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PRODUCTION REPORT

FOR
Music Video, AD Film & Short Film
CHOICES - DUREX - HIT - PURUSARTHA

A PROJECT REPORT
Submitted by

Pushparaj
0001345007

In partial fulfillment for the award of the degree


of

Masters of Business Administration


IN

Media & Entertainment

SCHOOL OF MANAGEMENT

HINDUSTAN INSTITUTE OF TECHNOLOGY & SCIENCE


CHENNAI - 603 103
May, 2015

BONAFIDE CERTIFICATE
This is to certify that the project report titled FILM AND TELEVISION
PRODUCTION is the bonafide work of Pushparaj (0001345007) who carried out
the project work under my supervision. Certified further that to the best of knowledge
the work reported here does not form part of any other project/research work on the
basis of which a degree or award was conferred on an earlier occasion on this or any
other candidate.

Prof. Dr. B. Yamuna Krishna


Head of Department
School of Management
Hindustan Institute of
Technology and science, Padur

Prof. Dr. Smriti Verma


Professor
School of Management
Hindustan Institute of
Technology and science, Padur

Dr. Uma Vangal


HOD (M&E)
LV Prasad Film &
TV Academy,
Saligramam, Chennai

The project viva voce examination held on _________________

INTERNAL EXAMINER

EXTERNAL EXAMINER

BRIEF CONTENTS
Chapters

Particulars
Cover page
Title page
Certificate
Acknowledgement
Preface
Abstract

1.

2.

Introduction
1.1.Scope of the study
1.2.Objectives
1.3.Limitation
Industry Review
2.1.Indian media & entertainment industry
2.1.1. Regulation of Media & Entertainment Sector
2.1.2. Feature Potential of the Sector
2.1.3. Growth Potential of the sector
2.2.Indian Film Industry
2.2.1. Challenges Facing the Industry
2.2.2. Blue Print of the Growth

3.

Experience and Daily Report


3.1.Experience and Impressions
3.2.Production Challenges
3.2.1. Music Video
3.2.2. AD Film
3.2.3. Short Film
3.3.Lessons and insights from Music Video, AD Film & Short Film
3.4.Subject Relevant to the Project in terms of Requirement, scope
& Value
3.5.Value Additions Brought to the Project
3.6.Troubleshooting strategy
3.7.Work dairy
3.7.1. Music Video
3.7.2. AD Film
3.7.3. Short Film

4.

Supporting Document
4.1.Music Video
4.1.1. Music Video Script
4.1.2. Song Choices
4.1.3. Music Video Short Breakdown
4.1.4. Music Video Cast Contact Sheet
4.1.5. Music Video Crew Contact Sheet
4.1.6. Music Video Union Members
4.1.7. Music Video Location Permission
4.2.AD Film
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Page No

4.2.1. AD Film Durex


4.2.2. AD Film HIT
4.2.3. AD Film Cast Contact Sheet
4.2.4. AD Film Crew Contact Sheet
4.2.5. AD Film Union Members
4.2.6. AD Film Location Permission
4.3.Short Film
4.3.1. Purusartha Script
4.3.2. Short Film Cast Contact Sheet
4.3.3. Short Film Crew Contact Sheet
4.3.4. Short Film Union Members
4.3.5. Short Film Location Permission
5.

Budget
5.1.Music Video
5.1.1. Daily Expenses Report
5.1.2. Cash Inflow
5.2.AD Film
5.2.1. Daily Expenses Report
5.2.2. Cash Inflow
5.3.Short Film
5.3.1. Daily Expenses Report
5.3.2. Cash Inflow

6.

Bibliography

iii

CONTENTS
Chapters

Particulars
Cover page
Title page
Company Certificate
Acknowledgement
Preface
Abstract

1.

Introduction
1.1.Scope of the study
1.2.Objectives
1.3.Limitation

2.

Industry Review
2.1.Indian media & entertainment industry
2.2.Indian Film industry an overview

3.

Experience and Daily Reports


3.1.Experience and Impressions
3.2.Production Challenges
3.3.Lessons & Insights form Music Video, AD Film and Short Film
3.4.Subject Relevant to the Project in terms of Requirement, Scope
and Value
3.5.Value Additions Bought to the Project
3.6.Troubleshooting Strategy
3.7.Work Dairy

4.

Supporting Document
4.1. Music Video
4.2. AD Film
4.3. Short Film

5.

6.

Budget
5.1.Music Video
5.2.AD Film
5.3.Short Film
Bibliography

iv

Page No

ACKNOWLEDGEMENT
Many great things have often a small beginning. A project of this type can be done
with the help of many people who are Behind the scene to whom I would like to extend
my sincere thanks.
I am extremely thankful to Mr. Venkatesh Chakravarthy, Director, L V Prasad
Film & Television Academy, Chennai for giving me an opportunity to work as the LineProducer.
I express my deepest thanks to Dr. Uma Vangal, Creative Producer, L V Prasad
Film & Television Academy, Chennai (External guide) for giving necessary advices,
guidance and arranged all facilities to make life easier. I choose this moment to
acknowledge her contribution gratefully.
I am deeply thankful to Dr. Smriti Verma, Professor, School of Management,
Hindustan University, Chennai (Internal guide) for her encouragement, affections,
valuable advice and guidance that helped me to complete this project successfully.
I express my sincere gratitude to Faculties and staffs of L V Prasad Film &
Television Academy for their valuable suggestions, guidance, and support during the
course of project.
My Sincere Gratitude to My Directors Vinayak Guhanarayan and Shrungar
Dadarkar for appointing me as line-producer for their Music Video, AD Film & Short
Film.
I am grateful to my friends and colleagues of L V Prasad Film & Television
Academy, Chennai in developing the project and people who have willingly helped me
out with their abilities.
The final tribute and appreciation is reserved for my parents and sister whose
contribution of love, patience, encouragement and dedication has helped me to further the
impact of this project.

PREFACE
The Line Producer is one of the first people to be employed on a film's
production by the producer and executive producers. They are in charge of all the
business aspects of the production of films. They are called Line Producers because
they cannot start work until they know what the 'line' is between the 'above-the-line'
costs for writers, producers, directors and cast, and the 'below-the-line' costs which
include everything else. e.g., crew salaries, equipment rentals, development costs,
locations, set design and construction, insurance, etc.
Line Producers are given the script when in development to assess 'below-theline' cost of the production. They break down the screenplay into a timetable for the
film shoot that shows how long it will take to shoot each scene. From this schedule the
Line Producer estimates the cost of each day's shooting. They produce a provisional
budget to show the total amount of funding required. Once the Producer and
Executive Producers have raised the finance, the film can go into pre-production.
During pre-production, Line Producers work with the Director, Production Manager,
First Assistant Director, Art Director and other Heads of Department. They prepare
the production schedule and budget, and to set the shoot date.
Line Producers oversee all other pre-production activities. They hire the
production team, set up the production office, and deal with location scouting,
sourcing, equipment suppliers and selecting crew. They also hire supporting artistes
and contributors, and monitor production departments. During production, Line
Producers hand over control of the final budget to the Production Accountant. They
delegate the day-to-day operation of the production office to the Production Manager
and Production Co-ordinators. However, Line Producers are ultimately responsible for
overseeing everything and making sure the production is completed on time and
within budget.
During production, Line Producers hand over control of the final budget to the
production accountant, and delegate the day to day operation of the production office
to the production manager and production coordinator. However, Line Producers are
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ultimately responsible for overseeing all activities, and for ensuring that the
production is completed on time and within budget. This requires setting up and
implementing financial monitoring systems, controlling production expenditure,
controlling production materials, and monitoring and controlling the progress of
productions. Line Producers usually allow a 10% contingency in the budget to cater
for unforeseen circumstances, and spend much of their time juggling figures and
resources. Line Producers are responsible for certain health and safety procedures, and
for sorting out any insurance claims. At the end of the shoot, the Line Producer
oversees the 'wrap', or winding down, of the production.

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ABSTRACT
Aspirations and ambition are extremely important in a nations journey towards
development. The desire to do better, run faster and go higher is a critical ingredient to
propel us, as a nation, forward. The media and entertainment industry in India is a big
part of sparking this ambition, widening horizons, and helping transform lives.
Today, Indias M&E industry reaches millions of people. 161 million TV
households, 94,067 newspapers (12,511 dailies), close to 2000 multiplexes, 214
million internet users out of which 130 million are mobile internet users all these are
platforms that could drive change and be transformational catalysts Indias Media &
Entertainment industry is one of the fastest-developing sector in the country, driven by
changing consumption patterns, the increasing number of middle income households
and the propensity of consumers to spend on leisure and entertainment. Digitization
of content and platforms, redefinition of prevalent business models, globalization,
easier access to capital and the emergence of multiple entertainment options are some
of the key trends shaping the M&E industry in India.
In 2013, the industry recorded a strong performance both in terms of content
and box office collections. As anticipated, the year was marked with movies which
scored big at the box office with stronger stories, grander sets, experimental concepts,
new faces, multi starrers and strategic marketing initiatives, which has pushed the
envelope further for the Indian film industry. While the capital poured in through
organised and unorganised channels, the industry still faced challenges in delivering
robust bottom line results. In order to deliver better returns, players have started
contesting the traditional success formulas. A quick look at the recent box office
collections shows that the traditional notions of delivering a blockbuster
performance have been tested, defeated and buried deep under. The audience have
shown their appetite for differentiated content, continuing the story of evolution of the
Indian audiences. The audiences, in many cases, stayed away from the regular run-ofthe-mill concepts, barring a few mega starrers that were able to pull in viewers based
on star persona and past successes. Content has always been the king, however it
used to struggle to reach the audience on time and content owners thus grappled with
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issues such as piracy which would eat away a major share of producers revenues. The
necessary digital infrastructure has now been developed to allow the king to travel
quickly to its audiences in both metros and regional parts of India. The Indian film
industrys growth has been fuelled by the expansion of the multiplexes that have
enabled players to effectively segment the market. While the audience now have
access to a greater variety of content, available at various price points, production
houses can now seek to develop theme based movies which attract a niche audience
but deliver a strong positive return on investment. The industry has been one of the
greatest beneficiaries of digitization; from shooting the movie on digital formats and
distributing content across various locations, to marketing the film on various social
media platforms to monetizing content on video on demand (VoD) platforms. Wider
acceptance of ticketing systems and online ticket booking have also been catalysts in
driving transparency. The industry did not stop there as many exhibitors focused on
encouraging the audience to use online platforms for booking tickets. While
monetizing of content on digital delivery platforms remains a concern in the short
term, the industry is buoyant about its long term potential due to improved internet
access at affordable prices. The drop in 3G prices and the imminent launch of
Reliance Jio are encouraging developments in driving broader adoption of high speed
internet. The Indian film industry is uniquely characterized by its heterogeneous
nature. The industry is a confluence of 10 key language markets - Hindi, Telugu,
Tamil, Malayalam, Kannada, Punjabi, Bengali, Marathi, Bhojpuri and Gujarati. Each
market is unique in its behavior and audience preferences. The industry is observing
greater interaction across the language markets from exchange of talent to remake
movies in different languages. Most of this has been possible due to studios forming
alliances with regional players and co-producing movies.
The Indian film Industry has been witnessing significant growth on the back of
differentiated content, wider release across digital screens and aggressive promotions
by production houses. Revenue is expected to grow by 56 per cent to Rs 12,800 crore
by 2015, from Rs 8,190 crore last year due to increasing digitalization of the sector.
The industry is heavily dependent on domestic theatricals which contribute more than

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75 per cent to the industrys revenues. Factors such as rapid urbanization, penetration
of multiplex in tier II and III cities, increasing sophistication in production and
marketing of films and audiences receptivity to differentiated content are together
expected to help the industry sustain its growth over the next few years and be worth
INR219.8 billion by 2018. The project was aimed to understand & learn the work of a
Line Producer in production of Music Video and Ad film that includes Development,
Pre-Production, Production (Production) and Post-Production. The scope of the study
was to emphasize importance of Line-Producer in the various production phases.

