SYNOPSIS / DISSERTATION 1

COMPREHENSION OF THE PROCESS OF FILM MAKING,

SET DESIGN AND ASSOCIATED SPACES
-INTRODUCTION OF THE CONCEPT OF VERTICAL FILM TOWER-

M. BHAVAN SAI MEHAR; 1150100530; Vth YEAR; A-Section

School of Planning & Architecture, Vijayawada.

SYNOPSIS / DISSERTATION 2

INTRODUCTION:

Today's moving image is the world's largest medium of speech ever recognized. It is capable of
providing life and shape to all thoughts, both practical and emotional. It is limited to human imagination.
The film has emerged as one of the most influential and powerful art forms of our age. As there were great
books, now there are great films. Film making is a complete team effort which involves many aspects. A
good film is a perfect blend of aesthetics and technology. Architecture refines Cinema and makes it more
adaptive & realistic.
A film city is an integrated film studio complex with not just film making facilities
but also customer services, technical, production, support & infrastructure attracting the attention of top film-
makers, production houses & leading multinational advertising agencies.

NEED FOR STUDY:

A film is not only a powerful communication media but also a platform on which a large percentage
of livelihoods depend. The study is required not just to improvise the quality of the films, but also to develop
the existing Film City structure and functions that is spread across a vast area.

AIM:
To derive and develop spatial requirements that could be provided in Vertical Film Tower, through
proper understanding of the process of film & it’s making.

OBJECTIVES:
1. Identify the key mistakes happening in the process of laying sets that reflects in the loss of quality
and quantity.
2. Identify the role and functioning of each department in the process of film-making.
3. To understand the structure and functioning of Film City and Studios.
4. To identify spatial requirements of a Film City and Studio.
5. To bring more innovative style in dealing with the film production design.
6. If time permits, to introduce motion animation technology in Film Tower.

SCOPE & LIMITATIONS:

To come up with a set of new film-making methods and structural facilities to compete with
international platforms. The focus will be limited to various spatial requirements with an emphasis and proper
understandings on Film and City. Any technical details regarding areas and structural details will be dealt in
thesis.
SYNOPSIS / DISSERTATION 3

METHODOLOGY:

LITERATURE STUDY:

I. History – (INTERNATIONAL)
By the 1800's humans had discovered photography, projection and motion. We just hadn't put them together.
It all began with a bet. An Englishman, Edward Muybridge, had to settle a $25k bet in 1878. He thought a
running horse had all four feet above the ground, but others said it was impossible. The issue was that a
running horse moving too quickly cannot be seen by naked eye. It was necessary to settle the bet by providing
a strong evidence. An experiment was set up in an attempt to resolve the problem once and for all in which
a fast sequence of pictures of a running horse was taken. When the images were created, it was discovered
that for a split-second the horse actually had all four feet off the floor. Why is that important?
They discovered something else in doing this experiment something that becomes apparent from the
horse's illustrations. That finding would quickly make it look like a pocket change for $25,000. When
viewing at certain time frames, a series of still pictures of a
moving object was created by illusion of movement.
The Phi Phenomenon describes the transition between
pictures which is illusion that is created while viewing
a sequence of slightly distinct still pictures in fast succession.
Persistence of Vision is the phenomenon that explains why the
intervals between the consecutive pictures merge into one
picture as our eyes hold one picture long enough for the next
one to take its place. This makes the transition to be so less that Figure 1- . This is real Muybridge's actual
horse photos taken.
our human eye could not notice.
SYNOPSIS / DISSERTATION 4

History - (NATIONAL)
Beginning of Indian Films –
Father of Indian Cinema, Dadasaheb Phalke released the first ever full-length feature film ‘Raja
Harishchandra’ in 1913. The silent film was a commercial success. Dadasaheb was not only the producer but
was also the director, writer, cameraman, editor, make-up artist and art director. Raja Harischandra was the
first-ever Indian film which was screened in London in 1914. Though Indian Cinema’s first mogul,
Dadasaheb Phalke supervised and managed the production of twenty three films from 1913 to 1918, the
initial growth of the Indian Film Industry was not as fast as that of Hollywood. Numerous new production
companies emerged in the early 1920s. Films based on mythological and historical facts and episodes from
Mahabharata and Ramayana dominated the 20’s.

