LIghting and lensing workshop day 15

Crew’s member-

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  Director – Kirti, Cinematographer –Soumee  Assistant Cinematographer- Sumana, Actors- Ashok Veilou and Sumana,  Sound –Jubaraj Props and lighting- Hindol Deb,  Assistant Director-Himel.

There are moments that we really don't understand of what we are. I find the moment today. Everyone was responsible for their job. As a sound man, he knows his role. As a director he know her role. As an actors we tried our best to communicate. As an cinematographer, she tried to get the best shot without must complaining. As an assistant director, he tried to communicate and understands the need of the surrounding.

We starts shooting at around 11. 20 in the morning as the set need to props up. While the other crew's were propping, Sumana and i were rehearsing our dialogue and actions with the director.The director tries to make us do as we want so that it looks natural in the frame. She always tries to encourage the actors though the performance are not very good. Not only to the actors, She did to everyone of the crew members. Instead of listening to the reason of complaining, she tries to solve the problems by encouraging the people rather than taking forwards of the complaint. That was the best moment i had today. I think that is how the director should observe and manage the crews.

After the shoot, we watch the film " Chal chaliye" director, cinematography, sound and editing by Sir Tanmay. The film is very understanding and matured ways  of speaking dialogue.  It holds my attention from the starting shot itself. I can relate to his film of what he taught us in terms of acting and framing of shot. After seeing his film, i get to know the clear picture of who is Sir Tanmay. Here is the synopsis  of the film-

Not the hour before, not a night before, but a comfortable fortnight before Shreya is to get married, Rudra is suddenly at her doorstep asking for love. The two step out of the house for a walk to the woods behind the suburb. They face and evade love in this beautiful dry garden, until the evening forces her to answer the question. Do they go together or do they part? The film is a relaxed study of the anxieties of the boy and the girl over the course of a day. They try to recede further and further into a private space out in the public, to find the answer to the eternal question, “Why do we keep saying no, when we want to say yes?”

Thank you Sir.

LIGHTING AND LENSING WORKSHOP DAY 14

Jubraraj shoot-

The camera was set up, the boom was plucked in, the room was props up, the light was lit up for the shoot but we couldn't able to start as the Director and the male actor (Sir) were not present in the set. We waited for them to come. Meanwhile, Hindol was white balancing the camera and some of us were singing and listening to the music. We starts shooting at around 11. 15 in the morning and ends at 6.00 in the evening. We takes six shots.

• Crew’s member-
  
  
  Director –Jubaraj, Cinematographer – Ashok Veilou  Assistant Cinematographer- Sumana, Actors- Kirti and Tanmay ,  Sound – Soumee Props- Himel, Assistant Director-Hindol Deb.

Before the first shot was taken, Jubraraj came to me and say " YOU KNOW THE SHOT"? I said which one like yesterday shot? He replied its was completely different from yesterday.  He continues saying -  I want to create foreground, mid- ground  and background in the shot. He explains to me the shot. The girl in foreground and the man in background. I set the frame and we are ready for the roll. He gave Hindol in charge to calls for the shot. We take the shot but Jubraraj seems to be not very convincing with the actor. He wanted to go for another take.  Jubraraj wants static frame though i like to pan the camera as the character moves. As Sir listens to our conversation he approached me and said what do you want? I explains to him what i want and he tells me  to do what i want.  I took the shot. Still, the director wants another shot,he wanted to go for another shot. Seems like the actors are not performing like the way he plan the actions to flow.  Sir also tells him not to be very limits to what he visualise the shot.
 What i learnt from it- The director should have presence of mind to accept and feel what the actors are feeling instead than simply sticking to the plan he has made. 

The actors does a wonderful job. Sir Tanmay shows us how really the actors can pulls director legs. It was a great experienced to be a cinematographer in this type of shoot.

