Ken’sTechnology Blog

esl english conversation

admin — Fri, 03 Sep 2010 09:36:34 +0000

Intermediate Level English Listening Comprehension Exercises English listening skills learning for intermediate level learners includes English online listening comprehension exercises for intermediate level classes including dialogues and quizzes. Tongue TwistersTongue twisters with recordings for pronunciation practice for English students in ESL and EFL classes.

Aquiring Listening Skills Acquiring listening skills is frustrating. This is because successful listening skills are acquired over time and with lots of practice. It’s frustrating for students because there are no rules as in grammar teaching. Here is a discussion of the problem and some suggestions to improving listening skills. Customer Request 1 – Listening ComprehensionListen to a customer making a request and take note of what she wants. Customer Request 2 – Listening ComprehensionListen to a customer making a request and take note of what he wants. Do you believe in UFOs?John and Sue talk about their beliefs regarding UFOs (Unidentified Flying Objects). Nice lengthy listening – Do you believe?… Does he like his job? – 1Listen to a man speaking about what he likes – and dislikes – about his job. True or False listening comprehension. Does she like her job? – 2Listen to a woman speaking about what she likes – and dislikes – about her job. True or False listening comprehension. English Learning PodcastsOverview of podcasting for English teachers and learners including an introduction to podcasting and recommended sites with English learning podcasts. Interview with a DancerListen to a man a man interviewing a famous dancer and take note of her answers. John’s Holiday – Listening ComprehensionJohn has just returned from a holiday. What experiences has he had? Joining the Local LibraryListen to a man who is finding out the regulations for joining the local library. Listening – A Job Opportunity – 1Listen to two people talking about a new job opportunity and get the details about the job offered. Listening – A Job Opportunity – 2Listen to two people talking about a new job opportunity and get the details about the job offered. Mistakes #1Challenging listening exercise asking you to listen for the mistake made in a number of different sentences. Try your luck!

In Car Entertainment

admin — Fri, 03 Sep 2010 09:34:37 +0000

We live in a high speed technologically advanced age which has seen the development and invention of many products which would have seemed extremely far fetched only ten years ago. Most things these days in our homes and work places are ran by technology, now it is common place to see high spec devices and media entertainment systems incorporated into the average car, items such as in car DVD players are no longer considered as extremely luxurious items and has opened up the in car entertainment market to the masses. In this article we are going to talk about the different type of products available at the moment and some handy tips on their uses.
In Car Audio Devices
We have come a long way since the humble FM radio and cassette player which used to be incorporated into cars, now we have moved on to CD players and beyond, you really can get some extremely high quality audio devices and speakers, new technology has enabled in car CD players to take advantage of MP3 technology and USB devices such as a data stick where you can play music from your PC via the USB stick. Many in car audio systems now come with MP3 player connectivity so you can attach and play your music from an Ipod or other MP3 player through the car speakers; this is great for playing your own play lists and listening to your favourite music on the move. The addition of DAB radio has also enhanced the listening pleasures of radio lovers as you can get crystal clear radio reception on your favourite radio stations in your car.
Visual In Car Entertainment
A sure fire way of making those long tedious journeys a pleasure is to install an in car DVD player, these can be placed on the back of headrests or on the dashboard; it enables passengers to watch television programmes or their favorite movies in the car. This is a great way of keeping the kids quiet, many in car DVD players nowadays also come with built in games and a games controller, it is very unlikely the kids will hassle you on long journeys or in traffic jams if they have all this entertainment right in front of them. If you are very clever however you can even incorporate your games console such as a Play station into the car for maximum gaming pleasure wherever you go.
There are also many other products in the market designed specifically to enhance your driving pleasure such as satellite navigation systems, they minimize the chances of getting lost and open up a whole new variety of journeys and road trips a driver can attempt with more confidence. It is important to remember that all of these devices use the battery from the car, watch out in case it depletes your car’s battery life too much. The driver must also be aware that they are driving and too much in car devices can take away their attention and cause an accident, make sure your eyes are constantly fixed on the road and do not get drawn elsewhere, especially by staring at the sat nav system too much.

Microsoft Claims Android ‘Gotchas’ Raise Its Cost

admin — Fri, 03 Sep 2010 08:59:01 +0000

Microsoft Claims Android ‘Gotchas’ Raise Its Cost
Google makes its Android software freely available, but Microsoft argues there are other costs related to making the open source software available on mobile devices.

Music Review: John Coltrane – The Definitive John Coltrane On Prestige and Riverside

admin — Fri, 03 Sep 2010 05:03:15 +0000

Music Review: John Coltrane – The Definitive John Coltrane On Prestige and Riverside
A great way to start collecting the music of the saxophone giant. Saxophone – John Coltrane – Prestige Records – Arts – Music

How To Build Chest Muscles – Bodybuilding Picture – How Women Build Muscle

admin — Fri, 03 Sep 2010 04:37:19 +0000

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All Car Dvds are not Equal

admin — Fri, 03 Sep 2010 03:34:32 +0000

Imagine my surprise when I went looking for a DVD for my car. We were to take our grandkids for an extended road trip and I thought it would help it to a DVD player. The trouble is âmonitorâ. I saw all these good priced monitors and thought that is real great to get the monitor and the DVD for that price. Then I discovered that they really did mean just the monitor. Not the DVD in a monitor, but a monitor.

If you want a monitor with DVD you need to look for a monitor that includes the DVD. Otherwise all you get is a âmonitorâ. So here is some quick information on monitors and what to look for.