Chapter-01
INTRODUCTION
In India Cinema has been a very important means of entertainment. Here,
cinema has seen a century of growth, and it has gone very far in the heights of
progress.Originally, in India the cinema was a movie only and it was called because
we could only see the stars acting, and there was no sound, no talking, no dialogue
and no songs. The audiences could only see action. As time passed by, these movies
got converted into talkies and, at that time dialogues got introduced in the pictures.
This made the movies more interesting and entertaining. Also, in the beginning,
cinema was only in black and white, but with the passage of time colour entered
cinema and black and white pictures got converted to coloured films. Thus, with
dialogues and colour films entered a phase of great improvement. This was not the
end of the improvements due in cinema there was a lot more to come.
In the early stages, each actor and actress had to sing his/her songs. This
curtailed the entry of stars in the movie career. However, our technical advancement
soon saw to this problem and it was with the coming of background singing the
restriction on entries to cinema got removed.
Soon people who could not sing also entered the career as; there was provision
for another man/woman to sing for him/her from the background. The problem of not
taking in for acting people who could not sing was thus solved and Indian cinema saw
another hurdle being crossed. Now with this impetus to those who could not sing, the
entry of people in cinema was duly widened.
With the passage of time there has been a continuous technological
advancement in Indian cinema. In the 20th Century, Indian cinema took huge strides
towards growth and, today, at the turn of the 21st Century Indian cinema stands at par
with Hollywood cinema.
May be we still have a lot to learn from Hollywood but this much is undoubted
that, Indian cinema stands second only to Hollywood, especially in terms of its turn
1

out of movies and movie stars. In the earlier times with the orthodox views about
dancing, singing and acting, cinema was not considered to be a respectable career, not
meant to be followed by the youth of good respectable families.
However, today the boys and girls who join cinema as a career are children
from good wealthy and respectable families, and cultured families. This is because
there has been a sea change in the thinking processes of the modern people. Also, this
change has helped in the improvement of the turnout of cinema.
From the earliest times of the existence of cinema in India, it has always been
the most popular and the cheapest mode of entertainment. This is why it got the
impetus that brought it to this level of success, and its present size.
Even today, cinema in India is very popular but, with the advent of the TV and
many other avenues for entertainment, it has become a little less important in the
average person's entertainment list. Besides, the VCP and VCR have further decreased
the habit of going out to the cinema halls to see movies.
When a picture is available at home, why would anyone like to go to a cinema
hall? Thus, though going to cinema halls has come down the popularity of the cinema
is still on the upward swing. The cinema in India has, in spite of all hazards retained
its unchallenged popularity. It still remains the most liked mode of entertainment both
for the Indian gentry and the Indian masses.
It is a matter of pride that, Indian cinema has not only remained popular in
India, but it has increased its boundaries elsewhere in world. It is very popular in most
of the foreign countries, more so due to the Millions of Indians residing in foreign
countries. The latest position just heard about Indian cinema is that Cannes is
interested in showing Indian cinemas over there - a great achievement of the cinema
industry indeed - Kudos to the Indian cinema.

1.1.

Scope
This project aims in understanding the role of a Line-Producer in film and

television production, through the experience of working in a Music Video, AD Film


and Short Film with Diploma students of LV Prasad Film and Television Academy.

1.2.

Objectives

To have a clear understanding about the Indian Media and Entertainment


Industry.
To study production management techniques in Film and TV production.
To study the role of a Line-Producer in various stages of Film production.
To understand different stages of development of a film project.
To understand the industrial work flow.

1.3.

Limitation

This project does not give clear exposures to the film industry as the crew
members are students.
The duration of the internship period was limited and hence elaborated and
comprehensive project could not be undertaken.
The budget was limited.
Major decisions are made by the director and cinematographer as they hold the
financial power.
Respondents unavailability.

Chapter-02
INDUSTRY REVIEW
2.1.

Indian Media and Entertainment Industry


The Indian Media and Entertainment (M&E) Industry, one of the most vibrant

and exciting industries in the world, has had a tremendous impact on the lives and the
Indian economy. As the M&E industry widens its reach, it plays a critical role in
creating awareness on issues affecting, channeling the energy of and building
aspirations among Indias millions. With more than 600 television channels, 100
million pay-TV households, 70,000 newspapers and 1,000 films produced annually,
Indias vibrant media and entertainment (M&E) industry provides attractive growth
opportunities for global corporations. Enticed by economic liberalization and high
volumes of consumption, many of the worlds media giants have been present in the
Indian market for more than two decades. However, in recent years, with near doubledigit annual \ growth and a fast-growing middle class, there has been a renewed surge
in investments into the country by global companies.
Media sectors, regarded as sunset industries in mature markets, are
flourishing in India, presenting global media companies with exciting opportunities to
counter declining revenues. For example, the newspaper industry, which is facing
declining readership in many international markets because of digital media, continues
to thrive in India, driven by increasing literacy rates and consumer spending as well as
the growth of regional markets and specialty newspapers. Newspapers account for
42% of all advertising spend in India, the highest in all media streams. Indias
favorable regulatory environment and recent reforms are creating investment
opportunities in a number of M&E sectors. Entry restrictions for foreign companies
have been relaxed and Foreign Direct Investment (FDI) caps have been recently
increased in key sectors, including Direct-To-Home (DTH) and radio. Mandatory
digitization of the countrys TV distribution infrastructure has spurred the growth of
digital cable and DTH, and created the need for these companies to fund their
expansion. The third round of radio license auctions (phase III), expected in the near

future, is expected see radio networks adding around 700 radio stations across the
country. Then, there are Indias diverse content markets. The bulk of the countrys
urban consumption is from non-metro cities (the tier 2 and tier 3 towns) and comprises
regional markets with distinct cultures, languages and content preferences. These
markets, which are huge markets within markets, provide global M&E companies
with a variety of opportunities to deliver localized content. Many global film studios
and TV broadcasters have already entered these markets and are producing regional
language content.
Finally, there is the evolution of consumption of digital content, which is at an
inflection point in India. Although internet penetration is currently low in the country,
the recent launch of 3G services and the eventual launch of 4G are expected to bring a
late surge in wireless-based broadband adoption. In conjunction with Indias mobile
phone user base of more than 750 million subscribers, the scale and impact of the
countrys potential for digital content consumption is huge. This presents M&E
companies, foreign and domestic, with an exciting opportunity to develop digital
businesses that cater to a new generation of broadband users. While there are many
opportunities to tap, there are also unique differences and challenges. Diverse content
preferences and the low price point and high volumes of content consumption are
some of the critical differences that global M&E companies need to assess when
entering the Indian market. Companies that understand and adapt to the economic and
social fabric of the countrys operating environment and that invest in tailored content
and services are likely to maximize their success.
M&E companies operating in India continue to be exposed to risks ranging
from local competition to fraud, corruption and piracy. Furthermore, although the
development of corporate governance norms and ongoing structural and regulatory
reforms are expected to mitigate these threats, global M&E companies need to
develop flexible business plans, and identify and develop mitigation strategies for key
risks

2.1.1. Regulation of the Media and Entertainment Sector


The media and entertainment sector comes under the purview of the Ministry
of Information and Broadcasting which is responsible for formulation and
administration of laws relating to media and entertainment. The sector also has to
adhere to the provisions laid down under the Copyright Act, 1957, Cinema
Exhibitions Rules and Entertainment Tax Regulations, etc., The film industry is
monitored by the Indian Motion Picture Producers' Association (IMPPA), Film
Television Producers' Guild of India, The Association of Motion Pictures and
Television Programme Producers (AMPTPP) and The Film Writers Association
(FWA).

2.1.2. Future Potential of the Sector


Leading chambers of commerce such as FICCI and CII have identified
entertainment as a fast growing industry. Revenues are projected to increase to $15
billion in 2015 from $6 billion currently. The global entertainment industry is
projected to grow to Rs.2, 35,000 crore in the next 10 years with nearly half of the
revenues emanating from Asia. The PWC report prepared for FICCI forecasts an
annual CAGR of 18% predicting the industry will touch Rs.1,45,000 crore on 2015.
The KPMG CII study is more optimistic estimating the current industry size at Rs.22,
200 crore and predicting that it will grow at 18% to touch Rs.1, 51,500 crore by 2015.
The following table shows the steady growth and future potential of the sector:

2.1.3. Growth Potential of the Indian Media and Entertainment Sector

2.2.

Indian Film Industry


The Indian film industry is the largest in the world in terms of number of

movies produced. The Indian film industry produces more than 1,000 films every year
in 20 languages and over 3.7 million tickets are sold annually. The digital revolution is
visibly impacting the distribution and exhibition of films in India as the industry
completed its 100 years with revenue of 12, 800 crores. Backed with 12000 theater
screens, 400 production houses in the country with 32 corporate houses in the
business of film production.
Digitalization of film distribution and value added services like movies on
demand are set to open up new revenue streams and business models, adding that the
box office collections, at present, contribute about 80% to the total film revenues.
Technological advancements like digitalization, onset of next generation
network and availability of sophisticated devices to access media are contributing to
growing chunk of ancillary revenues.

KPMG India and the Federation of Indian Chamber of Commerce and Industry
(FICCI) report states that while multiplexes have been growing in 2013 about 150200 new screens were added India still remain a heavily under-screened country.
There are an estimated 12,000 screens of which 25 percent are multiplex screens.
India has a low screen density of eight screens per million people in comparison with
177 screens per million in the U.S.
India has the potential to significantly increase the number of existing
multiplex screens in the country over the next decade without causing an oversupply.
The shift to digital screens has also been strong with about 95 percent of all screens
digitalized. But the report also warns that going forward, multiplex growth is
expected to slow down, in line with the overall delays and future expectations for the
retail sector and commercial real estate development.
But the industry will continue to be on the upswing projected to grow by almost 12
percent to hit $3.6 billion (219.8 billion rupees) by 2018 thanks to rapid
urbanization, penetration of multiplex in smaller cities, increasing sophistication in
production and marketing of films and audience receptivity to differentiated content.

2.2.1. Challenges Facing the Industry


High Incidence of Taxes

The indirect tax structure for the entertainment sector is distorted. The
incidence of indirect taxes is debilitatingly high with the entertainment taxes varying
from 40% to 70% of gross box office collections. Out of the earnings, after payment
of taxes, 40% goes to exhibitors and the balance is shared between the distributor and
the producer. Illustratively, an Rs.10 crore financing cost with a 50% entertainment
tax needs a box office collection of Rs.50 crore for breakeven and Rs.60 crore for
securing a 20% rate of return on capital. This cascading tax structure, discourages
investment, enhances risks and leads to large scale evasion of taxes.

Piracy

The Killer Disease Piracy is the killer disease of the entertainment industry.
Piracy levels are estimated to be around 40% to 50% of the film trade and the film
industry is losing Rs.300 to Rs.400 crore a year due to piracy. While piracy is a nonbailable cognizable offence under the Copyright Act, its enforcement leaves a lot to be
desired, emboldening the criminals involved in the trade.

Planning process

A Hollywood film typically takes 36 months to plan and 12 months to execute;


where as an Indian film takes 6 months in planning and 18 months in execution. While
one can suitably discount the differences due to the scale of Hollywood projects, the
gap is still significant. Indian film makers say that what they lose out in planning, they
make up on account of time and cost-efficient execution. However, this can be refuted
by pointing out that efficiency can be achieved and revenues generated by being
equally diligent at the planning stage.

Intellectual Property

The Indian film industry has gradually woken up to the relevance and
importance of IP in the work it creates prequels, sequels, remakes, copyright or
trademark for catchphrases, superheroes, etc. More work, however, is needed, since as
an industry, film industry still lagging far behind from defining and implementing a
process whereby IP is developed and nurtured in a systematic manner and results in
creation of an IP bank.

Service Tax Burden

Entertainment software production companies have been brought into the


service tax net in the current budget and would have to pay 14% service tax. With the
imposition of service tax, the industry was hoping that there would be some relief in
the customs duty front on equipment required for digital production. But their hopes
were belied.

2.2.2. The Blueprint for Growth


Addressing the above issues by undertaking the following measures will ensure the
sustained growth of the film industry.
Curbing Piracy
Investment in theatres and multiplexes
Rationalization of Taxes
Transparent financing at reasonable rates
Professionally managed Venture Capital fund

10

Chapter-03
EXPERIENCE AND DAILY REPORTS
3.1.

Experience and Impression


The experience of working with the Director, Cinematographer and Editing

students was exciting and challenging one. Deep knowledge and understanding was
required not only about the media, film and television industry, but also needs a strong
sense of business, as well as how to manage time, money, and people in order to
ensure that the people working in both sides of the industry end up happy with the
final production.
The experience of being a line producer taught me a great deal about how the
film industry works and allowed me the luxury of understanding, appreciating the
script, storyline, obtaining shooting location permission, prop-collection, crating
special props, taking care of hospitality, artist management, crisis management and
artistic creations etc.
As I was new to the industry workflow and production, industry jargons were
thought and guided by the concern faculties and industrial experts. Such as media
glossaries, script development, script breakdowns, treatment, union rules and
regulations, industrial norms, industry call sheet timings, battas etc.
As a line producer I was able to take criticism and complaints from both
directions, process them into something that will be useful within a given context, and
then utilize the information to help the crew members make better decisions. More
over as a line producer often need to understand business concepts like people and
time management more than the artistic merits of film theory and the different lenses
used to capture different types of scenes. I was concerned of those who are paying for
the movie I mean the director, while ensuring that actors and crew members are happy
and providing the work needed to create a movie.
During pre-production phase to obtain permission for a location was difficult
task. Concern people demanded not only rent but also they were bribed in order to
11

give protection/sign the required documents. Location scouting, prop-purchases,


creating of special props, set building, and other aspects were a whole new set of
experience and atmost care was taken in allocating the budget for all the phases of
production so, that all the needs are met.
During production phase, monitoring the budget and production schedule,
revising the schedule and controlling expenses to keep the film on time and within
budget was crucial task. The artist management and hospitality, starting from their
transport to stay, food, accommodation and comfort along with their requirements like
make-up, changing rooms, etc. and to oversee the wrap when shooting ends, sets are
stuck, and rental equipment is returned all were part of the learning process.

