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FILM & TELEVISION INSTITUTE OF INDIA, PUNE.

DIPLOMA COURSES

SYLLABUS

This syllabus has been approved by the Academic Council in its 54th meeting
and by the Governing Council in its 98th meeting held on 16th January, 2003.
FILM & TELEVISION INSTITUTE OF INDIA

Introduction

A comprehensive course in four major discipline of film and television taking


students through basic understanding of media to near professionalism.

The first year of the course is designed to give a feel of all disciplines of
filmmaking and allied subjects through theory and practical. During this learning phase
all students go through the same exercises – it is aptly called a common course. During
this year coordinated exercises help a student to understand filmmaking as a group effort.
Each student assumes the role of crucial crewmember of filmmaking process.

During the second year a student focuses on the chosen area of specialization.
Through lectures, demonstrations and workshops students are helped through a thorough
understanding of their specialization field. Year ending projects during the second year
are at a higher level of sophistication. Each student during this year focuses only on the
area of specialization in exercises and projects.

The third year of the course is mainly devoted to projects. The scope of the projects
is extensive compared to the previous years. The projects are highest in quality giving
opportunity to a student to explore creative areas of their specialisations.
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STRUCTURE OF THE COURSES

FIRST YEAR

WEEK SHORT DESCRIPTION

1- 5 Module One (Theory and practical )


6 - 10 Module Two (Theory and practical)
11 - 15 Module Three (Theory and practical )
16 - 20 Module 4 (Practical only)
21 - 22 Examination
23 - 28 16mm Continuity Exercise / TV Modules
29 - 38 DV Project

Modules have following components-

a) Theory in the morning hours in three modules


b) Practical in the afternoon hours in three modules and whole day in the fourth
module

For practical modules all students will be divided in to 5 groups. These groups
attend practical classes in Direction, Cinematography, Sound, Editing and Media
laboratory by rotation every week, completing one module at the end of 5 weeks.
Four modules will be covered in 20 weeks. Module 4 is covered in week No.16
through 20 and next two weeks ( 21st & 22nd) are for preparation and theory
examinations.

During the weeks 23-28 all students undertake studies in television medium
together alternated with 16mm continuity exercise. All students are divided into two
groups for this purpose. Year-end project is slated in the last 10 weeks.
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SECOND YEAR (General plan)

WEEK SHORT DESCRIPTION

1 - 10 Focus on specialization*
11 – 12 Theory Examination
13 – 18 Dramatic Sequence
19 – 38 Dialogue Film

* Specific details of specialisation topics in each of the disciplines can be seen on first
page of the respective syllabi.

In the second year students are divided in to 4 groups according to their


specialisations. For 10 weeks the focus is in their area of specialisation through
theory/practical/workshops etc. Theory examinations are slated during weeks 11 and 12.
Dramatic sequence is slotted in next 6 weeks i.e. from 13 – 18 while the year-end project
(dialogue film) is slated in the last 20 weeks.

THIRD YEAR

WEEK DESCRIPTION

1-38 Diploma film


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Assessment Scheme – First Year

The assessment in the course will be a continuous one. The students will be
assessed for every unit of work, Television module, coordinated exercises and the year-
end projects.

The assessment for each unit in Direction, Cinematography, Audiography,


Editing and Digital Media studies will be for a maximum of 25 marks based on
application and professional conduct. Maximum score also depends upon the attendance
as per the following formula. A session is considered “attended” if a student is present
for 50% of the module time. Attendance formula is applicable for practical modules
only.

% Attendance Max. Marks

100 25
≥80 20
≥60 15
≥50 10
≤50 NIL(≤60 nil for 5 days’ week)

For Coordinated Exercise

Application 20 marks
Professional Conduct 5 marks

For Year-end Project

Application 20 marks
Professional Conduct 5 marks

Students will be assessed for all the key positions they work in for the
coordinated exercises as well as the year-end projects. Maximum marks for each
discipline/specialization will be 25 for a coordinated exercise and 25 for year ending
project.