The flip down car video monitor is probably the one you are most familiar with. It is mounted to the roof of the car and flipped down when in use. Then is is flipped up out of the way. It is used by the back seat passengers and the monitor usually ranges from 7-12 inches.

The Overhead Car Video Monitors can be attached to the ceiling of the car. Most usually you find them in mini vans, and SUVs because they require some of the head room. It usually fits over the inside light. These can be 7-20 inches in width.

Headrest car video monitors are built into the back of the headrest. You can buy the whole headrest since most of you will not want to cut out a chunck of your present headrest. Keep the old headrests so you can put them back in the car when you trade it in, thus allowing you to keep the head rest for the new car.

Headrest Portable car video monitors are essentially portable DVDs. They can be attached to the back of the headrest and be moved about. These range in size from 5-10 inches. This was my choice because it can be taken out of the vehicle and used in to motel room, the camper, the trailer, a tentâ¦well, you get the idea.

In-dash car video monitors are put in the dash for the entertainment of the front seat passenger. Driver you need to keep your eye on the road. It can be flipped up and down for convenience and space. They are usually less than 7 inches.

The Sun visor car video monitor can be mounted into yur visor or you can replace your original sun visor with it. It is usually 5-7 inches in length.

Mirror car video monitors are made to fit over the rear-view mirro. They are great to be used as a rear view camera. It is very small, usually no more than 4 inches.

Now the most important thing to remember is that you need the DVD with these monitors if you wish to play a DVD. So remember that if you do not want to buy a separate DVD you need to look for a monitor that includes a built in DVD player. They are out there and can be found easily. Just donât be fooled into buying a monitor thinking it has a DVD included.

Live chat: Evan Grant answers your Rangers questions

admin — Fri, 03 Sep 2010 03:08:02 +0000

Live chat: Evan Grant answers your Rangers questions
Evan Grant, blogger for SportsDayDFW.com and writer for The Dallas Morning News , answers your Rangers questions in a live chat at 2 p.m. Thursday. Ask your questions in the Coveritlive module below, and Evan will discuss them for an hour or so.

iPod Shuffle: The buttons are back [video]

admin — Fri, 03 Sep 2010 03:03:26 +0000

iPod Shuffle: The buttons are back [video]
Apple CEO Steve Jobs shows off the latest redesign of the company’s smallest iPod line at its September 2010 music event Wednesday in San Francisco. Finger controls are back by popular demand to…

Nokia E5 review

admin — Fri, 03 Sep 2010 03:01:57 +0000

Nokia E5 review
Full review: Is this full QWERTY budget Symbian a Blackberry Curve rival? Posted by Joe Minihane

Huawei announces affordable Android 2.2-powered IDEOS

admin — Fri, 03 Sep 2010 02:59:16 +0000

Huawei announces affordable Android 2.2-powered IDEOS
Expected to sell for less than $200, the Huawei’s newest budget Android handset has plenty to offer.

Opera Omaha Cotillion scheduled

admin — Fri, 03 Sep 2010 02:10:52 +0000

Opera Omaha Cotillion scheduled
OMAHA – The Opera Omaha Guild will hold a class for metro area sixth-graders to teach dining, dancing and social amenities during the 26th Annual Opera Omaha Cotillion. The class is open to students in the Council Bluffs/Omaha region.

“The strangest cinematographer in India”: Rajeev Jain ICS WICA – Dubai Based Indian Kenyan Cinematographer

admin — Fri, 03 Sep 2010 00:36:12 +0000

“The strangest cinematographer in India”: Rajeev Jain ICS WICA – Dubai Based Indian Kenyan Cinematographer

Rajeev Jain curses like a runner; in part, because he actually was one, in a way, before he discovered photography and cinematography (he worked as spot boy / runner).

Rajeev Jain may be the greatest cinematographer working in the movies today. He is certainly one of the most respected and perhaps the most idiosyncratic Indian Director of Photography / Cinematographer based in Bollywood – Mumbai, India. An Indian by birth, he lives and works predominantly in India (among his films are Manika Sharma’s multi-textured Kalpvriksh – The Wishing Tree and Ayyo Paaji !!) with forays to the Kenya (where he shot, among other films, Wanuri Kahiu’s unique Rasstar) and India (the beautifully spare Carry on Pandu).

I managed to squeeze an interview into his busy schedule the morning before his “Cinematography Class” presentation, Getting him settled wasn’t easy, but once we found a room to ourselves, he turned to me like I was a new buddy and said: “So… my name is Rajeev.” Thus began a memorable interview, punctuated by puckish stray comments, many of them so off-colour they drop off the colour charts, and explosive bursts of laughter that defy description, somewhere between a bray and a cackle, yet utterly disarming. But most of the interview was taken up with his passionate ideas on making images and telling stories, and his philosophy of filmmaking. We began the interview looking over some DVDs of Rajeev’s work with Wanuri Kahiu. He picked up the Rastar !!, their collaboration. “You have to get the original version,” he remarked. “The colour is wrong on this one. It’s not blue enough. It was all blue, but then they kind of ‘corrected’ it when I wasn’t there. They took away the blue because they thought I didn’t know what I was doing.”

Did you know what you were doing then?

