and cut feature per channel Master and Record RCA outputs User replaceable X-Fader Audio Mixer Black Gemini Gemini Industries ITRAX-BLK iTrax iTrax iPod Mixer www.gemini-usa.com |
|
|
Gemini CDMP-1400 CD Player $231.99 1 x Microphone - Front 1 x USB - Front 1 x XLR Microphone - Rear 2 x RCA Stereo Audio Line Out - Rear 2 x XLR Audio Out - Rear CDMP-1400 CD Player Remote Control The CDMP-1400 is a perfect installation piece for someone looking to dive into the digital spectrum while still utilizing CDs; this unit delivers the optimum functionality needed, plus digital connection via built-in USB input giving you the flexibility and convenience of both CDs and MP3s! The CDMP-1400 is the ideal choice for fixed installations in clubs, lounges, restaurants, bars, djs, and even musicians looking to play backing tracks for live environments. CD Player CD-R CD-R - Play CDMP-1400 CDMP-1400 CD Player Gemini Gemini Industries MP3 WAV WEEE Yes www.gemini-usa.com |
|
|
Gemini CDJ-700 $599.95 The innovation behind Geminis new CDJ-700 focuses on two key elements of DJ performance: versatility and control. Due to the incredible variety of modern media, DJs cant be restricted to a single format, so the CDJ-700 offers incredible flexibility, allowing playback from CDs, SD cards and USB memory devices in a variety of file formats (MP3, AAC, WAV and AIFF). Plus, the CD slot, which features compatibility with CDs, CD-Rs and MP3 CDs, also boasts an amazingly quick load-time of just eight seconds! More than a touch of innovation...And when it comes to control, the CDJ-700 provides a new dimension of tactile command by incorporating the industrys first touch-sensitive display screen. Now you can navigate between folders and tracks, adjust tempo and even set effect values using the same intuitive controls found on the worlds most popular media players and smart phones.Feature-rich and user-friendlyA large, high-resolution jog wheel with three selectable modes allows you to operate Cue, Scratch, Slip and Loop Adjust functions, while a display screen in the middle of the wheel indicates your mode, track position and slip position. And the jog wheel is painstakingly designed to offer super-accurate control with a completely natural feel. In fact, a Rotary Adjust feature lets you fine-tune the jog wheels resistance for a custom feel, whether youre partial to stiff and heavy, light and loose or anything in between.For ultra-precise beat matching, the Master Tempo mode enables tempo adjustment without changing the original pitch of the track; but if pitch manipulation is your thing, then feel free to tweak away with the Pitch Control fader. Want more functionality? How about MIDI? Thanks to its MIDI capabilities, you can control the parameters of your favorite DJ software right from the unit and route your audio through its 24-bit/192kHz soundcard. Get creativeCreativity is so important when crafting your own original sound, which is why the CDJ-700 provides six DSP-powered effects with Dry/Wet level control. Additional functions like Pitch Bend, Hot Cueing, Reverse and Loop Sections, along with versatile BPM options, round out the collection of professional features that fully complement the CDJ-700s user-friendly design.Connecting convenienceFor true connecting convenience, the unit includes line output jacks on the rear panel, along with a USB out for hooking up your computer. And a digital output (S/PDIF) allows you to plug into an external mixer or even interface with your favorite DAW and record without conversion. So let your imagination run wild! You can rest assured knowing the CDJ-700 will keep pace thanks to comprehensive features and outstanding audio quality.Intuitive control at your fingertipsBy the way, did we mention the vibrant and convenient LCD touch screen display? Flexible control has never been so powerful, so effortless and so touchable! Features like Time, Tempo, BPM, Track Select and even Effect Values can be controlled with t |
|
|
Gemini Cdj-700 $599.95 The innovation behind Geminis new CDJ-700 focuses on two key elements of DJ performance: versatility and control. Due to the incredible variety of modern media, DJs cant be restricted to a single format, so the CDJ-700 offers incredible flexibility, allowing playback from CDs, SD cards and USB memory devices in a variety of file formats (MP3, AAC, WAV and AIFF). Plus, the CD slot, which features compatibility with CDs, CD-Rs and MP3 CDs, also boasts an amazingly quick load-time of just eight seconds! More than a touch of innovation...And when it comes to control, the CDJ-700 provides a new dimension of tactile command by incorporating the industrys first touch-sensitive display screen. Now you can navigate between