Item No 412 Diploma in Direction DID_1 Syllabus Mumbai University

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Copy to : -
1. The Deputy Registrar, Academic Authorities Meetings and Services
(AAMS),
2. The Deputy Registrar, College Affiliations & Development
Department (CAD),
3. The Deputy Registrar, (Admissions, Enrolment, Eligibility and
Migration Department (AEM),
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(RAPC),
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6. The Deputy Registrar, PRO, Fort, (Publi cation Section),
7. The Deputy Registrar, (Special Cell),
8. The Deputy Registrar, Fort/ Vidyanagari Administration Department
(FAD) (VAD), Record Section,
9. The Director, Institute of Distance and Open Learni ng (IDOL Admin),
Vidyanagari,
They are requested to treat this as action taken report on the concerned
resolution adopted by the Academic Council referred to in the above circular
and that on separate Action Taken Report will be sent in this connection.

1. P.A to Hon’ble Vice -Chancellor ,
2. P.A Pro -Vice-Chancellor,
3. P.A to Registrar,
4. All Deans of all Faculties,
5. P.A to Finance & Account Officers, (F.& A.O),
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7. P.A to Director, Innovation, Incubation and Linkages,
8. P.A to Director, Board of L ifelong Learning and Extension (BLLE),
9. The Director, Dept. of Information and Communication Technology
(DICT) (CCF & UCC), Vidyanagari,
10. The Director of Board of Student Development,
11. The Director, Department of Students Walfare (DSD),
12. All Deputy Registrar, Examination House,
13. The Deputy Registrars, Finance & Accounts Section,
14. The Assistant Registrar, Administrative sub -Campus Thane,
15. The Assistant Registrar, School of Engg. & Applied Sciences, Kalyan,
16. The Assistant Registrar, Ratnagiri sub -centre, Ratnagiri,
17. The Assistant Registrar, Constituent Colleges Unit,
18. BUCTU,
19. The Receptionist,
20. The Telephone Operator,
21. The Secretary MUASA

for information.

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(Appendix ‘B’)



New Ordinances 6538 & 6539 relating to
the Diploma in Direction

1. Necessity of starting Diploma in Direction (DID) course:
India has witnessed the emergence of various new -age courses that are gathering momentum, as students
increasingly pursue courses that fuel their passion and ope n up job opportunities. A recent demand for
educated and qualified professionals was discovered in the field of Direction . Even the world is looking
closely at Indian Directors for different Programmes, Serials, Movies, Newsreels, Commercials, Music
videos , Documentaries, etc. leading to rising employment opportunities for professionals. Further to
highlight that due to the extensive presence of the Film, Entertainment & Television industry in Mumbai,
it's been considered as capital for it, making it a pref erred destination for professional education in this
sector. University of Mumbai by offering structured course for this Industry shall open up opportunities for
multiple aspiring students to pursue their career in this rising sector.
2. Whether UGC has recom mended to start the said Course:
The basis to start the course is our indegenious understanding about its requirement and not primarily as per
the recommendation from UGC.
3. Whether the course have commenced from the academic year 2019 -20:
Diploma in Direction (DID) course is now planned to start from next academic year 2021 -22.
4. The courses started by University are Self -Financed, whether adequate number of eligible permanent
Faculties are available:
Diploma in Direction (DID) course is planned to star t from the academic year 2021 -22 and the
identification and appointment of Eligible Faculties is under progress.
5. To give details regarding duration Diploma in Direction (DID) course and is it possible to
compress the Course:
The duration of the Course is f or 1 year which is taken -up after considering the optimal duration needed to
complete the syllabus requirement of the course.
6. The intake capacity of Diploma in Direction (DID) course and no. of admissions given in the
current academic year (2019 -20):
The c ourse is to start from the academic year 2021 -22 and hence admissions has still not started. The Intake
of this course is 60 students.
7. Opportunities of Employability / Employment available after undertaking Diploma in Direction
(DID) course:
The training m ethodology of the course has a high emphasis on the industry oriented approach. Students are
to be part of live projects, internships and other extracurricular activities with the Industry during their
educational journey to ensure their industry readiness . Along with the collaborations and associations with
key industry practitioners, a dedicated placement cell will facilitate different forms of employment
opportunities for the students. In the growth of the Film & Entertainment sector in India, Mumbai cit y has
played a significant role in the past century. It houses many of the leading corporates, production houses
and organisations of this Industry, opening the untapped employment opportunities for learned
professionals, undertaking such courses recognise d by the University of Mumbai department.

