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Item No 45 BA Hons Professional Film Making_1 Syllabus Mumbai University by munotes
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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),
4. The Deputy Registrar, Research Administration & Promotion Cell
(RAPC),
5. The Deputy Registrar, Executive Authorities Section (EA),
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),
6. P.A to Director, Board of Examinations and Evaluation,
7. P.A to Director, Innovation, Incubation and Linkages,
8. P.A to Director, Board of Lifelong 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 6524 & 6525 relating to
the B.A. (Hons.) (Professional Film Making)
1. Necessity of starting B.A. (Hons.) (Professional Film Making) course:
In the recent past it has been observed that the new -age courses are gathering momentum, as
students increasingly pursue courses that fuel their passion and open up job opportunities. A
recent demand for educated and qualified personnel was discovered to cater to the flourishing
Professional Film Making Industry. Even the world is l ooking closely at Indian Film Makers
for 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 ind ustry in Mumbai, it's been considered as capital for
it, making it a preferred destination for professional education in this sector. University of
Mumbai by offering structured course for this Industry shall open up opportunities for
multiple aspiring stu dents to pursue their career in this rising sector.
2. Whether UGC has recommended 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:
B.A. (Hons.)/Bachelor’s Degree in Professional Film Making course is now planned to start
from next academic year 2021 -22.
4. The courses started by University are Self -Financed, whether adequate number o f
eligible permanent Faculties are available:
B.A. (Hons.)/Bachelor’s Degree in Professional Film Making course is planned to start from
the academic year 2021 -22 and the identification and appointment of Eligible Faculties is
under progress.
5. To give detai ls regarding duration B.A. (Hons.) (Professional Film Making) course and
is it possible to compress the Course:
The duration of the Course is for 3 years which is taken -up after considering the optimal
duration needed to complete the syllabus requirement o f the course.
6. The intake capacity of B.A. (Hons.) (Professional Film Making) course and no. of
admissions given in the current academic year (2019 -20):
The course is to start from the academic year 2021 -22 and hence admissions has still not
started. The I ntake of this course is 60 students.
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7. Opportunities of Employability / Employment available after undertaking B.A. (Hons.)
(Professional Film Making) course:
High emphasis is laid on the industry oriented approach in the training methodology of the course.
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 and
Entertainment industry in India, Mumbai city has played a significant role in the past century. It
houses many of the l eading corporates, production houses and organisations of this Industry, opening
the untapped employment opportunities for learned professionals, undertaking such courses
recognised by the University of Mumbai department.
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B.A. (Hons.)
(Professional Film Making)
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O.6524 Title of the Course B.A. (Hons.) (Professional Film Making)
O.6525 Eligibility for Admission Have passed 10+2 / HSC examinations
from any stream;
Have successfully passed the evaluation
rounds including interview.
R.9270 Passing Marks 40% passing marks
Ordinances / Regulations
(if any) As attached
No. of Years / Semesters Three years full time/ 6 semesters
Level Bachelor
Pattern Semester
Status New
To be implemented from
Academic Year From academic year 2020 -21
R.9271 Intake Capacity 60
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Objectives of B.A. (Hons.) (Professional Film Making)
B.A(Hons) in Professional Film Making will help Students to be equipped with the
creative and technical knowledge needed to take their first steps into the exciting worlds
of film, television and online media. Those studying this course will gain a
comprehensive range of production skills that focus on storytelling, creative
development, writing, directing, producing and editing. In addition, they will develop an
understanding of movements in film, style and associated critical analysis skills, as well
as a thorough ap preciation of contemporary industry practice.
Course Objective
1. To provide intensive theoretical & practical knowledge of Film Making
2. To impart Understanding of the stages of Film making
3. To learn to how to manage time effectively, to manage human resource s and
volunteers
4. To have insight into hiring vendors, sound and light technicians, entertainment,
and other resources
5. To learn about the requirements for necessary contracts, permits, and licenses,
and how to meet these requirements
6. To understand budgeting, pricing and accounting as they relate to Film & Media
Industry
After successful completion of the Programme, the graduate will be able to:
● Understand the whole workflow of digital film production from pre to post
production; Understand and ap ply the principles for creative scriptwriting and
story telling;
● Operate at post -production level for video editing, color grading, application of
Special Effects (sfx) and sound design;
● Produce films, short videos and documentaries;
● Handle and operate the camera properly during production phase;
● Understand and work with lighting for different scenes and situations;
● Understand and work with compositing and keying techniques like green screen
for film production;
● Understand, desig n and plan the integration of 3D Animation and Special Effects
(sfx) in the digital video workflow.
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Ordinances & Regulations
B.A. (Hons.) (Professional Film Making)
General Guidelines
The Credits are defined in terms of the learner‟s hours which are divided into two
parts such as Actual and Notional. The value of a particular course can be
measured in number of Credit Points. The value of One (01) Credit is equal to 30
Hours of learners load.
The scheme of Examination shall be divided into two parts i.e. Internal
Assessment includes Projects & Assignments, Seminars, Case Studies which will
be of 60 marks and the Semester End Examinations which will be of 40 marks.
The semester wise Cre dit Points will be varied from program to program but the
value of Credits for UnderGraduate Programmes shall be of 1 48 Credits .
Credit Based Evaluation System Scheme of Examination
For all 6 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% marks at semester end
examination.
The allocation of marks for the Internal Assessment 40% and Semester End
Exam inations 60% are as shown below:
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, lab practical, open book test etc and written
assignments, Case study, Projects, Posters and exhibits etc for
which the assessment is to 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
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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.
The assessment of Pa rt „A‟ i.e. Internal Assessment and Part „B‟ i.e. Semester End
Examination as mentioned above for the Semesters I to IV shall be processed by
the Colleges - „Institutions of their learners‟ and issue the grade cards to them after
the conversion of marks in to grade as per the procedure mentioned bellow.
The assessment of Part „A‟ i.e. Internal Assessment as mentioned above for the
Semesters V & VI shall be processed by the Colleges / ‟Institutions of their
learners‟ admitted for the programme.
For part B that is semester end examination of the semesters V & VI, the
University shall conduct the assessment. The Internal Assessment marks of
learners appearing for Semesters V & VI shall be submitted to the University by
the respective colleges/ Institutions b efore the commencement of respective
Semester End Examinations. The Semester End Examinations for Semesters V &
VI shall be conducted by the University and the results shall be declared after
processing the internal assessment and the marks awarded to the learners. The
grade card shall be issued by the University after converting the marks into
grades.
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Ordinances & Regulations
B.A. (Hons.) (Professional Film Making)
❖ 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 In ternal 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
❖ CARRY FORWARD OF THE MARKS IN CASE IF THE LEARNER GETS ‘F’
GRADE IN ONE OR MORE SUBJECTS:
1. A learner who 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
the Internal Examinations shall be carried over and he/she shall be
entitled for grade obtained by him/her on passing .
2. A learner who PASSES in the Semester End Examination but FAILS in
the Internal Assessment of the cours e shall reappear for the Internal
Examination of that course. However his/her marks of the Semester
End Examination shall be carried over and he/she shall be entitled for
grade obtained by him/her on passing.
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❖ ALLOWED TO KEEP TERMS (ATKT):
As per Univ ersity rules and regulations
Additional Examinations :
A. INTERNAL ASSESSMENT: As per University rules and regulations Class
test or assignment for Internal Assessment as per University rules and
regulations
B. SEMESTER END EXAMINATIONS
As per University rules and regulations
ELIGIBILITY TO APPEAR FOR ADDITIONAL SEMESTER END EXAMINATION:
As per University rules and regulations
MODE OF CONDUCT OF SEMESTER END ADDITIONAL EXAMINATION:
As per University rules and regulations
Evaluation of Projects (Wher ever Applicable)
1. A learner who PASSES IN ALL THE COURSES BUT DOES NOT secures
minimum grade in project as applicable has to resubmit a fresh project till
he/she secures a minimum grade. His/her marks in the theory papers that the
learner has passed will b e carried forward and he/she shall be entitled for
grade obtained by them on passing.
2. The evaluation of project and viva -voce examination shall be by awarding
grade in the seven point scale.
Calculations of GPA & SGPA
As per University rules and regulations
O – Eligibility for Admission :
● Candidates for being eligible for admission to the three -year course leading
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to the Degree of B.A(Hons ) in Professional Film Making, shall be required to
have passed the Higher Secondary School Certificate Examination
(Academic or Vocational Stream) conducted by different Divisional Boards of
Maharashtra State Board of Secondary and Higher Secondary Educat ion or
an Examinations of any another University or Body recognized as equivalent
thereof by the Senate of the University.
● Have successfully passed the evaluation rounds including interview.
● Reservations as per University rules will be applicable.
1. Eligibility for the award of the degree:
A candidate shall be eligible for the award of the Degree only if he / she has
undergone the prescribed course of study in a College affiliated to the
University for a period of not less than three academic years, pa ssed the
examinations of all the Six Semesters earning 148 credits, letter grade of at
least D or above in core and specialized papers and fulfilled such conditions
as have been prescribed there for.
Subject
Code
Subject Name Total
Credits Scheme of Exams
Type Internal External Total
Marks
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Semester I - 24 Credits
BFM01 General Principles of
Management 4 60 40 100
BFM02 General Organisational Behaviour 4 60 40 100
BFM03 AEC Business
Communication 4 60 40 100
BFM04 Core History of Cinema & Film
Appreciation 4 60 40 100
BFM05 Core Dynamics of Visual
Communication 4 60 40 100
BFM06 Core Basics of Film Making I 4 100 0 100
Total Credits 24
Semester II -24 Credits
BFM07 General Human Resource
Management 4 60 40 100
BFM08 General Marketing Management 4 60 40 100
BFM09 Core Introduction to Film
Studies 4 60 40 100
BFM10 AEC Basics of Photography 4 60 40 100
BFM11 Core Advertisement Film
Making 4 60 40 100
BFM12 Core Basics of Film Making II 4 100 0 100
Total Credits 24
INTERNSHIP 45 -60 days optional
Course Structure
Subject Subject Name Total Scheme of Exams
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Code
Type Credit
s Internal External Total
Marks
Semester III –25 Credits
BFM13 General Brand Management 4 60 40 100
BFM14 SEC Writing for Print and
Broadcast Media 3 60 40 100
BFM15 Core Overview Of
Entertainment & Media 4 60 40 100
BFM16 Core Audio and Video
Production Techniques 4 60 40 100
BFM17 Core Film Technology - I 4 60 40 100
BFM18 Core Professional Industry
Engagement (Practical) 6 100 0 100
Total Credits 25
Semester IV – 25 Credits
Subject
Code
Subject Name Total
Credit
s Scheme of Exams
Type Internal External Total
Marks
BFM19 SEC Digital Photography 3 60 40 100
BFM20 General Public Relation 4 60 40 100
BFM21 Core Film Technology - II 4 60 40 100
BFM22 DSE Elective – I 4 60 40 100
BFM23 DSE Elective – II 4 60 40 100
BFM24 Core Work Based Learning
Route (Practical) 6 100 0 100
Total Credits 25
INTERNSHIP
Subject Subject Name Total Scheme of Exams
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Code Type
Credit
s Internal External Total
Marks
Semester V –26 Credits
BFM25 Core Aspects of Film
Production Management 4 60 40 100
BFM26 Core Television Production &
Programming 4 60 40 100
BFM27 Core Film Production,
Distribution & Marketing 4 60 40 100
BFM28 DSE Elective – III 4 60 40 100
BFM29 DSE Elective – IV 4 60 40 100
BFM30 Core Advanced Film Making
(Practical) 6 100 0 100
Total Credits 26
FINAL PROJECT PLANNING
Subject
Code
Subject Name Total
Credit
s Scheme of Exams
Type
Internal External Total
Marks
Semester VI –24 Credits
BFM31 General Entrepreneurship &
Project Management 4 60 40 100
BFM32 Core Digital And Social Media
Advertising 4 60 40 100
BFM33 Core Media - Laws & Ethics 4 60 40 100
BFM34 DSE Elective – V 4 60 40 100
BFM35 DSE Elective – VI 4 60 40 100
BFM36 Core Final Project 4 100 0 100
Total Credits 24
Total Course Credits 148
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GROUP SPECIALISATION ELECTIVE SUBJECT
A DIRECTION &
SCREENWRITING I Fundamentals of Direction
II Directorial Research & Analytical Study
III Art & Craft of Acting
IV Production & Post -Production Process
V Cinematography & Editing for Directors
VI Screenplay Writing Theory
B CINEMATOGRAPHY I Motion Picture & Camera Lenses I
II Visual Effects in Cinematography
III Light & Imaging Techniques of
Cinematography I
IV Motion Picture & Camera Lenses II
V Light & Imaging Techniques of
Cinematography II
VI Advanced Aspects of Cinematography
C EDITING I Fundamentals of Film & Video Editing
II Principles of Film & Video Editing
III First Cut to Final Cut
IV Editing for Fiction Films
V Graphics, Animation & Direction for Editors
VI Editing for Non -Fiction Films
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GROUP SPECIALISATION ELECTIVE SUBJECT
D PRODUCING I Overview of Film Producing
II Pre-Production
III Producing the Film
IV Film Distribution and Marketing
V Comprehensive Legal & Business Plan
VI Advance Aspects of Producing
E SOUND I Sound Engineering Electronics I
II Sound Recording Components &
Techniques I
III Concepts of Sound Recording
IV Sound Recording Components &
Techniques II
V Creative Sound Recording
VI Sound Engineering Electronics II
E ANIMATION I Elements of Animation
II Modeling & Texturing
III Lighting
IV 3D Interactive Basics & Game
Environment
V Editing & Compositing
VI 3D Fx
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Detailed Curriculum
SEMESTER I
PRINCIPLES OF MANAGEMENT
Subject Code - BFM 01
LEARNING OBJECTIVE
● To provide fundamental knowledge and exposure to the concepts, theories and
practices in the field of management.
UNIT I _ Management - concept, nature, process and Significance .An overview of functional
areas of management, managerial roles (Mintzberg ) Evolution of Management
Theory – Work of Fredrick .W. Taylor, Fayol‟s contribution, Behavioural Science
approach, Contingency approach.
UNIT II Management Functions – Planning, Organising, Staffing, Directing and controlling.
Planning : meaning -impor tance -elements - process - limitations Decision Making -
concept, importance and steps in decision making Preparation of Business Plan
UNIT III Organising - Concept, nature and significance; Authority and responsibility
relationships, centralization and d ecentralization, departmentation, organization
structure forms. Staffing - importance, sources of recruitment, selection process.
UNIT IV Directing – meaning and steps I direction : motivation – concept; theories – Maslow ,
Herzberg , Mc Gregor. Leaders hip- concept, styles and traits Control : concept,
process: Effective control system; control techniques. Coordination - concept,
Definition and importance.
REFERENCES:
1 Essentials of Management Koontz H & W McGraw Hill, New York
2 Principles of Mana gement Ramaswamy Himalaya, Mumbai
3 Management Concept and Practice Hannagain T McMillan, Delhi
4 Basic Managerial Skills for All McGrath, E.H. Prentice Hall of India
5 Management -Text & Cases VSP Rao Excel Books, Delhi Assessment Pattern
6 Essentials of Management Massie Joseph Prentice Hall of India
7 Management: Principles & Guidelines Thomas N. Duening & John Ivancevich Biztantra
8 Management Concepts and OB P.S.Rao & N.V.Shah Ajab Pustakalaya
9 Management Concepts and Strategies J S Chandran Vikas Publishing House
10 Principles Of Management Tripathi P.C. Tata McGraw Hill
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ORGANISATIONAL BEHAVIOUR
Subject Code – BFM 02
LEARNING OBJECTIVE
1. To understand basic concepts, theories and techniques in the field of human
behaviour at the individual, group and organizational levels in the changing global
scenario.
2. To increase managerial effectiveness through understanding of self and others.
UNIT I Introduction : Concept and nature of Organizational behaviour; Contributing
disciplines to the field of O.B.; O.B. Models; Need to understand human behaviour;
Challenges and Opportunities.
UNIT II Individual & Interpersonal Behaviour : Biographical Characteristics; Ability; Values;
Attitudes -Formation, Theories, Organisation re lated attitude, Relationship between
attitude and behavior; Personality – determinants and traits; Emotions; Learning -
Theories and reinforcement schedules, Perception –Process and errors.
Interpersonal Behaviour: Johari Window; Transactional Analysis – ego states, types
of transactions, life positions, applications of T.A.