No. I think I started to know what I was doing in the middle of Kalpvriksh – The Wishing Tree until then it was like – in India, they say, “Your eye is high but your hand is low,” which means you can’t achieve what you want to do. You have all these aspirations, you expect to do something great, and actually you complicate things. Because your hand is low. In the middle of Kalpvriksh – The Wishing Tree, it was either I was going to get fired or I was going to leave, or I just sort of stepped back one step. I think that’s the whole point. That’s what I try to talk about now. The intimacy of the act – which is like, you know, at my age, you need glasses to see anything close up – and then how to step back.

That’s the thing: the balance between being so involved in something that it has energy, it has intimacy, it contacts people, and yet being removed enough to say, “Yes, no, yes, no, no.” That’s the job. And it was actually in the middle of Kalpvriksh – The Wishing Tree that that happened, because I had made this really complicated shot; I had five filters on the camera, and we’re trying to do this lengthy shot with incredible moves. It was just, at that time, we were thinking of style, instead of discovering style. We were imposing instead of receiving. I think [receiving] is what’s happened ever since. You get to the point, for example, in Badhaai Ho Badhaai, where you realize you can’t light big street of New Delhi. If you’re us, you say, “we can’t light the whole street, so let’s go with it.” That’s the difference, and I think that is possibly an Indian perspective, possibly a more mature perspective on how things really happen, and possibly just getting older. It’s a mixture of all those things.

It’s interesting how you describe it as being intimate while at the same time stepping back for perspective…

That’s just it. I think the whole thing about filmmaking is that it has to be engaging enough that I have to believe enough of what I’m seeing that it becomes universal. It’s really that simple. That’s why it doesn’t matter anymore what language it’s in because, if you’re really saying something, then we’ll hear it. Up until cloning starts next year, we’re all more or less biologically and spiritually… There are places where we interconnect and the only way you can interconnect is if you disconnect with yourself. If you don’t know… I think that’s the whole point. People go to film school to learn about filmmaking. No. Why don’t you go out and learn about life and then…

I was in Nairobi two weeks ago and they all speak English, they learn in English. I thought, “This is the future.” That you have people from other disciplines who are interested in filmmaking. We spent the whole day together. It was the most engaging experience I’ve had in… I am doing a Kenyan film next year, because that’s it, it’s about life, it’s not about technicalities. You show me the red button and I press it and the film rolls. That’s about it. That’s what I know.

Of course you accumulate certain experiences, but basically it’s about how you see things and it’s about what voice you have. If you have something to say, then people will listen. If you have nothing to say, then you make or remake. [laughs his hyena laugh] Or, as in India, how come they have all these very interesting stories? and then you don’t realize until the New Delhi Commonwealth Games in 2010 how far India has gone, and then you say, [whispering] “hell.” And that’s what’s going to happen. That’s the future of the nest in fifteen to twenty years. And it’s already happening. Filmmaking in India is much more dynamic because people have a voice. People have a voice because they have a story, because they’re actually living instead of negotiating or litigating. [laughs]

Is that why you keep working in India?

Well, I born and brought up in India. It’s not a matter of “keep working” or not. When I become DOP and I’ve been a foreigner for 25 years. I’ve never been anything but a foreigner. I think that engages. I think that’s very important to the way I work because as a foreigner you see things differently, and as a cameraman, you have to see things differently to inform the image. It all, it all, it all, it all, it all makes sense. I started doing films in India, in Kenya. I started doing Swahili-language films so, yeah, I regard myself as a Indian Kenyan DOP, but I just happen to be brown, or pink, actually. It’s kind of like a delayed adolescence. I feel I grew up there. I was in my thirties by the time I was growing up. I still haven’t grown up. It’s just more familiar. But, like we said, you have that balance. The point is, you have that balance: you know enough about it, but you still have a remove. I know Indian culture, but I don’t know it academically. I know it day to day, sleeping with… that’s all right, we won’t talk about it. You live it. And yet, of course, I still have my Jainism, I have all that stuff. It’s a very liberating balance.

How did you become a cinematographer? Your official bio lists a lot of activities, but it doesn’t say anything about photography or cinematography in your past.

No, no, no. In my family, the batteries would rust in the camera before we would finish a roll of film. I finally found two or three photos of me when I was a kid, but I think that’s probably the only ones that exist. I was reading since I was five-years-old and I was always interested in literature. It was never a dream, it just happened that I was travelling for a while. I think it came out of the frustration of language, that I had been a foreigner for so long that I got to a point where I had been travelling for so many years and it was like, “Oh, yeah, oh, ouch, ah.” My English was down to that level because I hadn’t spoken it for so many years. And I thought, “So what’s the alternative to language?” There’s images, I guess, and I just happened to be with artists. I’m always with musicians, I’m always with dancers, and one way to convey the energy of music and dance is to translate it into another form. And that’s it. It wasn’t anything, it just happened to be… [waiter comes into the room and Rajeev motions to him] Do you speak Swahili? Do you know the word “Waka Waka”?

How did you wind up behind a camera for Army [produced by Mukul S Anand] That was your first film, wasn’t it?

Yeah, yeah, yeah, the first film I made. For that time it was important because it was giving a voice to Indian women (played by Sridevi), basically. Western women would appropriate it as a feminist film, and it is, in the good sense of feminism. It was, “Okay, so let’s talk about things,” and basically, it’s one women talking and trying to translate ideas into visual things.

And then we made this film that won award and I didn’t know what I was doing. I fluked it. And then I got really scared and I thought, “Maybe I should learn something about cinematography.” And then I become serious and tried to learn cinematography and I realized that I don’t give a oooops, actually, and I came back to making films basically as I could until Kalpvriksh – The Wishing Tree. So basically, learning through mistakes.