In computer applications a maximum of 15 marks will be for each unit of


practical work and 40 for the exercise.
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The weightage for the units of work, year ending projects, coordinated exercises
and TV components etc. will be as under -

Four practical modules 400 marks


Final Theory Examinations 400 marks (see break-up below)
Sessional 200 marks (see break-up below)

Theory examination papers on -

1. Direction 100 marks


2. Sound 100 marks
3. Cinematography 100 marks
4. Editing 100 marks

Sectionals on-

SPW 50 marks
Film Appreciation 100 marks

16mm Coordinated Exercises 100 marks


Television module 100 marks
Computer application Exercise 100 marks (15 x 4 + 40)

DVCAM Year-end Project 200 marks


---------------
2050 marks
---------------
To complete the course successfully, a student is required to get a minimum of
55% aggregate in their chosen area of specialisation and 50% aggregate overall at the end
of the course.

A minimum of 75% attendance is mandatory in theory classes for promotion to


second year.
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Assessment Scheme – Second Year

The assessment for the course will be a continuous one. The student will be
assessed for every unit of practical/workshop/assignments/coordinated exercises and the
year-ending project.

For every unit of completed work, 80% marks will be for the completion of
practical work/assignment, and 20% for professional conduct.

The distribution of marks for the units of work, year ending projects, coordinated
exercises, Television component will be as under –

Practical/workshops 800
Coordinated Exercise Dramatic Sequence 200
Dialogue Exercise 200
Final Theory Examination 200

Sessionals on

Screenplay writing 50
Film appreciation 50
-----
1500***

*** Total may differ from one specialisation to another as the number of
workshops/theory sessions etc. are not the same in each course.

To complete the course successfully a student is required to get a minimum of


55% aggregate at the end of the course.
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Assessment Scheme - Third Year

DIRECTION

Diploma Film 300

CINEMATOGRAPHY

Diploma Film 300

AUDIOGRAPHY

Diploma Film 300

EDITING

Diploma Film 300


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FILM & TELEVISION INSTITUTE OF INDIA

FIRST YEAR COURSE IN FILM AND


TELEVISION

SYLLABUS
2005
9

FIRST YEAR COURSE IN FILM & TELEVISION

Distribution of Time /Theory Subject


_____________________________________________________________

1. Direction 25
2. Cinematography 25
3. Audiography 25
4. Editing 25
5. Screen Writing 30
6. Film Appreciation 54
7. Art Direction 10
8. Production Management 10
9. Music 10
10. Screen Acting 6
11. Computer Applications 10
_____
_230_
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FIRST YEAR COURSE IN FILM & TELEVISION

DIRECTION

DIR 101T

THEORY

25 HRS OVER WEEKS 1-15


________________________________________________________________________

CONTENTS

How films are made

Basics of Screen Grammar -I

The role of film director, its emergence and field of function


How film pictures move, visual perspective.
Elements of composition in static shots
(Image size, camera angles, lenses, camera speed,
lighting, graphics, color, mise-en-scene, montage.

Basics of Screen Grammar - II

Elements of composition in moving shots


(Various types of camera movement)
Director's viewfinder
Sound perspective
Speech, effect sound, music, and silence

Basics of Screen Grammar - III

Match cut, jump cut, other transitions


Master shot and insert, cut-in and cut away,
flash back and flash forward

Basics of Screen Grammar- IV

Concept of filmic continuity and the role of


Imaginary line. Establishing and re-establishing
shots, how to cross the imaginary line without violating it
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ASSESSMENT

Theory Exam: 100 marks

FIRST YEAR COURSE IN FILM & TELEVISION

CINEMATOGRAPHY

CIN 101T

THEORY

25 HRS OVER WEEKS 1-15


________________________________________________________________________

CONTENTS

Basic properties of Light

Rectilinear propagation, absorption, reflection, refraction,


transmission etc., quality of light. Specular and diffused.

Eye, Camera and Perception

Similarities, difference, persistance of vision, binocular vision,


perception of colour, adaptative properties.

Lenses and Image Formation - i

Different types of lenses, image formation, focal length,


f number, magnification, wide and telephoto lenses.

Exposure Meters

Principles, different types. Exposure measurement.

