UNIVERSITY OF MUMBAI ’S
GARWARE INSTITUTE OF CAREER EDUCATION &
DEVELOPMENT
Syllabus for the
Bachelor in Visual Effect s
Credit Based Semester and Gradi ng System with effect from
the A cademic Year
(2017 -2018)
AC 11 -05-2017
Item No.
UNIVERSITY OF MUMBAI ’S
Syllabus for Approval
Date: 11/05/2017 Signature : Dr. Anil Karnik, I/C.
Director, Garware Institute of Career Education & Development
Sr. No. Heading Particulars
1 Title of the Course Bachelor in Visual Effect s
2 Eligibility for Admission 10+2 pass – with minimum 45%
marks Admissions on t he basis of
Written Test & Interview.
3 Passing Marks 50% passing marks
4 Ordinances /
Regulations ( if any)
5 No. of Years / Semesters
Three years full time/ 6 semester
6 Level Bachelor
7 Pattern Yearly / semester
8 Status New
9 To be implemented from
Academic Year From academic year 2017 -18
UNIVERSITY OF MUMBAI’S
GARWARE INSTITUTE OF CAREER EDUCATION & DEVELOPMENT
Ordinances, Regulations and Syllabus Relating to
BACHELOR’S IN VISUAL EFFECTS
(THREE YEAR FULL -TIME COURSE )
(Academic year 2017 -2018)
Introduction
The field of cinema is rapidly changing. With the advent of 2D and 3D sterioscopic, the way
of looking and experiencing films is altering. VFX has grown tremendously in the past decade because of the onslaught of new and changing technology. Visual effect is used in
games, movies and television shows. With the advanced technology and equipment’s
Hollywood and Bollywood uses VFX to create overwhelming effects and realistic environments. The Indian VFX and animation industry is expected to grow up to Rs. 7340
crores rupees by the year 2017. India is one of the most preferred out source destination for
the Hollywood production companies. The Indian’s studios has made a significant
contribution for the blockbuster VFX films like Jungle book, Avatar, Life of Pie, Doctor
Strange, and many more. VFX helps to recreates interesting phenomena in the world of movies like natural disasters, bomb blasts, flying objects, super heroes, volcanoes etc. The
VFX is usually done at the last stage that is the postproduction in editing but it is planned at
the preproduction and production stage under the guidance of the director and VFX supervisor after the story is finalized.
Program Overview
The course duration is of 3 years aiming to help students learn not only the theory but also the Artistic & professional skills that will help the students later in life. VFX can be embedded in live action depicted through techniques such as matte painting , rear and front
screen projection, Digital sets, miniature of forced perspective sets, computer graphic
objects, characters, environments, and compositing. Our courses are designed in such a
manner that we cover each of these techniques with real practica l examples.
The course also includes fundamentals of film making, chromo shoot, 3D modeling and
creating photorealistic lighting,dynamics effects; particles like fire, cloth, explosions and smoke realistic
The students will learn how to develop VFX in tandem with characters and story. The
students have to understand, story telling, cinematography, and seamless integration of CGI plus Live action.
In addition to the best of the faculty in the industry, they get opportunity to attend workshops and semina r conducted by the industry veterans. There will be tie ups with
domestic and international studios so students will get opportunity work on domestic and international projects as soon as they complete the course. They can also participate in film
festiva ls and competitions world over.
Objective of the course
Making seamless and photorealistic renders is the prime objective of this course. The aim of
this 3 year course is also to equip the students with skills that will help them find
employment in the glo bal market. However, adding VFX can be a humongous task and
involves a lot of people for rendering a perfect shot. Therefore artists should be able to have
full control over their images. VFX is not only used for science fiction or fantasy film but is also used in period drama. Upon completing the graduation, the passed out students can
work in:
• TV channels/ Production houses
• VFX studios
• Gaming Industry
• Media and Advertising
• Also as an independent freelancer.
Career options
Upon graduation from this acade my there are a number of options are open for students.
Some of them are listed below:
• Storyboard artist / VFX artist / Motion graphic artists. / Color key artist / Asset
Development / Architectural Modeling / Roto Artist / Paint Artist / Junior composito r
/ Compositing artist / Match move artist / Matchmation Artist / Short film maker /
Editor
EXAMINATION PATTERN
Paper Subject Paper
type Marks
Assigne
d Theory
Hours/
Eqvt. Practical
hour Credits
Semester 1
1 Communication - 01 I+E 100 45 60 5
2 Pre-visualization - Art &
Design I+E 100 30 120 6
3 Design Thinking & Pre
Production I+E 100 30 120 6
4 Visual & Verbal Story telling I+E 100 30 90 5
5 Fundamentals of Film
Making I+E 100 45 120 7
Total 500 180 510 29
Semester 2
6 Communication - 02 I+E 100 30 90 5
7 Character Development &
Behavioral Science. I+E 100 30 90 5
8 Introduction to Photography I+E 100 30 90 5
9 Motion graphics I+E 100 30 90 5
10 Project Submission I 100 0 210 7
Total 500 120 570 27
Semester 3
11 Visual Development (VFX Pre
production) I+E 100 30 90 5
12 Digital Art - Part 01 I+E 100 30 90 5
13 Digital Art - Part 02 I+E 100 30 90 5
14 Motion Graphics I+E 100 30 90 5
15 Planning & Chroma Shoot I+E 100 30 90 5
Total 500 150 450 25
Semester 4
16 Fundamentals of 3D I+E 100 30 90 5
17 3D Asset Development I+E 100 60 120 8
18 3D VFX – Part 01 (Dynamics
&Particles) I+E 100 30 90 5
19 Set Extension I+E 100 30 90 5
20 Cinematography Introduction I+E 100 15 90 4
Total 500 165 480 27
Semester 5
21 Camera Tracking I+E 100 30 90 5
22 Match Move & Match Mation I+E 100 30 90 5
23 3D VFX (Fluid effects) Part -2 I+E 100 30 120 6
24 Advanced Lighting & Rendering I+E 100 30 90 5
25 Compositing Concepts I+E 100 30 90 5
Total 500 150 480 26
Semester 6
26 Compositing - 01 I+E 100 30 90 5
27 Advanced Compositing I+E 100 30 90 5
28 Roto /Paint & Comp I+E 100 15 120 5
29 DI Digital Intermediate
(Colour Correction) I+E 100 30 90 5
30 Graduation Film I 200 15 210 8
Total 600 120 600 28
3100 885 3090 162
Prof. Anil V. Karnik Prof. Sanjay Deshmukh
I/c Director Hon’ble Vice Chancellor
GICED University of Mumbai
Distribution of Topics Semester wise
YEAR 01
FIRSTSEMEST ER SECON DSEM ESTER
Communication - 01 Communication - 02
Pre-Visualization Art & Design Character development & Behavioral
science
Design Thinking & Pre Production Introduction to Photography
Visual & Verbal Story telling Motion graphics
Fundamentals of Film Making Project submission Year -01
YEAR 02
THIRDS EMEST ER FOURTHSEM ESTER
Visual Development (VFX Pre
production) Fundamentals of 3D
Digtal Art - Part 01 3D Asset Development Part 01
Digital Art - Part 02 3D VFX – Part 01 (Dynamics & Particles)
Motion Graphics Set Extension
Planning & Chroma Shoot Cinematography Introduction
YEAR 03
FIFTHS EMEST ER SIXTHSEM ESTER
Camera Tracking Compositing - 01
Match Move & Match Mation Advanced Compositing (nuke)
3D VFX (Fluid effects) Roto /Paint & Comp
Advanced Lighting & Rendering DI Digital Intermediate (CC)
Compositing Concepts Graduation Film
Year 01
(is common for ANIMATION & VISUAL EFFECTS COURSES)
INTRODUCTION
If you are embarking on a creative path in your career, it is vitally important that you
understand how to communicate using a visual language —that is, without the use of
words. The process of first developing ideas and then realizing them as a finished pi ece of
work is possibly the most challenging aspect of your work as a designer. The fear of failure at this point in the project can be so great that it can prevent you from succeeding. But
never fear —many tried -and tested- techniques are available that can streamline this
process and release your mind from the shackles of creative blocks.Drawing is the best way
to develop a strong, confident visual language. All good designers draw in some way or another. Not all of them are professional drafts people. They may not use drawings as a
technique in their finished work, but you can be sure that they all use drawing somewhere
within their creative process. In other words, you don’t need to be really good at drawing,
but you do need to be prepared to give it a go and explore it as a means of developing what’s referred to as an “artist’s eye.” With an artist’s eye you will learn to see and represent the world visually, without the use of words. It’s a place where shapes, colours,
textures, and light become your words. The fundementals of photography and the story
telling will help you express your visualization though camera and will be able to bind
audience through your storytelling.
Objectives of Semester 01
If you want to choose any of the 5 courses, then you need to be creative and passionate. This
Semester will make you think creatively and the various activities and workshops designed to
improve your creative thinking. It helps to think from the right side of the brain. Also, the art classes
will give confidenc e about your drawing skills. You will learn and practice skills like choosing the
drawing materials, creating a lighting look, exaggerating the perspective and creating contrast,
depth and shading of the object. Artistic knowledge and talent is an added ad vantage in any of the
creative field. The fundementals of photography classes will help you to understand the visual
language, visual art, composition and lighting and to end with in this semeser the most important
skill story telling, though it may be con cept you are explaining to an ad agency or a feature film
script to producer. How do you keep them interested in the subect? It is through the Art of Story telling, we teach you this skills with various interesting methods and workshops.
RSACE1:1 COMMUNI CATION - 01 TEACHING
HOURS 45
UNITS COVERAGE OF MODULE Time
(Leatures)
UNIT 1 WHAT IS COMMUNICATION ? THOUGH THERE ARE NUMBER OF
MEANS OF COMMUNICATION WHY LANGUAGE IS THE ONLY WIDELY
USED INSTRUMENT? USING LANGUAGE AS A TOOL TO
COMMUNICATION. 2
UNIT 2 WHAT IS SYSTEM OF COMMUNICATION ? HOW IT IS COMMONLY
OWNED, ACCEPTED AND RECOGNIZED BY THE MEMBERS OF THE COMMUNITY? WHAT IS PROCESS OF INFORMATION? HOW
COMMUNICATION IS AN ESSENTIALLY A SOCIAL AFFAIR. WHAT IS
ESSENTIAL FOR COMMUNICATION? 2
UNIT 3 DEVELOPING COMMUNICATION SKILLS : TANGIBLE (E.G. PHYSICAL
SETTINGS)AND NON TANGIBLE (INTELLECTUAL, EMOTIONAL,
PSYCHOLOGICAL) FACTORS INVOLVED IN COMMUNICATION . 2
UNIT 4 LINGUISTIC COMMUNICATION : WE ARE CONCERNED WITH
LINGUISTIC COMMUNICATION: THAT IS THE TERM COMMUNICATE IS
TO S HARE, IT IS NOT JUST MERE TRANSMISSION OF MEANING FROM
ONE PERSON TO ANOTHER THROUGH SYMBOLS.
SUMMARISED AS: THE PARTICIPANTS (SPEAKER & LISTENER)
CHANNEL OR MEDIUM OF COMMUNICATION
SETTING AND TOPIC OF COMMUNICATION
MESSAGE FORM 2
UNIT 5 COMMUNICATION AS A NETWORK OF INTERACTION -PARTIES -
MEDIA - MODE- FUNCTION.
VARIOUS COMPONENTS OF COMMUNICATION , THE PROCESS OF
INITIATION IN COMMUNICATION, FACTORS WHICH IMPACT
COMMUNICATION, CHOICE OF CHANNEL OF COMMUNICATION
(SOCIAL -PHYSICAL FACTOR) 2
UNIT 6 BARRIERS IN COMMUNICATION: THESE BARRIERS OBSTRUCT AND
PREVENT THE ACHIEVEMENT OF THE DESIRED RESULTS. SOME OF
THESE ARE: ABSENCE OF A FRAME OF REFERENCE; POOR RETENTION (
ESPECIALLY FACE TO FACE COMMUNICATION), INATTENTION OF THE
RECEIVER, SEMANTIC DIFFICULTIES, VAGUENESS OF THE OBJECTIVE
TO BE ACHIEVED, MISINTERPRETATION OF THE MESSAGE, PSYCHO –2
PHYSICAL FACTORS, SELECTION OF WRONG VARIETY OF LANGUAGE.
UNIT 7 IMPORTANCE OF COMMUNICATION : DEVELOPMENT OF IMPORTANT
,EFFICIENT TECHNIQUES OF COMMUNICATION, MAINTAINING THE
EFFICIENT SYSTEM OF COMMUNICATION, THE DOMINANT ROLE OF
ENGLISH IN THE PROFESSIONAL WORLD, RESEARCHES ON THE AREA,
GATHERING AND MARSHALING OF DATA , COMMUNICATION TO
MAINTAIN THE TEMPO OF GROWTH. 2
UNIT 8 NON VERBAL COMMUNICATION : ALL EXTERNAL STIMULI OTHER
THAN SPOKEN OR WRITTEN WORDS AND INCLUDING BODY MOTION,
CHARACTERISTICS OF APPEARANCE, CHARACTERISTICS OF VOICE AND
USE OF SPACE AND DISTANCING -. FACIAL EXPRESSIONS : EYE
CONTACT ,ADVANTAGES &DISADVANTAGES OF EYE CONTACT, SPACE
DISTANCING
ALL CLUES TOGETHER IS BODY LANGUAGE. 2
UNIT 9 LETTER WRITIN G: IT IS AN ESSENTIAL SKILL, DESPITE THE PREVALENCE
OF EMAILS AND TEXT MESSAGES, EVERYONE HAS TO WRITE LETTERS
AT SOME POINT: VARIOUS TYPES OF LETTERS(LETTERS OF
COMPLAINT, JOB APPICATIONS, THANK YOU LETTERS, LETTERS
REQUESTING CHANGES OR MAKING SUGGESTIONS,
OFFICIAL/BUSINESS LETTERS, GOVERNMENT LETTERS, ETC. 2
UNIT 10 IMPORTANCE OF COMMUNICATION IN ORGANISATIONS
DEVELOPMENT AND MAINTAINANCE OF COMMUNICATION
PATTERN( INSTRUCT, SPEAK, DIRECT, CONVEY)HOW
COMMUNICATION PLAY AN SIGNIFICANT ROLE IN THE RUNNING AND
GROWTH OF ORGANIZATION. STATE OF CONSTANT TOUCH WITH
OTHERS -GET MORE OF HORIZONTAL AND VERTICAL MOVEMENT OF
COMMUNICATION, THE COMMONAL ITY OF INTEREST TOWARDS THE
ACHIEVEMENT OF ORGANIZATIONAL GOALS. 2
UNIT 11 FUNCTIONS OF COMMUNICATION IN A ORGANIZATION : INTERNAL
(WITHIN THE ORGANIZATION): TO GENERATE AND DISSEMINATE
INFORMATION, TO DIRECT AND INSTRUCT EMPLOYEES, TO MAINTAIN
AND IMPROVE MORALE AND TO CULTIVATE A SENSE OF BELONGING.
EXTERNAL( OUTSIDE THE ORGANIZATION): TO SELL AND OBTAIN
GOODS AND SERVICES, TO LIAISE WITH OTHER ORGANISATIONS AND
TO INCREASE GOODWILL. 2
UNIT 12 ORAL COMMUNICATION: FACE TO FACE CONVERSATION - PROVIDES
IDEAL CONDITIONS FOR CLOSE RANGE CONTINUOUS FEEDBACK.
DYADIC COMMUNICATION DEMANDS ARTISTRY, HOW ONE COULD
ACHIEVE STANDARD IN DYADIC COMMUNICATION, FORMS OF DYADIC COMMUNICATION, HELPFUL HINTS, TELEPHONIC CONVERSATION,
INTERVIEWS
MEETINGS, PURPOSE, PROCEDU RE, INSTRUCTION, DICTATION,
ASSIGNMENTS. 2
UNIT 13 MEETINGS: THE GROUP MAY BE ASSIGNED A SPECIFIC TIME -BOUND
TASK OR MEET AT PERIODIC INTERVALS, THE PURPOSE OF MEETING, TYPES OF PARTICIPANTS, AND COMMUNICATION PATTERN,
DIFFERENT TYPES OF GROUP DISCUSSIONS: MEETINGS, SEMINARS,
CONFERENCES, SYMPOSIUM, PANEL DISCUSSION AND CONVENTION
ETC.,
PURPOSE, PROCEDURE, CHAIRMANSHIP, PARTICIPATION, PHYSICAL
ARRANGEMENTS . 2
UNIT 14 SEMINARS AND CONFERENCES: WHY THERE’S A DEMAND FOR
ORGANIZATIONAL SEMINARS? HOW THIS IS THE BEST WAY TO BE
DONE IN GROUP, NOT BY INDIVIDUAL ,
TYPES OF DISCUSSION GROUPS , REGULATING SPEECH, CONDUCTING
SEMINARS . 2
UNIT 15 ORGANIZING CONFERENCES
EVALUATING ORAL PRESENTATIONS 2
UNIT 17 GROUP DISCUSSION : FACE TO FACE INTERACTION, DECISION MAKING
THROUGH EXCHANGE OF INFORMATION, OBSERVATION IN
CHARACTER OF INTERACTION, ACTIVE PARTICIPATION ANALISATION.
PROBLEMS FACED IN GROUPS: LACK OF DIVERSITY OF OPINION, THE
NUMBER OF PARTICIPANTS THAT WILL MAKE THE GROUP DISCUSSION
USEFUL, STRAT EGY OF ACTION, PARTICIPANT FAIR CHANGE TO
OTHERS TO SPEAK ANDEXPRESS THEIR OPINION.
GROUP DYNAMICS
PURPOSES
ORGANIZATION 2
UNIT 18 AUDIO VISUAL AIDS : TYPES OF VISUAL AIDS AND THEIR USE ,
BASIC PRINCIPLES & GUIDELINES BLACK BOARDS, OVERHEAD
PROJECTOR, FILMSTRIP AND SLIDE PROJECTOR, MOVIE FILM
PROJECTOR, VIDEO TAPE RECORDER, AUDIO TAPE RECORDER, 2
UNIT 19 FORMAL REPORTS – DEFINITION : REPORTS ARE MAJOR FORM OF
PROFESSIONAL COMMUNICATION. VARIOUS USES OF REPORTS, EXTENSIVELY USED IN ORGANIZATION-TO PROMOTE AND NURTURING
THE HEALTH OF AN ORGANIZATION AND ITS GROWTH. MASTERING
THE CRAFT OF WRITING ,LEARNING THE SCIENTIFIC PROCESS OF
INVESTI GATION,, ANALYSIS AND PRESENTATION. 2
UNIT 20 THE USE OF WRITTEN ENGLISH:
WHAT IS CREATIVE WRITING , PROFESSIONAL WRITING , SUBJECT
ORIENTED WRITING
TECHNICAL WRITING . 2
UNIT 21 STANDARD FORMAT IN WRITING STYLE
SENTENCE STRUCTURE AND LENGTH ,STANDARD FORMAT IN
WRITING,, FEATURES OF WRITING COMMUNICATION, PARAGRAPH
STRUCTURE AND LENGTH, FINAL DRAFT 2
UNIT 22 FORMAL BUSINESS COMMUNICATION
TECHNICAL PROPOSAL – DEFINITION
KEY FACTORS
TYPES
STRUCTURE 2
RSACE PRACTICAL EXCERCISE PRACTICAL
HOURS
• WRITING TECHNICAL PROPOSALS:
• LETTER WRITING
• BLOG WRITING
• WRITING FILM REVIEWS
• PREPARING BUSINESS PROPOSALS
• EXCERCISES ON VARIOUS FORMATS AND THUMB RULE
IN COMMUNICATION.
60 HRS
READING BOOKS:
1. DEVELOPING COMMUNICATION SKILLS
2. ART OF PUBLIC SPEAKING: DALE CARNEGIE J.BERG ESENWEIN
3. ADAIR, JOHN. EFFECTIVE COMMUNICATION LONDON: PAN MACMILLAN LTD., 2003.
4. AJMANI, J. C. GOOD ENGLISH: GETTING IT RIGHT NEW DELHI: RUPA PUBICATIONS, 2012.
5. AMOS, JULIEANN. HANDLING TOUGH JOB INTERVIEWS MUMBAI: JAICO PUBLISHING, 2004.
6. BONET, DIANA THE BUSINESS OF LISTENING: THIRD EDITIONNEW DELHI: VIVA BOOKS, 2004.
7. BOVEE, COURTLAND L, JOHN V. THILL & BARBARA E. SCHATZMAN.
8. BUSINESS COMMUNICATION TODAY: TENTH EDITION. NEW JERSEY: PRENTICE HALL, 201
9. BROWN, MICHELE & GYLES BRANDRET H. HOW TO INTERVIEW AND BE
INTERVIEWEDLONDON: SHELDON PRESS, 1994.
REFERENCE LINKS:
10. HTTP://WWW.MAXIMUMADVANTAGE.COM/ADVANTAGES -OF-EFFECTIVE -
COMMUNICATION.HTML
11. HTTP://NETWORKETIQUETTE.NET/
12. HTTPS://PUBLIC.WSU.EDU/~BRIANS/ERRORS/
13. HTTP://USERS3.EV1.NET/~PAMTHOMPSON/BODY_LANGUAGE.HTM
14. HTTP://WWW.ALBION.COM/NETIQUETTE/CORERULES.HTML
15. HTTP://WWW.BBC.CO.UK/WORLDSERVICE/LEARNINGENGLISH/RADIO/SPECIA
LS/1535_QUESTIONANSWER/PAGE15.SHTML
16. HTTP://WWW.COLOSTATE.EDU/DEPTS/SPEECH/RCCS/THEORY44.HTML
17. HTTP://WWW.DAILYWRITINGTIPS.COM/
RSACE 1:2 PRE VISUALIZATION
ART &DESIGN TEACHING
HOURS 30
UNITS COVERAGE OF MODULE Time
(Leatures)
UNIT 1 IMPORTANCE OF ART AS A SUBJECT. HISTORY O F ART, FROM CAVE
DRAWINGS TO LANGUAGE & STORY TELLING 2
UNIT 2 WHO CAN BE AN ARTIST? DYNAMICS SENSE, DE MO OF EXPRESSIONS,
IMPORTANT NOTES FOR AN ARTIST, 2
UNIT 3 ART APPRICIATION – INDIA & GLOBAL 2
UNIT 4 FUNDAMENTALS OF DRAW ING- EXPLORING LINES AND EFFECTS 2
UNIT 5 ANDREW LOOMIS FIGURE DRAWING, IMPORTANCE OF ANOTOMY
STUDY, LIVE STUDY, P ORTTAIT, RAPID SKETC HING 2
UNIT 6 KEN HULTGREN – THE ART OF ANIMAL DR AWING, ANIMAL STUDY, TIME
SKETCHES, MOVEMENT S TUD Y 2
UNIT 7 NATURE DRAWING : BIRD LIFE STUDY, OUT DOOR SKETCHING, TOON
DRAWING, DOODLING, 2
UNIT 8 COLOR THEORY – PART 01 – PRIMIARY COLORS, SEC ONDERY COLORS
AND TREASURY COLORS_ THEORY OF COLOR RELA TIONSHIP/HARMONY:
MONOCHROMATIC, ANALOGOUS, DIAD,TRIAD, TETRAD,
COMPLIMENTARY, SPLIT COMPLIMENTARY, ACHRO MATIC AND
POLYCHROMATIC THEORI ES OF SUCCESSIVE AND SIMULTANEOUS
CONTRAST, ADDITIVE A ND SUBTRACTIVE COLOR S. 4
UNIT 9 COLOR THEORY – PART 0 1 – COMPLEMENTRY COLORS, SEASON COLORS
(SPRING, SUMMUR & FA LL) 2
UNIT 10 COLOR THEORY – PART 0 2 – MOOD BOARDS, PANTONE COLORS, SPOT
COLORS, ETC. 2
UNIT 11 COLOR THEORY - PART 0 3–TO UNDERSTAND THE RE LATIONSHIP
BETWEEN VALUE, HUE, CHROMA SHOW & DISCER N,INCREMENTAL
DIFFERENCES IN VALUE GRADATION AND MATCH COLOR VALUES
GRADATION AND MATCH COLOR VALUES TO AN E STABLISED GRAY
SCALE. 4
UNIT 12 COLOR THEORY_PART 04 - PHYSICS OF COLOR: CO LOR SYSTEMS , THE
COLOR WHEEL: MUNSELL , GOETHE, RUNGE, ITT EN. 2
UNIT 13 COLOR THEORY -PART 05- THEORIES OF SUCCESSI VE AND
SIMULTANEOUS CONTRAS T, ADDITIVE AND SUBTRACTIVE COLORS. 2
UNIT 14 FUNDAMENTAL OF DRAWI NG–PART 02 -PERSPECTIVE DRAWINGS ,
PRINCIPLES OF PERSPE CTIVE, ONE -POINT, TWO-POINT AND THREE
POINT PERSPECTIVE , PERSPECTIVE AS APPLI ED TO OBJECTS, FURNITUR E,
INTERIOR AND EXTERIO R OF THE BUILDINGS E TC. 4
UNIT 15 FUNDAMENTALS OF DRAWING –PART -03-STUDY OF OBJECTS FROM
SURROUNDING, TO STUD Y THE FORM, SURFACE, INTRODUCTION OF
LIGHT AND SHADOW ON OBJECTS AND AN ASSES SMENT AND
REPRESENTATION OF AN IMPACT OF LIGH T ON SIMPLE FORM AND
OBJECTS - CHANGE IN MOOD, SURF ACE QUALITY, DENSITY, DRAMA AND
IMPACT 4
UNIT 17 FUNDAMENTALS OF DRAW ING – PART04: DRAWING FROM NATURE -
OUTDOOR STUDY OF PLA NTS AND TREES 2
UNIT 18 COLOR COMPOSITION-PRACTICAL UNDERSTA NDING OF MIXING
COLORS, HANDLING PAINT AND ARTIST MATERIAL- TO CREATE COLOR
COMPOSITIONS USING D IFFERENT COLOR. 4
UNIT 19 COLOR COMPOSITION - SPECIAL EFFECTS OF C OLOR ( GOUACHE,
WATERCOLOUR, PASTELS ) 2
UNIT 20 COLOR EXPRESSION - COLOR AND NATURE, COLOR PSYCHOLOGY,
SYMBOLISM, EXPRESSIO N-COLOR BASICS - (PHYSICS OF LIGHT, ADDITIVE
COLOR RELASHIPS, PIG MENTS . 2
UNIT 21 VISUAL THINKING : VISUAL QUAIRIES, WHAT WE CAN EASILY SEE,
STRUCTURING 2 DIMNET IONAL SPACE, USAGE O F COLOR, GETTING THE
INFORMATION VISUAL S PACE AND TIME, VISUA L OBJECTS, WORDS AND
MEANINGS, VISUAL AND VERBAL NARRATIVES, C REATIVE METASEEING. 4
UNIT 22 FUNDEMENTALS OF DESI GN – INTRODUCTION TO VISU AL ELEMENTS OF
DESIGN, THEIR CHARAT ERISTIC BEHAVIOUS AN D VISUAL ATTITUDE S, TO
DISCUSS THE EXAMPLES OF ASTHETIC REPRESEN TATION OF VISUAL
ELEMENTS. TO DISCUSS THE PROBLEM OF ORGAN ISATION OF AN
OBJECTS AND GROUP OF OBJECTS OF ART AND D ESIGN. INTODUCTION
TO CONCEPT OF FORM F UNCTION AND BUEATY. 4
UNIT 23 FUNDEMENTALS OF DESI GN – PART 02 – THEORITICAL INTRODUC TION
TO GESTALTS LAW OF P ERCEPTION, PHENOMENOLGY AND
FUNDEMENTALS OF DESI GN, TO DISCUSS THE P ROBLEM FOR
SIMPLIFICATION OF FORMS AND GUIDING PRINCIPLES AND LAYOUT
DIVISION OF SPACE AND GRIDS. 4
RSACE PRACTICAL EXCERCISE PRACTICAL
HOURS
• DIFFERENT LINE PRACTICE
• HATCHING EXERCISE
• DOODLING
• PERSPECTIVE DRAWING
• OUTDOOR STUDY
• LIFE STUDY
• LIVE SKETCHES (POTRAIT & FULL FIGURE)
• STORY BOARD
• COLOR THEORY WORKSHOP
• MOVEMENT STUDY
120 HRS
REFERENCE BOOK :
• ART & FEAR : AUTHOR DAVID BAYLES
• DRAWING ON THE RIGH SIDE OF THE BRAIN :
• THE ILLUSION OF LIFE : BY FRANK THOMAS, O LLIE JOHNSTON.