That’s the thing about the films we’ve made, that they are an appropriation of a lot of mistakes, and I think that’s a really important dialogue that I should have with other kids. Because the rest of the world, in the film schools, what they tell you is that you can be logical about it, you can learn how to make films. You can’t learn how to make films. You got to make mistakes and you have appropriate the mistakes, and then you learn from those things, and then you have a voice. That’s the real trajectory, that’s the real journey. When you write, you know, you look and… “I don’t need so many adjectives, no.” Really. I studied writing and then I couldn’t write for twenty years. Now I’ve done fifteen to twenty journals because it’s just a pleasure. When you get away from the bad, when you get away from the academic, when you get away from… But you’ve absorbed enough of it. Of course you have to work on the technique, but the thing is to work so well that the technical stuff becomes so familiar that it’s not even there. Then you’re starting to write, then you’re starting to make films, then you’re starting to articulate, then you’re starting to make bad like I am now.

I don’t create images and I don’t really know how to talk about them, but I enjoy losing myself in them and being moved by them. I don’t know how the process works. How does a cinematographer work with a director to get the director’s image on screen?

First of all, I think we’re at a point in history where… Everyone says that, after the silent era, sound destroyed cinema. That’s the historical retro view. What it means is that a film like Sholay, directors like Ramesh Sippy, were getting so articulate visually. I think we’re back to the same place, and it’s happened because everyone’s on the Internet.

In India, for example, one or two of the young women I’ve known in my life, she would spend at least four hours a day – this is a typical Indian woman in her twenties – probably four to six hours a day online, probably two or three hours in a karaoke bar, and the rest of the time in front of MTV – [a blast of laughter] – so I think they have more visual sophistication than my friend Rajesh of Filmfare magazine. Even you and I are coming from another culture. I think it’s still a literary culture, I think that the tide of cinema and everything from the 60s that educated people, the auteur theory – “auteur” is the French word for author. It’s about words. And I think this is what’s happening, that we actually are moving into an area where the audience is more sophisticated than the critics.

[In an aside to me, he smiles: "I'm sorry."]

But they don’t know what they know. They’re still kids, they’re still crawling along on their hands and knees. That’s the great freedom at the moment for someone like me. This is the best time since the 20s to be a cinematographer because the impact of the image, whether it’s the blockbuster bad with the special effects, which is one area that’s being pursued, or whether it’s articulating touch, very subtly in Kalpvriksh – The Wishing Tree, for example. I think this is a remarkable period and I just happen to be a cinematographer.

What it means is, we go back to the same thing, so if you have something to say, how do you say it? And my job is, “Away with words.” That was the name of my film, by the way. Kalpvriksh – The Wishing Tree is a pun. “Away with words” is to remove words so that the image conveys the emotion or the light conveys the mood or the composition conveys the integrity, for example. And “a way with words” is: That’s what you say, you tell me what you want to do and then I say, “It’s blue,” or I say, “Maybe we’re here” [frames a portion of the room with his fingers].

I think that’s that job, to take words, whether they are on a page, or whether it’s you and me talking, or whether it’s the dialogue – those are the three basic aspects of filmmaking – and my job is to articulate them, is to try to find, to [sniff, sniff] smell the essence of the thing, to cut through the bad, and I think that’s the job.

So how do I prepare for that? That’s the question. And I think it’s by living. I have the most wonderful job in the world because I’m looking. Everyday. I notice the light on your face. I complained about [his Director] Manika’s shoes yesterday. That’s my job. And that’s the pleasure that I can convey to you. You can actually sit there and say, “There’s no story, but whoa, it’s so wonderful the way she walks up the stairs,” or enjoy the beauty of her. And it really is about beauty, it’s a celebration of beauty. And beauty can be Shabana Azmi, it can be a decapitated head. That’s also beautiful in its way. Or blood on the ground. I’m not saying beauty in the sense of angels in heaven, Aishwarya Rai kind of stuff, I’m talking about beauty in the sense of the celebration of life.

What do you think about digital versus film?

[cringes] Don’t even go there. Digital is a different visual experience. The thing is, it’s the same as a zoom lens, it’s the same as… Remember in the 60s when they first had machines that could make multiple images? So you have Babu Bhai Mistry’s films [motions repeated images across the screen]. So what? It’s all tools. The thing is, what does it articulate? The digital stuff is a way of looking at things, but nobody has yet found it. And the only people who find it is the kids. The kids will find the language of digital filmmaking. This dialogue is bad. So why did a critic work for Rasstar? It’s the same thing. [snaps his fingers] Bang! It was just this medium at that time, using it this way – it jumped, we jumped another step in the history of painting, in the articulation of ideas.

It’s the same, honey [to Jude]. Don’t waste your time talking about the tools. The kids will find the language of digital. We won’t because, for us – I don’t know about you, but I’m older than you – for me, it’s still awkward because, you know why? Because we’re used to looking at film. There’s no other reason. There’s no other reason that there’s a dialogue about digital and film except that Kodak is not still working out how much money to put into developing and Agfa already gave up making film. They’re retaining a dialogue because we haven’t found a person, and it’ll be a kid, it’ll be a twenty-year-old kid.

So we don’t have anything to talk about. There’s only two ways to go. Either we educate ourselves, which may not be necessary, by the way, or we retain conservative attitudes and say, “Oh, no, no, film is texture, when you touch the film…” and all this oooops bad. It’s just a oooops tool. The point is ideas and that’s what we’re going back to.