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Diploma In Direction

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O.6538

O.6539 Title of the Course

Eligibility for Admission
Diploma in Direction

Have passed 10+2 / HSC examinations
from any stream;

R.9284 Passing Marks 40% passing marks
Ordinances / Regulations
(if any) As attached
No. of Years / Semesters 1 year full time/ 2 semesters

Level Diploma
Pattern Semester
Status New
To be implemented from
Academic Year From academic year 2020 -21
R.9285 Intake Capacity 60

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Objectives of Diploma In Direction

It’s a hands -on course which provides many opportunities for practical production
across different platforms and different genres of film -making. It will enhance
students' storytelling skills and technical understanding of film, television and
transmedia p roduction. Students will develop advanced skills as a director in line
with both current industry practice and the traditions of independent filmmaking.


Course Objective
This course will enable students to:
● Demonstrate a critical awareness of how theoretical approaches can be
applied;
● Demonstrate a critical awareness of the development of story in directing film
and television productions;
● Planning and directing different genres of film, television and web productions;

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R – Passing Standard
The learners to pass a course shall have to obtain a minimum of 40%
marks in aggregate for each course where the course consists of Internal
Assessment & Semester End Examination. The learners shall obtain
minimum of 40% marks (i.e. 24 out of 60) in the Internal Assessment and
40% marks in Semester End Examination (i.e. 16 Out of 40) separately. A
learner will be said to have passed the course if the learner passes the
Internal Assessment & Semester End Examination together.


Marks Grade Points Grade Performance
Less than 40 0 F Fail
40 - 44.99 4 D Pass
45 - 49.99 5 C Average
50 - 54.99 6 B Above Average
55 - 59.99 7 B+ Good
60 - 69.99 8 A Very Good
70 - 79.99 9 A+ Excellent
80 & Above 10 O Outstanding

R - Credit Based Evaluation System Scheme of Examination
For all semesters, the performance of the learners shall be evaluated into two
components. The first component shall carry 40% marks which will be an
internal assessment while the second component shall carry 60% ma rks at
semester end examination.
The allocation of marks for the Internal Assessment 40% and Semester End
Examinations 60% are as shown below:

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a) Structure of Internal Assessment - 60% = 60 marks
Sr.
No. Particulars Marks
1 One periodical class test held in the given semester 20 Marks
2 Subject specific Term Work Module/assessment modes –
atleast two as decided by the department in the beginning of the
semester (like Extension/field/experimental work, Short Quiz;
Objective test, open book test etc and written assignments,
Case study, Projects, Posters and exhibits etc for which the
assessment is t o be based on class presentations wherever
applicable) to be selflessly assessed by the teacher/s
concerned 30 Marks
3 Active participation in routine class instructional deliveries (and
in practical work, tutorial, field work etc as the case may be ) 05 Marks
4 Overall conduct as a responsible learner, mannerism and
articulation and exhibit of leadership qualities in organizing
related academic activities 05 Marks


b) Semester End Examinations - 40% = 40 Marks
i. Duration – These examinations shall be of 2 Hours duration.
ii. Theory Question Paper Pattern:
● Q1 - Answer in Brief ( Any 5 out of 7) - 15 marks
● Q2 - Answer in detail ( Any 3 out of 5) - 15 marks
● Q3 - Descriptive question/case study (Compulsory) - 8
marks
Question may be subdivided into sub -questions a, b, c… and the allocation of marks
depends on the weight -age of the topic.

