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Item No 46 MA Hons 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 6526 & 6527 relating to
the M.A. (Hons.) (Film Making)
1. Necessity of starting M.A. (Hons.)/Master’s Degree in Film Making course:
India has witnessed the emergence of various new -age courses that are gathering momentum, as students
increasingly pursue courses that fuel their passion and open up job opportunities. A recent demand for educated
and qualified professionals was discovered to cater to the flourishing Film Making Industry. Even the world is
looking closely at Indian Film Makers for Movies, Newsreels, Commercials, Music videos, Documentaries, etc.
leading to rising employment opportunities for professionals. Further to highli ght that due to the extensive
presence of the Film & Entertainment industry 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 f or this Industry shall open up opportunities for multiple aspiring students 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 require ment and not primarily as per the
recommendation from UGC.
3. Whether the course have commenced from the academic year 2019 -20:
M.A. (Hons.) (Film Making) course is now planned to start from next academic year 2021 -22.
4. The courses started by University are Se lf-Financed, whether adequate number of eligible permanent
Faculties are available:
M.A. (Hons.) (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 details regarding duration M.A. (Hons.) (Film Making) course and is it possible to compress the
Course:
The duration of the Course is for 2 years which is taken -up after considering the optimal duration needed to
complete the syllabus requirement of the c ourse.
The intake capacity of M.A. (Hons.) (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 Intake of
this course is 60 students.
6. Opportunities of Employability / Employment available after undertaking M.A. (Hons.) (Film Making)
course:
The training methodology of the course has a high emphasis on the industry oriented approach. Students are to
be part of live projec ts, 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 faci litate 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 leading corporates, production houses a nd organisations of this
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Industry, opening the untapped employment opportunities for learned professionals, undertaking such courses
recognised by the University of Mumbai department.
M.A. (Hons.) (Film Making)
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O.6526 Title of the Course M.A. (Hons.) (Film Making)
O.6527 Eligibility for Admission Graduate from any stream;
Have successfully passed the evaluation
rounds including interview.
R.9272 Passing Marks 40% passing marks
Ordinances / Regulations
(if any) As attached
No. of Years / Semesters Two years full time/ 4 semesters
Level Masters
Pattern Semester
Status New
To be implemented from
Academic Year From academic year 2020 -21
R.9273 Intake Capacity 60
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Objectives of M.A. (Hons.) (Film Making)
The M A in Film Making will help students to develop the skills to design, plan, create,
implement, manage, and market films. Students will examine the scope of the films
industry, learn how to manage films in a sustainable manner, and evaluate its
outcomes.
Course Objective
1. To provide intensive theoretical & practical knowledge of Film Making
2. To provide an integrated perspective of management functioning along with a fair
amount of exposure to real life cases / technical know how.
3. To impart understanding of the st ages of Film making
4. To learn to how to manage time effectively, to manage human resources and
volunteers
5. To have insight into hiring vendors, caterers, sound and light technicians,
entertainment, and other resources
6. To be knowledgeable about risk-management procedures and tactics
7. To learn about the requirements for necessary contracts, permits, and licenses,
and how to meet these requirements
8. To understand budgeting, pricing and accounting as they relate to Film & Media
Industry
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Ordinances & Regulations
General Guidelines
“Credit” (C) is the weight age assigned to a course in terms of the workload of the
learner
*This has a reference to the „Workload‟ of a learner and is an index of the number of
learning hours deemed for a certain segment of learning. These learning hours may
include a variety of learning activities like participating in practical training conducting
surveys and content analysis, conducting seminars and presenting abstracts and
presenting papers etc taking w riting tests of a nature suggested in the syllabus, attending
industry –relevant workshops
Assignment of Credits
● Assignment of Credits is as per University rules and regulations
● Duration: 2years=4Semesters (Full Time)
Credit requirements:
As per University rules and regulations
Examination:
There will be a semester end examination at the end of each semester. The theory
examination of each semester exam course will be of 60 marks and of minimum 2 hours
duration. To pass the theory paper the stud ent is required to get 16 marks out of 40 in
the theory paper and 24 out of 60 in the term work.