REFERENCE LINKS :
• HTTP://WWW.BARTELART.COM/ARTED/WHYDRAW.H TML DRAWING ON THE RIGH
SIDE OF THE BRAIN
• HTTPS://EDUCATIONINJ APAN.WORDPRESS.COM/E DUCATION -SYSTEM -IN-JAPAN -
GENERAL/THOUGHTS -ON-ART-EDUCATION -THE-IMPORTANCE- OF-LEARNING -TO-
DRAW/
RSACE 1:3
DESIGN THINKING & PRE
PRODUCITON TEACHING
HOURS
UNITS COVERAGE OF MODULE Time
(Leatures)
UNIT 1 THE DESIGN PROCESS
IT IS DIFFICULT FOR INEXPERIENCED DIGITAL MEDIA DESIGNERS TO
START A PROJECT AND DIVE STRAIGHT INTO THE SOFTWARE WITHOUT
DEVELOPING A REALLY CLEAR IDEA OF WHAT IT IS THEY ARE INTENDING
TO CREATE. UNDERSTANDING OF DESIGN PROCESS. 2
UNIT 2 STAGE ONE – DEFINE
THE DESIGN STRUCTURE SHOULD BE ARRIVED AT AFTER A HEALTHY AND
DEBATING DISCUSSION BETWEEN, DESIGNERS, MARKETERS, BUSINESS
HEADS, AND COPYWRITERS. THE OUTPUT SHALL CLEARLY DRAW A
GUIDELINE AS TO WHAT THE CONCEPT, DESIGN, COLOR, IMAGERY, AND
CONTENT COMB INATION SHALL BE. 2
UNIT 3 STAGE TWO – IDEATE
BRAINSTORM A RANGE OF CRAZY, CREATIVE IDEAS THAT ADDRESS THE
UNMET USER NEEDS IDENTIFIED IN THE DEFINE PHASE. GIVE YOURSELF
AND YOUR TEAM TOTAL FREEDOM; NO IDEA IS TOO FAR -FETCHED AND
QUANTITY SUPERSEDES QUA LITY. 2
UNIT 4 STAGE THREE – RESEARCH,
DO NOT JUST SETTLE WITH THE GENERIC INFORMATION OR BRIEF GIVEN
BY THE CLIENT. DRILL DOWN FURTHER TO UNDERSTAND THE
PRODUCT/SERVICE AND TRY TO ACHIEVE CLEAR AND CONCLUSIVE
INFORMATION ABOUT THE DESIGN OBJECTIVE, CUSTOMER
PREFERENCES, COMPETITORS' DESIGN OUT LOOK, PRIMARY FEATURES,
KEY VALUE PROPOSITION, AND SO ON. 2
UNIT 5 TESTING
THIS PHASE IS ALSO CALLED AS 'EXECUTE’. THIS IS THE PHASE WHERE
THE FINAL SOLUTION IS TESTED ON A FULL SCALE BASIS. THE IDEA THAT
SEEMS THE BEST ACCORDING TO THE FEEDBACK OF THE CUSTOMERS 2
AND END USERS IN THE PROTOTYPE PHASE WILL BE EXECUTED. IN THIS
STEP, THE DESIGN THINKERS ARE SUPPOSED TO B E COLLABORATIVE
AND AGILE .
UNIT 6 RESEARCH – PART 02
ONCE THE BRIEF HAS BEEN DEFINED AND AGREED, A DESIGNER STARTS
TO SEARCH FOR INFORMATION THAT CAN BE FED INTO THE CREATIVE
PROCESS AT THE IDEATION STAGE. THIS RESEARCH CAN BE EITHER
QUANTITATIVE WITH HARD STATISTICAL FACTS ABOUT THE SIZE AND
COMPOSITION OF TARGET USER GROUPS, OR QUALITATIVE WITH
INFORMATION ABOUT WHAT THAT USER GROUP BUYS OR CONSUMES
AND WHAT THEIR LIFESTYLE IS LIKE
PRIMARY RESEARCH:
A PRIMARY SOURCE OF RESEARCH IS THE FEEDBACK GENERA TED
DURING THE LEARNING PHASE OF PROJECTS PREVIOUSLY UNDERTAKEN
WITH THE SAME OR SIMILAR CLIENT.
SECONDARY RESEARCH:
IT IS THE INFORMATION OBTAINED FROM GENERAL SECONDARY
SOURCES SUCH AS CONSUMER MARKET RESEARCH REPORTS. 2
UNIT 7 IDEA GENERATION
BASIC DESIGN DIRECTIONS, QUESTIONS AND ANSWERS
THEMES OF THINKING, INSPIRATIONS AND REFERENCES, PICTURE
COLLECTION
BRAINSTORMING: VALUE, INCLUSION, SKETCHING, DOODLING 2
UNIT 8 REFINEMENT 01 - THINKING IN IMAGES
FIRSTLY, IT IS IMPORTANT TO ACKNOWLEDGE THAT DESIGN THINKING IS
NOT ABOUT GRAPHIC DESIGN ONLY HOWEVER, DESIGNERS ARE OFTEN
USED TO COMMUNICATING THEIR THINKING VISUALLY AND
DRAWINGS, SKETCHES, PROTOTYPES, ETC. ARE OFTEN USED TO CONVEY
THE IDEAS CREATED WITHIN A DESIGN THINKING PROCESS.IN FACT, IDEAS WHICH ARE HARD TO EXPRESS EASILY IN WORDS ARE OFTEN
GIVEN SHAPE IN THE FORM OF VISUAL METAPHORS. DESIGN THINKING
THUS EASILY INCORPORATES ABSTRACT THOUGHT PROCESSES –
SOMETHING THAT SCIENTIFIC THINKING MAY FIND MORE CHALLENGING
TO ACCOMMODATE.
4
UNIT 9 APPROPRIATION
THE APPROPRIATION OF PRE -EXISTING OBJECTS AND IMAGES HAS BEEN
USED EXTENSIVELY IN MODERN ART AND DESIGN. PABLO PICASSO USED
OBJECTS WHICH WERE NOT PREVIOUSLY ART, SUCH AS NEWSPAPER
CLIPPINGS (NOTABLY IN HIS WORK GUITAR, NEWSPAPER, GLASS AND
BOTTLE IN 1913). THESE WORKS PLACED THE OBJECTS IN NEW
CONTEXTS WITHOUT TRANSFORMING THE ORIGINAL CONCEPT. 4
UNIT 10 HUMOR
CREATIVE THINKING IS AN INTEGRAL INGREDIENT IN THE DESIGN
PROCESS. THUS USING CREATIVE THINKING AS THE BRIDGE ONE CAN BE
LED TO SEE AN INTERRELATION BETWEEN THE HUMOR THINKING
AND DESIGN THINKING.
PERSONIFICATION
PERSONIFICATION HELPS US UNDERSTAND OUR EXPERIENCES WITH
NON -HUMAN THINGS, AGAIN BOTH TANGIBLE AND INTANGIBLE, 4
THROUGH HUMAN CHARACTERISTICS. THEY GIVE THE EXAMPLE,
“INFLATION HAS OUTWITTED THE BEST ECONOMIC MINDS IN THE
COUNTRY”.
UNIT 11 VISUAL METAPHORS
A VISUAL METAPHOR IS AN IMAGE THAT CONNOTES SOMETHING OVER
AND ABOVE ITS DENOTATIVE ASPECT. IT CARRIES AN IDEA THAT
RESONATES WITH READERS OR AUDIENCES ON MANY LEVELS. 2
UNIT 12 REFINEMENT 01 – USAGE OF COLOR
COLOUR IS A CENTRAL COMPONENT OF DESIGN, AND IT IMPACTS ENORMOUSLY ON THE AUDIENCE’S READING OF AN IMAGE. COLOURS
HAVE MEANING, MOOD, AND CULTURAL ASSOCIATIONS. A GOOD
DESIGNER CAN USE COLOUR TO MAKE HIS OR HER DESIGNS
ATTRACTIVE, BUT A GREAT ONE KNOWS HOW TO CHANNEL THE
VARIOUS LAYERS OF COLOUR TO MAKE THE DESIGNS STAND OUT AND
REALLY MAKE AN IMPACT. 2
UNIT 13 SHAPE
THROUGH COMPOSITION, A DESIGN CAN BE PLAYFUL, SERIOUS,
HUMO ROUS, OR MOVING. Y OU'LL EXPLORE THE CONCEPT OF TWO -
DIMENSIONAL SHAPE, A FOUNDATION PRINCIPLE IN DESIGN. AND HOW
SHAPES ARE DEFINED IN VARIOUS PLATFORMS AND INDUSTRY. 2
UNIT 14 TYPE FACES
YOU'LL EXPLORE THE TYPE TOOL, LEARNING HOW TO CREATE TEXT
BOXES, RESIZE TYPE, WRAP TEXT AROUND IMAGES, CREATE VERTICAL
COLUMNS OR FILL SHAPES WITH TEXT, ADJUST LEADING AND KERNING,
AND MAKE YOUR TYPE FOLLOW PATHS. JUST WATCH IT GO! YOU'LL
ALSO LEARN TO USE STYLES TO HELP AUTOMATE YOUR TEXT
FORMATTING IN LARGE DOCUMENTS. IN THE EXERCISE, YOU'LL DESIGN
THE TY PE FOR A BUS AD. 4
UNIT 15 PROTOTYPING - DEVELOPING DESIGNS
PROTOTYPES ARE OFTEN USED IN THE FINAL, TESTING PHASE IN
A DESIGN THINKING PROCESS IN ORDER TO DETERMINE HOW USERS
BEHAVE WITH THE PROTOTYPE, TO REVEAL NEW SOLUTIONS TO
PROBLEMS, OR TO FIND OUT WHETHER OR NOT THE IMPLEMENTED
SOLUTIONS HAVE BEEN SUCCESSFUL.
TYPES OF PROTOTYPE
LOW -FIDELITY PROTOTYPING
LOW -FIDELITY PROTOTYPING INVOLVES THE USE OF BASIC MODELS OR
EXAMPLES OF THE PRODUCT BEING TESTED.
HIGH -FIDELITY PROTOTYPING
HIGH -FIDELITY PROTOTYPES ARE PROTOTYPES THAT LOOK AND
OPERATE CLOSER TO THE FINISHED PRODUCT. 4
UNIT 17 IMPLEMENTATION
TRADITIONAL MEDIA HAS SKIPPED OVER SOMETHING VERY IMPORTANT
FOR QUITE SOME TIME: ENGAGING THEIR CUSTOMERS.
INSTEAD OF JUST BRINGING SOMETHING TO MARKET BECAUSE
SOMEBODY IN THE NEWSROOM OR IN ADVERTISING THOUGHT IT
WOULD BE A GREAT IDEA, THE DESIGN PROCESS FORCES YOU TO TAKE
INTO ACCOUNT YOUR CUSTOMERS’ NEEDS AND EMPATHIZE WITH THEM
BEFORE STARTING ANY FULL FLEDGED PRODUCT. IT’S NOT EASY, BUT 4
THIS KIND OF FLEXIBILITY HELPS YOU TO ADAPT TO THE WAY YOUR
CUSTOMERS CHANGE.
UNIT 18 DEFINING AND VISUALIZING CHALLENGES
DESIGN THINKING IS AN IDEOLOGY SUPPORTED BY AN
ACCOMPANYING PROCESS . A COMPLETE DEFINITION REQUIRES AN
UNDERSTANDING OF BOTH.
DEFINTION: THE DESIGN -THINKING IDEOLOGY ASSERTS THAT A HANDS -
ON, USER -CENTRIC APPROACH TO PROBLEM SOLVING CAN LEAD TO
INNOVATION, AND INNOVATION CAN LEAD TO DIFFERENTIATION AND A
COMPETITIVE ADVANTAGE.
HOW — THE PROCESS
THE DESIGN -THINKING FRAMEWORK FOLLOWS AN OVERALL FLOW OF 1)
UNDERSTAND, 2) EXPLORE, AND 3) MATERIALIZE. WITHIN THESE
LARGER BUCKETS FALL THE 6 PHASES: EMPATHIZE, DEFINE, IDEATE,
PROTOTYPE, TEST, AND IMPLEMENT. 4
UNIT 19
WHY — THE ADVANTAGE
WHY SHOULD WE INTRODUCE A NEW WAY TO THINK ABOUT PRODUCT
DEVELOPMENT? THERE ARE NUMEROUS REASONS TO ENGAGE IN
DESIGN THINKING, ENOUGH TO MERIT A STANDALONE ARTICLE, BUT IN
SUMMARY, DESIGN THINKING ACHIEVES ALL THESE ADVANTAGES AT
THE SAME TIME:
• IT IS A USER- CENTERED PROCESS THAT STARTS WITH USER
DATA, CREATES DESIGN ARTIFACTS THAT ADDRESS REAL AND
NOT IMAGINARY USER NEEDS, AND THEN TESTS THOSE
ARTIFACTS WITH REAL USERS.
• IT LEVERAGES COLLECTIVE EXPERTISE AND ESTABLISHES A
SHARED LANGUAGE AND BUY -IN AMONGS T YOUR TEAM.
• IT ENCOURAGES INNOVATION BY EXPLORING MULTIPLE
AVENUES FOR THE SAME PROBLEM. 2
UNIT 20 FLEXIBILITY
EACH PHASE IS MEANT TO BE ITERATIVE AND CYCLICAL AS OPPOSED TO
A STRICTLY LINEAR PROCESS, AS DEPICTED BELOW. IT IS COMMON TO
RETURN TO THE TWO UNDERSTANDING PHASES, EMPATHIZE AND
DEFINE, AFTER AN INITIAL PROTOTYPE IS BUILT AND TESTED. THIS IS
BECAUSE IT IS NOT UNTIL WIRE -FRAMES ARE PROTOTYPED AND YOUR
IDEAS COME TO LIFE THAT YOU ARE ABLE TO GET A TRUE
REPRESENTATION OF YOUR DESIGN. FOR THE FIRST TIME, YOU CAN
ACCURATELY ASSESS IF YOUR SOLUTION REALLY WORKS. AT THIS POINT,
LOOPING BACK TO YOUR USER RESEARCH IS IMMENSELY HELPFUL.
WHAT ELSE DO YOU NEED TO KNOW ABOUT THE USER IN ORDER TO
MAKE DECISIONS OR TO PRIORITIZE DEVELOPMENT ORDER? WHAT NEW
USE CASES HAVE ARISEN FROM THE PROTOTYPE THAT YOU DIDN’T
PREVIOUSLY RESEARCH? 4
RSACE PRACTICAL EXCERCISE PRACTICAL
HOURS
• BEST OUT OF WASTE
• THERMOCOL MODELLING
• CLAY MODELLING
• VARIOUS BRAIN STROMING EXCERCISES
• MODEL OUT OF METAL STRINGS
• SOAP CARVING
120 HRS
REFERENCE BOOK :
• CHANGE BY DESIGN: HOW DESIGN THINKING TRANSFORMS – BY TIM BROWN
• ART OF INNOVATION: LESSONS IN CREATIVITY FROM IDEO, AMERICA'S LEADING DESIGNER –
BY JONATHAN LITTM AN
• DESIGN THINKING: UNDERSTANDING HOW DESIGNERS THINK AND WORK - BY NIGEL CROSS
• HOW DESIGNERS THINK - BOOK BY BRYAN LAWSON UNIT 21 DESIGN RHETORIC
RHETORIC IS AN ART OF SHAPING SOCIETY, CHANGING THE COURSE OF
INDIVIDUALS AND COMMUNITIES, AND SETTING PATTERNS FOR NEW
ACTION”
” … ARISTOTLE’S REMARKS ON THE RISE OF RHETORIC AS AN ART OF
PERSUASION HAVE RELEVANCE TO THE ART OF DESIGN.”
“HOWEVER, IF TECHNOLOGY IS IN SOME FUNDAMENTAL SENSE
CONCERNED WITH THE PROBABLE RATHER THAN THE NECESSARY –
WITH THE CONTINGENCIES OF PRACTICAL USE AND ACTION, RATHER
THAN THE CERTAIN ITIES OF SCIENTIFIC PRINCIPLE – THEN IT BECOMES
RHETORICAL IN A STARTLING FASHION.”
“IN THIS SENSE, TECHNOLOGY IS PART OF THE BROADER ART OF DESIGN ,
AN ART OF THOUGHT AND COMMUNICATION THAT CAN INDUCE IN
OTHERS A WIDE RANGE OF BELIEFS ABOUT PRACTICAL LIFE FOR THE
INDIVIDUAL AND FOR THE GROUPS.”
“DESIGN IS AN ART OF THOUGHT DIRECTED TO PRACTICAL ACTION
THROUGH THE PERSUASIVENESS OF OBJECTS AND, THEREFORE, DESIGN
INVOLVES THE VIVID EXPRESSION OF COMPETING IDEAS ABOUT SOCIAL
LIFE.” 4
UNIT 22 INTRODUCTION TO SERVICE DESIGN
A METHOD FOR DESIGNING EXPERIENCES THAT REACH PEOPLE
THROUGH MANY DIFFERENT TOUCH POINTS AND THAT HAPPEN
OVERTIME.
SERVICE DESIGN CAN BE BOTH TANGIBLE AND INTANGIBLE. IT CAN
INVOLVE ARTIFACTS AND OTHER THINGS INCLUDING COMMUNIC ATION,
ENVIRONMENT AND BEHAVIORS. WHICHEVER FORM IT TAKES IT MUST
BE CONSISTENT, EASY TO USE, AND HAVE STRATEGIC ALLIANCE. WITH
DESIGN RESEARCH, DESIGNS ARE MORE MEANINGFUL AND EFFECTIVE
BECAUSE THEY ARE GROUNDED IN A REAL -WORLD CONTEXT. THE GOAL
OF THIS COURSE IS TO INTRODUCE THE PROCESS OF DESIGN RESEARCH
AND TO HELP DESIGNERS UNDERSTAND HOW CRITICAL IT IS TO BEING
ABLE TO DEVELOP GREAT DESIGNS. 4
REFERENCE LINKS :
• HTTP://WWW.SCIENCEDI RECT.COM/SCIENCE/ART ICLE/PII/S1877042811029648
• HTTP://EDORIGAMI.WIKISPACES.COM/BLOOM%27 S+DIGITAL+TAXONOMY
Jenkins, H., Clinton, K., Purushotma, R., Robinson, A. J., & Weigel, M. (2006). Confronting the
challenges of participatory culture: Media education for the 21st century . MacArthur
Foundation. Retrieved December 20, 2011 from http://www.digitallearning.m acfound.org/
RSACE 1:4 VISUAL & VERBAL STOR Y TELLING TEACHING
HOURS
UNITS COVERAGE OF MODULE Time
(Leatures)
UNIT 1 CAN YOU TELL A STORY – INTRODUCTION TO STOR Y TELLING. TO
BEGIN WITH A SMALL S TORY TELLING WORKSHOP (SELF
INTRODUCTION IN A CR EATIVE WAY) STORY TELLING - NARRATION &
PITCHING 2
UNIT 2 THE ART OF OBSERVATION – AND WRITE 5 DIFFEREN T CHARCTERS
YOU COME ACROSS. (TH E CHARACTER INTRODUC TION, THE
CHARACTERIZATION, AND OULOOK) 2
UNIT 3 SPONTANEOUS CONVERSA TIONS, WATCHING MOVI E AND
NARRATING A SCENE, DEBATE DISCUSSION AM ONG THE STUDENTS
ROLE OF DRAMA IN STORY TELLING 2
UNIT 4 STORY TELLING THROUGH CAMERA : SIMPLE IMPROVISATION AND
THEME BASED ON WHAT PEOPLE SEE COMMONLY AROUND
SURROUNDING AREAS 2
UNIT 5 HOW TO CREATE DIFFER ENT SOUNDS AND MOVEM ENTS TO MAKE
YOUR STORY INTERESTI NG. 2
UNIT 6 EXPRESSING VOCALLY B Y USING SIMPLE INTON ATIONS AND
INFLECTION, VOWELS, CONSONANTS, SYLLABLE S AND GIBBERISH
SOUNDS 2
UNIT 7 LISTENING AND TELLIN G STORIES TO EACH OT HER; CREATING SOUNDS
FIRST ONLY WITH CONS ONANTS THEN ONLY WITH VOWELS AND
FINALL W ITH BOTH. 2
UNIT 8 STORY TELLING THROUGH USE OF SOUND & MUSIC
:MIMICKING SOUNDS OF ANIMALS,OF VENDORS, MACHANICAL AND
TRAFFIC SOUNDS AND THE NATURAL ELEMENTS. 2
UNIT 9 HOW TO NARRATE STORIES COMMONLY ASSOCIAT ED WITH
DIFFERENT REGIONS IN OUR COUNTRY. 2
UNIT 10 STORY TELLING IN CINEMA : HOW TO VISUALLY NARR ATE A
INCIDENT WHICH YOU H AVE EXPERIENCE IN YO UR LIFE. 2
UNIT 11 OUTDOOR ACTIVITY – BRINGING IN THE SOUNDS HEARD IN THE
ENVIRONMENT. 2
UNIT 12 THE ENACTMENT – HOW TO MOVE LIKE AN ANIMAL, SOUND L IKE AN
ANIMAL AND HOW TO CR EATE A STORIES USING THESE SOUNDS AND
MOVEMENTS. 2
UNIT 13 DEVELOPING SENSORY A BILITY – UNDERSTANDING BASIC
FUNCTIONING OF DIFFE RENT BODY PARTS AND USING THESE AS
COMMUNICATING TOOLS. 2
UNIT 14 USING OUR OWN BODY P ARTS LIKE HAIR, CHEEKS, ELBOW, KNUCKLES
AND LIPS TO PRODUCE DIFFERENT SOUNDS THR OUGH CLAPPING
TAPPING AND STAMPING . 2
UNIT 15 FINDING THE STORIES FROM DIFFERENT MEDIU MS AND NARRATE A
STORY, COUNT THE NUM BER OF CHARACTERS, A ND ENACT THEM. 2
UNIT 17 STORY TELLING AND ST RUTURED ARTICULATION – WHAT KINDS OF
STORIES INTEREST YOU ? DO YOU LIKE NARRAT ING STORIES OR DO
YOU LIKE LISTNING TO THEM? WHAT ATT RACTS YOU MOST ABOUT
THE STORY TELLING. 2
UNIT 18 STORY TELLING THROUGH EDITING HOW CAN YOU MAKE TEL LING A
STORY INTERESING, CA N YOU FEEL YOUR VOIC E MOVING UP AND
DOWN GOING SOMETIMES HIGH AND SOMETIMES L OW? 2
UNIT 19 VERBAL EXPRESSION, ENABLING SIMPLE USE O F INTONATION AND
INFLECTION IN SPEECH . 2
UNIT 20 DESCIRBING OUT OF RO UTINE ACTIVITIES AND EXPERIENCES IN ORDER
TO CREATE STORIES. 2
UNIT 22 INVENTING GAMES FOR STORY BUILDING SUCH AS BEGGINNING A
DESCRIPTION OF A N INCIDENT WITH PHRA SE SUCH AS “DO YOU K NOW
WHAT HAPPEN ON THAT DAY…? 2
UNIT 23 DEVELOPING THE STUDENT’S IMAGINATION BY CREATING AN
INCIDENT THROUGH USING A PHRASE SUCH AS WHAT WOULD
HAPPEN IF I WERE TO HAVE WINGS / IF WE H AD TO COMMUNICATE
ONLY THOUGH G ESTURES / IF IN HAD TO LIVE UNDER WATER….ETC
THEY COULD ENACT WHA T THEY IMAGINE. 2
RSACE PRACTICAL EXCERCISE PRACTICAL
HOURS
• STORY TELLING WORKSHOP
• STORY TELLING USING ONLY VISUALS
• STORY TELLING USING ONLY SOUNDS
90 HRS
READING REFERENCE :
• THE ART OF STORYTELLING: EASY STEPS TO PRESENTING AN UNFORGETTABLE STORY
• THE STORY FACTOR: INSPIRATION, INFLUENCE, AND PERSUASION THROUGH THE ART OF
STORYTELLING
• THE LEADER′S GUIDE TO STORYTELLING: MASTERING THE ART AND DISCIPLINE OF BUSINESS
NARRATIVE (J -B US NON -FRANCHISE LEADERSHIP)
RSACE 1:5 FUNDEMENTALS OF FILM MAKING TEACHING
HOURS 45
UNITS COVERAGE OF MODULE Time
(Leatures)
UNIT 1 INTRODUCTION TO CINE MA : THE HISTORY OF INDIAN CINEMA AND
WORLD CINEMA, THE FI LM MAKING FUNDEMENTA LS, WHAT IS A ROLE
OF A FILM MAKER, THE FI LM INDUSTRY IN INDIA , THE ART AND
SCIENCE OF FILM MAKING, THE TECHNOLOGY A ND EQUIPMENTS 2
UNIT 2 INTRODUCTION TO SCRIPT DEVELOPMENT:HOW TO WRITE A GOOD
SCRIPT, INSPIRATION TO A STORY,RESEARCH, COMMERCIAL STORY
TELLING,HOW TO WORK ON A PROJECT,TIME MANAG EMENT, 4
UNIT 3 SCRIPT WRITING PART -2:RESEARCH MATERIAL FOR SCRIPT
DEVELOPMENT,INTERTES ING JOURNALS; INSPIR ATIONAL MUSIC: HOW
TO LET YOUR MIND FRE E, READY TO STRIKE I DEAS WHEN THEY
HIT;SURF INTERNET; R ESEARCH BY STUDING T HE TIME PER IOD;
CHARACTERS, CUSTOMS, FAHIONS, TECHNOLOGIE S, VALUES OF THE
WORLD. 4
UNIT 4 SETTING UP SPACE: HO W TO MAKE YOUR SELF ORGANISED, FIND A
QUIET PLACE, AMBIENC E WHICH WILL MAKE YO U INSPIRE, AVOID
NEEDLESS DISTRACTION , WRITING IS A ART OF FOCUS, BE PREPARED
WITH NOTE PAD; DEVEL OPING A PREMISE: THE SET IS TO DEVELOP
STORY STRUCTURE FOR THE MOVIE. FICTION O R NON
FICTION;GENRE;FORMAT;PLOT TYPE. 4
UNIT 5 SCRIPT DEVELOPMENT: PART 3:WORKING WITH THE WRITER,;STORY STRUCTURE; 2
UNIT 6 PREPRODUCTION: BREAK ING DOWN THE SRCIPT; DETERMINING THE
BUDGET; SECURING THE FINANCING, SCOUTING LOCATIONS, CASTING;
HIRING THE CREW; SEC URING EQUIPMENT; SCH EDULING THE SHOOT 4
DATES.
UNIT 7 SETTING UP AN OFFICE ; ESTABLISH HOME BASE WHERE PRODUCTION
EFFORTS CAN BE COORDIN ATED. RESOURCES FOR THE SET UP; LEGAL
CONSULTATIONS; 4
UNIT 8 BUDGETING: CHOOSE A BUSINESS FORMULA; PL AN; FORM A
COMPANY;
GETTING THE APPROPRI EATE QUOTE FOR EQUIP MENTS, LOCATIONS,
PERSONNEL, CAST AND CREW, SHAPE THE BUDG ET; WORKING WI TH
THE LINE PRODUCER; TIPS TO KEEP BUDGET LOW. 4
UNIT 9 SCHEDULING: LINING THE SCRIPT; SCENE BREAKDOWN
SHEETS;DETERMINE THE NUMBER OF SHOOTING D AYS; MAKING THE
DAILY SCHEDULE;FINAL IZING THE SCHEDULE;P RODUCTION PROCESS 4
UNIT 10 LOCATIONS: INTRODUCTION TO LOCATION DESI GN,FINDING
LOCATION; SECURING A LOCATION COMMUNITY R ELATIONS; FILM
COMMISSIONS ; DURING PRODUCTION
; 2
UNIT 11 FILM PRODUCTION FUNDAMENTALS : PRODUCTION DESIGN:
INTRODUCTION TO PROD UCTION DESIGN; PROPS ; WARDROBE;
BUILDING SETS; SET DR ESSING; CREATING A TIME PERIOD. A DAY ON
SETS; ORGANIZATION S HOTS 2
UNIT 12 DIRECTOR’S ROLE : DIRECTING DURING P RE-PRODUCTION, DURING
PRODUCTION, ACTIVITI ES, BREAK DOWN THE S CRIPT TO DETERMINE
STORY AND CHARACTER, STORY BOARD EACH CHARACTER ANGLE,
WORKS WITH ACTORS TO HELP THEM TO UNDERST AND THEIR
CHARACTERS. DETERMI NING THE COVERAGE: B LOCK THE ENTIRE
SCENE FOR THE CAST A ND CREW,. REHERSAL -BLOCK SCENE WIH EACH
ACTOR. WORK WITH DEP ARTMENT HEADS SO TH EY HAVE A CLEAR
UNDERSTAND OF THE VISION 4
UNIT 13 CINEMOTOGRAPHY :INTRODUCTION: WORKI NG WITH DOP, SHOOTIN G
STYLES,THE CAMERA, C HOOSING LENS, FIVE R INGS OF POWER, LENS
CARE, CAMERA SETTING S, WORKING WITH THE FRAME, RULES OF
COMPOSITION, SHOT TYPES, WORKING WITH A PRODUCTION MONITOR, LIGHTING, GETTING TH E FILM LOOK, SHOOTIN G THE SCENE,
KEEPING ORGANISED. 4
UNIT 14 THE DIRECTOR OF PHOT OGRAPHY : HIRING THE DIRECTOR OF
PHOTOGRAPHY; CRAFTIN G THE LOOK; 4
UNIT 15 CAMERA : THE CAMERA: THE CA MERA IS THE EXTENSIO N OF THE
AUDIENCE; CHOOSING TH E LENSES, THE FIVE RINGS OF LENS, FOCUS,
FOCAL LENGTH, EXPOSU RE, WHITE BALANCE. 4
UNIT 17 WORKING WITH THE PRODUCTION MONITOR: EXP OSURE ON THE SET,
WORKING WITH PRODUCT ION CREW & CAST, 2
UNIT 18 LIGHTING: THE QUALIT Y OF LIGHTS, LIGHT M ETER, THREE POINTS
LIGHT, WORKING WITH SHADOWS, LIGHTING SC ENE 2
UNIT 19 LIGHTING OUTSIDE: OV ERHEAD AND REFLECTOR S, PROPER CONTRAST,
LOW BUDGET OPTIONS 2
UNIT 20 AUDIO RECORDINGS: IN TRODUCTION TO AUDIO RECORDIN G;
PREPPING AUDIO;ROLE OF THE SOUND TEAM ON THE SET BEFORE
ACTION; RECORDING TO THE CAMERA,SYNC SOUN D;WIRELESS
MICROPHONE SYSTEMS.A MBIENT SOUND;WORKING WITH EXTRAS.
