Film Industry Salary Guide India 2026: What Every Role Actually Pays

Someone in a WhatsApp group asks how much an editor makes. Twenty people reply. Six give different numbers. Three say "it depends." One passive-aggressively replies "experience matters." Nobody gives an actual figure.

That group has been running for four years. Nobody has learned anything.

This guide ends that. Every major department, every level, real rupee ranges from the 2026 market. Not aspirational figures. Not best-case scenarios. Actual working rates that crew are currently accepting and producers are currently paying.

A few housekeeping notes before we start. All figures below are market estimates — not mandated rates, not union minimums (except where noted), not what the biggest names in the industry earn. These are ranges that reflect what working professionals at each level are actually paid on legitimate productions today. Outliers exist in both directions.

City adjustment multipliers are at the bottom of this guide. All figures in this article are Mumbai baseline unless noted.

How Indian Film Rates Actually Work

Before the tables, understand the structure — because if you walk into a negotiation without this, you will get eaten alive.

Day rate vs monthly retainer vs project fee. Most below-the-line crew work on day rate. Some departments (production office, post-production) increasingly work on monthly contracts for OTT episodic. Post-production roles (editor, colourist, VFX) typically negotiate per-project, not per-day. All three models exist simultaneously, often on the same production.

Kit fee. This is separate from your day rate and always should be. Your kit fee compensates for the depreciation and insurance cost of the equipment you bring to set. A cinematographer who owns a cinema lens kit should charge a kit fee on top of their day rate. A boom operator with their own Sennheiser MKH 416 should charge a kit fee. This is standard practice, not a negotiation tactic. It should appear as a separate line item on every invoice. Never let a producer bundle it into your day rate.

Theatrical vs OTT vs Ad Film vs Music Video. These are four different economies, and they pay differently. Ad films pay the highest day rates because the shooting schedule is short and the client budgets are enormous. Theatrical features pay less per day but offer longer runs and creative credibility. OTT series pay somewhere in between, but episodic schedules create longer total project income. Music videos pay mid-range to low, but the turnaround is fast and they are a real credit. Rates in each column below reflect this.

The ad film premium. If you are early-career and only pursuing arthouse features, you are leaving significant income on the table. A two-day commercial shoot can pay more than ten days on an indie feature. Senior Mumbai crew build their financial base through ad films and use theatrical projects for portfolio and artistic development. Get comfortable with this model early.

Direction Department

The AD ladder is well-documented elsewhere (see our full AD guide), but here it is as a rate reference with cross-format comparison.

| Role | Monthly (Theatrical) | Day Rate (Ad Film) | OTT Episodic (Monthly) | |---|---|---|---| | 4th AD / PA | Rs. 15,000–22,000 | Rs. 1,500–3,000 | Rs. 18,000–28,000 | | 3rd AD | Rs. 22,000–35,000 | Rs. 3,000–5,000 | Rs. 28,000–40,000 | | 2nd AD | Rs. 35,000–60,000 | Rs. 5,000–10,000 | Rs. 45,000–65,000 | | 1st AD | Rs. 60,000–1,20,000 | Rs. 12,000–25,000 | Rs. 80,000–1,40,000 | | Director (debut feature) | Rs. 3–8L total project | — | Rs. 5–15L/episode | | Director (established) | Rs. 25L–2Cr total project | Rs. 5–25L per TVC | Rs. 20L–1Cr+ per project |

Notes: 1st AD rates on large-scale theatrical productions (Dharma, YRF, large-banner South Indian) can reach Rs. 1.5L–2.5L/month. Ad film 1st AD rates include production management responsibilities. Director fees for theatrical are total project fees negotiated upfront, not day rates.

Camera Department

The camera department has one of the widest rate spreads in the industry. An entry-level clapper loader earns less than most white-collar office workers. A DOP on a Netflix series earns more than most surgeons. Here is the full spectrum.

| Role | Entry Level | Mid-Level | Senior / HOD | |---|---|---|---| | Clapper Loader / 2nd AC | Rs. 800–1,500/day | Rs. 1,500–3,000/day | Rs. 3,000–5,000/day | | Focus Puller / 1st AC | Rs. 1,500–3,000/day | Rs. 3,000–6,000/day | Rs. 6,000–12,000/day | | Camera Operator | Rs. 2,500–5,000/day | Rs. 5,000–10,000/day | Rs. 10,000–20,000/day | | DIT | Rs. 2,000–4,000/day | Rs. 5,000–10,000/day | Rs. 12,000–25,000/day | | Director of Photography | Rs. 5,000–15,000/day | Rs. 20,000–60,000/day | Rs. 1L–5L+/day |