3.2.

Production Challenges

3.2.1. Music video


The length of the video was just 5.39 min with 70 shots and was scheduled for
3 day schedule with one call sheet per day
Since there was no production assistant for the entire shoot, we were forced to
employee them by the union for the 1st day of the shoot.
The lead actor was unable to attend shooting due his busy schedule, so there
was sudden change of production plan on the 2nd day.

3.2.2. AD Film
The budget was very less. So, I had to negotiate and make smart deals for
props, costumes, travel etc. but production value was maintained.
There was significant increase in street traffic, overcrowded, noise, and light
due to AIAMK Supremo J Jayalalithaas birthday.
Though we had all the permission for the shoot in place we shot, but we still
faced problem (Nehru Nagar, Saligramam) from the public and police.
On the 3rd day of the shoot 2 baby lights were fused, so there was wastage of
time.

12

On the 1st day of shoot we had only 17 shots to shoot in the entire day. Because
of pets were in the leading role it was time consuming and extra care was
taken.
Finally we had to consider the small fact of Health and Safety, we had to
always consider our crew safety as we didnt want to be responsible of any
injuries that may have occurred while shooting.

3.2.3. Short Film


There was no appropriate pre-production plan.
The lead actor was unable to attend shooting due his busy schedule, so there
was sudden change of production plan on the 2nd day.
Cinematographer took huge amount of time to let the lights.
The allocated 4 days shoot extended to 5 days.
Since there was no set assistant for the entire shoot, we were forced to
employee them by the union for the 1st day of the shoot.
Finding a artistes who is of 65 of year old and with a knowledge of classical
music was difficult task.

3.3.

Lesson and Insights from Music Video, Ad Film & Short Film
The life of a movie can often depend upon the work of its line-producers, and

without effective work by a Line-Producer, the movie can easily flounder in any stage
of production. This means that more than anything else, production of a film is about
business and the balance between financial concerns and artistic creation.
Working on these 3 projects was one of the most important aspects of MBA.
The experience and learning from these projects has allowed me to experience the
importance of the job position of a line-producer. I learnt through the experience that a
good understanding of media industry along with important personality traits like
responsibility, honesty, sincerity, control, risk taking, innovative, self-conduct, selfmotivated, visionary, fanatical and openness in communication as well as in
acceptance and understanding of ideas and inputs from other members of the team.
13

Working closely with the creative team, allowed us to fulfill all requirement of the
team with respect to the location feasibility, actors, prop and costume needs. Also
understood that for a production the most important things are written and recorded.
Permissions for location and usage of other facilities, as well as thorough
understanding of the location are required to shoot at.

3.4.

Subjects Relevant to the Project in Terms of Requirement, Scope and


Value.

Accounts - Creating Budget/Managing Budget/Tracking Spending


As a Line-Producer it was my responsibility for creating the budget; there were
lot of things that I had to consider, so that all the necessary needs of the production are
met. In order to do so, one must have strong understanding of industry and union rates
which will come in handy and never to forget about taxes and fringes. In order to
make budgets it is necessary to know what things cost, what is the standard rate for a
light man, how much to pay a production assistant, what are the union rates for makeup artist, crane operators, electrician etc.
Negotiating contracts and renting out equipments, I had to consider it in the
budget. When more money was spent on locations and costumes, it had to be
compensated with equipments. A track was maintained for every expenditure and it
was necessary for me to make smart deals and also to compromise with the director if
the expenditure exceeded the budget. So, as a line-producer it was crucial to
understand the principles of accurate bookkeeping process.

Financial Management
Finance is the science of funds management. Finance includes saving money.
Finance deals with the concepts of time, money, risk and how they are interrelated. It
also deals with how money is spent and budgeted.

14

Human Relation Management


Management in all business and organizational activities is the act of getting
people together to accomplish desired goals and objectives using available resources
efficiently and effectively. Management is in charge of planning, organizing, staffing,
leading or directing, and controlling on organization. Resourcing encompasses the
deployment and manipulation of human resources, financial resources, technological
resources, and natural resources.

Research and Planning within a Production


In film production research plays a vital role and includes lot of multi-tasking
and adaptability especially with the locations, for example to analyze and take
photographs of the area for the Director.
Research is important because it allows the production to run more smoothly
and be on schedule and so everything can go ahead. It also makes the availability
more clear, so money can be spent wisely on equipment and crew, and some
contributors may only be available for certain periods of time etc.
There are two methods of research, primary and secondary, which are both
important as they contribute to the production. Primary is where the line-producer has
together the research himself, either through surveys, or calling upon a location to get
information. Secondary is where the research is gathered from third party resources
for the production, such as results from other online surveys, or information that other
people have done themselves, each type enabling the researcher to plan for the future.

Managing Production
Managing the production was another big task that I encountered. It was my
duty to make sure that things went on smoothly throughout the shoot. Being a part of
the team it was my responsibility to tackle the problems such as avoiding any major
crises and obstacles, etc. The overall function of the production team was to manage
and utilize the maximum number of resources that were made available to the crew.

15

An effective allocation of these resources in such a way that it provided the greatest
extent of benefit to the entire production process.
Film Production
This is the stage at which all the filming is carried out. All scenes planned out
in pre-production are filmed at the relevant locations. Each scene is filmed as many
times as the director deems fit, to ensure the best quality scenes will be used to
construct the film. This is where the strength of the pre-production work is put to the
test. Great care has been taken to make sure that all the filming is done correctly and
all necessary shots are taken, as it is sometimes difficult or impossible to go back and
repeat certain events if the filming is incomplete when it comes to the post-production
stage. The process can apply to any type of media production including film, video,
television and audio recording.

Film Marketing and Distribution


Film Marketing in Line with the Marketing Management processes in other
industries, begins at the new product development stage and Continuous throughout
the information of the project ideas, through production and into distribution and
exhibition. The distribution of a film or movie is the process through which a movie is
made available to watch for the audience by a film distributor. This task may be
accomplished in a variety of ways for example, with a theoretical release, a home
entertainment release (in which the movie is made available on DVD - video or blueray disc) or a television programme for broadcast syndication and may include digital
distribution. Co-operation with the entire cast and crew members and ensuring their
safety, security and comfort are key factors for the success of the production, since
understanding their needs would motivate the team and inspire them to work together
in harmony and mutual respect.

3.5.

Value Additions Brought to the Project


As a line-producer the most important value that I have incorporated to the

project is the time management which is very essential in all the phases of production.

16

Managing the time has ensured the quality of the project without depleting any form
of resources and production value.
As a student of media and entertainment it has allowed me to incorporate my
creative ideas and theoretical inputs on the basis of the script and screenplay
requirements. With my creative thinking I was able to provide assistance in the
process of selection such as artist costumes, jewels, make-up etc.
Mechanical support was also required for the production process i.e.
transportation, shifting of equipments, renting out props and costumes, execution of
special props etc.
It has made me a confident leader; to guide a team as well as to execute my
strategies. Being a confident and clear communicator has saved me a lot of time and
trouble. Whether in person, over the phone or by email, I made sure that I
communicate in such a way that it is understandable and concise.
It is was my job to spend the budget as wisely as possible; negotiating smart
deals and solid contracts are what made me a sought after Line-Producer.
As a Line-Producer most of the hiring for a production, deals for equipment
and to track down any special needs that might be required for the production.

3.6.

Troubleshooting Strategy

Have control over the crew.

Keep updating the crew about any change in plan.

Make sure you reach well before the crew and ensure everything is ready so, that
camera rolls on time.

Make sure there is a pre-planned budget and production.

Always have a fully planned and executable plan A, B & C.

Always carry the original and photocopy of the permission letters. In case if required
submit only the photocopy.

In case if there is 2 line-producers in the team then make sure only one person handles
cash.
17

Make sure the shoot goes according to the production schedule and on time to avoid
unnecessary confusions, crises, save time and resources.

Be friendly and have a great rapport with your team member.

Make sure the necessary permission are taken and the Police is informed before the
shoot day and if necessary request the authorities for the police protection.

Make sure all the necessary properties, hospitality, safety etc. are arranged well before
hand.

It is important to know all the rules, regulations, industry batta rates etc. of the union
before going for the shoot.

Make sure cleanliness, discipline and decorum is maintained throughout the shoot.

Assure that you team follows all the rules and regulations lay by the concern
authorities.

Assure that your team doesnt cause traffic obstruction when shoot takes place in
public.

Ask feedbacks among the crew for the work done.

Make sure locations for shoot are booked well before in advance. And has required
facilities such as parking for the unit van, spacious, security etc.

It is the duty of the line producer to make sure that no harm or damage is caused for
the equipments, location, props etc.

Always keep noting down all the important points and cash out-flows.

Make the core team be sure of what they are heading towards.

Plan the location for shoot much ahead for the shoot commerce.

Listen to both sides, judge fairly and keep to your word.

Do analysis, break costs down, keep an eye on the schedule and one should not rely
on the AD to tell you what scenes you still need to shoot or pick up

Understand the feasibility for the location.

Make sure you get in good terms with the localities near the shooting location.

Never ever distract the Director and DOP while the shoot in in progress.

When there is an issue stop blaming others and take quick decision.

Most of all to make sure the entire crew is provided with satisfying meal.

Oversees the wrap when shooting ends, sets are struck, and rental equipment is
returned

Strong problem-solving skills and the ability to make decisions quickly


18

Flexibility to deal with unexpected changes

A calm approach during crisis management

The ability to work with many different types of people, commanding respect and
providing encouragement

And lastly, but of greatest importance: NEVER FORGET THE BIG PICTURE AND
WHATEVER ELSE YOU DO DONT FORGET TO HAVE FUN!

19

3.7.

Work Dairy
MBA in Media and Entertainment - Hindustan University
Project Report & Diary

Course
Year
Subject name and code
Total Marks
Number of sessions

Lesson Plan
MBAM&E Broadcast / Films
2015
Project
100 ( 12 credits)
420 hours

Semester
Period

IV
Feb 2015-June 2015

Duration

4 months

Requirements

1.
2.
3.
4.
5.
6.
7.

Project is appropriate to the specialization of the student


Project requires usage of skill sets learned & practiced for the Elective Chosen
Project provides scope for innovation
Project involves training & practice aspects
Project has a clear deliverable that can be evaluated
Project should result in insights/learning
Project is a reflection of the students proposed field of placement

Faculty
Name

Contact numbers

E-mail ID

Dr. Uma Vangal

uvangal@prasadacademy.com

Mr. VenkateshChakravarthi

chaks@prasadacademy.com

20

3.7.1. Music Video


Name of student

Pushparaj

Roll No

1345007

Specialisation

MBA (Media & Entertainment Management)

Faculty in charge

Mr. Venkatesh Chakravarthi

Details of Project

Music Video
A young boy gets a first look at how grotesque the world truly is as
people commit acts of violence and partake in ignorance as they
hold true to their respective individual ideologies.

Team Members

Director
DOP
Editor
Line-Producer

Hierarchy of Project Team

Director
Creative Producer
Line Producers
Director

Criteria for Project Selection

To understand & learn the work of a Line Producer in production of


Music Video that includes Development, Pre-Production,
Production (Production) and Post-Production.

21

: Vinayak Guhanarayan
: Mahesh
: Keshav
: Pushparaj & Helbert Bernard
: Mr. Venkatesh Chakravarthi
: Dr. Uma Vangal
: Pushparaj & Helbert Bernard
: Vinayak Guhanarayan

No. of Hours
Brief

Planning / Expected
outcome

Project dairy
Week 1
5 X 6 = 30 Hours
Team Members were introduced.
Locations were discussed and Line-Producers started
location scouting in accordance with the requirements of
the script.

Assignments (Details / deadlines)

Insights/learning & Additional Remarks

The location required by the script were:


House (Valasaravakkam)
School (kalembakam)
Street (MGR Film Institute)
Permission letters for these locations were drafted from
the college.
Initial Planning and rough budgeting was done.
Props requirements were discussed.
Special props were done for house location scene i.e.,
painting of canvas boards and orders were placed for
wrist bands etc.
Props were hired for House location on February 10,
2015.
Foods and Hospitality were arranged for the crew
members i.e., Technicians, cast, and for location
maintainers.