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Course Structure


DIPLOMA IN DIRECTION Credits Internals Externals Total

SEMESTER I
1.1 Dynamics of Visual Communication 4 60 40 100
1.2 Film Technology I 4 60 40 100
1.3 Fundamentals of Direction 4 60 40 100
1.4 Directorial Research & Analytical Study 4 60 40 100
1.5 Practical Training & Project Report I 4 100 - 100
TOTAL 20 340 160 500

SEMESTER II
2.1 Film Technology II 4 60 40 100
2.2 Art & Craft of Acting 4 60 40 100
2.3 Production & Post -Production Process 4 60 40 100
2.4 Cinematography & Editing for Directors 4 60 40 100
2.5 Practical Training & Project Report II 4 100 - 100
TOTAL 20 340 160 500

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1.1 DYNAMICS OF VISUAL COMMUNICATION



UNIT I Light and visual – Visualization process – Visual image – Principles of Colour:
Psychology of colour, Colour theory and meanings – Sensual and perceptual theories –
Attributes of visuals: Colour, Form, Depth and Movement.


UNIT II Visual language and culture – World culture, society and ethics, Understanding
Popular Culture and Sub culture – Abstract thinking , Linear and lateral thinking – Holistic
visual thinking.

UNIT III Visual media – Principles – Image and Imagination - Perspectives of visual
images – Visual perception – Communication design, Graphic design and informational
designs – Visual persuasion in various fields.


UNIT IV Introduction semiotics – Analysis - Aspects of signs and symbols – Sign and
meanings –Description of signs – Denotations and connotations – Paradigmatic and
syntagmatic aspects of signs – Signs and codes – reference systems – Audience
interpretations.


UNIT V Visual perspectives and its special features: photography, motion picture,
television, computer graphics, new media, World Wide Web.


REFERENCE BOOKS
1. 1. Visual Communication – Images with messages 3rd Edition, Paul Martin Lester,
Thomson Wadsworth, USA 2003. 2. Palmer, Frederic: Visual Elements of Art and Design,
1989, Longman. 3. Luin Annette, Power of the images, Rutledge and Kegan Paul, London
1985. 4. Nick Lacy, Images and Representation, Macmillan, London 1998. 5. John Fiske,
Understanding Popular Culture, Unwin Hyman, London 1989. 6. PradeepManda. Visual
Media Communication. Authors Press, New Delhi 2001.

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1.2 FILM TECHNOLOGY - I



UNIT I
Basics of communication - functions and types of communication – verbal communication –
non verbal communication – Interpersonal relationships – Mass communication – Group
communication – Visual communications – Visual vocabulary.


UNIT II
Basic structure and format of screen plays – Story – Research – Plot – Plot development –
Conflict, types of conflict, scene headings, camera angles, montages, dialogue and
background setting. Generating the character biography, identifying the secondary and
minor characters, creating counter characters and establish ing audience identification with
characters. What is Conflict – Types of conflict. The screen play as a blueprint for
production, shooting script and story boarding.

UNIT III
The Director‘s responsibilities – Being the ‗Captain of the ship‘ – Technical and aesthetical
blend – as administrator and coordinator – Narrative strategies – creating a world using
images and sound – location scouting production design – casting actors – motivating actors
– getting the performance – cinematographer as D irector‘s eye – mise en scene –
dynamisation of space and time – various kinds of continuity, cinematic transition from one
space and time to another.


UNIT IV
Film Editing – overlap and matching of action, cut -in and cut away – two types of continuity
cuts, match cut, and cut away. Smoothness through chance of image size and change of
angle or both in every successive shot.

UNIT V
Understanding cinematography – cinematographer‘s role – physical nature of light – Film
and exposure – sensitometry – photography theory – introduction to film and video cameras
– lens and perspective – Colors and filters – composition rules – shots – The line and
continuity – introduction to photographic lights – Types of lighting.