UNIT III Group Behaviour & Team Development : Concept of Group and Group Dynamics;
Types of Groups; Formal and Informal Groups; Stages of Group Development,
Theories of Group Formation; Group Norms, Group Cohesiveness; Group Think and
Group Shift. Group Decision Making; Inter Group Behaviour; Concept of Team Vs.
Group; Types of teams; Building and managing effective teams. Effective Thinking,
Thinking Skills, Thinking Styles, Concept of Six Thinking Hats
UNIT IV Organization Culture and Conflict Management : Organizational Culture - Concept,
Functions, Socialization; Creating and sustaining culture; Managing Conflict –
Sources, types, process and resolution of conflict; Managing Change; Managing
across Cultures; Empowerment and Participation.
REFERENCES:
1. Luthans, Fred; Organizational Behaviour, Tata McGraw Hill,New Delhi, 2003.
2. Chabbra,T.N. & Singh,B.P., Organization Behavior,Sultan Chand & Sons.
3. Khanka, S.S.; Organizational Behaviour, Sultan Chand and Sons, New Delhi.
4. Joseph, Weiss; Org anization Behaviour and Change,Vikas Publishing house, 2004.
5. Prasad, L.M.; Organizational Behaviour, Sultan Chand & Sons, 2003.
6. Stephen P., Robbins; Organizational Behaviour; “Prentice Hall of India Pvt. Ltd.”, New
Delhi, 2003.
7. Industrial Ps ychology Gosh P.& K & Ghorpade M.B Himalaya, Mumbai,1999
8. Organizational Behaviour Newstrom J.Keith D Tata McGraw Hill, New Delhi
BUSINESS COMMUNICATION
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Subject Code - BFM 03
LEARNING OBJECTIVE
● To develop the skills of the students for proper self-expression, social
communication, spoken English, correct pronunciation, voice modulation and
business etiquettes
UNIT I Fundamentals of Communication Definition, Meaning -Types, process and
importance
UNIT II Effective Communication Concept & Practice of Effective Communication Barriers to
Effective Communication Methods to Improve Communication Skills
UNIT III Written Communication Skills Report Writing Letter Writing Preparation of
Promotional Material
UNIT IV Oral Communication Skills Understanding Audience Use of Language Use of Tone
Understanding Body Language Continuous Internal Assessment: Mid Semester test
Project work Assignment
REFERENCES:
1 Effective Communication Rai Urmila Himalaya, Mumbai
2 Business Communication Kaul Prentice Hall India
3 Basic Business Communication Lesikar TMH
4 Business Communication & Personality Development, Das Excel Books, Delhi
5 How to Listen Better? Pramila Ahuja & G Ahuja Sterling Publication
6 Contemporary Business Communication, S cot Biztantra
7 Business Communication for Managers: An Advanced Approach Penrose
Thomson learning
8 Business Correspondence Whitehead G & H A.H. Wheeler, Allahabad
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HISTORY OF CINEMA & FILM APPRECIATION
Subject Code - BFM 04
LEARNING OBJECTIVE
● To provide an insight to the dynamic Film industry.
UNIT I Introduction to Cinema – ‗Persistence of Vision„ – ‚Willing suspension of
disbelief‛ – origins: Puppetry / Leather puppetry – Magic lantern – still camera – zoetrope –
Edward Muybridge„s experim ent with a horse and a row of still cameras – celluloid film – strip /
zoetrope pasted with celluloid prints – Types of films and analysis.
UNIT II Thomas Alwa Edison – invention of kinetoscope and Nickelodeon – Dickson„s
movie camera – projection of movies by Lumiere Bros on 28 -12-1895 – Early silent films by
Georges Melies and Edwin S Porter – D.W. Griffith and development of silent films in USA –
Silent films of other countries: Soviet montag e – German expressionist films – French
impressionist films – Surrealistic films by Louis Bunuel – Arrival of colour – Introduction of sound
in Film Technology
UNIT III Evolution of Technique and Aesthetic development of Cinema – Special
Reference to: V .I Pudovkin and Einsenstein – Vittorio de sica - Fredrico Fellini – Roman
Polanski – Francois Truffaut – Jean Luc godard – R.W. Fassbinder - Ingmar Bergman – David
Lean – Fritz Lang – Alfred Hitchcock – Charlie Chaplin – Akira Kurosawa - Studio system –
Hollywood city – Oscar awards – International Film festivals and awards.
UNIT IV Introduction to Indian & Tamil Cinema – ‗Silent Era„ – H.S. Bhatvadekar, R.J.
Torney, Pundalik and D.G. Phalke - South India: NatarajaMudaliar - Early pioneers with
reference to D.G. Phalke – V Shantaram – Bimal Roy - Guru Dutt.K.Balachandar, AVM,
Bharathiraja, Balu Mahendra, NSK, Kannadasan, Shivaji Ganesan, MSV
UNIT V Indian Cinematographic Committee 1927 – The period of transition 1931 parallel
cinema: Satyajit Ray, RitwikGhatak, MrinalSen, Aravindan,
AdoorGopalakrishnan,G.V.Iyer, GirishKarnad, ShyamBenegal and GirishKasaravalli.
Study of Film – National Film Archives of India – National Film Development
Corporation (NFDC) – Censor Board in India (Central Board of Fil m Certification)
REFERENCE: 1. The Film Appreciation Book – Jim Piper 2. History of Indian Cinema –Diamond Books
6. Public Relations by S.J. Sebellin Ross
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DYNAMICS OF VISUAL COMMUNICATION
Subject Code - BFM 05
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, Underst anding Popular Culture, Unwin Hyman, London 1989. 6. PradeepManda. Visual Media
Communication. Authors Press, New Delhi 2001.
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BASICS OF FILM - MAKING I
Subject Code - BFM 06
Students will be exposed to the practical ground requirements of Film Making.
Theoretical concepts shall be made more stronger by their involvement in the making of
Films in the different industries. Student needs to document their key learning made and
shall submit the same in the form of a report .
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SEMESTER II
HUMAN RESOURCE MANAGEMENT
Subject Code - BFM 07
LEARNING OBJECTIVE
1. To make students understand human resource in its proper perspective.
2. To familiarize them with the various functions of human resource management.
3. To lay a strong foundation for pursuing goals of becoming HR strategists, change
agents and organizational transformation lists.
UNIT I Introduction to HRM Definition, features, scope/Functions of HRM. Evolution of
HRM/ Trends in HRM Difference between HRM and PM Challenges Before the HR
Manager Role of the HR manager Traits/Characteristics of the workforce,
Personnel Philosophy Personnel Manual Human Resource Planning: Definition of
HRP Process of HRP along with brief coverage of personnel demand and supply
Forecasting techniques Factors affecting HRP HRIS VRS, outsourcing,
pinkslip/termination/retrenchment/downsizing/ separation Contracting and sub -
contracting Promotions and transfers
UNIT II Job analysis, Job Design and Job evaluation Job analysis - definition, method of
collecting job data, merits and demerits/ limitations Job design definition, factors
affecting job design , approaches to job design Job evaluation - definition, method s
of job evaluation, process of job evaluation Recruitment, selection and Induction:
Recruitment - Definition, sources of recruitment, merits and demerits Selection -
definition process of selection, types of selection tests, types of interviews
Induction /orientation - definition, methods, process Placement Training and
Development Definition if training and development Methods of training Managers
Process/ Procedure of conducting training programs How to evaluate effectiveness
of training program Advantages of T & D
UNIT III Performance Appraisal – Definition, Methods of appraisal for managers – traditional
and modern, Process/procedure of conducting performance appraisal, Advantages
of performance appraisal, Limitations of performance appraisal Comp ensation
management, Definition of compensation Components of salary/ salary slip Fringe
benefits - definition and types Performance linked incentives/incentives definition,
advantages and disadvantages. Career planning and Development, Definition of
career planning and career development Process /procedure Career stages/career
life cycle and how to handle personnel at each stage Essentials to make career
planning successful Career counselling Employee Retention techniques
Succession planning
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UNIT IV Participative management, Definition of participative management, Levels of
participation, Trends in Participative management, Factors important for effective
participative management, Forms of participation, Participation through quality
circles, Empower ed teams Industrial relations, Definition of industrial relations,
Features of industrial relations, Importance of industrial relations, Approaches to
industrial relations, Parties to industrial relations, Trade Unions, Definition of a trade
union, Featur es of a trade union, Trade Union movement in India, Trends in TU.
REFERENCE BOOKS
1 Human Resources and Personnel Management K Aswathappa Test and Cases,
2 Personnel Management Mamoria
3 Personnel Management Flippo Mcgraw
4 Excellence through HRD M Nair and T V Rao
5 Handbook of Human Resource Armstrong and Management Practice Micheal Kogan
Page
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MARKETING MANAGEMENT
Subject Code - BFM 08
LEARNING OBJECTIVE
1. To make the students understand the basic fundamentals of marketing
management, it would also involve a detailed study of the various elements of the
marketing mix as applied by both domestic and international firms.
2. The program also seeks to equip studen ts to be visionary marketing professionals
who would add value to the organization.
UNIT I Introduction to Marketing a) The 4Ps and Cs of Marketing b) Marketing as an
activity, function, and philosophy. c) Needs, wants and demand; transactions,
transfers and exchanges d) Orientation of a firm: Production concept, product
concept; selling concept, and marketing concept New Trends in marketing: E –
Marketing, Internet Marketing, and Marketing using social networks Societal
Marketing/Relationship Marketing
UNIT II Marketing Research: MIS; & Consumer Behavior: The micro environment of
business (management structure; marketing channels; markets in which a firm
operates; competitors and stakeholders. Macro Environment: political factors;
economics; socioeconomic factors; technological factors (pest analysis) Marketing
Research: Importance of Marketing Research; Types of Marketing Research;
Product Research; sales research; consumer research; promotion research.
Consumer behavior: basic stimulus response model; in fluence on consumers
decision making process; high involvement and low involvement products;
influences on buying behavior: cultural factors, social factors, personal factors, and
psychological factors (Maslow‟s Hierarchy); Methods of sales forecasting
UNIT III Industrial Buying Behavior; Product and Brand management; STP; Decision making
process; DMUs and its composition factors influencing purchasing; economic
environment; organizational factors; interpersonal characteristics and individual
buying char acteristics; Key differences between Consumer and Organizational
Buying.
Product and Brand Management Product Management: Core, tangible and
augmented products; product decision mix; product line decisions; strategic filing,
line modernization decisions, New product development process; idea generation,
screening, concept development and testing, marketing market testing, test
marketing and commercialization; product life cycle: introduction, growth, maturity,
decline Brand management: Brand equity; Brandi ng Decisions, brand extension and
Brand Portfolios Segmentation targeting and Positioning (STP) : Segmentation
variables for consumer markets: Geographic , demographic, behavioral,
psychographic; segmentation variables for industrial markets; customer loca tion,
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type of industry, size of the firm, purchase criteria, etc Targeting: undifferentiated
marketing; single segment and multi segment structures; guidelines for selecting
target markets Position: Identifying frame of reference; points of parity and poin ts of
difference; choosing category membership; product and brand differentiation for
identifying of position.
UNIT IV Pricing decisions, channel decisions: promotion mix; strategies; Integrated
Marketing Communication; marketing services; ethics in marke ting. Pricing
decisions: pricing objectives, factors influencing pricing decisions; Types of Pricing:
Mark up/ Cost plus Pricing,, perceived value pricing, value pricing, geographic
pricing etc; Responding to competitors; Action through price and non -price
variables; impact of the Products : stage in the PLC on pricing decisions. Channel
decisions: Types of channels; intensity of distribution, channel conflict and channel
management; Retailing importance and types of retail formats, Indian retail scenario;
Promotion mix; Advertising: importance and scope; Sales promotions: objectives,
consumer promotions; PR and Publicity; Personal Selling: recruitment, selection,
training, motivation and evaluation, selling sales rep.
Integrated marketing communication: D efinition of target audience; determining
communication objectives, designing communication and selection of channels.
Marketing Services: Characteristics of services, ways of improving services,
delivery, managing service maturity Ethics in marketing: Adv ertising standards
Council of India, code of ethics in advertising; Promotion to children; unfair practices
in marketing.
REFERENCE BOOKS
1. Marketing Mangement: A South Asian Persepective Kotler, keller, Koshy and Jha,
Pearson/ Prentice Hall
2. Marketing Concepts and Cases Etzel, Stanton, walker and Pandit Tata Mcgraw Hill
3. Marketing Management Russel S. Winer, Pearson Education
4. Principles of Marketing Kutze Boone Thomson
5. Marketing Management S H H Kazmi Excel
6. Marketing Manageme nt Kerin Hartley Tata Mcgraw Hill
7. Marketing Management Ramaswamy and Namakumari Macmillan India
8. Peterson Marketing Strategic Problems Roger Kerin/ Robert A Prentice Hall
9. Marketing Roger A Kerin, Steen W. Harley Tata Mcgraw hill
10. Marketi ng Planning and Strategy Thomson
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INTRODUCTION TO FILM STUDIES
Subject Code - BFM 09
LEARNING OBJECTIVE
To learn about the various basic fundamentals required to conceptualise the films.
UNIT I Short History of Indian cinema – Brief history and trends of foreign cinema – Film as a
medium of communication and Social change – Growth of Tamil Cinema – contributions of
Tamil cinema to social and political awareness – Film Industry status – contemporary tends.
UNIT II Planning, Pre -production: Conce pt / story development – Scripting / Screen play writing
– Budgeting – casting – locations – financing. Production: Shooting – Problems of artists –
direction, cinematography. Post -Production: Editing - sound recording – dubbing – special
effects – graphic s and final mixing – distribution and exhibition
UNIT III Mis-en-scene – space and time – framing – Film culture – and grammar -
(language, style, grammar, syntax), Role of a cinematography, Editing dimensions of film editing
– deconstruction of film, Award winning films – review – The power of sound, Foley sound,
theatrical sound formats
UNIT IV Camera Production: the shot, scene, sequence, story board, types of script,
location shooting. Single camera Vs. multi camera production – rehearsal – digital intermediate
– video format.
UNIT V Film Genres, Documentary and short films – World union of documentary film
makers – cinema of reality – real life characters – real issues – story material – propaganda
films and corporate films – films of expression – Indian documentary forms – National film
policy.
REFERENCE BOOKS
1. AshishRajadhyasha, Paul Wileman, Encyclopedia of Indian Cinema, Oxford Uni. Press, New Delhi 2005.
2. 2. Proferes, Nicholas, Film Directing Fundamentals, Oxford University Press , 2001.
3. 3. Paul Wheeler, Digital Cinematography, Focal Press 2001
4. 4. Monoco, James. How to read a film, Routledge, London 2001
5. 5. Thoraval, Yves. The Cinema of India (1896 -2000).
6. 6. Jag Moham, Documentary Films and Indian Awakening, Publications Divis ion, New Delhi 1980.
7. 7. Gaston Roberge, Another Cinema for Another society, Seagull Publications Calcutta 1985.
8. 8. SanjitNarwekar, Spectrum India 1994, 3rd Bombay International Film Festival for Documentary,
9. 9. Short and Animation Films
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BASICS OF PHOTOGRAPHY
Subject Code - BFM 10
UNIT I Human Eye and Camera, Visual Perception, Basics of Camera (aperture, shutter speed,
focal length, depth of Field etc.,) Camera operations - Types of Camera, Types of Lenses.
characteristics and features of each type of cameras – Aperture - Shutter speed -Usage - Depth
of Field - Focal Length - Basics of design - Photo composition - Rule of Thirds - Angle of View.
UNIT II Understanding Lighting - indoor and outdoor, Types of lighting, Natural and Artificial
Light s, Exposure Meters, Differential focus, Filters, Flashes. Designing with light
UNIT III Types of Film - Sensitivity, Temperature, Speed etc., Reversal Films.
Manipulation of Color and Light, Blackand White and Colour Photography - Colour Processing
and Printing
UNIT IV Equipments, Basic Requirements. Developing Process. Control Factors - Fixing,
Washing, Drying. Negative (ideal, identifying faults). Printing (paper, chemicals, Enlarger) etc.