Insights/learning
Got to know the fellow team members.
Understood the work plans and style of each member of
the team in order to adjust production requirements as
suited.
Script breakdown and coming up with the requirements
and creating back-up plans for the changes in the script
that were done in accordance with the suggestions and
requirements of the director and cinematographer.
Faculty Remarks

Date:

Signature:

22

No. of Hours

Project dairy
Week 2
5 X 6 = 30 Hours

Brief

The shoot was completed. It went according to the plan &


schedule.

Planning / Expected
outcome

The entire production for the shoot was planned and set.
Actors to be finalized and informed before the shooting
day.
Crew to be given reminder calls and messages.
Food requirements according to the call sheet timings.
Submission of bills and statement of the expenses to the
college.

Assignments (Details / deadlines)

Insights/learning & Additional Remarks

The crew members were given frequent reminders to


finish the shoot on time in location.
To keep complete track of cash inflow and outflow.

Insights/learning
Got to know the industry work flow.
Got to know the union (FEFSI) rates for its various union
card holders.
Additional Remarks
Do not keep any preparations for the last minute.
Maintain proper time management while shooting.
Faculty Remarks

Date: Signature:

23

3.7.2. AD Film
Name of student

Pushparaj

Roll No

1345007

Specialisation

MBA (Media & Entertainment Management)

Faculty in charge

Mr. Venkatesh Chakravarthi

Details of Project

AD
DUREX
HIT

Team Members

Directo
DOP
Editor
Line-Producer

Hierarchy of Project Team

Director
Creative Producer
Line Producers
Director

Criteria for Project Selection

To understand & learn the work of a Line Producer in production of


AD that includes Development, Pre-Production, Production
(Production) and Post-Production.

24

: Shrungar Dadarkar
: Dugha
: David
: Pushparaj & Helbert Bernard
: Mr. VenkateshChakravarthi
: Dr. Uma Vangal
: Pushparaj & Helbert Bernard
: Shrungar Dadarkar

No. of Hours
Brief

Planning / Expected
outcome

Project dairy
Week 3
5 X 6 = 30 Hours
Team Members were introduced.
Locations were discussed and Line-Producers started
location scouting in accordance with the requirements of
the script.

Assignments (Details / deadlines)

Insights/learning & Additional Remarks

The location required by the script were:


Street 1 (Kalakshetra Colony, Besent Nagar)
Street 2 (Raja Street, Saligramam)
Bus Stand(Arunachalam Road, Saligramam)
House (Neelangarai)
The actors to be informs
The crew to be given reminder calls and messages.
Permission letters for these locations were drafted from
the college.
Helped the crew on the set and took care of all the artist
co-ordination and all payments.
Special props were done.
Foods and Hospitality were arranged for the crew
members i.e., Technicians, cast, and for location
maintainers.

Insights/learning
Got to know the fellow team members.
Script breakdown and coming up with the requirements
and creating back-up plans for the changes in the script
that were done in accordance with the suggestions and
requirements of the director and cinematographer.
Understanding the exact needs and requirements of the
director plays a vital role in the success of the AD.
Faculty Remarks

Date:

Signature:

25

No. of Hours
Brief
Planning / Expected
outcome

Project dairy
Week 4
5 X 6 = 30 Hours
The shoot was completed. It went according to the plan &
schedule.

Assignments (Details / deadlines)

Insights/learning & Additional Remarks

The entire production for the shoot was planned and set.
Final schedule with shot break down was done.
Actors to be finalized and informed before the shooting
day.
Crew to be given reminder calls and messages.
Food requirements according to the call sheet timings.
Submission of bills and statement of the expenses to the
college.
The crew members were given frequent reminders to
finish the shoot on time in location.
To keep complete track of cash inflow and outflow.

Insights/learning
Got to know the industry work flow.
Understanding the work plans and style of each member
of the team in order to adjust production requirement as
suited.
Got to know the union (FEFSI) rates for its various union
card holders.
Additional Remarks
Efficient time management, polite and friendly outlook are
critical in the success of any production process.
Faculty Remarks

Date:

Signature:

26

3.7.3. Short Film


Name of student

Pushparaj

Roll No

1345007

Specialisation

MBA (Media & Entertainment Management)

Faculty in charge

Mr. VenkateshChakravarthi

Details of Project

Purusartha

Team Members

Director
DOP
Editor
Line-Producer

Hierarchy of Project Team

Director
Creative Producer
Line Producers
Director

Criteria for Project Selection

To understand & learn the work of a Line Producer in production of


Music Video that includes Development, Pre-Production,
Production (Production) and Post-Production.

27

: Vinayak Guhanarayan
: Abhishek Bargava
: Gokul Krishnan
: Pushparaj & Ram Lal
: Mr. Venkatesh Chakravarthi
: Dr. Uma Vangal
: Pushparaj & Ram Lal
: Vinayak Guhanarayan

No. of Hours
Brief

Planning / Expected
outcome

Project dairy
Week 5
5 X 6 = 30 Hours
Team Members were introduced.
Locations were discussed and Line-Producers started
location scouting in accordance with the requirements of
the script.

Assignments (Details / deadlines)

Insights/learning & Additional Remarks

The location required by the script were:


Hospital Baba Shoot House& L V P Lab ()
House - Bloom Nest (Vadapalani)
School L V Prasad Academy
Permission letters for these locations were drafted from
the college.
Initial Planning and rough budgeting was done.
Props requirements were discussed.
Hospital and House Props were hired for location on April
23, 2015.
Foods and Hospitality were arranged for the crew
members i.e., Technicians, cast, and for location
maintainers.

Insights/learning
Got to know the fellow team members.
Understood the work plans and style of each member of
the team in order to adjust production requirements as
suited.
Script breakdown and coming up with the requirements
and creating back-up plans for the changes in the script
that were done in accordance with the suggestions and
requirements of the director and cinematographer.
Faculty Remarks

Date:

Signature:

28

No. of Hours
Brief
Planning / Expected
outcome

Project dairy
Week 4
5 X 6 = 30 Hours
The shoot was completed.
4 Days Planned shoot was extended to 7 days.

Assignments (Details / deadlines)

Insights/learning & Additional Remarks

The entire production for the shoot was planned and set.
Final schedule with shot break down was done.
Actors to be finalized and informed before the shooting
day.
Crew to be given reminder calls and messages.
Food requirements according to the call sheet timings.
Submission of bills and statement of the expenses to the
college.
The crew members were given frequent reminders to
finish the shoot on time in location.
To keep complete track of cash inflow and outflow.

Insights/learning
Got to know the industry work flow.
Understanding the work plans and style of each member
of the team in order to adjust production requirement as
suited.
Got to know the union (FEFSI) rates for its various union
card holders.
Additional Remarks
It took huge time to set-up the light (baba shoot House),
for the cinematographer.
The working of the entire crew was very slow.
Need to improve the pre-production work. i.e., story board,
script breakdown etc.
Faculty Remarks

Date:

Signature:

29

Chapter-04
SUPPORTING DOCUMENTS
4.1.

Music Video Script


Early morning, we get the glimpse of the murderer starting his day establishing

his locale. He lives in a shabby home along with two other people... and he seems to
be relatively unkempt and in his mid 20's receiving a towel wrapped object from his
two other peers. He takes the towel wrap and walks towards a wall later to be
revealed as a pattern of blue wristbands.
A young child wakes up and performs his morning rituals as he prepares to go
to school with his father dropping him off on the way. On the way to school, the kid
and father walk noticing the great divide between Red/Blue in a public scenario. As
the father is not so intimidated by common folk, he notices a normal blue collared
working class person walking in the opposite direction as him. He gives this man a
very disgusting look, almost as though he wants to get physically violent with this
man. The blue man looks at him and gets intimidated... turning his head and walking
away.
Up ahead, there lies a blind beggar who seems to be affiliated with the red
party. The father looks at him with a sense of disappointment... almost as though the
beggar was a disgrace to the red party. The child over here is seen to show some
sense of empathy for the beggar... and in feeling so, he looks at his father curiously.
While looking at his father and not ahead, the murderer runs and bumps into the kid.
The kid runs towards the scene as the crowd gathers... being conveniently short gets a
first glance of the aftermath of a murder. The father steps in to investigate the issue,
and tries to blind his son from the gore of blood. While doing so, the victim grabs the
father's hand pleading for help. The father grabs his hand noticing one part of his
hand to be red from the blood (wristband), but as he turns his hand around, its
revealed that the wristband is actually blue in color. He throws the victim's hand
away, grabs his boy and starts pacing away from the scene. The boy is confused and
follows his father as he is left with no choice.

30

The kid now enters his school; In the classroom, the boy stands attention for his
pledge of allegiance. He questions his own actions while doing so.
The father now enters his working space which happens to be a hospital. It is
see that both (red) and (blue) doctors alike work in this space. A patient of his has a
baby and he hands over the baby to the mother. He furthermore puts a red wristband
around the babies wrist. As the doctor walks through the corridor, he notices a
stretcher taking the same victim that he had seen bleed away earlier that day.
At the playground, the kid takes off his wristband and inspects it. He looks at it
curiously then looks around as though he gets the feeling that someone may be
watching him.

Through the gate, he sees a glimpse of a child wearing a blue

wristband... glaring at him and walking away. The kid exits the scenario intentionally
leaving behind the red wristband then coming back to pick it up
The murderer comes back to his studio pad with extreme resentment and
disappointment. He breaks down conveying that he's either guilty for committing the
crime or that he failed to do the job thoroughly.
Walking back home and turning a corner, he runs into 3 (blue) thugs. They
seem aggressive but all they do to him is pet his head giving guilty smirks. As he
slowly walks away from them, he notices a woman left defiled wearing a red
wristband. He paces home.
Father and son walk through a heavily blue dominant neighborhood. As they're
walking, they notice blue guards guarding the wall (tidal park background). As they
both walk and see the guards, the father tends to become more protective of his son
and holds his hand... shying his face from the guards. There is a very gloomy sense of
instability.

31

4.1.1. Song Choices


You spoke of a world with peace and harmony, well show it to me..
Will you be my guide to the chosen one or bring him to me.
If we fall, we fall away, its a choice left to you.
To be a man who hides behind the makeup in silence..
That's all you will be!
Run away be the voice of a nation
Try and not be found
Make believe the very lie you were born in.
Don't push me far behind
Build a bridge just to scar the remains of,
this time not nor your side
Make a stand its a voice you can raise one.
Murderous fruit n I rode past the shadow of taboo.
Murmurs silent left by the bodies left so vacant.
My souls grown tired, by the years of torment.
If I never know then I'll never bleed if I was to believe
And how broken is that world
( a broken world)
When there's no one left to believe. Anymore.
Run away be the voice of a nation
Try and not be found
Make believe the very lie you were born in.
Don't push me far behind
Build a bridge just to scar the remains of,
this time not nor your side
Make a stand its a choice you can raise one.
Solo.

32

4.1.2. Music Video Shot Breakdown


Chorus repeat! (2).
00:00 to 00:36 Intro
1. Mid Track into murderer with goons
2. Cu: tilt up murderer unwrapping the cloth
3. Mid: track out of Victim with tie
4. Wide: track of Victim living room with family
5. POV trophy wall with murderer
6. Mid of victims family (track back walking towards green wall)
7. POV trophy with 3 goons
8. Mid of Victim walking into frame looking at Blue square (Track in from wall)
9. Close of victim looking at blue square (Track left to right)
10. Mid: Track in diagonal to trophy & 3 goons saluting the wall
11. Wide: Victim exiting (track in almost along wall)
Stanza x 1 00:37 to 01:33
12. Wide: Track back to kid looking outside window with uniform foreground
13. Wide: Track right arc revealing kids face and room setting (red square)
14. Mid: Track back of dad with tie picking up wristbands
15. Mid - Kid running down stairs spiral (track back)
16. CU- Frontal of kid reaching ground floor looking at dad (match cut)
17. Mid Track in circular- Father saluting (red square) and kid entering frame right
(back)
18. CU: Kid looking at father/saluting... father correcting son
19. Mid CU: Track father correcting sons posture, son looking at dad
20. CU from above: Father correcting posture & looking at the (red square) content.
Son looking at dad and looks straight
Chorus x 1 01:34 to 02:16
21.

