NAME: Rajeev Jain ICS WICA DATE OF BIRTH: 29th Novemeber, 1968 NATIONALITY: Indian RESIDENCE: Dubai, Mumbai

& Nairobi WORK EXPERIENCE: Critically acclaimed award winning Director of Photography wit h a successful career spanning 25 years ( 7 years in camera profession and 18 ye ars as DOP ) PROFESSIONAL GUILD: Full member I.C.S. ( Indian Cinematographers Society ) and W.I.C.A. ( Western India Cinematographers Association ) SPECIALIZATION: Good reputation in visualization, camera mise-en-scene, and par ticularly, lighting design. Expertise in 35mm anamorphic cinematography (Cinemas cope), and the "forgotten" art of black & white cinematography. Experience with the latest Digital from DV to High Definition to Red to Arri D-21. FORMAL TRAINING: Bhartendu Academy of Dramatic Arts (Bhartendu Natya Academy / Bhartendu Natya Akademi), India. The School has a respected international reputa tion. ADDITIONAL TRAINING: Studied under internationally renowned cinematographers: A shok Mehta ISC WICA, Binod Pradhan ISC WICA and Late K.K. Mahajan ISC WICA. Part icipated in workshops with Late Subroto Mitra ISC WICA and Late Jal Mistry ISC W ICA. JOB DESCRIPTION: Designation : Head of the Camera ( Lighting & Operations ) Dep t. Division : Film and TV Department : Camera Grade : 8H JOB PURPOSE: Leading and coordinating the work of the camera and lighting team on Camera Operations. To meet the visual requirements of the Producer or Directo r. Working as part of the camera crew in studios, and on location, operating var ious types of camera equipment. In addition, the opportunity to lead and support colleagues will be available for suitable operators, taking increased responsib ility for scheduling, developing and appraising others. REPORTING DETAIL: I will report directly to Producer / Executive Producer / Lin e Producer / Resource Coordinator. CONTEXT: I will provide specialist craft skills and facilities to both internal production and independent programme makers. KEY ACCOUNTABILITIES, TASKS, AND DUTIES: 1. Study the script. 2. Interpret how the scenes should look. 3. Select which cameras and equipment are suitable and to be responsible for al l aspects of camera operation and associated equipment and ensure equipment is o perating to given specifications. 4. Decide on the location of the cameras and lights. 5. Set up the cameras and equipment such as lighting rigs to meet production ob jectives. 6. Work with and follow the instructions of the Producer / Director. 7. Advise on the best way to shoot or film a scene. 8. Operate the cameras to film or record the action and to operate associated e quipment to the highest technical and artistic standard. 9. Serve as liaison between talent, directors, and the producer and to discuss

with Producer or Director, the proposed style and treatment of any given program mer and to advise the production of potential equipment and staffing requirement s. 10.Allocate tasks and assist in supervise a team of camera operators as delegat ed with the director in the field / studio. 11 Arrange lighting on sets and to be aware of, initiate, and develop creative lighting techniques as styles and equipment change and to light the area/s of ac tion to achieve the appropriate exposure, taking account of production requireme nts and subsequent operations and treatments. 12. Perform other duties as needed and as directed by department head and to be the leader of the Camera team and act as principal point of contact in dea ling with the production, consulting with other members of the team on matters a rising from the needs of the programme. 13.To liaise with other realization team members on the implications for their work of the intended visual treatment of the subject matter. 14.To be responsible for the care of the equipment, and associated Health & Saf ety matters and to advise the Director of any risks arising from the proposed me thod of shooting. 15.Keep abreast of new equipment, production techniques and changing work pract ice. CAMERA SUPERVISION: 1. Supervision of Studio / On location Camera operations. 2. Rigging of camera equipment. 3. Planning of camera moves. 4. Liaison with Directors, Producers and Lighting staff. 5. Effective deployment of resources. 6. Supervision of staff. LIGHTING: 1. Designing and planning original studio lighting. 2. Setting up studio lighting. 3. Operating studio lighting for rehearsal, live and recorded programmes. 4. Working to deadlines and budgets. 5. Effective deployment of resources. 6. Interpreting and realizing Producers programme and artistic aspirations. COMPLEX LIGHTING DESIGN: Color separation overlay ( CSO ) work i ) for specialist studio programmes ii ) for feature programmes on location CREATIVE INPUT: 1. Advise & guide on story treatments in terms of production va lues & technical viability. 2. Direct the programme. 3. Carry out directing, either on location or studio taking into account time c onstraints, lighting requirements & film-making techniques. TEAM LEADERSHIP: 1. To act as a point of contact for customers of the departmen t. 2. Schedule other members of the Resources team, deciding where necessary the a ppropriate level & nature of support required to provide a quality service. 3. Responsible for appraisal, development & guidance of less experienced member s of the team. CUSTOMER LIAISON: 1. Explains clearly the technical & operational facilities & limitations to programme - makers. 2. Interpret the requests of our customers & within budgetary limitations, real ize their artistic requirements in the most creative way possible to contrib ute ideas to the programme. FINANCIAL/ BUSINESS AWARENESS: 1. Plan & organize assignments & projects, ensur ing the workload is prioritized around broadcast deadlines & Resources busin