REFERENCE BOOKS
1. Directing Film techn iques and Aesthetics –- Michael Rabiger 2. Art of Film –
ErnestLindgram 3. Film and Director - Don Livingston 4. Cinematography : Theory and
Practice - Blain Brown 5. Cinematography - Kris Malkievicz (Fireside Books) 6. Basic
Photography - John Hedgecoe (A uoro Books) 7. Film Script Writing - Dwight V.Swain 8.
Screen – Play Writing - Eugen Vale 9. The Art of Dramatic Writing - LajosEgri 10. How to
read a Film - James Monaco 11. 5C‘s of Cinematography - Joseph V. Mascelli

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1.3 FUNDAMENTALS OF FILM DIRECTION

UNIT : I
Role of the Film Director - How we read and understand an image - Director’s Responsibility,
Moral, artistic, Technical and financial - interlocking roles of various technicians and artistes
in the making of a film - Film is a language sort not language system - Film as the Director’s
medium of expression - D.W. Griffith and Eisenstein - Their contribution to the art of film.

UNIT : II
Idea, Theme, Outline - Deep structure of the story, Treatment, Writer’s script -Shooting script
- Deve loping the idea through brooding - Scenes & sequences -A simple sequence in terms
of long, medium, and close shots.

UNIT : III
Choice of lenses and their effects - Depth of fields and its importance - camera movements -
Pan, tilt, dolly in dolly out, Track ing shots, Crane shots - Subject movement - Connotative
memory of the shot - Camera angles - Low angles, High angle, Three quarter angle -
Dramatic & psychological effects of camera angles - Creative use of sound - synchronous
and Asynchronous.
UNIT : IV
Evolution of film language in editing - Contribution by pioneers in Editing -Continuity -
Complexity - Compilation - Alternative editing motivation for cut - Relationship of works to
images Rhythm for story telling - Misenscene for blocking and structuring - Planning where
to Edit - Preparing to edit & creative contribution - Evolution of film and NLE Editing.

UNIT : V
Comparison between Film, Theatre and Novel - Director and the Actor -Professional Actors -
Amateur actors - Nan-actors - Contribution of ac tors -Handling of actors by the directors -
Role of assistant directors and apprentices -Director and technician.

REFERENCE:
1. Film and the Director - Don Livingston.
2. Art of Film - Ernst Lindgren.
3. How to read a Film - James Monaco.

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1.4 DIRECTORIAL RESEARCH & ANALYTICAL STUDY



UNIT : I
Filmic space and Filmic time - Film structure: External structure - Internal structure - Filmic
material and its organization - Use of chance material - Film as an art: Film and Camera
work and painting - Film and Novel - Film and Theatre - Film and Music - Film and
environmental arts.

UNIT : II
Director and the camera - Diachronic and Syntax - Composition - Movement within the frame
- Camera angles - Camera movements and lenses - Special effects in camera - Special
effects : Miniatures - Matte shots - Computer aided effects - Front and back Projection -
Principles of narrative construction -Narration: The flow of story information.

UNIT : III
Screen direction - Dynamic and Static - Constr uctive and relational editing -Parallel cutting -
Editing pattern for static dialogue scene - Cutting after the movement - Motion inside the
screen - Motion in and out of the shot - 20 basic rules for camera movements -
unconventional camera movement s for creativity.

UNIT : IV
Break down into shots - Mise -en-shot - Filmic technique - Master scene -Triple take -
Directing the actor - Directing the crew - Composition -Symmetrical - Asymmetrical
- Vertical - Horizontal - Dutch/Slan ting -Diagonal composition - Set: Plan -
Section view - Elevation and Projection -Story board.

UNIT : V
Lighting: Flat lighting - Rembrandt lighting - Chairoscuro lighting - Silhouette - Cameo -
Limbo - Creative uses of sound in films; Synchronou s -Asynchronous - Role
of film music - Realistic and functional music -Dialogues - New technical
developments: Wide screen - 3D - Digital film making and its creative possibilities - Dolby
system - DTS - IMAX.

REFERENCE:
1. How to Read a Film - James Monaco.
2. Directing -Film Techniques and aesthetics - Michael Rabiger.
3. Film as Art -Rudolf Arnheim.
4. Lessons with Eisenstein - Nizany.
5. 5 C’s of Cinematography - Josheph V. Mascelli.
6. Technique of Film make -up - Vincent J.R. Keh oe.