Mid long: Father (left) son (right) crane down track back switching places

establishing tidal park on (Right) ending with guard frontal


22. Mid: Father right son left (reverse axis) track out + father look
23. track in CU: Inspecting Blue person Tilt from face to wristband (EYELINE)
33

24. track profile: Father glaring + looking ahead


24b. match cut of dad looking straight
25. Wide: Diagonal low angle track left to right with homeless & workers in
foreground
26. Wide: Top POV (GOD) + Track of kid looking at father + Bump
27. Mid: Side profile of murderer bumping into kid (Side track Curve*)
28. Mid: 30 degree cut of same action (pan right while track back to kid back) kid
turning around looking at murderer and murderer stopping, looking back and running
way into crowd.
29. Murderer profile tele turning to look back at kid and turning back, running away.
30. Kids close-up of looking at murderer
31. Side track close left to right from kids profile to reveal the crowd gathering

Stanza x 2 02:17 to 03:00


30. Mid: POV of victim, all the crowd gathered around him + kid entering *TRACK
BACK
31. Mid: Kid ots glaring at the victim(his right hand covering wound) as he profusely
bleeds
32. CU: Profile of father walking into frame looking at the victim & then looking for
his son... and walking towards his son
33. Mid (kid): Father stepping forward to cover his son from the sight and taking a
step towards the victim squatting
34. Mid CU: Father grabbing victims hand (bloodied band prominent) to investigate
the wound
35. CU: Father looking at wound and general at victim and looks at wristband (off
frame)
36. CU Side: father holding victim's hand, wristband blue in color
37. CU: father looks from band to victim disgusted and jerks away.
38. CU Side: father's hand dropping victim's hand
39. Kid OTS: father dropping hand (off focus) turns back and comes n grabs kid.
40. Pov victim: father turning back n grabs kid
34

41. Wide crane up:father n son exit gathering n frame

Chorus x 2 03:01 to 03:29


39. Wide: Establish school building with statue (wristband) + kid walking (track R to
L)
40. Wide: Establish hospital corridor with red & blue doctors
41. Mid: Kids doing the pledge of allegiance inside the classroom
42. CU: Kid looking at his posture and changing it
43. Wide: Father handing baby to mother (track right to left) and picking up wristband
44. Mid: Father putting wristband on baby
45. CU: Baby's hand with wristband
46. Wide: Kid at playground with other (red) kids
47. Mid: Kid sitting down and inspecting his wristband looking around and staring in
the distance
48. Mid: Father walking in corridor and looking at strecher (track back)
49. Mid: OTS of Victim on stretcher being taken away still alive/bleeding
50. CU: Father looking disgusted and walking away
51. Mid: (tele) Blue kid looking back
52. Mid: Murderer sitting, two goons around him standing (track back towards trophy
wall)
52b. Track into trophy wall
53. CU: Blue kid looking into camera and walking away
54. Mid: Kid looking from blue kid to his hand
55. CU: Kid puts wristband on the floor and walks away
56. Mid/Wide: track back from kid walking away & then running back to go pick it up
57. Wide: Kid in cafeteria spaced out then turning to look at a painting on a wall
(trackin)
58. CU to Mid: Portrait image showing the murderer turning around and walking
towards kid with the knife stabbing him (track in)
59. CU: Kids reaction from hallucinating to exiting the cafeteria
60. Wide: Kid walking brisk on the street alone turning around the corner
35

61. Mid: Kid bumps into three blue goons


62. Pov kid's perspective of goons looking intimidating but the leader pets the kid on
the head
63. Mid to wide: Goons leaving and the kid shaken walking away
64. Wide: revealing alleyway where a woman is left defiled (shown with a red
wristband)
65. Mid: Red wristband on the woman's hand (jump)
64. CU: Red wristband (jump)
65. Mid: Kid looking disturbed walking away
66. Mid: Kid walking up staircase into house (track in reverse of shot 15)
67. Mid: Kid in bathroom washing face trying to take wristband off but not able to
69. Mid: Mirror reflection able to remove the wristband (Chroma)
70. Wide: Kid walking to school the next day with father dropping wristband

36

4.1.3. Music Video Cast Contact Sheet


Production : L. V Prasad Film & Television Academy
: 11/02/2015 13/02/2015

Date

Production #: 01
SL. #
01

NAME
Aroul D

CHARACTER
Red Party

Supporter.

PHONE #
9840636600

Father/

Ram

Blue Party
Member.
Father /

Plot no: 1 & 2 Team house,


Sri Kumaran Nagar,

Vivekanandha main road,

Doctor
02

ADDRESS

Kolathur, Chennai 600 099


9566135732 /
9789924083

Husband.

2nd floor, Guru Gayathri


Apartments

Balaji Nagar, Nanganallur,


Chennai 600 061

Victim of hate
crime
03

Sanjay

Red Party

Extremist.

9884294804

Murderer
04

Sri

Rudhran

Arouls Son.
Red Party /

No: 18, 16th cross street,


Besant Nagar,

Chennai - 600 090


9094117840

School student

S/O Saravanan, BM Street,


Periyar Nagar, Vellakkal,
Medavakkam,

Chennai 600 100

37

4.1.4. Music Video Crew Contact Sheet


Sl. #

POSITION

NAME

PHONE

PRODUCTION
01

Line-Producer

Pushparaj

9791024678

02

Director

Vinayak Guhanarayan

9677084516

03

1st AD

Gautam Arora

04

nd

AD

Helbert

9840620045

Shrungar
CAMERA

05

Director of photography

Mahesh

06

Camera Assist

Colin

9176837630

Rocky
LIGHTING

07

Gaffer

Arjun
Colin

POST-PRODUCTION
08

Editor

Keshaw

38

9654959195

4.1.5. Music Video Union Members in Crew


Sl. No

POSITION

NAME

01

Academy Light man

Ravi

02

Union Light man

S. Krishnan

03

Camera Attender

Vellu

04

Electrician

Sakthivel

05

Generator operator

Balakrishna

06

Production Assistant

Yesudas

07

Make-up artist

Giri

N. Kumaravel

Bhagyaraj

39

4.1.6. Music Video Location Permission


SL. #

LOCATION

PERMISSION
REQUIRED/APPROVAL

01

Priya Shooting House,

Ms. Lakshmi, Manager,

02

Nava Bharathi School, kelambakkam,

Mrs. Ruth Patrick,Headmistress

03

M. G. R. Government Film and

L. Krishnamoorthy, Principle.

Tharamani, Chennai - 600 113

Approved by :

valasaravakkam, Chennai 600087

Chennai 603 103

Television Institute, C.I.T Campus,

Ph : 9841825257

Ph : 9840457647

Ph : 9498042407

Mr. MuthuManikham, Vice-Principle.


Ph : 9941503939

04

L V Prasad Lab

Mr. Sivaraman, General Manager,

Arunachalam Road, Saligramam,

Prasad Group, Chennai.

Chennai 600 093

Approved by :

Mr. R. N. Subramaninan, Admin Head


Ph : 9840210909

Mr. Balakrishnan, Security


L V Prasad Lab.

40

4.2.1 AD Film - Durex


EXT. STREET, DAY
A dog is happily walking on pavement, feeling the sun and breeze. When out of
nowhere he sees a beautiful girl dog across the street and immediately falls in love. He
is staring at the girl dog and she appears in slow motion. He snaps out and starts
walking towards her when suddenly he is being picked up and captured by a Animal
population control van. The van vanishes.
PRODUCT APPEARS
e.g. Dog population: 500 million Approx.
Human population: 7 billion Approx.

41

4.2.2. AD Film - HIT


INT. BEDROOM, EVENING 05.00 PM
Warm evening light is entering through a window of a messy bedroom. A skinny
teenage boy in just a towel enters and stands in front of a wardrobe with a huge
mirror. The boy The boy in his towel checks himself out, looks down and grabs 2
deodorant cans, sprays it on his chest, then underarms, then inside his towel, dresses
up and leaves home.
EXT. STREET, EVENING
Boy stylishly walking on the street. He is been eyed by several girls who with closed
eyes try to smell his aroma, then by older woman with a grocery bag, and then even
by a fat sweaty man who slaps his arm to kiss a mosquito. He turns his head up when
he sees a granny opening her window and calling him to her place with a naughty
smile. He turns his face away.
INT. CORRIDOR
The boy reaches the front of a door of a house and rings it. A beautiful looking girl
opens the door.
INT. DINNING ROOM, NIGHT
The room is lit by candles and corner lamps. They are enjoying dinner when slowly it
reveals that even her parents are there on the table. They are holding each other and
are in tears of joy. He wipes his face with the napkin, and signals Namaste to leave.
Her parents opens a bedroom door inviting him in while the girl giggles sheepishly,
the boy is puzzled and trying to make sense out of it. The girl quickly pushes him in
her room as she closes the room while biting her lips.
PRODUCT APPEARS
Hit with chocolate aroma: Machharbhagai, aurraateinsajai.

42

4.2.3. AD Film Cast Contact Sheet


SL. #

NAME

CHARACTER

PHONE #

ADDRESS

01

Karthikiyan

Protagonist

9840636600

Meenambakkam,

02

Sai Kishore

Father of

9952421192

New no: 9, Shivaji Street,

Niveditha

Chennai - 600 027


T. Nagar,

Chennai 600 017

03

Niveditha

Public

9677204282

Guindy,

04

Sadhya

Public

9962635223

L V Prasad Student,

Chennai 600 032


Saligramam,

Chennai 600 093


05

Pandi

Tea Seller

9840909842

Saligramam,

06

Grandma

Public

8939465304

Saligramam,

07

Dharmer

Vegetable

08

Daisy

Protagonist

Chennai 600 093


Saligramam,

seller

(Dog)

Chennai 600 093

Chennai 600 093


9840395737

Nazeer, (Animal Trainer)

No-10/140, Kaveri Nagar,

Near Adam Mahal, Pattur,


Chennai 600 122

09

Sugar

Secondary
(Dog)

9841261257

Dr. Uma Vangel


Besant Nagar,

Chennai 600 100

43

4.2.4. AD Film Crew Contact Sheet


Production

: L. V Prasad Film & Television Academy

Date
: 23/02/2015 25/02/2015
Production # : 10
Sl. No

POSITION

NAME

PHONE

PRODUCTION
01

Line-Producer

Pushparaj

9791024678

02

Director

Shrungar

9819996830

03

1st AD

Vivek Vinod

7845130063

Helbert

9840620045

CAMERA
04

Director of photography

Dugha

9884965180

05

Camera Assist

Abhishek Bhargava

8890924721

LIGHTING
06

Gaffer

Arjun Sundharam

9654959195

POST-PRODUCTION
07

Editor

David

44

9629074871

4.2.5. AD Film Union Crew Members


Sl. #

POSITION

NAME

01

Academy Light man

Ravi

02

Union Light man

S. Krishnan

03

Camera Attender

Vellu

04

Electrician

Sakthivel

05

Generator operator

Balakrishna

N. Kumaravel

45

4.2.6. AD Film Location Permission


SL. #
01

LOCATION

PERMISSION
REQUIRED/APPROVAL

kalakshetra colony

Tr. S George, IPS.

Besant Nagar, Chennai 600 090

Chennai Police Commissioner.


Ph : 9442200913
Approved by :

Tr. Riazudeen, Inceptor of Police


J6, Thiruvanyur Police Station.
Ph : 9840401199
02

Nehru Nagar and Arunachalam Road

Tr. S George, IPS.

Chennai 600 093

Ph : 9442200913

Saligramam,

Chennai Police Commissioner.

Approved by :

Tr. Jayaraj, Inceptor of Police

R5, Virugambakkam Police Station.


Ph : 9498130380
03

House, Neelangarai

Mr. VenkatheshChakravarthi

Ph : 9802073577 / 9940408895

46

4.3.

Short Film Purusartha

SCENE 01 EARLY MORNING (MONDAY)


Sheela is in the kitchen making coffee as everyone else in the house is getting ready
for their respective days. We hear the sound of a Shruti box on, as it is constantly
looped. Ram enters the living room space (where paati is) and he struggles to open a
window. He curses the window under his tongue

RAM
(Cursing window)
Why wont you open? He leaves it be and he picks up the news paper and starts
reading the paper in the balcony.
Paati is decorating deities with flowers, and little Laxmi is unboxing a new pair of
shoes and fixing her uniform.
Laxmi whilst getting ready in the bedroom notices paati humming tunes to herself as
she decorates the deities with flowers. Sheela goes to the living room and places the
cup of coffee near paati on the dining table and looks at Ram with a mild sense of
loathing.

SHEELA
Amma your coffee...
She places paatis cup of coffee gently and dispassionately places Rams cup on the
table. Ram looks at her and Sheela doesnt make eye contact... walking away. Paati,
oblivious, continues humming and placing flowers.

SHEELA
Ram... your coffee.
Sheela returns to the kitchen and washes her hands. She stares at the drain as the
soap water disappears into the abyss of the drain. Laxmi comes from behind and gives
her mom a hug and says her goodbye. Sheela goes down to Laxmis eye level fixing
her hair and sends her off.

47

SHEELA
Youre going to get late kutty, go now, have a good day.
Paati is seen sitting on the sofa with her coffee in front of her humming away her
tunes as the shruti box has already been switched on. Ram is in the balcony with his
coffee. Laxmi runs off to Ram... he picks her up and kissesher forehead. Laxmi wipes
away the wet kiss with disgust making Ram smile. Ram takes his cup of coffee inside
leaving it on the table and walks out with Laxmi. Laxmi runs past paati waving
goodbye avoiding any more embarrassment. Paati looks at her with a sense of
contentedness. Ram says his goodbyes to Paati and Sheela.

RAM
Bye ma.... (hesitant) bye Sheela...