TIPS FOR RECORDING G OOD ON -SET AUDIO. 4
UNIT 21 INTRODUCTION TO EDITING: THE EDITING FUNDEMENTALS, THE
CRETIVE EDITING, THE SOFTWARES USED FOR E DITING, ANALOG AND
DIGITAL EDITING, THE EDITOR’S ROLE IN A F ILM. PRINCIPLES OF
EDITING. 2
UNIT 22 INTRODUCTION TO SOUN D: THE RE RECORDING PROCESS, FOLEY, THE
SOUND DESIGN. VARIOU S TECHNOLOGY AND CREATIVE PROCESS
INVOLVED IN SOUND DE SIGN. 2
RSACE PRACTICAL EXCERCISE PRACTICAL
HOURS
• SINGLE SHORT FILM
• PROCESS FILM
• VISUAL CONTINUITY FILM
• OBSERVATON FILM
• SHORT FILM ( 2 TO 3 MINUTES)
120 HRS
READING BOOKS
1.THE COMPLETE FILM PRODUCTION HANDBOOK BY EVE LIGHT HONTHANER, 2001, FOCAL
PRESS.
2.CONTRACTS FOR THE FILM AND TELEVISION INDUSTRY BY MARK LITWAK, 1994, SILMAN –JAMES
3.THE POWER FILMMAKING KIT -JASON J.TOMARIC
4.THE FILMMAKER’S HANDBOOK: A COMPREHENSIVE GUIDE FOR THE DIGITAL AGE (2013 EDITION)
BY STEVEN ASCHER AND EDWARD PINCUS
5.DIRECTING: FILM TECHNIQUES & AESTHETICS (FIFTH EDITION, 2013) BY MICHAEL RABINGER AND
MICK HURBIS -CHERRIER
READING LINKS :
http://guides.lib.berkeley.edu/c.php?g=4407&p=15594
SECOND S EMEST ER
INTRODUCTION
In this semester the focus is given more on personality Development and project
management, you will learn in -depth information about personalities. You will gain a better
understanding about those around you and also more about who you are and how you got
to be that way.
This course starts with a ba sic introduction of personality, It then goes on to look at theories
of personality development, and the main influences on personality development. You will
also delve into looking at basic personality traits, including values, beliefs, and nature versus nurture. You will learn to improve your communication skills and how you can use that
information in career choices and to make changes. You will also learn fundamentals of film
making and motion graphics in this semester, which will help you to make meaningful
corporate videos and excellent presentations and how to put all the information together to
use it to your personal or career advantage.
With this course you can literally stop wondering about why you or someone you know
behaves a particular way. It is essentials because in t he media and entertainment industry
you may have to work with celebrity to labours. It is important for you to understand each
one’s personality to work efficiently and effectively .
This semester is especially helpful for those who are striving to learn m ore about who they
are, which direction their life should take, to learn more about others around them, overall
it help you to work professionally, with right attitude and as a good human being.
Objective :
The objective of thissemester is bring about per sonality development with regard to the
different behavioural dimensions that have far reaching significance in the direction of
organisational effectiveness. This semester helps students to improve their management skills. The students will have a better grip over the understanding of project management,
working as a team, working within the team, leadership skills. This semester will help them
to acquire the skills and ability to grapple with complex changes in the environment, technology and processes.
RSACE 1:6 COMMUNICATION - 02 TEACHING
HOURS
UNITS COVERAGE OF MODULE Time
(Leatures)
UNIT 1 PUBLIC SPEAKING : ACQUIRING CONFIDENCE BEFORE AN AUDIENCE:
CAUSE OF SELF-CONSCIOUSNESS, THE STRESS OF UNUSUAL
EXCITEMENT, OVER COMING STAGE FEAR. 2
UNIT 2 THE SIN OF MONOTONY , WHY IS MONOTONY ONE OF THE WORST AS
WELL AS ONE OF THE MOST COMMON FAULT OF THE SPEAKERS: HOW
TO GET BACK IN NATURE WITH THE POWER OF VARIETY. 2
UNIT 3 EFFICIENCY THROUGH EMPHASIS AND SUBORDINATION , : BE
ABSORBED TO YOUR SUBJECT, ANTICIPATE THE PLUNGE WITH
ACCELERATION.
EFFICIENCY THROUGH CHANGE OF PITCH, EFFICIENCY THROUGH CHANGE OF PACE, PAUSE AND POWER, EFFICIENCY THROUGH
INFLECTION. 4
UNIT 4 PUBLIC SPEAKING : VOICE MODULATION: VOICE CHARM,
DISTINCTNESS AND PRECISION OF UTTERANCE, MULTIPLY POWER OF SPEECH BY INCREASING THE TOOLS: LEARN TO GIVE YOU A
CONCEPTION OF THESE INSTRUMENTS, AND PRACTICAL HELP IN
LEARNING TO USE THEM. 4
UNIT 5 FACING THE AUDIENCE : WHAT EFFECTS DOES THE CONFIDENCE ON
THE PART OF SPEAKER HAVE ON THE AUDIENCE, SUCCESS OR FAILURE LIES IN THE MENTAL ATTITUDE EVEN THAN MENTAL CAPACITY-
ACQUIRE THE CONFIDENT ATTITUDE. 4
UNIT 6 PRINCIPLES OF PUBLIC SPEAKING : HOW DO THE PRACTICAL
PRINCIPLES ARE ADOPTED BY THE SPEAKERS AND ACTORS -EITHER
NATURALLY OR UNCONSCIOUSLY- LEARNING TO BE NATURAL AND
IMPROVING ON YOUR GIFTS UNTIL YOU APPROACH THE IDEAL LEVEL. 4
UNIT 7 THE ART OF LISTENING -ADVANTAGES OF ACTIVE LISTENING, HOW TO
DEVELOP YOUR LISTENING SKILLS, ELEME NTS OF LISTENING,
LISTENING BUILDS BETTER FOUNDATION FOR PERSONAL &
PROFESSIONAL SUCCESS, IT REQUIRE INTENSE CONCENTRATION AND
GOOD DEAL OF MENTAL ENERGY. 4
UNIT 8 HOW TO ACHIEVE HIGHLY EFFECTIVE LISTENING SKILLS:
EVALUATE: YOU JUDGE WHAT SOMEONE IS SAYING AND AGREE OR
DISAGREE. PROBE: YOU ASK QUESTIONS FROM YOUR OWN FRAME OF
REFERENCE. ADVISE: YOU GIVE COUNSEL, ADVICE, AND SOLUTIONS TO
PROBLEMS. INTERPRET: YOU ANALYZE OTHERS' MOTIVES AND
BEHAVIORS BASED ON YOUR OWN EXPERIEN CES. 4
UNIT 9 ENGLISH GRAMMER : ANALYSIS OF SYSTEM AND STRUCTURE OF
LANGUAGE. INTRODUCTION TO TENSES, ACTIVE AND PASSIVE VOICE, SENTENCES: SIMPLE, COMPOUND, COMPLEX, ANALYSIS OF COMPLEX
SENTENCES, 4
ANALYSIS OF COMPOUND SENTENCES.
UNIT 10 ENGLISH GRAMMER:TRANSFORMATION OF SENTENCES :SENTENCES
CONTAINING ADVERBS,, INTERCHANGE OF DEGREE OF COMPARISON,
INTERCHANGE OF ACTIVE AND PASSIVE VOICE, INTERCHANGE OF
AFFIRMATIVE AND NEGATIVE SENTENCES, INTERCHANGE OF
INTERROGATIVE AND ASSERTIVE SENTENCES. 4
UNIT 11 ENGLISH GRAMMER : SIMILES: A SIMILE IS A FIGURE OF SPEECH THAT
COMPARES TWO THINGS OR PERSONS WHICH ARE NOT SIMILAR. METAPHOR: A FIGURE OF SPEECH IN WHICH A WORD OR PHRASE IS
APPLIED TO AN OBJECT TO WHICH IT IS NOT LITERALLY APPLICABLE. 4
UNIT 12 IDIOMS : EVERY LANGUAGE HAS ITS OWN COLLECTION OF WISE
SAYINGS -THEY TRANSFER UNDERLYING IDEAS -THESE ARE CALLED
“IDIOMS” A GROUP OF WORDS ESTABLISHED BY USAGE AS HAVING A
MEANING NOT DEDUCIBLE FROM THOSE OF THE INDIVIDUAL WORDS. 2
UNIT 13 PUNCTUATIONS : EXERCISES ON PUNCTUATIONS, PUNCTUATION
WORKSHEETS, WHEN TO USE SEMICOLON, COLON, PARENTHESIS,
CORRECT USE OF HYPHENS. 2
UNIT 14 HOW TO BUILD YOUR VOCABULARY: ANTONYMS, SYNONYMS, WORD
POWER EXERCISES, VOCABULARY BUILDING EXERCISE, WORD ORIGIN
,ANTHROPOLOGY: STUDY OF COMPARATIVE STUDY OF CULTURES AND
ITS DEVELOPMENT. 2
UNIT 15 LETTER WRITING II :: BUSINESS LETTERS, ORGANIZATIONAL LETTERS,
LETTER OF INTERNATIONAL CORRESPONDENCE. 2
UNIT 17 WRITTEN COMMUNICATION AND SOCIAL MEDIA :
EVOLUTION OF BRAND COMMUNICAT ION, HOW MEDIA
COMMUNICATION EVOLVED OVER THE YEARS, TRADITIONAL MEDIA
OUTLETS -TELEVISION, RADIO, PRINT ARE ONE WAY COMMUNICATION.
HOW PLATFORMS LINE ONLINE DISCUSSIONS OFFER FEEDBACK AND USE TO IMPROVE THEIR PRODUCTS AND SERVICES. SOCIAL MEDIA
FALLS INTO TRANSACTIONAL MODEL. 4
UNIT 18 COMMUNICATION IN ORGANIZATION II : SOCIAL MEDIA MARKETING
COMMUNICATION: BLOG WRITING: HOW TO CREATE A BLOG, HOW
TO CHOOSE THE RIGHT TYPE OF BLOG, ARE YOU PASSIONATE
BLOGGER -EXERCISES, TYPES OF BLOG. - HOW TO NAIL YOUR BLOG
POST- PASSION ,KNOWLEDGE AND EXPERIENCE KEY TO BLOGGING.
4
UNIT 19 BUSINESS CORRESPONDENCE : STRUCTURE OF BUSINESS LETTERS:
LEARNING OBJECTIVES, STRUCTURE: BUSINESS LETTER, THE TONE OF
THE LETTER WRITING: FOR SHORTNESS, SIMPLICITY ,STRENGTH,
CLARITY.THINGS TO AVOID, THINGS TO AVOID, RECOMMENDATIONS. 2
UNIT 20 BUSINESS LETTERS : FORM OF BUSINESS LETTERS BLOCK FORM, THE
SEMI BLOCK FORM, SIMPLIFIED LETTER OR NOMA’S LETTER COMPLETE BLOCK FORM, HANGING INDENTED FORM,
SELF EXAMINATION QUESTION PAPERS. 2
UNIT 21 BUSINESS LETTERS: OFFICERS AND QUOTATIONS( REPLIES TO
INQUIRIES): OBJECTIVES, STRUCTURE, PO INTS TO REMEMBER 2
UNIT 22 LETTERS -GRANTING AND REFUSING REQUESTS : IT SHOULD NOT BE
WRITTEN IN ROUTINE AND DULL FASHION -ENCLOSURES -CATALOGUES,
PAMPH LETS ETC -STATING THE ACTION TAKEN, MAKING SPECIFIC
REFERENCE TO THE ENCLOSURES, MOTIVATING ACTION OR BUILDING
GOODWILL. 2
UNIT 23 MAKING THE OFFER: OBJECTIVE: OPEN UP NEW BUSINESS
CONNECTIONS OF TO PLACE ON A FIRM, FIRM BASE ON ALREADY
EXISTING FEEBLE CONNECTION. , CODE OF HONESTY, CONFIDENCE
THROUGH THE MEDIUM OF CORRESPONDENCE. 2
UNIT 24 FIRM OFFER – FIRM OFFER OR AN OFFER WITHOUT
ENGAGEMENT,THIS OFFER IS MADE SUBJECT TO THE STOCK BEING UNSOLD.SOME TYPICAL OPENING SENTENCES AND SOME TYPICAL
CLOSING SENTENCES. MODEL LETTERS, EXERCISES 2
UNIT 25 ORDERS: LEARNING OBJECTIVES: TO UNDERSTAND THE MEANING OF
ORDERS AND ITS EXECUTION, TO UNDERSTAND THE CANCELLATION OF
THE ORDER AND WHEN IT HAS BEEN OCCURRED, AND HOW TO WRITE
A ORDER LETTER? MODEL LETTERS, AND EXERCISES 2
UNIT 26 INTRODUCTION TO GIVING A ORDER LETTER, GENERAL HINT S:
GENERAL HINTS FOR DRAFTING AN ORDER, CONFIRMATION /ACKNOWLEDGMENT OF THE RECEIPT OF ORDER, LETTERS ADVISING
THE EXECUTION OF ORDERS, LETTER ADDRESSING INABILITY TO
EXECUTE ORDER, ACKNOWLEDGMENT OF RECEIPT OF GOODS AND
MAKING PAYMENT, CANCELLATION OF THE ORDER. 4
UNIT 27 COMPLAINTS AND ADJUSTMENTS : OBJECTIVES: TO UNDERSTAND
COMPLAINTS, ADJUSTMENT AND ITS CATEGORIES, TO WRITE A MODEL
LETTER FOR COMPLAINTS AND ADJUSTMENTS HAVE PROVIDED, HOW
TO STRUCTURE THE LETTERS: NATURE OF COMPLAINT, REPLY TO
LETTERS O F COMPLAINTS, MODEL LETTERS 4
UNIT 28 TRADE REFERENCES OR STATUS INQUIRES: OBJECTIVES OF THE
LETTER: TO UNDERSTAND THE TRADE REFERENCE FOR WHICH HERE
HAVE GIVEN IMPORTANT POINTS REGARDING THE PROSPECTIVE
CUSTOMER, TO KNOW THE POINTS TO BE INCORPORATED AND TO
REMEMBER WHILE DRAFTING REPLIES TO STATUS INQUIRES.TO WRITE
THE MODEL LETTERS FOR SELF ASSESSMENT. STRUCTURE OF THE
LETTER: POINTS TO BE INCORPORARATED IN A STATUS INQUIRY
LETTERS, RIGHTS AND RESPONSIBILITIES OF THOSE GIVING CREDIT
INFORMATION, POINTS T O REMEMBER WHILE DRAFTING REPLIES TO
STATUS INQUIRIES , MODEL LETTERS. 4
RSACE PRACTICAL EXCERCISE PRACTICAL
HOURS
• PUBLIC SPEAKING, WRITTEN COMMUNICATION,
SOCIAL MEDIA, CORRESPONDENCE
• PROFESSIONALISM, TEAM BUILDING &
LEADERSHIP DRAMATIC, NON DRAMATIC,
STORY, PLOT, SUB- PLOT, 3 ACT STRUCTURE
• WRITING - FROM CONCEPT TO SCENE
• PREPARING FOR END -OF-TERM PROJECT 90 HRS
READING BOOKS:
1. DEVELOPING COMMUNICATION SKILLS
2. ART OF PUBLIC SPEAKING: DALE CARNEGIE J.BERG ESENWEIN
3. ADAIR, JOHN. EFFECTIVE COMMUNICATION LONDON: PAN MACMILLAN LTD., 2003.
4. AJMANI, J. C. GOOD ENGLISH: GETTING IT RIGHT NEW DELHI: RUPA PUBICATIONS, 2012.
5. AMOS, JULIEANN. HANDLING TOUGH JOB INTERVIEWS MUMBAI: JAICO PUBLISHING, 2004.
6. BONET, DIANA THE BUSINESS OF LISTENING: THIRD EDITIONNEW DELHI: VIVA BOOKS, 2004.
7. BOVEE, COURTLAND L, JOHN V. THILL & BARBARA E. SCHATZMAN.
8. BUSINESS COMMUNICATION TODAY: TENTH EDITION. NEW JERSEY: PRENTICE HALL, 201
9. BROWN, MICHELE & GYLES BRANDRETH. HOW TO INTERVIEW AND BE
INTERVIEWEDLONDON: SHELDON PRESS, 1994.
REFERENCE LINKS:
10. HTTP://WWW.MAXIMUMADVANTAGE.COM/ADVANTAGES -OF-EFFECTIVE -
COMMUNICATION.HTML
11. HTTP://NETWORKETIQUETTE.NET/
12. HTTPS://PUBLIC.WSU.EDU/~BRIANS/ERRORS/
13. HTTP://USERS3.EV1.NET/~PAMTHOMPSON/BODY_LANGUAGE.HTM
14. HTTP://WWW.ALBION.COM/NETIQUETTE/CORERULES.HTML
15. HTTP://WWW.BBC.CO.UK/WORLDSERVICE/LEARNINGENGLISH/RADIO/SPECIA
LS/1535_QUESTIONANSWER/PAGE15.SHTML
16. HTTP://WWW.COLOSTATE.EDU/DEPTS/SPEECH/RCCS/THEORY44.HTML
17. HTTP://WWW.DAILYWRITINGTIPS.COM/
RSACE 1:7 CHARACTER DEVELOPMEN T &
BEHAVIORAL SCIENCE TEACHING
HOURS
UNITS COVERAGE OF MODULE Time
(Leatures)
UNIT 1 DEVELOPING ONESELF - GETTING ONE'S DESIGN -DEALING WITH
ISSUES, COMPLAINTS, ANGER, LOW SELF -ESTEEM, UNWORKABILITY
4
UNIT 2 LEARNING TO BE & LEARNING TO BE WITH OTHER PEOPLE (UNESCO) -
PEOPLE WITH GREAT COMMUNICATION SKILLS TEND TO HAVE A
BETTER AND IMPRESSIVE PERSONALITY - EFFECTIVE COMMUNICATION
SKILLS STREN GTHEN THE BOND AMONG INDIVIDUALS 2
UNIT 3 HOW TO IMPROVE ONE’S PERSONALITY WITH THE HELP OF GOO D
COMMUNICATION? – BE A BETTER LISTENER – READ MORE AND
EXPAND YOUR INTERESTS 2
UNIT 4 STUDY OF HUMAN BEHAVIOUR - PSYCHOLOGY & BEHAVIOURAL
SCIENCE IN TODAY’S WORLD - BEHAVIOURAL DEVELOPMENT GROOMS
AN INDIVIDUAL AND HELPS HIM MAKE A MARK OF HIS/HER OWN -
PERSONALITY DEVELOPMENT GOES A LONG WAY IN REDUCING STRESS
AND CONFLICTS . 2
UNIT 5 PRONOUNCIATION OF WO RDS AND PERSONALITY DEVELOPMENT -
SPEECH AND PERSONALITY DEVELOPMENT ARE ONE OF THE MOST
IMPORTANT ASPECTS OF AN INDIVIDUAL ESPECIALLY DURING HIS/HER
FORMATIVE YEARS. DEVELOPING AND ENHANCING OUR
COMMUNICATION AND SPEECH HELPS US TO BE BETTER PRESENTERS OF OUR IDEAS. AT THE SAME TIME, PERS ONALITY DEVELOPMENT IS A
MEANS AND A METHOD THAT HELPS US TO DEVELOP OUR PERSONA
LITY SUCH THAT WE CAN BECOME BETTER, SMARTER AND BRIGHTER
INDIVIDUALS. 4
UNIT 6 HOW TO OVERCOME SHYN ESS AND GAIN MORE CO NFIDENCEFOR
COMMUNICATION - BEING SHY OR FEELING ANXIE TY IS NOT A DISEASE
OR SIGN OF ANY DISABILITY. IT IS ONLY THAT PERHAPS YOU TEND TO
TAKE YOUR STRENGTHS FOR GRANTED AND FOCUS TOO MUCH ON
YOUR WEAKNESSES. THE SECOND GOOD NEWS IS THAT THERE IS
ABSOLUTELY NO NEED TO UNDERGO A MAJOR CHANGE. ALL YOU
NEED IS SO ME TWEAKING BY MAKING SOME IMPORTANT AND USEFUL
ADDITIONS TO YOUR THINKING, STYLE, HABITS AND APPEARANCES. 4
UNIT 7 HOW CAN YOU IMPROVE YOUR PERSONALITY AT YOUR
WORKPLACE - PERSONALITY DEVELOPMENT PLAYS AN IMPERATIVE
ROLE AT WORKPLACE AS IT DECIDES THE WAY AN INDIVIDUAL
INTERACTS WITH HIS FELLOW WORKERS AND RESPONDS TO VARIOUS
SITUATIONS - PERSONALITY DEVELOPMENT CLASSES AT THE
WORKPLACE EXTRACT THE BEST OUT OF INDIVIDUALS AND
ENCOURAGE THEM TO DELIVER THEIR LEVEL BEST . 4
UNIT 8 MOTIVATION AND TECHNIQUE FOR A POSITIVE LIFE - START WITH
WRITING DOWN YOUR ACCOMPLISHMENT FEELINGS. BY THIS, IT
MEANS THAT IT’S IMPORTANT FOR ALL OF US TO WRITE DOWN WHAT
WE WANT TO ACHIEVE, BECAUSE AS THEY SAY WHEN IN WRITING ITS
EASIER FOR ANYONE TO FOLLOW IT OR STRIV E TO ATTAIN IT. IN
TERMS OF PHYSICAL ACTIVITIES OR OTHERS, WRITING DOWN OUR
GOAL MAKES ONE CLEAR AND FOCUSED. THESE FEELING CAN BE
SUMMED UP AS FEELING HEALTHIER, MAKING A PRODUCTIVE DAY
AND FEELING HAPPIER AND PUSHING ONESELF. THIS ALWAYS WORKS. 4
UNIT 9 STAGESOFMOTIVATION : THE FIRST TYPE OF MOTIVATION IS BASED
ON AN EMOTIONAL FEELING. THE EMOTION THAT WE ARE REFERRING
TO COULD BE OF A POSITIVE OR NEGATIVE NATURE. IT IS SOMETHING
WHICH KICK -STARTS OUR DESIRE. WHEN YOU READ SOMEONE’S
SUCCESS STORY OR SOMET HING THAT YOU ARE PASSIONATE ABOUT IT
FUELS YOUR MIND. ALSO THERE ARE TIMES WHEN PEOPLE GET 4
SUDDENLY MOTIVATED ON HEARING SOME BAD NEWS. BOTH THE
POSITIVE AND NEGATIVE TYPES ARE VERY TEMPORARY. THE INITIAL
BURST OF ENERGY VANISHES AND IS NOT SUSTAINED BY THE
INSPIRATION OR WAKE UP CALL.
UNIT 10 WHAT ARE COMPONENTS OF PERSONALITY – THE COMPONENTS OF
PERSONALITY ARE HABI TS, ATTITUDES, INTER EST, VALUES, PRINCIP LES
AND INTELLECTUAL CAP ACITY 2
UNIT 11 STEPS TO IMPROVE YOU R PERSONALITY – BE A BETTER LISTENER,
READ MORE AND EXPAND YOUR INTEREST, BE A GOOD
CONVERSATIONALIST 2
UNIT 12 STUDY OF CHARACTERS FROM EPICS, LITERATURE & CINEMA 2
UNIT 13 IMPORTANCE OF CHARAC TER IN PERSONALITY D EVELOPMENT -
CHARACTER REFERS TO THE SUM OF AN INDIVI DUAL’S QUALITIES AND
CHARACTERISTICS WHICH DIFFERENTIATE HIM/HER FROM OTHERS. AN
INDIVIDUAL’S CHARACTER IS ACTUALLY AN AMALGAMATION OF
HIS/HER QUALITIES WHICH MAKES HIM UNIQUE AND HELPS HIM
STAND APART FROM THE REST. 4
UNIT 14 WRITING AND PERSONAL ITY DEVELOPMENT - MANY PEOPLE MAY
NOT AGREE TO THIS BUT WRITING IS ALSO ONE OF THE MOST
IMPORTANT PARTS OF YOUR PERSONALITY AND HENCE MORE AND
MORE SCHOOLS, UNIVERSITIES AND INSTITUTES ARE NOW
INTRODUCING WRITING IN THEIR PERSONALITY DEVELOPMENT
COURSES AND/OR WORKSHOPS. WHAT YOU WRITE ALWAYS GIVES A
GLIMPSE OF WHAT YOU THINK AND WHAT YOU FEEL AND THIS IS
WHAT REFLECTS YOUR PERSONALITY AND YOUR INNER BEING. HENCE
DEVELOPING YOUR WRITING SKILLS IS ALSO AN INTEGRAL PART OF
PERSONALITY DEVELOPMENT. 4
UNIT 15 SOFT SKILLS AND PERSONALI TY DEVELOPMENT - SOFT SKILLS ARE
ESSENTIALLY PEOPLE SKILLS-- THE NON- TECHNICAL, INTANGIBLE,
PERSONALITY -SPECIFIC SKILLS THAT DETERMINE ONE'S STRENGTHS AS
A LEADER, SPEAKER, LISTENER, NEGOTIATOR, AND CONFLICT
MEDIATOR. 2
UNIT 17 HOW DOES BODY LANGUAGE AFFECT THE DEVELOPMEN T OF THE
PERSONALITY?- FOR ACHIEVING EFFECTIVE PERSONALITY, PROPER
BODY LANGUAGE IS REQUIRED. BODY LANGUAGE IS A NON -VERBAL
COMMUNICATION WHICH IS EXPRESSED THROUGH FACIAL
EXPRESSIONS, GESTURES, POSTURE, AND BODY MOV EMENTS. THESE
GESTURES AND POSTURES SAY A LOT ABOUT OUR PERSONALITY. 4
UNIT 18 COMMUNICATION AND EF FECTIVE LISTENING SK ILLS – LISTENING
SKILLS ARE MORE POWE RFUL THAN COMMUNICAT ION SKILLS –
LISTENING WITH EMPATHY – GIVING OPPORTUNITY TO OTHERS TO
SPEAK OUT 2
UNIT 19 COMMUNICATION AS POWER FOR HUMAN BEING – IT IS NOT WHAT
YOU SAY BUT HOW YOU SAY MAKES A DIFFEREN CE –
COMMUNICATION IS CONSIDERED TO BE ONE OF THE HYGIENE
FACTORS FOR LIFE – COMMUNICATION IS THE BIGGEST PROPERTY OF
HUMAN BEING WITH POW ER IN IT. 2
UNIT 20 COMMUNICATION TECHNIQUES – DEFINE ACRONYMS – REDUCE
JARGONS – LEVEL OBJECTIONS – USE HUMOUR – AECDOTES AND
STORIES – ASK FOR FEEDBACK – INCREASE YOUR VOCABU LARY –
ELIMENATE AUDIBLE PA USES – ENUNCIATE CLEARLY – PRACTICE
PRONOUNCNG WORDS PRO PERLY – EXERCISE TOUNGE, JAW S AND
LIPS – MAKE EYE CONTACT - GESTURES 4
RSACE PRACTICAL EXCERCISE PRACTICAL
HOURS
• DEVELOPING ONESELF - GETTING ONE'S
DESIGN -DEALING WITH ISSUES, COMPLAINTS,
ANGER, LOW SELF -ESTEEM, UNWORKABILITY
• LEARNING TO BE SOCIAL & LEARNING TO BE
WITH OTHER PEOPLE, STUDY OF HUMAN
BEHAVIOUR - PSYCHOLOGY & BEHAVIOURAL
SCIENCE
• STUDY OF CHARACTERS FROM EPICS,
LITERATURE & CINEMA
• CREATING & BUILDING CHARACTERS 120 HRS
REFERENCE LINKS :
• HTTPS://WWW.UNIVERSA LCLASS.COM/ARTICLES/ SELF -HELP/THE -PROCESS -OF-
PERSONALITY- DEVELOPMENT.HTM
• HTTPS://WWW.UNIVERSA LCLASS.COM/ARTICLES/ SELF -HELP/THE -FACTORS -OF-
PERSONALITY- TRAITS.HTM
• HTTPS://WWW.UNIVERSA LCLASS.COM/ARTICLES/ BUSINESS/COMMUNICATION -
STUDIES/UNDERSTANDIN G-THE-SELF -FOR-BETTER- COMMUNICATION.HTM
• HTTPS://WWW.UNIVERSA LCLASS.COM/ARTICLES/ SELF -HELP/THE -ROLE -OF-
NONVERBAL -COMMUNICATION -IN-EFFECTIVE -COMMUNICATION.HTM
• - HTTP://WWW.PERSONALITYDEVELOPMENT.ORG/WP -
CONTENT/UPLOADS/2011/12/IMAGE21.PNG
• HTTPS://BOOKS.GOOGLE.CO.IN/BOOKS?ID=2OBX1DRWHGSC&PG=PA1 &LPG=PA1&DQ=PERS
ONALITY+DEVELOPMENT+MEANING&SOURCE=BL&OTS=MFGEPVW0AY&SIG=ZLWUUWGLSL
68IASWV-4R_BUR6S4&HL=EN&SA=X&VED=0AHUKEWJR4-
FC8DRSAHXERO8KHEPTCGW4CHDOAQG7MAY#V=ONEPAGE&Q=PERSONALITY%20DEVELOP
MENT%20MEANING&F=FALSE
• HTTP://WWW.MANAGEMENTSTUDYGUIDE.COM/IMPORTANCE -OF-CHARACTER -IN-
PERSONALITY -DEVELOPMENT.HTM
• HTTP://WWW.ESSENTIALLIFESKILLS.NET/IMPROVEYOURPERSONALITY.HTML
• HTTP://WWW.GLOBALTALENT.CO.IN/UPLOADS/DOWNLOADS/COMMUNICATION-SKILLS--
PERSONALITY -DEVELOPMENT.PDF
• HTTPS://WWW.AIAA.ORG/UPLOADEDFILES/EDUCATION_AND_CAREERS/CAREER_CENTER/P
RESENTATION_AR CHIVES/2005/101-WAYS -TO-IMPROVE-YOUR -COMMUNICATION-SKILLS-
2005.PDF
RSACE 1:8
INTRODUCTION TO PHOT OGRAPHY TEACHING
HOURS
UNITS COVERAGE OF MODULE Time
(Leatures)
UNIT 1 HISTORY OF PHOTOGRAP HY
"PHOTOGRAPHY" IS DERIVED FROM THE GREEK WORDS PHOTOS
("LIGHT") AND GRAPHEIN ("TO DRAW"). THE WOR D WAS FIRST USED
BY THE SCIENTIST SIR JOHN F.W. HERSCHEL I N 1839. IT IS A METH OD
OF RECORDING IMAGES BY THE ACTION OF LIG HT, OR RELATED
RADIATION, ON A SENS ITIVE MATERIAL. 2
UNIT 2 PHOTOGRAPHY THE TRAD ITIONAL METHOD
TRADITIONAL PHOTOGRA PHIC PROCESS CONSIST S OF THREE MAIN
PHASES, EXPOSING, DE VELOPING & PRINTING. A LIGHT SOURCE
FALLING ON A SUBJECT GETS REFLECTED. IT IS SENT THROUGH A LEN S
SYSTEM TO FORM A IMA GE ON A LIGHT SENSIT IVE FILM. THE LATENT
IMAGE IS THEN DEVELOPED TO A VISIB LE IMAGE, FURTHER CH EMICAL
DEVELOPMENT IS STOPP ED, EXISTING IMAGE I S FIXED AND THEN
WASHED TO GIVE A NEG ATIVE IMAGE. IN PRINTING PROCESS
NEGATIVE IMAGE IS PL ACED BETWEEN A LIGHT SOURCE AND A LIGHT
SENSITIVE PAPER TO C REATE A POSITIVE L ATENT IMAGE WHICH IS
LATER DEVELOPED AND FIXED IN A MORE OR L ESS SIMILAR PROCESS
LIKE THE NEGATIVE. 2
UNIT 3 OBSERVATON OF LIGHT SENSITIVE MATERIALS. 2
ANOTHER IMPORTANT EV OLUTION IN PHOTOGRAP HY IS THE INTEREST
OF HUMAN RACE TO STU DY ABOUT LIGHT SENSITIVE MATERIALS.