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2.1 FILM TECHNOLOGY II



UNIT I

Film Language/Structuring: Film Structuring - Sequence – Scene – Shot, Screen Technique:
Subject Movement – Camera Movement –Principles of Editing: Rhythm – Timing – Pace –
Tempo, Editing Concepts: Shock Attraction – Flutter Cut – Associative – Metric – Tonal –
Dialectical – Linkage, Logical Concepts of Editing: Subjective Editing – Point of View Editing
– Invisible Editing – Empathic Editing, Basic Rules of Editing: Practical guidance of Editing –
Rules of applications while doing editing – Compiling all p oint of Ethics.

UNIT II

Introduction to sound – speed of sound and the sources of sound – Basics of sound:
Frequencies of sound – harmonics – the loudness – the basic acoustics – a) the dead room
b) the live room c) the reverberating d) the echo room e ) room resonance.Sound and Films:
The silent era – introduction of sound in films – introduction of dialogues in films – The early
techniques – The evolution of modern technology – Introduction to recording sound: Live
recording – Dubbing – sound effects – music songs and Background scene. Introduction to
Formats: a)Mono b)Stereo c) 5.5 d) 6.1 e) 7.1 Analog and Digital: Introduction and
Difference – Introduction to Audio equipments: Microphone, mix console, speakers Reverb
unit, delay unit, Processors and o ther outboards, Amplifiers and Digital work station –
Different work stations – advantages and disadvantages – Reproduction of sound from
cassette, CD & Sound positive.

UNIT III

Introduction to Graphics – 2D Graphics – 3D Graphics - Introduction to 2D Animation – 3D
Animation. Visual effects and special effects – Production sequence – The Script – Story
Board – Break down – Task list – Schedule – Tracking – Feedback and connection and final
Delivery.

UNIT IV

Pre – Shooting: Script analysis – Categor izing the genre of the film whether historical, social
or fantasy – assessing the characters, their profession and backgrounds Determining the
necessary artifacts such as dwellings, jewellery, costumes, Transportation systems etc. –
Research based on the a bove – visiting Museums, Libraries, Internet, old maps and films –
Channelize the findings – collection of materials – Avoiding Anachronisms: Important to
discard artifacts non – pertaining to the periods and genre of the film. Assisting the Director
to finalise casting. Shooting: Providing Backdrops and properties which enhance the mood
of the scene to be shot – Knowledge of the lights being used for each shot beforehand –
Determining the field of each shot and creatively decorate every frame. Knowledge of latest
technology with regard to Graphics, Animation and special Effects – Blue/Green mat
shooting – Preparation of miniatures, plaster casts, clay models, moulds etc.

UNIT V

Indian Film Industry and its organizations – FFI – South Indian Film Chamber – Associations
and Unions of Film Technicians and Artistes – Batta – system – Technician Agreements –
FEFSI – Registration of Title. Setting up of office – story Discussion – selection of the
subject – Preparation of the shooting script – call sheets from Main Artistes – Agreements

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with Technicians – production design – selection of Locations – obtaining permissions –
Shooting schedule – Equipment Hire – Accommodation and Transport arrangements –
properties and sets – catering – wardrobes, jewellery, costu mes and makeup –
Arrangements to be made for the use of animals – Recording of songs – Commencement of
shooting – Man management – fire fighting – coordination – shooting outside India. Post -
shooting: Editing, Dubbing, Re -recording, Sound, Special effect s, Mixing etc – First copy –
Censorship – Release arrangements. Relationship with media – Publicity and promotion


REFERENCE BOOKS
1. Technique of film Editing KarelReize.
2. Technique of film and Video Editing Ken Dancyger.
3. Post production and Video Editing Zhettyl.
4. Manual of sound recording by John Alfred.
5. Blue Book of projection by Richardson.
6. Fundamentals of Motion picture projection by Cameron.
7. Wide screen cinema and seterophonic sound by Micheelywystotsky.
8. Special effects – The His tory and Technique by Richard Rickitt.
9. Secrets of Hollywood special effects by Robert E.McCarthy.
10. Animation: From Script to screen by Shamus Culmane.
11. Art of India – Prehistory to the present – Frederic M.Asher.
12. Dances of India – AnandaCoomar aswamy.
13. Cosmic dance of siva – Anandacoomaraswamy.
14. Classic Indian Literature and the arts by Kapilavatsyayan.
15. Encyclopedia of India – Vol.I – Brittanica.
16. Making Movies by Lee.r.Booker and LoinsMarihates.
17. Indian Motion picture Almanac – Edited – Compiled by B.Jha.
18. Film Production Management by Bastian Cleve, focal press.