PAATI
Bye raja.
Sheela ignores Rams goodbye in the kitchen and turns around and looks as Ram exits
the door. She turns back and continues her routine around the kitchen. Paati starts
rehearsing/singing her tunes as Ram exits. The music isaudible from the ground floor
of the building as well.

SCENE 02 PAATI SINGING #1


Ram waits outside his building to make sure that Laxmi boards her rickshaw that
takes her to school. Once Laxmi is in the rickshaw, Ram heads towards the bus
station. He boards the bus and gets off at his stop. Sheela is making food. Laxmi gets
off her bus and enters school. Ram walks for about 50 meters and enters his building
workspace.
(We transition paati singing with: Sheela tidying up around the kitchen, Laxmi in the
rickshaw/entering school, & Ram heading to work.)
Paatis song ends into real scape sound of her finishing her song and her seeing her
daughter make food. (pressure cooker sound transition to door opening)

48

SCENE 03 RAM AT WORK


Ram enters his office and greets a few of his colleagueswith a good morning
nod/subtle hello. He goes to his cubicle desk and sits. Shankar walks past him and
stops by to say hello. Shankar greets Ram warmly (handshake and pat around
shoulder).

SHANKAR
Sirji, epdi irke? How was your weekend?

RAM
It was good DA, I was mostly home... had to take maamiyaar to do some checkups,
with gods grace shes doing better now.

SHANKAR
Thats good DA, hows Laxmi?

RAM
The little troublemaker is good... went to the market and got her some shoes
yesterday.

SHANKAR
My god, how much shes grown. I remember when she was this kutty little thing

RAM
I know, its really hard to believe shes grown so much. How was your weekend DA?

SHANKAR
Well Radha and I finally finished unpacking our last box. You need to come and see
the house! When will you be free for dinner? Bring (mother in law) also

49

RAM
Shes too weak to step out DA, it really saps the energy from her.
SHANKAR
Serri okay... well see when she feels better. Just let me know when...

RAM
Definitely.
Both Ram and Shankar share genuine smiles. Ram pops out of his chair to look
around giving Shankar a hint that their boss may be watching them.

RAM
Ill catch you after work, I betterget started...
Shankar exits the scene and Ram starts to open out files on his desk. He opens the file
and looks at a framed family portrait on his desk. (School bell rings)

SCENE 04 LAXMI AT SCHOOL (LUNCH BREAK)


The classroom bell rings and all the students disperse fortheir lunch break. Laxmi
pulls out home styled traditional south Indian food (ex. idly with chutney) from her
tiffin box. Rest of the students seem to have sandwiches and fruits nicely packaged
granola bars and packaged goods. A few girls whilst eating stare at Laxmi as she eats
alone and laugh at her. (mocking her for not having what they have) Laxmi is paying
attention to what is being said from afar and with a neutral response (non-emotive)
continues eating her food as she internalizes everything that these girls say.

RANDOM GIRL
I think her parents feed her dog food...

RANDOM GIRL 2
Those shoes probably belonged tosome circus... look at them

50

(Sound cut from her spoon hitting the metal tiffin box to the spoon scooping off the
remainder of the vessel at home)

SCENE 05 LUNCH AT HOME


Sheela and paati are sitting at the dining table as Sheela is scooping off the remainder
of the food from the vessel onto Paatis plate. Both of them are almost done finishing
their respective meals.

SHEELA
Amma, did you take your medicine?

PATTI
Um.... I.... I dont think I... let me check...
As Paati slowly struggles to get up, Sheela gets up in a jiffy and goes to paatis
bedroom. She sees the strip lying on the table unopened. She grabs it, walks back,
takes out a pill, removes it, and places it on the table. She then hastily pours water
into a tumbler and keeps it near her mother.

SHEELA
WHAT IS THIS MA? How many times I? How... I kept it out for you... You need to
remember these things ma, I cant always keep track for you...

PAATI
Sorry kanna...

SHEELA
Dont say sorry ma... Just remember to take your medicine...

PAATI
OK kanna....

51

There is a long pause as Sheela looks frustrated. She sits back down to finish off her
meal. Paati pays attention to her expression as her frustration with her mother isnt
the only thing on her head.

PATTI
Is something bothering you kanna?

SHEELA
... (Slightly taken aback from a daze) no... Nothing ma...

PAATI
Ill make sure I remember okay? Also if theres anything thats bothering you, let me
know.

SHEELA
(Sigh of relief) I know ma...
(Long pause) (Phone ringing)
Sheela finishes her last bite & grabs the plate from where Paati is sitting and stacks
whatever plates and vessels she can and heads to the kitchen.

SHEELA
Wash your hands ma.
Sheela walks away putting all the plates in the sink and picks up the cordless phone

SHEELA
(on the phone)
Hello?
RAM
Hey you busy?

52

SHEELA
No no... just finished eating...

RAM
Okay... whats amma doing?

SHEELA
Nothing. She also just finished eating...

RAM
Okay... nothing I just called to remind you that someone from Ammas insurance
company will be coming in the evening... I told them to call the land line before
coming

SHEELA
Oh yeah... where are the papers kept?

RAM
I left them on the table next to the couch.

SHEELA
Okay.

RAM
... Okay? yeah... bye.

SHEELA
Mm...We end the (bye) in Rams workspace sticking to real time routine of how he
resumes work after the phone call.

53

SCENE 06 RAM & BOSS


About 20 seconds or so have passed since his phone call and Ram gets a call from the
work phone.

RAM
Hello SECRETARY Ram, sir wants to see you in his office.

RAM
OK, Ill be right there. Ram hesitantly closes his files and walks towards his bosss
office. He puts his phone on silent and leaves it on his desk. He walks past the
Secretary and gestures through bodylanguage inquiring what the visit is about. The
secretarys clueless... and she resumes her work. Ram enters Rajs office.

RAM
Sir... you wanted to see me?

RAJ
Aah, Ram... come come... have a seat.
Ram sits down uncomfortably. His back is erect and both his hands are on his lap.
Raj, who is standing turning his back to Ram picks up a few documents and walks
towards Ram, handing them over to him.

RAJ
I want you to go through these and tell me what you see...

RAM
Sir... um, these were our annual reports... was there something I missed...

RAJ
Not exactly... if you pay attention closely, youll notice that very few people
performed...as well as you did
54

RAM
Sir I um... (under his tongue) Ram smiles and stares at the ground. He has a difficult
time trying to contain his smile.

RAJ
Clearly your clients trust you &respect you... And for that Ive come to you first.... my
time has come Ram, Ive spent too many years behind this desk...

RAM
Uh Sir... what are you trying to say

RAJ
I want you to take my seat Ram, but for that you will need to earn it

RAM
Of course sir, anything you say, you name it, Ill do it!!

RAJ
Be careful with your words Ram... just know that all this is can be yours... on one
condition... you see, the next best candidate aside from you is Shankar.

RAM
Yeah hes good at what he does.

RAJ
I know that the two of you have been friends for some time as well.
RAM
Yeah we really have... hes a good man.

RAJ
Ha ha good good. (long pause) I want you to fire him.
55

RAM
What? Why?

RAJ
Ram I need to know that you will be willing to do anything for this company

RAM
But why him? Hes good at...

RAJ
Exactly my point. There will come a point when you sit in my chair where you will
have to make tough decision like this. If you can do this, youll be able to handle
anything else

RAM
Sir how can you put me in a spot like this?

RAJ
If you decline my offer, know this, Im going to offer Shankar my chair... and just
remember that I
RAJ (contd)
can only have one of the two of you in my office

RAJ
Ill give you till days end... now if you will please I have some other matters to attend
to.
Ram exits the office in a daze internalizing the situation that he as been put in. As he
rushes back to his desk, wehear other people talking on the phone in the office.

56

SCENE 07 SHEELA AT HOME WITH PAATI


Paati with a few of her peers are in the living room chit-chatting whilst sitting down.
The scene transitions from Sheelas voice at the office (to make it seem like shes
there) to her on the phone talking to somebody. Meanwhile, paati is in the other room
with a few of her students warming up for a singing session

SHEELA
I dont know what to do with her anna, you need to tell her how important it is.

BROTHER
Ill tell her Sheela, but you need to stay calm and relax. You freaking out isnt
helping. Ill speak to amma...

SHEELA
Okay fine... actually her students are here now... call her later... where have you
reached now?

BROTHER
Im near where that old bakery where dad used get those ginger biscuits.

SHEELA
(smiles)
Oh yeah I remember those!

BROTHER
I dont, you used to bloody finish them whenever he got them home (laughs) Sorry
okay? I couldnt help it.

BROTHER
Yeah yeah... okay listen kanna, in a weeks time Ill know when moms room will be
ready. These builders are taking forever to give me an estimate
57

SHEELA
Okay... how long do you think it will take roughly?

BROTHER
Hard to say, maybe two to three months

SHEELA
Okay.... (Silent pause)

BROTHER
Listen... if you guys need some money Ill

SHEELA
Karthik shes my mother too. Wecan handle it.

BROTHER
Look dont be stupid or get offended. If you need it just be frank and let me know
okay!
Door bell rings. Sheela walks towards the door middle of sentence from the balcony.
She smiles at a young boy and and a woman at the door.

SHEELA
Ok fine, I gotta go, Ill talk to
you later.

BROTHER
Okay... bye, love you.

SHEELA
Love you too bye

58

Sheela hangs up the phone and welcomes her two guests. She sends the boy off to the
desk telling him to put his bag down. She hangs near the door inviting auntie in but
she refuses.

SHEELA
Hi Pranav, go inside and sit.. ill be right there... (turns to Lata) How are you Lata?

LATA
Im fine Sheela, hows everyone at home?

SHEELA
Everyones great, keeping busy... Hows he been doing now?

LATA
He did much better than last time, and we have you to thank for that.

SHEELA
It is my pleasure, he is a smart boy. He has the potential to do better... just please
make sure he goes home and practices...

LATA
I will surely... anyway I got to get going... take care

SHEELA
Um Lata... I need uh... I need last months...

LATA
Oh my god... sorry... so sorry I completely forgot. Lately things have been chaotic
around the house,I havent had time to go to thebank. Next time I see you Illbring
you the fees. Will that be okay?

59

SHEELA
Thats perfectly fine. Ill see you later.

SCENE 08 PAATI SINGING #2


As the shruti box sound overpowers the visual, we follow Sheela walking from the
door after she talks to Lata walking towards the bedroom where Pranav is sitting. On
the desk, all his books and papers are laid out... and Sheela sits next to him and tells
him to open up page 84.

SHEELA
Pranav, what was the last chapter that we had finished?

PRANAV
Uh maam, it was here...

SHEELA
Okay, start reading the chapter out loud.
Pranav starts reading the chapter and we cut to paati and her students singing in the
living room space. As paatis song dominates the screen, we see Laxmi exiting school
extremely ostracized. She walks past the school buses/rickshaws and we notice that a
department store has her attention. This happens to be a shoe store... where Laxmi
looks down at her shoes and looks back up at the store. This scene starts with
intercuting with paati & students singing, Laxmi looking at the store. Towards the
middle we return to the space at home where paati and students are singing along
with Pranav reading (with his lips moving but paatis song singing*). Towards the
latter end we see a glimpse of Ram at his cubicle looking flushed/frustrated inter cut
with paati singing.
From Rams cubicle, we cut back to Pranav and Sheela... with real-scape audio... this
time Sheela telling Pranav to take
a test.

60

SHEELA
Im giving you 20 minutes okay? I want you to answer all the questions, and then we
will go through the answers together.. okay?

PRANAV
Okay...

SHEELA
Your time starts now....
Sheela gets up and leaves Pranav alone on the desk as he writes away the answers to
the questions in front of him. Sheela in the meanwhile roams around and continues
household choures. In this instance, she takes the clothes (wet/washed) and puts them
out to be dried. The song eventually ends as Sheela performs her household routines...
and the doorbell rings and Laxmi enters the house.

SCENE 09 LAXMI BACK HOME/PAATI SLEEPING


Laxmi enters the house and goes straight to her room. In the same precise/careful
manner that she put her shoes on, she removes them and throws them away carelessly
across her own room.

Paati retires in the living room and takes a nap on the sofa after her students leave.
Sheela still continuing her choures around the house keeps walking past Pranav to see
how much progress he has made. Ram is sitting in his cubicle day-dreaming/looking
disturbed. He places his cell phone on vibrate and leaves it on his desk as he steps
away from it.