Special effects techniques -motion pictures etc ., manipulation of image, framing & trimming
UNIT V Aesthetics, Some Basic Principles. Basics of Photo -Journalism, Photo -features,
Photo -essays, Writing captions, Visual story telling
REFERENCE BOOKS
1. REFERENCE: 1. Michael Langford: Basic Photography, Focal Press. 2. Michael Langford: Advanced
Photography, Focal Press. 3. Mitchell Bearley& John Hedgeese: New Introductory Photography Course, Read
consumer Book Ltd. 4. 35 mm Photographer Hand book, Pan Bo ok
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ADVERTISEMENT FILM MAKING
Subject Code - BFM 11
UNIT I Creative Process: Concept ‐ Research ‐ ideation, Structuring a Story ‐Story
Boarding ‐Characters ‐screen play ‐ Dialogues ‐ Casting, Shoot ‐Edit‐Re‐
Recording ‐ Final Print/DVD, Understanding the needs of cinematographer/ Sound
designer/ editor/ client servicing executive, Contribution by Lighting ‐
Lenses‐Vfx‐RR‐Compositing
UNIT II Production Process: Formation of Team ‐ Location Survey,
Auditions ‐Planning the shoot ‐Production Management, Hiring of facilities ‐Cost
Control‐ Managing crew & artists;
UNIT III Importance and power of Audio visual communication, Strength of a still
picture‐Requisites of good still ‐How to shoot a good still, Basics of a good still picture,
Understanding Audio Visuals psychologically, Understanding the life around us ‐
Creation of Drama ‐Role of Characters | Creating the final mix ‐The final
Ambiance ‐The crescendo
-
UNIT IV Nature & Role of Sound ‐Noise, Sound ‐Basic Notes ‐
Harmony ‐Symphony ‐Rhythm Combo of Music & Effects ‐ Background score, Writing
for visuals ‐How to use words effectively, Study of some significant literary works,
Balance between words and visuals, Power of silence;
UNIT V Need for advertising ‐Social Scenario, Too many Products chasing divergent
Customers, Understanding the customer/consumer behavior | Understanding the client
behavior ‐ Art of persuasion | Principals of copy writing and Advertising design,
Hierarchy of ad films in marketing collaterals, Study of great Global AV campaigns,
Films in general vs ad film making the key differentiators, Studying proven ad films
campaign,
REFERENCE: 1. Kleppner, Otto; Fundamentals of Advertising; Prentice Hall; New Jersey. 1980. 2. Gupta, Sen;
Brand Positioning; Tata McGraw Hill; New Delhi; 1990. 3. Hart, Norman; The practice of advertising; Heinemann
Pub.; London. 1990. 4. Mooij,Mariekae de; „Advertising Worldwide (2nd edn.); Prentice Hall; UK.1994. 5. Mohan,
M; ―Advertising management concepts and cases ‖; Tata McGraw Hill; New Delhi. 1989. 6. Ch unnawalla and K.C.
Sethia ; ―Foundations of Advertising: Theory and practice ‖,
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BASICS OF FILM MAKING II
Subject Code - BFM 12
Field based mini -project.
Demonstrate the ability to work solely on the planning and production of a short video of
duration 10 -15 minutes.
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SEMESTER III
BRAND MANAGEMENT
Subject Code - BFM 13
LEARNING OBJECTIVE
To understand how to manage a brand and maintaining its brand image .
UNIT I Concept of a brand – Evolution, perspectives, anatomy, types of brand names,
brand name associations, Brands Vs Products, Advantages of Brands to consumers
& firms. Brand elements: Components & choosing brand elements, Branding
challenges & opportunities.
UNIT II Brand positioning – Basic concepts – alternatives – risks – Brands & consumers –
Strategies for positioning the brand for competitive advantage
UNIT III Brand Image, Brand associations & image, Brand identity – perspectives, levels,
and prisms. Managing Brand image – stages – functional, symbolic & experiential
brands.
UNIT IV Leveraging Brands – Brand extensions, extendibility, merits & demerits, Line
extensions, line trap – Co-branding & Licensing Brands
UNIT V Brand valuation – Methods of valuation, implications for buying & selling brands.
Applications – Branding industrial products, services and Retailers – Building
Brands online. Indianisation of Foreign brands & taking Indian brands global –
issues & challenges.
REFERENCE BOOKS
1. Kevin Lane Keller, Strategic Brand Managem ent, PHI/Pearson, New Delhi.
2. Kapferer, Strategic Brand Management, Kogan Page, New Delhi.
3. Harsh Varma, Brand Management, Excell Books, New Delhi.
4. Majumdar, Product Management in India, PHI.
5. Sengupta, Brand Positioning, Tata McGraw Hill.
6. Rameshkumar, Managing Indian Brands, Vikas.
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WRITING FOR PRINT & BROADCAST MEDIA
Subject Code - BFM 14
UNIT I
Print media : Nature and Characteristics – News story : Elements, deadline, Content – principles
of news writing – inverted pyramid style – headline, lead and its types ––general and specialized
newspapers – vernacular newspaper and analysis.
UNIT II
Editorial policy and style – editorial freedom vs. newspaper policies and objectives – writing
style and use of language – general and specialized magazines – vernacular magazines –
feature writing: types, characteristics and styles – Special articles – Editorial practice
UNIT III
Radio: characteristics of the medium – broadcasting policies and codes – writing for radio:
Principles and guidelines, programme formats for general and special audience – content
variety and style – News production – Interviews – features – Talk shows – Radio jockeying .
UNIT IV
Television: characteristics of the medium – Television for information, education and
entertainment – writing television news – language and style of presentation – pre production –
programme production – post production – Television formats – Video jockeying – Live
programme broadcasting.
UNIT V
New media – Internet – Nature and characteristics – contents online – users profile –
multimedia support – textual and visual impact – online jou rnalism – problems of access – uses
and challenges in new media.
REFERENCE BOOKS
1. REFERENCES: 1. Radio and Tv Journalism by Srivastave, Sterling Publications, 1989.
2. Professional Broadcasting – a brief introduction by John Bittner, Prentice hall 198 1.
3. Newspaper Reporting and writing by Mencher, Melvin, McGraw Hill, NewYork 2003
4. Newpaper handbook by Keeble, Richard, Routledge publications, London 2001.
5. Writing for TV, Radio & New Media 8th Edn, Belmont wadsworth Publications, 2004
6. Broad cast Newswriting, reporting and production, 4th Edn, Oxford, Focal Press 2006
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OVERVIEW OF ENTERTAINMENT & MEDIA
Subject Code - BFM 15
UNIT I
Introduction to Entertainment & Media industry | Art & Leisure Entertainment - Theatre, Music,
Museums, Theme Parks| Recreation as Entertainment - Sports, Travel Tourism, Shopping |
Interactive Entertainment - Casino Gaming, Video Games, Mobile & Online games.
UNIT II
Communication as entertainment | Publishing| Event Planning| Differentiation of infotainment,
edutainment, entertainmentTypes of Media - Cinema, Music & Film , Broadcast Media – Radio
& Television, Print Media - Newspapers, Magazines, Comics, Book Publishi ng , Social Media,
Internet & Web
UNIT III
The New Media Content Providers | Understanding the current trends, requirements and
challenges| Comparison across traditional media and new media with examples of online news
providers, online shopping -malls an d online social -networking sites| An overview of the
Emerging IPTV, Technologies |Entertainment Marketing | Marketing Movies, TV & Radio|
Publishing - Print to Digital| Mobile Games & Apps Marketing| Music to the Masses| Marketing
Sports, Travel & Tourism
UNIT IV
Economic Perspectives & Basic Elements | Overview of Financial Analysis : Movies, Music, TV,
Publishing, Games, Live Entertainment, Sports, Performing Arts & Culture activities,
Amusement/theme Parks Branded Entertainment – The making: Idea, Team, Agreement |The
Deal Proposition| The Players in the Industry.
UNIT V
Role of Media in the entertainment industry | Media outlets, Produsara, Agencies Relationship
between media, entertainment and society| Does media change perceptions | The media with
reference to self -image & confidence (fair & lovely, fair & handsome) |Socio -Political impact of
media |Media & Violence |Media & Crime| Social Impact of entertainment industry
REFERENCE BOOKS
1. Understanding the Media - Eoin Devereux
2. Branded Entert ainment: Deal making Strategies & Techniques for Industry Professionals -
Damaris Valero
3. Entertainment Industry Economics: A guide for Financial Analysis – Harold Vogel
4. The Definitive Guide to Entertainment Marketing: Bringing the Moguls, the Media, and the
Magic to the World (2nd Edition) - Al Lieberman , Pat Esgate
5. An Introduction to the Entertainment Industry - Andi Stein ,Beth Bingham Evans
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AUDIO AND VIDEO PRODUCTION TECHNIQUES
Subject Code - BFM 16
UNIT I
Sound waves – Types, Classification and quality – pitch, low and high frequency – Input
transducers – Microphones – types of microphones – sensitivities of microphones – Output
transducers –Loudspeaker – Mono – Stereo – panning, surround and filters – Perception of
sound – wave length –Amplitude – Frequency – pitch – harmonics – equalization –
reverberation time – basic set -up of recording system – analog, digital – cables and connectors.
UNIT II
Mixing console – Echo and reverberation – special effects units – equalizers and compressors -
plugins – digital recording software – editing techniques – Input devices – storage – output
devices – basics of broadcasting – AM, FM, mobile radio, internet radi os, community radio,
educational radio broadcasts – compression ratios – various sound file extensions – time code –
synchronization –positioning of microphones – speech - musical instruments and mixing.
UNIT III
Introduction to digital video equipment‟ s: digital video camera – types – format – major
components – operation and functions – Lens – types – aperture – shutter – focusing methods –
Focal length –depth of field – video signal – video format – video lights – types and functions –
tripod – types – clapboard – usage – light meter – other useful accessories
.
UNIT IV
Introduction to digital video production: Digital camera – Movements – composition – shots –
angles – Mise -enscene – Colour temperature – multi camera setup – Lighting – basic and
special lighting setup – atmospheric lighting – ENG – Anchoring – Compeering – Montage –
News documentary
UNIT V
Single Camera Production, Multi camera production – Documentary Production – Short Film
Production – Electronic Field Production – Talk shows – Interviews the EDL – Dimensions of
editing – spatial – Rhythmic – graphic – temporal editing – continuity editing – Dimensions of
film sound – Voice over – Dubbing – Re-recording – Titling – Adding special effects.
REFERENCE BOOKS
1. Philip Newell, Elsivier. Recording studio design, Oxford, Focal Press. 2005 2. Strutt, John Williams, Baron.
The Theory of sound Rayleigh 1996. 3. Fahy, Frank Foundations of Engineering Acoustics. Academic Press 2001. 4.
Video Production Techniques – Zettl – 2002. 5. Television Production – Gerald Millerson, Focal Press, London, 1999.
6. The Techniques of Television Production - Gerald Millerson, Focal Press, London, 2001
FILM TECHNOLOGY - I
Subject Code - BFM 17
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LEARNING OBJECTIVE:
To understand how to plan wedding & live films.
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, iden tifying the secondary and minor characters,
creating counter characters and establishing 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 a ctors – motivating actors – getting
the performance – cinematographer as Director„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 – overla p 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 photographi c lights – Types of lighting.
REFERENCE BOOKS
1. Directing Film techniques 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 (Auoro 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 Mon aco
11. 5C„s of Cinematography - Joseph V. Mascelli
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PROFESSIONAL INDUSTRY ENGAGEMENT (PRACTICAL)
Subject Code - BFM 18
Students will have the opportunity to join an audio -visual production company or studio
for hands on experience in the field. Alternatively, Students will have the opportunity to
work in collaboration with the industry to create short videos, ads, document ary or films
for specific target audience as requested by industry.
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SEMESTER IV
DIGITAL PHOTOGRAPHY
Subject Code - BFM 19
UNIT I
Introduction to Photography: Define photography – Brief history and development of
photography – camera; types, usage – Lens; types, usage – Lights; Types, usage – Filters;
types, usage – Film ; types, film speed and size – Tripod ; types and usage; Light meter; usage
– Flash; types, usage – Electronic Flash – Selection of Right Flash Mode – Other Useful
accessorie s.
UNIT -II
Photo Composition: Basic techniques for better image – Aperture – usage –Shutter speed –
usage – Depth of Field – Focal length – Basic Lighting – Key Light – Fill Light – Low key and
high Key picture – Rule of Third – Angle of view – Picture F ormat.
UNIT -III
Introduction to Digital Photography : Definition of digital photography – Digital still camera –
Digital SLR Camera – Types – Working with digital camera – Major components and functions –
camera operation – mode – advantages – set up for digital imaging – Windows and Macintosh –
Desk top computer components – Data storage and Transfer options – software for digital
process (Digital Dark Room) – Image Editor – File formats – Convertors – Working with Scanner
– Types – Scanning techniques – Film scanning – Photo Printers – How Printer works – Photo
quality – Printing paper – types
UNIT -IV
Introduction to Digital Imaging: Define Photoshop – Photoshop work space – Palettes – Buttons
– choosing colour – Brush shape – operations and usage of t ools – Pencil tool – Paint Brush
tool – Air Brush tool – Text tool – Paint Bucket tool – Gradient tool – smudge tool – Focal tool –
toning – Eye dropper – Zoom tool – Morgue Tool – Lasso Tool – Magi Wand – Art Marks – Art
Layers – Layer Mark – Create Layer – Fill tool – Trashcan – Cloning –Clone Align – Art Filter –
Plug ins – Rule of Thumb – Kerning – leading digital image on various media.
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UNIT -V
Introduction to Digital Studio: Photography Project – Assignments – Photo Power point
presentations – Photo documentary – Photo essay – small budget studio – design –
equipment‟s and budget – Corporate Studio – Design – Equipment‟s and Budget – Popular
Photography websites – Creating Photography Website – Connecting images of internet use.
REFERENCE BOOKS
1. Tom and Mitchell Beazley, Digital Photography, A step by step guide and manipulating great
images,
2. O.P Sharma, Practical Photography, Hind Pock et Books,
3. Richard Zakia, LeatieStroebel, The Focal encyclopedia of Photography 3rd edn. Focal Press,
Baston, London (1993).
4. Peter K. Burian, Mastering Digital Photography and Imaging, First edition, Sybex Publisher,
USA, 2001.
5. Ralph E Jacobson, Geoffrey G Attridge, Sidney F Ray, The Manual of Photography, 9th edn.
Focal Press, 2000.
6. John Hedgecoe‟s Alfred A, The photographer‟s Handbook, Knopf Publisher, 1999.
7. Roger Hicks and Frames Schultz, Interior shots, Rotovision, Switzerland, 2002.
8. Joseph A Iippolito, Understanding Digital Photography, Thomson Delmar Learning, USA
2003
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PUBLIC RELATIONS
Subject Code - BFM 20
UNIT – I
Purpose & Philosophy of PR, What PR Is, Objectives of Public Relations, The Primary Purpose
Of PR, Hostility, Prejudice, Apathy, Ignorance, Emergence of Public Relations, Public Relations
Today, Public Relations Advertising And Propaganda, Defining Objectives And P lanning A
Programme.
UNIT – II
Four Steps Public Relations Process, Defining PR Problems, Planning And Programming,
Taking Action And Communicating, Evaluating The Program, Elements Of Public Relations,
Human Relations, Empathy, Persuasion, Dialogue, O bjectives Of Public Relations.
UNIT – III
Public Relations As A Profession, Overview, Profession, Codes Of Professional Conduct,
Functions of Public Relations Department, Policy, Publicity, Product Publicity, Relations With
The Government, Community Re lations, Shareholders Relations, Promotion Programmes,
Donations, Employee Publications, Guest Relations, Establishment Of Relations With The
Public, The Need For Public Relations, Scope Of Public Relations.
UNIT – IV
Ethics And Challenges Of Public Rel ations, International Public Relations Association (IPRA)
Code of Conduct, The European Code Of Professional Conduct, PR as a Component of
Communication And Strategies, Strategic Management.
UNIT –V
Models Of Communication, Communication Models, The Ad vantages Of Models, Limitations of
Models, Classical Communication Models, Transmission Model And Its Criticism, Report
Writing, Copyright And Other Legal Issues.
REFERENCES
1. Advertising and Promotion – Geroge E - Belch & Michael. A. Belch - Tate McGraw - Hill – Sixth
Edition.
2. Advertising and Promotion – Kruti shah and Alan D„souza Tata McGraw -Hill
3.Principles of Advertising and IMC –Tom Duncan -TataMcGraw -Hill-SecondEdition.