folders and tracks, adjust tempo and even set effect values using the same intuitive controls found on the worlds most popular media players and smart phones.Feature-rich and user-friendlyA large, high-resolution jog wheel with three selectable modes allows you to operate Cue, Scratch, Slip and Loop Adjust functions, while a display screen in the middle of the wheel indicates your mode, track position and slip position. And the jog wheel is painstakingly designed to offer super-accurate control with a completely natural feel. In fact, a Rotary Adjust feature lets you fine-tune the jog wheels resistance for a custom feel, whether youre partial to stiff and heavy, light and loose or anything in between.For ultra-precise beat matching, the Master Tempo mode enables tempo adjustment without changing the original pitch of the track; but if pitch manipulation is your thing, then feel free to tweak away with the Pitch Control fader. Want more functionality? How about MIDI? Thanks to its MIDI capabilities, you can control the parameters of your favorite DJ software right from the unit and route your audio through its 24-bit/192kHz soundcard. Get creativeCreativity is so important when crafting your own original sound, which is why the CDJ-700 provides six DSP-powered effects with Dry/Wet level control. Additional functions like Pitch Bend, Hot Cueing, Reverse and Loop Sections, along with versatile BPM options, round out the collection of professional features that fully complement the CDJ-700s user-friendly design.Connecting convenienceFor true connecting convenience, the unit includes line output jacks on the rear panel, along with a USB out for hooking up your computer. And a digital output (S/PDIF) allows you to plug into an external mixer or even interface with your favorite DAW and record without conversion. So let your imagination run wild! You can rest assured knowing the CDJ-700 will keep pace thanks to comprehensive features and outstanding audio quality.Intuitive control at your fingertipsBy the way, did we mention the vibrant and convenient LCD touch screen display? Flexible control has never been so powerful, so effortless and so touchable! Features like Time, Tempo, BPM, Track Select and even Effect Values can be controlled with t |
| Account limit of 2098 requests per hour exceeded. |
Drunken Tiger - One Summer Night (feat. Gemini)
Full of Surprises! Rajeev Jain, Indian Cinematographer / DOP, Talks About... KALPVRIKSH (THE WISHING TREE): YOUR DREAMS... ARE JUST A TOUCH AWAY.
Full of Surprises! Rajeev Jain, ICS WICA, Talks About... KALPVRIKSH (THE WISHING TREE): YOUR DREAMS... ARE JUST A TOUCH AWAY...
Like any artist, Rajeev was born with innate talent burnished by experience and cultural influences. Born in 1968, his first introduction to movie magic came while observing his uncle as a projectionist at Ravindralaya Theatre, Lucknow. “I remember sitting in that little projection room and watching films with my uncle,” the Indian cinematographer recalls. “It was like watching silent movies because you couldn’t hear sound in the booth. I just saw the images and would try to understand the story. My uncle would show us Charlie Chaplin movies, which, of course, were silent. There is no doubt that he put his dream of becoming a cinematographer into my heart.” Originally from India, cinematographer Rajeev Jain ICS WICA studied at the Bhartendu Academy of Dramatic Arts in Lucknow, India.
The day after completing his studies, Rajeev went to work as a trainee on an anamorphic picture. He contributed to ten more movies as assistant cameraman before becoming a DOP. “From that moment on I considered the camera to be like a pen that you use to draw images,” he states. “Operating a camera is mainly about composition and rhythm. I also operated the camera for Bollywood songs. It was very primitive. While we were shooting, someone with a watch was timing every pan and zoom. He would say, ‘You have 5 1/2 seconds to do that zoom.’ It was a great lesson for me, learning to make each element of a shot work in that amount of time.”
I thought it was fascinating that film speaks a common language that everyone in the world can understand," he recalls. "That's especially true for cinematographers, because we are communicating with the audience non-verbally." “To me, making a film is like resolving conflicts between light and dark, cold and warmth, blue and orange or other contrasting colours. There should be a sense of energy, or change of movement. A sense that time is going on — light becomes night, which reverts to morning. Life becomes death. Making a film is like documenting a journey and using light in the style that best suits that particular picture… the concept behind it.