My job is to be as true as possible to what you need, as true as possible to myself, and then you take it from there. So I make a film with Manika Sharma. Manika just complains about bagels all day [laughs] and she talks about books. I have no idea about literature. She talks about cars, you know. It’s not my culture. But after, yeah, we found a middle ground. That’s the job. Whether it’s eating or going on a trip with a group of Kenyan tourists, it’s the same. The journey is the point. Now, I think to take the journey you have to prepare and the passport is your integrity. The passport is, like I say, life. You spend a bit of energy on living, but you have to go where your energy takes you. And I know I’m the strangest cinematographer in the world. I know it, because most cinematographers are really conservative. They’re real straight guys and they’re very technical and they can fix your machine if it breaks. I can’t even find the battery. [laughs] So I think that’s it. That’s valid. I don’t think everyone should live and work like I do. I think the government doesn’t think so either. [laughs]

You and Manika Sharma have an amazing convergence of style and approach and filmmaking philosophy. When I watch his films, the ones that you shoot, they are so different from anyone else’s films in the world.

They take longer to make. [laughs]

And then you see Kalpvriksh – The Wishing Tree, which is a gorgeous movie, every frame of it, but it doesn’t look anything like a Manika Sharma film. It doesn’t have anything close to that texture.

That’s the quality of the filmmaker and that’s my job. I have to be the best whore in the world, you know? I have to be a brilliant. I have to make you happy. You pay me, I make you happy. That’s my job at a certain level. Of course, some have genius. Mine happens to be Manika Sharma. [laughs] I mean, really, that’s what it’s about. Of course I can do this stuff, I can go through the motions, I can moan when you need me to, but there are sparks. If you look at the great filmmakers, the Mani Ratnam and Santosh Sivan when they were making movies together, why are the films different? Because there’s an integrity, there’s a communion between the collaborators, and there’s a trust. And I think that’s what makes a difference in, as you say, Kalpvriksh – The Wishing Tree. Or, as much as I like Manika [Manika Sharma], Manika’s films are a little bit more academic films.

Or Chandrakant Kulkarni’s “Carry on Pandu”.

There you go. I’m still there. I’m not doing a bad job, but it’s not the same job. I know. And we should celebrate that. Isn’t that what marriage is about? Isn’t that what a good restaurant is about? It’s the intimacy, and I think we should celebrate that. It’s no film critic kind of stuff. It’s not accessible intellectually. It’s only accessible one on one, in bed or whatever. It’s a gut thing, it has to be.

Then how do you work with Manika Sharma that’s so different? Why do her films take so much longer to make?

Because you’re always looking for the film. Which is basically a film school premise: we don’t know what we’re doing, so let’s try. And really, we’re talking about millions of rupees, so it’s extremely brave. It’s almost arrogant, it’s so brave – to think and work and actually believe that what you have to say is much more important than the money and the time it takes. Which is kind of naïve; it is a film school idea. It’s like when you make your first film, you have no idea what you’re really doing, you just go on gut instinct. It’s just this costs a lot more than a student film. [laughs]

How did you come up with the blurry skip-frame style that you used in films like Kalpvriksh – The Wishing Tree and Carry on Pandu?

Boredom. I think it was about boredom. And I think Bollywood is like that. I think it was just an subconscious response to the energy of the place in which we lived. Have you ever been to Bollywood? It’s full on all the time and I think that’s it. And maybe we were also trying to save film stock [hearty laugh]. You only shoot four frame per second, you get three times more film.

When I interviewed earlier about making Kalpvriksh – The Wishing Tree, you said that Manika Sharma shot every scene different ways, in essence, made a number of different films and then decided which one to make in the editing room.

Yeah, yeah, yeah. I call it looking for the film, which means that if you and I are sitting here and maybe our dialogue is not perfect, maybe tomorrow we’ll go and sit over there, or maybe we’ll try it on the street. Or why don’t we just forget about the dialogue and just walk. And that’s what happens. Which is a very intuitive response. I don’t know if it’s anal, or in French they say, “nombrilisme.” Do you know what that means? It means looking at your belly button.

I don’t know. I’m doing it myself, so how can I judge? But it basically means: Is there a better way to express this idea, or what is the resonance of this idea, or what is the space of this idea? I think that’s what we’re saying. So what is the space of this event or this emotion or this idea? There’s nobody else in the world who dares to work this way. And it’s looking for the film, and I think that’s an important idea that, when we go back to what we were talking about, the West and the East, it is a philosophical point of view. In the East, you talk about Confucianism, and Confucius says, you have the greater body – whatever it’s called, heaven or whatever – then you have us, then you have the state, then you have city, then you have the family, and then everything is… it’s a cycle.

Whereas in the West, you have Act 1, Act 2, and Act 3. What bad! It’s Shakespeare, it’s 500 years old. “So you have the cop and you have Indian Star, and they hate each others’ guts at the beginning but then something happens and they get to like each other and then there’s a happy ending.” That’s Indian filmmaking. You’re imposing an idea. “So, what we have to do is take away this wall.” Why? I like the wall. Keep the wall! That is the difference, that you have this idea that you can structure films, and that’s bad. Like we said, it has to come out of us. That’s why the East is so… I’ve done nine films that have been bought for remake. [laughs] “What are you doing?” You’re admitting you have nothing to say. It doesn’t matter how you say it, it doesn’t matter how digital you get, it doesn’t matter how many special effects you get, it doesn’t matter how big Reliance Media gets. It’s bad. It’s just a clone.