Kit fees (separate line item):

• Lens kit (prime set): Rs. 3,000–8,000/day
• Cinema camera body: Rs. 5,000–20,000/day (varies by camera; ARRI Alexa/RED Monstro at the top)
• Tripod + fluid head kit: Rs. 500–1,500/day
• Follow focus + mattebox + filters: Rs. 1,000–3,000/day
• DIT station (laptop + calibrated monitor + software): Rs. 1,500–4,000/day

Cross-format comparison (DOP rates, mid-level):

| Format | Day Rate Range | |---|---| | Theatrical feature (indie) | Rs. 15,000–30,000/day | | Theatrical feature (major banner) | Rs. 40,000–1,20,000/day | | OTT web series (streaming platform) | Rs. 25,000–70,000/day | | Ad film (TVC, 2-day shoot) | Rs. 50,000–2,00,000/day | | Music video | Rs. 15,000–40,000/day | | Corporate / brand film | Rs. 12,000–30,000/day |

A senior DOP on a premium OTT production will negotiate a project rate, not a day rate. Typical OTT season DOPs earn Rs. 20L–80L for a full 8-10 episode season.

Art Department / Production Design

One of the most underrated departments for earning potential at HOD level — and one of the most undervalued at entry level. The gap between a runner and a Production Designer is genuinely staggering.

| Role | Entry Level | Mid-Level | Senior / HOD | |---|---|---|---| | Art Department Runner | Rs. 600–1,000/day | Rs. 1,000–1,800/day | — | | Assistant Art Director | Rs. 1,200–2,500/day | Rs. 2,500–5,000/day | Rs. 5,000–8,000/day | | Art Director | Rs. 3,000–6,000/day | Rs. 8,000–18,000/day | Rs. 20,000–40,000/day | | Set Designer | Rs. 2,000–5,000/day | Rs. 6,000–15,000/day | Rs. 15,000–30,000/day | | Production Designer (HOD) | — | Rs. 20,000–50,000/day | Rs. 80,000–3,00,000/day |

Production Designers on major productions typically negotiate project fees: Rs. 15L–50L for a large Bollywood production, Rs. 50L–2Cr+ for a Baahubali or RRR-scale pan-Indian epic. These are exceptional cases. Solid working PDs on mainstream features earn Rs. 10L–25L per project.

Ad film premium: Art Directors and Set Designers earn significantly more per day on advertising shoots. A 3-day TVC can pay an Art Director Rs. 25,000–40,000/day — more than some features pay per week.

Sound Department

The most undersupplied senior talent pool in Indian cinema. There is a genuine shortage of experienced sound recordists, sound designers, and re-recording mixers. This is the one department where supply-demand dynamics consistently push rates up.

| Role | Entry Level | Mid-Level | Senior / HOD | |---|---|---|---| | Boom Operator (Trainee) | Rs. 700–1,200/day | Rs. 1,500–2,500/day | Rs. 3,000–5,000/day | | Sound Recordist | Rs. 2,000–4,000/day | Rs. 5,000–12,000/day | Rs. 15,000–30,000/day | | Sound Designer | — | Rs. 3L–8L per project | Rs. 10L–30L+ per project | | Dialogue Editor | Rs. 1,500–3,000/day | Rs. 4,000–8,000/day | Rs. 10,000–20,000/day | | Foley Artist | Rs. 1,200–2,500/day | Rs. 3,000–6,000/day | Rs. 8,000–15,000/day | | Re-recording Mixer (Final mix) | — | Rs. 5L–15L per film | Rs. 20L–60L per film |

Kit fees (sound department):

• Sennheiser MKH 416 (shotgun mic): Rs. 800–1,500/day
• Wireless lav kit (2-channel Lectrosonics/Sennheiser G4): Rs. 1,500–3,000/day
• Sound Devices MixPre or 6-series recorder: Rs. 1,000–2,500/day
• Full location sound package: Rs. 4,000–8,000/day

Sound Designers work project-to-project. A feature film sound design fee includes dialogue editing, Foley design, SFX editing, and mixing prep. Premium OTT productions (Netflix/Amazon India) increasingly require Dolby Atmos delivery, which commands a 20–30% premium on mixing fees. Learn this spec. It is money.