Laxmi closes her door to change out from her schooluniform. After she wears her
normal attire, she notice asmall bundle of ten rupee notes on the top shelf (which isout
of her reach). She brings a chair and stands on top ofher tippy-toes trying to reach
it.(Treatment: Inter cut between Sheela in the other room andLaxmi on top of the
chair)
61

Sheela from the other room hears something fall andbreak. Her first instinct is to
assume that Laxmi fell downfrom her room. As she enters the room she sees
Laxmistanding on a chair, then she goes to the living room and notices that Paati has
fallen down from the couch. And atthis point its safe to assume that paati is
unresponsive. Sheela yells out for Laxmi, and tells her tocall the watchman. Sheela
cradles her mothers head on herlap and grabs the cordless home phone thats close
by. Sherepeatedly attempts to call Ram but he doesntanswer. Pranav enters the room
dazed... and Sheela tellsPranav to go home.
(Treatment: Inter cut between Sheela calling Ram and Ramsphone vibrating on the
desk. As the phone vibrates... westick to the phone vibrating until the phone callstops.
When we cut back to Sheela, we jump time ahead andhave the watchman at home. Cut
to phone vibrating on table,to loading paati in the ambulance)
We finally see where Ram had disappeared to... he went to Rajs office. We are not
sure what they have talkedabout. He exits his bosses office and walks back towardshis
cubicle. He sits down in his cubicle resuming his workslowly (not paying attention to
his phone) and the phoneeventually rings. He picks it up. The wife is in theambulance
and has reached the hospital. Sheela updatesRam... Ram grabs whatever that he can
and he exits hisoffice without telling a soul.

SCENE 10 JOURNEY TO THE HOSPITAL


Ram hops into a rickshaw and this journey to the hospital isliterally a reflection of
Rams current state of mind. Fromseeing his general demeanor (someone who is
completely dazedand lost) to irrational (yelling at his auto driver for nottaking a
proper route). The journey needs to create theillusion that it took him more than an
hour to reach thehospital.

SCENE 11 ENTERING THE HOSPITAL


Ram enters the hospital and finds his wife and daughtersitting in the waiting room. He
and his wife go and seePaati together. The two of them see her connected to tubes
wires and needles on the bed and come back out.
62

SHEELA
I called Karthik, the only flights available were for tomorrow morning.

RAM
Okay... who else did you call

SHEELA
I tried calling chitti but no one answered

RAM
Hmm... Did you get ammas insurance papers?

SHEELA
Yeah... I gave them whatever they wanted... I dont know whats going (MORE)
SHEELA (contd)
To happen, the doctor should have been here by now

RAM
Hell come Sheela... There is a gap between them talking building up to Rams body
language where he is about to say something.

DOCTOR
Excuse me... are you the daughter of Ms. Iyer?

SHEELA
Yes Doctor...
DOCTOR
Please come with meBoth

63

Sheela, Ram walk along with the doctor to his office room. Over there, the doctor
gives them the brief of what has happened to paati. Before that, Ram tells Laxmi to
wait with paati.

RAM
Kutty, I want you to go and be there with paati okay? Look after her, keep my phone
and if the doctors say anything call us okay. Amma and I will be right back Laxmi
nods at her father with approval and walks towards the waiting room. At the doctors
room.

DOCTOR
Your mother has suffered from a stroke... and we are yet to uncover how much
damage it has done to her brain

DOCTOR
For that we need to run a few more tests... Do you have any questions

SHEELA
Will she be okay?

DOCTOR
Hard to say... so far her respiratory organs havent been affected... Well only know
more after these tests... For that I need you to finish up these formalities with the
billing dept The doctor stands up and hands over the documents to Sheela. All three
exit the room

RAM
Which way is the billing dept. Doctor?

64

DOCTOR
(pointing left)
That way... Doctor exits... and the two of them stand there confused as to what to do
next. Ram takes the billing documents from Sheela and they both start walking
towards the billing counter.

SCENE 12 BILLING DEPT & LAXMI WITH PAATI


*** Pranav tutor ***
As Sheela realizes she has nothing to do beside wait, shecalls up somebody on the
phone and tells Lata about her current state of affairs. She is quite apologetic about
how she had to dismiss Pranav, and she asks Lata to give the phone to Pranav. Over
here, Sheela finds a place to sit down, and guides Pranav through all the questions
that she had put down and runs through the answers with Pranav.

*** Pranav tutor ***


Both of them stand in line waiting with a few people infront of them. Sheela is on the
phone frantically calling people. Ram is looking at the bill and trying to calm himself
down. For someone who has maintained his respective decorum, he starts to get very
edgy when they get closer to the billing counter. He shuts his eyes and enters a
meditative trance which gets disrupted when his wife tells him that the line is clear in
front of them. He walks up to the counter and hands over the bill (for 80,000). He
proceeds to take out his debit card from his wallet and hands it over the the billing
counter rep. As his card gets swiped... Ram stares at the credit card machine... just
hoping that his account has sufficient funds to take care of the payment. He breathes a
huge sigh of relief when it gets approved. He takes all the paid documents from the
counter and proceeds immediately to a bench to sit down, battling a panic attack. The
whole time Sheela is seeing her husband in such a state but is distracted by her own
temperament to attend to him. Its only when Ram sits down that she realizes that
somethings disturbing him. She sits down next to him (attending to him) in a distant
yet genial manner.

65

SHEELA
Whats wrong? Are you okay?

RAM
Sheela I need to tell you something

SHEELA
What? Parallel, Laxmi whilst sitting outside in the waiting area curiously sneaks into
the room. None of the doctors/nurses pay attention to her and she walks towards
paatis bed. Once there she stares at her for some time in a daze and walks closer...
nudging her to wake up. She keeps shaking her hand attempting to wake her up.

LAXMI
Paati wake up

LAXMI
Why are you sleeping so much wakeup

LAXMI
Open your eyes
At one point of time, Laxmi recollects a few lines of what paati would sing and
attempts to sing it to her while she cries.

LAXMI
I sang it wrong, youre supposed to scold me! Wake up!
Sheela stares at Ram as he talks to her. Hes on the verge of tears as he finds his voice
to tell her.

66

RAM
He said either you go or he does... and I couldnt do it Sheela... I just couldnt.
Something in me just couldnt do it... I wanted to so bad but I dont think I could have
lived with myself if I did...

RAM
Im so sorry...I couldnt wait to tell you... I dont know what to do, I dont even know
if well have enough money to take care of amma Sheela for the first time in a very
long time touches her husband physically and holds his hand. She offers her shoulder
as rest...

SHEELA
Its okay raja, well figure this out... together... okay? The machines that paati is
plugged into start to beep chaotically, the residing doctors/nurses around come to
paati seeing Laxmis head on the bed near her and her hand holding paatis. They tell
Laxmi to go wait outside when she struggles to be beside her. Sheela and Ram get the
impression that something has gone wrong when they see a few nurses rush towards
the room from where they are (billing dept). Both of them rush back to the waiting
room area to see Laxmi standing outside looking at a door. The three of them together
are reunited and for the first time pose together as a family like (same family pose
from the family portrait in Rams office).

SCENE 13 TRANSITION FROM NIGHT TO DAY


We see the hospital from the outside along with a glimpse of static life around the city
ranging from traffic stops to faces of strangers across the city. The city lights range
from the pitch black of night to the bright early sunrise of morning.

SCENE 14 EARLY MORNING IN THE HOUSE


We hear the shruti box turned on. Ram (in his home clothes) is getting ready grabbing
a few things from Paati/Laxmis room. He notices Laxmis shoes kept aside untidily.
His head turns towards the living room as he hears Laxmis voice (inaudibly). He
67

takes the shoes and begins polishing them. Sheela (home clothes) is in the kitchen
making coffee.
From Laxmis perspective, we see her (in school uniform) humming a few lines
getting interrupted by paati. Paati corrects her and tells her to change her posture
and sit upright. Laxmi is seated where Paatis students usually sit.

PAATI
Like this kanna, remember, youll keep making mistakes and thats okay...but
remember to always sing from the heart.
Laxmis body language signifies that she agrees to whatever paati says with a smile of
curiosity on her face. Laxmi starts to hum the song as a form of warm-up with the
proper posture. Sheela comes into the living room with two cups of coffee in her hand
placing both of them on the table. She then stares at paatis cup of coffee and looks at
the empty chair. Sheela turns to see her daughter and then breaks down and starts to
cry without making a sound. Ram comes in from the next room with Laxmis shoes in
his hand and notices Sheela crying. He places the shoes down carefully
and goes to console her.

Laxmi awakens from her meditative trance and we witness her perspective again. We
show that paati wasnt there at all, and it was just a photograph of Paati in the center
of the sofa (a place where Paati would sit while teaching). Sheela gets up and goes to
open the window (the same window that Ram struggled with) and she opens it with
ease. She turns back and looks at her husband and shares a smile with him.

68

4.3.1. Short Film Cast Contact Sheet


Production : L. V Prasad Film & Television Academy
: 24/04/2015 28/04/2015

Date

Production #: 03
SL. #
01

NAME
Aroul D

CHARACTER
Doctor

PHONE #
9840636600

ADDRESS
Plot no: 1 & 2 Team house,
Sri Kumaran Nagar,

Vivekanandha main road,


Kolathur, Chennai 600
099
02

Vaishnavi

Sheela

03

Ganapathi

Ram

Chennai 600 061


9444211142

#73 Scheme Road, Kamadar


Nagar, Nungambakkam,
Chennai 600 034

04

Anuradha

Grandmother

9840297057

New No:18, Old No:34, 1st


Floor, 6th Maik, Raja
Annamalaipuram,

Chennai 600 028


05

Baby

Haremithra

Sheelas

Daughter

9094117840

As Lakshmi

48/20, Gandhi Street,

Elango Nagar, Menambedu,


Ambattur,

Chennai 600 053

69

4.3.2. Short Film Crew Contact Sheet


SL. #

POSITION

NAME

PHONE

PRODUCTION
1

Line-Producer

Pushparaj

9791024678

Director

Vinayak Guhanarayan

9677084516

1 AD

Raghav

9819917088

Ram Lal

st

9626644233

CAMERA
4

Director of photography

Abhishek Bargava

8890924721

Camera Assist

Dugha

9884965180

LIGHTING
6

Gaffer

Arjun Sundaram

9654959195

BOOM OPERATOR
7

Sound Recorder

Ravi Kumar

9600153124

POST-PRODUCTION
8

Editor

Gokul Krishnan

8089734689

Sound editor

Ravi Kumar

9600153124

70

4.3.3. Short Film Union Crew Members


Sl. #

POSITION

NAME

01

Academy Light man

Ravi

02

Union Light man

S. Krishnan

03

Camera Attender

Reddy

04

Electrician

Saktivel

05

Generator operator

Balakrishna

06

Production Assistant

Verrappan

07

Make-up artist

Giri

N. Kumaravel

Antony

71

4.3.4. Short Film Location Permission


SL. #
01

LOCATION

PERMISSION
REQUIRED/APPROVAL

Baba Shooting House, Tirumala

Ms. Yemalatha, Manager,

Nagar, Nerkundram,

Ph : 9841095695

Chennai 600 107


02

Bloom Nest,

Veengeeswarar Nagar, 2
vadapalani,

nd

Main road,

Ms. Aishwarya

Ph : 984657157

Chennai 603 026


03

L V Prasad Lab

Mr. Sivaraman, General Manager,

Arunachalam Road, Saligramam,

Prasad Group, Chennai.

Chennai 600 093

Approved by :

Mr. R. N. Subramaninan, Admin Head


Ph : 9840210909

Mr. Balakrishnan, Security


L V Prasad Lab.

72

Chapter-05
BUDGETING
5.1.

Music Video Budget

Particulars
Production
Director
Cinematographer
Assistants
Food
Light Men Batta
Production Asst
Make Up Artist
Cast
Aroul
Ram
Sanjay
Master Rudhran

Nos

Days

Per Callsheet

Actual Amt.

1
1
2

11,12,13,14
11,12,13,14
11,12,14
11,12,13,14
11, 12, 14
11
12

550
550
2500

11575
1650
1100
2500

Total
Total
Total
Total

7500
3000
3000
4000

Equipments

No.

