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Item No 49Diploma in Film Television Production_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 L ifelong Learning and Extension (BLLE),
9. The Director, Dept. of Information and Communication Technology
(DICT) (CCF & UCC), Vidyanagari,
10. The Director of Board of Student Development,
11. The Director, Department of Students Walfare (DSD),
12. All Deputy Registrar, Examination House,
13. The Deputy Registrars, Finance & Accounts Section,
14. The Assistant Registrar, Administrative sub -Campus Thane,
15. The Assistant Registrar, School of Engg. & Applied Sciences, Kalyan,
16. The Assistant Registrar, Ratnagiri sub -centre, Ratnagiri,
17. The Assistant Registrar, Constituent Colleges Unit,
18. BUCTU,
19. The Receptionist,
20. The Telephone Operator,
21. The Secretary MUASA
for information.
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(Appendix ‘B’)
New Ordinances 6532 & 6533 relating to
the Diploma in Film & Television Production
1. Necessity of starting Diploma in Film & Television Production (DIETP) 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 & Television
Industry. Even the world is looking closely at Indian Film & Tele vision sector for different Programmes,
Serials, Movies, Newsreels, Commercials, Music videos, Documentaries, etc. leading to rising employment
opportunities for professionals. Further to highlight that due to the extensive presence of the Film &
Televisio n 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 for this Industry
shall open up opportunities for multiple aspirin g 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 requirement and not primarily as per
the recommendation from UGC.
3. Whethe r the course have commenced from the academic year 2019 -20:
Diploma in Film & Television Production (DIETP) course is now planned to start from next academic
year 2021 -22.
4. The courses started by University are Self -Financed, whether adequate number of eligible permanent
Faculties are available:
Diploma in Film & Television Production (DIETP) 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 Diploma in Film & Television Production (DIETP) course
and is it possible to compress the Course:
The duration of the Course is for 1 year which is taken -up after considering the optimal duration needed to
complete the syllabus requirement of the course.
6. The intake capacity of Diploma in Film & Television Production (DIETP) 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. Th e Intake
of this course is 60 students.
7. Opportunities of Employability / Employment available after undertaking Diploma in Film &
Television Production (DIETP) 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 p ractitioners, a dedicated placement cell will facilitate different forms of employment
opportunities for the students. In the growth of the Film and Television industry in India, Mumbai city has
played a significant role in the past century. It houses many of the leading corporates, production houses
and organisations of this Industry, opening the untapped employment opportunities for learned
professionals, undertaking such courses recognised by the University of Mumbai department.
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Diploma In Film & Television Production
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O.6532 Title of the Course Diploma In Film & Television
Production
O.6533 Eligibility for Admission Have passed 10+2 / HSC examinations
from any stream;
R.9278 Passing Marks 40% passing marks
Ordinances / Regulations
(if any) As attached
No. of Years / Semesters 1 years full time/ 2 semesters
Level Diploma
Pattern Semester
Status New
To be implemented from
Academic Year From academic year 2020 -21
R.927 9. Intake Capacity 60
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Objectives of Diploma In Film & Television Production
The course is a hands -on production -based course that will give the knowledge and
the creative, technical and managerial skills to create and produce leading content
for film, TV, web, live broadcasts, documentaries, commercials and music videos etc
Course Objective
This course will enable students to:
● Demonstrate advanced knowledge and critical understanding of the
technological and creative processes involved in the production of film* works
of all types. (*The use of the term “film” is understood to include film, standard
and high definition video and digital cinema formats.)
● Analyze and discuss films of various genres and formal approaches in a range
of theoretical and historical conte xts.
● Understand the professional & business requirements of all technical and
creative roles involved in film production and post -production.
● Make competent use of current tools (hardware and software) in the production
and post -production of film works.
● Understand industry standards and be qualified for employment in a production
or post -production environment.
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R – Passing Standard
The learners to pass a course shall have to obtain a minimum of 40%
marks in aggregate for each course where the course consists of Internal
Assessment & Semester End Examination. The learners shall obtain
minimum of 40% marks (i.e. 24 out of 60) in the 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
R - Credit Based Evaluation System Scheme of Examination
For all semesters, the performance of the learners shall be evaluated into two
components. The first component shall carry 40% marks which will be an
internal assessment while the second component shall carry 60% marks at
semester end exami nation.
The allocation of marks for the Internal Assessment 40% and Semester End
Examinations 60% are as shown below:
a) Structure of Internal Assessment - 60% = 60 marks
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Sr.
