Scenemascope

Canon 5D Mark III Review for filmmakers/Videographers!

noreply@blogger.com (RAJ NONGTHOMBAM) — Wed, 07 Mar 2012 09:50:00 +0000

Disclaimer: This post talks only the Video side of the Camera

Canon(Released on 2nd March 2012) did the best it can in order to bring Full HD movies to a new height.Although the 5D Mark III won’t bring Ultra HD resolution, there are some improvements that worth talking about. The EOS 5D Mark II DIGIC 5+ processor in combination of the new sensor will improve image quality of videos and minimize the appearance of moire, and many kind of artifacts that aren’t welcome when shooting video clips.

With the 5D Mark III you have full manual control over exposure and the type of video compression (ALL-I and IPB are supported). For those who don’t know what ALL-I and IPB means, here’s a short explanation:

IPB – B stand for Bi-directional compression. This type of compression works by predicting the content of future frames. Offers better compression compared to ALL-I.
ALL-I – or ‘Intra-coded Frame’ is different from IPB because all frames are treated as key frames. No further compression is applies, just a frame compression. This results in better image quality, but up to 3 times the file size. Editing individual frames doesn’t hurt image quality. Furthermore, playing ALL-I compresses files take less computing resources in playback. ALL-i is also referred to as “Editing friendly” format.

So ALL-I only compress the information for the current frame, but not the information between those frames. IPB compression use interpolation and therefore requires more computing processing power, as well provides lower image quality because it deals with part of the image that is the same, and the data that is changed from frame to frame. Because repeated data can be stored only once, the intraframe IPB offers much superior compression but at the cost of image quality and video editing capabilities.

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The Canon EOS 5D Mark III can capture videos in various frame rates and resolutions (including size/min per compression method):

1080p (1920×1080) @30/25/34 fps
IPB: 235MB / minute
ALL-I: 685MB / minute
720p (1280×720) @60/50 fps
IPB: 205MB / minute
ALL-I: 610MB / minute
480p (640×480) @ 30/25 fps
IPB: 78MB / minute

The 5D MKIII features a soft-touch mode dial at the rear of the camera, which gives you the option to change video settings,the mic won’t pick up the clicking sound. Other than that, the 5dMKIII features a headphone jack for monitoring audio in greater precision and a 3.5mm mic jack for connecting external stereo microphone for a better sound quality. Now you can record a single video up to 29 minutes and 59 seconds.

Rolling shutter distortion (sometimes called “jello” distortion) is a long standing enemy of DSLR video. DSLR sensors do not typically read out the entire frame in one instant. Instead, they read downwards from the top to the bottom of the sensor. This means that the top of the frame is recorded slightly before the bottom and, if the camera pans quickly during this time, the image is skewed like a wobbling jelly.

Improving the colour sub-sampling from 4:2:0 to 4:2:2 would be welcomed by many, especially those that typically do a lot of heavy grading (colour work).

Increasing the colour depth from 8 bit (256 possible values) to 10 bit (1024 possible values) could also give a nice improvement in video quality in many situation.

Color Sub-sampling in Canon 5D Mk III:- The 5D Mark II can output a video signal via its HDMI port and, if you want to, you can record this video stream to an external recorder such as a Nanoflash or Atomos Ninja. These devices are capable of recording at a very high quality, much higher than the Canon 5D Mark II’s internal recording. Unfortunately, the feed that the Mark 3 provides is 4:2:0 compressed video. The new Nikon D4 and D800 can now both output clean (i.e. uncompressed 4:2:2) HD feeds via HDMI meaning that they can be readily used with these external recorders.

Canon 5D Mk III Indian Price: Rs.1,74,950 approx.

Sources: http://www.cameradebate.com/2012/canon-eos-5d-mark-iii-review/
Canon 5D Mark III - Photographer Ross Fairgrieve's Ideal Specs ...
http://philipbloom.net/2012/03/02/mk/

DSLR Filmmaking Kit in India

noreply@blogger.com (RAJ NONGTHOMBAM) — Tue, 21 Feb 2012 05:31:00 +0000

Embrace Video's DSLR Rig (Mattebox separately available)

For the last 2 years I ve been searching for DSLR filmmaking kit in India. Alibaba dotcom also known as Cinecity in Chandigarh was the only online store where DSLR filmmaking kit in India perhaps existed. But they don’t ship in India. I ve requested them several times for a DSLR rig, Camera Slider, Pocket Crane (or Arm jib), but they just don’t ve the right to sell in India. Bad luck for me and equally for those like me in India who are dreaming to buy a DSLR filmmaking kit in India.

Nakul's Design: Camera Slider

Eventually I was ready to buy from US or Singapore and ready to bear the mountainous price. But it was last week, when I was trying the keyword “DSLR Filmmaking in India” on Google search engine as a part of the SEO programme of this blog, and then I saw an Indian site called EMBRACE VIDEO owned and managed by Nakul Sood. Voila..!!! I saw all the DSLR filmmaking accessories in his website and the price was remarkably lesser than the international prices (almost ONE THIRD). So I immediately called him up and fixed a meeting on last Sunday (19th Feb 2012). His factory cum office was located @ F-43 Noida Sector8, INDIA .

God must be Crazy!!! I was shunned, shocked, taken-aback, stupefied or aghast to see those DSLR filmmaking kit in Nakul’s factory. He has:-

· DSLR rig

· DSLR camera slider

· Pocket Crane/Portable arm jib

· Tripod-Track Dolly upto 20 feet

· Steadicam Full gear

· Steadicam CASPER(handheld)

· Matteboxes

· Follow Focus

· Boom Mics (his own creation for DSLR filmmaking)

Embrace Video's Steadicam CASPER

I tried all his equipment at his place. It was the nicest experience I had ever had. Thanks Nakul Sood..Thanks EmbraceVideo.com and Thanks GOOGLE.

DSLR filmmaking kit in India-Jai HO

EDITING RULES : DSLR Filmmakers' Report

noreply@blogger.com (RAJ NONGTHOMBAM) — Thu, 16 Feb 2012 08:29:00 +0000

Film/Video editing is an Art as well as a Science. We need to master both the Art and the Science with rigorous practice and Observation. Editing is all about making multiple decisions at one time: decision about what shot to use and what not to, how long it should be, how should it appear, what should be the color, brightness, contrast, How is the audio and a lot of other relative decisions. Some important decisions are mentioned below:-

1. When cutting from shot to shot, have at least a 30% change in shot size. Wide to Medium is good. CU to wide works. Medium to another Medium of same angle looks weird.

2. Try to cut on a motion to hide the edit. A raised hand, a head turn, a slammed door.

3. If you think a cut is too long…you’re right. It’s too long.

4. If a scene plays great in one shot…leave it alone. You don’t have to cut to CU, reverse, wide, medium. Let the story tell itself.

5. Overlap any action by 4 or 5 frames. Someone turns their head in a medium shot, on the next shot start the head turn 4 or 5 frames earlier (then the previous shot) and for some ridiculous reason it looks and feels right.

6. Don’t go bonkers over every cut. Often performance trumps continuity. Now if the lead actor’s shirt is a different color in two consecutive shots…you’re on your own!

7. With DSLRs you can scale a shot up to 40% and still have adequate sharpness if you need to reframe or make a medium shot a close up. Sneaky but it works all the time.

8. As much as an editor feels he is saving the film, he’s probably not.

There were a couple other people involved before he started editing.

9. Anyone who says “We’ll fix it in post!” needs to be made aware that they need to get it right during shooting.

Last by no means the least learn how to put "Filters in order". To learn how to put filters in order visit my previous post.

Source

DSLR Filmmaking: Color Correction

noreply@blogger.com (RAJ NONGTHOMBAM) — Wed, 15 Feb 2012 09:34:00 +0000

Color correction is just one step of the entire filmmaking process…but oh, what a difference it can make. You can take average footage and really make it pop, sing and enhance the viewing experience of your project. If you have excellent footage, then the sky is the limit. You can also make images look garish, ugly and destroy all the hard work the crew did to capture those images on the day of the shoot. The challenges and choices are many and it comes with great responsibility if you are the one applying the Color Correction and Color Grade. What is Color Correction & Is there any difference between Color Grading and Color Correction?

3 Way Color Corrector Filter in FCP

COLOR CORRECTION is the process where every clip is manually tweaked to get a good exposure and balance of light. Each clip is adjusted to match color temperature to a predefined choice for each scene. This tedious and mechanical process is essential and in its own way, an art form. The use of SCOPES (Waveform, Vectroscope, Parade) is critical to this step and luckily most NLE’s and Grading software have them built-in. Without them you are literally flying blind and solely trusting your eyes, which have to adjust to room light ambience, fatigue, funky monitors and other factors constantly. Trust the SCOPES and let them guide you into accurate and creative decision making.