The first important decision regarding the visuals was to shoot in anamorphic (2.4:1) format, as they had done on Kalpvriksh – The Wishing Tree. Rajeev explains that Manika likes to manipulate the subjective and objective viewpoints, sometimes in the same frame or even at the same time. In a simple example, a shot will begin on a subject, and then an actor will step into the frame, creating an over-the-shoulder shot, changing it from subjective––in which the viewer sees what the character sees––to objective. "One of my first suggestions was shooting Kalpvriksh – The Wishing Tree in Super 35 format," Rajeev continues. "I felt that would give the film an edge that you don't expect to see in Drama. I felt we could use the wider frame to create a claustrophobic feeling in the Shabana’s cave and more interesting composition showing Shabana in the world." She, director Manika Sharma, designer Mansi and other members of the creative team discussed the possibilities for composing Kalpvriksh – the Wishing Tree in widescreen format, while drawing upon such visual references as another drama with an improbable theme. Though Manika storyboarded scenes, Rajeev utilized the sketches primarily as a communications tool. While shooting, the director remained open to veering from the storyboards to take advantage of unexpected opportunities. “Our production designer Mansi and costume designer gave us rich sets and costumes. Even though pushing two stops in the development sometimes is not as faithful to colours, their collaboration with this technique allowed us (especially in the dinner / fantasy sequences) to have a warm and yellow-looking scene, as if all that was lit was candle light,” he says.
In one dramatically lit scene, the school principal (Mahabano Kotwal) is sitting on the chair, looking out a window at the falling rain. “The whole scene was lit with one hard day light, an ARRI 6K,” says Rajeev. “We brought one light through the window. In order to light the door, we used a 4 by 4 mirror just out of frame to the right. The light is modulated by the rain on the window, and it stretched over to the book. We were ‘gathering chestnuts.’ It was serendipitous, and it all worked out with one light.” “For fill light on this movie, we used either very, very little or absolutely none,” he adds. “I find that with the film stocks we were using, if you’re overexposing a little bit, you can read the shadow detail incredibly well. When I saw the picture at Theatre on the 70-foot-wide screen, on the dark side, which is dead black, you can actually see hairs going into actors’ heads. I found it very interesting. I hope it works on a subconscious level for the audience.” Even though Rajeev knew that he could not shoot wide open at a T2 or a T2.8––because the Super 35 format chosen has a shallower depth––he still wanted this tool to give the story a greater stage presence. The bigger negative allowed him to push the envelope. And, he knew the grain would still be acceptable, if he stayed within the T2.8 to T4 ranges on interiors. “We could still use real sources and it wouldn’t be hard for our camera crew to follow focus,” he says confidently.
Like many of his colleagues, cinematographer Rajeev Jain has many concerns about changes that can be introduced to imagery during the post process of our electronic age. Such considerations only become intensified when one is dealing with a profusion of visual effects, which was the case with Kalpvriksh – The Wishing Tree. "I tried to make a concerted effort to stay as involved in postproduction as possible - which is sometimes tough because it's 'off to the next job' - to work with the digital effects and optical house to ensure that there wouldn't be any problems with the answer printing process. “You don’t see any lights in the master shot,” he says. “The master shot that we started out with was an impossible shot to light. We were jammed back in the corner with a 35 mm lens and there was a two-way mirror in the background. So we used a technique Rajeev Jain called a ‘driller.’ Simply put, you’re normally shooting horizontally across a room, and there are horizontal surfaces, like the tops of mantels and tables. If you come from directly overhead with a light and drill it down onto that surface, it works quite well. It doesn’t seem wrong. If light comes from a place that’s not normal or usual, people seem to accept the element that’s being illuminated without really figuring out what’s going on in terms of a source. Shadows go straight down, so they don’t end up looking strange or calling attention to the source. You see it on the table and then it comes off the table and lights the faces to a degree. It’s interesting because you’re not lighting the people at all. You’re lighting the environment that they’re in.”