II. Evolution of Indian Films -

Growth of Regional films-
Not only did the country witness the growth of Hindi Cinema, but the regional film industry also made its
own mark. The first Bengali feature film ‘Nal Damyanti’ in 1917 was produced by J.F. Madan with Italian
actors in the leading roles. It was photographed by Jyotish Sarkar. The year 1919 saw the screening of the
first silent South Indian feature film named ‘Keechaka Vadham’. The movie was made by R. Nataraja
Mudaliar of Madras (Chennai). Dadasaheb Phalke’s daughter Manadakini was the first female child star
who acted as the child Krishna in Phalke’s ‘Kaliya Mardan’ in 1919. ‘Kalidass’ was the first Tamil talkie
which was released in Madras on 31 October 1931 and directed by H.M. Reddy. Apart from Bengali and
South Indian languages, regional films were also made in other languages such as Assamese, Oriya,
Punjabi, Marathi, and many more.

Beginning of Talkies–
The first ever talkie ‘Alam Ara’ by Ardeshir Irani was screened in Bombay on 14 March 1931. It was the
first sound film in India. The release of Alam Ara started a new era in the history of Indian Cinema. Phiroz
Shah was the first music director of Alam Ara. The first song which was recorded for Alam Ara in 1931.
Thereafter, several production companies emerged leading to an increase in the release of the number of
films. 328 films were made in 1931 as compared to 108 in 1927. During this time, huge movie halls were
built and there was a significant growth in the number of audiences.

Birth of New Era–

The number of films being produced saw a brief decline during the World War II. Basically the birth of
modern Indian Film industry took place around 1947. The period witnessed a remarkable and outstanding
transformation of the film industry. Notable filmmakers like Satyajit Ray made movies which focused on
the survival and daily miseries of the lower class. The historical and mythological subjects took a back seat
and the films with social messages began to dominate the industry. These films were based on themes such
as prostitution, dowry, polygamy and other malpractices which were prevalent in our society. In the 1960s
new directors focused on the real problems of the common man. They directed some outstanding movies
which enabled the Indian film industry to carve a niche in the International film scenario. The 1950s and
SYNOPSIS / DISSERTATION 5

1960s are considered to be the golden age in the history of the Indian cinema. Songs are an integral part of
Indian movies. Presence of songs has given Indian films a distinctive look as compared to international
films.

III. Film Industry –

The film industry, comprises the technological and commercial institutions of filmmaking, i.e., film
production companies, film studios, cinematography, animation, screenwriting, pre-production, post
production, film festivals, distribution and actors, film directors and other film crew personnel. Though the
expense involved in making films almost immediately led film production to concentrate outside the film
industry itself, this had allowed independent film production to evolve.
Indian Film Industry –
India is the largest producer of films in the world and second oldest film industry in the world which
originated about 105 years ago. India is the largest film producing industry in the world and its cinema is
becoming increasingly popular in various countries around the globe. It is a powerful medium that provides
entertaining information on history, civilization, variety of cultures, religions, socio-economics and politics
in various regional languages. More and more people, irrespective of their ethnicity, watch films in many
parts of the world, thereby creating the need to promote the industry.
Overview –
o India is the 5th largest film market in the world – generated $1.6 billion of theatrical revenue,
contributing 4% to worldwide theatrical revenue in 2015.
o The Indian film industry is vibrant, with almost double the number of movies produced in the US. Also,
nearly 80% of the films produced in India are in more than 20 regional languages.
o The film industry in India is very fragmented with hundreds of film production studios in India – many
of them owned by film celebrities. In contrast, top six studios in the US generate more than 80% of
box-office receipts. Hollywood studios such as Fox, Viacom and Disney have their co-
production and distribution arms in India.
o Low investments in high-quality scripts and star-centric films have limited the international appeal of
Indian films. However, that is changing fast, allowing Indian film-makers to provide strong content
driven films, which enjoy better international appeal.