COLOR GRADING is the creative process where decisions are made to further enhance or establish a new visual tone to the project through software including: introducing new color themes, re-lighting within a frame, films stock emulations, color gradients and a slew of other choices. Being that this is purely creative, there is no wrong or right…only what the DP, director and colorist feel is appropriate for the story. It can be subtle and invisible or over-the-top and uber-stylized. Therein lies the challenge…The challenge of choices. The tools available are so numerous, powerful and often free (Davinci Resolve Lite!) that you have no excuse not to explore these options further before you embark on the Grading journey.

3 Way Color Corrector in Adobe Premiere

ORDER OF OPERATIONS

To maintain image quality and to preserve as much info as possible, it’s important to do things in the proper order. Just as you wouldn’t ice a cake before you bake it, when you apply an effect is critical. Doing Color Correction on your footage in this order will help you maintain extremely high quality in the interaction of all the effects you use. Not all steps are needed for every shot but in case you have to use them all, here they are:

1. Remove artifacts and de-noise.
2. Balance your shots by adjusting BLACKS/MIDS/WHITES, SATURATION and WHITE BALANCE.
3. Relight within a shot using power windows or masks.
4. Add gradients, diffusion and other lens filters.
5. Add vignettes
6. Grade your images
7. Simulate a film stock of your choice
8. Resize and sharpen

3 Way Color Corrector in Final Cut Pro

Source

How to make zero-budget films: DIGITAL MOVIE-MAKING !

noreply@blogger.com (RAJ NONGTHOMBAM) — Tue, 14 Feb 2012 08:05:00 +0000

So You Want to Be a Filmmaker

Film is a powerful medium. With the right script under your arm and a staff of eager team players, you’re about to begin an exciting ride. The single most important thing that goes into making a successful film is the passion to tell a story. And the best way to tell your stories is with pictures.

Filmmaking is visual storytelling in the form of shots that make up scenes and scenes that eventually make up a complete film. As a filmmaker, you have the power to affect people’s emotions, make them see things differently, help them discover new ideas, or just create an escape for them. In a darkened theater, you have an audience’s undivided attention. They’re yours — entertain them, move them, make them laugh, make them cry. You can’t find a more powerful medium to express yourself.

Filmmaking: Traditional or Digital?

Today, you can shoot your movie in several different formats. You can choose analog video or digital video, high definition (HD) digital files, or a traditional film camera using super-8 or 16mm film, or — the choice of studio productions — 35mm motion-picture film stock. The medium on which you set your story — whether it be actual film celluloid on which the images are developed, videotape, or digital (standard or high definition) with a film-style look — engender specific feelings and reactions from your audience. A movie shot on film stock tends to have a nostalgic feeling, like you’re watching something that has already happened. Something shot on video elicits the feeling that it’s happening right now — unfolding before your eyes, like the evening news. You can use this knowledge to enhance the emotional response your audience has to your film. Steven Spielberg, for example, made Schindler’s List in black and white to help convey both the film as a past event and the dreariness of the era.

Going digital: Standard or high-def

In this age of digital technology, almost anyone with a computer and video camera can make a film. You can purchase or rent a 24-frame progressive digital camcorder (like the Panasonic AG-DVX-100B) that emulates the look of motion picture film, without incurring the cost of expensive film stock and an expensive motion-picture camera. For a little more money, you can shoot your movie using an HD (high definition) digital camera (like the Panasonic AG-HVX200, or Sony’s PMW-EX1) that uses memory cards to store your footage. If you can’t afford one of these digital cameras, you can purchase computer software called Magic Bullet Frames (www.redgiantsoftware.com) that takes a harsh video image shot with an inexpensive home camcorder and transforms it to look more like it was shot with a motion-picture film camera. Many new computers come preloaded with free editing software.

High definition (HD) is the new-age technology that takes the camera image one step farther. The picture is much sharper, richer, and closer to what the human eye sees as opposed to what a standard definition (SD) video camera shows you. Watching HD is like looking through a window — the picture seems to breathe. The new HD digital cinema cameras combine HD technology with the 24-frame progressive technology to emulate a unique film-like picture quality in an electronic file format, without the use of physical film. When talking about inexpensive HD full resolution camera, DSLR cameras are the favorites among many Indie-filmmakers and Industry people. DSLR cameras can give you not only stunning film-look-alike visuals but the flexibility to try plethora of photographic and film lenses already available in the Market. And the Cost: NOTHING LIKE IT. Which DSLR camera to Buy, Plz read my earlier post “Top DSLR Filmmaking Cameras !”

Keep Reading! Keep Knowing: SCENEMASCOPE

Top DSLR Filmmaking Cameras !

noreply@blogger.com (RAJ NONGTHOMBAM) — Mon, 13 Feb 2012 06:18:00 +0000

Ready to join the video revolution and shoot Hi-Resolution Videos with a DSLR? Here’s a look at key cameras in this fast-growing and rapidly-evolving category.

Point-and-shoots with HD video recording have been around, with Kodak kickstarting this trend back in late 2007. The history of DSLRs with high-def movie capture, however, is a slightly shorter one, with the Nikon D90 taking the lead in 2008. Its thunder was soon stolen by the Canon EOS 5D Mark II, which boasts a 35mm full-frame sensor and 1080p-quality video recording.

HD Video is the buzzword of the day. Nearly every DSLR introduced over the past two years has it, but the image quality, resolution, compression scheme and other factors vary greatly from brand to brand, and even from camera to camera within a brand. Let’s take a look at top models as well as up-and-coming new HD-enabled cameras and see which ones make sense for you.

HD is usually used to indicate 720p where the frame resolution measures 1,280 x 720 pixels.
Full-HD refers to 1080p and the frame resolution is 1,920 x 1,080 pixels.

The fact that DSLRs employ much larger image sensors than compacts gives the former a huge advantage when it comes to video capture. Videographers are able to achieve more cinematic effects with shallow depth-of-field. The multitude of lenses available for each system also means that filmmakers have more flexibility when it comes to framing shots. Film studios have since explored using DSLRs for recording shows.

Why go with a DSLR rather than a smaller camera? First, you get access to the vast array of lenses available for each brand's system and if you already own a stills-only DSLR, upgrading to a video-capable model makes sense. Most MILCs are not compatible with DSLR lenses without an adapter.

Popular DSLR Cameras for HD Filmmaking:

1.Canon EOS 5D Mark II
Around 1.20 lac

The Skinny: If the Nikon D90 was the pioneer of HD Video, the Canon EOS 5D Mark II is the refinement that brought DSLR Video recognition as a serious tool for pro video production work. The first DSLR to offer full 1080p resolution, the 5DMII has been embraced by more videographers than any other DSLR. And with a 21.1MP CMOS full-frame sensor, it’s not too shabby when it comes to incredibly high-resolution still photography.

Still Skills: 21.1MP CMOS full-frame sensor, 9 user selectable AF points, plus 6 vertical and horizontal AF assist points, 3-inch LCD monitor with 920k pixel resolution, 3.9fps burst rate, Live View, Face Detection AF, 35-zone TTL metering, ISO range 200-1600, expandable to 6400, shutter speed up to 1/8000 sec, X-sync 1/200 sec.

Video Specs
Video Resolution: 1920x1080 pixels
Frames per Second: 30fps
Aspect Ratio: 9:16
Video compression: Quicktime MOV
Video container: H.264
External Mic Input: Stereo external mic

2.Canon EOS 7D
Around Rs 80,000/

The Skinny: A camera designed to appeal to both professionals and serious amateurs, the 7D is a full-featured DSLR for under two grand. Full HD at 30 frames per second combined with a rugged body and super-fast frame rate make this a great sports and photojournalism camera for both still and video newsgathering.

Still Skills: 18MP APS-C CMOS sensor, ISO range 100-3200, extendable to 12,800, top shutter speed 1/8000 sec, x-sync at 1/250 sec, 63-zone TTL metering, 19-point all cross-type AF, 8fps burst rate, durable shutter, 100% viewfinder coverage, magnesium weather-resistant body.

Video Specs
Video Resolution: 1920x1080, 1280x720 pixels
Frames per Second: 30 (29.97), 24 (23.976) or 25p at 1080p, 60 (59.94), 50 fps at 720p
Aspect Ratio: 9:16
Video compression: MOV
Video container: H.264
External Mic Input: Stereo mini jack

3.Canon 60D
Price: Around Rs. 50,000/

The Skinny: The big news here is manual focus control during video recording and full 1080p HD video in a camera, with a very high resolution articulating LCD making life easier for videographers. It’s a solid contender for the hearts and minds of photo enthusiasts looking to add motion.

