Anadi is an editing graduate from FTII and is one of the brains behind Human Trail Pictures, and continues to edit as an individual professional as well.
As a child what were your early influences towards cinema? Art, literature, graphics, photography?
I think I’m very lucky to have very supportive parents. My mother and father are both theatre artists and they are associated with IPTA in my hometown of Raigarh in Chhattisgarh. I have always been inspired by their zeal. When I was a kid, a friend of my father’s bought a small mini-dv camera, which he gave him to test and experiment with. That camera got into my hands and I started discovering what I could do with that. At that point it was just amusement for me. Later I got my hands on Charlie Chaplin’s Modern Times, which my mother got for me. I remember being mesmerised by his brilliance and the simplicity of his work. This is where I started taking cinema seriously. I remember watching a lot of his films and eventually got my hands on many other filmmakers including Georges Melies. I guess I figured what I wanted to do.
How did you first become interested in film editing?
I was unaware what editing was, before I met Mr. Sankalp Meshram. While working with him, I discovered how editing was a creative process, and it was much beyond the technical aspects of it. I started realizing that I really liked the edit room and the sense of calm which prevails there. I also realized it brings me a lot of joy when the film is able to evoke meaning and emotions through the process. I think editing is a very cathartic process for me. I can gradually see things taking shape, and it gives me immense satisfaction.
Sensor Type: 16-bit, 35.5 Megapixel CMOS
Resolution: 8192 x 4320
Sensor Size : Large Format: 40.96mm x 21.60mm (Diagonal: 46.31mm)
Dynamic Range :15 stops
Max Frame Rate : 60 fps at 8K Full Frame (8192 x 4320), 75 fps at 8K 2.4:1 (8192 x 3456)
Recording Codec : 8K RAW with simultaneous 4K proxy (ProRes or DNx)
Recording Media : SSD (up to 1 hour on a single magazine)
File Type: .r3d (supported in RED SDK)
Color Profile : Light Iron Color (compatible with all popular gamuts and transfer curves)
Weight : 10 lbs.
VENICE is equipped with a 36x24mm full-frame image sensor, designed specifically for the demands and performance of high end cinematography, and can capture images up to a maximum resolution of 6048 x 4032*. By switching imager modes, VENICE can natively support Super35 24.9×18.7mm, 4096 x 3024 resolution (equivalent to 4-perforation motion picture film) and Super35 24.9×14.0mm 4096 x 2160 resolution (equivalent to 3-perforation motion picture film). In other words, VENICE’s new full-frame sensor can capture in almost any format, including full 18mm-height Super35 Anamorphic and spherical and full-frame 24mm-height Anamorphic and spherical*. Almost any aspect ratio can be conjured up: 1.85:1, 2.39:1, 17:9, the list goes on in full-frame* or Super35.
With VENICE, Sony is giving users the option to customize their camera by only enabling the features needed, according to their individual production requirements. Licenses will be available to expand the camera’s capabilities with new features including 4K anamorphic and full-frame*.
Zeiss is launching the new ZEISS CP.3 and CP.3 XD Cine Lenses. In this regard they are having a workshop on Friday 23 Jun 2017, at The Modena Hall, Waterstones Hotel, Mumbai from 11 A.M.- 5 P.M. Please find attached Invitation for the same. You are cordially invited to grace the occasion and make your presence felt for the event.
ZEISS Compact Prime CP.3 and CP.3 XD Lenses
Tailored for today’s cinema and beyond.
Digital technologies have transformed traditional filmmaking and refashioned the market. New and innovative technologies in both production and post-production have paved the way for a more versatile, cost effective and advanced workflow. The ZEISS CP.3 family is the latest contribution from ZEISS to support creative and progressive filmmaking with an affordable, future-proof and premium quality lens set.
The ZEISS CP.3 lenses offer the perfect combination of high image quality and reliable usability. They exhibit the clean, crisp characteristics ZEISS is known for, together with an interchangeable mount system and full-frame coverage.
The ZEISS CP.3 XD version features innovative and ground-breaking lens data technology to speed-up and simplify the workflow on set and in post-production.
The ZEISS eXtended Data is a unique technology which is based on the
/i Technology and provides information about the lens’ distortion and shading characteristics in real time. With the ZEISS CP.3 XD lenses, even small productions on a limited budget gain access to the advanced techniques common in state-of-the-art, big budget films, commercials and television shows.
Avinash Arun is a Cinematographer/Director. ‘Killa’ a film he Directed has won multiple national and international awards and has been very successful in the box office as well. His IMDB profile is here.
In a move that will increase efficiency on set, ARRI has integrated a high-quality and low-latency HD video transmitter and WiFi into the new ALEXA SXT W model (“W” for Wireless). Based on the popular ALEXA SXT Plus, the SXT W will replace the SXT Plus and Studio models. As always, there are attractive upgrade options for existing owners of ALEXA SXT EV and ALEXA SXT Plus cameras.
The new hardware will be accompanied by software upgrade SXT SUP 2.0, which adds improved HDR monitoring, support for current SxS PRO+ and CFast 2.0 cards, quicker frame grabs, various WCU-4 and lens motor features, and other refinements.
Having a video transmitter built into the ALEXA SXT W makes the camera smaller and lighter than it would be with an external transmitter. It also means fewer cables around the camera and fewer associated problems, since cable failure is by far the most common technical hitch on set. Camera setup and power-up will be quicker, and productions will be able to move faster. Read the rest of this entry »
Today on 8th March International Women’s Day, We announce the formation of Indian Women Cinematographers’ Collective, IWCC. It is a Collective, comprising of Indian women cinematographers, which will showcase, encourage, celebrate and support our work and vision.
It started as an initiative by senior cinematographer Fowzia Fathima to create a network of women cinematographers, the collective has evolved into a group of 60 members and continues to add new members everyday. Her initiative has set off an exciting time for women cinematographers in India. As we grow in numbers and in strength we intend to trigger changes in the industry.
Our website www.iwcc.in (under construction currently) will feature an extensive database of women cinematographers and showcase their diverse body of work. It’s members will brainstorm over technical and creative challenges via blogs, podcasts and discussion forums on the website.
The Collective will celebrate the work of its members through social media, online press and printed publications to shine a light on the excellence of women cinematographers in the field and encourage more girls to consider cinematography and its allied fields such as gaffing, grips and assistant cinematographers as viable professions.
We invite women cinematographers and young women from film and media schools to connect with us at www.iwcc.in and be a part of this Collective.
In the spirit of International Women’s Day, IWCC honors and celebrates Ms. B. R. Vijayalakshmi – the first Indian woman cinematographer, also the first Asian woman cinematographer. She made a niche for herself back in the ’80s, when a woman cinematographer was unheard of and carved a path for future generations of female cinematographers to come.
IWCC members are affiliated to SICA WICA and ISC and will work with these associations to create a healthy harmonious working environment for women in the industry.
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
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.
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.