Continuous Internal Assessment: periodical test, power point presentation, project
report on practical training & internship, seminar, open book test, case study, domain
knowledge test, Active participation in routine class instructional deliveries, Overall
conduct as a responsible learner, mannerism and articulation and exhibit of leadership
qualities in organizing related academic activities etc. will be an integral part of each
course and 60 marks will be assigned to it.
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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
Additional Examinations
As per University rules and regulations.
SEMESTER END EXAM:
As per University rules and regulations.
R – Eligibility criteria for Admissions:
Candidates for being eligible for admission to the two -year course leading to the Degree
of MA in Film Making , shall be required to :
● Have passed a bachelor‟s course from any discipline / faculty of a recognized
University in India, or the degree from any foreign University , which has been
approved by UGC/Association of Indian Universities and is considered equivalent
and at par with Indian Degrees.
● Have successfully passed the evaluation rounds including interview.
● Reservations as per University rules will be applicable.
Admission Procedure:
As per University rules and regulations
CARRY FORWARD OF THE MARKS IN CASE IF THE LEARNER GETS
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‘F’ GRADE IN ONE OR MORE SUBJECTS:
1. A learner who PASSES in the Internal Exam ination 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 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 obtained by him/her on passing.
ALLOWED TO KEEP TERMS (ATKT):
As per University rules and regulations
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Evaluation of Projects (Wherever Applicable)
1. A learner who PASSES IN ALL THE COURSES BUT DOES NOT secures
minimum grade of D in project as applicable has to resubmit a fresh project till
he/she secures a minimum of grade D. His/her marks in the theory papers that the
learner has passed will be carrie d 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 D (or its equivalent ma rks) in
project evaluation and viva/voce taken together to obtain 40% marks in project
work.
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 for a period of not less than two academic years, passed
the examinations of all the Four Semesters earning 96 credits, letter grade of at least D
or above .
MODE OF CONDUCT OF SEMESTER END ADDITIONAL EXAMINATION:
As per University rules and regulations
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Course Structure
Subject
Code Subject Name Total
Credits Scheme of Exams
Internal
Assessment End
Semester
Exam Total
Marks
Semester I – 24 Credits
MFM01 Dynamics of Visual
Communication 4 40 60 100
MFM02 Writing for Print and
Broadcast Media 4 40 60 100
MFM03 Overview Of Entertainment
& Media 4 40 60 100
MFM04 Audio and Video
Production Techniques 4 40 60 100
MFM05 Film Technology - I 4 40 60 100
MFM06 Professional Industry
Engagement (Practical) 4 100 0 100
Total Credits 24
Semester II – 24 Credits
Subject
Code Subject Name Total
Credits Scheme of Exams
Internal
Assessment End
Semester
Exam Total
Marks
MFM07 Digital Photography 4 40 60 100
MFM08 Public Relation 4 40 60 100
MFM09 Film Technology - II 4 40 60 100
MFM10 Fundamentals of Direction 4 40 60 100
MFM11 Motion Picture & Camera
Lenses 4 40 60 100
MFM12 Work Based Learning
Route (Practical) 4 100 0 100
Total Credits 24
INTERNSHIP 2 MONTHS
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Subject
Code Subject Name Total
Credits Scheme of Exams
Internal
Assessment End
Semester
Exam Total
Marks
Semester III – 24 Credits
MFM13 Aspects of Film Production
Management 4 40 60 100
MFM14 Television Production &
Programming 4 40 60 100
MFM15 Film Production,
Distribution & Marketing 4 40 60 100
MFM16 Fundamentals of Film &
Video Editing 4 40 60 100
MFM17 Overview of Film
Producing 4 40 60 100
MFM18 Advanced Film Making
(Practical) 4 100 0 100
Total Credits 24
FINAL PROJECT PLANNING
Subject
Code Subject Name Total
Credits Scheme of Exams
Internal
Assessment End
Semester
Exam Total
Marks
Semester IV – 24 Credits
MFM19 Entrepreneurship & Project
Management 4 40 60 100
MFM20 Digital And Social Media
Advertising 4 40 60 100
MFM21 Media - Laws & Ethics 4 40 60 100
MFM22 Concepts of Sound
Recording 4 40 60 100
MFM23 Elements of Animation 4 40 60 100
MFM24 Final Project 4 100 0 100
Total Credits 24
Total Course Credits 96
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Detailed Curriculum
SEMESTER I
DYNAMICS OF VISUAL COMMUNICATION
Subject Code - MFM 01
LEARNING OBJECTIVE
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 featu res: 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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WRITING FOR PRINT & BROADCAST MEDIA
Subject Code - MFM 02
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 produc tion – 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 journalism – problems of acc ess – 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 1981.