Still Skills: 18MP APS CMOS sensor, ISO range 100-6400, expandable to 12,800, 5.3fps, 1.040k dot monitor, 62-zone metering, 9-point AF system, SD card, top shutter speed 1/8000 sec, X-sync 1/250 sec,

Video Specs
Video Resolution: 1920x1080 pixels, 1280x720 pixels
Frames per Second: 30, 25 and 24 fps at 1080p, 50 and 60fps in 720p
Aspect Ratio: 9:16
Video compression: MOV
Video container? H.264
External Mic Input Yes, stereo

4.Canon T3i/600D
Price around Rs. 33,500/

The Skinny: Its predecessor, the T2i (an aoutstanding camera that is still available) was called a "transformative" camera for its abilities to produce outstanding stills and true 1080p videos; the T3i adds a flip-out LCD monitor, native wireless control of off-camera flash, different aspect ratios, an in-camera guide that walks beginners through different settings, and an image-driven database.

Still Skills: 18MP CMOS APS sensor, 3.7fps burst rate, 63-zone metering system, 9-poit AF, live view, ISO range 100-6400, 3-inch 1.04 million dot resolution LCD, top shutter speed 1/4000 sec, X-sync 1/200 sec.

Video SpecsVideo Resolution: 1920x1080 pixels, 1280x720 pixels
Frames per Second: 30, 25 and 24 fps at 1080p, 50 and 60fps in 720p
Aspect Ratio: 9:16
Video compression: MOV
Video container: H.264
External Mic Input: Yes, Stereo

5.Nikon D7000
Price: Around Rs. 65,000/

The Skinny: With the introduction of the D7000, Nikon has shown that it is getting even more serious about video. The first Nikon with full 1080p movie capture and a more generous 20 minute continuous shot limit, the D7000 offers a solid feature set for both video and still photography and although it’s priced for enthusiasts, we can expect some pros will employ it as a main video camera and backup still body.

Still Skills: 16.2MP APS-sized CMOS sensor, ISO range 100-6400, expandable to 25,600, 2,016-pixel RGB matrix sensor, customizable 39-point AF system, bright glass pentaprism finder with 100% frame coverage, twin SD card slots, 3-inch, 921k dot LCD monitor, fully compatible with Nikon i-TTL wireless flash system, D-lighting.

Video Specs
Video Resolution: 1,920x1080, 1,280x720
Frames per Second: 24 fps at 1080p, 24 or 30fps at 720p
Aspect Ratio: 9:16
Video compression: MPEG-4
Video container: MOV, H.264
External Mic Input: Stereo Mic Jack

6.Nikon D5100
Price: Around Rs.32,500/

The Skinny: Designed for enthusiasts, the Nikon D5100 offers sophisticated metering and a fast 11-point autofocus system with virtually no lag time. It supports Nikon's full range of i-TTL flash system, and offers a range of special effects for still photos. The 16MP sensor delviers excellent image quality, even when shooting at higher ISOs in low light, and the high-resolution LCD flip-out monitor make it easier to view your stills and videos in progress.

Still Skills: 16MP DX-format CMOS sensor, 3-inch 921k dot reslution finder. Effects mode isolates color within a scene, exposes for high-key and low-key images, miniature effects and more. ISO range 100-6400. In-camera HDR, 11-point AF system, 420-pixel RGB 3D Color Matrix Metering II, 16 exposure scenes, D-Lighting, automatic sensor dust cleaning.

Video Specs
Video Resolution: up to 1920x30p
Frames per Second: 24 or 30fps
Video format MOV
Aspect Ratio: 16:9
Video compression: H.264/MPEG-4 Advanced Video Coding
External Mic Input: Yes; stereo
Max. recording time: 20 minutes.

7.Nikon D3100
Price: Around Rs.29,750/

The Skinny: Nikon's starter DSLR was upgraded earlier this year to a 14MP CMOS sensor and an overhauled navigation system. Its biggest strength? Easy-to-navigate, explanatory menu system (thanks to the new Guide Mode), intuitive controls and lots of hand-holding. It's a great camera for anyone who is stepping up from the point-and-shoot world.

Still Skills: 14MP CMOS sensor, 6 auto exposure modes (Portrait, Landscape, Child, Sports, Close-Up or Night Portrait), ISO range 100-3200, can be expanded to 12,800. 11-point autofocus, 3-inch LCD monitor. Face and scene recognition, D-Lighting expands dynamic range, in-camera image editing possible. Compatible with all Nikon flashes, extensive lens system.

Video Specs:
Video Resolution: 1Up to 1920x1080 at 24 fps or 1280x720 at 30 fps
Frames per Second: 24, 25 or 30fps
Movie File Format: MOV
Aspect Ratio: 16:9
Video compression: QuickTime Motion JPEG
Other: Maximum movie recording time 10 minutes, Mono microphone.

8.Nikon D3s
Price: Around Rs.2,60 Lacs

The Skinny: A full-frame pro camera, the D3s is capable of shooting up to ISO 102,400 (no, that’s not a misprint and yes, you can shoot videos at that ISO), and is designed for sports photography and photojournalism. Because of its larger sensor, expect even higher image quality at all ISOs and uncompromising quality. At its heart, this ruggedized pro tool is a still camera. Its video feature, because of its 5-minute recording limit at full resolution, should be considered a bonus.

Still Skills: Rated by DxOMark as one of the best high-ISO low light performers, the D3s has a 12MP full-frame sensor, burst mode to 9FPS, thethered shooting possible, 51-point AF system, 1,005-pixel 3D Color Matrix Metering II, scene recognition, dual CF card slots, horizon indicator, fastest shutter speed 1/8000 sec, 1/250 sec x-sync, 4,200 still images per battery charge.

Video Specs
Video Resolution 1,280x720 pixels
Frames per Second 24 fps
Aspect Ratio 9:16
Video compression Motion JPEG - 4
Video container MP42
External Mic Input: Yes, stereo

9.Nikon D90
Price: Around Rs.41,500/

The Skinny: This is where the HD Video DSLR revolution began and even though it’s been around for over two years and is being phased out, the D90’s low cost makes it easy to get started while giving users entrée into the vast world of Nikon lenses. 5-minute limit on video clip length might limit some users.

Still Skills: 12MP APS-sized CMOS sensor, 4.5 fps burst rate, ISO range 200-3200, 3-inch 920k LCD monitor, 11-point AF, live-view, 3D Color Matrix Metering II with scene recognition, in-camera image editing, geo-tagging unit available. Shutter speeds up to 1/4000 sec.

Video Specs
Video Resolution: 1280x720 pixels
Frames per Second: 24 fps
Aspect Ratio: 9:16
Video compression: Motion JPEG,
Video container: AVIExternal Mic Input: No; internal mono mic

10. Olympus E-5Price: Approximately Rs.80,000/

The Skinny: The only high-end DSLR built around the 17.3x13mm APS sensor, the 12MP E-5 is a rugged camera designed for heavy-duty pro use. Successor to the popular E-3, the E-5 adds creative "Art Filters" so you can apply special effects in camera. A durable shutter, high-resolution flip-out LCD monitor, digital leveler, wireless flash control system, multiple exposure, a field-tested dust reduction system, in-camera image-stabilization, and what Olympus claims is the world's fastest autofocus complete the picture.

Still Skills: Thixomold magnesium-alloy construction, splash and dust protection, shutter mechanism tested to 150,000 cycles, image stabilization claimed to compensate up to 5 shutter speeds, 100% high-eyepoint optical viewfinder and pentaprism, 3-inch, 920k dot swivel LCD, CF and SD card ports, 11-point fully twin cross AF system, 10 built-in Art Filters, multiple aspect ratios, wireless control with FL-36R and FL-50R flash units. IS range 200-6400, EV compensation + or - 5 stops, shutter speeds 60-1/8000 sec, 5 fps burst rate.

Video Specs
Video Resolution: 1280x720p
Frames per Second: 30 fps
Aspect Ratio: 9:16, 4:3
Video compression: M-JPEG, 1/12 (HD); Max. recording time 7 min
Video container: AVI
External Mic Input: Stereo mic available

11Pentax K-5
Price: around Rs.60,000/

The Skinny: The successor to the wildly popular K-7, this is a lightweight, ruggedized camera with a 16MP APS-C sensor, a 3-inch, 921k pixel resolution finder, built-in shake reduction, HDR and lots of features found on cameras costing considerably more.

Still Skills: 11-point AF, ISO up to 51,200, shake reduction claimed to shoot at 2.5-4 shutter speeds slower, claimed improved digital noise, usable in temps down to 14 degrees F, 7fps burst rate, 77-segment metering, pentaprism finder with 100% field of view, shutter speed to 1/8000 sec, improved in-camera HDR, in-camera special effects, customizable RAW capture.