Figure 2- Box Office Comparative Analysis of US and Indian Major Film Production
SYNOPSIS / DISSERTATION 6

IV. 7 Stages of Film-Production –

 Development: The start of a project varies, but generally will begin with development of a script, be
that an existing script, a book, a brief story outline. Development may also start with a Director
and/or Writer pitching an idea to a Producer.
 Pre-Production: This is the phase where you would narrow down the options of the production. It is
where all the planning takes place before the camera rolls and sets the overall vision of the project.
Pre-production also includes working out the shoot location and casting. The Producer will now
hire a Line Manager or Production Manager to create the schedule and budget for the film.
 Production: During this phase it is key to keep planning ahead of the daily shoot. The primary aim
is to stick to the budget and schedule, this requires constant vigilance. Communication is key
between locations, set, office, Production Company, distributors - in short, all parties involved.
 Principle Photography: This is when the camera rolls. It is nearly always the most expensive phase
of film production, due to actor, director, and set crew salaries, as well as the costs of certain shots,
props, and on-set special effects. Everything that has happened up to this point is to make principal
photography go as smoothly and efficiently as possible. Communication between all parties is
crucial during the shoot and the production must maintain a full set of records and strive to remain
on time and on budget.
 Wrap: This is the exact time right after the shoot finishes. Everything hired, build, brought are all
given back, strike with well-maintained records.
 Post-Production: This stage starts after or before the Principle Photography ends. Editing is done
here. All the finished shots are taken to the editing lab and many process like VFX, Coloring, D.I,
Music etc. will be done here.
 Distribution: After the film gets completed, they distribute. Producers get their spent money in this
way. Distributors but the film for a particular time and period for amount fixed by producer. Later
the film gets a theatrical release all over the country and will also stream in online services like
Netflix, Amazon Prime, etc.

V. Crafts Involved in Film Making -

 Direction Department: The direction department involves a team of assistant directors, associate
directors lead by a main director. The direction department is responsible for the whole making of
the film. Director must handle all the people of all the other crafts and make them to work and
extract what he wants from them.
 Cinematography: Camera department plays a very crucial role in the making of a film. Without the
best quality in the camera work, any movie would be dull to look. Even if the direction part and the
script work is too good, if the camera work is not done well, the project may not be perfect to look
and the viewer can't enjoy it. Cinematography is next to the direction team.
 Stunt Direction: Stunt direction involves the fights in the movie. If the fights are properly composed
and directed, the action sequences of the movie will add a plus point. Especially in action films, the
role of stunt direction will be really high. This department even includes the stunt artists.
 Choreography: Choreography is nothing but composing dance for the songs. Music plays an
important role in the film. Good songs in the films are the best assets for the movie. They really lifts
SYNOPSIS / DISSERTATION 7