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FILM TECHNOLOGY II
Subject Code - BFM 21
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 F ilms: 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 other outboards, Amplifiers a nd 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. Vi sual 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 – Categorizing 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 above – visiting Museums, Lib raries, 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: Pr oviding 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 rega rd to
Graphics, Animation and special Effects – Blue/Green mat shooting – Preparation of miniatures,
plaster casts, clay models, moulds etc.
UNIT V
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Indian Film Industry and its organizations – FFI – South Indian Film Chamber – Associations
and Unions o f 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 with
Technicians – production design – selection of Locations – obtaining permissions – Shooting
schedule – Equipment Hire – Accommodation and Transport arrangements – properties and
sets – catering – wardrobes, jewellery, costumes and makeup – Arrangement s 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 effects, 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 History and Technique by Richa rd 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 – AnandaCoomaraswamy.
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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WORK BASED LEARNING ROUTE (PRACTICAL)
Subject Code - BFM 24
In addition to the few -days projects taken up by students on National and International
Films, they shall be motivated to take -up 45 to 60 days Internships with the companies.
Students will have the opportunity to join an audio -visual production company or studio
for hands on experience in the field. Alternatively, Students will have the opportunity to
work in collaboration with the industry to create short videos, ads, documentary or films
for specific target audience as requested by industry. Such Intern ship will help student
to penetrate into the Industry thereby boosting their placement opportunities.
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SEMESTER V
ASPECTS OF FILM PRODUCTION MANAGEMENT
Subject Code - BFM 25
UNIT - I
Office Management - Meaning, Basics, Functions and importance. Selection of the crew
and artistes -Preparation of Schedules - finalization of dates. Organization structure -
Meaning, Features, Types,Tall and Flat structures. Personnel Management - Meaning,
Basics, Essentials, Important factors for consideration. Communication skills - Basics of
communication - Barriers of communication - Steps to overcome barriers - inter and
intra personal skills.Production manager - Multi tasking, the essence of Productio n
management - Role, scope, functions, characteristics and qualities of a production
manager.
UNIT - II
Film industry and its organization - Flow Diagram - Organizational and Financial
structure of the film industry in India in comparison with Hollywoo d - Associations and
Unions of Film Technicians and Artistes - their usefulness - Planning at various stages:
Pre-production - Production - Post production - Censor and Publicity.
UNIT – III
Call sheet management - Shooting arrangement - Time managemen t during shooting -
Crisis management and on the spot decision making. Conflict management between
cast and crew - between financiers and producers. Post production management - Co-
ordination between dubbing, editing, re -recording, mixing and graphics - adoption of
PERT and CPM methods.
UNIT - IV
Finance - methods and procedure adopted for financing feature film in India - General
Finance - through distributors - Hundi basis - Contract basis - NFDC - Co-operative
method - Bank finance -Financing the new cinema - Sponsorship - Corporate finance -
Raising finance to TV serials and Tele films - Budgeting - the reason for Budgeting -
Factors controlling budgeting - various heads of budgeting - Types of budgets - surplus
budget - Zero budget - deficit budget - Budgeting for low, medium and high budget films
- Documentary, Ad film and Tele -film.
UNIT - V
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Distribution and evolution of Distribution system in India - Contempo rary distribution
methods - MG Basis Advance basis - Out -right Basis - Royalty Basis - Exhibition - Early
Exhibition methods -Modern exhibition methods - classification in Exhibition centers and
cinema halls Government control over the film industry - Central and State
Governments - Taxation.
Reference Books:
1. Making Movies by Lee. R. Brooker and Louis Mari Hates
2. Indian Motion Picture Almanac - Edited & Compiled by B.Jha
3. Film Production Management by Bastian Cleve. (Focal Press )
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TELEV ISION PRODUCTION & PROGRAMMING
Subject Code - BFM 26
UNIT I
Television Production - Overview, Organisation, Equipments, The Production Team, The
Production Crew, The Production Methods, Venue, The Three Stages of Production Process -
Planning & Prepara tion, Production, Post Production
UNIT II
The Script and Production Plan, Suggestion on Script writing, Television Cameras, Camera
Basics, Camera Lens, Supporting the Camera, Standard Shots, Camera Operations, Shooting
Style, Selecting the Shot
UNIT III
Goals of Lighting, Why Lighting, Nature of Light, Light Sources, Light Supports, Basic Lighting
Plan, Background & Sets, Make up & Costumes, Audio for Television
UNIT IV
Recording the Video, Video formats, Editing Basics, Directing Talent, Import ance of People in
the Scene, Broadcast Distribution, Traditional Non Broadcast Distribution
UNIT V
Television Programming Accounting, Feature Licensing, Development & Financing Process,
Syndication Agreement, Costs of Production, Costs & Problems of Di stribution, Timing Troubles
REFERENCE
1. Entertainment Industry Economics :A Guide for Financial Analysis ( Harold Vogel)
2. Television Production(Paperback) by Jim Owens, Gerald Millerson
3. Television Production Handbook (Wadsworth Ser… (Hardcover) by Herbert Zettl
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FILM PRODUCTION, DISTRIBUTION & MARKETING
Subject Code - BFM 27
UNIT 1
Studying Films - Culture, Practice & Experience, Overview of journey from Pre -production to
Exhibition, Overview of Script writing, Cinematography, Editing, Sound, etc., Critical Theories
and methods, Film Research & Analyses, Production Team, Designation & Functions,
Production Office set u p
UNIT 2
Story -boarding; Location Scouting/Recce; Scheduling Contents; Call Sheets; Scene
Breakdown; Location Permits; Daily Pre ‐Production Report; Crew Count; Passport & Visa
Documentation; Cash Allocations; Petty Cash; Deal Memos & Long Forms
UNIT 3
Production Reports; Logistics; Expense Sheets; Managing the Set; Interacting with the Director;
Catering; Call Sheets and Reports; Technical Requirements; Last -minute Updates/Changes;
Shooting & Crisis Management, Maintaining Records; Keeping the Crew Happy;, Pack Up |Post
Production Overview; Actual Expenses Report; Telecine; Editing Schedule; Visual Effects;
Animation (for Visual Effects); Dubbing; Sound Design; Colour Grading; Digital Intermed iate;
Reverse Telecine; Videotape Masters;; Censorship Certificate
UNIT 4
Film Distribution & Marketing Overview, Film Marketing, Monitoring the marketing according to
the TG., Planning the campaign for the TG, Importance of timing in for marketing and releasing,
Film Marketing Budgets - Importance of budget planning for film marketing, Budget break up,
Marketing budget v/s business of a film, Budget control, Cost effective marketing, Cross
promotional marketing,Growing importance of marketing of film n ational and internationally, Film
Festivals and Film Markets
UNIT 5
Sales, Exhibition & Distribution; Funding Sources -Film Finance, Legal & Copyright Issues, ,
Publicity Materials (Promos, Posters, Creative Execution Press & PR); Film Producer –
Distri butor Partnership, Distribution Agreements - MG, Outright, Lease - Hire, Scope of
agreements as per the business Distributing Direct; Film & Music Rights, Digital Cinema
Distribution; Submitting to a broadcaster; Internet Distribution, Downloads and On -Dem and
Streaming, Computing Collections
REFERENCE : 1. The Business of Media Distribution: Monetizing Film, TV and Video Content in
an Online World – Jeff Ulin 2. The Filmmakers Handbook – Steven Ascher 3. The International
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Film Business: A Market Guide Beyo nd Hollywood – Angus Finney 4. The Complete Film
Production Handbook - Honthaner, Eve Light 5. The Film Experience: An Introduction, 3rd
Edi…(Paperback) by Timothy Corrigan,Patricia White
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ADVANCED FILM MAKING (PRACTICAL)
Subject Code - BFM 30
Stude nts will have the opportunity to join an audio -visual production company or studio
for hands on experience in the field. Alternatively, Students will have the opportunity to
work in collaboration with the industry to create short videos, ads, documentary o r films
for specific target audience as requested by industry.
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SEMESTER VI
ENTREPRENEURSHIP & PROJECT MANAGEMENT
Subject Code - BFM 31
LEARNING OBJECTIVE
To expose students to the entrepreneurial cultural and industrial growth so as to
prepare them to set up and manage their own company.
UNIT I Meaning of Entrepreneurship - characteristics, functions and types of
entrepreneurship - Intrapreneur - Role of entrepreneurship in economic
development. Factors affecting entrepreneur growth - economic –non-economic.
Entrepreneurship Development programmes - need - objectives – phases -
evaluation. Institutional support to entrepreneurs.
UNIT II Leadership – Meaning, Traits and Motives of an Effective Leader, Styles of
Leadership. 2. Theories – Trait Theory, Behavioural Theory, Path Goal Theory. 3.
Transactional v/s Transformational leaders. 4. Strategic leaders – meaning, qualities
. 5. Charismatic Leaders – meaning of charisma, Qualities, characteristics, types of
charismatic leaders (socialized, p ersonalized, office -holder, personal, divine)
UNIT III Great leaders, their style, activities and skills (Ratan Tata, Narayan Murthy,
Dhirubhai Ambani, Bill Gates, Mark Zuckerberg, Donald Trump) 2. Characteristics of
creative leaders and organization met hods to enhance creativity (Andrew Dubrein).
3. Contemporary issues in leadership – Leadership roles, team leadership,
mentoring, self leadership, online leadership, finding and creating effective leader.
UNIT IV Project Management: Meaning of project - concepts - categories - project life cycle
phases - characteristics of a project – project manager - role and responsibilities of
project manager. - Project identification - selection - project formulation – contents of
a project report - planning commissi on guidelines for formulating a project -
specimen of a project report. - Source of finance for a project - Institutional finance
supporting projects project evaluation - objectives - types - methods.
REFERENCE BOOKS
1. Entrepreneurial Development : S.S.Khanka
2. Entrepreneurial Development : C.B.Gupta& N.P. Srinivasan
3. Project Management : S.Choudhury
4. Project Management : Denis Lock
6. Niraj Kumar - Organisational Behaviour: A New Looks (Concept, Theory & Cases),
Himalaya Publishing Hous e
7. Strategic Leadership – Sahu & Bharati – Excel Books
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DIGITAL AND SOCIAL MEDIA ADVERTISING
Subject Code - BFM 32
UNIT I Evolution of Advertising National & International level |The structure of an Ad
agency and the functions and service of each department |Relationship between
various participants of advertising (Client, agency, media, consumer) | Opportunities
in the digital space | Internet reach and penetration in India| successful digital &
social media campaigns.
UNIT II Strategy and M odels for the New Marketing Environment -Introduction to advertising
strategies: AIDA, DAGMAR, Information processing model | Introduction to Agency
Commissions, media commission | Business models, Marketing Planning and Buyer
Behaviour - Online marketing | Search engine marketing| Permission Marketing,
Digi-marketing Planning
UNIT III Understanding Social Media Marketing - Social Networking (Facebook, Linkedin,
Twitter, etc.) - Social Media (Blogging, Video Sharing - Youtube, Photosharing –
Instagram, Podca sts) -Email Marketing - Digital Display Marketing
UNIT IV Brainstorming creative ideas| Creative Techniques| Creative Execution of the Big
Idea| Bringing Creativity in Ad execution| Preparing a creative Brief| Creative
Execution Elements| Quantifying suc cess |Analytics
UNIT V Mobile reach & penetration in India – change over years - Mobile Marketing :
Messages| Sites| Apps| Advertising| Video| Games Marketing| Commerce| Cross
channel Marketing
REFERENCE BOOKS
1. Principles of Advertising and IMC‖ – Tom Duncan -Tata McGraw -Hill-Second Edition. 2.
Advertising and Promotion – an IMC Perspective – Kruti shah and Alan D„souza -Tata McGraw –
Hill. 3. Mehra - Newspaper Management. 4. Rucker and Williams - Newspaper Organizat ion and
Management.
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MEDIA LAW & ETHICS
Subject Code - BFM 33
UNIT I History of Media Law in India | Indian Constitution - Introduction, Fundamental
Rights, Emergency Provisions, etc.
UNIT II Media Ethics| Ethics vs Law| Ethics vs Principles of Journalism | Advertising
|Broadcasting Ethics| Ethical Dilemma, Issues and concerns in Mass
Communication, Journalism Ethical Problems, Approaches to Ethics, Journalists &
Politicians, Plagiarism, Celebrities in the Public eye, Non -celebriti es caught in the
Media Eye, Accepting Gifts & Trips
UNIT III Print Media Acts, The Press & Registration of Books Act, Registration of
Newspapers, Press Council Act, Working Journalists and other Newspaper
Employee & Miscellaneous Provisions Act, | Broadcasting – The PrasarBharati Act,
The Cable Television Networks Act, Broadcasting Services Regulation Bill |Film
Media – Cinematograph Act & The Censor Board| Acts related to Advertising|
Standards of Practice for Adver tising Agencies
UNIT IV Media Law and Women | Media Law and Children | Cyber Crimes – Types of
Crimes, Information Technology Act, Penalties & Adjudication | Intellectual Property
Rights – The Designs Act, Trade and Merchandise Marks Act, The Patents Ac t, The
Copyright Act
UNIT V International and Foreign Law, Freedom of Expression, Defamation, Privacy,
Access to the Press, Journalistic Privilege: Right to Protect Sources| Freedom of
Information| Defamation through Spoken words or Gestures (Slander), Defamation
in a written format (Libel) | Provisions of the Indian Penal Code & Criminal Code
REFERENCE: 1. Media Law and Ethics – Moore & Murray 2. Media Law and Ethics
– M.Neelamalar
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FINAL PROJECT
Subject Code - BFM 36
Each student needs to submit a project on the Topic allotted to them by their Mentor.
Project Topics shall be related to the one of few types or segment of Films. Student
shall be mentored to come -up with unique ideas / concept for an Film.
Demonstration of core competencies acquired on the degree. Demonstration of creative
acumen, self management and self -development skills. Film & Video Production project
can provide specific themes for a short film & video production. Project guidelines will
be provided in the Project handbook.
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GROUP A – DIRECTION & SCREENWRITING
1. Fundamentals of Direction
2. Directorial Research & Analytical Study
3. Art & Craft of Acting
4. Production & Post -Production Process
5. Cinematography & Editing for Directors
6. Screenplay Writing Th eory
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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 stru cture of the story, Treatment, Writer’s script -Shooting script -
Developing 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 it s importance - camera movements - Pan, tilt,
dolly in dolly out, Tracking shots, Crane shots - Subject movement - Connotative memory of the shot -
Camera angles - Low angles, High angle, Three quarter angle - Dramatic & psychological effects of
camera angl es - 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 ima ges 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 actors -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.
DIRECTORIAL RESEARCH & ANALYTICAL STUDY
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UNIT : I
Filmic space and Filmic time - Film structure: External structure - Internal structure - Filmic material and
its organization - Use of c hance 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 - Constructive 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 movements 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/Slanting -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; Synchronous -Asynchronous - Role of film music
- Realistic and functional music -Dialogues - New technical developments: Wide screen -
3D - Digital film making and its creative possibilities - Dolb y 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. Mascel li.
6. Technique of Film make -up - Vincent J.R. Kehoe.
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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,Conti nuity
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, Physiol ogical, 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, Responsibil ities 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, Effec ts, 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 Sun itkumarChatterji.
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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 andDigi tal Video signal - -Composite and
Component Video signal - White and BlackBalance - 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 and 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 wares in Television - Camera and its Accessories - Camera Supports - Camera Control Unit -Vision
Mixer - Special Effects Generator - Digital Video Effects Generator - Characte r Generator - Video
Monitors - Intercommunication System - audio Monitor - Audio Mixing 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 Production - Co-ordination.
UNIT : IV
Television Programme Production - Planning - Selection of Concept -Scripting - Story board writing -
Writing Shooting Script - Budgetin g - Selection of Artist - Selection of Location - Production
arrangements - Floor Plan - Set-designing and Construction of Sets - Lighting Plan - Placement of of Set -
props - Rehearsal - Blocking - Preparing Camera card, Audio cue -sheet, VTR and Telecine cu e-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 Generator - 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
CINEMATOGRAPHY AND EDITING FOR DIRECTORS
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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 scr een 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 - Specia l purpose lenses -
Fish eye lenses - Diopter lenses - 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 l ighting - 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 methodo logy in lighting.