Video Specs
Video Resolution:920x1080, 1280x720
Frames per Second: 25fps at 1080p, 30 or 25fps at 720p
Aspect Ratio: 9:16
Video compression: Motion JPEG
Video container: AVI
External Mic Input: 3.5mm Stereo Microphone Jack

12.Sony a560
Price: Approx. Rs.32,500/

The Skinny: A low-priced mid-range DSLR, the Sony A560 has a 14.2MP APS-C sensor, and a tiltable 3-inch LCD monitor with 921.6K resolution. Offers AF during live view, AF during video, ISO to 12800, built-in image stabilization.

Still Skills: Built-in HDR, 3D panorama, high ISO boost to 12,800 and native ISO range 200-1600, 7fps burst rate, 15-point AF sensor, eye-start AF, face detection, smile detection.

Video Specs
Video Resolution: 1920x1080 pixels
Frames per Second: 60i (59..94i Interlace, 29.97 progressive)
Aspect Ratio: 16:9
Video compression: MPEG-4 AVC (H264)
Video container: AVCHD
External Mic Input: No

13.Sony a580

Price: Rs.37,500/ Approx

The Skinny: A higher-resolution camera with a tiltable 3-inch LCD monitor and over 921k resolution, the Sony a580 is said to have faster autofocus, a more responsive live view, and Sony's fabled outstanding high-resolution performance.

Still Skills: 16MP APS-C CMOS sensor, ISO up to 12,800, 7fps shooting speed, anti-dust technology, HDR and dynamic range optimizer,, Sweep Panorama, Face Detection. New technology promotes faster AF 8 scene modes. JPEG and RAW image capture.

Video Specs
Video Resolution: 1920x1080 pixels
Frames per Second: 59.94i (from 29.97fps sensor output)
Motion JPEG:
Aspect Ratio: 16:9
Video compression: QuickTime Motion JPEG
Video container: AVCHD
External Mic Input: No

14. Panasonic Lumix GH1

The Skinny: The GH1 is actually a Micro Four Thirds camera, not a DSLR, and uses an electronic viewfinder rather than an internal mirror/prism assembly. Consequently video is much easier to implement and this shows in the superior video specifications of the GH1.

Video Specs

Recording full 1080p HD at 24fps, or 720p at 60fps in AVCHD mode, it can also shoot in the Motion JPEG format at 30fps if you prefer, in a range of sizes up to 720p. The built-in mic is Dolby Stereo, and there's a 2.5mm port for an external mic, such as Panasonic's own hotshoe mic, or a third-party model (for which you'll need a 2.5-3.5mm adaptor).

Source

DSLR Filmmaking in India (Bollywood)!

noreply@blogger.com (RAJ NONGTHOMBAM) — Sat, 11 Feb 2012 06:18:00 +0000

Stanley Ka Dabba director Amol Gupte, for example, didn’t want to intimidate the child actors in his movie with big cameras and burning lights. So he used a small Canon 7D DSLR (5.8 x 4.4 x 2.9 inches) to shoot the entire flick.

“It didn’t need any set-up time and would ensure the kids weren’t pakaoed too fast,” he says. “Children lose their spontaneity if they are made to wait while lights and set extensions are adjusted.” The DSLR worked well in low-light and SKD was shot without any extra lighting.

Indeed, shooting with a DSLR is convenient for different reasons to different moviemakers. Sometimes it helps save costs and time, and sometimes its compactness allows the director to experiment more.

Where no camera has gone before“More than the ‘cost and time-saving’ factor, I was most attracted to the DSLR because its size made it possible to create a different language of cinema in terms of angles and movements,” Varma says.

The weight of the Canon 5D Mark II is 810gms when compared to the 6.5kgs of film cameras. “This is the technology of the future. It can do whatever a conventional camera can do and a lot more,” he says, while recommending these gadgets for suspense, action and horrormovies.

The DSLR can go to places a film camera cannot. It can be smoothly tracked under a bed where a conventional camera on a trolley cannot fit; it can pass between window grills, and even trace the body of an actor from foot to face.

Other filmmakers who’ve experimented with DSLRs include Raj Nidimoru who used it to shoot city scenes for the title track of Shor in the City.

“It’s handy and unobtrusive,” Nidimoru says. “The camera, because of its size, didn’t attract attention and could capture candid shots of traffic in Mumbai. It was handled easily from the backseat of a two-wheeler that sped through traffic.

“We’re always looking for smaller devices,” says the US-based filmmaker of Indian origin who will be shooting with custom-made cameras, half the size of DSLRs for his next film.

Budget bytesThe minimal size of DSLRs also allows for incognito shooting, thus avoiding the red-tapism of seeking permissions to shoot, say directors. Permissions to shoot in cities such as Mumbai are a long process and involve shelling out lakhs of rupees.

Anurag Kashyap circumvented the obstacle by opting to shoot with a DSLR. For That Girl in Yellow Boots, which stars Kalki Koechlin and Naseeruddin Shah, he borrowed money from a friend and went hunting for a 5D Mark II camera. He ended up buying a 7D on which the entire film has been shot.

At the time of the film’s launch in 2010, he boasted on his blog, “We found out about Canon 5D and went looking for it and ended up with the new Canon 7D… We decided to go digital. Our guerrilla teams were ready, we decided we will shoot on the streets while the city celebrates Diwali; shoot we did, in front of the whole metropolis, only they did not know it.’’

For newcomers and directors who have tight budgets, the DSLR makes life easier. They don’t have to spend on lighting, film camera rentals, or film stocks.

On a film camera, to shoot 4 minutes of footage, a moviemaker needs 400 feet of film (1 can) that costs Rs 10,000. So for a film that runs for 2.5 hours, filmmakers end up spending huge sums only onstock. On an average, filmmakers use 400 cans. Compared to this, reusable memory cards used in DSLRs are highly economical.

“You can own a very good DSLR camera for a price of around Rs 3 lakh, which is much cheaper than even renting film cameras,” says Nidimoru.

School of thoughtFilm schools such as Andheri-based FX School are also using DSLRs to train students who want to become cinematographers. “We started using DSLRs in 2009. The main advantage of the camera is that it gives near film-like quality at a fraction of the price of professional gear,” says C B Arun Kumar, the director of the school. Kumar has used DSLRs such as the Canon 5D Mark II, Canon 7D, Canon 60D, Panasonic GH2 and Nikon D7000 to shoot movies.

“It has democratised moviemaking. So now someone with an idea can make a flick and you don’t need a hell lot of money,” he says.

Veteran cinematographer Ranjan Palit used the 1D Mark IV and 7D Canon cameras, along with the regular 30mm film camera, to shoot 7 Khoon Maaf starring Priyanka Chopra, Neil Nitin Mukesh, John Abraham and Irrfan Khan. “The DSLRs helped us save at least Rs 10 lakh,” he says.

Lokesh Todi (see pic at the right)—who dabbles in short films,and who is the founder of a Facebook group called ‘DSLR camera revolution for filmmaking’—agrees. He recently shot his short movie Poor Scum, for which he won a ticket to Cannes, on a DSLR camera.

Finishing touchesStill, there are reservations about the quality of movies shot digitally on such cameras as most directors continue to use film and opt for the DSLR only to shoot secondary shots, which they use after seeing the quality of the output.

“The results of scenes shot digitally are good, but we end up tweaking them to ensure they match film quality,” says Palit. “This includes changing the colour contrast, saturation and sharpness.”

SKD’s cinematographer Amol Gole agrees, “The post-production of a digitally-shot film is an important process that can make or break the film.”

Interestingly, cinematographer-director Santosh Sivan believes that final results don’t depend on the camera as much as they do on the skills of the cinematographer.

“It has a lot to do with your sensibilities and that reflects in the final product. If you look up YouTube you can see both good and bad stuff shot with the same camera,’’ he says.

Gole also likes to think the benefits of shooting with DSLR are much more than the drawbacks.

Having been a film promo photographer for films such as Mangal Pandey and Maqbool, he knows his DSLR inside out and even owns a kit of 13 lens, which he used for SKD.

“The DSLR let me capture the natural movements and expressions of the children without intruding into their space. It didn’t intimidate them,” he says.

Original Source

Manipuri Film History:History of Manipuri Films

noreply@blogger.com (RAJ NONGTHOMBAM) — Fri, 08 Apr 2011 07:22:00 +0000

A unique composite heritage of socio-cultural ethos prevails across the blue hills and green valleys of Manipur. Film enthusiasts of Manipur had perceived in this heritage, a teeming potential for good cinema since the mid 1930s. A serious attempt was made towards this end by the mid 1940s but it took about a decade to bear fruit.