We view our footage in the CRT after we were done with the shoot. There are some shot which the image are not too sharp, so the director asks me what happened? I do not say anything. But the fact was, as we lit the shot in a very low light condition , it was a bit difficult for me to see clearly.
2. When i ask Hindol about the focus, he told me not to do the focus as the aperture is at f- 11 in P2 Camera. He says everything will be in focus when an aperture is  at f-11. As he say so, i follow his instructions and the result is seen after we viewed in CRT on a big screen. The result is- Though we set in f- 11 the image will be blurred. The wise idea is always better to take any shot in focus in order to get a good result.

I shared this experience with the director and we had a good laugh. Director was happy after seeing all his performance from the actors.

LIGHTING AND LENSING WORKSHOP DAY 13

DAY 13

First session-

Today, the first session was Soumee shoot. She starts shooting at around 11 in the morning. We all starts with fresh energy.  Sumana was the Cinematographer, I was doing sound, Kirti and Hindol were actors, Jubraraj was the assistant cinematographer and Himel as the assistant director. Director Soumee wants a peculiar type of composition and Cinematographer Sumana was struggling to nail the shot right.  The lighting is perfectly lit up to get the shot done. Every shot is taking proper care though it takes lot of time. The crews become weak and some were sleeping. What i felt about the shoot was- The Director should tries to set up the mood of all the crew members. Its not only about the actors or the cinematographer to get the shot done. We take three shot from 11 in the morning till 2.15  in the afternoon. 

In between the shoot,  Sir asks Jubraraj to captures video for the CREWS. Jubraraj was trying his best shot to get the best moment  from the crew.  As there was lots of noise in the set,  Sir asks Himel to control and maintain silent in the set. I was asked to sits nearby Sir as i happen to sleep in between the shoot. Kirti was rehearsing again and again to get the shot. 

 We took around 7 or 8 retake to get the last shot.  The cinematographer tries her best but it do not get through. The director decides to take the last shot whether its good or bad. When the cinematographer show the clip, the director was happy though the cinematographer wanted to take another shot. We break for lunch.

Second session-

After the break, we are ready to begins with Jubraraj shoot. He was very busy in propping as the set.  I came to the set a bit late. As i was the cinematographer for Jubraraj, i asks Jubraraj about his shot division.  We went outside and discuss about it. We went through the script line by line and he also explains me the type of frame he wants. After the discussion is done,  we planed the shot in the set and rehearse the actions with the actor. Meanwhile the other crews member were setting up the light and props. Jubraraj told me to set up the frame whatever its pleasing to me. I asks him which angle he would like to take the shot. He told " you know the shot, do it as you like" and went back. He told me roll whenever  i am ready.  We took two shots. While i was planning for the third shot, Sir came in. Then we went out to check out different types of light like 2k, 5k and solar light. We also learnt how to mount the light into stand.

5k light- It is very strong and heavy light. it can increase or decrease the intensity of light source by turning the node. It can also be pan and use in accordance of our needs. 

After going through all the various lights, we went inside the set and lit it up for the third shot. when we are just about to take the shot, the time was up. We end up the day and packed the equipments. Jubaraj will continue his shoot tomorrow.

LIGHTING AND LENSING WORSHOP DAY 12

Soumee shoot-

I reached the department at around 9.50 in the morning. I went to internet room to check out my friends but there was nobody in the room. So, i call Hindol to get updates of what is happening.  He says he is in Soumee room and tells me to collect the equipments.  I went there to get the equipments. By the time i reach there, Soumee was doing her shot division. She told me to go and sets up the living room saying she will be in the floor after 15 minutes as she is yet to complete it. Himel calls me and asks me where  I was.  I told him that i am in Soumee room. Himel and I collect the equipments and went to the floor.  Jubraraj was there. I told Jubraraj that he has changed so much in this workshop as he was always in time. I set up the boom as i was in charge of sound. After that we props up the room together. We starts shooting at 11.15 in the morning and ends at 6.15 in the evening. Though we take few shots, we come to learn about lighting through Sir. Tanmay. Its a wonderful new experience to go through it.

• Most of Soumee shot are well composed and well designed. 