MORE THAN 2,000 YEAR S THE ANCIENT PHOENICIANS (THE FIRST
CIVILIZED NATION IN THE WORLD) KNEW THAT A CERTAIN SNAIL LEFT
A YELLOW SLIME THAT TURNED PURPLE BECAUS E OF ITS EXPOSURE TO
SUNLIGHT .
UNIT 4 OBSERVATON OF COLOR .
COLOR AS SUCH DOES N OT EXIST IN THE WORL D; IT EXISTS ONLY IN
THE EYE AND BRAIN OF THE BEHOLDER. OBJECT S REFLECT MANY
DIFFERENT WAVELENGTH S OF LIGHT WAVES, BU T THESE LIGHT WAVES
THEMSELVES HAVE NO C OLOR. DIFFERENT WAVE LENGTHS INDUCE
DIFFERENT TYPES OF C ONES. THE RESULT OF THIS REACTION IS
VISUALIZED AS COLOR IN OUR BRAIN. THERE ARE THREE DIFFERENT
TYPES OF CONES IN OU R EYE WHICH RESPOND TO THREE MAIN AREAS
OF ELECTRO MAGNETIC SPECTRUM, RED, GREEN AND BLUE.
2
UNIT 5 DIFFERENT TYPES OF C AMERAS
INSTANT COLOR FILM W AS INTRODUCED BY POLAROID IN 1963. LIKE
POLAROID'S CONTEMPOR ARY INSTANT BLACK -AND -WHITE FILM, THEIR
FIRST COLOR PRODUCT WAS A NEGATIVE -POSITIVE PEEL -APART
PROCESS WHICH PRODUC ED A UNIQUE PRINT ON PAPER. THE
NEGATIVE COULD NOT B E RE- USED AND WAS DISCARD ED. DIGITAL
CAMERAS DIFFER FROM THEIR ANALOG PREDECESSORS PRIMARILY IN
THAT THEY DO NOT USE FILM, BUT CAPTURE AN D SAVE
PHOTOGRAPHS ON DIGIT AL MEMORY CARDS OR I NTERNAL STORAGE
INSTEAD. THEIR LOW O PERATING COSTS HAVE RELEGATED CHEMICAL
CAMERAS TO NICHE MAR KETS 2
UNIT 6 PHOTOGRAPHIC PRINTS
TRADITIONALLY, LINEN RAG PAPERS WERE USED AS THE BASE FOR
MAKING PHOTOGRAPHIC PRINTS. PRINTS ON FIBER-BASE PAPER
COATED WITH A GELATIN EMULSION ARE QUITE STABLE WHEN
PROPERLY PROCESSED. THEIR STABILITY IS E NHANCED IF THE PRINT IS
TONED WITH EITHER SEPIA (B ROWN TONE) OR SELENI UM (LIGHT,
SILVERY TONE).
THE NEXT INNOVATION IN PHOTOGRAPHIC PAPE RS WAS RESIN -
COATING, OR WATER -RESISTANT PAPER. THE IDEA IS TO USE
NORMALLINEN FIBER -BASE PAPER AND COAT IT WITH A PLASTIC
(POLYETHYLENE) MATERIAL, MA KING THE PAPER WATER -RESISTANT.
THE EMULSION IS PLAC ED ON A PLASTIC COVE RED BASE PAPER. THE
PROBLEM WITH RESIN -COATED PAPERS IS THA T THE IMAGE RIDES ON
THE PLASTIC COATING, AND IS SUSCEPTIBLE T O FADING.
2
UNIT 7 FILM VS DIGITAL
COLOR FILM HAS NOW B EEN RELEGATED TO A N ICHE MARKET BY
INEXPENSIVE MULTI -MEGAPIXEL DIGITAL CA MERAS AND THE 2
CONVENIENCE OF MAKIN G NON -PHOTOGRAPHIC COLOR P RINTS AT
HOME. FILM CONTINUES TO BE THE PREFERENCE OF SOME
PHOTOGRAPHERS BECAUS E OF ITS HIGH IMAGE QUAL ITY (WHEN USED
WITH A HIGH -QUALITY CAMERA AND L ENS) AND ITS DISTINC TIVE
"LOOK." IN MEDIUM AND LARGE FORMATS, ITS EFFECTIVE PIXEL
COUNT HAS NOT YET (A S OF 2010) BEEN EQUA LED BY ANY
COMMERCIALLY AVAILAB LE AND REASONABLY PR ICED DIGITAL
CAMERA.
UNIT 8 CHRON OLOGY OF PHTOGRAPHY PROCESSS
PHOTOGRAPHY WAS ONE OF THE MOST IMPORTAN T INVENTIONS OF
THE NINETEENTH CENTU RY. THE MEN AND WOME N WHO WORKED
WITH PHOTOGRAPHIC MA TERIALS FACED MANY C HALLENGES.
SOLVING ONE PROBLEM OFTEN CREATED ANOTHE R. ONE PROCESS
REPLACED ANO THER AS PHOTOGRAPHY BECAME CHEAPER, EASI ER,
SAFER AND MORE DURAB LE. HOWEVER, SEVERAL PROCESSES WERE
OFTEN POPULAR AT THE SAME TIME, MUCH LIKE FILM AND DIGITAL
PICTURES ARE BOTH PO PULAR TODAY. 2
UNIT 9 INTRODUCTION TO DIGITAL PHOTOGRAPHY
DIGITAL CAMERAS HAVE A LENS, APERTURE, AN D SHUTTER, BUT THEY
DO NOT USE FILM. INS TEAD, DIGITAL CAMERA S USE A SOLID -STATE
DEVICE CALLED AN IMA GE SENSOR.
ALTHOUGH THE IMAGE Q UALITY IS NOT AS GOOD AS CONVENTIONAL
PHOTOGRAPHS, DIGITAL IMAGES ARE CONVENIEN T BE CAUSE THEY DO
NOT REQUIRE CHEMICAL S OR PAPER TO PROCES S. THEY CAN BE
DISPLAYED ON A WEB P AGE, SENT VIA E -MAIL, STORED ON A
COMPUTER HARD DRIVE OR A COMPACT DISC, A ND PRINTED ON A
PAGE. 2
UNIT 10 EYE OF THE PHOTOGRAPHER
EYE OF THE PHOTOGRAPHER, THIS SUBJECT TRAIN YOU TO ASK
YOURSELF THREE FUNDAMENTAL QUESTIONS AS YOU DEVELOP THE
PERFECT COMPOSITION THROUGH YOUR VIEWFINDER. LEARN TO
EFFECTIVELY CAPTURE EXPRESSIVE MOMENTS WITH ACCURACY AND
ART AS YOU DEVELOP A KEEN SENSE OF EFFECTIVE PHOTOGRAPHIC STORYT ELLING.
2
UNIT 11 TYPES OF CAMERAS
CAMERAS, WE WILL STUDY A COMPREHENSIVE HISTORY OF CAMERAS. FROM PINHOLES TO POINT -AND -SHOOTS, YOU’LL DEVELOP A BROAD
BACKGROUND UNDERSTANDING OF CAMERA HISTORY, ENDING WITH
AN ANALYSIS OF THE OPTIONS AVAILABLE TO YOU T ODAY.
2
UNIT 12 LENSES AND FILTERS 2
IN LESSON 1.3: LENSES AND FILTERS, WE’LL LOOK MORE CLOSELY AT
THE TWO ESSENTIAL ELEMENTS IN ANY PHOTOGRAPH WORKFLOW AS
WE EXPLORE CAMERA FUNCTION VIA LENSES AND FILTERS. WE’LL
START BY DISCUSSING BASICS SUCH AS CAMERA AND LENS
COMBINATION OPTIONS, DIAPHRAGM AND APERTURE, THEN MOVE
ON TO MASTER F -STOPS AND FOCAL STRENGTH.
UNIT 13 HOW TO USE YOUR CAMERA
IN LESSON 1.4: HOW TO USE YOUR CAMERA, WE’RE GOING TO ADD
TWO MORE TECHNIQUES TO YOUR GROWING ARSENAL OF CREATIVE
CONTROLS. BEGINNING WITH A COMPREHENSIVE REVIEW OF YOUR
CAMERA’S VIEWING SYSTEM, BY THE END OF THIS LESSON YOU’LL
HAVE MASTERED TECHNIQUES FOR ADJUSTING BOTH DEPTH OF FIELD
AND SHUTTER SPEED. 2
UNIT 14 DEVELOPING YOUR EYE
IN LESSON 2.1: DEVELOPING YOUR EYE, WE WILL BEGIN TO HARNESS
YOUR NATURAL ABILITY TO CREATE BEAUTIFUL IMAGES AS WE
CHANNEL THE MOST EFFECTIVE PHOTOGRAPHIC TECHNIQUES OF
VISUAL ORGANIZATION AND STORYTELLING. LEARN TO EMPHASIZE
YOUR MESSAGE THROUGH EFFECTIVE SUBJECT PLACEMENT AS WE
ARRANGE AL L ELEMENTS OF YOUR IMAGE CA REFULLY WITHIN YOUR
COMPOSITION 2
UNIT 15 IMAGE CAPTURE
IN LESSON 2.2: IMAGE CAPTURE, WE BEGIN TO EXPLORE THE MECHANICS BEHIND HOW IMAGES ARE RECORDED DIGITALLY,
INCLUDING A BRIEF BIT OF CONTEXT REGARDING HOW THEY’RE
CAPTURED ON ACTUAL FILM. AT THIS POINT, YOU SHOULD BE WELL
VERSED IN DIGITAL IMAGE SENSORS AND WILL BEGIN TO ADDITIONALLY UNDERSTAND THE INTRICACIES OF FILM EXPOSURE AS
WELL. 2
UNIT 17 EXPOSURE
EXPOSURE, WE WILL HELP YOU EXPLORE YOUR PERSONAL JUDGMENT
REGARDING CORR ECT, AESTHETICALLY PLEASING EXPOSURE. WE’LL
START BY EXPLORING THE ROLE YOUR EQUIPMENT PLAYS IN
EXPOSURE DETERMINATION THEN MOVE ON TO MASTER THE 5 BASIC
EXPOSURE MODES AS WE CONTINUE TO HELP YOU ACHIEVE THAT
PERFECT, WELL -LIT SHOT. 2
UNIT 18 WORKFLOW AND IMAGE EDITING
WORKFLOW AND IMAGE EDITING, WE'RE GOING TO COVER THE
WORKFLOW AND IMAGE EDITING THAT YOU'LL BE DOING IN POST-
PRODUCTION, THE PHASE OF WORK THAT BEGINS WITH THE CAMERA
AND THE CAPTURE OF IMAGES IN RAW, JPEG OR TIFF FORMATS. FROM
BACKING UP FI LES TO DELIVERING PROOFS, BY THE END OF THIS
LESSON YOU’LL HAVE MASTERED A SEAMLESS, EFFECTIVE PERSONAL 2
WORKFLOW.
UNIT 19 NATURAL AND AVAILABLE LIGHT
NATURAL AND AVAILABLE LIGHT, WE WILL DISCUSS WHAT IT’S LIKE TO
WORK WITH BOTH NATURAL AND ARTIFICIAL LIGHT. WHEN COVERING
AVAILABLE LIGHT PHOTOGRAPHY, YOU’LL LEARN TO EFFECTIVELY
CAPITALIZE ON AND USE THE LIGHT THAT ALREADY EXISTS IN A SCENE.
BY THE END OF THIS LESSON, YOU LEARN TO ACTUALLY SEE LIGHT ON
A DAILY BASIS THROUGH THE EYES OF AN EVER -DILIGENT
PHOTOGRAPHER. 2
UNIT 20 ARTIFICIAL LIGHT -FLASH
ARTIFICIAL LIGHT- FLASH, WE’LL BEGIN BY EXAMINING THE VARIOUS
TYPES OF FLASH UNITS AND HOW THEY WORK, AND THEN WE’LL
TEACH YOU HOW TO USE APPROPRIATE FLASH LIGHTING TO ITS BEST
ADVANTAGE. FROM POP -UP FLASH TO W IRELESS, BY THE END OF THIS
LESSON YOU’LL BE ABLE TO ACHIEVE THE PERFECT ARTIFICIAL
LIGHTING SCENARIO TO CAPTURE WHATEVER MOOD YOU’RE HOPING
TO ACHIEVE IN YOUR FUTURE SHOTS.
LEARN HOW TO TAKE BETTER PHOTOS
• ANYTIME – ALL NYIP COURSES ARE ONLINE, SO YOU DECIDE
WHEN CLASS IS IN SESSION. START WHEN YOU’RE READY AND
STUDY IN YOUR FREE TIME.
• ANYWHERE – LOG ON AND WORK ON YOUR COURSE FROM
ANY INTERNET-CONNECTED DEVICE – COMPUTERS, TABLETS,
AND SMARTPHONES, NO MATTER WHERE YOU ARE IN THE
WORLD.
• AT YOUR OWN PACE – WITH NO DEADLINES OR DUE DATES,
YOU ARE IN CONTROL OF HOW QUICKLY YOU PROGRESS
THROUGH THIS COURSE. 2
RSACE PRACTICAL EXCERCISE PRACTICAL
HOURS
• PORTRAIT SHOOT
• EXPERMENTATION WITH SHUTTER SPEED
• EXPERMENTATION WITH APPRETURE
• DIFFERENT LIGHT (DAY LIGHT, FLASH LIGHT,
NIGHT LIGHT)
• EXPERIMENTATION WITH ISO 90 HRS
REFERENCE BOOK & LINKS :
2. Understanding Exposure, 3rd Edition: How to Shoot Great Photograph s with Any Camera by
Bryan Peterson
3. The Photographer’s Eye: Composition and Design for Better Digital Photos by Michael
Freeman
4. Extraordinary Everyday Photography: Awaken Your Vision to Create Stunning Images Wherever
You Are by Brenda Tharp and Jed Manwarin by Jim Miotke
5. BetterPhoto Basics: The Absolute Beginner’s Guide to Taking Photos Like a Pro by Jim
Miotke
6. The Art of Photography: An Approach to Personal Expression by Bruce Barnbaum
7. David Busch’s Mastering Digital SLR Photography by David D. Busch
RSACE 1:9 MOTION GRAPHICS TEACHING
HOURS
UNITS COVERAGE OF MODULE Time
(Leatures)
UNIT 1 WHAT IS MOTION GRAPH ICS – INTRODUCTION – THE RULES OF
DESIGN – DESIGN IS ALL ABOUT VISUAL COMMUNICATION WHICH IS
STRONGER THAN WORDS ALONE. THERE ARE RU LES REGRADING
COLOR, TYPOGRAPHY AND COMPOSITION. MOTION DESIGNERS AL SO
USE MOTION AND SOUND TO COMMUNICATE IDEAS 2
UNIT 2 THE DESIGN PROCESS – PREPERATION – JOT DOWN THE IDEAS A ND
SKETCHES THAT COME T O YOUR MIND – UNDERSTANDING BRIEF IS
IMPORTANT - IT CAN INCLUDE INFOR MATION ABOUT TARGET
AUDIENCE , PREFFERED COLOR SCHEMES, FONTS, LOGOS, PROGRAM
INFORMATION BEOFRE YOU GIVE VIS UAL REPRESENTATION 2
UNIT 3 – VISUAL RESEARCH – TECHNICAL RESEARCH – EXPERIMENTATION -
SKETCHBOOKS 2
UNIT 4 DEVELOPMENT – MOODBOARDS – STORYBOARDS – WHY DO WE USE
STORYBOARDS – SOFTWARE – PAL DIMENSIONS – NTSC DIMENSIONS 2
UNIT 5 PHOTOGRAPHING ARTWORK – CREATING YOUR OWN CO MPOSITE
IMAGES – POST PRODUCTION 2
UNIT 6 TESTING – AUDIENCE TESTING – TECHNICAL TESTING DE LIVERY, TIME
MANAGEMENT - SCHEDULING 2
UNIT 7 WHAT IS COMPOSITION – ELEMENTS OF COMPOSIT ION INCLUDE
SPACE, SHAPE, LINE , SIZE, DEPTH, MOTION, COLOR, TEXTU RE 2
UNIT 8 FUNDEMENTALS OF ADOB E AFTER EFFECTS, THE INTERFACE, THE
WORKSPACE, TOOLS AND EDIT PARAMENTER 4
UNIT 9 TITLE GRAPHICS AND E FFECTS IN AFTER EFFE CTS, THE VARIOUS
TECHNIQUES AND TIPS TO CREATE STUNNING M OTION GRAPHICS
EFFECTS 4
UNIT 10 ARRANGEMENTS OF COMP OSITION – FRAMING, STAGING 2
UNIT 11 USE OF GRIDS – SCREEN DIVISION – THE RULE OF THIRDS - DIVINE
PROPORTION - BREAKING THE GRID – PERSPECTIVE GRIDS 2
UNIT 12 PRINCIPLES OF COMPOS ITION – UNITY – LIMITATIONS – HARMONY –
REPETITION – VARIETY - DIRECTION - GROUPING 2
UNIT 13 GESTALT THEORY – CONTINUITY, BALANCE , SYMMETRY , HIERARC HY ,
CONTRAST, MOVEMENT 2
UNIT 14 FUNDEMENTALS OF EDIT ING IN ADOBE PREMIER, THE INTERFACE, THE
WORKSPACE, TOOLS AND EDIT PARAMENTER 2
UNIT 15 TITLE GRAPHICS AND E FFECTS IN AFTER EFFE CTS, THE VARIOUS
TECHNIQUES AND TIPS FOR EDITING. 2
UNIT 16 COLOR – COLOR PERCEPTION – COLOR AND MEANING – THE ARTISTS
COLOR MODEL – COLOR THEORY 2
UNIT 17 HUE,SATURATION & BRIGHTNESS - COLOR AND TEMPERATUR E –
COLOR MANAGEMENT 2
UNIT 18 EDITING – THE PRINCIPLES OF ED ITING – EDITING APPLICATIONS –
TOOLS 2
UNIT 19 TECHNICAL – VIDEO FORMATS – ASPECT RATIOS – WIDESCREEN 2
UNIT 20 DIGITAL VIDEO PLATFORMS – CHANNELS – TRANSPERENCY – MASKS 2
RSACE PRACTICAL EXCERCISE PRACTICAL
HOURS
• TITLE GRAPHICS
• TITLE ANIMAITON
• INFO GRAPHIC PRESENTATION
• KEYING & COMPOSITION 90 HRS
READING REFERENCE
• DESIGN ESSENTIALS FO R THE MOTION MEDIA A RTISTS BY ANGIE TAYL OR
• ADOBE AFTER EFFECTS IN CLASSROOM
• ADOBE PREMIER IN CLA SSROOM
RSACE 1:10 PROJECT SUBMISSION ( 1ST YEAR) TEACHING
HOURS 20
PROJECT / PORTFOLIO SUBMISSION DETAILS TIME ALLOTED
SUBMISSION GUIDLINE :
• PROJECT TITLE
• DURATION OF THE PROJECT
• PROJECT LEADER AND LIST OF TEAM MEMBER
• CONTACT DETAILS OF THE MAIN TEAM.
• SUMMARY OF PROJECT
• INTRODUCTION.
• THE RESEARCH AND APPROACHES.
• FINAL SUBMISSION.
• OUTCOMES / FINDINGS / EVALUATION.
• CONCLUSION
• ACKNOWLEDGEMENTS.
4
THE FINAL PROJECT PROVIDES THE STUDENT WITH THE TIME TO
DEVELOP ANY ONE FO THE FOLLOWING DEPENDS UPON THE
SPECILIZATION THEY CHOOSE FROM 2ND YEAR.
(1) ART PORTFOLIO – IF A STUDENT CHOOSES ANIMATION
FROM 2ND YEAR.
(2) MOTION GRAPHICS DEMOREEL – IF A STUDENT CHOOSES
VISUAL EFFECT FROM 2ND YEAR.
(3) SHORT FILM – IF HIS / HER ELECTIVE SUBJECT IS FILM ART /
FILM PRODUCTION / SREEN WRITING.
• FINALIZING THE WRITING 2 -5 MINS FILM
• PRE PRODUCTION & PLANNING, BUDGETING ETC.
• FINALISING LOCATIONS AND ATORS, REHEARSALS
• SHOOTING & EDITING
• ADDITIONAL EDI TING & SO UND WORK WITH BASIC MIX ING
(2 TRACKS)
10
YEAR 02
INTRODUCTION
This semester you would get introduced to quite a few software and develop an understanding on
how VFX industry work s. Imagination is one of the key skills of a visual artist and you would be made
to exercise that. The VFX industry requires creativity, innovation and refreshing ideas and you have
to prepared for that. Basically visual effects is when an imagery is create d or manipulated with the
use of computer generated 3D models, miniature and painting, that can be integrated seemlessly in the live action video. An art form that is created using various techniques of graphic software that
uses virtual canvas and virtual painting. The advantage of VFX is one can bring their imaginative
environment or characters in to live. You would learn how such characters, gaming props and
costumes are created or how a character sketch is developed. Visual effects is about creating the art
forms that can take one in virtual reality that one can connect to. The industry has seen
tremendrous growth for the past 2 decades in term of technology and innovation. Therefore, VFX is
also used in 80% of the films (domestic & International) where its difficult to shoot certain scenes or
getting to the location is more expensive then to create an artificial one.
Objectives for semester 03
The objective for this semester is to introduce you to the real work of VFX industry. Here you start
with software like Photoshop & After Effects. You learn the different tools and techniques used in
these programs and work on some advanced and creative tu torials that allow you to develop a grip
over it. Visual development is the subject where you will be taught how to develop a concept or
how to convert the your imagination to a great visual story. The understanding of character
building and environment development through various fun activities and educational exercises.
You also learn how to plan a green screen shoot and how the scenes are shot. How much work goes
behind creating that conceptualized locations or effects.
RSACE 4:11 VISUAL DEVELOPMENT
(VFX PRE PRODUCTION) TEACHING
HOURS 30
UNITS COVERAGE OF MODULE Time
(Lectures)
UNIT 1 INTRODUCTION TO VISUAL DEVELOPMENT . WHAT IS A ROLE OF A
VISUAL ARTIST AND WHAT IS HIS/HER WORK PROFILE? WHAT ARE
THE BASICS OF VISUAL DEVELOPMENT? VISUAL DEVELOPMENT
ARTISTS WORK WITH CREATIVE DEPARTMENTS TO DEVELOP
BACKGROUNDS, COLORS, LIGHTING, ENVIRONMENTS, AND PROPS
FOR FILMS, ANIMATED PIECES AND MORE. THEY USE ANIMATION,
ILLUSTRATION, DRAWING, AND DESIGN SKILLS TO CREATE VISUALS
THAT CONVEY IDEAS ABOUT HOW THEY ENVISION THE look IN THE
FINAL OUTCOME 2
UNIT 2 HISTORY OF VISUAL DEVELOPMENT. WHAT WERE THE EARLY STAGES
OF VISUAL DEVELOPMENT? THE ARTIST WHO PIONEERED IN THE
FIELD. MILESTONES IN THE FIELD VISUAL DEVELOPMENT. 2
UNIT 3 HOW TO DEVELOP A CONCEPT? HOW TO GATHER THE SET OF
REFERENCES IN ORDER TO DEVELOP A CONCEPT? HOW TO CREATE A
PIPELINE FOR THE PROJECT? WHAT IS THE IMPORTANCE OF
CONCEPT IN VISUAL DEVELOPMENT? 2
UNIT 4 HOW TO CREATE MOOD AND TONE FOR A VISUAL DEVELOPMENT?
THE IMPORTANCE OF SELECTING A COLOUR PALETTE AND ITS
UTILIZATION. HOW TO USE LIGHTING TO MAKE A VISUALLY
APPEALING THE WORK? 2
UNIT 5 HOW TO SET TONE FOR VARIOUS SCENES, SETTINGS, LANDSCAPES
AND BUILDING? HOW TO DEVELOP A COLOUR SCRIPT? 2
UNIT 6 HOW TO MAKE A MIND MAP? HOW TO BRAINSTORM FOR A
CHARACTER, ENVIRONMENT OR PROP? WHAT IS THE IMPORTANCE OF MAKING A MIND MAP AND WHAT ALL DETAILS SHOULD BE
INCLUDED? 2
UNIT 7 HOW TO STRENGTHEN ONES IMAGINATION? WHAT IS THE
IMPORTANCE OF OBSERVATION? HOW TO C OMBINE IMAGINATION
AND OBSERVATION TO CREATE SURREAL VISUALS? WHAT SHOULD BE
THE LEVEL OF INTERACTIVITY? 2
UNIT 8 HOW TO CREATE AN ENVIRONMENT? THE THINGS TO KEEP IN MIND
WHILE CREATING ENVIRONMENT. HOW TO MAKE IMPACTFUL
VISUALLY DEVELOPED ENVIRONMENT? 2
UNIT 9 HOW TO CREATE A CHARCTER? HOW TO ADD DEPTH TO THE
CHARACTER IN MAKING? WHAT IS A SHALLOW CHARACTER? WHAT IS
MEANT BY A GENERIC CHARACTER? 2
UNIT 10 HOW TO BUILD PERSONALITY OF A CHARACTER? WHEN TO
EXAGGERATE THE CHARACTERISTICS OF A CHARACTER? FEATURES
USED TO ENHANCE THE PERSONALITY OF A CHARACTER. 2
UNIT 11 HOW TO CREATE CLOTHINGS FOR CHARACTERS AND PROPS FOR
THE ENVIRONMENT? HOW DETAILED SHOULD THE CLOTHING AND
PROPS BE FOR A CONCEPT DEVELOPMENT? HOW IMPORTANT ARE
THESE ELEMENTS? 4
UNIT 12 HOW TO CONDUCT A PROPER ANALYSIS FOR A CHARACTER OR
ENVIRONMENT? WHAT IS THE IMPORTANCE OF GIVING DETAILS TO
THE CONCEPTS? 2
UNIT 13 WHAT MEDIUMS CAN BE USED IN ORDER TO DEVELOP A PROPER
CONCEPT? MULTI -MEDIA DESIGNING USED TO CREATE YOUR
VISUALS. HOW TO INCORPORATE PAINTINGS, PHOTOGRAPHS,
SCULPTURES, ETC TO COMMUNICATE THE VISUALS EFFECTIVELY. 2
UNIT 14 HOW TO CREATE A CHARACTER OR ENVIRONMENT FOR A MOVIE?
HOW MUCH IMPORTANCE IS TO BE GIVEN TO CHARACTER? HOW
MUCH DETAILED AN ENVIRONMENT SHOULD BE? HOW MUCH
IMPORTANCE TO BE GIVEN TO CHARACTERS? HOW SIGNIFICANT THE
ENVIRONMENT BE? 2
RSACE PRACTICAL EXERCISE PRACTICAL
HOURS
1. DEVELOP A CONCEPT. GATHER SOME REFERENCES SUCH AS
PHOTOGRAPH OR A SKETCH.
