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SteadyCam Volt for SmartPhones

THE STEADICAM VOLT™ IS STEADICAM’S FIRST HANDHELD ELECTRONIC STABILIZER FOR SHOOTING SMARTPHONE VIDEO.

The Volt is equipped with a 3-axis gyroscopic stabilizer, weighing only a pound, you can get extended stable iPhone video footage in two modes; “Movie” and “Sport” modes. Once balanced the Steadicam Volt, powered by long lasting rechargeable Lithium Ion Batteries,  will operate unlike any other gyro-stabilized gimbal. The Volt will transition to work manually even after the batteries run out! The Volt blew past it’s initial Kickstarter goal in the first three days and is still going strong!

    Lightweight and folding design enable easy storage and transportation
    Accompanying iOS & Android APP allows for precise balance and tuning
    Haptic control utilizes Simulated Inertia™ Dual operating modes for beginners and experienced users
    Uses long life rechargeable Lithium Ion batteries
    Accommodates phone sizes with or without case from 100 – 200g in weight and 58 to 80mm wide
    Bluetooth enabled
    Works in manual mode even after your batteries are depleted

Check the official site here.

THE STEADICAM VOLT WAS AWARDED AS A HONOREE AT THE
2017 CES INNOVATION AWARDS

The CES Innovation Awards is an annual competition honoring outstanding design and engineering in consumer technology products.

Sony’s New Raw Recorder -AXS-R7 allows high speed RAW recording

Sony introduces new raw recorder AXS-R7 for PMW-F55 and F5 CineAlta Cameras with version 8.01.
Features of the new recorder:
High speed 4K capture
Compared to previous Sony 4K recorders, the AXS-R7 Portable Memory Recorder doubles 4K RAW recording from 60 fps up to 120 fps from the F55 camera*. For shooting at higher frame rates, the recorder captures 2K RAW at up to 240 fps from the F55 and F5, for playback with 10x super slow motion.** Also X-OCN can be used for 4K/2K high speed shooting.

*4K 120 fps recording only available for F55.
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Monisha Baldawa : In A Chat With An Editor

 

Monisha R Baldawa is an alumnus of FTII, Pune (2004-07) specializing in Film Editing. She has worked on many award winning films across various platforms – fiction, non-fiction, ad films and art installations. In January 2017 she won the Filmfare award for Best Editing for the film Neerja.

As a child what were your early influences towards cinema? Art, literature, graphics, photography?
I grew up in a middle class milieu. Movies for us were family outings and I enjoyed going to the movies very much. Although I was brought up in Pune and my family is Marwadi, I watched a lot of Tamil films also because I was very close to a Tamilian family who were our next-door neighbors. More than an attraction for photography or the visual arts I was deeply attracted to stories and story telling. In fact I would look forward to power failures in the evenings when all of us would gather in the balcony and GG, my aunt would tell us stories. I was transported into the fantastic world of Indian Mythology, Jataka tales, Akbar & Birbal, Bikram & Betal and so on.

How did you first become interested in film editing?
During graduation I got myself a FM10 SLR and also learnt 2D flash animation, that was my first interaction with the Visual Arts. Later, while doing my Masters in Video production at Pune University, Prof. Samar Nakhate opened up newer dimensions of the narrative form for me. He showed me the immense possibilities that emerge out of visual syntax. I remember clearly, one afternoon, we spent hours arranging and re-arranging a set of photographs taken by me. I was dazzled by how many different meanings could be created by changing the sequence of images. I think my romance with film editing began on that day.

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Shaibya Rakesh : Art Direction

Shaibya Rakesh

Shaibya Rakesh

 

As a child what were your early influences towards cinema? Art, literature, graphics, photography?
As a child photography was the eary influence towards cinema.

How did you first become interested in film art direction?
As i wanted to be an photographer, so i joined Ftii thinknig of creating my own backgrounds, but then it was never looking back.

What steps did you take to train yourself?
Just kept my eyes open and store them in my mind.