Cinematography styles - Developing 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 editing
- 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 focus, 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 M alkiew IC2
2. Practical Cinematography by Paul Wheeler
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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SCREEN PLAY WRITING THEORY
UNIT : I
Introduction to the Art of writing - Short story - Novel - Play and screenplay -Adoption of novel and
drama for TV and film - Transitions of action: Movies -Intention - Goal - Conflict - The undisturbed story
- The disturbance - The struggle - The adjustment - main and sub -audience participation - suspense -
Surprise.
UNIT : II
The sources of information - Combination - Co-ordination - Duplication -Scene types - place - Time -
Exposition of time - Exposition of place - Plot and sub-plot - Plot patterns - Narrative structure - Theme -
Ideas - Complex structure of a story - Causes and effect - Conflict - Development - Climax (Beginning,
middle, end) - Synopsis - basic story - Exposition and preparation - Point of view.
UNIT : III
Characterization - Biography or Bone structure of a character - External and internal aspects of a
character - Orchestration and unit of opposites -Dialectical approach - understandability - Probability -
Identification.
UNIT : IV
Shot - the chec k list of shot - How shots are related - Art of confrontation -Outline - Step outline -
Treatment - Screenplay - Dialogue - Script - Master scene script - Symbols and metaphors.
UNIT : V
How to get ideas - Obligatory scene - Melodrama - Writing for TV - comedy and tragedy - Writing
comic sequences - dialogues.
REFERENCE:
1. The Art of Dramatic Writing - LajosEgri.
2. Screen writing for Narrative film and Television - William Miller.
3. Film script writing - Dwight V. Swain.
4. Aspects of the Novel - E.M. Forster.
5. Screenplay writing - Eugen vale.
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GROUP B - CINEMATOGRAPHY
1. Motion Picture & Camera Lenses I
2. Visual Effects in Cinematography
3. Lighting & Imaging Technique of Cinematography I
4. Motion Picture & Camera Lenses II
5. Lighting & Imaging Technique of Cinematography II
6. Advance Aspects of Cinematography
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MOTION PICTURE CAMERA AND LENSES – I
UNIT - I
Introduction to the Principles of Cinematography - Synopsis of motion - Tools of motion
picture Camera work - Essential parts of motion picture camera -Working algorithm of
motion picture camera - Mechanical parts of motion picture camera - Functions of various
parts.
UNIT - II
Study of lens - Study of lens systems - study of lens formats - Relation between film format
and lens systems - study of film format and lens systems - study of film loading systems -
Magazines - Single chamber, Double chamber & Co -axial magazines - Shutter system -
Working principles of various types of shutters - Camera speed - Types of lens mounts -
Matte box.
UNIT - III
Transport mechanism - Intermittent mechanism - Frame rates - Shutter speed calculation -
Shutter angle - Various types of motors - Claw mechanism -Types of claws - Picture gate
and pressure plate - Tacho meter - Comparison between human eye a nd brain combination -
Film and Camera Combination -The factors responsible for visual attention to the audience.
UNIT - IV
Film Formats -Study of 8mm cameras - Study of 16mm cameras - study of super 16
cameras - 35mm format cameras - Anamorphic system - wide screen system - 70mm
cameras - Super 35mm system.
UNIT - V
Importance of the quality of a motion picture camera lens - Lens elements -Image formation
with positive lens -Negative lenses - Image formation with cinematographic lens - Block
lenses - Variable focal length lenses - Breathing effect - Advantages and Disadvantages of
block and zoom lenses.
REFERENCES:
1. Cinematography by Kris. Malkiewicz
2. Practical Cinematography by Paul Wheeler
3. Sight Sound and Motion by Herbert Zettl
4. American cinematographer manual 9th Edition.
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VISUAL EFFECTS IN CINEMATOGRAPHY
UNIT - I
Introduction to special effects cinematography - In camera special processes - Special effects through
variation in camera speed - Reverse shots - Technique of shooting with variation in shutter angle -
dissolves - Fade -in and Fade -out - Ramping - Skip effect - Technique of shooting glass shots -Mirrors
shots - Mask Frames - Double exposure - Miniature shots - Stop block technique.
UNIT - II
Introduction to special effects with the combination of camera and lab - Study of traveling matte
cinematography - Blue screen - Rotoscopy - Study of the special effects created by an optical printer -
Double exposure - Matte - Titling - Fade -in - Fade -out - Dissolves - Freeze effects - Reduction and Blow
ups - Introduction to image manipulation techniques in a motion picture lab - Silver retention processes -
Technicolor‘s ENR process - Deluxe‘s CCE & ACE processes - Bleach by -pass techniques - Silver tint
process - Cross processing - Stripping of anti -halation technique.
UNIT - III
Introduction to Computer Generated Imagery - A brief study of Cine -on process - Animation films
through computers - Various computer graphic effects - Morphing - Image manipulation through
computers - The proc ess of digital cinematography from subject to the projected image - Concepts of
Tele-cine and Reverse Tele -cine processes - Introduction to digital cinematography - A brief study of the
essential features of a digital broadcast camera - Facilities availabl e for a cinematographer in a digital
camera - Different types of digital formats such as DV, DV Cams, DVC Pro formats -Introduction to
High Definition TV system.
UNIT - IV
Introduction to special types of cinematography - 3 D Cinematography - Underwater ci nematography -
Aerial image cinematography - high Speed Cinematography - Time Slicing technique - I-max system -
Time lapse cinematography - A brief study about the front projection system - Back projection systems -
Motion control cinematography - Special effects through lenses and filters -Advantages and
disadvantages of shooting films for blow -ups.
UNIT -V
Introduction to Widescreen Cinematography - Types of widescreen cinematography - Mask frame
widescreen cinematography - The advantages and disadvantage s of different formats of mask frame
techniques - Super 35mm format - Advantages and Disadvantages - Anamorphic cinematography -The
concepts - advantages and disadvantages of cinemascope format over other 35mm wide screen systems -
Techniscope system - Horizontal frame cinematography - Vista vision - Technirama - Advantages and
disadvantages of the systems - Introduction to wide gauge cinematography - Various large format system
- 70mm projection - Ultra panavision projections - Multiple film projection sys tems - Cinerama.
REFERENCES:
1. Filming the Fantastic: A Guide to Visual Effects Cinematography, Second Edition by
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Mark Sawicki
2. Compositing Visual Effects, Second Edition by Steve Wright
3. The VES Handbook of Visual Effects by Jeffrey A. Okun and Sus an Zwerman
4. Digital Compositing for Film and Video, Third Edition by Steve Wright
5. VFX Artistry by Spencer Drate and Judith Salavetz
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LIGHT AND IMAGING TECHNIQUES OF CINEMATOGRAPHY - I
UNIT - I
Introduction to the glory of light - Light is more than mere illumination -What light does - Propagation
of light and its importance in Cinematography -Reflection - Refraction - Reflection factors of various
material - Black - White -Black body - Attributes of light.
UNIT : II
Nature of light - Light Intensity - The color quality - The light dispersion -light directionUnits of light
Intensity Soft light and hard light -Advantages of hard and soft lights - Disadvantages of hard and
soft lights -Sudden fall off - Gradual fall off - Direction of light - Diffusing a hard light -Shadows -
shadows in relation to hard and soft light sources - Introduction tocolor temperature.
UNIT : III
Natural light sources - Artificial light sources - Characteristics of natural and artificial light sources -
Photographic light sources - Electromagnetic spectrum - Continuous and discontinuous spectrum -
Incandescent lights - Tungsten lights - Halogen light sources - The concept of small and large light
sources -Fresnel spot lamps - Open face lamps - Gas discharge lamps - The concepts of metal Iodide
lamps - HMI lamps - Importance of ballast in HMI lamps - HMI lamps and filming speed - Carbon arc
lamps - Clusters - PAR lamps - Modern technology lamps - Lighting accessories - Diffusers - Nets -
Gauss - Barn doors - Reflectors - Dimmers - Scrims.
UNIT : IV
Exposure - Setting exposure - Over and under exposure - Exposure and color - Exposure and Camera
speed - Exposure and shutter angle - Expos ure and movement - Exposure and contrast - The concept of
flashing - Exposure latitude - H & D curve - The law of reciprocity failure - Density - Camera -Types of
films available - Day light and Tungsten balanced films - Working
with Day lights on Tungsten balanced film - Working with Tungsten lights on
Daylight balanced film.
UNIT :V
Intensity of light - Foot candle - Lux - Measuring the intensity of the lights -Exposure meters Incident
light meter - Reflected light meter - Advantages and disadvantages of incident light metering -
Advantages and disadvantages reflected light metering - Grey card - Metering methods - Calcul ating a
correct exposure using light meters
REFERENCES:
1. Painting with light by John Alton
2. Reflections by Benjamin Berger
3. Lighting for film & Electronic cinematography by Dave Viera, Maria Viera
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MOTION PICTURE CAMERA AND LENSES - II
UNIT: I
Factors responsible for the quality image reproduction of a lens system - Resolution of a lens system -
Contrast of a lens system - Sharpness and Definition of lens system - Color reproduction of lens system.
UNIT : II
Colour coating in a lens - lens glare and flare - Magnification of lens - Factors responsible for
magnification and image size - Object distance and magnification - Focal length and magnification -
Depth of field - Depth of focus - Focal plane and flange focal distance - Factors responsible for depth of
field - Hyper focal distance - Focal length and it’s relativity other technical aspects - speed of a lens -
circle of confusion - Angle of view - Angle of coverage.
UNIT : III
Different types of lenses used in Cinematography - Study of normal lens - Wide angle lens and it’s effects
- Study of a telephoto lens - Depth of field in relation with these lenses - Perspective - Use - Applications.
UNIT: IV
Construction and complications of zoom lenses - Psychological effect of lenses - Special purpose lenses -
Fish eye lenses - Dlopter lenses - anamorphic lenses - Lens defects -Prime lens Over zoom lens -
Variable primer - Testing a lens - modern lens systems and manufactures.
UNIT: V
Aberrations - Spherical aberrations - Astigmatism - Coma - Diffraction - Pincushion - Barrel distortion -
Eradication of lens defects - Optimum aperture of a lens - Critical aperture of a lens - Lens charts.
REFERENCES:
1. The Professional Cameraman’s hand book. 4th Edition by Sylvia E Car lson, VerneCarlson
2. Photographic Lenses by Ernest Wildi
3. The Optics of Photography and Photographic Lenses by John Traill Taylor
4. Circles of Confusions: Film Photography by Hollis Frampton
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LIGHT AND IMAGING TECHNIQUES OF CINEMATOGRAPHY - II
UNIT : I
Introduction to the concept of lighting for cinematography aims of lighting - Good lighting and bad
lighting - Position of lights and it’s effects - Lighting terms - lighting a flat surface - Lighting on object -
Understanding the color an d tones in relation lighting psychology.
UNIT : II
Three point lighting - Four point lighting - Half lighting - High key lighting - Low key lighting -Cameo
lighting - Limbo lighting - Rembrant - lighting - Chromo key lighting - Large scale lighting - Moon light
setup - Day for high effect - Set lighting modern methodology in lighting -
Cinematography styles - Developing a style.
UNIT : III
Special Purpose Lighting -Fire - sets and mystery - Lighting for lighting camp fire scene - Candle fla me -
Lighting on rain - summer moon light - Dream lighting Tents - Transparency lighting - Exposing a light
source - Ring lighting - Lighting for high speed cinematography - lighting for single frame animation -
Time slice cinematography time lapse cinemat ography - Visual symphony.
UNIT : IV
Filters - Glass filters - Gelatin filters - Sandwitch filters - Advantages and disadvantages of each
(material) filters over another - Filter factor compensation - Block and White filters - Filters for color
cinematography - Color correction and conversation filters - General purpose filters - ND filters -
Graduated filters - Polarizers - filter care - Creative use of filters.
UNIT : V
Study of cinematographers and their styles - Hollywood, European cinematographers -
Cinematographers of other countries - contemporary Indian cinematographers .
Elements of electricity - Electrical units AC / DC - Circuits - Fuses and circuit breakers -Resistance -
Voltage drop - Color temperature and voltage - Dimmers - Cables and connectors -Generators - Power
consumption calculation for lighting - safety measures for huge sets - Heat, electricity and lights.
REFERENCES:
1. Cinematography: Theory and Practice: Image Making for Cinematographers and
Directors, by Blain Brown
2. Lighting for Cinematography: A Practical Guide to the Art and Craft of Lighting for
the Moving Image (The CineTech Guides to the Film Crafts)
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ADVANCED ASPECTS OF CINEMATOGRAPHY
UNIT - I
Introduction to the advanced models of motion picture cameras - Brief study of Arriflex BL cameras -
Arriflex 435 cameras - Arriflex 765 camera - Arriflex 535 & 535B cameras - Panavision 65 camera -
Panaflex 35 cameras - Vista vision cameras - Photo Sonics Action master 500 camera - A brief study
about the special nature and application of these cameras - A brief study of 3 D cinematography - The
aspect ratios of all the systems. The advantages and disadvantages of blow -up concepts - technical
approach for working films for blow -ups.
UNIT - II
Introduction to modern cinema tographic light sources - Metal iodine lamps - HMI lights – HMIflicker
problems - flicker free HMI lights - Study of soft sun lights - Study of fluorescent lightsources - kin-o-
flo - Technique of working with fluorescent light sources for motion pictures -Mercury vapor lamps -
Sodium vapor lamps - Study of unconventional light sources such as laser lights - Computer controlled
light systems - Black lighting - UV lighting and IR lighting - non photographic light sources such as
domestic tungsten and fluoresc ent tube lights - Follow spots -Effects/Pattern projecting lamps -
Techniques of working with unconventional light sources and non -photographic light sources.
UNIT – III
Advanced lighting approaches - Light is more than illumination - Using lighting to play active and
passive part - Lighting continuity for visual matching - Lighting shiny objects - Lighting matte objects -
Lighting semi -matte objects - Lighting for transparency - Fantasy lighting - Introduction to pictorial
lighting styles such as Notion - silhouette - Chair -o-scuro, Cameo - Limbo and Rembrandt lighting -
Lighting for form - Lighting for color - Use of colored lighting for effects - Lighting techniques for
creating - Animated lighting - Lighting with Ultra violet sources - Lighting with i nfrared light sources -
Lighting for night in exterior - Day for night shooting techniques -Technique of lighting different types
of human faces - Magic hour and twill light shooting - Sun rise and sun set shooting - Lighting for
process shots - Lighting i nvolving practical lamps in the frame - Lighting for skin tones - Lightning
effects - Technique of lighting for rain sequences - Available light shooting techniques.
UNIT - IV
Introduction to choices of lenses for cinematography - Creative use of Cinematog raphic lenses -Special
purpose lenses - Reasons for working for a constant depth of field - Technique of working with
variation in depth - Different types of lens construction - normal lens construction - Retrofocus lenses -
Telephoto lenses - Reasons for the superiority of prime lenses over zoom lenses - The concept of
variable prime lenses - Care of lenses - Introduction to advanced camera movement and camera support
systems - Cranes - Remote controlled camera heads - Mobile cranes - Camera stabilizing sy stems -
Study of a Stedicam system.
UNIT - V
Introduction to the advanced models of broadcast video cameras - study of a Betacam camera ad its
accessories - Features available in a Betacam camera for a cameraman - Formats of Betacam -Working
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for a satelli te news channel - Technique of working for ENG and EFP - Introduction toDigital
Cinematography - Working for music albums - Working for commercials - Shooting film for TV
broadcast - Comparative study of advantages and disadvantages of analogue system Vs Digital system -
Comparative study of advantages and disadvantages of Digital system Vs Film.
REFERENCE:
1. Video Shooter, Second Edition by Barry Braverman
2. High Definition Cinematography, Third Edition by Paul Wheeler
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GROUP C - EDITING
1. Fundamentals of Film & Video Editing
2. Principles of Film & Video Editing
3. First Cut to Final Cut
4. Editing for Fiction Films
5. Graphics, Animation & Direction for Editors
6. Editing for Non -Fiction Films
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FUNDAMENTALS OF FILM AND VIDEO EDITING
UNIT : I
Study of different kinds of Clap Boards and study of the using of Editing Equipments - Talkie Clap -
Silent Board -Play Back Clap - Shooting Reports - Camera Report - Sound Report and Direction Reports -
Study of Editing tools and accessories. Study of winding an d rewinding of films and study of using
different kinds of video tapes - VHS - Umatic - HI Band - Beta tapes.