2. CREATE A MIND MAP OF AN ENVIRONMENT.
3. BUILD A PROPER PERSONALITY OF A CHARACTER AND DESIGN THE CLOTHING OR PROPS THE CHARACTER.
4. SELECT COUPLE OF BLOCKBUSTER VFX FILMS AND WRITE UP A VFX
FILM ANALYSIS. 90 HRS
REFERE NCE BOOKS
1. VISUAL EFFECTS IN A DIGITAL WORLD BY KAREN E. GOULEKAS
2. VFX FUNDAMENTALS: VISUAL SPECIAL EFFEC TS USING FUSION 8.0 BY WALLACE JACKSON
3. [DIGITAL] VISUAL EFFECTS AND COMPOSITING BY MARTIN WATT A ND ERWIN COUMANS
REFERENCE LINKS
1. HTTP://CHRISOATLEY.COM/UPCOMING2015/
2. HTTPS://THEWALTDISNEYCOMPANY.COM/EMPLOYEE -PROFILE -SPOTLIGHT -ON-A-VISUAL-
DEVELOPMENT -ARTIST-2 /
3. HTTP://WWW.ARTOFVFX.COM/ESCAPE -PLAN -CHRIS -WELLS-VFX -SUPERVISOR-HYDRAULX/
4. HTTP://CONCEPTARTWORLD.COM/ARTISTS/INTERVIEW -WITH -VISUAL-DEVELOPMENT -ARTIST-
LANDIS -FIELDS/
RSACE 4.12 DIGITAL ART - PART 01
(PHOTOSHOP) TEACHING
HOURS 30
UNITS COVERAGE OF MODULES TIME
(LECTURES)
UNIT 1 GETTING TO KNOW THE WORK AREA: STARTING TO WORK IN
ADOBE PHOTOSHOP, USING THE TOOLS, USING THE OPTIONS BAR AND OTHER PANELS, UNDOING ACTIONS IN PHOTOSHOP,
CUSTOMIZING THE WORKSPACE, FINDING RESOURCES FOR USING PHOTOSHOP, CHECKING FOR UPDATES, TOOLS PANEL OVERVIEW 2
UNIT 2 BASIC PHOTO CORRECTIONS: STRATEGY FOR RETOUCHING,
RESOLUTION AND IMAGE SIZE, GETTING STARTED, ADJUSTING THE
COLOR IN CAMERA RAW, STRAIGHTENING AND CROPPING THE
IMAGE IN PHOTOSHOP, REPLACING COLORS IN AN IMAGE, 4
UNIT 3 WORKING WITH SELECTIONS: HOW TO USE THE QUICK SELECTION
TOOL, AND MOVE A SELECTED AREA, HOW MANIPULATE SELECTIONS, USING THE MAGIC WAND TOOL, SELECTING WITH THE
LASSO TOOLS, ROTATING A SELECTION, SELECTING WITH THE
MAGNETIC LASSO TOOL, CROPPING AN IMAGE AND ERASING WITHIN
A SELECTION, REFI NING THE EDGE OF A SELECTION 4
UNIT 4 PHOTO RESTORATION : ADJUSTING SATURATION WITH THE SPONGE
TOOL, REPAIRING AREAS WITH THE CLONE STAMP TOOL, USING THE
SPOT HEALING BRUSH TOOL, USING CONTENT -AWARE FILL,
APPLYING THE UNSHARP MASK FILTER, SAVING THE IMAGE FOR
FOUR -COLOR PRINTING 4
UNIT 5 LAYER BASICS: USING THE LAYERS PANEL, REARRANGING LAYERS,
APPLYING A GRADIENT TO A LAYER, APPLYING A LAYER STYLE,
FLATTENING AND SAVING FILES 2
UNIT 6 CORRECTING AND ENHANCING DIGITAL PHOTOGRAPHS: ABOUT CAMERA RAW FILES, PROCESSING FILES IN CAMERA RAW, MERGING
EXPOSURES AND APPLYING ADVANCED COLOR CORRECTION, CORRECTING DIGITAL PHOTOGRAPHS IN PHOTOSHOP, CORRECTING
IMAGE DISTORTION, ADDING DEPTH OF FIELD 4
UNIT 7 MASKS AND CHANNELS: CREATING A MASK, REFINING A MASK,
CREAT ING A QUICK MASK, MANIPULATING AN IMAGE WITH PUPPET
WARP, WORKING WITH CHANNELS . 4
UNIT 8 DIGITAL PORTFOLIO – LEARNING DIGITAL AND TECHNICAL SKILLS TO
CREATE A DIGITAL PRT FOLIO WITH INTERACTIVE MEDIA SUITABLE
FOR DISTRIBUTION INC LUDING CURRENT DELIV ERY MEDIA AND A
PORTFOLIO WEBSITE – EQUIPPING WITH KNOWL EDGE IN
FUNDAMENTALS OF VISU AL DESIGN AND WORK W ITH INDUTSRY
STANDARD AUTHORING S OFTWARE PROGRAMS 2
RSACE PRACTICAL EXCERCISE PRACTICAL
HOURS
• 10X10 INCHES - SYMMETRY DESIGN USING BASIC
PRINCIPLES OF COLOUR
(PRIMARY, SECONDARY OR TERTIARY COLOURS)
• DIGITAL PHOTO RESTORATION (DUST REMOVAL,
COLORING, SCRATCH REMOVAL ETC)
• DOUBLE EXPOSURE EXERCISE
• VECTOR DRAWINGS
• DIGITAL PAINTING 90 HRS
REFERENCE BOOK :
ADOBE PHOTOSHOP CS6 CLASSROOM IN A BOOK – BY BRIE GYNCILD
PHOSHOP CC VISUAL QUICK START GUIDE – BY ELAINE WEINMANN AND PETER LAUREKAS
REFERENCE LINKS
HTTP://WWW.DIGITALAR TSONLINE.CO.UK/FEATURES/ILLUS TRATION/86 -BEST -PHOTOSHOP -
TUTORIALS -UPDATED/
HTTPS://WWW.PHOTOSHOPTUTORIALS.WS/
HTTP://WWW.PHOTOSHOP ESSENTIALS.COM/
5. Photoshop Mask ing Techniques Everyone Should Know
RSACE 4:13 DIGITAL ART 02
(PHOTOSHOP) TEACHING
HOURS 30
UNITS COVERAGE OF MODULE Time
(Lectures)
UNIT 1 VECTOR DRWAING TECHNIQUES. Learning about bitmap images and
vector graphics. How to create paths and use them to with artwork?
How to use pen tool in order to create a vector image. 2
UNIT 2 VECTOR DRAWING TECHNQUES. Creating vector objects for the
background. How to work with defined custom shapes? Importing a
Smart Object. 2
UNIT 3 ADVANCED LAYERING. How to clip a layer to a sharp? How to set up a
vanishing point grid? How to place the imported art work? Adding the
art work in perspective. How to add a layer style? 2
UNIT 4 ADVANCED LAYERING. Placing the side panel art work and a dding
more art work in perspective. How to add adjustment layer? Working
with layer comps and managing layers. How to flattening a layered
image? Merging layers and layer groups. How to work with stamping
layers? 2
UNIT 5 RETOUCHING AND RESTORATION OF AN IMAGE. What type of
adjustments can help enhance an image? Repairing an image with
adjustments, focus and toning tool. How to use retouching and
healing tools? How to refine the edges? 2
UNIT 6 HOW TO CREATE COMPOSITIONS IN PHOTOSHOP? What are the few
parameters that should be kept in mind while making a composition? What are some advanced techniques to create effective
compositions? How to use texture effect to enhance the image? 2
UNIT 7 ADVANCED COMPOSITING. How to assemble a montage of images?
How to apply filters? Hand -colouring elections on a layer. How to
apply Smart filters? How to add drop shadows and a border? 2
UNIT 8 ADVANCED COMPOSITING . Matching colour schemes a cross image.
How to automate a multistep task in order work smartly? How to
stitch a panorama? 1
UNIT 9 WHAT IS MEANT BY FILTERS AND DISTORTIONS? How to make
corrections with daily filters? How to apply filters for special
occasions? How distorting with liquefy command work? 1
UNIT 10 FILTERS AND DISTORTIONS. What are the different types that can be
used to enhance the image? How to apply the unsharp mask filter? 2
UNIT 11 THE USAGE OF LIGHT TO ENHANCE AN IMAGE. How to balance
lighting properly when compositing elements? How to create glow
and lighting effect? How to use light effects to bring sparkle or change
the luminosity of an image? How to add or remove shadows? 2
UNIT 12 WHAT ARE PHOTOSHOP ACTIONS? How to manage actions? How to
use it to personalise your work flow? What are the advantages and
disadvantages of action? 2
UNIT 13 PAINTING WITH THE MIXER BRUSH. How to select brush setting? How
does the mixing colours work? How to create a custom brush preset?
How to mix colours with a photograph? 2
UNIT 14 WORKING WITH 3D IMAGES. How to create a 3D shape from a layer?
How to manipulate 3D objects? Using the 3D panel to adjust lighting
and surface texture. 2
UNIT 15 WORKING WITH 3D IMAGES. How to merge two dimensional layers
onto 3D layers? How to import 3D file? Merging 3D layers to share
the same 3D space. How to add a spot light? How to paint on a 3D
object? Using Repousse to create 3D text. Learning how to create 3D
postcard. 2
RSACE PRACTICAL EXERCISE PRACTICAL
HOURS
1. MAKE A VECTOR IMAGE.
2. MAKE A DIGITAL PAINTING
3. MATTE PAINTING COMPOSITION USING AT LEAST 4 OR 5 IMAGES. 90 HRS
REFERE NCE BOOKS
1. ADOBE PHOTOSHOP C C FOR PHOTOGRAPHER B Y MARTIN EVENINGS
2. PHOTOSHOP CC: THE MISSING MANUAL BY LESA SNIDER
3. PHOTOSHOP CC BIBL E BY LISA DANAE, BRAD DAYLEY
REFERE NCE LINKS
HTTP://ABDUZEEDO.COM /AWESOME -MAGNETO -DIGITAL -PAINTING -CASE -STUDY -ERIC -VASQUEZ
HTTPS://PAINTABLE.CC /LUNA -CASE -STUDY/
HTTPS://WWW.RESEARCH GATE.NET/PUBLICATION/237021035_MULTISPEC TRAL_IMAGING_ FOR_DI
GITAL_PAINTING_ANALY SIS_A_GAUGUIN_CASE_S TUDY
HTTPS://VFXFORFILM.W ORDPRESS.COM/2013/01/03/MATTEPAINTING/
HTTPS://WWW.FXGUIDE. COM/FEATURED/CINEMAT ICS-CASE -STUDY -MASS -EFFECT -3/
RSACE 4:14 MOTION GRAPHICS - 02 TEACHING
HOURS 30
UNITS COVERAGE OF MODULE Time
(Leatures)
UNIT 1 ADOBE AFTER EFFECTS. A basic introduction to the software. Who
created the After Effects? What is the software mostly used for?
What are the key factors of software? 2
UNIT 2 HOW TO SET UP A PROJECT IN AFTER EFFECTS? What is meant by
After effects interface, work area, timeline? What is the importance
of various transition effects? How to set up a project and to import/
export files? What are edit parameters, menus and tools in after
effects? 2
UNIT 3 VIDEO EDITING AND AFTER EFFECTS. How do you add special effects
to the videos? What is the difference between After Effects and
Premier? How does audio editing work in after effects? 2
UNIT 4 MOTION GRAPHICS AND AFTER EFFECTS . Who s a motion graphic
designer? What is motion media? What is stop motion animation? 2
UNIT 5 3D COMPOSITING AND LAYERING. What are the various properties of
layers? The different options in hiding and un -hiding layers. The
different options in editi ng the parameters. 2
UNIT 6 MASKING AND MATTES. How to do masking? How can a scene be
polished by adding some effects? How to modify a layer's alpha
channel? What is Matte? Mattes generation and approach. 2
UNIT 7 WHAT IS MEANT BY COLOR CORRECTION? What is colour scheme ?
How to work with colours? The build -in effects for colour correction.
What is colour mapping? What are the colour problems and how to
resolve it? 2
UNIT 8 ANIMATION AND KEY FRAMES. What is title a nimation? How to
create and edit text? What are text controls? What are the other style
features that can be used to enhance the characters? What are the
types of texts available in After Effects? What are the differences
between text layers and other laye rs? 2
UNIT 9 TIME CONTROL IN AFTER EFFECTS. What is time stretching? What is
time remapping? What is Strobe? How to animate the value of Frame rate slider? How to apply the Time Difference effect to locate colour
difference? What is Time Displacement? 2
UNIT 10 TRACKING AND STABILIZING. What is Motion tacking? The different
ways to execute motion tracking. What are the Various applications
that can be used for motion tracking? 2
UNIT 11 KEYING AND WIRE REMOVAL. What is a Chrome key and Matte key?
How to use a keyed layer? How does Wire removal work? How to
conduct a chrome shoot? How to add light wrap to keyed footage? 2
UNIT 12 ROTOSCOPY. What is rotoscopy? What are the Rotoscoping
techniques? The importance of rotoscopy in th e entertainment
industry. How is it used to manipulate the classic footages? 2
UNIT 13 USE OF LIGHTS IN AFTER EFFECTS. How to give proper light effects to
the video? Why is it important to properly light a video? How to
create 3D light rays? How to crea te advanced light rays? How to work
on lens flares? 2
UNIT 14 WHAT IS 3D CAMERA TRACKING? How to fly a camera around in after
effects and land on frame video? What is the difference between
rotation and orientation? What is camera stabilizing? 2
UNIT 15 HOW TO PUT TOGETHER A REALISTIC COMPOSITE? How to animate
characters into real -world scenes? How to create a smokey type
effect? 2
RSACE PRACTICAL EXERCISE PRACTICAL
HOURS
1. TAKE ANY VIDEO AND ADD DIFFERENT EFFECTS TO IT USING THE
VAST EFFECT LIBRARY.
2. USING LAYERING AND MATTE EDIT A VIDEO.
3. COLOUR CORRECT THE VIDEO GIVEN.
4. USE DIFFERENT LAYER FROM A MATTE PAINING AND PUT UP A
REALISTIC COMPOSITE WITH CAMERA MOVEMENT . 90 HRS
REFERE NCE BOOKS
1. ADOBE AFTER EFFEC TS CC CLASSROOM IN A BOOK BY ADOBE CREATIVE TEAM
2. THE AFTER EFFECTS ILLUSIONIST BY CHAD PERKINS
3. CREATING MOTION G RAPHICS WITH AFTER E FFECTS BY TRISH & CHRIS MEYER
REFERENCE LINKS
1. HTTP://WWW.CREATIVEBLOQ.COM/AFTER -EFFECTS/TUTORIALS -1232661/6
2. HTTP://WWW.CREATIVEBLOQ.COM/AFTER -EFFECTS/TUTORIALS -1232661/6
3. HTTPS://WWW.LYNDA.COM/AFTER -EFFECTS- TUTORIALS/WHAT- AFTER -EFFECTS-
VIDEO/122431/138883-4.HTML
4.HTTP://CONTENT.VIDEOBLOCKS.COM/TIPSTRICKS/ADOBE/ADOBE -AFTER -EFFECTS/11 -ESSENTIAL -
CHROMA -KEY -AFTER- EFFECTS -TUTORIALS/
5. HTTPS://WW W.PREMIUMBEAT.COM/BLOG/15 -AFTER -EFFECTS -TUTORIALS -EVERY -MOTION-
DESIGNER -NEEDS -TO-WATCH/
6. HTTPS://WWW.ROCKETSTOCK.COM/BLOG/HOW -TO-REALISTICALLY-REPLACE-DIGITAL -SCREENS -
IN-MOCHA -AND -AFTER -EFFECTS/
7. HTTPS://HELPX.ADOBE.COM/AFTER -EFFECTS/USING/KEYING.HTML
RSACE 4:15 PLANNING & CHROMA SHOOT TEACHING
HOURS 30
UNITS COVERAGE OF MODULE Time
(Leatures)
UNIT 1 THE PROCESS OF PLANNING VISUAL EFFECTS . WHAT IS SEAMLESS
VFX? WHY IS IT ESSENTIAL TO PLAN THE SHOOT ACCORDING TO
VISUAL EFFECT SHOTS? HOW TO PLAN COST EFFECTIVE SHOOT?
WHAT IS PRE -VISUALIZATION? 2
UNIT 2 WHAT IS CHROMA KEY? WHAT IS CHROMA RANGE? WHAT IS
COLOUR SEPARATION OVERLAY? THE USAGE AND TYPES OF GREEN
SCREEN. WHAT IS GAFFER TAPE AND WHERE IS IT USED? 2
UNIT 3 HISTORY OF CHROMA KEY. WHAT IS TRAVELLING MATTE TECHNIQUE
OR OPTICAL PRINTING? THE EXPERIMENTATION OF BACKGROUND COLOURS. WHEN WAS GREEN OR BLUE SCREEN FIRST USED? WHAT
CGI? WHAT IS BAYER PATTERN? 2
UNIT 4 WHY THE SELECTION OF BACKGROUND COLOUR IS IMPORTANT ?
THE CONSIDERATI ON OF COLOURS OF THE ELEMENTS WHILE
SHOOTING ON GREEN SCREEN. WHAT COLOURS SHOULD BE AVOIDED? WHEN DO YOU INTENTIONALLY USE THE SAME COLOURED
ELEMENTS? 2
UNIT 5 THE GREEN SCREEN INTENSIVE . WHY THE SELECTION OF GREEN
SCREEN PAINT IMPORTANT? HOW TO BUIL D AND PAINT A GREEN
SCREEN? THE REQUIREMENT OF COLOUR SAMPLING. 2
UNIT 6 THE IMPORTANCE OF CONTROLLED LIGHTING . HOW TO LIGHT
GREEN SCREEN PROPERLY? WHY IS IT IMPORTANT TO MATCH
LIGHTING? HOW TO MATCH LIGHTING AND SHADOWS OF THE FORE -
GROUND AND BACKGROUND? HOW TO CAST OR EXTRACT SHADOW? 2
UNIT 7 THE IMPORTANCE OF CONTROLLED LIGHTING . HOW TO MATCH
LIGHTING FOR OUT DOOR SHOOTS? WHAT IS LIGHT SCATTERING?
WHAT IS MEANT BY LIGHT SPILL? WHY THE DIRECTIONS OF LIGHT
SHOULD MATCH? 2
UNIT 8 THE POSITIONING OF CAMERA . WHY SHOULD CAMERA BE 'LOCKED
OFF' IN A POSITION? THE IMPORTANCE CAMERA MATCHING AND
HOW IT SHOULD BE TAKEN C ARE OFF. WHAT IS CAMERA MAPPING?
MATCHING THE DEPTH OF FIELD. 2
UNIT 9 THE USAGE OF BLOCKING, TRACKERS AND MARKERS. HOW DOES
TRACKER WORK? WHAT IS 2D TRACKING? HOW TO PLACE TRACKING MARKERS? WHAT IS PLANER TRACKING AND MATTE TRACKING? HOW
TO PLACE BODY AND FACIAL TRACKERS? 2
UNIT 10 HOW DOES ROTOSCOPING WORK ? WHAT IS ALPHA CHANNEL?
WHAT IS THE PURPOSE OF ROTOSCOPING IN VFX? WHAT ARE THE
TOOLS REQUIRED TO BEGIN ROTOSCOPING? 2
UNIT 11 WHAT IS MATCH MOVING ? HOW TO SHOOT FOR MATCH MOVING?
WHAT IS INVERSE MATCH MOVING? WHY IS ESSENTIAL TO MATCH
DIRECTION. QUALITY AND RATIO? 2
UNIT 12 HOW DOES MOTION CONTROLLING WORK ? WHAT IS MOTION
CAPTURING? WHAT IS IN -SHOT MOTION CAPTURE? WHAT IS MOTION
CAPTURE PRIMER? 2
UNIT 13 THE INTERACTIONS BETWEEN FOREGROUND AND BACKGROUND .
HOW TO CREATE VIRTUAL PROPS? HOW TO REMOVE OBJECTS? HOW
TO CREATE PHOTO- REAL ANIMALS, CREATURES, DIGITAL CROWD,
FIRE, WATER? WHAT IS CROWD REPLICATION? 4
UNIT 14 WHAT IS MEANT BY COMPOSITING? WHAT IS NODE -BASED
COMPOSITING? WHAT IS COMPOSITING PRIMER? WHAT IS WARPING AND WHERE IS IT USED? WHAT IS GARBAGE MATTING? WHAT IS
COMPOSITING WITHOUT MATTE? 2
RSACE PRACTICAL EXERCISE PRACTICAL
HOURS
1. ELIMINATE THE GREEN SCREEN FROM THE GIVEN FOOTAGE.
2. GIVE PROPER LIGHTING IN THE GIVEN FOOTAGE.
3. CONDUCT A CHROMA SHOOT. (A) PLAIN CHROMA SHOOT (B) WITH
TRACKER MARKER AND (C) WITH HALF SETS AND PROPS. 90 HRS
REFERE NCE BOOKS
1. THE GREEN SCREEN HANDBOOK: REAL -WORLD PRODUCTION TEC HNIQUES BY JEFF FOSTER
2. GREENSCREEN MADE EASY:KEYING AND COMP OSITING TECHNIQUES F OR INDIE FILMAKERS B Y
JEREMY HANKE & MICHELE YAMAZAKI
REFERENCE LINK
1. HTTP://WWW.DECCANCHRONICLE.COM/150511/ENTERTAINMENT-
BOLLYWOOD/ARTICLE/PLANNING -VFX -MIND -MAKES -YOUR -FILM -LOOK- GOOD -ANISH -MULANI
2. HTTP://NEILOSEMAN.COM/?P=3199
3. HTTP://BCT.ME/TUTORIALS/VFX-SUPERVISION -1/
4. HTTP://EFFECTSCORNER.BLOGSPOT.IN/2008/05/DESIGNING -VISUAL- EFFECT -
SHOTS.HTML#.WOZSKMFHWUK
FORTH SEMEST ER
INTRODUCTION
This semester has a broad overview of 3D concepts and the techniques that apply to all types of 3D
artwork, character designs, product shots, animation and visual effects. The industry of three
dimensional animation is remarkable and growing exponentially . You see the usage of 3D animation
in commercial movies, infomercials, commercial ads, daily soups, etc. It's an amazing journey the
industry has been through. The Matte paintings or the imaginative artwork used to be created by,
painting images on glass and be part of a film but today it is completely computerized. There are numerous 3D software packages that are available today and develop ability to give life to your
imagination. We use these technologies to take our films to the next level and job of a proper
compilation of the work is of a director and cinematographer. Understanding cinematography is very important and useful for a live-action and virtual/CG filmmaking. Hence learning the key concepts
and techniques of composition and camera movement is essential. It is also important to develop
the organisational skills involved in camera operation or light/sound recording. You will also
understand the technical requirements such as focal -length lenses and depth of field and how to
utilise this knowle dge in a creative and narrative sense.
Objectives of Semester 04
You will start with navigating in 3D space and how to manipulate the existing objects, reviews geometry and modelling. You will also learn how to apply colour and textures to the surfaces an d
basic theory of rendering. You will understand the importance of connecting objects through
hierarchies. Develop skills like sculpting in 3D, creating patch based surfaces, etc. You will be
introduced to matte painting and set extensions. The various techniques that can be used to
combine a matte -painted image with a live action footage. Understanding the origin of the industry
and the practices. Then we will be also looking into cinematography and what are the main tasks of a
cinematographer. Develop th e postproduction skills to further enhance the visual aesthetics of your
content and learn about the history of the cinematography.
RSACE 4:16 FUNDAMENTALS OF 3D TEACHING
HOURS 30
UNITS COVERAGE OF MODULE Time
(Lectures)
UNIT 1 WHAT IS VISUAL EFFECTS? WHAT IS MEANT BY DIGITAL CREATIVE
ENVIRONMENT? WHAT IS THE HISTORY OF DEVELOPMENT OF THE
TECHNOLOGY AND WHAT ARE THE VISUAL MILESTONES? THE
PROGRESS OF VFX MOVIES IN 2000S. 2
UNIT 2 INTRODUCTION 3D - THE MAYA INTERFACE : NAVIGATING IN MAYA,
MAYA LAYOUT, BUILDING A DECORATIVE BOX, MAPPING THE BOX’S
REFERENCE PLANES WITH HYPERSHADE, ORGANIZING WORKFLOW
WITH LAYER EDITOR, MODELING THE DECORATIVE BOX, EDITING THE
DECORATIVE BOX, CONTINUING THE DECORATIVE BOX, FINISHING
THE DECORATIVE BOX. 4
UNIT 3 THE CONCEPTS OF MODELLING . HOW TO CREATE SPACE, OBJECTS
AND STRUCTURES IN MODELLING? HOW TO MOVE THE OBJECTS
AROUND? HOW TO ADD VERTICES, EDGES AND FACETS IN ORDER TO
CREATE THE OBJECT? WHAT ARE THE DIFFERENT FILE FORMATS THAT
SHOULD BE USED? 2
UNIT 4 WHAT ARE THE DIFFERENT APPROACHES TO MODELLING ? HOW TO
ORGANISE AND SET UP A PROJECT? WHO ARE MODELLERS? THE
TYPES OF MODELLERS. 2
UNIT 5 THE TECHNIQUES OF MODELLING . UNDERSTANDING THE CURVED
LINES, GEOMETRIC PRIMITIVES, SWEEPING, FREE-FORM OBJECTS.
WHAT IS MEANT BY BOX MODELLING AND PROCEDURAL
MODELLING? WHAT IS IMAGE-BASED MODELLING OR PHOTO -
REALISM? 2
UNIT 6 WHAT IS ANIMATION ? WHAT ARE THE DIFFERENT TECHNIQUES O F
ANIMATION? THE INITIAL ANIMATION FILMS. WHAT DOES THE TERM TRADITIONAL ANIMATION MEAN? THE EXPANSION OF ANIMATION
INDUSTRY AND USAGE OF ANIMATION BY VARIOUS COUNTRIES TO
MAKE FILMS. 2
UNIT 7 UNDERSTANDING THE CONCEPTS OF RENDERING WHAT IS THE
PROCESS OF RENDERING? WHAT ARE THE STEPS OF PROCESS OF
RENDERING? THE USE OF LIGHT AND CAMERA WHEN RENDERING.
HOW TO ASSIGN MATERIALS AND COLOUR TO THE MODEL? 2
UNIT 8 UNDERSTANDING THE CONCEPTS OF RENDERING. WHAT IS THE
SIGNIFICANCE OF HIDDEN SURFACE REMOVAL, Z -BUFFER, RAY
TRACING, GLOBAL ILLUMINATION AND RADIOSITY? WHAT IS MEANT
BY IMAGE -BASED LIGHTING? WHAT IS NON -PHOTOREALISTIC
RENDERING? WHAT IS HARDWARE RENDERING? WHAT FILE
FORMATS SHOULD BE USED FOR RENDERED IMAGE? 2
UNIT 9 THE IMPO RTANCE OF CAMERA . WHAT ARE THE DIFFERENT TYPES OF
CAMERAS? WHAT IS MEANT BY THE PYRAMID OF VISION? WHAT ARE
THE DIFFERENT TYPES OF CAMERA SHOTS? THE TYPES OF CAMERA
LENSES. WHAT IS CAMERA ANIMATION? 2
UNIT 10 THE USAGE OF LIGHTING . WHAT ARE THE DIFFERENT TYPES OF LIGHT
SOURCES AND HOW USE THEM? THE LIGHTING STRATEGIES AND
MOOD. THE BASIC COMPONENTS OF A LIGHT SOURCE. HOW TO
LIGHT A SCENE? THE BASIC POSITIONS OF LIGHT SOURCES. 2
UNIT 11 THE COMPUTER ANIMATION TECHNIQUES. WHAT IS MEANT BY
KEYFRAME? WHAT IS KEYFRAME INTERPOLATION AND PARAMETER
CURVES? WHAT IS FORWARD KINEMATICS AND MODELLING
ANIMATION? 2
UNIT 12 THE COMPUTER ANIMATION TECHNIQUES . WHAT IS CAMERA
ANIMATION OR LIGHT ANIMATION OR HIERARCHICAL CHARACTER
ANIMATION? WHAT IS TWO AND THREE DIMENSIONAL
INTEGRATION? THE FILE FORMATS USED FOR ANIMATION. 2
UNIT 13 INTRODUCTION TO COMPUTER GRAPHICS AND 3D . WHAT IS MEANT
BY DIGITAL ART? WHAT IS COMPUTER GRAPHICS? WHAT ARE THE
STAGES OF PRODUCTION? THE CG PRODUCTION WORKFLOW. 2
UNIT 14 INTRODUCTION TO COMPUTER GRAPHICS AND 3D . WHAT ARE THE
CORE CONCEPTS OF COMPUTER GRAPHICS? WHAT ARE THE BASIC FILM CONCEPTS? WHAT IS MEANT BY INTERACTIVE COMPUTER
GRAPHICS? 2
RSACE PRACTICAL EXERCISE PRACTICAL
HOURS
1. MODEL A PROP
2. CREATE A SET OF CHAIRS AND TABLE
3. MAKE A SIMPLE RIG.
4. MAKE A GLASS OBJECT USING SHADER . 90 HRS
REFERE NCE BOOKS
1. 3D ART ESSENTIALS : THE FUNDAMENTAL OF 3D MODELING AND TEXT URING BY AMI CHOPINE
2. CHARACTER ANIMATI ON FUNDAMENTALS: DEV ELOPING SKILLS FOR 2D AND 3D BY STEVE
ROBERTS.
