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
Pages: 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27