Rajiv Jain Photography – A Snapshot
Rajiv Jain Photography – A snapshot ……
Rajeev Jain, Kenya India Director of Photography is a visual storyteller who likes to explore and collaborate with diverse styles and formats through the lens of a camera and lighting. His credits experiences include shooting and features, shorts, promos, television, commercials and music videos. Rajeev has traveled throughout Asia, Europe and Middle East in the demand draft and diverse environments. With his vast experience in a variety of means, has a unique ability to adapt to a variety of challenging environments and personalities. - The Pioneer, January 2010
Nationality: Indian
DATE OF BIRTH: November 29, 1968
RESIDENCE: Dubai, Mumbai and Nairobi,
EXPERIENCE: Kenya Acclaimed Indian director of photography with a successful career spanning 21 years (7 years in the chamber profession and 14 years as PDO)
PROFESSIONAL: Full Member ICS (India Cinematographers Society) and Wicca (Western India Cinematographers Association)
SPECIALTY: The good reputation in the visualization, staging the camera, and in particular, the lighting design. Experience in 35mm photography anamorphic (Cinemascope) and the "forgotten" art of photography in black and white. The experience with the latest digital video systems from DV to High Definition.
Training formal: Bhartendu Academy of Dramatic Arts (Bhartendu Natya Academy), India. The school has a respected international reputation.
ADDITIONAL TRAINING: Studied under renowned photography: Ashok Mehta ISC, Wicca, Binod Pradhan ISC, Wicca, and KK Mahajan Late ISC, Wicca. Participated workshops Subroto Mitra purposes ISC, Wicca and Late ISC Jal Mistry, Wicca.
JOB DESCRIPTION: Designation: Leader of the House (lighting and Operations) Department
Division: Department of Film and TV: House
Rating: 8H
PURPOSE OF JOB: Direct and coordinate the work of the camera and lighting equipment, camera, Operations. To meet the visual needs of the producer or director. Working as part Camera crews in the studies, and where various types of operating the camera equipment. In addition, the opportunity to lead and support colleagues will available to appropriate agents, taking increased responsibility for planning, development and assessment of others.
Details of the reports: I report directly to the Producer / Executive Producer / Line Producer Resource Coordinator.
BACKGROUND: I skilled trades and internal production facilities and independent of those responsible for the program.
KEY Responsibilities, duties and rights: 1. Study of the script.
2. How to interpret the scenes should look.
3. Select the cameras and equipment are adequate and being responsible for all aspects of operation camera and associated equipment and ensure the team is working to given specifications.
4. Decide on the location of the cameras and lights.
5. Installation of cameras and lighting equipment such as platforms to reach production targets.
6. Work with and follow the manufacturer's instructions / Director.
7. To advise on the best way to shoot or film a scene.
8. Operate the cameras to film or record the action and to operate the associated equipment to the highest technical and artistic standards.
9. Serve as liaison between talent, directors, and producers and to discuss with the producer or director, style and proposed treatment of any given program and to advise the potential production of equipment and staffing needs.
10.Allocate tasks and assist in monitoring a team of cameramen as a delegate to the director in the field / study.
Lighting arrangements in 11 sets and be aware of, initiate and develop creative lighting techniques and styles and changing light equipment and the area / s of action to ensure adequate exposure, taking into account the production requirements and subsequent operations and treatments.
12. Perform other tasks as needed and as directed by department head and being the team leader camera and act as primary point of contact in dealing with the production, consultation with other team members on issues arising from the needs of the program.
13. To liaise with other team members carrying out the implications for their work provided visual treatment of the subject.
14. Health to be responsible care teams, and partners and safety issues and advise the Director of any risks from the proposed method of shooting.
15. Keep abreast of new equipment, production techniques and changes in working practices.
MONITORING HOUSE: 1. Supervision Study Camera operations on location.
2. Camera rig equipment.
3. Planning for camera movement.
4. Link with directors, producers and lighting personnel.
5. Effective deployment of resources.
6. Supervision of staff.
LIGHTING: 1. Design and planning of original studio lighting.