The first ever Manipuri feature film hit the screen on April 9, 1972 and the film was “Matamgi Manipur” and was simultaneously at three Cinema Hall in Manipur they are Usha Hall, Friends Talkies and Azad Cinema at Kakching. This maiden venture bagged the President’s Medal in the 20th National Film Festival.
Equipped with an iron will, shoe-string budgets, sound back grounds of theatre, and a clear vision of humane values ingrained in our social-fabric, our pioneer filmmakers set about their tasks. They had successfully tackled the want of facility and technical know-how, and the limitations of financial constraint. They had joined the race of world cinema three quarters of a century too late. Yet our cinema forged ahead to cut out a niche in the world scenario. The nascent Manipuri Cinema reckons a tally of thirty one feature films and twenty-nine awards at the National and another nine at the International arena. These are no mean achievements as our film lovers toiled under impossible circumstances.
A tiny market, with a limited screening schedule at the instance of big-time distributors, and the consequent small returns snowballed into formidable financial hazards. This, compounded with the want of laboratory facilities, unreliable government subsidies and long queues at booking film equipments, rendered filmmaking in the state a dangerous venture.
Filmmaking involves ample exploitation of the most effective medium of mass communication, cinema for financial gains, through entertainment with educative information. The same is not true with Manipuri cinema, which on the other hand, gains additional dimension in this frontier state. It becomes more of a medium of creative expression than an effective means of making big money.
The global film movement has now recognized the Manipuri cinema, a late arrival in the family of Indian Cinema, as a bright and promising star of the movement that has appeared a rich cultural heritage, yet to be fully discovered. The Indian Cinema which caught up with the west in the first quarter of the present century had already made long strides in the global race while the Manipur film chapter saw the light of the day after the Second World War thanks to the enterprising and committed band of forerunners of the movement in this State whose first venture was almost still-born. They could not cross the Himalayan hurdles which included the absence of a market and infrastructure, paucity of funds and technical expertise and several essential ingredients inspite of the abundant cultural and artistic potential. Yet, the pioneers in the field did not lose heart. The result was that the sixties saw them active and the first Manipuri feature film “Matamgi Manipur” that was produced in 1972 bagged the National Award.
Manipur audience witnessed silent Indian movies in the 1920s through touring Cinema. Rudimentary and makeshift film show houses were established in Manipur a few years before the Second World War. Kasturichand Jain and Ramkumar were the pioneer film exhibitors who ran show houses in Manipur in the pre-war period. Kasturi’s show house Manipur Talkies and Ramkumar’s show house in Imphal had regular film shows. Towards the end of the War, better organized cinema halls came up, prominent among them were the MNB Talkies, Victory Cinema and Friends Talkies.
The simultaneous release of Matamgi Manipur at Usha Cinema and Friends Talkies in Imphal and at Azad Cinema in Kakching on April 9 in 1972 marked the beginning of an epoch in the history of Manipuri cinema awakening the Manipuri film goers into the reality of a Manipuri feature film for the first time. It was a black and white feature film.To make the film, equipments and technicians were engaged from outside Manipur including the film director Debkumar Bose. Thanks should be accorded to the bold producer Karam Monomohan who never looked back in pioneering the filmmaking without visualizing any loss or gain from his films. The colour era came only in 1984 when the first colour feature film Langlen Thadoi directed by M.A. Singh was released.
The Manipuri film industry has not been able to produce even an average of two feature films a year which brings up the question of whether there is such a thing as a Manipuri film industry. No one has come out as producer accepting the filmmaking as business and profession. Only a few who luckily got nominal returns from their films are making further ventures. Manipur has so far 18 film producers. Of them, only a few like, K. Ibohal Sharma, M. Nilamani, Thouyangba Thoungamba are still in the field, gain or no gain.
Manipuri cinema though it was born late, sprang up like a brilliant upstart achieving flying colours overnight. It was the result of the film society movement which inspired the idea of good cinema to Manipuri filmmakers and artistes. The first film society of Manipur, Film Society Manipur, was established in 1966. It will not be an exaggeration to say that the first Manipuri feature film Matamgi Manipur which bagged the President’s Gold Medal in the National Film Festival, was the good outcome of the film society movement. In 1979 another film society, Imphal Cine Club was set up and it played an active role in the promotion of good film through regular screening of good films and holding film festivals, seminars and appreciation courses.
Aribam Syam Sharma’s “Imagi Ningthem” bagged the prestigious Grand Prix in the Nantes International Film Festival in France in 1982. Infcat, here are four areas that introduces Manipur in the international arena: Manipuri dance, Manipuri theatre, Sports and Manipuri cinema. Out of these, the only area which introduces the vivid pictures of the identity and life styles of Manipuri community to the outsiders is the Manipuri cinema. The whole of France got the opportunity to know about Manipur through a nationwide telecast of Imagi Ningthem in the France Television. And after watching “Ishanou” ( a world acclaimed cinema of Manipuri film directed by Aribam Syam Sharma), westerners were aroused to take up research on Lai Haraoba and Manipur’s rich folklore. As such, Manipuri cinema deserves emphatic priority treatment. More patronage should come forward from the Government and other philanthropic agencies since commercial viability of the movement is still a remote dream. With the development of film, other fields like tourism and culture will flourish; better employment avenues can be opened directly or indirectly. However, the condition of Manipur cinema has been at its worst when one looks at the panoramic view of Indian cinema. Though the industry has a number of promising filmmakers, their talents could not be exposed due to want of film producers or financiers.
But, the Manipur Government had been doing something for the promotion and development of films in Manipur. The Manipur Film Development Council was set up in 1980 and it was converted into a Corporation in 1987. It has now indispensable pre-production equipments and the facilities of these equipments have been made available to the film producers since 1990. Rupees one lakh is being given to the film producers as subsidy for a colour feature film while a new theatre is being constructed for exhibition of good films.
One of the chief reasons responsible for the present state of affairs in our film industry is the lack of an avowed policy of the government on the film industry. When other states of the country have put up State Film Policies by the Government, Manipur has no such support. The domination of digital cinema in Manipur presently who has also led to the demise of celluloid feature films in the state. However, the state government has taken up some initiative for development of celluloid movies but due to lack in market none of the production house as well as Director are unable to produce any celluloid picture in the state.
Therefore, in order to make it revive feature films, the Film Societies in Manipur have to be reactivated and film festivals, discussions, appreciation courses, workshops have to be organized very often. Manipuri cultural heritage having stood on own as a distinct personality in the global cultural context, the Manipur film movement as the mouth piece of the heritage is poised to appear in the competitive arena .
History of Short and Documentary Films in Manipur.
Short and documentary films in Manipur do have a place in the Manipuri social progress, having recorded valuable information on contemporary and current events on the one hand and on the other, as having had documented important aspects of the cultural and customary life, tradition and heritage of the Meiteis in the Imphal valley and of the tribal communities in the hills of Manipur.
Progressing from black and white to colour, with formats in 16mm and 35mm, the non-feature films has edged in to win recognition in the national and international for a for their contribution in projecting as well as popularizing the different facets of the Manipuri life and the hitherto unknown facts of Manipur’s rich heritage.