UNIT : II
Knowing the arrangement of Editing room and maintenance of both Film and Video Equipments and their
accessories - video monitors. Movio la Equipment - Steinbeck - Film racks - Editing Tables and Video
equipments - Video Tape recorders - Telecine systems - Editing systems - Basic systems in Video Editing
UNIT : III
Fundamentals of synchronisation of Both picture and sound -Sorting and As sembling of Negatives
Telecine Transformation. Study of Editorial marks -Learning about Editing of silent sequence and talkie
sequence.
UNIT : IV
Study of Film Dubbing and video dubbing - Study of synchronous and non -synchronous sounds - Study
of Backg round music -Study of using special effect sounds - Re-recording -Mixing and posting the mixed
track - Cutting of negatives as per edited positive and video tape -cut lists.
UNIT : V
Study of Transitions - Study of optical effects - Study of video effects - Using of bridging shot - Cut away
and cutting in action - Cutting on movement - Inter cutting - Parallel cutting and constructive editing -
Montage -Creative editing -Real time and Artificial time - rhythm -pace-space - Creative editing. Basic
Transition Dev ices Visual Effects - Standard Analog video effects Digital Video effects Non Electronic
Effects and How to use them Optical effects and Mechanical effects
REFERENCE:
1. Techniques of Film Cutting Room: Earnest Walter
2. Film and The Director: Don Livings tone
3. How to Edit: Hugh Baddeley
4. The Techniques of Film Editing: KarelReiz& Gavin Miller
5. The Technique of Film and Video Editing: Ken Dancyger
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PRINCIPLES OF FILM AND VIDEO EDITING
UNIT : I
Psychological justification - Mental process in real life - creation of illusion of reality - smooth cut,
constructing a lucid continuity - constructing physical continuity - matching consecutive actions - change
in image size and camera angle - sense of screen direction, matching Tone - 180 degree rul e. A roll and B
roll - Establishing Shot, Eye line match - Master shot - point of view shot - sequence - sequence shot -
shot Reverse shot.
UNIT : II
Psychologically smooth continuity - Sound flow over a cut - Mixing the audio for clear and real
reprod uction - Bridging the action - Bridging the dialogue -Controlling the volume between the channels -
True and natural presentation.
UNIT : III
Definition of Timing - Factors governing timing - Basic qualities of a shot -Timing the shots, timing the
cuts, real time and screen time.
Definition of rhythm in story telling - Natural rhythm and artificial rhythm -rhythm in actions and
dialogue usage - Rhythm in camera movements -maintaining rhythm in Scene. Contribution of master
shot, Misen - shot,Mise En Sc ene.
UNIT : IV
Definition of pace - Variation in pace - slow, moderate and fast pace - pace and tempo - usage of audio
with sync and without sync - creative usage of audio effects - importance of sound track in various types
of films and video programmes - power of sound - sound as a counter point - mechanism of sound in
editing of films and video programs.
UNIT:V
Editors cut - Director’s cut - Final cut - Methods of montage making - Editing Decision - Editing
Functions - Combination of timing - Pacing - Rhythm Tempo.
REFERENCE:
1.Grammar of the Film Language - Daniel Arijon
2.The Technique of Film and Video Editing - Ken Dancyger
3.On Film Editing - Edward Dmytry
4.The Five ‚C‛s Cinematography - Joseph V. Mascelli
5.In the blink of an eye - A perspectiv e on film Editing - Walter Murch.
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FIRST CUT TO FINAL CUT
UNIT : I
Study of a Film Editor’s responsibility - Assistant Editor’s responsibility - Duties of Assistant Editors
with Assistant directors - study of interaction between editing and production department - requirement of
materials - Assistant daily routine reports -Editing during shooting - Editing after shooting - Blue green
matte shot - Film Chromo -key - Editing job - Film gauges. Different formation video technology.Pre -
editing phase.Editing procedures.
UNIT : II
Study of interaction between editing and processi ng department - Leader - film care -film scratch - film
damage - dirt - Remjit marks - instruction to labo - Day for Night.Straight print with Edge number -
details under stand color correction in video technology. Maintaining generation and the popularity of
Digital - How video recording works systems. Tape based and tapeless recording. How video recording is
done?
UNIT : III
Study of Final Cutting - Study of one light Print correct light print in positive film -
Correct light film in intermedia te film - optical effects - Lily test standard test - short length - footage
variation. In video online editing - Off line editing - video treamfees.Telecine start making - Edge number
understanding Negative cutting - Allowing the EDL cut list - introductio n of key Frame Technology and
Motion technology.
UNIT : IV
Study of interaction Between Editing and Sound department - Nature of Sound - Sync -variation - Sound
editing problems - beep sound and their uses - Dialogue premix -Music effect premix - Retransfer s -
Sound variation - Sound quality -Temporary tracks -Tracks matching - Editing source of music - music
changeover - Final Editing of playbacks - cutting in cues - Rhythmic cutting - Synchronizing into varying
tempo -catching action exactly on a beat - Trim ming Censor certificate - C.C. placement - C.C.
cuts secret marks - preparation of C.C cuts. Master record book. Details on the labels -
film storage. Preservation of film - Handling and maintenance of processed films.
UNIT : V
Film Archive - Specification of archival storage room temperature - condition films and storing it in
sealed cans -purpose of winding - Rewinding - storage of video tapes.Cinema tools and video technology.
Pre-editing phase Editing procedures. Making Editi ng decision. Editing functions. Basic Transition
devices.
REFERENCE BOOKS :
1.The Technique of film Editing - KarelReisz& Gavin Millar
2.The Technique of Film & Video Editing - Ken Dancyger
3.The Technique of Editing 16mm Films - John Burder
‘
EDITING FOR FICTION FILMS
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UNIT - I THE SCREEN TECHNIQUE
Transition - Subject movement, Camera movement and combined movement - Visual -
techniques -Audio Techniques - Types of Films - The shot, The Scene, The Sequence.
UNIT - II THE CUT
Types of cu ts - match cut, matching position, movement and look - The cut away - The reverse
shot, imaginary line - Image size - Editing compositions - Exciting images - Cumulative effect,
Direct contrast and Reiterating of a single theme.
UNIT - III SOUND
Actual Sou nd - Using a continuous sound track - Relational Editing - Dialogue counterparts -
Editing Dialogue sequence - Natural Rhythm - Editing comedy sequence - A joke can be made
and killed in the presentation - harsh cut - jerky cut - Cause and effect - Smooth Continuity -
Sound edit - Dramatic cure punctuation - Amplification - Song Editing - Specific goals -
Transition & Sound.
UNIT - IV ACTION SEQUENCE
Edwin.S.Porter - Chase films - D.W. Griffith - Parallel action Editing - Physical conflict -
Timing, rate of cutting, problems in editing action sequence.
UNIT - V MONTAGE
Russian montage, French montage and American montage - Montage as a Transitional device -
Film story telling using montages - Emotional significance - Arranging the visuals slow and fast
- Pleasing Visual Continuity - Dissolves, wipes, realistic dialogue.
REFERENCE BOOKS
1. ART OF THE FILM - Earnest Lindgren
2. FILM THEORY - Andre Bazin
3. THE TECHNIQUES OF FILM EDITING - Karl Reisz& Gavin Miller
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GRAPHICS, ANIMATION AND DIRECTION FOR EDITORS
UNIT - I
Construction of Cinemaproduction - Theme - Synopsis - Oneline Treatment -
Screenplay - Dialogue - Master scene script - Shooting Script - Characterization -
Make up - Stage Direction for Various dialogues and movements - Master scene and
Triple take Techniques.
UNIT - II
Break up into shots based on acting - Different film genres - Economic and Operative Break
down schedule and shooting schedule - Dope Sheets - Budgeting - Directing the Actor and crew.
Reference Books:
1.How to read a Fil m - James Monaco.
2.Directing -Film Techniques and aesthetics - Michael Rabiger.
3.Five C‘s of Cinematography - Josheph V. Mascelli.
4.Screenplay writing - Eugen vale.
5.The Art of Dramatic Writing - LajosEgri.
6.Technique of Film make -up - Vincent ANIMATIO N
UNIT - III
Traditional animation - Stop animation - 2D animation - 3D animation - Draw on film animation
and chromo key programming - Usage of virtual set technology.
UNIT - IV
Compositing - Typical application - Physical compositing - Multiple exposure - Back ground
projection.
UNIT - V
Latest technique in animation - Effects matte painting - Morphing - Optical effects - Prosthetic
make up effects. Rotoscoping - Traveling matte dolly - Virtual cinematography - Wire removal
scan mate adobe after effects.
REFERENCE:
1. Creating Motion Graphics with After Effects, Fourth Edition By
Chris Meyer and Trish Meyer
2. VFX Artistry by Spencer Drate and Judith Salavetz
3. The Visual Effects Arsenal by Bill Byrne
4. The Visual Effects Arsenal by Bill Byrne
EDITING FOR NON -FICTION FILMS
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UNIT -I
The Division of Responsibility - Final continuity - The director and editor - The script writer
and thedirector
UNIT - II
Reportage of documentary - Distinction between the story film and documentary film - The
form a nd aim of a documentary film - Reality - Facts of situation, feeling and atmosphere -
Timing - Creative editing - Juxtaposition - Expressive shots.
UNIT -III
Impact of sound track - The skill of editing - Ideas and emotions - Commutative sound -
Synchronous and non -synchronous sounds. This should be changed accordingly for editing
students.
UNIT - IV
Purpose and aim - The techniques - Teaching films - Instruction films - The differences.
UNIT - V
News reel film editing - Documentary film editing - Aim and purpose - Role of the editor -
Compilation film - The film is made but not shot - Difference - compilation film and news reel
films - Compilation film and documentary film - success of a compilation filmmaker - The skill
of a film editor.
REFERENC E BOOKS :
1. DOCUMENTARY FILM - Paul Rotha
2. THE TECHNIQUE OF FILM EDITING - Karl Reisz
3. ART OF THE FILM - Earnest Lindergaren
4. THE FIVE C‘S OF CINEMATOGRAPHY - Maschelli
5. The technique of Documentary Film Production - John Burden
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GROUP D - PRODUCING
1. Overview of Film Producing
2. Pre-Production
3. Producing the Film
4. Film Distribution and Marketing
5. Comprehensive Legal & Business Plan
6. Advance Aspects of Producing
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OVERVIEW OF FILM PRODUCING
UNIT I
Finding the Idea or Material, Study Script, Development Process, Obtaining Rights to underlying
Material, Screenplay Creation & Revision, Log Line Creation
UNIT II
Creating Proposal, Proposal Examples, Creating a Pitch, Producing a Trailer, Distribution Plan, Pre -sales,
Sales Agents, Deliverables, Development Wrap up, Final Checklist before Deciding to Produce a Film
UNIT III
Synergy and the Core Team, Producers - Executive Producer | Producer | Co -Producer | Line Producer |
Post Production Producer | Associate Producer| Production Management - Unit Production Manager |
First Assistant Director | Second Assistant Director | Pro duction Supervisor | Production Coordinator,
UNIT IV
Production Office - Office Space | Setting Up| Travelling Production Kit, Production Assistants & Interns
| Staff Scheduling & Assignment of Duties | Staff Meetings | Time Management | Office Inventori es, Logs
&Sign out Sheets | Files, Starting a Film Production Company |
UNIT V
Accounting - Handling Payroll | Production Accountant | Vendor Accounts , Purchase orders,
Competitive Bids, Check Requests, Petty Cash, Online Purchases, Reimbursements, Invoicing, The
Budget, Tracking Costs, Audit, Film Production Process | Script to Schedule
REFERENCE:
1. Indie Film Producing: The Craft of Low Budget Filmmaking
2. Producing, Financing, and Distributing Film: A Comprehensive Legal and Business Guide
3. Indepen dent Film Producing: How to Produce a Low -Budget Feature Film
4. The Complete Film Production Handbook Eve Light Honthaner
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PRE -PRODUCTION
UNIT I
Scrip t Breakdown Details, Breakdown for Red Flag Script, Filling in the Breakdown sheet, Breakdown
analysis for Red Flag, Creating a Tentative Schedule, How many Days to Shoot, Final Analysis of Red
Flag, Using the Breakdown to Adjust the Script
UNIT II
Budgeting Overview, Budget Breakdown, Estimated Budget, Spreadsheet Mechanics, Geography of the
Budget, Top Sheet, Detailed Line Items - Labour Considerations, Pre -production Expenses, Location
Expenses, Props/Wardrobe, Studio Rental & Expenses, Set Constr uction Material &Labour, Equipment
Rent, Film Stock, Video Tape Stock, Digital Media, Talent Expenses & Post Production
UNIT III
Cash Flow, Working Budget, Padding and Contingencies, Budget Actualisation, Funding - Pre-sales,
Sales Agent, Equity Investor, Deferred Payment Deals, Other Funding Options, Community Involvement,
Donations & Discounts, Grants, Fundraising Trailers, Find a Mentor or Executive Producer
UNIT IV
Casting - Hiring a Casting Director, Attaching an Actor or Star to your Film, Pay -or-Play Deal, Attaching
Talent & Casting without a Casting Director, The Casting Process, Auditions / Casting Sessions, Extra
Castings, Casting Schedule
UNIT V
Understanding Pre -Production, Stages, Meetings & Communications, Pre -Production Schedules, Daily
Preparation Schedules, Collecting Information & Making Lists | Pre -Production Checklist | Insurance
Requirements
REFERENCE:
1. Indie Film Producing: The Craft of Low Budget Filmmaking
2. Producing, Financing, and Distributing Film: A Comprehensive Legal and Bu siness Guide
3. Independent Film Producing: How to Produce a Low -Budget Feature Film
4. The Complete Film Production Handbook Eve Light Honthaner
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PRODUCING THE FILM
UNIT I
Overview of Scheduling, Script Breakdown, Element Sheet Creation, Creating the Shooting Schedule,
Scheduling Principles, Scheduling Steps, Stripboard Creation, Day -Out-of-Days Schedule, Scheduling
Each Shoot Day, Portrait of an Assistant Director, Locking the Schedule
UNIT II
First Day of Principal Photography, Wrap Checklist, Budget Actualisation, Second Day Disasters, Enemy
of the Production, Expand ing the Team, Actors, Crew & Vendors, Independent Contractor or Employee
UNIT III
Finding Locations, Create Location List, Specifics of Location Scouting, Alternatives to Hiring Location
Scout, Finalising Location Decision, Negotiating the Deal, Back up L ocation, Location Release Form,
Police / Fire Department, Shoot Day Protocol, Run through with Owner, The Day after the Location
Shoot
UNIT IV
Sound Recording During Principal Photography, How to get Best Sound on Set, Room Tone, Wild
Sound, Audio Post Pr oduction, Building Audio Tracks / Sound Design, Adding SOund Effects, Creating
and Recording Foley Work, Recording ADR, Laying in Music Tracks, Sound Mixing
UNIT V
Creating a Music Soundtrack, Rights Required, Putting in the License Request, Negotiating f or Music
Rights, Out of Copyright or Public Domain Music, Fair Use, E&O Insurance, Blanket TV Agreement,
Music Cue Sheet, Original Music Composition for your Project, Music Supervisors,
REFERENCE:
1. Indie Film Producing: The Craft of Low Budget Filmmak ing
2. Producing, Financing, and Distributing Film: A Comprehensive Legal and Business Guide
3. Independent Film Producing: How to Produce a Low -Budget Feature Film
4. The Complete Film Production Handbook Eve Light Honthaner
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FILM DISTRIBUTION & MARKETING
UNIT I
Understanding Distribution, Distribution Channels - Theatrical Exhibition, NonTheatrical Screenings,
Broadcast Television, Cable TV, Video -on-Demand, Streaming on the web, Digital Download, Home
Video via DVD’s,
UNIT II
Navigating the Theatrical World, Following the Money, DIY Theatrical, The Digital Multiverse, Means
of Delivering Video Co ntent - Over the Air Broadcast, Cable TV, Over the Top TV, Satellite, Internet
Streaming, Internet Downloading, Mobile Devices,
UNIT III
Revenue Streams - Free, Basic Cable TV, Subscription (pay) TV, Video -on-Demand, Pay per View,
Subscription Internet V iewing, Retail Downloading, Subscription Disc Delivery, Retail Disc Rentals &
Sales, Television
UNIT IV
NonTheatrical Distribution, Home Video and NonTheatrical Marketing, Other Distribution Issues,
Foreign Distribution, Dividing Rights & Revenues, Lengt h of the movie, Deliverables, Launching a
Movie, Alternative Release Schedules
UNIT V
Festivals and Markets, Marketing Methods and Materials - Website, Networking, Press kit, Stills, Poster
and art, Postcard, Trailer, Clips, Electronic press kit, Publicit y, Selling Your Project & yourself
REFERENCE:
1. Indie Film Producing: The Craft of Low Budget Filmmaking
2. Producing, Financing, and Distributing Film: A Comprehensive Legal and Business Guide
3. Independent Film Producing: How to Produce a Low -Budget Feature Film
4. The Complete Film Production Handbook Eve Light Honthaner
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COMPREHENSIVE LEGAL & BUSINESS PLAN
UNIT I
Understanding Rights and Liabilities, Breakdown of Legal Document, Legal Concepts, List of Agreement
during each Phase, Legal Corporate Entities, Reasons for Creating an Entity, Costs of Creating an Entity,
Limited Liability Company, Advantages of a Limited Liability Company
UNIT II
The Business Plan - Introduction & Definitions, Executive Summary, The Film makers, Film Project,
Information on Budgets, The Motion Picture Industry, The Market and Marketing, Distribution, The
ScreenPlay Agreement
UNIT III
Acqu isitio n of a Literary Property, Description of the Property, Rights granted and reserved, Retained
Author Rights, Television Rights, The Production Financing and Distribution Agreement,
UNIT IV
Forms of Financing - Investors Financing, Using Production Loans, Foreign Governme ntal Financing,
Artist Agreement, Producers Breaches, Producers Agreement, Facilities, Technical Agreement, Music
Originally written for a Motion Picture, Preexisting Music, Purchased Music,
UNIT V
Director s Agreement - Development, Creative Control, Production Services, Compensation, Methods of
Payment, Disability, Cutting & Editing, Sequels & Remakes, Credit, Miscelleneous Issues, Theatrical
Exhibition Agreements
REFERENCE:
1. Indie Film Producing: The Cr aft of Low Budget Filmmaking
2. Producing, Financing, and Distributing Film: A Comprehensive Legal and Business Guide
3. Independent Film Producing: How to Produce a Low -Budget Feature Film
4. The Complete Film Production Handbook Eve Light Honthaner
Page 83
Page 83
ADVANCE ASPECTS OF PRODUCING
UNIT I
Getting Ready to Produce, Time line for the Film, The Script - Option and Development, Creating a
Business Plan, Setting up a L imited liability Company, Bank Account and other Legal considerations,
UNITII
Making Sales Presentations, Setting up the Room, Assistants representing the Company, Outline of the
presentation, Directors Vision and Offering, Finding Investors - Tips to Getting Investors,
UNITIII
Casting Process - Preparation, Casting Director, Plan Casting Process with the Director, Scheduling,
Auditions, Deal Memos, Pre -Production, The Making of Producer and Stills Photographer,
UNIT IV
Principal Photography, Line Producers Wrap up, Editors Assembly, Copyright Transfer, Film Website,
Hiring of Post Production Position, Directors Cut, Audience Testing, Sales Agent and First Round of
Festival, Music Scores, Sound Designing, Color Correction , Spotting and ADR, Additional Songs,
UNIT V
Delivery and Sales Agent, The Cost of Delivery, Deal with the Sales Agent, Distribution Alternatives and
Film Exposure.