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2.2 ART & CRAFT OF ACTING



UNIT - I
Acting Definition, Origin and Development of Acting, Allied forms of Acting, Styles of Acting
(Classical, Romantic, Realistic, Experimental and Personal Styles)

UNIT -II
Stanislavski’s Method Acting, Strasberg Method Acting, Mayorhold Bio -Mechanics, Bretolt
Brecht - Alienation Method (Epic Theatre) Stage and Film Acting

UNIT -III
Exercises for an Artist:
Observation, Concentration, Imagination, Imitation, Mental, Vocal, Physical
Exercises, Improvisation, Mime, Transformation, Scene Practical’s, Dance, Stunt Yoga,
Horse Riding, Swimming etc.

UNIT -IV
Relationship between an Artiste and other technicians in the film, Get light and
Act,Continuity Maintenance, Understanding Camera Mike Positions and Act,
Dubbing,Understanding co-artist’s performance and reacts, Text-sub-text, Five
Elements,Dialogue and its inner meaning, Magic ‘If’, Tragedy, Comedy, Melo -Drama,
Farce,Burlesque, Physiological, Sociological, Psychological Behavior, Star and Artiste

UNIT -V
A. Direction:
Script, Synopsis, Scenario Treatment, Dialogue, Script Discussion, Characters -Actors,
Sequences, Scenes, Breakdown of scenes as per the locations And Artiste, Responsibilities
of the film director, Film as the medium of the director
B. Cinematography:
Still, Movie camera Lenses, Filters , Various types of shots, Camera movements and Basic
knowledge of Film processing.
C. Sound:
Types of recording, Direct indirect, Effects, dubbing, Sound Recording, And Re -
Recording Editing: Procedure of Film editing cuts, Optical, Graphics, Creative
Editing

REFERENCE:
1. Film Technique and film acting‛ by Pudovkin Vsevold.
2. Sanskrit drama‛ by Deshpande.
3. Indian drama‛ by SunitkumarChatterji.

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2.3 PRODUCTION & POST PRODUCTION PROCESS

UNIT : I
Basic requirements of Television Camera - Lens - Turret - Variable Focal Length Lens -Lens
Controls - Focus ring - Zoom ring - Aperture ring - Macro ring - Flange Focus -Filter Wheel -
Image sensor - Camera Tube - CCD - Signal Processing - Analogue and Digital Video signal
- -Composite and Component Video signal - White and Black Balance - Saturation and
Pedestal Control - Gain Control - Menu Controls - Camera Supports.

UNIT : II
Sound Recording Techniques for Television - Understanding Sound - Frequency - Sound
Reproduction - Microphone - Functioning of Microphone - Types of Microphone an d their
Application - Audio Mixing Console - Audio Sources - Analogue and Digital Audio Recording
Instruments - Audio Sweetening Techniques - Audio layering - Mixing -audio Monitoring
Devices - Acoustic Treatment for Recording Studio -

UNIT : III
Hard wa res in Television - Camera and its Accessories - Camera Supports - Camera Control
Unit -Vision Mixer - Special Effects Generator - Digital Video Effects Generator - Character
Generator - Video Monitors - Intercommunication System - audio Monitor - Audio Mi xing
Console - Lighting control - Lighting Instruments - Video Tape Recorders -Telecine - Sync
Generators - Teleprompters - Graphic Generators - Video Editing Systems - Linear and Non -
Linear Video Editing Systems - Effective use of Hardware in Television P roduction - Co-
ordination.