ess requirements. 2. Awareness of the compromise between cost-efficiency required by the Resource s business & the creative/artistic input which our customers often seek or e xpect. 3. To return all paperwork required by the department promptly; in particular t imesheets. 4. Scan market to make contacts for independent or corporate customers. KEY SELECTION CRITERIA: 1. Operational knowledge of all film and video formats currently in use. 2. A thorough knowledge of both camera operations and lighting techniques and a ssociated equipment at a high level, gained by experience in Camera Operations & Lighting. 3. Advanced artistic ability. 4. Highly developed interpersonal skills. 5. Ability to work under pressure and meet deadlines. 6. Ability to interpret and apply production house corporate policy and procedu res. HEALTH AND SAFETY KNOWLEDGE: 1. Risk Assessment, 2. Manual Handling, 3. Fire Safety Awareness, 4. Electrical Safety, 5. Noise at Work, 6. Display Screen Awareness. 7. Ensure a safe workplace through the removal of potential OH & S hazards and applying production house corporate policy and procedures. EXPERIENCE: I have 25 years experience in a broadcast, TV, video, media, film a nd entertainment environment. SKILLS: Ability to: 1. Appreciate the cost implications associated with camera operations and light ing techniques. 2. Display excellent communication skills, tact and diplomacy and liaise with p eople at all levels. 3. Balance conflicting demands and respond to changing requirements. 4. Be a good team player. PERSONAL ATTRIBUTES/ COMPETENCIES: 1. Clear understanding of the importance of customer service and the ability to put it into practice. 2. An understanding of the basic requirements of post production, sound, design and other related crafts. 3. Commitment to training, development and appraisal. 4. A knowledge of and commitment to Production House and its values. 5. A current, clean driving license. 6. Normal color vision and hearing. Working for Television and Motion Pictures : Job Title : Director Of Photography / Cinematographer / Lighting Cameraman / V ideographer / Camera Operator. Worked on these Cameras : Movie Cameras : Millenium Panaflex XL, Platinum Panaflex, Golden Panaflex G II, Moviecam Compact, Arriflex 35mm BL IV-S Evolution, Arriflex 535 A, Arriflex 535 B, Arriflex 435ES Advanced, Arriflex 35mm III, Arriflex 16 SR-III Advanced, Arr iflex 16 SR-II High Speed, PhotoSonics (4B,4C,4E,4ER).

Video Cameras and Hi - Def. Cameras : Panavision HD Digital P - 900 P, Sony HDC - 900, Sony HDW - F 900 HD Cam 24P Cine HDW-700, Sony DVW - 790 WSP, Sony DNW - 90 WSP, Sony DSR 300, Sony AJD - 900 W, Panasonic AJ-HDC24A, Ikegami Cameras HL45 Digital ).

HDW - F 900, Sony BV Alta Camcorder, Sony 500 WSP, Sony DSR ( HLV-59 Digital and

Steadicam / Panaglide : Ultra Cine, Ultra Elite, SK 2, Pro Vid 2+, Mini and Ste adicam JR. Mounts : Tyler Helicopter Mounts. Cranes : Panavision Super Tehno Crane, Triangle Jimmy Jib, Akela Plus, Strada, Scanner Classic Crane. Dollies : Super Pee Wee IV, Fisher 11, Sports Dolly, Ultra Steer Dolly, Lencin Pedestal. Lights : Chimmers, 575W - 18KW Ballast, HMI Pars, Kino Flo s, D.C.Arcs and Boge n Avengers. Tools : Power Pod, Hi - Lo Platform, Doggie cam, Revolution Lens System, Perisc opes, Probes, RCU, ICU, Weaver Steadman, Intervalometer. Career Highlights: - Director of Photography with 18 years (1993-2012) experien ce on features, commercials, television and music videos. Gofer, Apprentice, Cam era Trainee, Spark, Grip, Key Grip, Best Boy, Gaffer, Focus puller, Clapper load er and Camera Operator with 7 years (1985-1992) experience in various mediums. E xperience in Super 16, 35 and digital - HD video High quality, creative and arti stic with lighting and imagery protection. I am interested in inventive and innovative projects and productions requiring his artistic experience and skills in a highly collaborative environment. Please see my Curriculum Vitae for details on productions and projects. Rajeev is looking to hearing from you and making your vision a reality. CREDITS: 9 Feature Films 2032 Commercials / TVCs 121 Industrial - Corporate Films - TV Specials - Magazines - Documentaries 155 Music Videos 5 Second Unit Feature Films ( Additional Cinematography ) 24 Short Films 7 TV Serials SPECIAL SKILLS: SPECIAL EFFECTS - I have experience with Blue Screen, Front & Rear Projection, P rocess Plates, Miniatures, Lasers, Anamorphic and Motion Control. AERIAL PHOTOGRAPHY - I have a lot of experience shooting from helicopters and f ixed wing aircraft with Tyler, Continental and gyrostabilizers systems. EXTENSIVE FOREIGN SHOOTING: An area of interest to me has been the blue and gre en screen matte process. Recently I shot 30 spots on a huge green screen for Promotions. Also lighting v irtual reality sets for a commercial, a company in Mumbai / Bombay who specializ es in virtual environments.

The best part is designing appropriate lighting for the many environments in wh ich the various shots will be placed. I have worked with over 300 Producers, Production Houses for 14 years, photogra phing many live-action, commercials, feature, filmed, prime-time network special s and series. I have worked with Effects Supervisors on numerous projects. I was a 35mm motio n-control cameraman. I was also a Second Unit and Effects Unit Director of Photo graphy on numerous Commercials. Over the years my minds eye has become accustomed to seeing an image lit, even before I have pulled a light from the truck. The many projects mixed with new eq uipment technology have made going to work fun and exciting in an ever changing industry. Since 1993 I have worked as the Director of Photography of several independent films. I am an active member of the Indian Cinematographers Society and Western India C inematographers Association. I currently shoot 200 to 250 days a year in 35mm 16mm and tape.