Lighting Department

The gaffer and their team are the invisible backbone of every beautiful image. Rates here track closely with camera department, because the two departments always work in tandem.

| Role | Entry Level | Mid-Level | Senior / HOD | |---|---|---|---| | Lighting Trainee / Electrician | Rs. 600–900/day | Rs. 900–1,500/day | Rs. 1,500–2,500/day | | Junior Electrician | Rs. 900–1,500/day | Rs. 1,500–2,500/day | Rs. 2,500–4,000/day | | Best Boy Electric | Rs. 1,500–3,000/day | Rs. 3,000–5,000/day | Rs. 5,000–8,000/day | | Gaffer | Rs. 2,500–5,000/day | Rs. 6,000–15,000/day | Rs. 20,000–45,000/day | | Lighting Director (commercials) | — | Rs. 15,000–40,000/day | Rs. 50,000–1,50,000/day |

Note: Lighting equipment is almost always hired through the production and does not belong to the gaffer personally. Equipment sourcing skill and vendor relationships are the gaffer's value-add, not kit ownership. The exception is personal tools, meters, and specialty items — flag these separately.

Grip Department

India's grip industry is less stratified than Western counterparts, and grip rates often fold into the wider lighting department budget. These are approximate stand-alone figures for productions that explicitly hire grip roles.

| Role | Entry Level | Mid-Level | Senior / HOD | |---|---|---|---| | Grip Trainee | Rs. 600–900/day | Rs. 900–1,500/day | — | | Grip | Rs. 1,000–1,800/day | Rs. 1,800–3,000/day | Rs. 3,000–5,000/day | | Key Grip | Rs. 2,500–5,000/day | Rs. 5,000–10,000/day | Rs. 12,000–25,000/day | | Dolly Grip | Rs. 2,000–4,000/day | Rs. 4,000–8,000/day | Rs. 10,000–20,000/day | | Crane/Technocrane Operator | Rs. 3,000–6,000/day | Rs. 8,000–18,000/day | Rs. 20,000–40,000/day |

Steadicam operators sit at the intersection of grip and camera. Rates are Rs. 8,000–15,000/day at mid-level, Rs. 25,000–60,000/day for experienced operators on features and ad films. Kit fee for Steadicam vest + arm is typically Rs. 5,000–12,000/day additional.

Costume Department

Costume and wardrobe is female-dominated at all levels in Indian cinema. Rates vary enormously based on whether the project requires period costume design, contemporary styling, or both.

| Role | Entry Level | Mid-Level | Senior / HOD | |---|---|---|---| | Wardrobe Assistant | Rs. 700–1,200/day | Rs. 1,200–2,000/day | Rs. 2,000–3,500/day | | Wardrobe Supervisor | Rs. 1,500–3,000/day | Rs. 3,000–6,000/day | Rs. 6,000–12,000/day | | Stylist (leads/supporting cast) | Rs. 2,000–5,000/day | Rs. 5,000–15,000/day | Rs. 20,000–60,000/day | | Costume Designer (HOD) | — | Rs. 8,000–25,000/day | Rs. 40,000–2,00,000/day |

HOD Costume Designers on prestige projects typically negotiate a project fee inclusive of design weeks, shoot, and styling of lead cast. Fees for major Bollywood productions: Rs. 8L–30L per film. Celebrity stylists for lead actors negotiate separately and their rates are not included in production budgets — their relationship is directly with the talent.

Ad film note: A two-day commercial with 4–6 wardrobe changes for a single brand can pay a Costume Supervisor Rs. 30,000–50,000 total for the shoot — a strong income source for working wardrobe professionals.