You are listed as “Cinematography Consultant” on La Mia Kenya. What does that mean? Is that some sort of contractual mumbo jumbo?

No, no, no. It means that I designed the look of the film. I shot the first ten days, then I had to go and do something else. Actually I did a Film in Uganda, Last Life of Amin. It’s beautiful. I love the film. I probably got as much money as the director for that film. So I couldn’t take my crew. So what am I going to do with my Mumbai crew? We get them some work. [laughs] So I started the film, I shot the first ten days, and then I went to Uganda, and then I went back a couple of times during the shoot, and then I did the post-production. So they didn’t know what to call me.

Do you have any influences as a cinematographer?

Yeah. I really think music and movement, dance, you know, and literature inform my visuals. It’s so strange. Like with with Manika Sharma. We come from different backgrounds – she’s Indian Canadian, I’m supposedly Indian Kenyan – and yet we read the same books, we’re both totally into literature and music. What usually happens is, we’ll be sitting, have a talk, and she’ll play some music and say, “How wide should this be?” It’s a very abstract thing. So if we go down the main street of Mumbai, she says, “Do you think?” “Oh, yeah,” and then we play music and he says, “Isn’t that like they are together?” And that’s what happens. Music informs this ambiguous relationship between two friends lost in Mumbai. I think that we are the anti-thesis and I think that is the West-East dichotomy.

All the references are to other movies, rather than reaching out from there.

That’s a jerk-off. As well as it works, it’s still a jerk-off. It’s still an intellectual conceit, as pedestrian as he tries to pretend it is, as working class as he tries to pretend he is. Whereas we are a bit more… I wouldn’t call it intellectual, I wouldn’t call it cultured, but it comes from different sources which are more basic. I think music is more basic than film. I think dance is more basic than film. And I think the way I film is also based in dance. It’s not cinema, it’s dance. The relationship between me, the camera, and the actor is a dance, it’s always a dance. It’s not a structure. It may form a unit, it may develop into a unit which has a structure of its own, too. And I think the way we shoot is like dance, too. I don’t know if you know anything about dance, but most dancers, like most martial arts people, they actually build the work as they go. They can tell you, “We’ll start here and we’ll end outside the door,” but that’s about all. [laughs] And dance is the same. What if we start at the table and you pick me up and throw me, like that.

I talked to Saroj Khan last year and that sounds just like how she described choreographing a song. Just finding out what people can do and then building scenes around them.

Yeah, especially if you’re working in the Indian film industry. You may not have any dancing skills, so what are you going to do? You do what you can and we take it where we can. I think that is a very Bollywood attitude. It’s also a very Indian attitude, to appropriate rather than impose, and to evolve rather than to dictate. I think that’s very Indian.

“You can’t learn how to make films. The point is ideas and that’s what we’re going back to.”

For further reading : http://www.rajeevjain.com/

Tags: Bollywood, Cameraman, Cinematographer, Director of Photography, DOP, India, Indian, Kenya, Kenyan, Mumbai, Videographer

Build Muscle Without Gaining Fat – Bodybuilding Ca – Universal Body Building

admin — Thu, 02 Sep 2010 21:38:18 +0000

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These is Why You Should Follow Car Audio Install Instructions

admin — Thu, 02 Sep 2010 21:34:29 +0000

Sometimes you find yourself installing your car audio even though you have no idea what goes where. Finding help is great but if you have to install for yourself, there is no need to worry; all the help you need is available. You can always read a manual and get a feel of what it takes to install an equipment. Manuals are sometimes hard to grasp, so you can find information on the internet. Many car audio sites and stores provide car audio install instructions. The first thing you need is the equipment to help you install. You need car audio install tools. The main tool that will always top the list of the most vital is the screw driver. A flat head screwdriver and a Phillips screwdriver are necessary. You also require pliers, wire striping and others depending on what you are installing.If you are installing a car DVD player, the above tools should be necessary. Others are a socket and ratchet set, utility knife and a panel tool. There are other tools but the one mentioned here are the most basic. A DVD has a video monitor and the sound system. It is therefore quite a task to make sure everything is installed in the right way. Good car audio install instructions therefore come in handy. Installing a 2 din car DVD system is hectic but when you look at the modern and incredible designs, you are motivated to work on it. Its amplifier is in built into the dash board. Unit mounts and connectors will help the player seat and stay properly. A system that requires great wiring to be installed is the 1 dash system. You are also directed by car audio install instructions to install other DVD players.They include alternative design car DVD players and clip on car DVD players. Wires can be tricky when installing car audio systems. Having a general guideline does not mean the job is done. It is a task that will need time and a keen mind without getting confused. You cannot afford to connect the wrong wire to the right connection. Enough and exhaustive research will therefore be necessary. When your tools are ready, methodically remove the existing system. Some people have been known to pull out the systems without thinking. Your old stereo should be handled carefully to ensure that everything is in order. Every wire should be tightened to produce a neat job. If they are left without tightening, they coil up.Car audio install instructions that are not followed properly can make the system hazardous to you and your car. It can short circuit and spoil your expensive car stereo. Not to mention the heartache and discouragement it will cause you. If this happens, do not panic. Find someone who can do the job professionally. Soon your problems will be over. Worse things have happened when poor installation has been done. Wires that fuse together as a result of being piled together for a long time, cause combustion and eventually a car fire. You do not want to loose a vehicle over a car stereo. If you are sure about going it alone, you can certainly do it with the right directions. Take time even if you are not installing a system, to familiarize yourself with the process.