up the expectations of the project. But, if those songs are not choreographed well, it ultimately leads
to the audience disappointment. Choreography team includes assistant choreographers and dancers.
 Art Direction: The glamour of the film is entirely dependent on the work of the Art department. Art
direction is responsible for the set designing, the colors of the location etc. This department must
have a very close understanding with the director to meet his ideology.
 Music: Music is the heart of the film. This team includes instrument players lead by a music
director composing songs and music for the film according to the taste of the director and the
situations of the film.
 Editing: Editing is the most important task in the post production. All the rushes which were shot
will be sent to the editing studio for cutting, joining, color grading and VFX works (VFX means the
visual effects which includes special effects, graphics, wire removing etc.). This is the key factor of
the movie in technical side.
 Cast: This is the on screen section. The director or the cast director first chooses the cast/actors for
all the characters of the movie. Cast includes all the main starring of the film like hero, heroine and
character artists.
 Dubbing Artist: All the artists may not say their own dubbing. So, dubbing artists give their voice in
substitute with the character's voice in the film.
 Photography (Still): Still photography is another important factor. For the film promotion, different
types of promotional items like posters, images will be used. Still photography performs this task.
 Script: Script is the real hero of the film. This is the initiative step for the entire project. All the
departments will work according to the requirements of the script. If the script is not written
properly, all the cost and hard work of the entire team may be in vein.
 Production Executive: This is the capital section. Producer puts the money for the film and he also
supervises the making at each and every step. He is the soul responsible for the loss or gain of the
revenue for the film.
 Makeup: Makeup men works their level best in designing and modulating appearance of the cast
and crew in such a way that they suits best for their character in front of camera.
 Costume Designing: They designs and prepares clothing for the cast. Generally, an efficient film
production uses the best designers who are particularly trained in this fashion designing field for
designing the dresses for the cast.
 Publicity Designing: Publicity plays a very peak role in the bringing the movie before the audience.
This field in turn have number of peoples like poster designers, publishers, online promoters etc.
 Audiography: It involves 3 sections. They are dubbing, re-recording and sound effects. The music
director and the sound engineer works together for this task in order to get the best output which
carries the involvement of audience from starting to the end.
 Outdoor Light men: This outdoor unit involves number of men for the arrangement of lights and
their equipment. This involves a lot of men and machinery work.
 Studio Workers: Studio works are the people who work manually under the guidance of the art
director. This wing involves the molders, painters, carpenters, electricians etc.
 Production Assistance: These involves the set boys who work as the helpers in various wings. They
does all the tiny works which is helpful for the set. They are also called as set assistants.
 Cinema Drivers: They are the vehicle operators who also looks after the generators and the other
equipment in the shooting van.
 Junior Artist Agent: They are also known as coordinators. They contains the contacts of junior
artists. If a production requires any number of artists, these coordinators will arrange those many
number of artists to that production.
SYNOPSIS / DISSERTATION 8

 Technical unit: These involves all the other people who works for outdoor shooting like electricians,
camera assistants, security etc.
 Production Women: They are also known as cleaners. They perform all the cleaning tasks in the sets.
 Junior Artist: Apart from the main cast of the film, all the other artists who appear on the screen are
the junior artists. They don't have much weight in the film. They appears for hardly few scenes of the
film and that too without any specific importance with the story.

VI. Set Design –

It is the creation of theatrical, television and film scenery. It mainly deals with the physical appearance of
the frame. It reflects the way the props, actors, shapes and colors composed artistically. Set of good
principles of design should be visually appealing for the audience to gain their interest.

Designing a Set:
 Storyline – (Concept & Narrative)
Time Setting: The era or year the story takes place. This is very important since this can be greatly
influenced by the type of equipment and costumes that are present during that time that should be present
in the set.
Geographical Setting: The place/venue where the story takes place. The geographical location of the story
has a great impact on how the set would look, starting from certain elements present to project the
atmosphere of the place.
Characters: These are 3d and must be presented through ‘image’ that can be perceived by the audience.
The 3d of the character involves:
- The background of the character that involves/includes the family background, nationality, etc.
- The foreground, which is the physical make-up of the character.
- The middle ground which is the character’s real self or personality.
 Mise-en-scene –
It is a French term and originates in the theater. It means, literally “put in the scene”. It is concerned with
what should be present in the scene which is mainly includes the props, costumes and prosthetics.
Properties: Smaller props are referred to as ‘hand props’. Larger props may also be set decoration. The
difference between a set decoration and a prop is ‘Use’. If the item is not touched by a performer for any
reason, it is simply a set decoration and if it touched according to the script act, it is a prop.
Costumes: A style of dress including garments, accessories and hair-style especially as characteristic of a
particular country, period or people.
Prosthetic/Make-up: It is the use of using prosthetic sculpting, molding and casting techniques to create
advanced cosmetic effects. While make-up is used to alter the users appearance to portray a particular
character.
 Composition –
It is the placement or arrangement of visual elements or ingredients in a work of art or a photograph as
distinct from the subject of work. It can also be thought of as organization of elements of art according to
SYNOPSIS / DISSERTATION 9

