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Arriflex Camera
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The rate of technological change is so swift as to render today's best professional and consumer equipment obsolete almost instantly. In high-tech fields such as audio, video, film, and electronics, five years is tantamount to a geological age for the Earth. Film makers who've grown up in the "digital era," so to speak, have watched as the expanding technology of filmmaking has taken a route from "then" to "now" that illuminates 15 or 20 years of tremendous advances.

Experienced directors and cinematographers have shot film with everything from an Arriflex 535B to Super8, and have recorded video in nearly every gauge and format, from big HD cameras like the VariCam and Sony CineAlta to old VHS-C camcorders. For many veteran directors, it was the results they got with a good film camera that taught them what to look for in a video camera when newer technologies began to surface. The Arriflex 535B, then, is a perfect object for study, standing as it does at the nexus of film and video technology.

A 35mm and Super 35mm camera, the Arriflex 535B was developed by ARRI, the largest manufacturer of motion picture equipment in the world, founded in Munich, Germany in 1917. Debuting in 1990, the camera was designed to be fully compatible with the 535 product line, and its basic version provides every essential function of a modern production camera. Although lighter and smaller than the 535, the 535B is able to use the complete range of 535 accessories.

The redesigned, modular viewfinder system of the Arriflex 535B, like its predecessor's, can be pivoted on two axes to allow viewing from each side. A beam splitter is employed to attach a 1/2" video camera CCD, and the whole viewfinder system can be removed and replaced without tools.

The film transport of the 535B, ARRI's seven-link movement with dual registration pin and pull-down claw, ensures operational quietness and image steadiness. Crystal-controlled frame rates range from 3 to 60 fps and fixed adjustments of 24, 25, 29.97, and 30 fps are selectable.

Essential information, such as film stock, battery voltage, frame rate and time code are clearly displayed on the left side of the camera. The ergonomic grip system's central crossbar can be used as a carrying handle, and also connects to such accessories as mini-monitors and booster lights. Although the camera is too large for POV use, if a low camera profile is needed the entire grip system can be removed.

Film magazine operation was revised to enable manual take-up of film slack using the 535's two coaxial magazines (400 and 1000 ft.). The 535B accommodates such modular accessories as programmable format markings, a viewfinder extension with integrated magnifier (available in two lengths) and a plug-on display that rotates for all-side viewing.

The Arriflex 535B is a well-built, programmable 35mm mirror reflex universal camera boasting the utmost in analog film technology - but, being on the cusp of the digital era, ARRI did make data input possible via an optional Camera Control Unit (CCU-1). At just under 31 lbs. with filmless magazine, the 535B is not made for POV or handheld shooting, but its dependability and beautiful film output ensure that we will be watching movies made on it, and its siblings, for a long time to come.

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Rajiv Jain Cinematographer - A Snapshot

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.

About the 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.

New 16mm film + Old 16mm Camera = Equals?

If you put new 16mm film stock into an old 16mm camera, like say an Arriflex 16BL or an Arriflex SR-1/SR-2, will the processed film look old or will the picture look like it would if shot on a Arriflex 416 or a similar modern day camera?

Once again, please excuse my ignorance.

Hi!
The film pictures wouldn'd look old, it would look as if taken through a modern camera.
That's about the same as expecting an old radio to just tune in 'oldies' stations...

Peace,
Bobby

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