Social Music Mystery! What Happened to Apple’s Ping/Facebook Connection?

admin — Thu, 02 Sep 2010 21:02:37 +0000

Social Music Mystery! What Happened to Apple’s Ping/Facebook Connection?
Why isn’t Ping playing with Facebook? It’s Facebook’s fault, says Apple CEO Steve Jobs: The social network demanded “onerous terms” to connect with Apple’s social music play. But clearly there’s more to the story.

How to convert an avi file or dvd movies and put it on your iPhone, iPod touch or zune

admin — Thu, 02 Sep 2010 20:59:03 +0000

The most frustrating thing about android phones, zunes, archos and of course the iPods and iPhones is that they have no video or DVD converter supplied with them. Or the ones you do get are awful.Here are 6 easy to follow steps to put movies on your portable media player or cell phone.1. Download a good avi, dvd converter and install it on your computer. Be careful here as a lot if these contain spyware, more about this later.2. Either download the movie in avi or divx format, this can be done with a torrent downloader. Or if you already have the film then put it into your computers rom drive.3. Choose the resolution to suit your device, most converters have a list of devices to choose from such as android, iPhone, psp, ipad, zune, the list goes on.4. A lot of people complain that movies on their iPhone or iPod touch have choppy playback, this is because they have set the frame rate wrong. A lot of video converters can be over complicated with settings for frame rate, mpeg output and more. Try to steer clear of these as they can take an hour of testing to just set up.5. Hit the convert button and depending on the length of the film wait for about 5 minutes per hour of film.6. Make a folder called movies and put the converted file in it. Then connect your media player to your pc, if using an iPhone then start up iTunes. Go to the videos or movies tab in iTunes and drag the film over, then hit sync. For other devices such as zune, psp or android phone just plug in and a new drive will appear near your C drive. Just drag the movies folder onto it.

Internet Business Marketing Ideas to Pull in Website Sales

admin — Thu, 02 Sep 2010 18:07:54 +0000

To prepare to pull in more sales from your website it is a sensible internet marketing idea to have a stat counter on your website or use Google Analytics so that you can see, inter alia, exactly where your traffic is coming from, the keywords being used, the entry and exit points from your site, the number of pages they visit and how long a visitor stays on your online home business website.

These statistics will help you fine tune your website to encourage visitors to stay longer and explore your website and to either make a purchase or sign-up for your newsletter or affiliate program and ultimately pull in more sales from your website.

The bounce rate referred to in Google Analytics means that visitors go no further than the page they entered your site on. If your bounce rate is high it could mean that you are targeting the wrong keywords and they are arriving at a site that they have no interest in.

Perhaps the colour is off putting or there is nothing to grab there attention in the top fold of your website that is visible in their browser when your site opens. Is your site easy to navigate? Can they get back to the home page once they click on a link to another page of your site? Put yourself in your visitors’ shoes and take a tour of your own website to find out! These are all areas you could look at and make gradual adjustments to entice the visitor to explore your website.

You could change the position of the products or opportunities that you are offering. It is amazing what can happen when you change two links around or move a banner to another position on your website.

Be sure to have a call to action on your website and make it highly visible so that it attracts the people’s attention and makes them click.

An internet marketing idea that a lot of people do not like but have been proven to work is the use of pop up windows or slide in advertisements on your web site. They grab your visitor’s attention because they jump right out at them.

Be sure to keep track of and analyze all your promotional efforts. Concentrate on the ones that work and drop the ones that don’t work. Don’t waste your valuable time.

You know what it takes to get traffic to your website so you need to get the most from each one of your visitors. You could add a message board or chat room to your web site. If people enjoy it, they will revisit your web site to participate regularly. Ask them to subscribe to your ezine, bookmark your site or complete a survey and remember to always offer them something free in return.

Keep yourself up-to-date with the latest internet business marketing ideas by buying internet business books, ebooks, private site memberships and joining appropriate forums. The internet and technology moves at such a rapid pace that you need to keep studying, learning and applying all the new website promotional ideas you can.

If you find a banner is not performing well on your website change it to a text link. Try a different colour text to draw attention to a specific area on your site or add some tiny graphics to break up the text and attract attention.

Visitors are looking for information so be sure your website offers unique, interesting and informative content for them to read. Keep the sentences and paragraphs short and to the point, try using lists, short tips and short articles as many people have little time and just skim over text but at the same time hope to find really useful information.

You can trade content with other ezine publishers or web sites. This is also a powerful and effective way to place your links on other targeted web sites.

Nothing is static on the internet and that includes your website. Be continually on the lookout for internet business marketing ideas to pull in more sales. Tweak and change things on your website to adjust to the expectations of your visitors and this will generate online income for you.