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Soumik Mukherjee : Cinematography

Soumik Mukherjee Cinematographer

A film studies graduate from St. Xaviers, Kolkata, Soumik Mukherjee went to the Film & Television Institute of India, Pune to specialize in cinematography. He started assisting DoPs on films like “Ship of Theseus”, while in the institute. After passing out of FTII, he furthered his craft by becoming the associate cinematographer on a number of hindi films, viz., “Dedh Ishqiya”, “Katti Batti”, etc. This was when he got associated with Nikkhil Advani and was offered to shoot the finite series on Star Plus, “POW – Bandi Yuddh Ke”. He has also shot a number of award winning short films and TVCs. Soumik shot an independent feature film that premiered in MAMI this year called “Maroon”.

As a child what were your early influences towards cinema?
Like most average middle class child in India, I watched a fair share of movies in my childhood. But luckily my parents, especially my mother made me watch the classics. Along with the mainstream english, hindi and bengali films I also grew up on Shyam Benegal, Mrinal Sen, Satyajit Ray, Tapan Sinha, etc.

How did you first become interested in cinematography? Did you start with photography?
In my Mass Communication course in college, we had a paper on ‘Camera & Lighting’. I was very fascinated with camera movements and lighting. I found it more challenging than any the other aspect of filmmaking that was taught to us in college. Also during college I had started working as a part time assistant director in an AD production house, where I learned the basics of filmmaking. Since I was an AD, I was not allowed to touch the cameras during these shoots; which in turn increased my curiosity about it.

I was introduced to videography before I was introduced to photography. I had borrowed my uncle’s Pentax K1000 towards the end of college to practise photography.

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Dhiraj Meshram : In a chat with a Director

dhiraj portrait

Dhiraj Meshram

As a child what were your early influences towards cinema? Art, literature, graphics, photography?
Influences were Hindi films running in cinema halls of my town or villages where I used to go during school vacations.  One film use to run for many weeks unlike nowadays. The films that I liked, I used to watch many times until I knew them by heart.

How did you first become interested in film direction?
I guess it was a gradual progression from being an avid cinegoer who used to watch the films as a child does- as stories, drama, action etc which gradually changed into preference for films with a specific starcast and then to want to tell these stories myself so that was the beginning of being interested in Film Direction. It happened automatically, there was no conscious effort. I think weekly cinema magazines in Hindi were a huge attraction in small towns, one read them cover to cover. And even collected them Apart from writing about film stars, they wrote about film directors too.

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Nilanjan Datta : In a chat with an Editor – Director

Nilanjan Profile

Nilanjan Datta

Nilanjan Datta is a graduate of Film Editing from Film & Television Institute of India, Pune. Before making `The Head Hunter’, his first feature film, Nilanjan has made short fiction films and documentary films. He has also been awarded the National Award for his documentary film ‘Bhanga Gara’ in the year 2009. Nilanjan was born in Assam and grew up in Assam and Arunachal Pradesh. `The Head Hunter’ was part of Mumbai International Film festival and Indian Panorama at the 46th International Film festival of India, and Canada International Film Festival, Vancouver. He received Special Jury Mention for Best Debut Direction at the 25th Aravindan Purushkaram, Kerela and Special Jury mention at the 11th Prag Cine Awards, Assam. He has been awarded the National film Award for “The Head Hunter” this year. Presently he is an Associate Professor of film editing at FTII, Pune.

As a child what were your early influences towards cinema? Art, literature, graphics, photography?
Cinema happened in my life pretty early. My father is a film buff and from a very early age, I started to watch films with him. And he introduced me to Ritwik Ghatak’s Meghe Dhaka Tara, which is also one of his favorite films.
My uncle was the first press photographer of Assam and had a photo studio, where I used to learn how to develop and print black and white photographs. The magic of image appearing in the printing paper inside a dark room used to fascinate me. He was also a theater and cinema buff and influenced me in my childhood.
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Shounok Ghosh : In a chat with a film Editor

profile pix

Shounok was born and brought up in Kolkata. Did his post graduation from Delhi and then studied in FTII Pune, TV EDITING, 2004-2005.