Makeup and Hair Department

The full breakdown of makeup artist career paths is covered in our dedicated makeup artist guide. Here is the salary reference table.

| Role | Entry Level | Mid-Level | Senior / HOD | |---|---|---|---| | Junior Makeup Artist | Rs. 700–1,200/day | Rs. 1,200–2,500/day | Rs. 2,500–4,000/day | | Makeup Artist | Rs. 1,500–3,000/day | Rs. 3,000–7,000/day | Rs. 7,000–15,000/day | | Senior Makeup Artist | Rs. 2,500–5,000/day | Rs. 5,000–12,000/day | Rs. 12,000–25,000/day | | Key Makeup / HOD | — | Rs. 10,000–25,000/day | Rs. 35,000–1,50,000/day | | Prosthetics Specialist | Rs. 3,000–6,000/day | Rs. 8,000–20,000/day | Rs. 25,000–80,000/day | | Hair Stylist | Rs. 800–1,500/day | Rs. 1,500–3,500/day | Rs. 4,000–10,000/day |

Prosthetics remains one of the most supply-starved specializations in Indian cinema. An experienced prosthetics artist can name their rate on most productions because the alternatives are flying in international talent (expensive) or not doing the look at all. If this is your niche, it is an extremely strong negotiating position.

Production Department

This covers the line producers, production managers, and coordinators who actually run the machine. One of the most undervalued departments in the industry for the workload it absorbs.

| Role | Entry Level (Monthly) | Mid-Level (Monthly) | Senior / HOD (Monthly or Project) | |---|---|---|---| | Production Assistant | Rs. 15,000–22,000 | Rs. 22,000–35,000 | Rs. 35,000–50,000 | | Production Coordinator | Rs. 25,000–40,000 | Rs. 40,000–65,000 | Rs. 65,000–90,000 | | Production Manager | Rs. 40,000–65,000 | Rs. 70,000–1,10,000 | Rs. 1,20,000–2,00,000 | | Associate Producer | Rs. 50,000–80,000 | Rs. 80,000–1,50,000 | Rs. 1,50,000–3,00,000 | | Line Producer | Rs. 60,000–1,00,000/mo | Rs. 1,20,000–2,00,000/mo | Rs. 3L–10L per project |

Line Producers on large-scale productions negotiate project fees. A major Bollywood production line producer earns Rs. 8L–20L for the full project. An experienced line producer managing a Netflix or Amazon India series can earn Rs. 15L–40L for a full season.

Ad film note: Production Managers are among the highest paid roles relative to experience on commercial productions. A tight 2-day TVC can pay a PM Rs. 25,000–60,000 for the full engagement — sometimes more than a month on a low-budget feature.

Post-Production

Post rates follow a different logic to on-set roles. The day rate model applies for some roles (assistant editors, colour assistants), but senior post-production professionals negotiate per-project fees. Rates also vary based on studio (dedicated post house) vs freelance.

| Role | Entry Level | Mid-Level | Senior / HOD | |---|---|---|---| | Assistant Editor | Rs. 15,000–30,000/mo | Rs. 30,000–55,000/mo | Rs. 55,000–80,000/mo | | Film Editor | Rs. 1,50,000–3,00,000/project | Rs. 3L–8L/project | Rs. 10L–30L+/project | | Film Editor (OTT episodic) | Rs. 20,000–40,000/episode | Rs. 40,000–80,000/episode | Rs. 1L–2.5L/episode | | Colourist / DI Operator | Rs. 1,200–2,500/day | Rs. 3,000–8,000/day | Rs. 12,000–30,000/day | | VFX Artist (compositing) | Rs. 25,000–45,000/mo | Rs. 45,000–80,000/mo | Rs. 80,000–1,60,000/mo | | VFX Supervisor | — | Rs. 80,000–1,50,000/mo | Rs. 3L–8L/project | | Colourist (senior, feature) | — | Rs. 1.5L–4L/project | Rs. 5L–20L+/project |

Ad film premium for post: Senior editors in Mumbai who work on ad film projects earn Rs. 20,000–50,000 per day. A 30-second TVC typically takes 2–4 edit days. This single revenue stream is often what separates financially comfortable editors from financially stressed ones.