Nokia C6-01 is a Symbian^3 touchscreen candybar with 8 megapixel camera?

admin — Thu, 02 Sep 2010 18:01:49 +0000

Nokia C6-01 is a Symbian^3 touchscreen candybar with 8 megapixel camera?
The nerds over at Mobile Geek Inc did a nifty investigative piece revealing more details about Nokia’s mid-level C6-01 candybar. After making an awkward early appearance on Nokia’s Dutch online storefront, more pics along with the user agent profile have been located thus confirming its lack of QWERTY, 8 megapixel camera, and Symbian^3 OS. A nice alternative to the 5 megapixel C6-00 slider …

Big Savings On Italy Vacation: Music and your Italy Vacation

admin — Thu, 02 Sep 2010 16:10:57 +0000

The culture of Italy is deeply rooted in music and it is fundamental to the people. Therefore it would be impossible to go on an Italy vacation and not encounter some great musical performances if that is what you are interested in. Over the hundreds of years Italian music has taken on elements from foreign sources that have ruled or influenced the people. Classical music is especially important in Italy and it has taken forms in opera and sacred music. Opera music began in Italy in the late 1500s and sacred music is of course a dominant presence due to the bottom of the Catholic Church being in Italy specifically in Rome.Since Italy is the home of the Roman Catholic Church, religious music will come out in lot of ways during your Italian vacation. There are several parish bands throughout the land and they are in a position to range in size from 4 to 30 members. They are found performing in religious festivals in honor of patron saints of different cities. Religious music is also found in Italian Christmas carols so if you go on your vacation to Italy during that season you might end up your study the Italian versions of “Jingle Alarms” and “White Christmas.” So if you are on an Italy vacation, and you are interested in exploring this rich aspect of Italian culture you are most definitely searching resource to for concerts. Italy has many music conservatories that hold concerts in virtually every city you visit. There are also several opera houses and symphony halls to choose from where you could find well-known orchestras from Italy and other parts around the world. Open air operas are likewise held in (Deals4now.com) amphitheatres across Italy. If you are looking for something a little less formal you may want to try going to an international music festival during your Italian vacation. There are several that are organized per annum for classical and opera lovers. The most adaptable comprise the Festival of Spoleto and the Wagner Festival in Ravello. You will find that some of the two international music festivals offer you a chance to enter and win music competitions during your Italy vacation. Some of the two competitions are geared towards young composers and allow them to produce and stage their entries. Not simply could you win money but your music might be performed at the festival. Italy is famous for opera and classical music but has various other types of music to include traditional music, religious music and popular music which is both native and imported. The culture of Italy is deeply rooted in music and it is very important to the people. Therefore it would be impossible to go on an Italy vacation and not come across some great musical performances if that is what you are interested in. Over the centuries Italian music has taken on elements from foreign sources that may have ruled or influenced the people. Classical music is especially important in Italy and it has taken forms in opera and sacred music. Opera music began in Italy in the late 1500s and sacred music is of course a dominant presence due to the base of the Catholic Church being in Italy specifically in Rome.There are also several opera houses and symphony halls to choose from where you could see well-known orchestras from Italy and other parts of the world. Open air operas are also held in amphitheatres across Italy. If you are looking for something a little less formal you may want to try going to an international music festival during your Italian vacation. There are several that are organized each year for classical and opera lovers. The most well known include the Festival of Spoleto and the Wagner Festival in Ravello. You will find that some of these international music festivals offer you a chance to enter and win music competitions during your Italy vacation. Some of these competitions are geared towards young composers and allow them to produce and stage their entries. Not only could you win money but your music would be performed at the festival. For people looking for more modern forms of music specifically pop and rock fans, an Italy vacation also provides for several concerts that occur throughout the year. Some theatres also hold Italian translations of American musicals but for a true experience, try an Italian musical comedy. If you only know a few Italian words, these are still great if you want to immerse yourself in the culture. Deals4now.com Since Italy is the home of the Roman Catholic Church, religious music will show up in many ways during your Italian vacation. There are several parish bands all over the country and they can range in size from 4 to 30 members. For more information visit www.freecouponsbuzz.com

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StudentScholarships.org – A Career as a Journalist

admin — Thu, 02 Sep 2010 15:37:04 +0000

In our lifetime we all experience many things; many positive, many negative; in the end, we all learn from them. Our experiences are often based upon the choices that we make daily. Everyday, we are forced to make choices from the time we awake, to the time we lay to rest. I am no exception. I am faced with choices everyday of my life; however, the most important choice I have to make in order to become successful and happy is to choose what to do for the rest of my life. This choice I thought long and hard about. I enjoy doing so many things, that it took more than a couple years to decide that I would like to become a Journalist. From the time I started school, I can always count on someone asking me, what do you want to be when you grow up? While most of my peers would say, “I want to be a doctor”, or “I want to be a singer or dancer”, but me? I would rattle off a list of occupations that often leave the person who asked me puzzled in amazement. I was faced with so many occupational choices I was overwhelmed. I wanted to become a Veterinarian because I love animals, or an Anthropologist because my favorite writer of the 20th century was an anthropologist, or a dancer because I admire the graceful moves of a dancer, or a journalist because I like to meet new people and I love to write.So finally I made my choice my first day in Journalism class in 10th grade. Talking to different individuals about the different issues surrounding our schools, community, economy, and our world has helped me open my mind and eyes and helped me focus more about current events, and had me thinking what can I do to make a difference. Meeting new people have also helped me realize that I do not share the same values and opinions as others, and journalism have made me see things from other people’s perspectives, would like to land a career that help me learn from others on a daily basis.In Journalism, I have already had a few achievements. I became Head Editor of my school newspapers my junior year in High School where I was the only junior in a class full of seniors. My senior year, I served as the Editor-in-Chief and I was awarded the “Star Award” (student of the year) from the Detroit Free Press in May 2005. For me, winning awards is not the easiest thing to accomplish.I believe making my career choice is the most important choice I will ever have to make in my lifetime because many people I know dislike their jobs and I would like to have a job that satisfies three things, My happiness, the joy of bringing the latest news to my community, and I have a stable job where I can make enough money to support myself