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. Broadcast Newswriting, reporting and production, 4th Edn, Oxford, Focal Press 2006
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OVERVIEW OF ENTERTAINMENT & MEDIA
Subject Code - MFM 03
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 Publishing , Social Media,
Internet & Web
UNIT III
The New Media Content Providers | U nderstanding the current trends, requirements and
challenges| Comparison across traditional media and new media with examples of online news
providers, online shopping -malls and 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 Entertainment: 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 - MFM 04
LEARNING OBJECTIVE
To understand how the tourism marketing takes place in context of films.
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 – Perceptio n 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 radios, 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.
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FILM TECHNOLOGY - I
Subject Code - MFM 05
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, identifying the secondary a nd 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 r esponsibilities – Being the ‗Captain of the ship„ – Technical and aesthetical
blend – as administrator and coordinator – Narrative strategies – creating a world using images
and sound – location scouting production design – casting actors – motivating acto rs – 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 – overlap and matching of acti on, cut -in and cut away – two types of continuity cuts,
match cut, and cut away. Smoothness through chance of image size and change of angle or
both in every successive shot.
UNIT V
Understanding cinematography – cinematographer„s role – physical nature of light – Film and
exposure – sensitometry – photography theory – introduction to film and video cameras – lens
and perspective – Colors and filters – composition rules – shots – The line and continuity –
introduction to photographic lights – Types of li ghting.
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 Monaco
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11. 5C„s of Cinematography - Joseph V. Mascelli
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PROFESSIONAL INDUSTRY ENGAGEMENT (PRACTICAL)
Subject Code - MFM 06
Film industry is in a constant state of evolution and the scope of work and opportunity
for a Film professional and fast expanding. To make the most out of this quick growth in
the Industry, student shall be encouraged and supported to build and grow stron g
connections with the multiple players operating in the Industry. Student will closely walk
through the entire process of Film management staring from conceptualization to
execution of a successful Film.
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SEMESTER II
DIGITAL PHOTOGRAPHY
Subject Code - MFM 07
LEARNING OBJECTIVE
● To give brief introduction of different types of risk.
● To help students understand how to manage different types of Risk in the Films Industry.
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
accessories.
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 Format.
UNIT -III
Introduction to Digital Photography : Definition of digital photography – Digital still camera –
Digital SLR Camera – Types – Working with digital camera – Major components and functi ons –
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 tools – 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 Wa nd – 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.
UNIT -V
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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 Pocket 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 Phot ography, 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 - MFM 08
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 McGra w- 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 - MFM 09
UNIT I
Film Language/Structuring: Film Structuring - Sequence – Scene – Shot, Screen Technique:
Subject Movement – Camera Movement –Principles of Editing: Rhythm – Timing – Pace –
Tempo, Editing Concepts: Shock Attraction – Flutter Cut – Associative – Metric – Tonal –
Dialectical – Linkage, Logical Concepts of Editing: Subjective Editing – Point of View Editing –
Invisible Editing – Empathic Editing, Basic Rules of Editing: Practical guidance of Editing –
Rules of applications while doing editing – Compiling all p oint of Ethics.
