Showing posts with label Raheja Productions. Show all posts
Showing posts with label Raheja Productions. Show all posts
Friday, 18 March 2016
Raheja | Wildlife and Environmental Stories
Monday, 14 December 2015
Mr. Navin Raheja, Chairman Raheja Developers
Kolkata International Wildlife & Environment Film Festival
Announced its line-up of awards for the different categories of films on 12th October 2015. In the film festival, the producer of ‘The Rise and Fall of Ustad’ Mr Navin M. Raheja was given an accolade as the Justice BP Banerjee Green Man Award. The award was given by festival chairman Sri Soumitra Chattopadhay a noted actor.
Mr. Navin M Raheja, the CMD of Raheja Developers is known for his philanthropies for the tiger reserves and he is known as a successful wildlife enthusiast. The film is about a Photogenic Ranthambore tiger ‘Ustad’ who has 4 deaths to his credit. Apart from his passion of wildlife, Mr. Raheja is known for his philanthropies for poor and less fortunate. He successfully steered 2800 families and rehabilitated them to better living. Raheja group has changed the life of 20,000 people by providing them better sanitation facilities. The award function was attended by Honourable Governor of West Bengal Mr. Keshari Nath Tripathi.
Friday, 21 March 2014
Wildlife Enthusiast, Raising Awareness of Environmental Issues
Wildlife films are also a powerful tool in raising awareness of conservation and environmental issues. But the entertainment value we get from seeing leopards, tigers and sharks on our screens doesn’t directly translate into real value conservation activities, most of which are grossly underfunded.
So with their large profits and universal impact, do filmmakers have a responsibility to help protect the species they film? Should they pay for the biodiversity they rely on?
Filmmakers would no longer ‘free-ride on nature’, the authors argue, but would allegedly be subjected to a payments for environmental services (PIL) scheme that actively contributes to the protection of the biodiversity they film. It is a novel solution, and one that raises an interesting debate on the boundaries of PES, but what are the obstacles and long term-implications?
Mr Navin Raheja being appointed in the steering committee of the Project Tiger of Government of India.He sacrificed this post subsequently for the sake of better wilfdlife management, when he filed public interest litigation (PIL) in the Supreme Court over the casual manner in which something as sensitive and crucial as wildlife was being treated at various Government levels. The same PIL, incidentally, sparked off several landmark rulings and directives by the Supreme Court in the years to come- leading to better and more effective systems being placed in the Government machinery including stoppage of work on a State highway that was leading through Corbett Tiger Reserve which would have resulted in a disaster of the most premium National park and also changing the system of funding mechanism and periodicity to all the national reserves across the country.
Wildlife documentaries have played an instrumental role in raising awareness of environmental issues, pushing the conservation agenda, and driving donations to environmental NGOs. While Jepson and Jennings argue that the advocacy content of a new breed of conservation programmes is dwindling, we believe they are still an important educational tool, strengthening people’s knowledge and relationship with nature, particularly for children and people in urbanized areas, who are often disconnected from their surrounding natural environment.
While more research needs to be done to better understand how viewers interact with nature programs, the evidence is strong enough to suggest that we should be supporting, maybe even subsidizing, the production of nature documentaries rather than making it harder and more expensive.
So with their large profits and universal impact, do filmmakers have a responsibility to help protect the species they film? Should they pay for the biodiversity they rely on?
Filmmakers would no longer ‘free-ride on nature’, the authors argue, but would allegedly be subjected to a payments for environmental services (PIL) scheme that actively contributes to the protection of the biodiversity they film. It is a novel solution, and one that raises an interesting debate on the boundaries of PES, but what are the obstacles and long term-implications?
Wildlife documentaries have played an instrumental role in raising awareness of environmental issues, pushing the conservation agenda, and driving donations to environmental NGOs. While Jepson and Jennings argue that the advocacy content of a new breed of conservation programmes is dwindling, we believe they are still an important educational tool, strengthening people’s knowledge and relationship with nature, particularly for children and people in urbanized areas, who are often disconnected from their surrounding natural environment.
