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Eve Deceived


Long, long ago, if we are to believe,
The man named Adam and his helper Eve
Lived free and naked in a place called Eden.
Their entire living we read was given,
Only one fruit to them was forbidden.

Eve, like all girls to be, a daring one,
Of course, thought of tasting it just for fun.
Though for so doing the penalty was high.
Still it was tempting to her grudging eye,
She just grimaced as she passed it by.

Then one day as young Adam was prone,
He took a walk leaving Eve alone.
So since she had nothing at all to do,
She took a stroll through that primeval zoo,
Fretting, and pouting and conspiring, too.

She had grown tired of Adam’s leaving
Her alone in the garden grieving
Wondering what kind of friend she could make,
When there appeared a slick-talking snake,
Who suggested a short walk they could take.

You know, of course, where the walk led them to,
Beneath that tree and what she wasn’t to do.
Then Eve cried out, “Oh, Adam my dear!
Where are you when I need you to be near!”
The snake weaved and danced, in each eye a leer.

You see he was jealous of Adam and Eve
And pondered how he could get them to leave.
It was the sum of his nature to lie.
With ancient, evil reptilian sigh,
He decried Eve’s warning received from on high.
Then Eve in a trance bit into the fruit
As proffered by that foul serpentine brute.
Just now Adam reappeared on the site
And foolishly of the fruit took a bite,
Not thinking him then of the promised plight.

The two of them learned to their deep regret
That the warning was real, not just a threat.
The will of God and man’s will collided.
Out of that garden they then were guided
Severely punished, not merely chided.

You cannot blame Eve, it is Adam’s fault
Having never learned of woman’s Gestalt,
Leaving lone Eve a decision to make!
Warning belated, my girls, it’s a mistake
Ever to take advice from a snake!


Don Loop 2014 Urbanna, Virginia.








Yes, for most us filmmakers, Film cameras are a thing of past.  But if you put your pen to paper and start working on the numbers, film still works out cheaper and of course the quality.IMG_8073 Arriflex SR3

NU Cosmetic commercial

The commercial was shot on Super-16 format using Kodak Vision 3 200T (7213) stock and Arriflex SR3 camera. The negative was HD scanned and graded at Reliance Media works. I was impressed with the quantum of information buried in this small negative, barely as big as our finger nails. The ability to blend highlights so seamlessly floored me. There is no hint of grains.


Film Matters. Tell the world why.

INSIGHT: Prashant Rai

“I want freedom to shoot and this is where 16mm film comes into play.”

The Indian Navy was an experience of rigorous education and physical training that no other institute in the world could impart to PRASHANT RAI.  It was in the navy, while on the move, where he developed a passion for still photography and documented his little adventures to exotic destinations on KODAK film.  The times spent at sea made him marvel at how light played with the colours of the waters. It was this fascination that drove him to a different path, a challenging change in career.  After serving in the navy for thirteen years, PRASHANT RAI is creating inspiring images like the sea, in motion picture…

1. Who is your all time inspiration?
I think Indian Cinema has played a great role in shaping my visual taste. I am a great fan of P. C. Sreeram’s and Santosh Sivan’s works. They are superb craftsmen and artists in equal measure. From the early years, I have liked V. K. Murthy’s work in Kaagaz Ke Phool. And of course, my well of inspiration wouldn’t be complete if I don’t mention Conrad Hall and Janusz Kaminsky.

2. What have been your achievements over the years?
I have yet to shoot a major commercial film. My trysts have been mostly with art house films. I shot R(EVOLUTION) which was screened at Karlovy Vary film fest in Czech Republic under the forum of independents and was competing against some real good talents from Europe and North America. The film was shot on 35 anamorphic. We couldn’t afford a DI because of budget constraints so we sent an optical print and it looked terrific at the festival. Audience loved the look.  I also shot a low budget horror thriller.  I again chose 35mm with anamorphic glasses to capture the vistas in Kashmir. I think shooting anamorphic is the best option if you are on a budget.
It is too early to boast of achievements. In terms of honing my skills in cinematography as a craft, yes I have come a long way. I feel much confident now when I am on a location or a set. Earlier the light controlled me, now I can control the light to a satisfactory extent. I can now dare to think that I can get a look that would suit the Director’s vision. I think this in itself an achievement.

3. In this era where production is moving towards digital, what made you decide, to instead purchase a S16 camera?
I love Indie style filmmaking. A S16 camera like an ARRI SR3 HS packs a lot of punch in its small size. The camera is robust and strong. I shot a short on a beach, almost waist deep in the sea. There were splashes and salt. After the shoot I just wiped it with a moist cloth, let it dry, and then bingo – it was running fine. I don’t think any digital camera with all that tons of electronics embedded in it would be able to take this kind of abuse.
A S16 camera sets me free from all that umbilical cord which otherwise tethers the digital cameras to the video village. Low budget filmmaking requires quick turnaround from one set up to another.  And to be honest, these digital cameras have fallen into the rut of smart phone culture. Within 2 years they get outdated and the worst part is, they are not getting any cheaper in spite of their abundant supply.  Most filmmakers fall prey to their specs and numbers which the manufacturers display around. They make movies on digital not realizing what lies down the road – a higher cost in post. There is nothing called a low budget digital filmmaking. It is either UGLY or EXPENSIVE.

4. What drives you to shoot on S16 so passionately?
Being an Indie filmmaker S16 gives you the best cost economics without compromising on the aesthetics. I want freedom to shoot and this is where 16mm film comes into play. It’s a very versatile format which you can use from shooting content from web and internet to a feature for theatrical release. The resilience of this format is proven worldwide over decades.  There have been so many films shot on 16mm which I couldn’t discern in the theatre but later researches took me by pleasant surprise. Off late, some of the best looking 16mm theatrical release films have been LORE(2012), THE RUM DIARY, STONED, THE WRESTLER, THE MOTORCYCLE DIARIES, BLACK SWAN, HURT LOCKER, and I can go on with 20 more titles.

5. What do you think is the best medium to capture images?
FILM.  With advances in KODAK’s Vision3 film stocks, there are more details in highlights and it looks deeper into the shadows. The best part of film is that most of us have no exact word to describe the LOOK – some say it’s organic, some say it’s alive, I say it’s the unchartered territory where science meets art. What happens in those 3 dimensional layers is the best example of a magic beyond the reach of programmers and code writers.  Every time I look at the rushes/telecine the images come out beautiful than expected.  The look of the film is something like an extension of nature.  I process my films at Kodak Cine Lab.

I recently saw this film called The Master. The 65mm scenes just blew me away. I have never seen ordinary faces look so magnificent. I am looking forward to watching more film shot on 65mm because the whole optics is very different and intimate.

6. How do you feel about getting your desired results “in post” instead of “in camera”?
It is the look of the film that you can’t quantify in terms of complex mathematical formulas or codes.  I think the best way a cinematographer can help his/her producer save money is by shooting on film and getting the desired result in the camera.  It is very much possible.

7.  Tell us about the short film you recently shot on S16?
The short filmis about connecting with your inner self. Though there could be many ways ranging from philosophical to spiritual, but I chose a much simpler way. Being an avid runner myself, I think the best way one can sync with himself is by running. The short film depicts a girl running and discovering her beautiful inner self.

Film Matters.  Tell us why…
Absolutely!  There are no compromises when it comes to FILM. FILM is not a line product. FILM is a ‘de rigueur’ for any production, big or small. The best investment to a producer is to shoot on film. This safeguards his/her interests in all possible ways. It’s proven over the years.


Watch Prashant Rai’s short film By the Seaside >>