UNIT : IV
Television Programme Production - Planning - Selection of Concept -Scripting - Story board
writing - Writing Shooting Script - Budgeting - Selection of Artist - Selection of Location -
Production arrangements - Floor P lan - Set-designing and Construction of Sets - Lighting
Plan - Placement of of Set -props - Rehearsal - Blocking - Preparing Camera card, Audio
cue-sheet, VTR and Telecine cue -sheet - Preparation of Graphics -Dry Run-Recording -
Television Programme Production Crew - Technical and Production Personnels - Duties
and Responsibilities.

UNIT : V
Post Production Techniques - Video Editing - Linear and Non -Linear Editing - Cut to Cut
Editing -A/B Roll Editing - Use of Special Video Effects Genera tor - Using Computers
In Video Editing - Different Non -Linear Editing Software - Audio / Video Capture cards -
Digitizing Techniques - Using compression during Capturing - Colour Correction - Technique
of Non -Linear Editing - Using Videos/Audio layers - Use of Transition and Effects -
Compositing - Modifying images - Editing and Exporting to MTape - Voice Dubbing - Effects
Posting - Music Recording - Audio Layering - Mixing Techniques - Understanding Time -
code -Time -code based Editing - Creating EDL - Off-line Editing.

REFERENCE:

1. The Complete Film Production Handbook - Honthaner, Eve Light
2. Video Production – Belavadi -Oxford

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2.4 CINEMATOGRAPHY AND EDITING FOR DIRECTORS

UNIT - I
Different types of camera - Mitchell - Arriflex - Panavision - Different types of Digital
Camera‘s -Advantages and Disadvantages - Film Formats and Digital Formats - 8mm
cameras - 16mm cameras - Super 16 cameras - 35mm cameras Anamorphic system - wide
screen system - 70mm cameras -Super 35mm system - Film stocks.

UNIT - II
Different types of lenses used in Cinematography - Normal lens - Wide angle lens and its
effects -Telephoto lens - Depth of field - zoom lenses - Psychological effect of lenses -
Special purpose lenses - Fish eye lenses - Diopter lens es - Anamorphic lenses - Prime lens
over zoom lens - Creative use of lenses - Selection of right kind of lens for creativity - Soft
focus lenses - Special lenses

UNIT - III
Types of lighting - Three point lighting - Four point lighting - Half lighting - High key lighting -
Low key lighting - Cameo lighting - Limbo lighting - Rembrandt lighting - Chroma key lighting
- Large scale lighting - Moon light setup - Day for night effect - Set lighting, modern
methodology in lighting. Cinematography styles - Develop ing a style - Camera Angles and
continuity - Action axis -Matching look - Camera positions - Close up - Camera movements
and equipments.

UNIT - IV
Basics of editing - Cutting in action - Cutting on movement - Inter cutting - Parallel cutting -
Song editin g - Non Electronic Effects and How to use them - Psychological usage of smooth
continuity -study about Film shooting to first copy process - Editors cut - Directors cut - Final
cut - Structuring balance and emphasis, Dynamic Axis, Motivation, Point of focu s,
Sequencing, Rhythm, Time, Pace and Harmony.

UNIT -V
Familiarity of software and devices - FCP and AVID - Transitions - Optical effects - Video
effects.

REFERENCE:
Cinematography
1. Cinematography by Kris Malkiew IC2
2. Practical Cinematography by Paul Wheel er
3. American Cinematographer Manual 9th Edition
4. The Professional Cameraman‘s Hand Book 4th Edition by Sylvia Carlson, Verne
Carlson
5. Photographic Lenses by Ernest Wild
6. Techniques of Film Cutting Room - Earnest Walter
7. Film and the Director - Don Living Stone
8. How to Edit - Hugh Baddeley
9. The Techniques of Film Editing - KarelReiz and Gavin Miller
10. The Techniques of Film and Video Editing - Ken Dancyger
11. The Five ‗C‘ s Cinematography - Joseph V. Mascelli

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Practical Training & Project Report

Students will undertake a substantial piece of independent work, which
demonstrates an area of interest or specialism. Students will be given guidance
throughout the academic year in order to help the student maintain sufficient
progress to complete the project successf ully.