2. Scenario studio lighting.
3. Studio lighting for programs operating Test, live and recorded.
4. Working to deadlines and budgets.
5. Effective deployment of resources.
6. The interpretation and implementation of the producers programs and artistic aspirations.
COMPLEX Lighting Design: color separation overlay (CSO) work
i ) For the curriculum specialist
ii) for programs depending on the location
Creative input: 1. Advising and guide treatment of history in terms of production values and technical feasibility.
2. Direct the program.
3. Carry out management, and either on location or studio, given the time constraints, lighting requirements and filmmaking techniques.
Team Leadership: 1. to act as a contact point for customers of the department.
2. Program team members other resources, to decide whether the level necessary nature of support appropriate and necessary to provide quality service.
3. Responsible for the evaluation, development and management of less experienced members team.
Contact with the client: 1. clearly explains the technical and operational limitations of the programs – those responsible.
2. To interpret the requests of our customers and within budgetary constraints; understand your artistic needs of the most creative way possible to contribute ideas to the program.
FINANCIAL / BUSINESS AWARENESS: 1. Plan and organize your tasks and projects, ensuring priority workload is around transmission deadlines and business requirements of Resources.
2. The awareness of the compromise between cost-effectiveness required business resources and creativity / artistic input that our clients often seek or expect.
3. To return all the paperwork required by the department immediately, including time sheets.
4. Exploring the market to make contacts for independent and corporate clients.
KEY SELECTION CRITERIA: 1. Operational knowledge of all film and video formats currently in use.
2. A thorough knowledge of the two operations of the camera and lighting techniques and equipment associated with a high level, gained by experience in camera and lighting operations.
3. Advanced artistic ability.
4. Highly developed skills interpersonal.
5. Ability to work under pressure and meet deadlines.
6. Ability to interpret and implement the policy of the house production companies and procedures.
HEALTH AND SAFETY OF KNOWLEDGE: 1. Risk Assessment
2. The manual handling,
3. Fire Safety Awareness,
4. The electrical safety,
5. Noise at work
6. Awareness display.
7. Ensure a safe workplace through the elimination of OH & S hazards and the implementation of the policy of the house production companies and procedures.
EXPERIENCE: I have 21 years experience in the broadcast, TV, video, media, film and entertainment environment.
Skills: Capacity:
1. Assess the cost implications associated with the operations of the camera and lighting techniques.
2. Show excellent skills communication, tact and diplomacy and liaison with people at all levels.
3. Balance conflicting demands and respond to changing needs.
4. Being a good team player.
PERSONAL ATTRIBUTES AND RESPONSIBILITIES: 1. A clear understanding of the importance of customer service and the ability to implemented.
2. Understanding the basic requirements of post production, sound design and other related crafts.
3. Commitment to training development and evaluation.
4. The knowledge and commitment to domestic production and its values.
5. A current drivers license.
6. The vision normal color and sound.
Working for television and film:
Position: Director of Photography / Photography / Lighting Cameraman / Videographer / Camera Operator.
Worked on these cameras:
Film Cameras: Panaflex Millennium XL Panaflex Platinum, Golden Panaflex G II, Moviecam compact, 35mm Arri BL Evolution IV-S, Arri 535 A, 535 B, Arri, Arri 435ES Advanced, 35mm Arri III, Arri 16 SR-III Advanced, Arri 16 SR-II high-speed PhotoSonics (4B, 4C, 4E, 4ER).
Video cameras and Hi – Def. Cameras: HD digital Panavision HDW F – 900, Sony BVP – 900 P, Sony HDC – 900, Sony HDW F – 900 HD Cam 24P Cine Alta Camcorder Sony HDW-700, Sony DVW – 790 WSP Sony DNW – 90 WSP Sony DSR – 500 WSP Sony DSR – 300, Sony AJD – 900 W, Panasonic AJ-HDC24A, Ikegami Cameras (HLV-59 Digital and Digital HL45).
Steadicam / Panaglide: Ultra Cine, Ultra Elite, SK 2, Pro Vid 2 +, Mini and Steadicam JR.
Mounts: Tyler helicopter Montes.
Cranes: Super Panavision Tehno Crane, Jimmy Jib Triangle, Akela addition, Strada, scanner Classic Crane.