Through today lighting experience, i realise, even lighting a simple shot is not very easy. It takes lots of time. That is why Sir explains to take shot through the availability of light if possible without placing or use of professional lighting. 

Sir give us a demonstration what catches most or hold our attention most when we see something.  Through the demo we come to know that our eyes catches most-

a) to the brightest spot.

b) to the action and movement

c) and sharpness.

 Some of the lights that we came to know today were -

1. Dinky light- Dinky light is not very powerful light in professional film lighting use. The power of lights are measured in wattage. This wattage of lighting equipment runs in the hundreds to thousands, for larger lights. If a light is listed as a "300" then it is a 300 watt light, and not very powerful. "K" means thousand, so if something is listed as a "5K" then it is a pretty powerful five thousand watt light. Even in this set up there will be some alternative phrases for these specific lights. If you have a 100 watt incandescent spotlight you may call it an Inky Dinky.

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                                                                           Image- Dinky

• Barn Doors

• Barn Doors are metal sheets that are used to close of against the light or limit the amount of light coming out. They look like barn doors in a sense, so the name is fitting.

  

  
                                                                                 Image- Barn doors

Baby- Baby is more powerful than Dinky. Baby refers to light fixtures in the 750 - 1000w range.

Image - baby light

• Kino Flo- Kino Flo is a manufacturer of lighting equipment for use in motion pictures, television and photography.Kino Flo is best known for its fluorescent tube arrangements fl that are used for the color of film and digital video. These lights provide a relatively compact and efficient way of providing soft lighting. Compared to the original workhorse of motion picture lighting, incandescent lights (and, more recently, HMI lights), Kino Flo tubes produce less heat and fit into smaller spaces, two significant advantages that have made them popular with professionals.
  
• Image - Kino flo
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• Crew’s member-
  
  
  Director –Soumee, Cinematographer – ,Sumana  Assistant Cinematographer- Jubaraj , Actors- Kirti and Hindol Deb,  Sound – Ashok Veilou, Props- Himel.
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Lighting and lensing workshop day 11

Day 11

First of all, I want to thanks to all my crews who help me in my shoot.  We all gather in the department at around 9. 30 in the morning.  Some of my friends were writing their blogs in the internet room. Meanwhile I discuss my shots plan with my crews who are free.  At around 9.51,   some of my friends went to the floor to set up the props and light.  Hindol and I went to transits room to pick up the equipments for the shoot. We reached the set and I give my script to Himel , Jubaraj and kirti. Himel sets up the camera, Jubaraj and Kirti were rehearing their actions and dialogue in front of MPP department.  Hindol is busy running with me in collecting props. Sumana is setting up the boom and testing sound. Soumee is taking care of lighting and kitchen set up.  I feel very good as my friends are taking so serious with the tasks I have given. We start the shoot at 11. 05  in the morning and ends at 5.20 in the evening. Most of my shots are from interior.

Crew’s member-

Director – Ashok Veilou, Cinematographer – Himel,  Assistant Cinematographer-  Hindol Deb, Actors- Kirti and Jubaraj,  Sound – Sumana, Make up and Lighting-  Soumee.

 I explain my first shot to Himel, It is an exterior shot.  He went out to set up the camera outside near the window and I told him to tell me whenever he is ready. By the time, I rehearse with Jubraraj as he is my actor. I tried my best to avoid looking at the frame though I really want to see his composition.  I tried not to disturb him. But at time I failed. I make him recompose the shot at time. One of the good things is he listens to me.  I focus mostly through my actors acting and of course they did a wonderful job. Just by one briefing they know what to do. Though there are many retake shot, they just bear with me and listen to me. I have a good time with them.

What I felt from today shoot-

The director should always try to give hope to the actors, that they can make it.  The director should put the guts to the actors so that he can act confidently. The director should be a real observer. It is not only about filming or capturing the image, it is about maintaining the crew’s efficiently. Once we puts the crews into track, there is so much of fun. It makes it lively. 