UNIT II
Introduction to sound – speed of sound and the sources of sound – Basics of sound:
Frequencies of sound – harmonics – the loudness – the basic acoustics – a) the dead room b)
the live room c) the reverberating d) the echo room e ) room resonance.Sound and Films: The
silent era – introduction of sound in films – introduction of dialogues in films – The early
techniques – The evolution of modern technology – Introduction to recording sound: Live
recording – Dubbing – sound effects – music songs and Background scene. Introduction to
Formats: a)Mono b)Stereo c) 5.5 d) 6.1 e) 7.1 Analog and Digital: Introduction and Difference –
Introduction to Audio equipments: Microphone, mix console, speakers Reverb unit, delay unit,
Processors and o ther outboards, Amplifiers and Digital work station – Different work stations –
advantages and disadvantages – Reproduction of sound from cassette, CD & Sound positive.
UNIT III
Introduction to Graphics – 2D Graphics – 3D Graphics - Introduction to 2D Animation – 3D
Animation. Visual effects and special effects – Production sequence – The Script – Story Board
– Break down – Task list – Schedule – Tracking – Feedback and connection and final Delivery.
UNIT IV
Pre – Shooting: Script analysis – 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, Transportati on systems etc. –
Research based on the above – visiting Museums, Libraries, Internet, old maps and films –
Channelize the findings – collection of materials – Avoiding Anachronisms: Important to discard
artifacts non – pertaining to the periods and genre of the film. Assisting the Director to finalise
casting. Shooting: Providing Backdrops and properties which enhance the mood of the scene to
be shot – Knowledge of the lights being used for each shot beforehand – Determining the field
of each shot and crea tively decorate every frame. Knowledge of latest technology with regard to
Graphics, Animation and special Effects – Blue/Green mat shooting – Preparation of miniatures,
plaster casts, clay models, moulds etc.
UNIT V
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Indian Film Industry and its organi zations – FFI – South Indian Film Chamber – Associations
and Unions of Film Technicians and Artistes – Batta – system – Technician Agreements –
FEFSI – Registration of Title. Setting up of office – story Discussion – selection of the subject –
Preparation of the shooting script – call sheets from Main Artistes – Agreements 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 – Arrangements to be made for
the use of animals – Recording of songs – Commencement of shooting – Man management –
fire fighting – coordination – shooting outside India. Post - shooting: Editing, Dub bing, 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 Ke n 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 Richard Rickitt.
9. Secrets of Hollywood special effects by Robert E.McCarthy.
10. Animation: From Script to screen by Shamus Culmane.
11. Art of India – Prehistory to the present – Frede ric 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 Loins Marihates.
17. Indian Motion picture Almanac – Edited – Compiled by B.Jha.
18. Film Production Management by Bastian Cleve, focal press.
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FUNDAMENTALS OF FILM DIRECTION
MFM 10
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.
Griffi th and Eisenstein - Their contribution to the art of film.
UNIT : II
Idea, Theme, Outline - Deep structure of the story, Treatment, Writer’s script -Shooting script -
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 its 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 angles - Creative use of sound - synchronous and Asynchronous.
UNIT : IV
Evolution of film language in editing - Contribution by pioneers in Editing -Continui ty - Complexity -
Compilation - Alternative editing motivation for cut - Relationship of works to images Rhythm for story
telling - Misenscene for blocking and structuring - Planning where to Edit - Preparing to edit & creative
contribution - Evolution of film and NLE Editing.
UNIT : V
Comparison between Film, Theatre and Novel - Director and the Actor -Professional Actors - Amateur
actors - Nan-actors - Contribution of 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.
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MOTION PICTURE CAMERA AND LENSES – I
MFM 11
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 syst em -
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 mec hanism -Types of claws - Picture gate
and pressure plate - Tacho meter - Comparison between human eye and 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 forma tion
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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WORK BASED LEARNING ROUTE (PRACTICAL)
Subject Code - MFM 12
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.
Such relationships will ensure comprehensive understanding of various aspects of
operations including Business Development, P lanning, Team & Crew Management,
Vendor Management, Production, Crisis Management etc. Such Internship will help
student to penetrate into the Industry thereby boosting their placement opportunities.