Wildlife Photographer | Film making Adventures of Crazy Caleb
Wildlife filmmaking has a glamorous “dream job” reputation amongst many members of the public. It is seen as exotic travel mixed with spectacular wildlife experiences and epic adventures. Sometimes, coupled with long hours, hard work and tropical illnesses, that's exactly what it is. It’s no surprise that so many people aspire to become wildlife filmmakers. Navin Raheja a wildlife enthusiast and a passionate photographer.
Getting on the wildlife cameraperson ladder.
There is no official way of becoming a wildlife cameraperson. The onus is very much on the individual to meet the right people and learn the skills. Meeting the right people sometimes involves being persistent enough without being annoying. You do need to be more than just another CV on the already huge pile. Try to get face-to-face time with television producers, directors etc so they can put a personality to your name. Make sure you ask questions about what they do as well as telling them what you want to do. If you just start a dialogue with “do you have any jobs” nine times out of ten the answer will be no – end of dialog.
Fieldcraft
To be a good wildlife cameraperson you need to know how to get the best out of camera equipment and you need to know how to shoot a sequence that tells a story. You also need to be a good naturalist and know how to get close to the wildlife you need to film.
Watch films
You can learn about making films from watching films. As well wildlife films, you can also learn from dramas, observational documentaries, pop promos, commercials and features. Wildlife films often lack good story-telling so these other genres can be better ways of learning this essential skill. Sometimes ideas and techniques used in other types of programme can be applied to make original-looking wildlife shows.
There is no official way of becoming a wildlife cameraperson. The onus is very much on the individual to meet the right people and learn the skills. Meeting the right people sometimes involves being persistent enough without being annoying. You do need to be more than just another CV on the already huge pile. Try to get face-to-face time with television producers, directors etc so they can put a personality to your name. Make sure you ask questions about what they do as well as telling them what you want to do. If you just start a dialogue with “do you have any jobs” nine times out of ten the answer will be no – end of dialog.
Fieldcraft
To be a good wildlife cameraperson you need to know how to get the best out of camera equipment and you need to know how to shoot a sequence that tells a story. You also need to be a good naturalist and know how to get close to the wildlife you need to film.
You can learn about making films from watching films. As well wildlife films, you can also learn from dramas, observational documentaries, pop promos, commercials and features. Wildlife films often lack good story-telling so these other genres can be better ways of learning this essential skill. Sometimes ideas and techniques used in other types of programme can be applied to make original-looking wildlife shows.
Thursday, 13 February 2014
Raheja Wildlife Filmmaker
Navin Raheja, Chairman & Managing Director, Raheja Developers Ltd. is a wildlife enthusiast and a passionate photographer. In the past 35 years, he has made several contributions in the field of conservation at various levels. A former Member of Project Tiger's Steering Committee, under the Ministry of Environment and Forests, he worked persistently to ensure that the big cats survived in India. He is also Chairman, Wildlife Conservation Society of India. One with a holistic vision, being one of the leading developers in the country, Raheja believes that development & protection of environment can happen simultaneously.
THERE ARE MANY ARTICLES OF WILDLIFE
1. SPOTTED STAR OF THE JUNGLE
2. THE TIGER'S LOVE
3. MY TRIBUTE TO AN UNSUNG HERO
4. TADOBA THE JEWEL OF VIDARBHA
5. SILVER LINING IN THE RAINS
6. THE TERROR OF SUNDERKHAL
7. SMITTEN AT FIRST SIGHT
8. THE PRINCESS OF GUDA
9. A NEW HOMES FOR TIGER
10. MY UFORGETTABLE JUNGLE JOURNEY
11. ELEPHANT ATTACK
READ ARTICLES VISIT : http://www.rahejaproductions.com/forum.php
Raheja Productions is the leading producer of films and audio-video
presentations on varied subjects. From environment and wildlife to
socially relevant issues of our age, we cover these all. We are also
actively involved in preparing projects for corporate houses, NGOs and
Government bodies across the country
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