Action / Stunt Department

Stunt rates are among the least published in the industry. This is partly because the range is enormous (background stunt performers vs stunt coordinators on franchise productions) and partly because informal rate-setting dominates. These are the working estimates.

| Role | Entry Level | Mid-Level | Senior / HOD | |---|---|---|---| | Stunt Performer / Junior Action Artist | Rs. 1,500–3,000/day | Rs. 3,000–6,000/day | Rs. 6,000–12,000/day | | Stunt Double (lead actor) | Rs. 3,000–8,000/day | Rs. 8,000–20,000/day | Rs. 20,000–50,000/day | | Action Director (Asst.) | Rs. 2,000–5,000/day | Rs. 5,000–12,000/day | Rs. 12,000–25,000/day | | Action Director / Stunt Coordinator | — | Rs. 15,000–40,000/day | Rs. 50,000–3,00,000/day |

High-risk stunt premiums are negotiated separately from base day rates. A stunt performer doing a fire sequence or a high fall should receive 1.5x–3x their standard day rate for that specific shot. This is negotiated pre-shoot and must be in writing. Action coordinators on franchise-scale Indian productions (the Singham universe, KGF, RRR-calibre films) earn project fees of Rs. 50L–2Cr for the full action design and coordination.

Insurance is a persistent problem in this department. Always ask the production to confirm stunt coverage before signing on.

Acting: Non-Star Rates

This section covers professional actors working at rates that are not generated by star power. These are the working-actor figures that nobody publishes.

| Category | Day Rate Range | Notes | |---|---|---| | Junior Artist (extra) | Rs. 700–1,200/day | CINTAA-registered, Mumbai; varies by shot complexity | | Junior Artist (featured extra) | Rs. 1,500–3,000/day | Named in scene, some dialogue | | Co-Artist (supporting, small role) | Rs. 5,000–25,000/day | Project rate more common | | Character Actor (supporting lead) | Rs. 25,000–1,00,000/day | Depends on banner size and name recognition | | Lead Actor (debut, indie feature) | Rs. 3L–15L total project | Often deferred or partial upfront | | Lead Actor (mid-tier, Hindi theatrical) | Rs. 25L–1.5Cr total project | Wide range based on track record | | Actor (OTT series, supporting lead) | Rs. 30,000–1,50,000/episode | | | Actor (lead, premium OTT series) | Rs. 1L–10L+/episode | | | Actor (TVC, 1 day) | Rs. 50,000–5,00,000 | Most commercially lucrative single-day work for actors |

CINTAA minimum rates: CINTAA (Cine and TV Artists' Association) does publish recommended minimum rates for its members, and productions associated with IMPPA and the Film Producers Guild are expected to adhere to them. These minimums are generally lower than the market rates above for co-artists and character actors. Check CINTAA's current published schedule directly, as these figures are periodically revised.

Ad film is the financial game-changer for actors. A single TVC day — for a national brand, with a recognizable face — can pay more than three months of theatre work. Building a commercial reel alongside your film credits is not a sellout. It is financial sustainability.

City Adjustment Multipliers

All rates above are Mumbai baseline (100%). Apply these multipliers when negotiating in other cities or when producers try to use a city rate to suppress your Mumbai-standard fee.

| City | Multiplier | Notes | |---|---|---| | Mumbai | 100% | Baseline. All major banner productions, ad film industry. | | Delhi / NCR | 90–95% | Strong ad film market; Bollywood production offices | | Hyderabad | 85% | Tollywood and pan-Indian productions; premium post houses | | Bangalore | 80% | Growing Kannada industry; strong corporate and tech-brand ad film market | | Chennai | 80% | Kollywood; FEFSI rates apply in some departments | | Kochi | 70–75% | Mollywood; FEFKA rates apply; strong for OTT drama productions | | Kolkata | 70% | Bengali industry; lower-cost theatrical base | | Pune | 85% | Proximity to Mumbai; many Mumbai productions shoot here |

Two caveats. First: these multipliers apply to city-based productions. If a Hyderabad production hires you from Mumbai, you negotiate at or close to Mumbai rates — you are being brought in at a premium. Second: OTT productions with national streaming distribution should not be using city multipliers at the HOD level. A Sound Designer's work is on every screen in India regardless of where they recorded it. Make that argument confidently.

How to Negotiate Your Rate

Knowing the table is the prerequisite. Using it is the skill. Here is how to actually get paid what these figures say.

Know the format before you quote. Ad film, theatrical feature, OTT series, music video, corporate — these are different markets. Quoting a theatrical day rate for a TVC is leaving money on the table. Ask before you quote.

Anchor first, adjust second. State your rate before the producer does. If you wait for their opening offer, the entire conversation happens on their terms. Name your number, then be quiet. The first person to speak after the quote often loses.