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SEMESTER III
ASPECTS OF FILM PRODUCTION MANAGEMENT
Subject Code - MFM 13
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 Fl at 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 man ager - Multi tasking, the essence of Production
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 Hollywood - 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 mana gement - Shooting arrangement - Time management 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, e diting, 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.
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UNIT - V
Distribution and evolution of Distribution system in India - Contemporary distribution
methods - MG Basis Advance basis - Out -right Basis - Royalty Basis - Exhibition - Early
Exhibition methods -Modern exhibition methods - classification in Exhibition cen ters 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. Fil m Production Management by Bastian Cleve. (Focal Press )
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TELEVISION PRODUCTION & PROGRAMMING
Subject Code - MFM 14
UNIT I
Television Production - Overview, Organisation, Equipments, The Production Team, The
Production Crew, The Production Methods, Venue, The Three Stages of Production Process -
Planning & Preparation, 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, Importance of People in
the Scene, Broadcast Distribution, Traditional Non Broadcast Distribution
UNIT V
Television Progra mming Accounting, Feature Licensing, Development & Financing Process,
Syndication Agreement, Costs of Production, Costs & Problems of Distribution, Timing Troubles
REFERENCE
1. Entertainment Industry Economics :A Guide for Financial Analysis ( Harold Vo gel)
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 - MFM 15
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 up
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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FUNDAMENTALS OF FILM AND VIDEO EDITING
MFM 16
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 a nd 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. Moviola 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 Assembling 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 Background 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 effect s - 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
Transitio n Devices 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 Li vingstone
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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OVERVIEW OF FILM PRODUCING
BFM 17
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 | Production Supervisor | Production Coordinator,
UNIT IV
Production Office - Office Space | Setting Up| Travelling Production Kit, Production Assistants & Interns
| Staff Scheduling & Assig nment of Duties | Staff Meetings | Time Management | Office Inventories, Logs
&Sign out Sheets | Files, Starting a Film Production Company |
UNIT V
Accounting - Handling Payroll | Production Accountant | Vendor Accounts , Purchase orders,
Competitive Bid s, 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 Di stributing Film: A Comprehensive Legal and Business Guide
3. Independent Film Producing: How to Produce a Low -Budget Feature Film
The Complete Film Production Handbook Eve Light Honthaner
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ADVANCED FILM MAKING (PRACTICAL)
Subject Code - MFM 18
Student shall receive advance level of guidance and training from experienced faculty to
learn the fine management areas. Individual skills and potential of students shall be
studied for their further development. Counseling shall be provided to identify t he future
career path and selecting suitable profile of work.
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SEMESTER IV
ENTREPRENEURSHIP & PROJECT MANAGEMENT
Subject Code - MFM 19
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 - MFM 20
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 - MFM 21
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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CONCEPTS OF SOUND RECORDING
MFM 22
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 recordin g 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 -
residua l(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 and 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 Gidings.
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ELEMENTS OF ANIMATION
MFM 23
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 Animation) - 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 Style s - Acting - Blocking - Primary Animation - Secondary Animation - Fine Tuning
- Graph Editor - Previewing Animation
UNIT - V
Jump & Dive Animation (Cartoon Character Animation), Facial Animation ( Cartoon Character
Animation), Car Animation ( Cartoon Car Animation) - Understanding Facial Expressions - Acting -
Keying - Fine Tuning - Graph Editor - Inorganic Animation
REFERENCE
1. Anim ation The Mechanics of Motion - Chris Webster
2. Understanding Animation - Paul Wells
3. Timing for Animation - Harold Whitaker, John Halas
The Art of 3 -D Computer Animation and Effects, Third Edition - Isaac Victor Kerlow
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FINAL PROJECT
Subject Code - MFM 2 4
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. They shall b e
made to undertake brain storm session to explore the various ideas generated and
shall be logically driven to selecting a viable and feasible idea considering multiple
constraints. Further to it a detailed report shall be prepared to highlight the variou s
stages of delivering successful Film.
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