3.INTRODUCTING AUTOD ESK MAYA
4. THE ART OF 3D COMPUT ER AND EFFECTS .
REFERENCE LINK
1. HTTP://WWW.OOCITIES.ORG/THREEDINDIA/FILES/3DBOOK.PDF
2. HTTP://WWW.INSTRUCTABLES.COM/ID/INTRO- TO-3D -MODELING/
3. HTTP://WWW.PEACHPIT.COM/ARTICLES/ARTICLE.ASPX?P=30594
RSACE 4:17 3D ASSET DEVELOPMENT 01 TEACHING
HOURS 60
UNITS COVERAGE OF MODULE Time
(Leatures)
UNIT 1 WHAT IS POLYGONAL MODELLING? WHY IS IT IMPORTANT TO HAVE
SPATIAL AWARENESS? HOW TO BEGIN WITH THE POLYGONAL
MODELLING? HOW TO PLAN YOUR MODEL? WHAT ARE THE BASICS OF POLYGON MODELLING? WHAT ARE THE DIFFERENT POLY EDITING
TOOLS? 2
UNIT 2 THE POLYGONAL MO DELLING. HOW TO TRANSFORM OBJECTS?
WHAT IS MEANT BY PIVOTING AND ALIGNING? UNDERSTANDING 2D
SPLINES AND SHAPE. HOW TO EXTRUDE AND BEVEL ? 2
UNIT 3 THE POLYGONAL MODELLING. UNDERSTANDING LOFT AND TERRAIN,
MORPH, SCATTER, CONFORM, CONNECT COMPOUND OBJECTS, BLOBMESH, BOOLEAN, PROBOOLEAN AND PROCUTTER COMPOUND
OBJECT. 4
UNIT 4 THE POLYGONAL MODELLING. HOW TO WORK WITH REFERENCES?
HOW TO BUILD SIMPLE S CENES? HOW TO BUILD COMPLEX SCENES
USING REFERENCES? HOW TO USE ASSET TRACKING? HOW TO
DEFORM SURFACES AND USE MESH MODIFIERS? 4
UNIT 5 MODELLING WITH NURBS. WHAT IS MEANT BY NURBS? BRIEF
HISTORY OF NURBS. WHAT ARE THE CONTROL POINTS AND HOW ARE THE U SED TO DETERMINE THE SHAPE OF THE CURVE? WHAT IS
KNOT VECTOR? 4
UNIT 6 MODELLING WITH NURBS. WHAT ARE THE OBJECT PROPERTIES OF
NURBS MODEL? WHAT ARE THE MODELLING CONCEPTS RELATED TO
NURBS? 4
UNIT 7 MODELLING WITH NURBS. HOW TO CREATE A NURBS OBJECT? HOW
TO MANIPULATE NURBS OBJECTS? HOW TO EDIT NURBS SURFACES? HOW TO CREATE ARCS? HOW TO CREATE A FLAT SURFACE INSIDE A
CURVE? 6
UNIT 8 MODELLING WITH NURBS. HOW TO USE NURBS SURFACE TO CREATE
POLYGONS? HOW TO CONVERT NURBS MODEL TO POLYGONS? HOW
TO STITCH THE SURFACES? WHAT IS THE USE OF SCULPT SURFACE
TOOL? HOW TO USE ARTISAN TO SCULPT NURBS? 6
UNIT 9 WHAT ARE THE DEFORMERS? HOW TO MODEL AN OBJECT USING
DEFORMERS? HOW TO CREATE LATTICE OF DEFORMER? HOW TO ANIMATE USING LATTICE? WHAT IS MEANT BY SUBDIVISION
SURFACES? HOW TO CREATE A STARFISH USING THIS TECHNIQUE?
HOW TO BUILD A TEA -KETTLE? 6
UNIT 10 HOW TO BUILD ORGANIC MODELS? HOW TO A WAGON USING
REFERENCE PLANES? THE PROCESS OF WAGON MODELLING:
MOD ELLING THE SIDE PANEL, MODELLING THE WAGON BODY,
INSERTING THE HANDLE BAR, MODELLING THE WHEELS, MODELLING
THE WOOD RAILINGS, ADDING EXTRA DETAILS. 6
UNIT 11 WHAT IS INORGANIC MODELLING? WHAT ARE THE CHARACTER
MODEL BASICS? HOW TO CREATE A CHARACTER USING REFERENCES?
HOW TO WORK FROM DESIGNS? 6
UNIT 12 CHARACTER MODELLING. THE IMPORTANCE OF USING SYMMETRY IN
MODELLING. THE PROCESS OF CHARACTER MODELLING: MAKI NG THE
EYE AND LIPS, MODELLING THE HEAD OF THE CHARACTER,
MODELLING THE HANDS AND LEGS OF THE CHARACTER, MODELLING
THE TORSO OF THE CHARACTER. STITCHING THE CHARACTER
TOGETHER. 6
UNIT 13 TEXTURING A CHARACTER. WHAT TYPES OF MAPPING PREPARATION
IS REQUIRED? THE PROCESS OF TEXTURING A CHARACTER: PREPARING A SCENE, DIFFUSE MAP BAKING, NORMAL MAP BAKING,
OCCLUSION MAP BAKING, PREPARING UV SNAPSHOTS, TEXTURE
COMBING, FLAMING PEAR, ADDING SKINTONE, ADDING CLOTHING
DETAILS, WORKING ON EYES AND TEETH AND FIXING T EXTURE SEAMS
AND ADDING DETAIL. 6
UNIT 14 MAYA SHADING AND TEXTURING. WHAT IS SHADING? WHAT IS
SHADER? WHAT ARE THE DIFFERENT TYPES OF SHADER? WHAT ARE
THE ATTRIBUTES OF A SHADER? WHAT IS RAY TRACING AND PHOTON
MAPPING? 6
UNIT 15 WHAT IS TEXTURING? THE DIFFERENT TYPES OF TEXTURES AND
SURFACES. WHAT IS MEANT BY HYPERSHADE? THE BASIC MATERIAL TYPES THAT ARE USED IN TEXTURING AN OBJECT. UNDERSTANDING
THE MATERIAL SETTINGS AND THE ATTRIBUTES. WHAT IS TEXTURE
MAPPING AND UV MAPPING? WHAT IS PHOTOREAL MAPPING? HOW
TO CREATE SEAMLESS REPEATING PATTERNS? HOW TO MAINTAIN
THE RESOLUTION OF THE TEXTURE? 6
RSACE PRACTICAL EXERCISE PRACTICAL
HOURS
(1)SUBMIT A - CHARACTER / CREATURE / CYBORGE – (ONLY FACE OF
FULL BODY)
(2) SUBMIT AN OBJECT, CHARACTER OR A SET - WITH PROPERLY
TEXTURE.
90 HRS
REFERE NCE BOOKS
1. INTRODUCING AUTOD ESK MAYA 2014 BASIC GUIDE BY DARIUSH DERAKSHANI
2. AUTODESK MAYA 2017 BASIC GUIDE BY KEL LY MURDOCK
3. AUTODESK MAYA 2013 ESSENTIALS BY PAUL NAAS
REFERENCE LINK
1. HTTPS://WWW.UDEMY.COM/AUTODESK- MAYA -THE-BASICS -FOR -BEGINNERS/
2. HTTPS://DESIGNMODO.COM/MAYA -TUTORIALS/
3. HTTPS://KNOWLEDGE.AUTODESK.COM/SUPPORT/MAYA/LEARN-
EXPLORE/CAAS/CLOUDHELP/CLOUDHELP/2016/ENU/MAYA/FILES/GUID-DC60577E -1A09-4D51-
BD6E -6400F4F5EFD7-HTM.HTML
RSACE 4:18 3D VFX - PART 01
(DYNAMICS & PARTICLES) TEACHING
HOURS 30
UNITS COVERAGE OF MODULE Time
(Lectures)
UNIT 1 INTRODUCING LIGHTING .WHAT ARE THE DIFFERENT TYPES OF
LIGHTS? WHAT ARE THE BASIC LIGHTING CONCEPTS? HOW DOES
LIGHT IN MAYA WORK? WHAT ARE THE LIGHT SOURCES? WHAT ARE
THE PROPERTIES OF LIGHTS? 2
UNIT 2 USING BASIC LIGHTS AND LIGHTING TECHNIQUES . HOW TO LINK
LIGHTS? HOW TO ADD SHADOWS TO THE SCENE? UNDERSTANDING
THE TERM RAY -TRACING. 2
UNIT 3 USING BASIC LIGHTS AND LIGHTING TECHNIQUES . WHAT IS MENTAL
RAY LIGHTING? HOW TO CREATE DIFFERENT LIGHTING EFFECTS BY USING MENTAL RAY? HOW TO CREATE PHYSICAL SUN AND SKY USING
MENTAL RAY? 2
UNIT 4 USING BASIC LIGHTS AND LIGHTING TECHNIQUES. WHAT IS LIGHT
TRACING? HOW TO SETUP V -RAY LIGHT? HOW TO CREATE STUDIO
LIGHTING IN 3D? HOW TO CREATE BASIC EXTERIOR LIGHTING? 2
UNIT 5 WORKING WITH CAMERA IN 3D . HOW TO CREATE VIRTUAL CAMERA
EFFECTS? HOW TO MATCH VIRTUAL CAMERAS TO REAL ONES? ADJUSTING CAMERAS ACCORDING TO IMAGE PLANE. HOW TO
CREATE CAMERA MOTION BLUR? WHAT IS CAMERA DEPTH OF FIELD?
WHAT IS CAMERA TRACKING? 2
UNIT 6 WHAT IS REND ERING AND HOW DOES IT WORK IN MAYA? HOW TO
SETUP RENDERING? HOW TO SETUP AN EXACT WORKFLOW? WHAT
ARE THE TERMINOLOGIES THAT ARE USED? WHAT IS THE
IMPORTANCE OF IMAGE SIZE AND ASPECT? WHAT FILE FORMAT
SHOULD BE USED FOR RENDERING? 2
UNIT 7 RENDERING IN M AYA . WHAT ARE THE MAIN FEATURES OF A
RENDERING? WHAT ARE THE TECHNIQUES USED? HOW DOES
SAMPLING AND FILTERING WORK? WHAT IS OPTIMIZATION? 2
UNIT 8 RENDERING IN MAYA . WHAT IS BATCH RENDERING OR NETWORK
RENDERING? WHAT IS FRAME BUFFETS, SPHERICAL AND PANORAMIC
RENDER? WHAT IS STYLISED RENDERS? 2
UNIT 9 RENDERING IN MAYA. HOW TO RENDER LAYERS? WHAT IS FINAL
GATHER? HOW DOES AMBIENT OCCLUSION WORK? WHAT IS HDRI? 2
UNIT 10 MAYA DYNAMICS AND EFFECTS: AN OVERVIEW OF DYNAMIC AND
MAYA NUCLEUS. WHAT IS THE DIFFERENCE BETWEEN RIGID AND SOFT DYNAMIC BODIES? HOW TO ANIMATE AN OBJECT WITH
DYNAMICS? 2
UNIT 11 MAYA DYNAMICS AND EFFECTS . WHAT IS N -PARTICLE DYNAMICS?
HOW TO EMIT N-PARTICLES DYNAMICS? HOW TO ANIMATE A PARTICLE EFFECT? THE INTRODUCTION OF PAIN EFFECTS AND TOON
SHADING. 2
UNIT 12 HOW TO CREATE 3D EFFECTS IN MAYA? HOW TO CREATE GLOWS
AND HALOS? HOW TO CREATE THE EFFECT OF LENS FLARES AND
PARTICLE SYSTEM? THE EFFECTS OF FOG AND ATMOSPHERIC
EFFECTS. HOW TO CREATE THE EFFECT OF MOTION BLUR? 2
UNIT 13 THE SIMULATION AND EFFECTS . HOW TO THE EFFECT OF BIND SPACE
WARP, GRAVITY, WIND DISPLACE FORCE OBJECT? THE EFFECT OF FFD
SPACE WARP, WAVE RIPPLE, BOMB AND CREATING PARTICLES
SYSTEM THROUGH PARRAY. 2
UNIT 14 SIMULATION AND EFFECTS . UNDERSTANDING PARTICLE FLOW USER
INTERFACE. HOW DOES PARTICLE FLOW WORK? HOW DOES HAIR AND FUR MODIFIER WORK? THE EFFECT FOR CLOTH AND GARMENT
MAKER MODIFIER. 2
RSACE PRACTICAL EXERCISE PRACTICAL
HOURS
1. PROVIDE PROPER LIGHTING TO THE GIVEN MODEL.
2. INTEGRATE A 3D ELEMENT INTO REAL PHOTOGRAPH AND MATCH
THE LIGHTING .
3. CREATE 5 DIFFERENT EFFECTS USINGDYNAMICS & PARTICLE
EFFECTS – FIRE, SMOKE, WATER, BUILDING COLLAPSE, GLASS
BREAKING. 90 HRS
REFERE NCE BOOKS
1. ADVANCED MAYA TEX TURING AND LIGHTING BY LEE LANIER
2. MASTERING AUTODES K MAYA 2011 BY ERIC KELLER
3. BODY LANGUAGE ADVANCED 3D CHARACTER RIGGING BY KELLY, MURDOCK & ERI C ALLEN
REFERENCE LINK
1. HTTP://WWW.HONGKIAT.COM/BLOG/100-MAYA -3D-TUTORIALS -BEGINNERS -INTERMEDIATE -
ADVANCED -USERS/
2. HTTPS://AUTODESK -MAYA.WONDERHOWTO.COM/HOW -TO/WORK-ADVANCED -RIG -FOR -
CHARAC TER-ANIMATION- MAYA -265332/
3. HTTPS://RENDERMAN.PIXAR.COM/VIEW/RENDERMAN4MAYA
RSACE 4:19 SET EXTENSION TEACHING
HOURS 30
UNITS COVERAGE OF MODULE Time
(Lectures)
UNIT 1 WHAT ISMEANT BY DIGITAL SET EXTENSION? THE IMPORTANT
ASPECTS OF SET EXTENSIONS. WHAT ARE THE FACTORS THAT
SHOULD BE KEPT IN MIND WHILE WORKING IN SET EXTENSION? 2
UNIT 2 WHAT IS USE OF KEYING? HOW TO KEY A GREEN SCREEN FOOTAGE?
WHAT ARE THE DIFFERENT TECHNIQUES OF KEYING? WHAT IS KEY
LIGHTING? HOW TO APPLY KEYLIGHT EFFECT? 2
UNIT 3 THE USES OF KEYING. WHAT IS MEANT BY AMPLITUDE SHIFT KEYING?
WHAT IS COLOUR KEYS, LUMINANCE KEY AND DIFFERENCE KEYS?
HOW TO SHOOT AND ACQUIRE FOOTAGE FOR KEYING? 2
UNIT 4 WHAT IS SET DRESSING? ADDING THE SET DRESSING TO THE
COMPOSITION. WHO IS A SET DESIGNER AND WHAT DO THEY DO?
HOW TO COMBINE THE FOOTAGE TO THE SET EXTENSION? 2
UNIT 5 MOTION TRACKING THE BACKGROUND. HOW TO COMBINE MULTIPLE
TRACKS? HOW TO ADD PARENTING ADDITIONAL LAYERS? TRACKING
THE FOREGROUND ELEMENTS. 2
UNIT 6 THE EFFECTS OF LIGHTING ON SET EXTENTION. HOW TO ADD FAKE
LIGHT TO THE SCENE? HOW TO MERGE THE LIGHTING OF REAL
FOOTAGE AND EXTENSION? HOW TO HANDLE SHADOWS? WHAT IS
DROP SHADOWS? 2
UNIT 7 LAYERING REFLECTIONS. HOW TO ADD FAKE REFLECTIONS TO THE
EXTENSIO N? CRATING THE DEPTH OF FIELD IN ORDER TO CREATE
PROPER REFLECTIONS. HOW TO LAYER BACKGROUND AND FOREGROUND REFLECTIONS? HOW TO ADD A REVERSED
REFLECTION? 2
UNIT 8 WHAT IS MEANT BY CONCEPT SKETCH AND CAMERA MATCHING?
HOW TO RENDER 3D BACKGROUNDS? WHAT IS DEPT OF FIELD AND
HOW TO MATCH IT WITH CAMERA ANGLES? 2
UNIT 9 PAINTING THE SET EXTENSION. WHAT IS COLOUR GRADING? THE
IMPORTANCE OF LIGHTING IN SET EXTENSION. HOW TO BUILD
CUSTOM GLOW OR MAKE A GLINT? WHAT ARE MATTE PAINTING
ASSETS? 2
UNIT 10 SET EXTENSION AND AFTER EFFECTS. HOW TO CREATE A NEW
COMPOSITION? HOW TO APPLY KEYLIGHT TO YOUR VIDEO CLIP?
HOW TO USE SCREEN COLOUR EYEDROPPER TOOL? 2
UNIT 11 SET EXTENSION AND AFTER EFFECTS. HOW TO STITCH THE VIEW
FROM FINAL RESULTS TO SCREEN MATTE? HOW TO TWEAK THE 'CLIP
BLACK' AND 'CLIP WHITE' SETTINGS? WHAT IS MEANT BY SCREEN
SHRINK? 2
UNIT 12 SET EXTENSION AND NUKE. HOW TO USE SOLVED CAMERA FOR THE
PLATE SHOT? INTRODUCING THE MODELBUILDER NODE AND USING
THE EDIT MODE IN THE MODELBUILDER. HOW TO LAYOUT UVS? 2
HOW TO EXPORT THE GEOMETRY OUT AND BACK FOR CREATING THE
UVS?
UNIT13 SET EXTENSION AND NUKE. HOW TO SET UP OUR SCANLINE RENDER?
HOW TO MATCH THE LIGHT OR UTILIZE THE MOTION BLURS IN
NUKE? HOW TO RECONSTRUCT THE ELEMENTS USING ROTO
TECHNIQUES? HOW TO SET UP CAMERA PROJECTIONS FOR THE SIGN
REPLACEMENTS? 2
UNIT14 COMPOSITING AN ANIMATED SET EXTENSION IN NUKE. HOW TO ADD
ANIMATION TO THE CLOUDS? HOW D OES GRADING, SHARPENING,
REMOVING THE HIGHLIGHTS WORK? HOW TO SET UP A 3D
PROJECTION? 2
UNIT15 WHAT IS MATTE PAINTING? HOW TO CREATE A REALISTIC MATTE
PAINTING BACKGROUND? WHAT IS MATTE PAINTING ENVIRONMENT? MATT PAINTINGS IN SOME MAJOR MOTIONS
PICTURES.
WHAT IS FORE GROUND MATTE PAINTING? HOW TO
CONDUCT TWEAKING THE FORE GROUND MATTE PAINTING? 2
RSACE PRACTICAL EXERCISE PRACTICAL
HOURS
1. ADD FAKE LIGHT TO THE SCENE.
2. MAKE A REALISTIC MATTE PAINTING.
3. EXTEND THE GIVEN SCENE 1.
4. EXTEND THE GIVEN SCENE 2. 90 HRS
REFERE NCE BOOKS
1. THE DIGITAL MATTE PAINTING HANDBOOK BY DAVID B. MATTINGLY
2. THE INVISIBLE ART: THE LEGENDS OF MOV IE MATTE PAINTING BY MARK VAZ & CRAIG BAR RON
3. BODY LANGUAGE ADV ANCED 3D CHARACTER R IGGING BY KELLY, MURDOCK & ERIC ALLEN
REFERENCE LINK
1. HTTPS://VFXFORFILM.WORDPRESS.COM/2013/01/03/MATTEPAINTING/
2. HTTPS://WWW.THEGNOMONWORKSHOP.COM/TUTORIALS/SET-EXTENSION -AND -LIGHTING -
EFFECTS
3. HTTPS://AMANDAFULLWOODMA.WORDPRESS.COM/TAG/SET -EXTENSION/
RSACE 4:20 CINEMATOGRAPHY
INTRODUCTION TEACHING
HOURS 15
UNITS COVERAGE OF MODULE Time
(Lectures)
UNIT 1 INTRODUCTION TO CINEMATOGRAPHY . WHAT IS THE ROLE OF A
CINEMATOGRAPHER? HISTORY OF CINEMATOGRAPHY. WHAT ARE
THE BASIC PRINCIPLES OF CINEMATOGRAPHY? WHAT ARE THE
ELEMENTS OF CINEMATOGRAPHY? 1
UNIT 2 WHAT IS THE ROLE OF A CINEMATOGRAPHER ? WHAT ARE THE
ABILITIES AND SKILLS A CINEMATOGRAPHER SHOULD HAVE? 1
UNIT 3 UNDERSTANDING CAMERA . WHAT ARE THE DIFFERENT TYPES OF
MOTION PICTURE CAMERA? THE CAMERA TECHNIQUES AND OPERATIONS USED IN CINEMATOGRAPHY. WHAT IS MEANT BY THE
TERMS ANALOGUE AN D DIGITAL? WHAT IS THE IMPORTANCE
COMPOSITION, FILING THE FRAME AND POINT OF VIEW? 1
UNIT 4 UNDERSTANDING CAMERA . WHAT IS COMPOSITION WITH AND
COMPOSITIONAL BALANCE? WHAT IS MEANT BY RULE OF THIRDS
AND 180 DEGREE RULE? WHAT IS A SHOT? WHAT ARE THE TYPES OF
SHOTS AND WHAT ARE THEIR USES? UNDERSTANDING SOME BASIC
CAMERA ANGLES. 1
UNIT 5 CAPTURING MOVING PICTURES . HOW PROPERLY CONVEYED
MOTION CAN BRING ALIVE A SCENE. WHAT ARE THE CONCEPTS OF
FRAMING? THE IMPORTANT TERMINOLOGIES OF THE FILM
SHOOTING PROCESS. 1
UNIT 6 THE FIVE IMPORTANT 'C'S OF CINEMATOGRAPHY. WHAT IS THE
IMPORTANCE OF VISUAL STORY-TELLING IN CINEMATOGRAPHY? 1
UNIT 7 WHY IS ASPECT RATIO AND FRAMING IMPORTANT ? HOW IS IT USED
TO CREATE DIFFERENT AESTHETIC EFFECTS? WHAT IS MEANT BY
ACADEMY RATIO AND WIDE SCREEN RATIO? WHAT IS ANAMORPHIC
PROCESS? 1
UNIT 8 CAMERA MOVEMENTS. WHAT IS MEANT BY CAMERA MOVEMENTS ?
HOW TO IDENTIFY BASIC CAMERA MOVES? WHAT ARE THE
DIFFERENT TYPES OF CAMERA MOVEMENTS? WHAT IS STEADICAM
AND STATIC CAMERA? WHAT IS PANNING AND ZOOMING SHOT? 1
UNIT 9 CAMERA MOVEMENTS : WHAT IS THE USE AND ADVANTAGE OF
TRACKS AND TROLLEY? WHAT IS CRANE SHOT AND WHEN TO USE?
WHAT IS TRACKING SHOT? WHAT ARE ITS ADVANTAGES AND
DISADVANTAGES? 1
UNIT 10 INTRODUCTION TO LENSES . THE BASIC TECHNICAL KNOWLEDGE
ABOUT THE USAGE OF THE LENSES. WHAT ARE THE DIFFERENT TYPES
OF LENSES? WHAT IS THE USE OF FILTERS? 1
UNIT 11 WHAT IS MEANT BY LENS DISTORTION AND ABERRATIONS? THE
IMPORTANCE OF SELECTING PROPER LENSES. WHAT IS MEANT BY
TWIN LENS REFLEX AND SINGLE LENS REFLEX? 1
UNIT 12 WHAT IS EXPOSURE ? WHAT ARE THE CORE CONCEPTS OF
EXPOSURE? WHAT IS MANUAL EXPOSURE? UNDERSTANDING THE
TRIANGLE OF EXPOSURE. WHAT IS DEPTH OF FIELD AND WHAT ARE
THE DIFFERENT TYPES OF FOCUSES? THE FACTORS THAT DETERMINE THE DEPTH OF FIELD? WHAT IS HYPER FOCAL DISTANCE? WHAT IS
EXPOSURE METERING? 1
UNIT 13 THE IMPORTANCE OF LIGHTING IN CI ENMATOGRAPHY. THE
QUALITY OF LIGHTING REQUIRED FOR A SHOT. WHAT IS THE DIRECTION OF THE LIGHTING? HOW TO CONTROL THE LIGHTING IN
ORDER TO GET DESIRED RESULT? WHAT IS INVERSE SQUARE LAW OF
LIGHTS? 1
UNIT 14 THE IMPORTANCE OF LIGHTING IN CINEMATOGRAPHY . WHAT IS
MEANT BY CONVENTIONAL, SOFT, DIFFUSED, BOUNCE, HARD OR
CREATIVE LIGHTING? THE DIFFERENCE BETWEEN INDOOR/OUTDOOR
AND DAY EFFECT/ NIGHT EFFECT? 1
UNIT 15 THE IMPORTANCE OF LIGHTING IN CINEMATOGRAPHY . WHAT ARE
THE DIFFERENT KINDS OF LIGHTS? HOW TO C ONTROL LIGHT
INTENSITY? HOW TO CREATE EMOTIONAL IMPACT USING LIGHT?
WHAT IS A REFLECTOR AND WHAT IS ITS ROLE? 1
RSACE PRACTICAL EXERCISE PRACTICAL
HOURS
1. CLICK AT LEAST 5 PHOTOGRAPH THAT CONVEYS A VISUAL STORY.
2. ANALYZE THE GIVEN PHOTOGRAPH.
3. CLICK 7 PHOTOGRAPH THAT DESCRIBES THE TRAFFIC SIGNAL.
4. CONVEY A STORY THOUGH A SHORT VIDEO. 90 HRS
REFERE NCE BOOKS
1. FILMING THE FANTA STIC: A GUIDE TO VIS UAL EFFECTS CINEMATO GRAPHY BY MARK SAWIC KI
2. PAINTING WITH LIG HTS BY JOHN ALTON
3. CINEMATOGRAPHY: THEORY AND PRACTICE: IMA GE MAKING FOR CINMAT OGRAPHY AND
DIRECTORS BY BLAIN B ROWN
4. REFLECTIONS: TWEE NTY-ONE CINEMATOGRAPHERS AT WORK BY BENJAMIN BERGERY
REFERENCE LINK
1. HTTP://WWW.ELEMENTSOFCINEMA.COM/CINEMATOGRAPHY/CINEMATOGRAPHY-BASICS/
2. HTTP://FILMMAKERSFANS.COM/5 -BASIC -CAMERA -MOVEMENT -TECHNIQUES -THAT-EVERY -
CINEMATOGRAPHER -KNOW/
3. HTTP://WWW.ELEMENTSOFCINEMA.COM/CINEMATOGRAPHY/HUMAN- EYE.HTML
YEAR 03
INTRODUCTION
The scope of cinematography is much broader than just shooting the scenes. It also
involves shooting a scene considering the visual effects that would be worked on post
production. How the visual effects are accommodated in the scenes is a task that a
cinematographer has to look into. Giving visual effects to the film is a major task and
involves lot of working departments. Some of these departments are motion tracking, match move & match motion, dynamics & particles, advanced lighting & rendering and comp ositing concepts. Dynamics are an extremely powerful feature in any 3D application.
It allows effects like smoke, fire or complex cloth simulations and dynamics is vital for creating realistic motion. In order to decorate your film with such effects you ne ed handles
like match moving, motion tracking and match motion. Match move behaviour analyzes the movement of a source object, then applies that movement data to a destination object. Camera tracking is a process which involves taking a video that has been filmed with a real
live camera and tracking its motion so that 3D elements can be added to it. It is also very important to understand lighting and its proper usage. The lighting effect is the effect that would bring the visual effects come closer to real ity. The visual effects is major part of the
industry today and this topics are the core of it.
Objectives :
This semester you will understand the concepts like camera tracking, match move & match motion,
the effects created by dynamics and particles, li ghting and rendering, and composting concepts.
You will learn the different types of motion tracking behaviours and types of dynamic effects. You
will get chance to check the software used for visual effects. Learn about different elements of the
topics an d how you can use the knowledge practically. You have already learnt how to operate
After Effects and now you will get a chance to see how the software is used in the industry.
RSACE 4:21 CAMERA TRACKING TEACHING
HOURS 30
UNITS COVERAGE OF MODULE Time
(Lectures)
UNIT 1 WHAT IS MEANT BY MOTION TRACKING? WHAT IS TRACKING
MOVEMENT? WHAT ARE THE FUNDAMENTAL STEPS OFF CAMERA
TRACKING? WHAT ARE THE DIFFERENT KINDS OF MOTION
TRACKING? HOW TO LOCK AN IMAGE TO ANOTHER MOVING IMAGE? 2
UNIT 2 UNDERSTANDING MOTION TRACKING . WHAT ARE THE DIFFERENT
TRACKING FEATURES? HOW TO IDENTIFY THE TRACKING FEATURES? WHAT IS THE WORKFLOW TO MOTION TRACKING? WHAT IS MEANT
BY MASK TRACKER OR FACE TRACKER? WHAT IS WARP STABILIZER
VFX AND WHAT ARE ITS USES? HOW D OES THE SOFTWARE
DETERMINE OBJECT'S ACTUAL POSITION AND MOTION IN 3D SPACE? 2
UNIT 3 THE ORIGIN OF 3D TRACKING TECHNOLOGIES . WHY WAS THE
TECHNIQUE DEVELOPED? HOW DID THE PROCESS OF TRACKING
START? THE 3D TRACKING TOOLS THAT BECAME A MILESTONE FOR
THE ART OF TRACKING. 2
UNIT 4 WHAT ARE THE TYPES OF MOTION TRACKING BEHAVIOUR ? ANALYZE
THE MOTION, MATCH MOVE, STABILIZE, UNSTABILIZE AND TRACK
POINTS. WHAT IS POINT TRACKING AND 3D TRACKER? 2
UNIT 5 HOW DOES THE POINT TRACKER WORK? HOW TO USE THE POINT
TRACKER? WHAT IS SINGLE POINT TRACKING? WHAT ARE THE
DIFFERENT TYPES POINT TRACKERS AND HOW THEY WORK? 2
UNIT 6 HOW TO USE AFTER EFFECTS 3D TRACKING? WHEN TO USE 3D
TRACKING? HOW DOES THE TOOL WORK? HOW DOES IT PROCESS
THE FOOTAGE ? WHY IS IT ONE OF THE BEST OPTION IN AFTER
EFFECTS? 2
UNIT 7 TRACKING TO REPLACE BACKGROUND ELEMENTS . HOW TO LOCK ON
TARGET TRACKING? 2
UNIT 8 ANALYZING FOOTAGE AND EXTRACTING CAMERA MOTION . HOW
TO EXTRACT THE CAMERA MOTION FROM THE FOOTAGE? HOW TO
USE THE TRACK PANEL? 2
UNIT 9 WHAT IS A SOLVED CAMERA ? HOW TO ATTACH CONTENT INTO A
SCENE CONTAINING A SOLVED CAMERA? CREATING TRACK POINTS
TO USE THE ATTACH POINT. 2
UNIT 10 BASIC SCREEN REPLACEMENTS . WHAT IS PERSPECTIVE PIN
TRACKING? WHAT IS PARALLEL CORNER PIN TRACKING? HOW TO USE
LAYER PANEL? HOW TO ATTACH THESE POINTS? 2
UNIT 11 BASIC SCREEN REPLACEMENTS . WHAT IS MEANT BY TRICKY SCREEN
REPLACEMENTS? ADVANCED SCREEN REPLACEMENT IN AFTER
EFFECTS. HOW DOES SCREEN REPLACEMENT WORK IN MOCHA? 2
UNIT 1 2 ADDING ELEMENTS TO A SCENE. HOW DOES THE 3D TRACKER
WORK? HOW TO ADD ELEMENTS TO A 3D TRACK? HOW TO RESIZE OR
MOVE THE TARGET TO ATTACH CONTENT TO DIFFERENT LOCATION? 2
UNIT 13 ADDING ELEMENTS TO A SCENE. WHAT IS TRACKING?