REFERENCE:
1. Indie Film Producing: The Craft of Low Budget Filmmaking
2. Producing, Finan cing, and Distributing Film: A Comprehensive Legal and Business Guide
3. Independent Film Producing: How to Produce a Low -Budget Feature Film
4. The Complete Film Production Handbook Eve Light Honthaner
Page 84
Page 84
GROUP E - SOUND
1. Sound Engineering Electronics I
2. Sound Recording Components & Techniques I
3. Concepts of Sound Recording
4. Sound Recording Components & Techniques II
5. Creative Sound Recording
6. Sound Engineering Electronics II
Page 85
Page 85
SOUND ENGINEERING ELECTRONICS - I
UNIT : I
Conductor and Insulators - Resistance Temperature co-efficient of resistance - ohm’s law - Series
and parallel resistance - Power and energy (electrical) - Capacitor - Unit of C apacitor - Types of capacitor -
Break down voltage.
UNIT : II
Condensers in series and parallel capacitive reactors -Inductance -Inductive reactance - Impedance -
Unit of Inductance - Permeability -inductance in series and parallel - Mutual Inductance.
UNIT : III
Transformer - Eddy currents and hysteresis - Time constant of RC circuits - Types of Transformers -
Signal phase and three phases Voltage and Turns Ratio - Effect of secondary current.
UNIT : IV
Impedance matching - Transformers in Audio Amplifier Circuits Resonance - ‚Q‛ of the coil.
UNIT : V
Semiconductor Theory - Current flow Holes - holes - Electrons - Junction Diode - Diode Action - Diode
Characteristics - Zener Diodes - LED - Photo Diode.
REFERENCE:
1. Electronics fundamen tals 7th Edition by Thomas L. Floyd(Maxwell Macmillan International Edition)
2. Basic Electronics - Devices, Circuites and Systems by Michael M.Girovle
3. Electronic Principles by Albert PoulMalvine.
Page 86
Page 86
SOUND RECORDING - COMPONENTS & TECHNIQUES - I
UNIT: I
Cables and Connectors / ConnectionsXLR, Phono, RCA, BNC, D -Sub, VGA, HDMI, Multicore, Two
Core Shielded, Fiber Optic Cable.Hot, Cold, ShieldRecording Chain -Microphone to Speaker Introduction
UNIT: II
Basic acoustics - Reverb time, live room, dead room, sweet spot, resonance, controlling reverb time
Introduction to acoustic materials
UNIT: III MICROPHONES AND ACCESSORIES
1 Variety
o Condenser microphone
o Electret condenser microphone
o Dynamic microphone
o Ribbon Microphone
o Carbon microphone
o Piezoelectric microphone
o Fiber optic microphone
o Laser microphone
o Liquid microphone
o MEMS microphone
Stands, pop filter, spider suspender, parabolic reflector, wind shield.
UNIT IV WORKING PRINCIPLE OF MICROPHONE
Polar pattern -directional characteristics - cardiod, hyper cardiod, supercardiod, sub cardiodbi direction,
omni direction, shot gun.Measuring polar response -off axis frequency response, proximity
effect,microphone impedence, microphone sensitivity, balanced and unbalanced line, cause of
distortion, overload in condenser and dynamicmicrophone.
UNIT V
Introduction to loud speaker - Working principles of loud speaker Components of loud speaker -cabinet,
internal treatment of ba ffle, port hole, cone, spider, ring.Full range speaker, woofer, mid range speaker,
tweeter, horns Cross over networkMulti speaker system -series and parallel connections Active and
passive speakers.In phase and out of phase.
REFERENCE:
1. Recording Studio Handbook by John M. Woram
2. Modern Recording Techniques 7th Edition by David Miles Huber,Robert E. Runstein
3. Elements of Sound Recording by John J.C. Frayne and Wolfe
4. The Technique of Sound Studio by Alec Nisbett.
Page 87
Page 87
5. Principles of Digital Audio by Ken. C. Pohlmann.
CONCEPTS OF SOUND RECORDING
UNIT -I
Fundamental principles of variable density recording - light valve principles of variable area recording -
types of variable area tracks - the aperture effect - galvanometer modulator - variable area lightvalve -
optical schematics of variable area recording using light valve noise reduction to galvanometerimage
growth and retraction of variable area recording - negative density - positive or print density
UNIT - II
Modulated high frequency recording (cross modulation analysis) as a means of Determining for optimum
processing - sound track fog and its sources - significance of sound - track fog - wow and flutter - variable
speed option D.C. serve motors.
UNIT - III
Noise and noise reduction principles - the nature of noise - white noise - pink noise - residual(quiescent)
noise - signal -to-noise ratio - static and dynamic noise reduction - complementary devices(filters) static
complementary devices (pre post emphasis) - dynamic non complementary devices(expanders) - dynamic
complementary devices (compander) - tracking errors in noise reductionsystem.
UNIT - IV
Equalizers - low frequency equalization - the high pass filter - low frequency shelving equalization -mid-
frequency equalization - composite equalization - parametric equalizers - Graphic equalizers -Band filter -
Notch filters - Band -pass filters - effect of equalization on dynamic range - Equalizer phase shift Active
and passive equalizer - Compressor, Limiter a nd Expanders.
UNIT - V
Gain riding Compressors and limiter - Definitions - Compressor - Limiter - Threshold - variable
thresholds - the rotation point variable compression ratios - Pumping or Breathing - Release time -Attack
time - Using the compressor for special effects - program limiting - stereo program limiting -The De -esser
- Expand Threshold - The Noise gate - Multiband compressor.
REFERENCE BOOKS
1. Elements of Sound Recording - John J.C. Frayne and Wolfe.
2. The Recording Studio Hand Book - John M. Woram.
3. The Technique of Sound Studio - Alec Nisbett.
4. The Audio Encyclopedia - Howard M. Tramine.
5. Tape Recorder Servicing Mechanics -
6. Sound System Engineering - Don Davis and Carolyn Davis.
7. Audio System Design and Installation - Phillip Gidi ngs.
SOUND RECORDING - COMPONENTS & TECHNIQUES - II
Page 88
Page 88
UNIT - I
Polar Patterns - Uni directional Microphones - Microphone with more than one polar pattern -- Single
Pattern dual diaphragm microphone.
UNIT - II
Detailed theory in Analog & Digital mixing Consoles - Demonstration of the controls in the mixing
console - Signal routing - Inputs - Outputs - Bus assignments - Monitoring -
Automation - Wordclock - Timecode - Compressor/Limiter - Gate - Expander - Reverb -
Delay.
UNIT - III
Introduction to PC & Mac - Intro to DAW - Plug-ins & Processors - Software’s -DSP-PC & Mac
Based Software’s -Advantages/Disadvantages - MusicalInstruments - classification - Frequency &
Dynamic range of musical instruments -Miking musical instruments - Frequency & Pickup of
different types ofmicrophones.
UNIT - IV
Introduction to mono & stereo mixing - 5.1, 6.1, 7.1 Surround mixing - Introduction
to DTS & Dolby.
UNIT - V
Introduction to sound negatives - Introduction & work ing principle of sound negative optical transfer unit
- Different types of recordings done on sound negative - DTS & Dolby recording in sound negative -
Introduction to sound positive & playback principles &equipments used.
Reference
1. Recording Studio Handbook by John M. Woram
2. Modern Recording Techniques 7th Edition by David Miles Huber, Robert E.Runstein
3. Micro Phons: Design and Applications by Liou Burroughs.
4. Acoustic design and Noise Control by Michael Rettinger
Page 89
Page 89
CREATIVE SOUND RECORDING
UNIT - I
Greatness and Power of Music - Basic technical terms - in music - Basic knowledge about the various
instruments usedin, folk, Hindustani and Western Music - Elementary knowledge in writing
musicalnotation.
UNIT - II
Microphone technique - sound localization - stereo microphone placement techniques – binauralrecording
- the stereo microphone stereosonic recording - X-Y recording - M-S Recording - use ofadditional
microphones - multi microphone placement techniques gene ral rules - avoiding phasecancellations -
Leakage minimizing techniques - Microphone placement for maximum separation -Using the Figure of 8
microphone - Acoustic separation - Isolation Booths, Baffles and GOBOES.
UNIT - III
Use of special purpose micropho nes - contact microphone - Lavalier microphones - Mixing variousmusical
instruments. The electric guitar electronics keyboard instruments - The Leslie organ cabinet -percussion
instruments - The Drum set - The piano -strings, brass and woodwinds - Signal pr ocessingdevices - Echo
and reverberation - Definitions - Echo reverberation - Delay Decay - Room acoustics - Echo and Delay -
The tape delay system. The digital delay line - The acoustic delaying - doubling -Reverberation and Decay
- The reverberation plate - The spring reverberation system - Acoustic reverberation chambers - stereo
reverberation - using stereo reverberation - The complete Echo -reverberation system
UNIT - IV
The modern recording studio console - The basic console - input section. Output sec tion – Monitorsection
- Echo send and return signal path summary of the signal path through the console – Monitorsection
Recording technique - Overdubbing - The Sel -Sync process - Transferring of ―Bouncing‖tracks.
Transferring on to adjacent tracks - ―Punc hing in‖ Remote control of the record/play backmode - The
console in the Sel -Sync mode using the cue system - Headphone monitoring – Selectingheadphones -
Track assignment - Bus/tape monitoring -preparing for the multi -track recording session - Seating plan -
Microphone set up - Console preparation - Monitoring Using artificial reverberationduring recording -
using other signal processing devices - Recorded levels - ―Slating‖ End of
recording - The mix down session - Musical editing -splicing blocks - tracks e diting – Trackassignment and
panning - Preparing for mix down Assistance during mix down - Recording andmonitor levels - Monitor
Speakers - The basic in -line recording console - input section of I/O module - output section of I/O module
- The master module - The monitor module - The component parts of an in -line recording console.
UNIT - V
Simplified signal flow path through the in line console - Channel/line and reverse switches – Boardcast
mode - Grouping - Group select switch - Monitor pan to channel buse s - Monitor pan to sendbuses -
Monitor mix - tu - cue - Wet switch - Mute switch - Solo in place - console module detaildrawings. Time
code implementation - Recorded time data - The SMPTE time code - Frame ratesand application -
Description of the code - SMPTE -assigned address bits - Time code address bits -Frame rate errors - Drop
frame code bit - Colour frame code bit - Sync word bits -plus one frame - The complete SMPTE time code -
User -assigned bits -Unassigned address bits - Bi-phase modulation - Time code generator - Time code
reader -Video character generator - Jam sync -One time - Jam sync - continuous - Jam sync - copying time
code - Regenerated time code - restored time code -Introduction to digital audio.
Page 90
Page 90
REFERENCE BOOKS :
1. Recording studio Hand book b y John M. Woram.
2. Modern Recording Techniques 7th Edition by David Miles Huber.
3. Elements of sound Recording by J.C Frayne and Wolte.
4. The technique of sound studio by Alec Nisbett.
5. Principles of Digital Audio by Ken. C. Pohlmann.
Page 91
Page 91
SOUND ENGINEERING ELECTRONICS – II
UNIT : I
Rectifiers - Half Wave Rectifier - Full Wave Rectifier - Bridge Rectifier - Choke Input filter -
RC filter - LC filter - Zener Voltage Regulator - Diode Clipper and Clamper.
UNIT : II
Transistors - Bi-Polar Transisto r - NPN Transistor - PNP Transistor - Transistor biasing
circuits - Base Bias - Voltage Divider Bias - Transistor Characteristics - Alpha and Beta of the
transistors - Power Transistors.
UNIT : III
Amplifiers - Common Base Amplifier - Common Emitter Ampl ifier - Common collector
Amplifier - Single Stage Amplifier - Two Stage RC Coupled Amplifier.
UNIT :IV
Class ‘A’ Amplifier - Class ‘B’ Amplifier - Phase Splitter - Non Linear distortion in Class ‘A’ -
Transistor power rating - Thermal Resistance - Class ‘B’ push pull Amplifier - Basic Idea of a
push pull Action - AC load line for Class ‘B’ - Cross over distortion.
UNIT : V
Setting up for the Q point - Voltage divider bias - Diode bias - Emitter Follower - Push pull
power amplifier - Complimentary symmetry power amplifier - Transformer coupled push
pull amplifier - Class ‘C’ amplifier.