the principles of art. In the visual arts, composition is often used interchangeably with various terms such
as design, form, visual ordering or formal structure depending on the context.
Elements of Design:
- Line: The visual path that enables the eye to move within the frame. Movement is a source of line
and blur can also create a reaction. Subject lines by means of illusions contribute to both mood and
linear perspective, giving the illusion of depth. Oblique lines convey a sense of movement and
angular lines convey a sense of dynamism and possibly tension. Lines can also direct attention
towards the main subject of picture or contribute to organization by dividing it into compartments.
- Shape: Areas defined by edges within the frame, whether geometric or organic.
- Color: Hues with their highest values and intensities. It is characterized by attributes such as hue,
brightness and saturation. Colors have been associated with different moods dependent on the
society of the time. For example, white has long meanings such as purity, whereas it can also take
slightly different meanings such as peace or innocence. However, in some places it signifies death.
- Texture: It is all about visual quality. It can be real or implied by different use of media. It is the
degree of roughness or smoothness in objects.
- Form: It is a 3d object having volume and thickness. It is the illusion of a 3d effect that can be
implied with the use of light and shading techniques. Form can be viewed from many angles.
- Value: It is the degree of light and dark in a design. It is the contrast between black and white and
all the tones in between. It can be used with color as well as black and white. Contrast is the
extreme changes between values.

Practical Guidelines in Set Design –

- Time Frame: When a dead line is given, one should always take into consideration how much time
one has to be able to bring the set together.
- Budget: This is an essential key in designing a set. Budget determines how much can be purchased
for the set. This gives the liberty as well as limitation for the designer to choose the materials that
will be a part of the set.
- Availability: It is must to check the availability of the materials that should be present in the set. Ex-
If needed a vintage car to complete the vintage look of the set, one must check first if there are any
available models on car rentals.
- Alternatives: If the material that is required is not available, one can always find other ways or
alternatives to back-up the set. The key here is to be resourceful to find other means to recreate the
material the material through other stuff whether through reconstruction or ‘Chroma’. The use of
computer graphic imagery that is projected on the screens.

Aspects of Film Set Construction:

- Production designer along with directors and cinematographer work together to establish color
palettes, texture, lighting and composition for the storyboard that is given by the direction
department.
SYNOPSIS / DISSERTATION 10

- If a frame has lighter colors, it implies light, happy mood. Flat and gray colors create lifeless, sterile
atmosphere.
- Art Director along with a team of draftsman who act as architects of the film sets work on
software’s to create a 3d blueprints of final structures.
- Construction Manager starts hiring carpenters, painters, plasters, riggers, model makers, scenic
artists who will build the film set. This is where artistic vision meets wood, nails and concrete.
- The largest department that works on a film, Art department, it is their responsibility to build set
according to director’s vision.
- After the basic structure of a set is built, it needs to be dressed. The set dresser or set decorator is
responsible for the furniture, wallpaper, carpet, appliances, the paintings hanging on the wall, the
upright piano in the corner -- literally every object on the set. Set dressers need to have a talent for
fashion and interior design, but also the ability to find objects that say something about a character
and contribute to the story.
- The budget also influences the amount of special effects that are used in a movie. In the newest
"Star Wars" trilogy, for example, the production designer decided it would be cheaper -- and more
visually powerful -- to build scale models of some alien worlds instead of creating them entirely
with computers.
- In the movie "The Last Samurai," on the other hand, the script includes a scene where the main
character walks out of a bar and onto the streets of 19th-century San Francisco. The production
designer knew it would be too expensive to build a large-scale replica of the historic San Francisco
skyline, so he shot the scene with a green screen and filled in the background with a digital matte
painting.

How to build Sets:

- They are built safely and temporarily that look very good in films but are torn out wood structures.
- The looks like concrete, brick or plaster are actually painted flats supported by wood braces and
sandbags.
- The use of a temporary set over real set is that it gives more degree of control of the walls, interiors,
elements, colors, etc.
- Flats are constructed out of thin wood panels.
- They are placed next to each other that acts as support to each other.
- Then they are painted, textured as per the required script.
- Lauan- A quarter-inch skinned plywood surface which is actually door skin is used as materials for
building walls and is so called Flats. Generally, they are of 4’/10’. Rails, Side-pieces, top-bottom
caps along with toggles at the center are used for supports which make them strong when placed
one flat over another which acts as real walls.
- To make one 4’/10’ flat-
o 1 4’/10' sheet of Masonite.
o 5 pieces of 1"/3"/8' wood for the frame.
o 1 4’/10' sheet of plywood for the jack, or base.
SYNOPSIS / DISSERTATION 11

o Wood glue and a box of 1.5" nails.