1.    Maipak, Son of Manipur ( The first Manipuri documentary film), in the year 1971 and was released on November 9. The film was shown in 35mm black and white, produced by K.T. Films Private Limited and directed by Debkumar Bose from Calcutta. The duration of the film is 10 minutes and the medium is in both Manipuri and English.
2.    K.T. Films Private Limited produced three short 35mm Black and White documentaries in 1972 and these were mainly recordings of Government sponsored state functions in connection with particular events. The films include (a) Statehood Day Celebration on January 21 in 1972 (b) Plan Exhibition of 1972 and (c) Republic Day Celebration of January 26 in 1972. The duration of the films are 10 minutes each.
3.    The Department of Information and Public Relations, Government of Manipur produced two short documentary films (a) Towards A Better Life and (b) 20-Point Economic Programme, both directed by Aribam Syam Sharma, having duration of 10 minutes each, the films are shot in 35mm Black and White.
4.    The film Sanaleibak Manipur was produced in the year 1980 by Directorate of Information and Public Relation, Government of Manipur. Directed by Aribam Syam Sharma, it was shot in 35mm colour, having the duration of 30 minutes. The film bagged the State Award for the Best Documentary film in the non-feature category of the first Manipur State Film Festival in 1984. The same year the Directorate of Information and Public Relations, Government of Manipur also produced two other short documentary films (i) Manipur News ’79 and (ii) Manipur News ’80-81. The films were recordings of current events in the particular years, directed by M.A. Singh, having duration of 10 minutes each and shot in 35mm in Black and White.
5.    In 1984, Heisnam Kanhailal, well-known theatre director of the Kalakshetra Manipur produced on celluloid the film PEBET which is based on his play by the same name. The story of the play is based on a popular Manipuri folktale with the film version being directed by Lokendra Arambam, another well-known theatre personality. The film is in 35mm colour with duration of 35 minutes. A second film produced in this year wass TALES of Courage, produced by the Films Division of India, directed by Aribam Syam Sharma and having a duration of 30 minutes, the medium of the film is English and it was shot in 35mm colour.
6.    In 1988 the film Sangai-Dancing Deer of Manipur, directed by Aribam Syam Sharma and produced for the Sangeet Natak Akademi, New Delhi came out, based on the ballet Keibul Lamjao written by M.K. Binodini Devi and performed by the ballet unit of the Jawaharlal Nehru Manipur Dance Academy, Imphal. A second film produced in this year is the Keibul Lamjao National Park, directed by Aribam Syam Sharma and produced for the Forest Department, Government of Manipur. A third film was Koro Kosil, directed by Aribam Syam Sharma and produced for the Manipur Film Development Corporation Limited.
7.    In 1989 the film THE DEER ON THE LAKE, directed by Aribam Syam Sharma and produced for the Indian National Trust for Art and Cultural Heritage (INTACH), New Delhi took up theme on the endangered brow-antlered deer Sangai. The same year, the film TOTANGKAM, directed by Sanakhya Ibotombi and produced by the Avant Garde, a theatrical society based in Imphal, took up the theme on the ritualistic festival of a particular tribe in Manipur in a 16mm colour film with commentary in English, having the duration of 72 minutes.
8.    In 1990 the film INDIGENOUS GAMES OF MANIPUR, directed by Aribam Syam Sharma and produced for Doordarshan, highlighted the several indigenous games played in Manipur.
9.    In 1991, the film MEITEI PUNG, directed by Aribam Syam Sharma and produced for Doordarshan, dwelled into mysticism and the aestheticism of the indigenous percussion music of the Meiteis in Manipur. The same year, a film namely GORKHA OF MANIPUR, directed by Sanakhya Ibotombi and produced by B.R. Chhetri for the Avant Garde, Imphal took up the thread of Gorkhas in service and in daily life as observed in the state in a16mm colour film of 20 minutes. The film YAOSANG, directed by Sanakhya Ibotombi and produced by R.K. Binoy for the Avant Garde, records the event of the annual festival Yaoshang in Manipur in 16 mm colour format with English and Manipuri.
10.    In 1993, the film MOIRANG PARVA, a joint production of the Directorate of Art and Culture, Government of Manipur and the East Zone Cultural Centre, Calcutta dealt with the aesthetics of the Moirang Parva, the traditional folk oral recital that narrates stories from the lives of the legendary characters Khamba and Thoibi of Moirang. The film is in 35 mm colour, having the duration of 28 minutes.
11.    In 1994, the film ORCHIDS OF MANIPUR, directed by Aribam Syam Sharma and produced for the Forest Department, Government of Manipur, drew as its theme a picture of the beautiful, lovely orchid flowers of Manipur, in their assorted varieties and environment. In the same year, the film, PENA, directed by Makhon Mani Mongshaba explored the philosophy and aesthetics of the traditional Pena music that has encaptured people of the all walks of life and communities by its mystic luring renderings. The films also highlights Pena performance in ritualistic performances. With a duration of 18 minutes, the film is in 35 mm colour.
12.     In 1995, the film YELHOU JAGOI ( The Dances of Lai Haraoba), directed by Aribam Syam Sharma and produced for the Indira Gandhi National Centre for Arts (IGNCA), New Delhi, based on the creation myth narrated and enacted in the Lai Haraoba (festivities of the Gods), having a duration of 30 minutes, the film is in 35 mm colour.
13.    In 1997, the film LAA (The Banana Leaf), a film by Thouyangba and Thoungamba for P.K. Films Manipur, has as its subject the different uses of the banana leaf in the daily and the customary life of the Meiteis in the Manipur valley. The duration of the film is 26 minutes and the film has commentary in English with the script written by M.K. Binodini Devi.

Short features.
1. In 1984, the film PAOKHUM AMA, directed by Aribam Syam Sharma and produced for Films Division of India, takes up the theme on the problems of unemployment and the frustration of the youths in failing to secure monetary and social security, while on another plane it dwells on the interrelationship of two major communities in Manipur. The film is shot in 18 mm colour with the duration of 70 minutes and the film went on to participate in the Tyneside International Film Festival, United Kingdoms in 1984. In the same year another short movie namely THABA, directed by Kongbrailatpam Ibohal Sharma and produced by Kh. Pramodini Devi for the Department of Women and Child Programme (now renamed Department of Social Welfare), Government of Manipur, was shot in 16mm colour.
2. In 1986 the film TREE OF LIFE, directed by L.K. Shimray and produced by K. Nongbam Singh for the Film Production Centre, Kwakeithel. Having duration of 10 minutes, the medium of film is in Manipuri.

Courtesy:MyManipur

History of Manipuri films

noreply@blogger.com (RAJ NONGTHOMBAM) — Fri, 08 Apr 2011 07:19:00 +0000

Manipur is a state which consists of various communities with multiple tradition and culture. Its diverse cultural practices have naturally led to the emergence of innumerable art forms in the realms of music, dance and other performing arts. This has in turn, brought recognition and appreciation to Manipur. The culture of the region is expressed through various art forms, and in turn the distinctive art forms preserve the culture throughout the generations. The distinctive features of the lifestyle and manner of the people; the economy of the land as well as societal faces of the masses of the region are highly honoured and esteemed by the people of other parts of world and all the more because other similar art forms are found in other parts of the world.

If we trace the origin of the cinematic art it would be worth remembering that the first moving cinema was invented by two brothers in France – Louis and Auguste, popularly known as ‘Loumiere Brothers’. Their first production was named “Cinematographe” and the world is still grateful for their valuable contribution. Slowly the influence of the cinematic art reached our secluded region. And in the 1920s the cinematic art had a small audience of its own in Manipur. However during that time there was not a single cinema hall in the state. In those days screening of cinema took place in open grounds of the locality or in the courtyard of a house. But after a few years two cinema halls were set up in the heart of the Imphal city: the one situated at Paona Bazar was named ‘Manipur Talkies’ while ‘Rajkumar Hall’ was set up at Thangal Bazar. The audiences were indeed enthralled by the vitality of this new art form. The music, the dialogues, and the drama which unfolded before their eyes must have been a very amazing event.

With the passage of’ time some creative minds of Manipur stated to think about making and producing cinemas. The first stalwart to achieve the feat was MaharajKumar Priyobarta Singh who was also the first chief minister of the state. The name of the film, a documentary was “Hiyang Tannaba” which literally means Boat – Race in Manipuri. Armed with only an 8 mm Camera which he had bought from Raipur where he had gone for his higher studies, Priyobrata captured the exciting event of the boat race which was held every year near the royal palace of Manipur. The year was 1936. However, this film was not released and showcased to the people of Manipur. Priyobarta had not sent it to the Censor Board as the movie had some technical flaws. Presently this film is preserved at the archive of the Manipur Film Development Corporation (MFDC).

In 1946, a team of 9 members who were all film lovers set up a film company known as ‘Shree Shree Govindaji Film Company’. The team included well known personalities like Ayekpam Biramangol, Sogaijam Nabakumar, and Sinam Krishna Mohon. Using the name of the company as the banner, a film named ‘Mainu Pemcha’ was produced in Hindi. The team had collaborated with a Bengali Filmmaker, Rathin Sen for the production of this film. The lead female role of ‘Pemcha’ was played by Thambalngoubi, and the role of ‘Borajao’ was played by Bimol Chaterjee who was a Bengali. The other important actors of this film were Laishram Netrajit, Khwairakpam Momon, Kangabam Gojendro. But unfortunately the film was not completed as the company suffered from financial constraints. After this unsuccessful venture, a heroic effort was made by Kongbrailatpam Ibohal Sharma to establish cinematic art in Manipur. Using a 16 mm Bolex Camera he made cinemas and documentaries namely ‘Ningthemcha Ahum’ in 1960; ‘Echel’ in 1961; and ‘Mongpham’ in 1962. He processed all his films and documentaries at his own studio, X-Cine during those days. Some of his works like ‘Cultural Heritage’ and ‘Imphal Diary’ are outstanding documentaries. Besides making movies he took pains to tour many parts of the state to screen his documentaries. So he has a very great contribution in making cinema popular in the state. His documentaries were made like a silent movie and they had no sound recordings. However he compensated this by playing pre-recorded sound especially made for the film simultaneously when the film was screened. It was crude but effective in the sense that people could get the actual feel of a movie as audio was added to the visual.