REFERENCE:
1. Electronics Fundamentals 7th Edition by Thomas L.
Floyd (MaxwellMacmillan International Edition)
2. Semiconductors from A to Z by Phillip Dallen
Page 92
Page 92
GROUP F- ANIMATION
1. Elements of Animation
2. Modeling & Texturing
3. Lighting
4. 3D Interactive Basics & Game Environment
5. Editing & Compositing
6. 3D Fx
Page 93
Page 93
ELEMENTS OF ANIMATION
UNIT - I
Animation Tools - Introduction to Animation - History of Animation - Production Pipeline - Types of
Animation - Different Animation types - Animation Tools - Principles - Graph Editor - Animation types
UNIT - II
Ball Bounce Animation - Set Key Animation - Stretch & Squash Animation - Fine Tuning in Graph
Editor - Obstacle Ball Bounce Animation - Set Key - Primary Animation - Stretch & Squash - Obstacle
Bounce - Fine Tuning - Graph Editor
UNIT - III
Walk Cycle & Progressive Walk Animation (Cartoon Character Animat ion) - Understanding Walk
Animation - Normal Walk - Cartoonic Walk Styles - Acting - Blocking - Primary - Secondary -Fine
Tuning - Graph Editor - Previewing Animation
UNIT - IV
Run Cycle Animation & Progressive Run Animation (Cartoon Character Animation) - Normal Run -
Cartoonic Run Styles - Acting - Blocking - Primary Animation - Secondary Animation - Fine Tuning -
Graph Editor - Previewing Animation
UNIT - V
Jump & Dive Animation (Cartoon Charac ter Animation), Facial Animation ( Cartoon Character
Animation), Car Animation ( Cartoon Car Animation) - Understanding Facial Expressions - Acting -
Keying - Fine Tuning - Graph Editor - Inorganic Animation
REFERENCE
1. Animation The Mechanics of Motion - Chris Webster
2. Understanding Animation - Paul Wells
3. Timing for Animation - Harold Whitaker, John Halas
4. The Art of 3 -D Computer Animation and Effects, Third Edition - Isaac Victor Kerlow
Page 94
Page 94
MODELING & TEXTURING
UNIT - I
Introduction to Maya: What is 3D - Coordinates - Application of 3dMaya Interface - the three dimensions -
Maya workspace - The axis indicator - Maya scene view
UNIT - II
Nurbs Modeling - Intro to curves - types of curves available in maya - EP curve & CV curv e - its
differentiation, how to edit its positions - foundation of Nurbs - Curves - Proficiency at drawing and
editing curves -nurbs surface creation, - Edit Nurbs options, Different objects created using curve
UNIT III
Polygon Modeling –Objects - Different objects created using polygon tools, tips and tricks
UNIT - IV
Application & difference between 2d, 3d textures & Environmental textures, Maya 2D textures -
categories: water, Perlin, noise, etc., Bitmaps - generating textures - Maya 3D textures – proced ure &
resolutions – mathematics & algorithms.
UNIT - V
Basic utilities for texturing - general utilities - color utilities, render node utilities, switch utilities,
tweaking output -Generating texture without editing attributes - double side texturing - mixing 3 or more
colors & taking output.
REFERENCE
1. Stop Staring: Facial Modeling and Animation Done Right - Jason Osipa
2. Texturing and Modeling : A Procedural Approach - David S. Ebert, F
Page 95
Page 95
LIGHTING
UNIT - I
What is light & its theory, Maya lights, attributes & shadows. Maya spot lights - on stage - in motion
pictures - Directional lights - Ambient lights - Point lights - Area lights – application, characteristics,
properties and palettes for the above
UNIT - II
3-point lig hting concepts, Three -point lighting in visual media such as video, film, still photography and
computer -generated imagery - effective use of key light - fill light - back light
UNIT - III
Working with Global Illumination, Final Gather, and Caustics - Global Illumination in mental ray
simulation - photons and their applications, Final Gathering - Caustics phenomena reflection and
refraction through transparent surfaces.
UNIT - IV
Advanced Techniques (Physical sun & sky, HDRI) &Generating various pass es (ambient, occlusion,
diffuse, etc.,) HDRI - Definition & its applications
UNIT - V
What are cameras - How to use different types of cameras available in maya - Camera & Aim - Zoom, Pan,
focus – lenses and filters – effective blocking techniques - Maintai ning shot continuity
REFERENCE
1. Advanced Maya Texturing and Lighting with CDROM - Lee Lanier, Wiley Publishing
2. Texturing and Modeling : A Procedural Approach - David S. Ebert, F Rendering with Mental
Ray -Thomas Driemeyer
3. Essential CG Lighting Techniques - Darren Brooker
Page 96
Page 96
3D INTERACTIVE BASICS& GAME ENVIRONMENT
UNIT - I
Introduction about 3d interactive world and its application, Introduction to Game engine and features,
virtools its features and improvements, basics of virtools, exporting from maya to virtools, exporting an
animated character inside virtools
UNIT – II
Game Tool interface - Menu Bar - 3d layout panel -tool bar -selection and transformation control - camera
manipulation controls -preview panel - building b locks panel -building blocks, virtools resources, level
manager panel -level manager, status bar
UNIT – III
Naming Conventions and Best Practice Concepts - virtools naming conventions -importing from maya -3d
model data - resetting the models transform -exporti ng materials -exporting lights -exporting cameras -
exporting dummy objects -exporting curves -exporting groups -exporting bone setup
UNIT IV
Data resources and Initial conditions -loading a data resources -loading an object and adjusting its
properties, placing a set inside the stage
UNIT V
Object transformation -rotation scaling -adding a movement script to 3d entity -simple object rotation -
advanced object rotation - revolving one object around another -object scaling -making an object move
along a path controlling an object using the keyboard
REFERENCE
1. Building Interactive Worlds in 3D: Virtual Sets and Pre -visualization for Games, Film & the
Web - Jean -Marc Gauthier
2. The Technique of Film and Video Editing, Fourth Edition: History, Theory, and Practice -
Ken Danc yger
Page 97
Page 97
EDITING & COMPOSITING
UNIT - I
Introduction - 3D Editing - What is 3D editing - Principals of editing - Basic understanding about
storyboard - integrating story baord to editing - Basic tools - work in timeline editing - Animatics Editing
- Rendering frames - adding frames markers - separating into shots order
UNIT - II
Introduction To Audio Editing - Syncing audio to video Drawing information - making rythmic - audio
cutting - Fine tuning audio -Playblast editing - 3D output anim ation -
UNIT - III
Introduction - Compositing Fundamentals - Interface - Knowledge about compositing - Analysing
reference composited works - Rotoscopy - Keying – Wire removal - Extracting image from the
background - add grains for the final management - color grading
UNIT - IV
Color correction - Motion Tracking - Stabilization - matching colors between two shots - parenting
layers -Titling Effects - Motion Graphics - keyframe animation - television advertisements - using 3d
camera - null object - filters
UNIT - V
3D Compositing - Fixing 3D object with live footage - understanding different types of passes - fixing
layer passes - Fine tuning image comp osition - z depth
REFERENCE
1. The Technique of Film and Video Editing, Fourth Edition: History, Theory, and Practice -
Ken Dancyger
2. Art & Science of Digital Compositing - Ron brinkmann
Page 98
Page 98
3D FX
UNIT - I
Introduction to Dynamics -Tools & Techniques.Dynamics and rules of physics to simulate natural forces -
Dynamics and realistic motion - Dynamics Vs traditional keyframe animation.
UNIT - II
Fields, Particles, Emitter - use of fields to animate the motion of particles - Particles - Cloth - soft bodies -
rigid bodies - fluids and hair - motion of natural forces with dynamic fields.
UNIT - III
Soft & Rigid Bodies & its nature - polygonal surface - NURBS surface - NURBS curve - lattice, wire, or
wrap deformer - Rigid body - creating a field on an objec t or as a stand -alone force.
UNIT - IV
Dynamics – Particles - Maya Nucleus technology - Maya Nucleus solver – providing fast simulation
results - dynamic simulation framework for generating Cloth simulations.
UNIT - V
Cloth Simulation, Fur Simulation - Maya's cloth module - creating realistic and stylized animated cloth for
characters, creatures - Using Maya Fur - creating realistic, self -shadowing fur and short hair on multi -
surface NURBS - polygonal and subdivision surface models.
REFERENCE
1. Maya Studio Projects: Dynamics - Todd Palaman
2. The Technique of Film and Video Editing, Fourth Edition: History, Theory, and Practice
- Ken Dancyger
Page 99
Page 99
Overview & Growth of Film & Media Industry
Film as a medium has gained immense popularity in the country and as many
as 1,600 films in various languages of India are produced annually. Indian
films have also come to be followed throughout South Asia, the Greater
Middle East, Southeast Asia and other countries.
In the 20th century, Indian cin ema, along with the Hollywood and Chinese film
industries, became a global enterprise. As of 2013, in terms of annual film
output, India ranks first, followed by Nollywood, Hollywood and China. In
2012, India produced 1,602 feature films. The Indian film i ndustry reached
overall revenues of $1.86 billion (INR 93 billion) in 2011. This is projected to
rise to $3 billion (INR 150 billion) in 2016. In 2015, India had a total box office
of US$1.6 billion, the fourth largest in the world outside North America.
Enhanced technology paved the way for upgrading from established cinematic
norms of delivering product, altering the manner in which content reached the
target audience. Visual effects based, super hero science fiction, and epic
films emerged as blockbus ters. Indian cinema found markets in over 90
countries where films from India are screened. The Indian government
extended film delegations to foreign countries such as the United States of
America and Japan while the country's Film Producers Guild sent si milar
missions through Europe.
The provision of 100% foreign direct investment has made the Indian film
market attractive for foreign enterprises. Indian enterprises also participated in
producing and distributing films. Tax incentives to multiplexes hav e aided the
multiplex boom in India.
Page 100
Page 100
The South Indian film industry defines the four film cultures of South India as a
single entity. They are the Tamil, the Telugu, the Malayalam and the Kannada
industries. Although developed independently over a long period, gross
exchange of film performer s and technicians as well as globalisation helped to
shape this new identity.
The Indian diaspora consists of millions of Indians overseas for which films
are made available both through media such as DVDs and by screening of
films in their country of r esidence wherever commercially feasible. These
earnings, accounting for some 12% of the revenue generated by a
mainstream film, contribute substantially to the overall revenue of Indian
cinema, the net worth of which was found to be US$1.3 billion in 2000. Music
in Indian cinema is another substantial revenue generator with the music
rights alone accounting for 4 –5% of the net revenues generated by a film in
India.
Page 101
Page 101
Employment Opportunities for students after completion of the course
➢ Feature Films
➢ Documentaries
➢ Newsreels
➢ Promotional Films
➢ TV commercials
➢ Music Videos
➢ Corporate Houses
➢ Advertising Agencies
➢ PR Agencies
➢ Media Houses (Publications)
➢ Movie / Serial Production Houses
➢ Educational Institutes
➢ T.V. Channels
➢ Travel & Tourism Companies
➢ Music Companies
➢ Fashion Houses
➢ Event Management Companies
➢ Entrepreneurial Opportunities
Page 102
Page 102
Ordinances & Regulations
B.A(Hons) in Professional Film Making
❖ 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 In ternal Assessment and
40% marks in Semester End Examination (i.e. 16 Out of 40) separately, to
pass the course and minimum of Grade E in each project, wherever
applicable, to pass a particular semester. A learner will be said to have
passed the course if t he learner passes the Internal Assessment &
Semester End Examination together.
❖ CARRY FORWARD OF THE MARKS IN CASE IF THE LEARNER GETS
‘F’ GRADE IN ONE OR MORE SUBJECTS:
1. A learner who PASSES in the Internal Examination but FAILS in the
Semester End Exam ination of the course shall reappear for the
Semester End Examination of that course. However his/her marks of
the Internal Examinations shall be carried over and he/she shall be
entitled for grade obtained by him/her on passing .
2. 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 the
Semester End Examination shall be carried over and he/she shall be
entitled for grade o btained by him/her on passing.
3. For Courses without practical: In case of a learner who is
reappearing for the Internal Examination, the examination will consist
of one project of 40 marks which will be divided into 20 marks for the
documentation of the p roject, 10 marks for the presentation and 10
marks for the viva and the interaction.
❖ ALLOWED TO KEEP TERMS (ATKT):
As per University rules and regulations
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Page 103
Additional Examinations :
A. INTERNAL ASSESSMENT: As per University rules and regulations Class
test or assignment for Internal Assessment as per University rules and
regulations
B. SEMESTER END EXAMINATIONS
As per University rules and regulations
ELIGIBILITY TO APPEAR FOR ADDITIONAL SEMESTER END
EXAMIN ATION:
As per University rules and regulations
MODE OF CONDUCT OF SEMESTER END ADDITIONAL EXAMINATION:
As per University rules and regulations
Evaluation of Projects (Wherever Applicable)
1. A learner who PASSES IN ALL THE COURSES BUT DOES NOT secures
minimum grade of E in project as applicable has to resubmit a fresh
project till he/she secures a minimum of grade E. His/her marks in the
theory papers that the learner has passed will be carried forward and
he/she shall be entitled for grade obtained by them on passing.
2. The evaluation of project and viva -voce examination shall be by awarding
grade in the seven point scale.
3. A learner shall have to obtain minimum of grade E (or its equivalent
marks) in project evaluation and viva/voce taken together to ob tain 40%
marks in project work.
Calculations of GPA & SGPA
As per University rules and regulations
O – Eligibility for Admission :
● Candidates for being eligible for admission to the three -year course
leading to the Degree of B.A(Hons ) in Professional Film Making, shall be
required to have passed the Higher Secondary School Certificate
Examination (Academic or Vocational Stream) conducted by different
Divisional Boards of Maharashtra State Board of Secondary and Higher
Secondary Educat ion or an Examinations of any another University or
Body recognized as equivalent thereof by the Senate of the University.
● Have successfully passed the evaluation rounds including interview.
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● Reservations as per University rules will be applicable.
1. Eligibility for the award of the degree:
A candidate shall be eligible for the award of the Degree only if he / she
has undergone the prescribed course of study in a College affiliated to the
University for a period of not less than three academic years, p assed the
examinations of all the Six Semesters earning 148 credits, letter grade of
at least E or above (i.e. O/A/B/C/D/E) in core and specialized papers and
fulfilled such conditions as have been prescribed there for.
TRAINING METHODOLOGY
❖ CLASSROOM SESSIONS:
▪ Regular Lectures : Lectures shall be delivered by experienced faculties
along with visiting faculties from Top Management Colleges and experts
from Media & Film Industry.
▪ Assignments & Projects : Shall be assigned at regular intervals of the
course. It offers an opportunity for students to meet, interact and
collaborate with the experienced people from the Film industry.
▪ Knowledge Workshops and Industry Seminars : Shall be organized at
regular intervals to keep the students informed about the l atest
developments in the Film Industry, These workshops are uniquely
designed with a focus on practical industry – relevant topics .
▪ Simulated Films : Shall be conducted to get the real feel of organizing
and managing an Film. Students are trained to make a replica of an Film
and present it live in the classroom. The exercise gives the student‟s an
opportunity to identify the finer nuances of Film execution thereby helping
them to identify key success factors and areas of improvement.
▪ GUEST LECTURES AND CASE STUDIES :
● Guest Lecture : Eminent people from the Film & Media industry shall
be invited as guest speakers to impart lessons and their rich
experiences on various fields related to this industry to the students.
They al so focus on imparting training around management concepts
that have today become essential skills to carve a niche in the
industry.
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● Case Studies : Case studies highlighting various practical and
situational issues shall be regularly discussed during classr oom
sessions. The discussion cater towards identifying what went wrong
in the case and what could have been done in a better manner, this
helps train students to handle such situations in the future. The
exercise also improves the analyzing and analytical capabilities of
our students.
▪ INNOVATIVE & INTERACTIVE LEARNING TECHNOLOGY
● Educational wikis : It keeps track of education -oriented wikis,
establishes constructive interactions with them, and researches their
technology, activity, culture, processes, and impact.
● Creative Presentation Ideas : Gone are the days when Microsoft
Presentation was the only means to make academic training
interactive and engaging. Enliven your material and engage the
students with these simple and easy to implement methodologies:
▪ Prezi Presentation : Prezi is a powerful communication and
presentation tool that aims to replace PowerPoint presentation.
Equipping students with the knowledge of this tool helps in
preparing them to adapt easily to the every changing dynamics
of the corp orate world.
● CREATE through Technology :
▪ YouTube Broadcasting : Harness the power of YouTube as an
effective broadcasting medium to create and share your ideas
and thoughts with diverse audiences.
▪ Communication and Collaboration : Google Apps provides
students a chance to learn how to use webmail services,
calendar (shared calendaring), G -Talk (instant messaging and
voice/video chat) and Drive (online document creation &
sharing).
▪ Education through Blogs : A powerful and interactive medium
for learning. Ideal to educate, discuss and share innovative
ideas across a large and diverse set of audiences.
▪ UNPARALLELED INTERNSHIPS & PRACTICAL TRAINING
● Internships & Practical Training : These films act like great
learning platforms giving them the live experien ce of managing an
Film.
● In-House Films : Students shall be provided with an opportunity to
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work on in -house films right from the start to finish, to provide them
with hands -on experience, which helps them to gain excellent Film
organization skills.
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