LIGHTING AND LENSING WORKSHOP DAY 9

DAY 8

Today call time was 10. 30 in the morning.  I met Hindol in the department and went to take camera, tripod, and boom in the transit room. We reached the set at 10. 45 am. Himel was preparing for his shot division. Himel was no too clear of who to cast for his film at that point of time. Hindol supports and mentor him in taking decision. Finally, Himel decided to cast Sumana and Jubaraj.  The first shot was Sumana walking to the door and knocks the door. Soumee was doing make - up for actor.  But later, they shift their role as Sumana was not very comfortable to act. 

Crew List- 

Director- Himel, Assitant Director- Hindol. Production- Ashok Veilou, Camera- kirti, Assitant camera & make up artist- Sumana, Actors- Jubaraj and Soumee.

As my role is in production, i check out for props like glass, books, curtain etc. and supply drinking water for team. Meanwhile the shoot is happening.  Himel choose a fixed lens 19 which is tele len. We end the day by taking 5 complete shot.

1st Shot- Soumita walks through  the door and knocks, her nose is bleeding.  This is an exterior shot. Himel explains the shot to kirti. Kirti is setting up the shot by changing the positions of the tripod and maintaining the height of the tripod. Not only that, she adjust the lighting condition by putting the aperture open and setting up the camera in a high gain i.e 12 Db as the surrounding is not properly lit.  The shot is from long shot to mid shot.

2nd shot- Sounak rushes to the door and opens the open as he heard  the sound of the knocking door. Soumita steps inside and says- Dorojata bondo kore din, bondo korun, please. Sounak closes the door. The shot is taking in a living room nearby to the table.  The distance between the subject and the camera is 2 metre aprox. It is compose in the Mid shot. 

3rd shot- Sounak comes  towards Soumta and give her a tissue paper to wipe her blood as she drinks water in a sofa. The shot is set up in the living room. It is wide shot. It is compose in Mid long shot.

4th shot-  Soumita comes to the window.  The shot is compose in a mid shot. 

5th shot-  Soumee stares outside the window and leave the frame.  The shot is set up in exterior. Kirti puts a tungsten bulb to light the shot. it is also compose in mid shot.

What i think the director should do.  

1. The director should be precise enough to take a decision. If the decision is not able to make, the crew get bored. 

2. The director should cheers up the mood of the actor in time of making mistakes.

3. Proper planning should be done before the shoot as it consumes lots of time if  planning is done on the shooting time itself. 

what i felt about the shoot- 

I find the DIRECTOR so calm yet unable to take a decision. A director should called for the shot to take not the actor. There is a confusion between the director and the cinematographer in today shoot. Though they are taking the same shot for so many time with same action, they couldn't able to take the decision. Thats make the shot take very less even.

LIGHTING AND LENSING WORKSHOP DAY 7

Day 7- 

As i walk through the bridge for class, i saw Sir Tanmay in the balcony and he calls me and said " Don't you think your blog is short"? I replied yes, telling him that i have not completed fully. He told me to complete it. 

I went to main internet room and go through my blog and edit it. After completing it, i reached the department at 9.35 in the morning. Most of them are busy writing their blog, I log in my gmail account again and check my fellow friends blog. As i go through Mainak blog, http://35mlfilms.wordpress.com/2015/02/04/an-open-letter-to-tanmay-agarwal/, i knew something is going wrong. We discuss about the issue together. A friend of mine told us that he has written a complaint to Dean. We the team has no clue what will happen next. 

Dean calls us to his office and asks us about the issue. We express what we feel. And then we have department meeting In CRT 1. All our classmates are there with five faculty. Each of us share our experience with Sir Tanmay to the faculties. At last we came to conclusion for the workshop to happen as majority of us are happy with the workshop.  It went on till 2. 30 in the afternoon. Then we all take a break for lunch.

Second Session-

We assemble again in OAT (open air theatre) with Sir. Tanmay. Each of us tell him what has happened. We came to the department and discuss how to proceed about the workshop. Mainak and sreecheta agreed to be as an observer.