Anamorphic gives you the space in the frame to do that,” Rajeev says. “Manika has no problem filling an anamorphic frame in a contemporary picture. The story also has an elegiac aspect, so it seemed better to tell it without rock video cutting and frenetic camera movement. With the amazing cast, we knew this film would be about the performances. All those ideas––as well as ‘if it ain’t broke, don’t fix it’––factored into our decision to shoot anamorphic.” To determine a visually appropriate approach for the various moods needed in Kalpvriksh – The Wishing Tree, Manika and Rajeev chose to forego in large part the usual business of viewing other films during prep. "We used a lot of book work, referring to other kinds of artists working in two-dimensional forms, still photography and drawings mainly," Rajeev relates. "This was a nice and different way to prep. Looking at movies to see how a particular sequence worked is great, but this approach started me on this incredible round of self-education, covering still photography from 1890 up 'til now. Now I can't stop myself from buying the books. It is amazing how much visual reference source material is out there when you go back to basics. These were great jumping-off points for us.
The cinematographer also had to avoid telltale reflections of camera gear and 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. Rajeev 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 we outside looking in?"
I didn’t believe this and obviously neither did neither director Manika Sharma nor producing company Rhombus Films. Another picture shot in an old house in Bollywood required us to actually operate two generators to power all of the lights. By the time we were done, however, I was able to shoot two-thirds of a long sequence by dollying along with the reflections seen in a long fishpond at night (Shabana’s cave). “I think it’s a visual reflection of the fact that one’s position in life can change 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 cases it was very subtle, however, just reflecting in the shine of the skin. “We used the reflectors as almost more of an eyelight,” Rajeev 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 life of the characters, so I tried to keep eyelights going, especially when we’d get in close. Often it was done with a small reflector thrown in at the last moment.
One of the most important aspects included previsualizing the character of Shabana herself. "To nail her down, we started off by working on storyboards with an artist," says Rajeev, "who drew terrific boards and is a brilliant artist as well. We told him our thoughts on how the Shabana looked and he set to work. Manika credits him with creating a good part of the final look, since his drawings were used to communicate to hair, make-up and wardrobe departments what Manika wanted for his look." Part of Cave ' guise involved the use of a wig that often obscured the actor's face - which on occasion made for a less than ideal lighting situation. "During hair and make-up tests, I saw that while Shabana looked amazing, they were going to be difficult to deal with for 2 weeks. She had a big headgear and a huge costume also, so there was a question of whether we were ever going to be able to really see her. I told Manika that at times she was on the verge of becoming a headgear with hair. Being very sensitive to the needs of actors, Manika didn't want to get the hair out of her face, so we tried not to mess with her and solve it on our own."
On Kalpvriksh – The Wishing Tree, Rajeev opted for Vision 200T (5274) for everything but night exteriors, explaining that the smooth grain of this non-intrusive emulsion records deep blacks, true colours and a wide tonal range. Rajeev shot day exteriors on Eastman EXR 100T (5248), using an 81 EF filter to half-correct and retain the cool blue of winter. Daylight-balanced 250D (5246) Vision stock was selected for day interiors, while he exploited Vision 500T (5279) on most night interiors and exteriors. Since shooting, the cinematographer did extensive tests with different materials to search for the right thickness and translucency. "It's the same as using a cheap filter on the lens and we realized that any distortion or loss of focus would be magnified when the lab optically 'squeezed' the images into the 2.40 aspect ratio. In addition to selecting the right plastic, it was important for us to record a strong negative with properly focused images. We were shooting through filters at least 90 percent of the time.
While shooting forest scenes with the lead actor, Rajeev employed what he calls a Nine-light sandwich. "Others might call it a book light, but in any case, we were bouncing a Nine-light Maxi Brute off a piece of bead board, then letting the light pass through a diffusion frame usually fitted with either 216 or light grid. The resulting soft light striking He had a very beautiful quality, plus some serious pounding of foot-candles. This soft light had enough to punch through Shabana’s hair, and I could control the amount of light just by clicking off various globes. But it also required a lot of flagging and took up much space." On other occasions, Rajeev illuminated the Forest by directing the light from more extreme angles. "I came in much lower and more frontal with his key than I would have normally, but the approach succeeded in letting her hair fall naturally, so, while it was tough, it worked. It did make me thankful for the scenes when Shabana is dressed up with her hair pulled back, since I could get a nice edge on her through side lighting."