- Problem with flats are that they are flat. It is easy to build a wall then to add dimension to a bunch
of flats to look like wall.
- Rectangle rooms are boring to look in sets. So, architectural elements like soffits, header over the
roof, pipes running, etc. are added.

Illustrations showing how to construct flats-

SYNOPSIS / DISSERTATION 12

Film City –
A Film City is a studio complex that provides all the facilities required for film making to movie producers
across the globe, including providing the flexibility to use the outdoor spaces for shooting purposes easily.

Why is it Important?
Enhancement of local film production: Economic activities stimulated by film productions result in tax
revenues for local or State Governments. The taxes collected by Central, State and local governments
increase with higher film productions in the region. Economic activities stimulated by film productions
result in tax revenues for local or State Governments. The taxes collected by Central, State and local
governments increase with higher film productions in the region.
Creation of employment: International/large film productions rely on local labor which helps boost
employment opportunities and incomes.
Increased revenues for the Government: Economic activities stimulated by film productions result in tax
revenues for local or State Governments. The taxes collected by Central, State and local governments
increase with higher film productions in the region.
Boost to the Tourism Industry: Films shot at host locations introduce the audience to the country’s diversity
and exotic locations, hence, attract tourists. The host location is expected to gain visibility due to film
production and associated publicity generated from it.
SYNOPSIS / DISSERTATION 13

Benefit to the allied industries: Film production creates additional production activity and a sustainable
market place in the local economy, resulting in the development of allied industries such as post
production, travel, hospitality, catering, etc.
Technological/Cultural exchange: Facilitates collaborations between local and foreign enterprises and
expose local production units/ crews to global standards of production practices. Exposes filmmakers to
diverse cultures and nationalities Encourages knowledge-sharing of latest film-making techniques.
Development of film city:
Pre-production Services:
Meeting Rooms
- Writers
- Composers
- Editors
- Cinematographers
- Directors
Workshop Halls
Talent Rooms
Preview Theatre
Production Services:
Equipment- Props & Costumes, Lighting, Camera & Grip
Trained technicians - (Staff, junior artists/Production Crew)
Accommodation
Craft Services
Transport
Set Design & Construction
Support Facilities
Shooting zones-
Zones for shooting television programmes and reality shows. Special tours and mock shooting sessions
would be conducted demonstrating how films are made with modern technology.
Backlots-
Backlots that can accommodate massive standing sets. These sets are changed according to the need of the
script and the demand of the film maker.
Artificial Sets-
Airport set, Rural and Urban Railway Station, Medieval court halls, Administrative Building set, Colle ge
facade, Court facade, Police facade and Municipality front, Caves, Temples, Dense forests, Hills, Dams,
Fountains, Artificially created water bodies, Paddy fields, Helipads, Rail-tracks, Straight and Curved
Roads, Landscaped gardens.
Post - Production Services:
Screen Rooms
Off-line and On-line Editing
Still Imaging: feature production unit
Stills, Raw file processing and proofs
Editorial: Visual Effects, Versioning
SYNOPSIS / DISSERTATION 14

Transcoding
Quality Control
Video Duplication
Encoding & Distribution: MPEG, AVI Audio
Recording/Mixing/Re-recording Studios
ADR / Post-production Studios
Optical Transfer Facility
Sound Effects Studio
Service Facilities:
Services-
Water and Power Plant, CCTV, Wi-Fi Plant, drainage, water harvesting, drinking water, waste
management systems, micro irrigation system network, solar lighting etc.
Other infrastructure including toilet blocks, Internet cafe. Tourism help desk; tourist facilitation centre,
information centre, interpretation centre; food counters, caravan bays
Departmental store to make available shooting material property on hire base (set property, table, chairs,
electric fans & sockets, furniture, musical instruments). State of art entry, infrastructure for movement of
all age of people, help centres, medical help centres, relaxing places. Parking lot for minimum 150 cars,
200 bikes and 10-15 buses.