INTRODUCTION TO C4D. HOW DOES ENVIRONMENT REFLECTION
WORK? HOW TO GENERATE REFLECTION MAP? 2
UNIT 14 ADDING ELEMENTS TO A SCENE. HOW TO TRACK ELEMENTS TO
BACKGROUND AND LIGHTING? HOW TO TWEAK THE MATERIALS?
HOW TO CREATE TEXT AND TRACK TO THE MOTION PICTURE? WHAT
IS MULTI -PASS RENDERING? WHAT IS PRE -RENDERING AND
COMPOSITING? 2
UNIT 15 ADVANCED TRACKING. THE BASICS OF MOCHA AND HOW TO
CONDUCT ADVANCED TRACKING ON IT. UNDERSTANDING AFTER
EFFECTS BASICS AND HOW DOES THE ADVANCE TRACKING WORK ON
IT. HOW TO EXPORT TO AFTER EFFECTS? HOW TO ADJUST IN AFTER
EFFECTS? 2
RSACE PRACTICAL EXERCISE PRACTICAL
HOURS
1. USING PIN TRACKING ATTACH THE POINTS.
2. USING ANY SOFTWARE ATTACH THE MODEL TO THE FOOTAGE.
3. ANALYZE THE GIVEN FOOTAGE AND EXTRACT THE CAMERA
MOTION.
4. SUBMIT ASSIGNMENTS ON CAMERA TRACK 90 HRS
REFERE NCE BOOKS
1. MATCHMOVING: THE INVISIBLE ART OF CAM ERA TRACKING BY TIM DOBBERT
2. REAL TIME CAMERA TRACKING FOR AUGMENT ED REALITY APPLICATI ON BY HAROLD WUEST
3. VIDEO TRACKING: THEORY AND PRACTICE BY EMILIO M AGGIO AND ANDREA CAVALLARO
REFERENCE LINK
1. HTTPS://WWW.PREMIUMBEAT.COM/BLOG/MOTION-TRACKING -IN-AFTER- EFFECTS-6 -WAYS -TO-
TRACK -YOUR -FOOTAGE/
2. HTTPS://BLOG.POND5.COM/11977 -MOTION- TRACKING -IN-AFTER -EFFECTS -HOW -TO-USE -THE -
POINT-TRACKER/
3. HTTPS://BLOG.POND5.COM/12559 -MOTION- TRACKING -IN-AFTER -EFFECTS -THE-3D-CAMERA -
TRACKER/
RSACE 4:2 2 MATCH MOVE & MATCH MOTION TEARCHING
HOURS 30
UNITS COVERAGE OF MODULE Time
(Lectures)
UNIT 1 WHAT IS MATCH MOVE? HOW TO CHECK MATCH MOVING? WHAT
ARE THE DIFFERENT FORMS OF MATCH MOVING? WHAT IS THREE
DIMENSIONAL MATCH MOVING? 2
UNIT 2 WHAT AR THE BASICS OF MATCH MOVING? HOW DOES A TYPICAL
MATCH MOVE WORK? HOW TO CONVERT 3D TO 2D AND THEN BACK
AGAIN? WHAT IS THE PROCESS OF MATCH MOVING? 2
UNIT 3 THE BASICS OF MATCH MOVE. THE PROCESS OF MATCH MOVING IN
THE PRODUCTION PIPELINE. THE PERSPECTIVES OF MATCHING
TUTORIALS. MATC H MOVING TOWARDS MOVING PICTURES. 2
UNIT 4
WHAT ARE THE MATCH MOVING SOFTWARES? HOW TO USE MATCH
MOVE PROGRAMS? WHAT IS MEANT BY PHOTOGRAMMETRY? HOW
TO MATCH MOVE PROGRAMS USE PHOTOGRAMMETRY? LAYING
DOWN YOUR FIRST TRACKS. 2
UNIT 5
HOW DOES 2D TRACKING WORK? WHAT IS THE PROCESS OF 2D
TRACKING? SOME OF THE 2D TRACKING TUTORIALS? HOW TO
CONVERT 2D TO 3D? 2
UNIT 6 WHAT IS MEANT BY 3D CALIBRATION? WHAT IS A 'GOOD'
CALIBRATION? HOW TO CALIBRATE YOUR CAMERAS? HOW TO
EVALUATE THE SOLUTIONS? WHAT IS CALIBRATIONS AND CAMERA
MOVES? HOW TO SET UP A COORDINATE SYSTEM? 2
UNIT 7
WHAT IS AUTOMATIC TRACKING? WHAT IS TRACKING ON
AUTOPILOT? HOW TO EDIT AUTOMATIC TRACKS? HOW TO USE
MASK? WHAT ARE THE BENEFITS OF AUTOMATIC TRACKING? WHAT
IS THE PROCESS OF AUTO MATIC TRACKING? 2
UNIT 8
WHATS THE USE OF CAMERAS? HOW FILM CAMERAS WORK? HOW
DOES THE LENSES, FILM BACKS AND CCDS WORK? WHAT FORMAT TO
USE? WHAT IS LENS DISTORTION? WHAT IS DIGITIZATION? 2
UNIT 9 WHAT IS SET FITTING? WHAT IS MEANT BY THE TERM FITTING THE
CAMERA? HOW TO CHECK THE MATCH MOVE? HOW DOES THE
FITTING OF THE SET WORK? THE SET -FITTING TUTORIALS. 2
UNIT 10 SET FITTING. HOW TO ALTER THE COORDINATE SYSTEM IN ORDER TO
FIT THE SET? HOW TO DELIVER THE SCENE PROP ERLY? HOW DOES
THIS WORK IN REAL WORLD? 2
UNIT 11 BEING ON SET. HOW TO GET THE RIGHT INFORMATION? HOW TO
GET THE RIGHT CAMERA INFORMATION? HOW TO MARK UP THE
SET? HOW TO WORK WITH OTHERS ON SET? HOW TO BUILD A
MATCH MOVE KIT? 2
UNIT 12 WHAT IS MATCH MOTION? WHAT ARE THE SOME BASIC TECHNIQUE
TO MATCH THE MOTION? HOW TO BRING THE MAKING MODEL
CHANGES? HOW TO WORK WITH THE IMPERFECT DATA? 2
UNIT 13 THE PROCESS OF MATCH MOTION. THE MATCH MOTION TUTORIALS.
HOW TO TRACK THE OBJECT WITH MATCH MOTION SOFTWA RE?
HOW TO DEVELOP PROPER GRIP ON MATCH MOTION? 2
UNIT 14 TROUBLESHOOTING AND ADVANCED TECHNIQUES. WHAT IS
EFFECTIVE TROUBLE SHOOTING? WHAT IS TROUBLE SHOOTING
CHECKLIST? HOW TO DIAGNOSE THE PROBLEM? 2
UNIT 15 TROUBLESHOOTING AND ADVANCED TECHNIQUES. WHAT ARE
SOME ADVANCED TOOLS AND TRICKS OF MATCH MOVING? HOW
DOES BUILDING ON THE MATCH MOVE WORK? 2
RSACE PRACTICAL EXERCISE PRACTICAL
HOURS
1. CREATE A 1ST PERSON INTERIOR WALK THROUGH OF A ROOM.
2. CREA TE A MATCH MOVE SCENE .
3. SPOT THE MATCH -MOVE EFFECT IN THE GIVEN FOOTAGE. 90 HRS
NOTE : THE ABOVE SUBJECT MATCH MOVE THERE ARE MANY SOFTWARES USED IN THE INDUSTRY -
LIKE -3D EQUALIZER, BLENDE R, MAYA, NUKE , SYNTHEYES, PF TRAC K, BOUJOU, MOCHA . THE
TOPICS GIVEN ARE CON CEPTS. THE SOFTWARE NEEDS TO BE TAUGHT TO COVER THE ABOVE TOPICS.
REFERE NCE BOOKS
1. THE ART AND TECHNIQU E OF MATCHMOVING: SOLUTIONS FOR THE VFX ARTIST BY ERICA
HORNUNG
REFERENCE LINK
1. HTTP://WWW.CREATIVEBLOQ.COM/3D/HOW -FIX-IMPOSSIBLE -MATCHMOVE-71515920
2. HTTPS://CGI.TUTSPLUS.COM/ARTICLES/26 -TRACKING -AND -MATCHMOVING -TUTORIALS --AE-7394
3. HTTP://WWW.CREATIVEBLOQ.COM/3D/HOW -FIX-IMPOSSIBLE -MATCHMOVE-71515920
4. HTTPS://WWW.LYNDA.COM/MATCHMOVER -TUTORIALS/SOLVING -CAMERA/155283/162754-
4.HTML
RSACE 4:23 3D VFX (DYNAMICS & PARTICLES) TEACHING
HOURS 30
UNITS COVERAGE OF MODULE Time
(Leatures)
UNIT 1 INTRODUCTION TO PARTICLES. HOW TO CREATE PARTICLE? HOW TO
MAKE PARTICLE COLLIDE WITH CLOTH SURFACE? HOW TO USE
PARTICLE TO SIMULATE LIQUIDS? 2
UNIT 2 INTRODUCTION TO PARTICLES. HOW TO EMIT PARTICLES USING A
TEXTURE? HOW TO EMIT PARTICLES USING WIND? HOW TO ADD
SHADE TO THE PARTICLES? 2
UNIT 3 INTRODUCTION TO PARTICLES. HOW TO USE HARDWARE
RENDERING TO CREATE FLAME EFFECTS, PARTICLES AND
FIELDS? HOW DOES THE RENDERING PARTICLES WORK IN
MENTAL RAY? 2
UNIT 4 DYNAMICS EFFECTS. HOW TO CREATE CLOTH OBJECTS? CREATING
CLOTH AND PARTICLES INTERACTIONS. WHAT IS RIGID BODY
DYNA MICS? WHAT IS PARTICLES INSTANCING? 2
UNIT 5 DYNAMICS EFFECTS. HOW TO CREATE FLYING DEBRIS USING
PARTICLES INSTANCING? WHAT IS MEANT BY THE TERM PARTICLE
EXPRESSIONS? ANIMATING INSTANCES USING PARTICLES
EXPRESSION? HOW TO CREATE SMOKE TRAILS? 2
UNIT 6 MAYA DYNAMICS AND EFFECTS. AN OVERVIEW OF DYNAMICS AND
MAYA NUCLEUS. WHAT IS THE DIFFERENCE BETWEEN RIGID
DYNAMICS AND SOFT DYNAMICS BODIES? 2
UNIT 7 MAYA DYNAMICS AND EFFECTS. ANIMATING WITH DYNAMICS: THE
POOL TABLE. WHAT IS PARTICLE DYNAMICS AND EMITTING
PARTICLES? ANIMATING A PARTICLE EFFECT: LOCOMOTIVE STEAM. 2
UNIT 8 INTRODUCTION TO PAINT EFFECTS. WHAT IS TOON SHADING? WHAT
NONPHOTOREALISTIC STYLES? WHAT RENDERING TECHNIQ UES CAN
BE USED? HOW TO CREATE COMPLEX TRANSITION USING MAYA
TOON SHADER? 2
UNIT 9 MAYA FLUIDS. HOW TO USE FLUID CONTAINERS? HOW TO CREATE A
REACTION? WHAT IS MEANT BY RENDERING FLUID CONTAINER?
HOW TO CREATE FLUID AND PARTICLE INTERACTIONS? HOW TO
CREATE AN OCEAN? 2
UNIT 10 HOW TO ADD FUR TO CHARACTERS? WHAT IS FUR DENSITY?
HOW TO MAKE FLUFFY HAIR? HOW TO SET MATERIALS? HOW
TO STYLE FUR? WHAT ARE THE DIFFERENT TYPES OF FUR
MATERIALS? HOW TO USE MODO'S FUR TOOL? 2
UNIT 11 WORKING ON FUR OF THE CHARACTER . HOW TO RENDER FUR
USING MENTAL RAY? ANIMATING USING DYNAMICS CURVES?
HOW TO SET COLOUR FOR FUR? HOW TO CREATE REALISTIC
FUR FOR THE CHARACTER? HOW TO SHADE AND RENDER 2
FUR? WHAT IS MEANT BY HAIR AND FUR MODIFIER?
UNIT 12 WORKING ON HAIR OF THE CHARACTER . WHAT IS HAIR
GUIDE? HOW TO ADD HAIR TO THE CHARACTER? HOW TO STYLE
HAIR FOR THE CHARACTERS? GROOMING LONG AND SHORT
HAIR. 2
UNIT 14 WORKING ON HAIR OF THE CHARACTER. HOW TO WORK ON
EYEBROWS AND EYELASH? HOW TO CREATE REALISTIC HAIR?
HAIR FLOW AND SEGMENTATION. HOW DOES SHADING AND
RENDERING WORK IN CONTEXT TO HAIR? 2
UNIT 15 WORKING ON THE CLOTHING PROPERTIES. HOW TO ADD CLOTHING
ACCESSORIES TO THE CHARACTERS? HOW TO CREATE CLOTHS WITH
REALISTIC CREASES AND FOLDS? HOW TO PLAN THE GARMENT? 2
RSACE PRACTICAL EXERCISE PRACTICAL
HOURS
1. ADD A BLASTING EFFECT TO THE GIVEN FOOTAGE.
2. ADD SNOWFALL EFFECT TO THE GIVEN ENVIRONMENT.
3. BUILDING COLLAPSE SCENE USING DYNAMICS 90 HRS
REFERE NCE BOOKS
1. MAYA VISUAL EFFEC TS THE INNOVATOR'S G UIDE: AUTODESK OFFIC IAL PRESS, 2 EDITION BY ERIC
KELLER
REFERENCE LINK
1. HTTPS://WWW.FXPHD.COM/DETAILS/?IDCOURSE=408
2. HTTPS://WWW.PLURALSIGHT.COM/BLOG/FILM -GAMES/UNDERSTANDING -ROTOSCOPING -
PROCESS -EVERY -VFX -ARTIST -KNOW
RSACE 4:24 ADVANCED LIGHTING &
RENDERING TEACHING
HOURS 15
UNITS COVERAGE OF MODULE Time
(Leatures)
UNIT 1 LIGHTING WITH MENTAL RAY . WHAT ARE THE SHADOW -CASTING
LIGHTS? WHAT ARE THE DIFFERENT TYPES OF SHADOWS? WHAT IS
SHADOWMAP CAMERA? HOW TO REUSE THE SHADOWS? 2
UNIT 2 LIGHTING WITH MENTAL RAY . WHAT IN MEANT BY INDIRECT
LIGHTING? WHAT IS GLOBAL ILLUMINATION? WHAT IS INDIRECT
ILLUM INATION? UNDERSTANDING FINAL GATHERING, IMAGE -BASED
LIGHTING, PHYSICAL SUN AND SKY, MENTAL RAY AREA LIGHTS, LIGHT
SHADERS. 2
UNIT 3 UNDERSTANDING THE COMPUTER -GENERATED LIGHTING. HOW
CREATE DEPTH MAP AND RAY TRACED SHADOWS? HOW TO SOFTEN
OR SHAPE THE SHADOWS? LEARNING TO APPLY PHYSICAL AND
PORTAL SHADERS 2
UNIT 4 UNDERSTANDING THE COMPUTER -GENERATED LIGHTING . HOW TO
APPLY DEPTH OF FIELD WITH THE BOKEH SHADER? USING LIGHTING WITH CAUSTIC SETTINGS. HOW TO SPLIT A SCENE IN RENDER LAYERS?
HOW TO COMPARE RENDER PASSES AND RENDER LAYERS? 4
UNIT 5 MENTAL RAY SHADING TECHNIQUES. WHAT ARE THE BASIC MENTAL
RAY SHADERS? UNDERSTANDING MENTAL RAY FOR MAYA NODES. WHAT ARE THE MENTAL RAY SHADER CONNECTIONS? HOW TO ADD
A CONTOUR TO A SCENE? 2
UNIT 6 MENTAL RAY SHADING TECHNIQUES. WHAT ARE AMBIENT
OCCLUSION CONCEPTS? BAKING TO TEXTURES AND VERTICES. HOW TO CONNECT A TEXTURE AS A VECTOR DISPLACEMENT MAP? HOW
TO CREATE FUR SHADING AND SHADOWS USING THE MENTAL RAY? 2
UNIT 7 MENTAL RAY SHADING TECHNIQUES. HOW TO CREATE LIGHT FOG
USING MENTAL RAY FOR MAYA SAMPLE WORKFLOW? HOW DOES HIGH QUALITY TEXTURE FILTERING WITH ELLIPTICAL FILTERING
WORK? 2
UNIT 8 MENTAL RAY SHADING TECHNIQUES. USING MENTAL RAY FOR MAYA
REFLECTIONS. HOW TO MODIFY A MASK CHANNEL? HOW TO RENDER
COLOUR PER VERTEX IN MENTAL RAY? 2
UNIT 9 INTRODUCTION TO N -PARTICLES. HOW TO CREATE N -PARTICLES?
HOW TO MAKE N -PARTICLES COLLIDE WITH N-CLOTH SURFACES?
HOW TO USE N -PARTICLES TO STIMULATE LIQUIDS? 2
UNIT 10 N-PARTICLES AND TEXTURING. HOW TO EMIT N -PARTICLESUSING A
TEXTURE AND WIND? UNDERSTANDING SHADING N -PARTICLES. HOW
TO USE HARDWARE RENDERING TO CREATE FLAME EFFECTS? WHAT
IS THE RELATIONSHIP BETWEEN N-PARTICLES AND FIELDS? HOW TO
RENDER PARTICLES WITH MENTAL RAY? 4
UNIT 11 UNDERSTANDING DYNAMIC EFFECTS . HOW TO CREATE N -CLOTH
OBJECTS? THE INTERACTION BETWEEN CREATING N- CLOTH AND N-2
PARTICLES. WHAT IS RIGID BODY DYNAMICS?
UNIT 12 THE CONCEPT OF DYNAMIC EFFECTS. HOW TO CREATE FLYING
DEBRIS? HOW TO USE N -PARTICLES INSTANCING? ANIMATING
INSTANCES USING N-PARTICLE EXPRESSIONS. HOW TO CREATE
SMOKE TRAILS? 2
UNIT 13 RENDERING FOR COMPOSITING. HOW TO RENDER LAYERS? WHAT
RENDER PASSES? HOW DOES RENDER PASS CONTRIBUTION MAPS
WORKS? SETTING UP A RENDER WITH MENTAL RAY.
UNDERSTANDING MENTAL RAY QUALITY SETTINGS. 2
RSACE PRACTICAL EXERCISE PRACTICAL
HOURS
1. THREE POINT LIGHTING
2. LIGHT THE GIVEN SCENE (3D ENVIRONMENT)
3. ASSIGNMENT ON THE AREA LIGHT, SPOT LIGHT, DIRECTION LIGHT,
POINT LIGHT, ETC .
4. PHOTOREALISTIC LIGHTING – INTEGRATE A 3D ELEMENT IN REAL
SHOOT AND MATCH THE LIGHTING OF THE SCENE. 90 HRS
REFERE NCE BOOKS
1. DIGITAL LIGHTING AND RENDERING (VOICE S THAT MATTER) BY JE REMY BIRN
2. ADVANCED LIGHTING AND MATERIALS WITH S HADERS BY KELLY DEMS KI AND EMMANUEL VIAL E
3. GPU PRO 6 : ADVANCED RENDERING TECHNIQUES BY WOLFGA NG ENGEL
REFERENCE LINK
1. HTTPS://CMIVFX.COM/PRODUCTS/410 -CINEMA -4D-ADVANCED -LIGHTING -AND -RENDERING
2. HTTPS://WWW.SCRIBD.COM/DOCUMENT/41971223/ADVANCED -LIGHTING -IN-TURTLE
3. HTTPS://KNOWLEDGE.AUTODESK.COM/SUPPORT/3DS -MAX/LEARN -
EXPLORE/CAAS/CLOUDHELP/CLOUDHELP/2017/ENU/3DSMAX/FILES/GUID-8D21416E -DF57 -4D1F -
B141-29C1D30612BF -HTM.HTML
4. HTTP://WWW.RENDERPLUS.COM/WP2/WK/THE_ADVANCED_LIGHTING_TAB.HTM
RSACE 4:25 COMPOSITING CONCEP TS TEACHING
HOURS 30
UNITS COVERAGE OF MODULE Time
(Lectures)
UNIT 1 INTRODUCTION TO COMPOSITING CONCEPTS. WHAT ISSTEREO
COMPOSITING? WHAT IS THE USE OF MULTI -PASS CGI
COMPOSITING? WHAT IS 3D COMPOSITING? UNDERSTANDING
COMPOSITING USING ADOBE PHOTOSHOP. MAKING THE GOOD
COMPOSITE. 2
UNIT 2 WHAT IS MEANT BY MATTES? WHAT IS LUMA KEY MATTES?
UDERSTANDING CHROMA KEY MATTES, DIFFERENCE MATTES, BUMP MATTES, KEYERS, COLOR DIFFERENCE MATTES, ADOBE AFTER
EFFECTS MATTE. 2
UNIT 3 HOW TO REFINE MATTES? WHATIS MATTE MONITOR?
UNDERSTANDING GARBAGE MATTES, FILTERING THE MATTE,
ADJUSTING THE MATTE SIZE. 2
UNIT 4 WHAT IS MEANT BY DESPILL? WHAT IS DESPIL OPERATION? WHAT
ARE DESPIL ARTIFACTS? WHAT ARE THE DESPILL ALGORITHMS AND
HOW TO REFINE THEM? 2
UNIT 5 UNDERSTANDING THE CONCEPT OF THE COMPOSITE. WHAT ARE
THE COMPOSITING OPERATIONS? WHAT IS MEANT BY THE PROCESSED FOREGROUND METHOD? HOW TO USE ADD -MIX
COMPOSITE? REFINING THE COMPSITE AND STEREO COMPOSITING. 2
UNIT 6 HOW DOES CGI COMPOSITING WORK? WHAT IS THE DIFFERENCE
BETWEEN PREMULTIPLY AND UNPREMULTPLY? HOW DOES MULTI-
PASS CGI COMPOSITING WORK? WHAT IS HDRI IMAGES? WHAT IS
THE IMPORTANCE OF 3D COMPOSITING, ASHORT COURSE IN 3D,
MATCH MOVING CAMERA PROJECTION, SET EXTENSION, 3D
BACKGROUNDS? 2
UNIT 7 HOW TO USE BLEND OPERATIONS? WHAT ARE THE IMAGE
BLENDING OPERATIONS? WHAT ARE THE DIFFERENT ADOBE
PHOTOSHOP BLENDING MODES? 2
UNIT 8 USING COLOR CORRECTION. UNDERSTANDING THE COLOURS OF
NATURE. WHAT IS BEHAVIOUR OF LIGHT? HOW TO MATCH THE LIGHT
SPACE? 2
UNIT 9 WHAT ARE DIFFERENT CAMERA EFFECTS? HOW TO MATCH THE
FOCUS? WHAT IS DEPTH OF FIELD? WHAT IS MEANT BY LENS FLARE?
WHAT IS VEILLING GLARE AND GRAIN? 2
UNIT 10 ANIMATION AND COMPOSITING. WHAT IS GEOMETRIC
TRANSFORMATIONS? WHAT IS MEANT B Y MOTION TRACKING?
USING WARPS AND MORPHS. 2
UNIT 11 WHAT IS GAMMA? WHAT ARE THE EFFECTS OF GAMMA CHANGES
ON IMAGES? WHAT ARE THE THREE GAMMAS OF A DISPLAY SYSTEM?
HOW TO CREATE THE DIM SURROUND EFFECT? WHAT IS THE
GAMMA OF VIDEO OR OF A FILM? 2
UNIT 12 COMPOSITING A VIDEO. HOW VIDEO WORKS? WHAT ID HIGH -
DEFINITION VIDEO? WHAT IS MEANT BY TELECINE? HOW TO WORK
WITH A VIDEO? HOW TO WORK WITH A VIDEO IN A FILM JOB? HOW
TO WORK WITH FILM IN A VIDEO JOB? WORKING WITH CGI IN A
VIDEO JOB. 2
UNIT 13 COMPOSITING A FILM. THE PROCESS OF FILM MAKING.
UNDERSTANDING THE TERMS AND DEFINITIONS. WHAT ARE THE DIFFERENT FORMATS OF A FILM? WHAT IS MEANT BY THE TERM FILM
SCANNERS? WHAT IS FILM RECORDERS? WHAT IS DIGITAL
INTERMEDIATE? 2
UNIT 14 WHAT IS THE DIFFERENCE BETWEEN LOG AND LINEAR?
UNDERSTANDING THE DYNAMIC RANGE IN THE REAL WORLD. WHAT
IS THE BEHAVIOUR OF FILM? HOW TO REPRESENT FILM DATA IN LOG
FORMAT? HOW TO DIGITALIZE THE FILM? WHAT IS MEANT BIT DEPTH
AND BANDING? 2
UNIT 15 WHAT IS LOG IMAGES? HOW TO CONVERT LOG IMAGES? WORKING
WITH LOG IMAGES. 2
RSACE PRACTICAL EXERCISE PRACTICAL
HOURS
1. CREATE A COMPOSITION USING 4 DIFFERENT ELEMENTS IN
PHOTOSHOP.
2. WORK ON C OLOUR CORRECTION OF THE FOOTAGE USING AFER
EFFECTS. 90 HRS
REFERE NCE BOOKS
1. COMPOSITING VISUA L EFFECTS: ESSENTIAL S FOR THE ASPIRING A RTIST BY STEVE WRIGH T
2. PHOTOSHOP COMPOSI TING SECRETS BY MATT KLOSKOWSKI
3. DIGITAL COMPOSITING IN DEPTH BY DOUG KELLY
REFERENCE LINK
1. HTTP://WWW.QVOLABS.COM/DIGITAL_IMAGES_COLORSP ACE_LOG_VS_LINEAR.HTML
2. HTTPS://WWW.LYNDA.COM/AFTER -EFFECTS- TUTORIALS/DEPTH -COMPOSITING -2D-3D-
ANIMATION/140918/165643-4.HTML
3. HTTPS://COMPOSITINGMENTOR.COM/TAG/DESPILL/
SIXTH SEMEST ER
INTRODUCTION
Visual Effects is vast pool of knowledge and information and requires unlimited
imagination. The tools in terms of software and plug ins are there so that you can create an artwork that you have had imagined. Your weapons in the industry is your grip on so ftware
and your creativity. The skills and techniques like Rotoscoping, Paint, Compositing and
Digital Intermediate is quite an important element. Rotoscoping is an technique used by
artist to trace over the motion picture footage, frame by frame, to separate characters or to create matte. Paint is used to erase the wires used during the shoot of the action sequence and as well to remove the markers, de aging etc. If you succeed to turn your imagination to reality then you are ready to tackle the world. It is interesting to learn how
the industry works and what ethical lines it follows. It is very intriguing to study the scope
of the industry and exponential growth. You should be also be able to prove that you are ready to enter the booming industry. By the end of this you should be able to create an artwork that is accumulation of all the knowledge you have gained through the years.
Objectives of Semester 06
This semester you will be study the topics like advanced Compositing, Roto, paint, Color
correcti on and industry practices. You have already worked on After Effects so this year we
will be taking a step further. This year you will be developing the skills in After Effects that are specifically used the most in the industry. You will be able to have a proper grip over the
software and use/manipulate the photos/videos as per your will . Develop the
understanding how After Effects , Nuke and may other VFX software are used to crate
stunning visual effects . You will be introduced to the software called Nuke which mostly is
used for compositing.