No. Particulars Marks
1 One periodical class test held in the given semester 20 Marks
2 Subject specific Term Work Module/assessment modes –
atleast two as decided by the department in the beginning of the
semester (like Extension/field/experimental work, Short Quiz;
Objective test, open book test etc and written assign ments,
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
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.
Course Structure
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DIPLOMA IN FILM & TELEVISION
PRODUCTION Credits Internals Externals Total
SEMESTER I
1.1 Production & Post Production Process 4 60 40 100
1.2 Film Technology - I 4 60 40 100
1.3 Audio and Video Production
Techniques 4 60 40 100
1.4 Aspects of Film Production
Management 4 60 40 100
1.5 Practical Training & Project Report I 4 100 - 100
TOTAL 20 340 160 500
SEMESTER II
2.1 Film Technology - II 4 60 40 100
2.2 Film Production, Distribution &
Marketing 4 60 40 100
2.3 Television Production & Programming 4 60 40 100
2.4 Comprehensive Legal & Business Plan 4 60 40 100
2.5 Practical Training & Project Report II 4 100 - 100
TOTAL 20 340 160 500
1.1 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 andDigital Video signal
- -Composite and Component Video signal - White and BlackBalance - Saturation and
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Pedestal Control - Gain Control - Menu Controls - Camera Supports.
UNIT : II
Sound Recording Techniques for Television - Unders tanding 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 - Character
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 - Budgeting - 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 cue -sheet - Preparation of Graphics -Dry Run-Recording -
Television Programme Production Crew - Technical and Production Personnels - Duties
and Responsibilities.
UNIT : V
Post Production Techniques - Video Editing - Linear and Non -Linear Editing - Cut to Cut
Editing -A/B Roll Editing - Use of Special Video Effects Generator - Using Computers
In Video Editing - Different Non -Linear Editing Software - Audio / Video Capture cards -
Digitizing Techniques - Using c ompression 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 Recordi ng - Audio Layering - Mixing Techniques - Understanding Time -
code -Time -code based Editing - Creating EDL - Off-line Editing.
REFERENCE:
1. The Complete Film Production Handbook - Honthaner, Eve Light
2. Video Production – Belavadi -Oxford
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1.2 FILM TECHNOLOGY - I
UNIT I
Basics of communication - functions and types of communication – verbal communication –
non verbal communication – Interpersonal relationships – Mass communication – Group
communication – Visual communications – Visual vocabulary.
UNIT II
Basic structure and format of screen plays – Story – Research – Plot – Plot development –
Conflict, types of conflict, scene headings, camera angles, montages, dialogue and
background setting. Generating the character biography, ide ntifying 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 actors – 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 – overlap and matching of action, cut -in and cut away – two types of continuity
cuts, match cut, and cut away. Smoothness through chance of image size and change of
angle or both in every successive shot.
UNIT V
Understanding cinematography – cinematographer„ s role – physical nature of light – Film
and exposure – sensitometry – photography theory – introduction to film and video cameras
– lens and perspective – Colors and filters – composition rules – shots – The line and
continuity – introduction to photograp hic 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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1.3 AUDIO AND VIDEO PRODUCTION TECHNIQUES
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 u nits – 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 – compres sion 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 – Anchorin g – 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, 1 999. 6. The
Techniques of Television Production - Gerald Millerson, Focal Press, London, 2001.
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1.4 ASPECTS OF FILM PRODUCTION MANAGEMENT
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 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 management - 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, 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 r eason 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
Distri bution 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 centers a nd
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 Prod uction Management by Bastian Cleve. (Focal Press )
2.1 FILM TECHNOLOGY II
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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
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 –
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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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2.2 FILM PRODUCTION, DISTRIBUTION & MARKETING
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 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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2.3 TELEVISION PRODUCTION & PROGRAMMING
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 Distrib ution, Traditional Non Broadcast Distribution
UNIT V
Television Programming Accounting, Feature Licensing, Development & Financing Process,
Syndication Agreement, Costs of Production, Costs & Problems of Distribution, Timing
Troubles
REFERENCE
1. En tertainment 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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2.4 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 Governmental
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 Produci ng: 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
Practical Training & Project Report
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Students will undertake a substantial piece of independent work, which
demonstrates an area of interest or specialism. Students will be given guidance
throughout the academic year in order to help the student maintain sufficient
progress to complete the project successfully.