CASE STUDY:
 FILM STUDIOS:
1. Ramoji Film City, Hyderabad. (Live Case Study)
 Introduction –
Ramoji Film City (RFC) is the world’s largest integrated film studio complex at over 2000 acres of
land studded with hills and lakes, has few parallels as both a tourist attraction and major film-
making facility. Today, it is the filmmakers’ first choice as it is a single-window, press-button
facility that opens up an unlimited arena of creativity for every major and minor aspect of film
production. It is also a popular tourism and recreation center, containing both natural and artificial
attractions including an amusement park.
 Location –
It is situated near Hayathnagar and Peddamberpet on Hyderabad- Vijayawada highway, NH9 about 25 km
south-east of Hyderabad. The outer ring road phase 2 has acquired lands at the entrance and is set to
intersect the city.
 Studio Features –
o Ramoji Film City offers Production and Post Production resources. It offers over 500 set locations.
There are many gardens, authentic sets, about 50 studio floors, a digital film facility, the support
systems, outdoor locations, high-tech laboratories, etc.
SYNOPSIS / DISSERTATION 15

o The film city’s infrastructure includes custom-designed locations & mock-ups, set construction,
properties & costumes, shooting stages, cameras and equipment, audio post-production, digital-
post- production / SFX as well as film processing.
o RFC offers comprehensive production services facilities for film and television productions. It also
offers state- of- the- art post-production facilities for both film and television projects. Rainbow,
RFC’s fully automated world- class film lab, processes both color and black-&-white films. The air-
conditioned, dust- free lab is equipped with the state- of- the- art submerged processors and the
latest BHP printers with wet gate.

BIBLIOGRAPHY:
o "Art Department Overview." Skillset.org. (http://www.skillset.org/film/jobs/productiondesign/article_4644_1.asp)
o "Art Direction: The Visual Language of Film." Oscars.org.
(http://www.oscars.org/teachersguide/artdirection/introduction.html)
o "Art Director." Skillset.org.
(http://www.skillset.org/film/jobs/productiondesign/article_4669_1.asp)
o A. Finney, The International Film Business; ‘A Market Guide Beyond Hollywood’.
(New York: Routledge) - 2010.
o "Career: Set Designers." CollegeBoard.com.
(http://www.collegeboard.com/csearch/majors_careers/profiles/careers/105457.html)
o "Construction Department Overview." Skillset.org.
(http://www.skillset.org/film/jobs/construction/article_1776_1.asp)
o "Construction Manager." Skillset.org. http://www.skillset.org/film/jobs/construction/article_4060_1.asp
o Castor, ‘The Cost of Making a Hollywood Movie’. (http://www.anomalousmaterial.com/movies/2010/03/the-cost-of-
making-a-hollywood-movie/) - 2012.
o China.org, Hengdian World Studios, where history meets modernity.
(http://www.china.org.cn/travel/where_to_go/2008-06/11/content_15741653.htm) - 2001.
o Film City – Prashamsha Malla – 2004
o John M. Grace, I.A.T.S.E, ‘History of Film’ – 2009
o "Oscar-Nominated Set Design." Architectural Digest.
(http://www.architecturaldigest.com/homes/features/2008/03/sets_slideshow_032008?showall=true )
o "Set Decorator/Assistant Set Decorator." Skillset.org.
(http://www.skillset.org/film/jobs/productiondesign/article_4675_1.asp)
o TV Studio History, London’s Independent Studios.
(http://www.tvstudiohistory. co.uk/independent%20studios.htm) - 2011.
o UCLA, Sustainability in the Motion Picture Industry.
(http:// www.environment.ucla.edu/media/files/mpis_report.pdf) - 2014.
o Vindy.com, Area Film Industry Lands Another Production.
(http:// www.vindy.com/news/2011/apr/22/area-film-industry-lands-another-production/?nw) - 2011.
o WN, Hengdian World Studios. (http://wn.com/Hengdian_Movie_Studio) - 2011.