As a child what were your early influences towards cinema? Art, literature, graphics, photography?
I come from an upper middle class Bengali family from Kolkata, so art and literature was always a part of growing up. Though watching films was a strict no, my parents always encouraged me to read a lot of storybooks and listen to Rabindra Sangeet and a lot of heavy classical music.

My father being a lawyer and mother professor, there was always a pressure to put more stress on academics and education.
As far as I recall, my introduction and early influences towards cinema, came from my grandmother, who would take me and my elder brother to watch films in theatre in afternoons, to kill time, as both my parents were working and it used to be an uphill task for her to manage us (I was very naughty as a kid). There used to be this theater in central Kolkata, called “Talkie Show House”, and that’s where she used to take us.

Apart from that, as I was growing up, my elder brother used to sometimes take me to theatres and also he would talk about films, obviously all these in a very clandestine manner, ensuring that my parents would never have a clue.

Naturally I started following him blindly -all his favorite films, film stars ,his idols, his favourite music, food and books and thus began my own journey through all of these.

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Ramachandra PN : In a Chat With a Film Director

Ramchandra PN - Director

Ramchandra PN is a 1991 ‘Screenplay writing and Direction’ graduate from the ‘Film and TV Institute of India’.  Over the years, he has been making documentaries, features, short films and TV programs. His first feature film SUDDHA (The Cleansing Rites) in Tulu language won him the Best Indian Film at the Osian Cinefan Festival of Asian Films, New Delhi Indian 2006. It also won him a Hubert Bals exhibition grant in the following year, through which he showed the film at over hundred Tulu speaking villages in Coastal Karnataka South India. His second feature film PUTAANI PARTY (The Kid Gang) in Kannada language won the Best Children’s film at the Indian National Film Awards in 2009. It was also in consideration for nomination for the Asia Pacific Screen Awards. His third feature HAAL-E-KANGAAL (The Bankrupts) in Hindi language is making its screening rounds. He is also occasionally involved in film academics, conducting film workshops in various institutions.

As a child what were your early influences towards cinema? Art, literature, graphics, photography?
Like most children growing up in the 1970s in any small town Karnataka, I was a die hard fan of the Kannada super star Dr Rajkumar. Later on, one shifted allegiance to the angry young man of Hindi films, Amithab Bachchan- after getting star struck by some of his films like Don, Amar Akbar Antony and Parvarish. I don’t think there was any inclination serious towards cinema, during childhood.

How did you first become interested in film direction?
It was in college that I got involved in Kannada theater; as an actor first and then in back stage and direction. I also took a liking to still photography, thanks to a Pentax camera that was gifted to me by a relative. It surprised me when my guru in theater told me that there are schools in India that teach film direction. By the time I finished my degree, I was pretty sure that I needed to be a film director.

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The Train Leaves At Four

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  • ‘The train leaves at four’ is a docu-fiction film of about 55 minutes. The film was shot with a family belonging to the ‘Baiga’ tribe, living in remote Madhya Pradesh, adjusting to “development” and will provide important insight into the question: YE KISKA DEVELOPMENT HO RAHA HAI AAKHIR KAAR?As Lamu packs his sack to migrate towards the city to work along with the labour contractor, his aging mother grieves in silence. Even her other two sons are not around to console her.

    While the eldest is working on the field, the youngest has set out early this morning towards the government office. He hopes to be employed in the village itself. Those hopes are soon shattered though and he is left overwhelmed. Much of what goes on in the government office – the official paperwork, the government schemes is lost in translation.

    By the evening, as Lamu waits for the train to arrive, the contractor’s condescending attitude and stinginess already makes it clear that he has signed up for a disaster, but it is too late for him to go back.

    Meanwhile, crestfallen and influenced by his brother, the youngest son too confronts his mother and expresses a desire to leave for the city.

JURY SELECTIONS AND SCREENINGS:

 
NFDC INDIA FILM BAZAAR’S RECOMMENDED “VIEWING ROOM” 2015 LIST. GOA (Nov 20th -24th, 2015)
 
INDIA STORY, 17th MAMI MUMBAI FILM FESTIVAL, MUMBAI
 
21st KOLKATA INTERNATIONAL FILM FESTIVAL, KOLKATA (14th to 21st November.

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