RSACE 4:26 COMPOSITING 01 TEACHING
HOURS 30
UNITS COVERAGE OF MODULE Time
(Lectures)
UNIT 1 ADVANCED ADOBE AFTER EFFECTS . HOW TO USE KEYING IN AFTER
EFFECTS? WHAT IS MOTION TRACKING? HOW DOES THE NON LINEAR
EDITING IN AFTER EFFECTS WORK? 2
UNIT 2 COMPOSITING AND LAYERING IN THE AFTER EFFECTS. HOW TO USE
BRIDGE AND WHAT IS IT'S ROLE IN AFTER EFFECTS? 2
UNIT 3 LAYERING IN AFTER EFFECTS. WHAT IS THE SIMILARITY BETWEEN
LAYERING IN AFTER EFFECTS, PREMIERE PRO AND PHOTOSHOP? 2
UNIT 4 WHAT IS MEANT BY MASKING? WHAT ARE THE SEGMENTS AND
VERTICES IN MASK MATTE? 2
UNIT 5 USING THE COLOUR CORRECTION. WHAT IS THE DI FFERENCE
BETWEEN COLOUR CORRECTION AND COLOUR GRADING? 2
UNIT 6 DISTORTION OF OBJECTS WITH PUPPET TOOLS. HOW TO USE
PUPPET TOOLS? HOW TO ADD DEFORM PINS? HOW TO DEFINE
AREAS OF OVERLAP? WHAT IS OVERLAPPING ACTION? HOW TO
STIFFEN AN AREA? HOW TO ANIMATE PIN POSITIONS? 2
UNIT 7 ROTO BRUSH TOOL. HOW TO CREA TE A SEGMENTATION
BOUNDARY? WHAT IS FINE -TUNE THE MATTE? UNDERRSTANDING
THE TRANSITION FROM THE FULL CLIP TO THE FOREGROUND . HOW
TO CREATE A LOGO USING ROTOSCOPING? OW TO ANIMATE TEXT? HOW TO ADD A BACKGROUND IMAGE IN AFTER EFFECTS? HOW TO
ADD AUDIO IN AFTER EFFECTS? 2
UNIT 8 HOW TO PERFORM COLO R CORRECTION ? HOW TO ADJUST COLOUR
BALANCE? HOW TO REPLACE THE BACKGROUND IN AFTER EFFECTS ?
HOW TOREMOVE UNWANTED ELEMENTS USING AFTER EFFECTS?
HOW TO CORRECT A RANGE OF COLORS ? GETTING WARM COLORS
WITH THE PHOTO FILTER EFFECT . 2
UNIT 9 HOW TO BUILD 3D OBJECTS? WORKING WITH A NULL OBJECT .HOW
TOWORK WITH 3D TEXT ? CREATING A BACKDROP FOR 3D
ANIMATION . NESTING A 3D COMPOSITION AND ADDING A CAMERA. 2
UNIT 10 USING 3D FEATURES . HOW TO ANIMATE 3D OBJECTS? HOW TO ADD
REFLECTIONS TO 3D OBJECTS? ANIMATING A CAMERA AND
ADJUSTING LAYER TIMING. HOW TO USE 3D LIGHTS? HOW TO ADD
EFFECTS IN AFTER EFFECTS? ADDITION OF MOTION BLUR. 2
UNIT 11 ADVANCED EDITING TECHNIQUES . HOW TO USE MOTION
STABILIZATION?USING SINGLE -POINT MOTION TRACKING . HOW TO
USE MULTIPOINT TRACKI NG? HOW TO CREATE A PARTICLE
SIMULATION? RETIMING PLAYBACK USING THE TIMEWARP EFFECT . 2
UNIT 12 RENDERING AND OUTPUTTING . CREATING TEMPLATES FOR THE
RENDERING PROCESS. HOW TO CREATE TEMPLATES FOR OUTPUT
MODULES? EXPORTING TO DIFFERENT OUTPUT MEDIA . 2
RSACE PRACTICAL EXERCISE PRACTICAL
HOURS
1. KEYING AND MATTE EXTRACTION IN AFTER EFFECTS
2. LEARN SOME ADVANCED EFFECTS IN AFTER EFFECTS TECHNIQUES
3. ROTOSCOPY TRICKS AND TECHNIQUES USED IN THE INDUSTY
4. DIFFERENT PAINT TECHQNIQUES USED IN THE INDUSTY.
90 HRS
REFERE NCE BOOKS
1. AFTER EFFECTS IN PRODUCTION 2ND EDITION BY TRISHA MEYER
2. CREATING MOTION GRAPHICS WITH AFTER EFFECTS: ESSENTIAL AND ADVANCED TECHNIQUES BY
TRISH MEYER
3. AFTER EFFECTS APPRENTICE BY CHRIS AND TRISH MEYER
REFERENCE LINK
1. HTTPS://KNOWLEDGE.AU TODESK.COM/SUPPORT/M AYA/LEARN -
EXPLORE/CAAS/CLOUDHE LP/CLOUDHELP/2015/EN U/MAYA/FILES/NONLINE AR-ANIMATION- WHAT -
IS-NONLINEAR -ANIMATION -HTM.HTML
RSACE 4:27 ADVANCED COMPOSITING TEACHING
HOURS 30
UNITS COVERAGE OF MODULE Time
(Lectures)
UNIT 1 GETTING STARTED WITH NUKE. WHAT ARE THE DIFFERENT
COMPONENTS OF THE GRAPHIC USER INTERFACE ? UNDERSTANDING
THE USE OF NODES, THE VIEWER, FRAMECYCLER . 2
UNIT 2 WHAT IS KEYING ? INTRODUCING NUKE’S KEYING NODES.HOW TO
USE HUEK EYER? WHAT IS IMAGE BASED KEYER? WHAT IS THE ROLE
OF KEYLIGHT IN ANIMATION? COMBINING KEYER NODES USING THE
TREE. 2
UNIT 3 COMPOSITING HI GH-RESOLUTION STEREO IMAGES . HOW TO USE
THE PROJECT SETTINGS PANEL ? HO W TO SET UP A HIGH -RESOLUTION
STEREO SCRIPT ? COMPOSITING A STEREO PROJECT. HOW TO RENDER
AND VIEW STEREO TREES ? 2
UNIT 4 WHAT IS THE NUKE 3D ENGINE ? HOW TO SETUP 3D SCENE ? MOVING
IMAGES WITH A 3D SCENE. WHAT IS RECONCILE 3D?HOW TO
TRANSFORM 3D DATA INTO 2D DATA? 2
UNIT 5 THE IMPORTANCE OF CAMERA TRACKING IN COMPOSITING. HOW
TO CALCULATE REFLECTION MOVEMENT USING CAMERA TRACKING?
HOW DOES 3D TRACKING WORK IN NUKE? LOADING A PRE -
GENERATED CAMERATRACKER NODE. HOW TO ALIGNING THE
SCENES? HOW T O CREATE THE REFLECTION ? 2
UNIT 6 WHAT IS CAMERA PROJECTION? BUILDING A CAMERA PROJECTION
SCENE . HOW TO TWEAK THE GEOMETRY?HOW TO ANIMATE THE
CAMERA? WHAT IS MEANT BY TWEAKING THE TEXTURE? USING A
SPHERICAL TRANSFORM TO REPLACE SKY . COMPOSITING OU TSIDE
THE SCANLINE RENDER NODE . 2
UNIT 7 CUSTOMIZING NUKE WITH GIZMOS . WHAT ARE THE SAFETY AREAS ?
HOW TO BUILD THE GIZMO’S TREE ? HOW TO CREATE A USER KNOBS ?
HOW TO SCRIPTE WITH A LITTLE TCL? HOW TO TEST THE GIZMO’
TREE- WRAPPING IN GROUPS ? MANIPULATING THE NUKE SCRIPT IN A
TEXT EDITOR. HOW TO TURN A GR OUP INTO A GIZMO? HOW TO USE
THE VIEWER INPUT PROCESS ? 2
UNIT 8 CUSTOMIZING NUKE WITH PYTHON .WHAT ARE THE BASICS OF
PYTHON SCRIPTING ? HOW TO CREATE A BUTTON WITH PYTHON?
HOW TO ADD A HOT KEY?HOW TO MAKE CUSTOM IZATION STICK
WITH MENU? 2
UNIT 9 TOUR THE INTERFACE WITH A BASIC COMPOSITE . HOW TO WORK
WITH PROCESS TREES ? HOW TO CREATE A SIMPLE PROCESS TREE?
HOW TO MERGE IMAGES ? INSERTING AND MANIPULATING NOD ES IN
THE TREE. HOW TO CHANGING PROPERTIES AND RENDER THEM?
WHAT IS MEANT BY DELVING DEEPER INTO THE MERGE NODE?
CREATING ANIMATION WITH KEYFRAMES . 2
UNIT 10 COMPOSITING CGI WITH BIGGER NODE TREES . WORKING WITH
CHANNELS. HOW TO WORK WITH CONTACT SHEETS ?USING THE
BOUNDING BOX TO SPEED UP PROCESSING . HOW TO USE LINKING
PROPERTIES WITH EXPRESSIONS ? SLAPPING THINGS TOGETHER AND
WORKING ON FOREGROUND OVER BACKGROUND . 2
UNIT 11 COMPOSITING CGI WITH BIGGER NODE TREES . HOW TO BUILD THE
BEAUTY PASS ? WHAT IS THE SHUFFLECOPY NODE ? MANIPULATING
PASSES AND ADDING OTHE R CGI IMAGES . HOW TO PLACE CGI OVER
LIVE BACKGROUND ? HOW TO USE THE MASK INPUT ? 2
UNIT 12 COLOR CORRECTION AND COMPOSITION. UNDERSTANDING NUKE’S
APPROACH TO COLOR . HOW TO MANIPULATE COLOR? HOW TO
BUILD BLOCKS ? USING AN I/O GRAPH TO VISUALIZE COLOR
OPERAT IONS. HOW TO CREATE CURVES WITH COLOR LOOKUP?
MATCHING COLOR WITH THE GRADE NODE . 2
UNIT 13 WHAT IS 2D TRACKING? WHAT ARE THE BASICS OF TRACKER
NODE ?WHAT IS MEANT BY STABILIZING A SHO T? WHAT ARE THE
FOUR POINTS OF TRACKING? 2
UNIT 14 UNDERSTANDING ROTOPAINT AND COMPOSITING. INTRODUCING
ROTOPAINT’S INTERFACE.WHAT IS MEANT BY THE TERM CURVE
EDITOR? WHAT ISSPLIT-SCREENING AND HOW TO TWIN IT WITH
ROTO? HOW TOCOMBINE PAINT? HOW TO USE ROTO IN
ANIMATION ? WHAT IS THE USE THE DOPE SHEET ? 2
RSACE PRACTICAL EXERCISE PRACTICAL
HOURS
1. CREATE A SIMPLE COMPOSITING.
2. MULTI LAYER COMPOSITING – MINIMUM 200 FRAMES.
3. WORK ON REAL FILM FOOTAGES. 90 HRS
REFERE NCE BOOKS
1. NUKE 101: PROFESSIONAL COMPOSITING AND VISUAL EFFECTS BY RON GANBAR
2. DIGITAL COMPOSITING WITH NUKE BY LEE LANIER
3. THE ART AND SCIENCE OF DIGITAL COMPOSITING BY RON BRINKMAN
REFERENCE LINK
1. HTTPS://WWW.DIGITALTUTORS.COM/SOFTWARE/N UKE-COMPOSITING -TUTORIALS
2. HTTPS://WWW.PINTERES T.COM/NATHANTILLET/N UKE-TUTORIALS -ARTICLES/
3. HTTPS://WWW.FXGUI DE.COM/FEATURED/THE- ART-OF-DEEP -COMPOSITING/
RSACE 4:28 ROTO / PAINT & COMP TEACHING
HOURS 15
UNITS COVERAGE OF MODULE Time
(Lectures)
UNIT1 WHAT IS ROTOSCOPING ? WHAT IS THE HISTORY OF ROTOSCOPING?
WHAT ARE THE DIFFERENT TECHNIQUESUSED? WHAT ARE THE
DIFFERENT TOOLS USED? 1
UNIT 2 WHAT ARE THE DIFFERENT TOOLS OF ROTOSCOPING AND HOW TO
USE THEM? HOW TO CREATE A SEGMENTATION BOUNDRY? HOW TO
FINE TUNE THE MATTE? CREATING A TRANSITION FROM THE FULL
CLIP TO THE FOREGROUND. 1
UNIT 3 USING THE DIFFERENT TOOLS OF ROTOSCOPING. LEARNING HOW TO
CREATE A LOGO USING ROTOSCOPING. HOW TO ANIMATE TEXT?
HOW TO ADD A BACKGROUND IMAGE? HOW TO ADD AUDIO TO THE
FOOTAGE? 1
UNIT 4 INTRODUCTION TO ROTO -PAINT. WHAT IS ROTOPAINT? WHAT IS
ROTOPAINT'S INTERFACE? WHAT IS MEANT BY THE TERM THE CURVE
EDITOR AND HOW TO USE IT? 1
UNIT 5 UNDERSTANDING ROTO -PAINT. HOW DOES SP ILT SCREENING TWINS
WITH ROTO WORK? HOW TO COMBINE PAINT? WHAT IS THE
RELATIONSHIP BETWEEN ROTO AND ANIMATION? HOW TO USE
DOPE SHEET? 1
UNIT 6 ROTO BRUSH AND REFINE EDGE EFFECT FEATURES .WHAT IS MEANT
BY INVERT FOREGROUND AND BACKGROUND ?UNDERSTANDING THE
DIFFERENT TYPES OF BRUSHES: SMOOTH, FEATHER, CHOKE, REDUCE
AND CHATTER . 1
UNIT 7 ROTO BRUSH AND REFINE EDGE EFFECT FEATURES . WHAT IS MOTION
BLUR? HOW TO DECONTAMINATE THE EDGE COLORS ? HOW TO
INCREASE DECONTAMINATION RADIUS? 1
UNIT 8 DISSECTING A ROTO. USING SIMPLE SHAPES TO CREATE SIMPLE AND
COMPLEX ROTOSCOPING. HOW TO IDENTIFY SOFT AND HARD
OBJECTS? HOW TO APPROACH EDGE CONSISTENCY, MOTION BLUR
AND OUT OF FOCUS ELEMENTS? 1
UNIT 9 BUILDING A DEPTH MAP USING ROTOSCOPY. ROTOSCOPING THE
STILL OBJECTS. WHAT ARE DIFFERENT CAMERA MOVEMENTS? HOW
TO TACKLE PERSPECTIVE CHANGES AND LENS DISTORTATION? WHAT
ARE THE RIGHT TOOLS TO BE USED TO ROTO SUCH FOOTAGES? 2
UNIT 10 HOW TO ENHANCE THE BACKGROUND? HOW TO CLEANUP THE
BACKGROUND ? HOW TO CREATE CLEANPLATES? HOW TO CONDUCT
SIMPLE WIRE REMOVAL AND MOTION TRACKING? 1
UNIT 11 UNDERSTANDING THE WIRE REMOVAL AND CLEANPLATES. HOW TO
HANDLE WIRE REMOVAL THROUGH SEMI -TRANSPARENT FABRIC,
MOTION BLUR AND HAIR? HOW TO CREATE A SMOOTH CLEANPLATE
FROM NOISY FOOTAGE? 2
UNIT 12 WHAT IS MEANT BY PROPAGATION ?WHAT IS SEARCH RADIUS?
WHAT IS MEANT BY MOTION THRESHOLD ? UNDERSTANDING THE
MOTION DAMPING . 2
RSACE PRACTICAL EXERCISE PRACTICAL
HOURS
1. ROTOSCOPY 50 FRAMES.
2. ROTOSCOPY INDUSTRY PRACTICES 90 HRS
REFERE NCE BOOKS
1. ROTOSCOPING: TECH NIQUES AND TOOLS FOR THE ASPIRING ARTIST BY BENJAMIN BRATT
REFERENCE LINK
1. HTTPS://WWW.FXGUIDE. COM/FEATURED/THE- ART-OF-ROTO -2011/
2. HTTP://WWW.VIDEOJ EEVES.COM/UNDERSTAND ING-ROTOSCOPING/
3. HTTPS://WWW.LYNDA .COM/AFTER -EFFECTS- TUTORIALS/ WHAT -
ROTOSCOPING/114912/415716.HTML
RSACE 4:29 DIGITAL INTERMEDIATE TEACHING
HOURS 30
UNITS COVERAGE OF MODULE Time
(Lectures)
UNIT1 EVOLUTION OF DIGITAL INTERMEDIATE. WHAT IS THE PROCESS OF
DIGITAL INTERMIATE? WHAT IS THE HISTORY OF DIGITAL
INTERMIATE? WHO IS COLOURIST? WHAT ARE THE TECHNICAL
TERMS USED FOR IT? 2
UNIT 2 WHAT ARE THE THREE STAGES OF DIGITAL INTERMEDIATE? INPUT:
HOW DOES IT WORK DURING THE INPUT STAGE OR THE ACQUISITION? WHAT IS THE PROCRESSED CAMERA NEGATIVE AND
HOW IS IT USED IN SCANNING A HIGH RESOLUTION FILM SCANNER?
HOW DOES THE SCANNER DIGITIZES EACH FRAME AND CONVERTS
THE FILM IMAGES TO A SERIES OF DIGITAL FILES? 2
UNIT 3 THE THREE STAGES OF DIGITAL INTERMEDIATE. IMAGE PROCESSING:
UNDERSTANDING THE CONFORMING, COLOUR CORRECTION,
CREATION OF SPECIAL LOOKS, AND ADDITION OF SPECIAL EFFECTS. 2
UNIT 4 THE THREE STAGES OF DIGITAL INTERMEDIATE. OUTPUT: HOW THE
EDITED DIGITAL FILES ARE USED TO RENDER A DIGITAL MASTER? WHICH IS RECORDED OUT TO FILM USING A FILM RECORDER OR
USED TO RENDER A VARIETY OF ELECTRONIC FORMATS? 2
UNIT 5 WHAT ARE THE DIFFERENT TOOL S OF DIGITAL INTERMEDIATE? A
COMPREHENSIVE OVERVIEW OF THE TOOLS. WHAT ARE THE
DIFFERENT HARDWARE AND SOFTWARE USED IN THE PROCESS? 2
UNIT 6 THE PROCESS OF DIGITAL COLOUR CORRECTION. HOW TO FIX THE
EXPOSURE PROBLEMS? WHAT ARE THE WHITE BALANCE PROBLEMS AND HOW TO FIX THEM? HOW TO REPAIR EXXCESSIVE NOISE FROM
AGGRESSIVE ISO SETTINGS? EXPANDING CONTRAST FROM LOG - OR
FLAT - RECORDED IMAGES. HOW TO DEVELOP THE IMAGE FROM RAW
RECORDINGS? SETTING THE INITIAL BLACK, WHITE AND GAMMA
POINTS. 2
UNIT 7 THE PROCESS O F DIGITAL COLOUR GRADING. HOW TO CREATE A
LOOK OR MOOD? HOW TO MANIPULATE INDIVIDUAL COLOURS AND OBJECTS IN A SCENE? UNDERSTANDING PAINTING, RETOUCHING,
AND FIXING IMAGES. WHAT IS MEANT BY EMULATING LIGHTING?
WHAT IS MEANT BY EMULATING CAMERA FILTERS AND L AB
PROCESSING TECHNIQUES? WHAT IS LUT (LOOKUP TABLES)? 2
UNIT 8 VISUAL EFFECTS AND TRANSITIONS. UNDERSTANDING THE
WORKFLOW OF DIGITAL POST-PRODUCTION. WHAT ARE THE
TRADITIONAL OPTICAL EFFECTS AND HOW CAN IT BE COMPLETED
DIGITALLY? HOW TO USE THE TRANSITIONS SUCH AS WIPES, FADES,
AND DISSOLVES? HOW TO CROP, RESIZE OR REPOSITION AN IMAGE?
WHAT IS THE USE OF FREEZE -FRAME? HOW TO PUTUP TITLES AND
TEXT? 2
UNIT 9 DIGITAL RETOUCHING. WHAT IS MEANT BY DUST BUSTING? HO W
DOES DUST BUSTING REMOVES THE DUST? HOW TO USE THE
CLONED INFORMATION TO FIX DUST DEFECT ON THE AFFECTED
FRAME? WHAT IS DIGITAL PAINT AND HOW IS IT USED FOR DIGITAL
RETOUCHING? 2
UNIT 10 DIGITAL RETOUCHING. WHAT IS THE SIGNIFCANCE OF IMAGE
SHARPENING? H OW TO SHARPEN SOFT IMAGES THAT HAVE
RESULTED FROM DEGRATION OR POOR LIGHTING? 2
UNIT 11 DIGITAL RETOUCHING. WHAT IS MEANT BY GRAIN REDUCTION? WHY
IS IT IMPORTANT TO REDUCE THE GRAIN? HOW TO REDUCE THE
GRAIN TO SOFTEN THE IMAGE? 2
UNIT 12 DIGITAL MASTERING. THE DIGITAL MASTER IS A FINAL DIGITAL
VERSION WITH ALL CHANGES APPLIED. HOW TO USE IT TO CREATE
ALL DISTRIBUTION FORMATS? 2
UNIT13 VIDEO OUTPUT. WHAT IS FRAME RATE? WHAT IS MEANT BY COLOUR
SPACE? WHAT IS THE IMPORTANCE OF ASPECT RATIO? 2
RSACE PRACTICAL EXERCISE PRACTICAL
HOURS
1. USE THE FILM (2K FOOTAGE AND THE FINAL DPX FILE) FOR
COLOR CORECTION.
2. CREATE DIFFERENT MOODS.
3. RELIGHTING IN DI. 90 HRS
REFERE NCE BOOKS
1. MODERN POST: WORKFLOW AND TECHNIQUES FOR DIGITAL FILMMAKE RS BY SCOTT ARUNDALE
& TASHI TRIEU
2. DIGITAL INTERMEDIATES FOR FILM AND VIDEO BY JACK JAMES
3. THE ART AND TECHNIQUES OF DIGITAL COLOUR CORRECTION BY STEVE HULFISH
4. COLOR AND MASTERING FOR DIGITAL CINEMA BY GLENN KENNEL
5. UNDERSTANDING DIGITAL CINEMA: A PROFESSIONAL HANDBOOK BY CHARLES S. SWARTZ
REFERENCE LINK
HTTP://WWW.JAMUURA.C OM/BLOG/THINGS -FILMMAKERS -NEED -TO-KNOW -DI-OR-DIGITAL -
INTERMEDIATE -EXPLAINED/
HTTP://WWW.EDITORSGU ILD.COM/V2/MAGAZINE/NEWSLETTER/MAYJUN02/ DIGITAL_INTERMEDIA
TE.HTML
HTTPS://WWW.SAFARIBO OKSONLINE.COM/LIBRAR Y/VIEW/THE -EDCF -
GUIDE/9780240806631/ 013_9781136035852_CH APTER5.HTML
RSACE 4:30 GRADUATION FILM PRACTICAL
HOURS
210
UNITS DESCRIPTION Hours
GRADUATION PROJECTS SUBMISSION GUIDELINE .
• PROJECT TITLE
• DURATION OF THE PROJECT
• PROJECT LEADER AND LIST OF TEAM MEMBER
• CONTACT DETAILS OF THE MAIN TEAM.
• SUMMARY OF PROJECT
• INTRODUCTION.
• THE RESEARCH AND APPROACHES.
• FINAL SUBMISSION.
• OUTCOMES / FINDINGS / EVALUATION.
• CONCLUSION
• ACKNOWLEDGEMENTS.
INTRODUCTION
RSACE SHORT FILM DELIVERABLE ARE PLANNED IN LINE WITH THE INDUSTRY
WORK FLOW. THE STUDENTS ARE TAUGHT INDUSTRY PRODUCTION PROCESS
WORK FLOW VALIDATED BY SOME OF THE BEST VFX STUDIOS IN INDIA. EACH
SEMESTER IS ALIGNED IN LINE WITH THE INDUSTRY PRODUCTION PRACTICES
AND TO TOP IT UP THE FINAL GRADUATION FILM WILL MAKE THE STUDENTS
UNDERSTAND THE REAL PRODUCT ION NITIGRITIES, WORKING AS A TEAM,
WORKING WITHIN THE TEAM, MEETING DEADLINE, FULFILLING THE
EXPECTATION OF THE SUPERVISORS AND DELIVERING THE GRADUATION FILM WITHIN THE TIMELINE GIVEN.
VFX SHORT FILM EVALUATION
FOR SHORT FILM ,MINIMUM 6 MONTHS TIME WILL BE PROVIDED FOR A GROUP
OF STUDENTS. MINIMUM 7 OR MAXIMUM 15 STUDENTS WILL BE WORKING ON A SHORT FILM. THE PRODUCTION SCHEDULE AND THE REVIEW MECHANISM WILL BE PROVIDED TO ONE OF THE STUDENTS IN CHARGE FOR ONE POINT CO -
ORDINATION (LIKE PRODUCTION COORDINATOR IN THE INDUSTRY).
RSACE FACUTY AND INDUSTRY PROFESSIONALS WILL REVIEW THE PROJECT AT
VARIOUS STAGES TO ENSURE THE DESIRE QUALITY IS ACHIEVED.
GRADUATION PROJECTS BRIEF
THE FINAL GROUP PROJECT IS A GRADUATION FILM IT CAN BE A SINGLE
SHOT / SHOT FILM / SEQUENCE OF VFX SHOTS.
THE FORMAT: FULL HD VIDEO.
THE STUDENTS FROM BACHELOR’S IN VISUAL EFFECTS WILL FORM A
GROUP (MINIMUM OF 5 MAXIMUM OF 7 IN A GROUP) AND WILL PLAN
THE PROJECT FROM THE CONCEPT TO IDEATION AND WILL WRITE A
SCRIPT, SHORT DIVISION AND VFX BREAKDOWN AND BRIEF. THE STUDENTS WILL HAVE TO WORK ON PRE -VISUALISATION AND GET
APPROVAL FROM THE FACULTY MEMBER. THE PROJECT WILL BEGIN DURING THE BEGINNING OF THE 3
RD YEAR AND THROUGH OUT THE
YEAR THEY WILL HAVE TO WORK ON THE PROJECT ALONG WITH THEIR
REGULAR CLASSES.
THE PROJECT SHOULD INCLUDE MINIMUM OF 60% OF COMPUTER
GRAPHI C AND 40% OF LIVE ACTION SHOOT.
THE EXPENSES FOR THE FILMS MADE DURING THE COURSE SHOULD BE BORNE BY THE STUDENTS. EACH AND EVERY STUDENT SHOULD
CONTRIBUTE TO MANAGE THE BUDGET.
UNIVERSITY OF MUMBAI
GARWARE INSTITUTE OF CAREER EDUCATION & DEVELOPMENT
Ordinances, Regulations and Syllabus Relating to
Bachelor in Visual Effects
(THREE YEARS FULL -TIME COURSE)
MARKS GRADE POINTS
GRADE
75 TO 100 7.5 TO 10.0 O
65 TO 74 6.5 TO 7.49 A
60 TO 64 6.0 TO 6.49 B
55 TO 59 5.5 TO 5.99 C
50 TO 54 5.0 TO 5.49 D
0 TO 49 0.0 TO 4.99 F (FAILS)
The performance grading shall be based on the aggregate performance of Internal Assessment and Semester End Examination.
The Semester Grade Point Average (SGPA) will be calculated in the following manner:
SGPA = ∑ CG / ∑ C for a semester, where C is Credit Point and G is Grade Point for the
Course/ Subject.
The Cumulative Grade Point Average (CGPA) will be calculated in the following manner
:
CGPA = ∑CG / ∑ C for all semesters taken together.
R. __________ PASSING STANDARD FOR ALL COURSES :
Passing 50% in each subject /Course combined Progressive Evaluation (PE)/Internal
Evaluation and Semester -End/Final Evaluation (FE) examination taken together. i.e.
(Internal plus External Exam ination)
R. __________
A. Carry forward of marks in case of learner who fails in the Internal Assessments and/ or Semester -end examination in one or more subjects (whichever
component the learner has failed although passing is on total marks).
B. A learner w ho PASSES in the Internal Examination but FAILS in the Semester -
end Examination of the Course shall reappear for the Semester -End Examination
of that Course. However his/her marks of internal examinations shall be carried over and he/she shall be entitled for grade obtained by him/her on passing.
C. A learner who PASSES in the Semester -end Examination but FAILS in the
Internal Assessment of the course shall reappear for the Internal Examination of
that Course. However his/her marks of Semester -End Examination shall be
carried over and he/she shall be entitled for grade obtained by him/her on passing
R. __________ ALLOWED TO KEEP TERMS (ATKT)
A. A learner shall be allowed to keep term for Semester II irrespective of number of
heads/courses of failure in the Semester I.
B. A learner shall be allowed to keep term for Semester III wherever applicable if
he/she passes each of Semester I and Semester II.
OR
C. A learner shall be allowed to keep term for Semester III wherever applicable
irrespective of number of heads/courses of failure in the Semester I & Semester
II.
D. A learner shall be allowed to keep term for Semester IV wherever applicable if
he/she passes each of Semester I, Semester II and Semester III.
OR
E. A learner shall be allowed to keep term for Semester IV wherever applicable
irrespective of number of heads/courses of failure in the Semester I, Semester II,
and Semester III
F. A learner shall be allo wed to keep term for Semester V wherever applicable if
he/she passes each of Semester I, Semester II, Semester III and Semester IV.
OR
G. A learner shall be allowed to keep term for Semester V wherever applicable irrespective of number of heads/courses of failure in the Semester I, Semester II,
Semester III, and Semester IV.
H. The result of Semester V I wherever applicable OR final semester shall be kept in
abeyance until the learner passes each of Semester I, Semester II, Semester III, Semester IV , Semester V wherever applicable.
OR
I. A learner shall be allowed to keep term for Semester VI wherever applicable
irrespective of number of heads/courses of failure in the Semester I, Semester II,
Semester III, Semester IV and Semester V.