When kids arrive at tree before the climax, production established the famously setting by filming the actors in front of blue screen and green screen. Those elements were digitally composited with stock background plates culled from Ladakh. Harry and Arjun from Red Chillies’ in-house facility supervised the visual effect shots. "I don't think these scenes could be any more believable if we had travelled to Ladakh to film them live," marvels Rajeev. "How can you miss when you begin with 70 millimetre background plates? We matched everything to those plates."
There were a few daylight scenes in there, so we decided that cracks in the cave roof let hard sunlight in," he continues. "I put some signs of this in on the walls behind the actors and let some light bounce off the floor. For the most part though, the cave scenes are set at night - lit by firelight or lanterns or the imaginary glow coming off, which isn't plugged into anything. For the Water, I chose to use a slightly blue key light on the actors but didn't put any flickering movement in because I felt that it was distracting. The only flickering on their faces comes from the actual water. What I did add was a slight flicker effect on the walls, which I found to be more pleasing while lending a bit of realism.
Front-end lab work was done by Gemini, which provided film dailies. "After her experiences in the commercial world where you work on a monitor all the time, Manika loved watching film dailies - it opened up a new world for her," says Rajeev. "For example, there is a shot of a Shabana delivering a line at the end of a long shot under the tree. When Manika saw it played back on the [video tap] monitor, she didn't feel good about it. She seemed too small in the shot. She remarked that maybe her line would have to disappear in editing. After some time, Manika saw it projected on a big screen and loved the shot." When asked if such glad tidings extend to the on-screen drama as well, Rajeev smiles, and says, "Would you be surprised if I said there is a happy ending?"
The cinematographer does not use diffusion on the camera lens, instead preferring to soften his subject as needed by selectively affecting the light source. "I've never liked it in films when the overall resolution of the lens changes visibly during cuts in to a close-up during a scene," he declares. "The whole business of putting heavy diffusion in front of the lens to make [an actress] look 'better' is just crazy to me. I don't want to see the cinematographer's effort to make someone look good. Instead, I want to see the character look well, and I think that happens when the actor is both integrated into the scene properly and lit in a flattering manner. My solution is to soften at the source of illumination, and let the image be as clear as possible. Some people think Primo lenses are too sharp, but I love all that perfection. When you combine years and years of research and development on the film stocks from Kodak, with what has gone into these Arri lenses and the lab work at Gemini, and then put all that into a film being projected properly on screen, the result is such awesome perfection! So I take a lot of pride in delivering a really perfect negative. We may want to mess it up later, and that's fine, but I believe in starting with something well-exposed and sharp."
With all the many visual treatments necessary to depict the Shabana's perceptions, Rajeev and Manika needed to settle on parameters early on for the more elaborate manifestations requiring visual effects. "We're telling a story that is seen in part through the eyes of a crazy person," offers Rajeev. "She's an incredibly brilliant crazy person, but crazy nonetheless, so there's a sense of the fantastic about these visions, but they are not in the tradition of science-fiction movie effects. We had submitted a wish list of visual effects for budgeting, but it came back priced four or five times higher than we hoped. This meant we had to pull back, and that decision ultimately worked better for the film we wound up making. Most of the effects are things we did ourselves, with practical light cues, or as a combination of those cues with digital enhancement."
I'm glad that this movie's look seems interesting to the eye, but I'm also pleased that the visuals don't supersede the story. Early reviews are praising Shabana's performance as one of the best she's ever given, so it wouldn't make sense to do anything that took away from that aspect. Lots of films now seem overwhelmed with effects, but Manika isn't one to tell that type of story.
When Indian Cinematographer Rajeev Jain, ICS WICA is asked if, he would do anything differently today, the master artiste replies, “Ninety-nine percent of the time when I see my old films I am serene. It was the best I could do at that time of my life with what I had to work with. What’s important is your life and how you evolve as a human being and as an artist.
About the Author
Jude Ibinge is the son of American immigrants — a black father and a white mother — who came to USA the day after they married in 1963 in Washington, D.C. On his father's side, Ibinge 's grandfather and great grandfather were university-educated, ordained ministers of the African Methodist Episcopal Church. His mother came from a family in Washington, D.C., graduated from Oberlin College and went on to become a civil rights activist in D.C.
Posted in Thorens Turntables | 
Tags: design, digital gemini, gemini, photo, photography, science, space