Kit fee is non-negotiable. If you own equipment that the production needs, the kit fee is a reimbursement for asset depreciation — not a bonus or a negotiating chip. Say it plainly: "My day rate is X and my kit fee is Y — these are separate." Most producers accept this when it is stated as fact rather than a request.

The upgrade ask. If a production cannot meet your standard day rate, ask for something else: billing credit above what they offered, a deferred fee agreement in writing, ownership of a behind-the-scenes package, or an introduction to a specific person in their network. Get something. Walking away empty is a pattern; walking away with an upside is a relationship.

When to raise your rate. Raise it when: (a) you have completed 3–5 projects at a level above your stated rate, (b) you have been recommended by an HOD to another production without being present, or (c) you have turned down work at your current rate because you had better offers. These are the market signals that your rate has grown beyond your quote. Revise annually at minimum.

The Kit Fee Question: What to Charge and How

This deserves its own moment because it trips up a lot of crew.

Your kit fee should reflect the actual daily rental cost of the equipment you bring, minus your ownership advantage. A rough formula: look up the daily rental rate for your kit from a Mumbai gear house (Famous Studio, Cine Gear, Equipment Kings). Charge 60–70% of that rental rate as your personal kit fee. You are cheaper than a rental house, you know your own gear, and the production gets reliability. You win, they win.

Never inflate your kit fee to make up for an underselling on your day rate. These are two separate value propositions and producers who know their budgets will notice.

Always list your kit in writing: camera body, lens package, audio equipment, support gear, software dongles — line by line, with daily rates. This protects you legally and makes your invoice professional.

A Note on Getting Paid What You Are Worth

The single most powerful thing you can do for your earning trajectory is be findable by productions that match your level.

When a 1st AD has a reference call with a Dharma production and gives your name, that production should be able to look you up, see your credits, and contact you directly. When a line producer in Hyderabad is staffing a Netflix India season and their Mumbai contact recommends a DOP, that DOP should have a professional profile ready to review.

Register on AIO Cine — every production house on the platform is verified before they can post a crew call. Put your rates in your profile, list your credits, and make yourself visible to the productions that are paying the rates in the upper half of every table above. The work is already happening. The question is whether the right productions can find you.

Frequently Asked Questions

Are these rates FWICE / CINTAA mandated? No. These are market estimates reflecting current working rates across legitimate productions. FWICE and CINTAA have published minimum rate schedules for their members, but enforcement is inconsistent and actual negotiated rates often exceed these minimums significantly for experienced professionals. The rates above are what the market is currently paying — use them as anchors.

Do productions pay on schedule? On paper, yes. In practice, payment terms vary enormously. For below-the-line crew, aim for weekly settlement on long-format productions. On ad films and commercials, negotiate 50% advance before the shoot starts and the balance within 7–10 days of shoot completion. Get this in writing every time — verbal agreements on payment terms are not agreements.

Should I work for free to build credits? For genuine student short films and portfolio projects, yes — with agreed billing and a firm end date. For any production that is commercially releasing, has a paying cast, or is billing a client: no. "Deferred payment" without a signed agreement and a triggering event (distribution deal, OTT acquisition) is not a payment arrangement. It is hope.

How do freelance income taxes work? Productions paying you Rs. 30,000+ in a financial year will deduct TDS at 10% under Section 194J (professional services). You receive a Form 16A. File ITR-3 or ITR-4 and claim credit for this TDS. Under Section 44ADA (for income below Rs. 50L), you can declare 50% of gross receipts as taxable income without itemizing expenses. Keep a separate bank account for professional income and set aside 25–30% of every payment for tax obligations.

The Bottom Line

The film industry has a rate problem, and the problem is opacity. Producers know the ranges. Junior crew do not. Senior crew know them but treat them as confidential. This information asymmetry costs working professionals real money, year after year.

Now you have the numbers. Use them.

Know your department, know your format, know your level — and quote accordingly. The rates are there. The productions spending them are operating right now. The only variable is whether you are positioned to receive them.

Build your profile. Get verified. Get found.

All salary figures are market estimates for 2026 based on industry research and reflect typical rates on legitimate productions. Actual rates vary based on production budget, negotiation, experience, and format. All figures are Mumbai baseline unless otherwise specified. City multipliers should be applied for other markets. Kit fees are always additional to and separate from day rates. Figures are presented in Indian Rupees (Rs.) and should be verified against current market conditions before negotiating.

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