In 1971, another pioneer filmmaker named Karam Manimohon produced a documentary film with a 20 minute duration called “Maipak – Son of Manipur”. The film was directed by a Bengali film director Debenkumar Bose and it was dubbed both in English and Hindi. The film was based on the life of Nongthombam Maipak who participated and won the ‘Mister India title’ in the ‘International Federation of Body Building Championship’ held at Paris in 1970. However, the following year 1972 can be regarded as an important land mark in the history of Manipuri cinema. On the 9th April of this unforgettable year, the state film industry got their first censor certificate and released its first formal Manipuri cinema “Matamgi Manipur” under the banner of KT film. This movie was also directed by Karam Manimohon. Later, in 1973 another film called as “Brojendagi Luhongba” enthralled the audience of Manipur with S.N. Chand as its producer director as well as the lead actor of this film. Manipuri film makers finally crossed the initial hurdles during this time and after this phase, Manipuri cinema developed with leap and bounds. Various movies were produced and some of them namely Lamja Pasuram’, ‘Olangthagi Wangma’, ‘Saphabi’, ‘Khuthang Lamjen’, ‘Ngak e-Ko Nangse’, ‘Sanakeithel’, ‘Wangma-Wangma’, ‘Yairipok Thambalnu’, ‘Khonjel’, ‘Imagi Ningthem’, ‘Sambal Wangma’, ‘Eche Sakhi’, ‘Khongthang’, ‘Ishanou’, ‘Paokhum Ama’, ‘Kombirei’, ‘Sana Manbi Sanarei’, ‘Meiri’, ‘Laibak’, ‘Amuba Chandal’, ‘Operation Sangai’, ‘Chatledo Eidi’, ‘Maiyophigi Macha’, Meichak Meichak’, ‘Cheina’, ‘Meichak’, ‘Kanaga Hinghouni’, ‘Thawan michakna Kenkhrabada’, Amambasu Anganbani’, ‘Yening Amadi Likla’, etc. got national and international acclaim. Among these films: ‘Imagi Ningthem’ and ’Ishanou’ bagged national and international awards. Apart from these feature films various short and documentaries films has made the Manipuri industry proud by winning many awards and allocates in the national and international level.

However a decisive turn in Manipuri cinema was witnessed in the year 2000 due to the ban imposed on Bollywood movies by a certain armed group of Manipur. The business of movie theatres was drastically affected as they had to stop screening movies. The theatres were pulled down or either converted into shopping complexes or used for other commercial offices. And the void which was created by the disappearance of Hindi movies was occupied by a new form of art which we now term as digital albums. which gave rise to the emergence of a new mode of films ¬the digital film. Unlike making a celluloid film, to produce a digital movie was technically easier, faster and cheaper.

On 24th May 2002 the first digital format film “Lanmei” was released under the banner of ‘Kangla Films Manipur’. It was released at Pratap Talkies, Paona Bazar Imphal. A second film called “Lallasi Pal” was released under the banner of ‘Treasure Island’. Suddenly with the emergence of these digitally made films, film makers stopped making films in celluloid which was not cost effective in the poor economy of Manipur. In fact celluloid films became extinct in the state. However digital films became immensely popular in the state and thousands of digital films are produced in a year. Today, it has become so popular that many producers and production houses have to wait for a long time to pass the censor board. In 2007 the ‘Film Forum Manipur’ – an organization which has been working with dedication for the development of digital cinemas in Manipur held the ‘First Film Festival’ to encourage actors and other people associated with the digital film industry. But unfortunately the Forum has not been able to organize another Film Festival in the state due to the lack of finances. This is largely due to the fact that the state government and other organizations have not given any support to the Forum. Nevertheless despite the lack of such festivals, innumerable films and video albums are produced in the state in order to cater to the demands of the entertainment loving people of the state. And hopefully the rise and development of these indigenously produced films which showcase the diverse culture and tradition of our state will make the state proud by winning laurels allover the world.

History of Manipuri films: Celluloid Films of Manipur (1972-1997)

noreply@blogger.com (RAJ NONGTHOMBAM) — Fri, 08 Apr 2011 07:17:00 +0000

1.Film – Matamgi Manipur(35mm B&W)
Year-1972
Screenplay &Direction-Debkumar Bose
Music –Aribam Shyam Sharma.
Story-Arambam Samarendra
Lyrics- Phulendra & M.K.Binodini
Editing- Madhu Banerjee
Sound recording-Bani Dutta
Playback Singers-A.Kamala,Aribam Jamuna & A.Budhachandra
Cast-G.Ravinder Sharma, Yenkhom Roma, Kangabam Birababu, Rashi,Indra, Beda, Kangabam Tomba, Arambam Lokendra, Aribam Shyam Shrama, Amujao & Baby Ameeta with Joshi,Dr.Nara,Mangibabu, Bishwambhar, Landhon, Imo, Ibohanbi, Ashokekumar,Boinao,Momon, Binodkumar, B.N Patnaik, P.Banerjee, Kanonbala,Bimola,L.Tamani, Memma & Purnamala.
Produced by Karam Monomohan for K.T. Films Pivate Limited.
This film bagged the President’s Medal in the 20th National Film Festival in 1972

2.Film-Brojendragee Luhongba(35mm B&W)
Year-1972
Direction, Screenplay & Music –S.N Chand
Story-Lamabam Kamala
Audiography-Anil Nandan
Cast-S.N.Chand, Romobala Devi, & Others.
Produced by S.N.Chand for Sajatia Pictures
This Film bagged the Best Screenplay Award in the first Manipur State Film Festival

3.Film-Lamja Parsuram(35mm B&W)
Year-1974
Direction & Music-Aribam Syam Shrama
Script-E.Dinamani Singh
Lyrics-Phulendra
Editing-Madhusudan Banerjee
Sound -Mani Rata
Playback Singers-Shyam, Khunjoy, A.Kamala
Camera-Sankar Banerjee
Story-Gitchandra Tongbra,Padmashree
Cast-Kangabam Tomba, Yenkhom Roma, Beda,Jugeshwar, G.Narayan Sharma, Deven, Manglem & Rashi.
Produced by G.Narayan Sharma for N.S.Films

4.Film-Ngak-E-Ko Nangshe(35mm B&W)
Year-1974
Direction-S.N.Chand
Music –N.Pahari
Playback singers-N.Pahari,Y.Bilashini & Arambam Jamuna
Cast-Y.Mangibabu, Rajani
Produced by Wangkhem Basanta for Poonam Films

5.Film-Saphabee(35mm B&W)
Year-1976
Direction &Musik- Aribam Syam Shrama
Story & Screenplay-S.Bormani
Sound-Amulya Das
Playback singers-Shyam,Khunjoy,A.Jamuna,Leibakmacha,Ibetombi,&Bimolata
Cast-Kangabam Tomba,Subadani
Produced by G.Narayan Shrama for N.S.Films
This film bagged the Rajat Kamal for Best Regional Filmin the 24th National Film Festival in 1976

6.Khutthang Lamjel-(35mm B&W)
Year-1979
Direction,Story& Screenplay-Gitchandra Tongbra
Music-N.Pahari
Playback singers-N.Pahari,Geeta,Y.Bilasini & P.Chandra Kumar
Cast-O.Birla,Sobita Devi
Produced by Thongam Haridas for A.T.Films

7.Film-Olangthang Lamjen (35mm B&W)
Year-1980
Direction-Aribam Syam Sharma
Story & Screenplay-M.K.Binodini
Music-Shyam & Khun Joy
Playback Singers-Khunjoy,Hamom Naba,A.Jamuna & A.Shyam.
Sound-Tomba Shrama
Cast-Kangabam Tomba,Yenkhom Roma,Rashi,Keshoram,Tondon & Joykumar
Produced by G.Narayan Shrama for N.S.Films
This film bagged the Rajat Kamal for Best Regional Film in the 27th National Film Festival in 1980

8.Film-Imagi Ningthem(35mm B&W)
Year-1981
Direction-Aribam Syam Shrama
Story & Screenplay-M.K.Binodini
Music-Khundrakpam Joykumar
Cast-Rashi,Ingudam Mangi,Bhubaneshwari,Indrakumar,Jamini,Memcha,Gayatri & Master Leikendra
Produced by Kongbrailatpam Ibohal Shrama for X-Cine Production
The film was awarded the Prestigious Grand Prix at Nantes International Film Festival in France in 1981.