Specifications

Act. Amt

Slider with Head + Stand


Total
Transport
Location
House/Int
School/Int+Ext
MGR Film Int./Int
LVP Lab/Int + Ext.
Music
Music Composing
Props Rented
Knife
Side wood stand
Round Table
Kids table
First aid fox
Red curtain
Hospital name plates
Blue bed sheets
White bed sheets
Stretcher
Total
Props Purchased
Wrist bands
Strecher Boards
Canvas Sheet
Total
Costumes
Total
1

3
2
1
1
1
1
1

11, 12, 14
11, 12, 14
11, 12, 14
11, 12, 13, 14
Dates
Required
12

200
8750

11, 12, 13, 14

Total

11
12
13
14

Velsaravakkam
Kalembakam
Taramani
Saligramam

10000

6500

1
1
1
1
1
1
5
2
1
1

11, 12, 13
11
11
11
11
11
13
14
14
14

4000
9 Packet
4
1 Roll
-

11, 12, 13, 14


11, 13, 14
11, 13, 14
11, 12, 13, 14

73

2212
2500
68487

5.1.1. Daily Expenses


Day: 01 (11-2-2015)
Call Sheet
Location
Particulars
Crew
Direction Team
Camera Team
Aroul
Ram
Sanjay
Master Rudhran
Lightmen
Generator
Operators
Production Guy
Total
Food &
Refreshments
Lightmen Batta
Productin Guys
Batta
Location Rental
House
Props
Kid Table
Side Wood Stand
Knife
Round Table
Total
Costumes
Red Shall
White Shirt
Red Tie
Total
Transportation
Cab
Kutty Anna
Auto
Grand Total

9am-6pm
House Int
Nos

No of Scenes
No of Shots
Per Unit
Amount

Total

3
5
1
1
1
1
5
3
2
22

550

4435
550

550

1100
10000

1300
1
1
2
800
2
2
1

320
800
200
19505

74

Day: 02 (12-2-2015)
Call Sheet
Location
Particulars
Crew
Direction Team
Camera Team
Master Rudhran
Master Rudhran
Custodian
Total

9am-6pm
School Kalembakam

No of Scenes
No of Shots
Per Unit
Amount

Nos

1
2
1
1
5
750

Food & Refreshments


Equipment
Slider With Head
Stand
Total
Master Rudhran
Custodian
Costumes
White Shirt
Total

Total

1
2

200

200

2
100

Transportation
Cab
Grand Total

1200
2250

75

Day: 03 (13-2-2015)
Call Sheet
Location
Particulars
Crew
Direction Team
Camera Team
Aroul
Ram
Sanjay
Master Rudhran
Master Rudhran
Custodian
Make-up Man
Lightmen
Generator Operators
Crane Operators
Total

9am-6pm
MGR Film Inst

No of Scenes
No of Shots
Per Unit
Amount

Nos

3
5
1
1
1
1
1
2
5
3
6
29
5700

Food & Refreshments


Lightmen Batta
Make-up Man Batta
Master Rudhran
Custodian
Costumes
White Shirt
Red Tie
Military Uniform
Total

Total

1
1

550
2500

550
2500

200

200

2
2
3
450

Transportation
City Rider
Tempo (CRANE)
Grand Total

3500
1650
14550

76

Day: 04 (14-2-2015)
Call Sheet
Location
Particulars
Crew
Direction Team
Camera Team
Aroul
Ram
Sanjay
Master Rudhran
Master Rudhran Custodian
Lightmen
Generator Operators
Crane Operators
Total
Food & Refreshments
Artist
Aroul
Ram
Sanjay
Master Rudhran
Lightmen Bata
Properties
Strecher
Hospital Name Plates
First Aid Box
Wrist Band
Strecher Board
Canvas Sheet
Total
Costumes
Blue Bed Sheet
White Bed Sheet
White Shirt
Red Tie
Tugs
Total
Transportation
Tempo
Auto
Music Composing
Grand Total

2pm-10pm
LVP LAB

No of Scenes
No of Shots

Nos

Per Unit
Amount

Total

3
5
1
1
1
1
1
5
3
6
27
1955

550

7500
3000
3000
4000
550

1700
2
1
2
2
3
1250
2
2

400
50

77

800
100
6500
30355

5.1.2. Cash Inflow


Sl. No
1
2
3
5
7
8

Name
Vinayak
Vinayak
Vinayak
Vinayak
Vinayak
Vinayak

Date
05-02-15
09-02-15
10-02-15
12-02-15
13-02-15
14-02-15

Total

Amt
10000
6000
10000
5000
12000
8000
51000

78

5.2.

AD Film Budget

PARTICULARS
Food
Light Men

NOS

DAYS

PER CALLSHEET

3+2

23, 24, 25
23, 24, 25

550

ACTUAL
AMT.
5950
2750

1
1
1
1
1
1

23
24, 25
25
24
25
24

Total
Total
Total
Total
Total
Total

4000
1500
750
100
750
200

23, 24
25

2000
Total

23,24
23,25

total
total

4000
2490
250
150
3200
300
26390

Cast
Daisy
Karthik
Sai Kishore
Vegtable seller
Gril
Grandma
Diesel
call taxi
sticker
Props
Par light
Costumes
TOTAL

79

5.2.1. Daily Expenses


Day: 01 (23-2-2015)
SL. NO
1
2
3
4
5
6
7
8
9
10
11
13
14
15
16

DISCRIPTION
Lunch + Breakfast
Biscuits
Tea
Water
Petrol Omni + Aulto
2 Light Man
Diseal
Biryani
Breakfast
Anten
Cool Drinks
Sticker
Bread For Daisy
Daisy
Cig
TOTAL

AMOUNT
1750
40
200
80
700
1100
2280
205
200
250
145
250
50
4000
200
11450

80

Day: 02 (24-2-2015)
SL. NO
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17

DISCRIPTION
Auto
Color Paper
Police Writter
Police Incharge
Police Patrol
Police 100 Complaint
Lunch
Diseal
Wire
AE
Water
Karthik
Dinner
Light Man
Tea
Vegtable Seller
Grandma

AMOUNT
250
60
400
400
2000
500
700
1984
118
50
250
500
800
1100
560
100
200

TOTAL

9972

81

Day: 03 (25-2-2015)
SL. NO
1
2
3
4
5
6
7
8
9
10

DISCRIPTION
Call Taxi
Lunch
Tea
Chanti Props
Light Man
Paar Light
Water
Girl
Saikishore
Karthik

AMOUNT
690
600
470
150
550
3200
100
750
750
1000

TOTAL

8260

82

5.2.2. Cash Inflow


SL. NO
1
2
3
4
5
Total

NAME

DATE

Shrungar
Bindu mam
Shrungar
Bindu mam
Dugha

23-02-15
23-02-15
24-02-15
24-02-15
25-02-15

83

AMT
13000
2000
10000
2000
1000
28000

5.3.

Short Film "Purusartha" Budget


Particulars
Production

Nos

Days

Director

24, 25, 27, 28, 04

Cinematographer
Assistants
Food
Light Men Batta
Focus Puller
Generator Operator
Travel Batta Light Man
Travel Generator Operator
Travel Batta Focus Puller
Production Asst
Make Up Artist
Hair Dresser
Costumer
Cast
Anuradha Krishnamurthy
Ganapathy
Vaishnavi
Baby Haremithra
Santhama
Extras

1
1

24, 25, 27, 28, 04


24, 25, 27, 28, 04
24, 25, 27, 28, 04

Equipments

L E D Light
Generator 6 KV
Cennon Lens, Atmos Ext
Rec
Transport
Location
House/Int
Baba Shoot House
Props Purchased
Shoes
Total
Props Rented
Chanti's Prop
Hospital Set-Up
Total
Costumes
Total

12

Per Callsheet

Actual Amt.

550
1500
600
550
600
1500
550
2500
1500
1200

22075
6600
6000
3000
1650
600
1500
1100
10000
3000
2400

1
3
1
1
3
1
1
1

25, 27, 28, 04


24, 25, 27, 28, 04
25
25
25
24
24, 27, 28, 04
27, 28
24, 04

1
1
1
1
1
24

27, 28
24, 25, 27, 28, 04
24, 25, 27, 28, 04
24, 27, 28, 04
24
24, 27, 28, 04

Total
Total
Total
Total
Total

12000
12000
10000
15000
1500
16750

No.

Dates Required

Specifications

Act. Amt

25, 27, 28, 04

1200

6100
4800

24, 25, 27, 28, 04

24, 25, 27, 28, 04

Total

12102

27, 28
24

Vadapalani
Nerkundram
-

11000
8500

6
1

28

1200
4000

24, 27, 28, 04


24, 04

3500
6500
2212
3500
188589

24, 27, 28, 04

84

5.3.1. Daily Expenses


Day: 01 (24-4-2015)
Call Sheet
Location
Particulars
Crew
Direction Team
Camera Team
Ganapathi
Vaishnavi
Baby Haremithra
Santhama
Extras
Light men
Costumer
Make-up Artist
Set Assistant
Production Guy
Total

9am-6pm
Baba Shoot
House
Per Unit
Amount

Nos
2
3
1
1
1
1
16
4
1
1
1
3
35

Total

2500
1500
7300
2200
1200
650
1950

Food & Refreshments

8865

Battery For Boom Mic

369

Location Rental
House

8500

Props
House Props From
Chanti
Hospital Equipment
Sign Boards
ID Card Print
Hospital Props
Costumes
Nurse Dress
Doctors Coat

1800
1500
2100
1100

6
1

900
150

Transportation
Cab
Tata ACE
Grand Total

1290
1000
44874

85

Day: 02 (25-4-2015)
Call Sheet
Location
Particulars
Crew
Direction Team
Camera Team
Ganapathi
Focus Puller
Generator Operator
Light men
Make-up Artist
Total

9am-6pm
Hindustan University
Per Unit
Amount

Nos

Total

2
3
1
1
1
3
1
12

Food &
Refreshments

3213

Focus Puller Batta


Light men Batta
Petrol For Gen
Gen Operator Batta
Gen Rent

1500
1650
1100
650
1200

550

Location Rental
Hindustan
Housekeeping

1000

Transportation
City Rider
Cab
Tata ACE
Grand Total

4400
1000
2500
18213

86

Day: 03 (27-4-2015)
Call Sheet
Location
Particulars
Crew
Direction Team
Camera Team
Ganapathi
Vaishnavi
Baby Haremithra
Anuradha
Anuradha's Assist
Make-up Artist
Hair Dresser
Total

9am-6pm
Bloom Nest,
Vadapalani
Nos

Per Unit Amount

2
3
1
1
1
1
1
1
1
12

Total

2500
5000
500
1500

Food & Refreshments

4390

Gen Rent
Gen Petrol

1200
1100

Location Rental
House

5500

Props
House Props From
Chanti

900

Transportation
Cab
Tata ACE
Grand Total

520
600
23710

87

Day: 04 (28-4-2015)
Call Sheet
Location
Particulars
Crew
Direction Team
Camera Team
Ganapathi
Vaishnavi
Baby Haremithra
Anuradha
Anuradha's Assist
Extras
Make-up Artist
Hair Dresser
Focus Puller
Generator Operator
Light man
Total

9am-9pm
Bloom Nest,
Vadapalani
Nos

Per Unit Amount

2
3
1
1
1
1
1
3
1
1
1
1
3
20

2 call sheet * 2500

2 call sheet * 1500


1 call sheet * 650
1 call sheet * 550

Total

5000
5000
500
1500
1500
3000
650
1650

Food &
Refreshments

5330

Gen Rent
Gen Petrol

1200
1100

Location Rental
House

5500

Props
House Props From
Chanti
Costumes
Male Nurse Dress
Security Dress
Vesti
Shoe for the kid

900

2
1
2
1

300
250
400
522

Transportation
Auto
Tata ACE
Grand Total

440
600
35342

88

Day: 05 (04-5-2015)
Call Sheet
Location
Particulars
Crew
Direction Team
Camera Team
Aroul
Ganapathi
Vaishnavi
Baby Haremithra
Extras
Make-up Artist
Focus Puller
Generator Operator
Agent Batta
Light man
Total

2pm-9pm
LVP LAB
Nos

Per Unit Amount

2
3
1
1
1
1
15
1
1
1
1
3
31

Total

2500

3 call sheet *2500

2 call sheet * 300

7500
7500
1500
650
600
1650

720

Food & Refreshments


Gen Rent

1200

Props
Props From Chanti
Hospital Props

900
5300

Costumes
Male Nurse Dress
Doctors coat
Shoes
School Uniforms

5
1
5
6 Pairs

1000
100
1200
1200

Transportation
Auto
Share Auto
Tata ACE
Grand Total

120
1200
3000
37840

89

5.3.2. Cash Inflow


Sl. No
1
2
3
5
7
8
9
10
11
12
13

Name
Vinayak
Vinayak
Vinayak
Vinayak
Vinayak
Bargava
Vinayak
Vinayak
Vinayak
Vinayak
Vinayak

Date
20-04-15
23-04-15
24-04-15
25-04-15
27-04-15
27-04-15
28-04-15
29-04-15
02-05-15
03-05-15
04-05-15

Total

Amt
4000
20000
30000
14500
5000
5000
30000
11000
3550
3550
26500

153100

90

Bibliography
Honthaner light Eve.,The complete Film Production Handbook, Focal Press,
New York,
C. B. Gupta., Management theory and Practices, sultan chand& sons, Delhi,
2012.
Kotler Philip & Keller Kevin Lan., Marketing Management, PHI Learning
Private Limited, Delhi, 2009.
R. Cooper Donald, S. Schindler Pamela & Sharma J.K., Business Research
Methods, McGraw Hill Education (India) Private Limited, Delhi, 2012.
FICCI-KPMG Indian Media and Entertainment Industry Report 2014.
http://www.filmland.com/glossary/Dictionary.html#A
http://www.filmcontracts.net/
http://www.scriptmag.com/features/write-direct-repeat-working-with-lineproducers-interview

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