Dollies: Super Pee Wee IV, Fisher 11, Sports Dolly, Dolly Ultra SSL, Lencina pedestal.
Lights: Chimmers, 575W – 18KW Ballast, HMI Pars, Kino Flo s, and Avengers DCArcs Bogen.
Tools: Power Pod, Hi – Lo Platform, CAM Doggie Revolution lens system, periscopes, Probes, UCR, Courts Union Islamic, Weaver Steadman, interval.
Career Highlights: – Director of Photography with 14 years (1993-2008) experience in a commercial, television and music videos. Gofer, Apprentice, Training House, Spark, Grip, Key Grip, Best Boy, Gaffer, Focus puller, Clapper loader and Camera Operator with 7 years (1985-1992) experience in various media. Experience in the Super 16, 35 and digital – high quality HD video, creative and the artistic lighting and image protection.
I am interested in projects of invention and innovation and works that require of their artistic experience and skills in a great environment for collaboration. Please see my resume for more information on productions and projects.
Rajeev is looking to hear from you and make your vision a reality.
CREDITS: 7 Movies 5 Second Film Unit Feature films (additional)
5 short films
1032 Announcements / TVC
105 Industrial – Corporate Film – TV Specials – Magazines – Documentaries
43 Videos Musicales
6 TV Serials
SPECIAL SKILLS
SPECIAL EFFECTS – I have experience with the blue screen, front and rear projection process plates, Miniatures, Laser anamorphic and motion control.
AERIAL PHOTOGRAPHY – I a lot of experience in shooting from helicopters and fixed wing aircraft with Tyler, Continental and gyrostabilisers systems.
Extensive outside shot: One area of interest to me was the blue and green matte screen process.
Recently, I shot 30 points in a large green screen for promotions. Also lighting that virtual reality for a commercial, a company in Mumbai that specializes in virtual environments.
The best part is the lighting design appropriate for different environments in which different vaccines will be placed.
I've worked with over 175 producers, the production of housing for 14 years, many live-action shooting, commercials, feature, film, prime-time network deals and series.
I have worked with numerous effects supervisors projects. I was a 35 mm camera movement control. I also went to a second unit and effects unit director of photography on numerous commercials.
Over the years my mind has become accustomed to seeing a bright image, even before I have brought a light truck. The numerous joint projects with new technology teams have made their way to work in a fun and exciting ever changing industry.
He was also twice nominated director of photography. From 1993 I worked as director of photography on several independent films.
I am an active member of the Society of Cinematographers India and Western India Cinematographers Association.
I actually jumped 200 to 250 days per year in 35 mm, 16 mm tape.
Tags: Bhartendu, Natya, Academy of, Drama, Arts, Photography, Director of Photography, India, India, Kalpvriksh The Wishing Tree, Kenya, Kenya, Rajeev Jain, Rajiv Jain
Author: Author of "drive: great principles shared by all religions" JeffreyMoses is a business writer and best-selling author of the Unit: Great principles shared by all religions. He has written over a dozen books, including memoirs of many individual clients. HISTORIAS corporate and financial WRITER: As a business and financial writer since 1984, Jeffrey has worked with advertising agencies, banks, national insurance brokers, lawyers and CPA firms, hospitals, manufacturing companies, telecommunications companies and enterprises of all types to produce promotional material and corporate literature. Also, now specializes Corporate stories to write for business and personal memories of individuals.
About the Author
AUTHOR OF “ONENESS: GREAT PRINCIPLES SHARED BY ALL RELIGIONS” JeffreyMoses is a business writer and the bestselling author of Oneness: Great Principles Shared by all Religions. He has written more than a dozen books, including many memoirs for individual clients. CORPORATE HISTORIES AND FINANCIAL WRITER: As a business and financial writer since 1984, Jeffrey has worked with advertising agencies, banks, national insurance brokers, attorney and CPA firms, hospitals, manufacturing companies, telecommunications companies, and businesses of all kinds to produce promotional material and corporate literature. In addition, he now specializes in writing Corporate Histories for companies and personal memoirs for individuals.