9.Film- Khonjel(35mm B&W)
Year-1981
Direction& Screenplay- M.Nilamani Singh
Lyrics-Thanjam Kora
Music & Playback-N.Pahari
Cast- Moirangthem Ashwinikumar,L.Subadini
Produced by Moirangthem Nilamani Singh for Anjana Films

10.Film-Wangma wangma(35mm B&W)
Year-1981
Direction & Screenplay-L.Banka Shrama
Story & Lyics-L.Shyamsunder Shrama
Music-A.Shyam Singh
Playback Singers-A.Shyam,Y.Bilasini
Cast-Iboyaima,Kanan,Sanayaima
Produced by Durlab for Eastern Star Films

11.Film-Sanakeithal(35mm B&w)
Year-1983
Direction, Screenplay & Editing-M.A.Singh
Story & Music-N.Pahari
Cast-Memi,Master Toni,SomoAnawali,Shanawas,Upen,Manaobi,Ibeyaima & Lalit
Produced by Thoudam Dorendra for A.T.B.Films International
The film bagged the Rajat Kamal for Best Regional Film at the 31th National Film Festival in 1984

12.Film-Paokhum ama(16mm colour)
Year-1983
Direction-Aribam Syam Shrama
Story & Screenplay-M.K.Binodini
Cinematography-K.Ibohal & Daoji
Cast-Kangabam Tomba, Yenkhom Roma & Others
Produced by Films Division Of India

13. Film-Thaba(16mm B& W)
Year-1984
Direction-Kongbrailatpam Ibohal Sharma
Cast-R.K.Sushila,Prafullo
Produced by Kh.Shakhi Devi for Kay Pee Films International

14.Film-Langlen Thadoi(35mm colour)
Year-1984
Screenplay & art direction-Khaidem Promodini
Music Director-S.Tijendra
Playback singers-W.Chandrasakhi & S.Tijendra
Direction & Editing-M.A.Singh
Cast-Wangkheirakpam Chandrasakhi,Kongbrailatpam Tejmani & Moirangthem Lalit
Produced by Kh.Sakhi Devi Kay Pee Films International

15.Film-Yairipok Thambalnu(35mm B&W)
Year-1984
Direction –L.Banka Shrama
Story-M.Ramcharan
Screenplay -Sanatomba Rajkumar
Playback singers-N.Pahari,A.Kamala
Cast-Kangabam Birababu,Hemabati,Rajani,Ch.Nilbir,G.Robindra,L.Babu,Robir,Ibeyaima,Ibemni,Ibemhal,Biren,TaraKumar,Kh.Bihari,Brojen & Keshrom.
Produced by H.Gehendra Singh for Liberty Films

16.Film-Iche Sakhi(35mm colour)
Year-1986
Co-direction-Th.Dorendra & Sanakhya Ibotombi
Story- Th.Dorendra
Screenplay-S.Ibotombi
Music Director-HamomNaba
Cast- Sakhitombi,Ibochouba,Imobi, Oken Amakcham,Inakhunbi
Produced by Thoudam Dorendra for A.T.B.Films International

17.Film-Kombirei(35mm colour)
Year-1989
Direction & Screenplay-G.narayan Shrama
Music –Aribam Syam Shrama
Playback singers-A.Shyam,Khunjoy & A.Jamuna
LyricsKonsaba Ibochou
Cast-Diya,nirmala,Kanan,Nabakanta,Keshoram,tondon,Chaoba,Chandro,Deben,Bidhu,Shettu, Nabachandra,Maheswar,Naresh Shrama,Preti,Kabita & others
Produced by G.Narayan Shrama for N.S.Films

18.Film-Ishanou(35mm colour)Year-1990
Direction & Music-Aribam Syam Sharma
Script,Screenplay & Costume-M.k.Binodini Devi
Cast-Anoubam Kiranmala, Kangabam Tomba, Manbi, Dhiren,Baby Molly & Baby Premita
Produced by Guwahati Doordarsan
The film was the official selection in UN CERTAIN REGARD at the cannes International Film Festival in 1991

19.Film- Ingallei(35mm colour)
Year-1990
Direction & Screenplay-R.K.Kripa
Story-Tejkumar
Music-khunjoy
Cast – Diya,Deben,Babita
Produced by M. Kumarjit for M.K. Films

20.Film-Paap(35mm Colour)
Year-1991
Direction-M. Nilamani Singh
Co-Producer & Associate Direction –M.Ashiwinikumar

2 types of screenwriters

noreply@blogger.com (RAJ NONGTHOMBAM) — Fri, 16 Jan 2009 17:27:00 +0000

There can be broadly two groups of screenwriters-first,the group that continues to turn out unusable screenplays and second,the group of successful screenwriters. Then what are the fundamental differences between these two groups in the world of screenplays.

The first difference is the desire to do it, and keep on doing it, even when the writing is not working. This is the passion for communicating and sharing a vision, which is one of the benchmarks of creative activity.

The sesond difference is the ability to learn from others. This can be achieved by study, taking feddback, discussion, or a combination of all three. The point is that it is an on-going process and each screenplay is aimed at being improvement on the last.

The third difference is the acquisition of skills and their application in a rigorous and creative way.

The fourth is time. It takes time to write and it takes even more time to write well. It can take years to write well within the strict parameters of a screenplay.

The fifth is persistence. A screenwriter has to be able to keep going with their ideas and deal with rejection and uncertainty of the whole affair.

Last, and by no means the least is the passion for the medium and the stories, characters and themes which are fundamental to any screenplay.

Manipuri celluloid films

noreply@blogger.com (RAJ NONGTHOMBAM) — Thu, 03 May 2007 11:28:00 +0000

Motion Picture or Cinema was first introduced in Manipur in 1920. The first Motion Picture theatres in the state were established in Imphal after the Second World War. Filmmaking in Manipur was pioneered by Shree Govindajee Film Company (SGFC) founded between 1946 and 1947. MAINU PEMCHA (1948) was the result of the first attempt at making films by the Manipuris.
The first full fledged feature film MATAM-GI MANIPUR was screened on the 9th of April, 1972 at Usha Cinema, Friends Talkies in Imphal and Azad cinema in Kakching. With the establishment of Film Society in 1966 , Imphal Cine Club in 1979 and Manipur Film Development Council (MFDC) in 1980, Manipuri Cinema got the required momentum and made an indelible mark both at the National and International level.
So far, nine Manipuri films have already bagged prestigious National Awards. The following Manipuri films were also screened in celebrated International Film Festivals around the globe. The following manipuri films were shown in Film Festivals on International level.
1. IMAGEE NINGTHEM 2. PAOKHUM AMA 3. ISHANOU 4. SANABI 5. SANA KEITHEL 6. SAMBAL WANGMA 7. KHONTHANG
The first Indian Film to get the GRAND PRIX at the NANTE INTERNATIONAL FILM FESTIVAL was the Manipuri Film IMAGEE NINGTHEM (My Son, My Precious) directed by Aribam Syam Sharma and scripted by MK Binodini. Eight Year old Leikhendra Singh bagged the BEST CHILD ACTOR in India awards in the year 1982.

"The 90s—the beginning of the end of celluloid era"
After a glorious history, celluloid era has effectively had its last appearance in 1998. The following is the list of the films that were made including the name of the director and producer during the period 1972-1998. Documentary films and VHS format movies are not included, as are the digital films that are the rage now.

Year Title Producer Director

1972 Matamgee Manipur, Karam Manmohan Devkumar Bose
1972 Brojendrogee Luhongba, SN Chand SN Chand
1974 Lamja Parsuram, G Narayan Sharma A. Shyam Sharma
1974 Ngak-e-ko Nangse, Wangkhem Basanta SN Chand
1976 Saphabi G Narayan, Sharma A. Shyam Sharma
1979 Khuthang Lamjel, Thongam Haridas GC Tongbra
1979 Olangthagee Wangmadasu, G Narayan Sharma A. Shyam Sharma
1981 Imagee Ningthem, K Ibohal Sharma A. Shyam Sharma
1981 Khonjel, M Nilamani M Nilamani
1981 Wangma Wangma, Durlav L Banka Sharma
1983 Sana Keithel, Thoudam Doren MA Singh
1983 Paokhum Ama, Film Div. of India A. Shyam Sharma
1984 Thaba, Khaidem Sakhi Devi K Ibohal Sharma
1984 Langlen Thadoi, Khaidem Sakhi Devi MA Singh
1984 Yairipok Thambalnu, H Gehendra L Banka Sharma
1986 Iche Sakhi Thoudam Doren MA Singh
1988 Kombirei, G Narayan Sharma G Narayan Sharma
1990 Isanou, Gauhati Drsn A Shyam Sharma
1990 Engallei, M Kumarjit RK Kripa
1990 Paap, M Nilamani M Nilamani
1992 Khonthang, Thoungamba Oken Amakcham
1993 Sambal Wangma, Sobita K Ibohal Sharma
1993 Thambal, Vishnu/Surjakanta RK Kripa
1993 Madhavi, K Bhupendra L Banka
1994 Mayophigee Macha, Thouyangba Oken Amakcham
1995 Sanabi, NFDI/Drdrsn A. Shyam Sharma
1995 Khamba Khamnu, Ch Shyamcharan Ch Shyamcharan
1996 Kanaga Hinghouni, Chand Heisnam Chand Heisnam/Vishwamitra
1997 Sanamanbi Sanarei, G Narayan Sharma G Narayan Sharma
1997 Khamba Thoibi, M Nilamani M Nilamani
1997 Chinglensana, Th. Binapani Rajen Meitei
1997 Iraal Oirage, Chand Heisnam Vishwamitra/Kishore Kr
1997 Yenningtha Amada, M Nilamani/Ashwini M Nilamani/Ashwini Kr
1998 Amambasu Anganbani, Chand Heisnam Vishwamitra/Kishore Kr
1998 Thawaigi Thawai, Thoungamba Thoungamba/Thouyangba