Lenses and Image Formation - II

Perspective, depth of field and depth of focus.

Pictorial Composition

Elements, formats, balance.

Basic principles of Photography


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Emulsion, exposing, processing; various light sources.

Anatomy of a Still Camera

Shutters, types of shutters


Shutter speeds
Viewfinders
Reflex and non-reflex

Familiarization with Digital Technology

Anatomy of Motion Picture Camera

Principles, various basic components and their functions.

Film Processing Laboratory

Organisational structure, equipment, procedures and practices.


Printers-continuous contact, step contact and optical printers

Filters in Photography

Different types, filters on camera, on source, filter factor.

Basic principles of Colour - I

Trichromatic theory of vision; colour adaptation


Primary and complimentary colours.

Basic principles of Colour - II

Additive and subtractive principles of colour photography.

Visual Appreciation (Guest Faculty)

Elements of visual design and composition

ASSESSMENT

Theory Exam: 100 marks


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FIRST YEAR COURSE IN FILM & TELEVISION

AUDIOGRAPHY

AUD 101T

THEORY

25 HRS OVER WEEKS 1-15


________________________________________________________________________

CONTENTS

Parameters of sound quality in film & television productions

Consistency in levels
Sound perspective
consistency of background Sounds
Factors affecting sound quality
Indicators for judging the sound quality

Sound-In-Cinema

Channels of information (speech, music & effects)

Fundamentals of Sound

Understanding sound
Physical aspects of sound
Subjective aspects of Sound

Sound In Television and Films

Reproduction of sound in theatres and home

Audio Production Techniques - I

Pre-production
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Production

Audio Production Techniques - II

Post-production

Audio Production Techniques - III

Present day techniques

Aesthetics Of Sound

Effective use of speech, silence, music & effects


Release film formats
Projection of motion pictures
Signal processing
Different record media

ASSESSMENT

Theory Exam: 100 marks


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FIRST YEAR COURSE IN FILM & TELEVISION

EDITING

ED 101T

THEORY

25 HRS OVER WEEKS 1-15


________________________________________________________________________

CONTENTS

Role of Editor In Film And TV


Liaison with the other members of the production team

Evolution of the Concept of Editing (The History of Editing)


Contribution of the following film-makers :
The beginning of the film continuity
Lumiere brothers
George Meiles
Edwin Porter
D W Griffith
Pudovkin
Kuleshov
Einstein

Continuity In Editing
(a) Action continuity
(b) Dramatic continuity
Inserts, cut in, cut away, jump cuts
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Principles Of Editing
Timing
Pace : Rhythm

(a) Filmic Time And Space

(b) Parallel Action

Sound Editing

ASSESSMENT

Theory Exam : 100 Marks


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FIRST YEAR COURSE IN FILM & TELEVISION

SCREEN WRITING

SW 101T

THEORY

30 HRS OVER WEEKS 1-15


________________________________________________________________________

CONTENTS

What is a Screenplay

Writing in terms of images


Writing in terms of sound
Writing in terms of rhythm
Realization of an idea through final screenplay to a film.

What is Fiction?

Structural factors involved in scripting for fiction film


Perceptible/obvious elements-immersed/recondite elements
Life as a source of fiction-ideas from memory, experience, imagination.
Other sources of ideas-adaptations from novels, short stories, play etc.
Necessity/importance of research for screenplay writing

What is a Narrative ?

Causal, temporal and structural elements.

Elements of Fictional Narrative- I

Action

Elements of Fictional Narrative- II

Character
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Elements Of Fictional Narrative- III

Setting

Elements of Fictional Narrative -IV

Dialogue
Elements of Non-Fictional Narrative

Different approaches.

Elements of Drama

Conflict, mystery, surprise, suspense, dramatic irony.

Construction Of Scene/Sequence

Evolving a Screenplay

Idea - theme
Word view
Zeitgeist (spirit of the age)
Ideology
Vision

Form
Dramatic
Non-dramatic

Structure
Linear
Non-linear

Parameters Of A Script

Plot, story, characterization, milieu, time, space, dialogue, rhythm

Selected Areas of Study

Reality and realism


Plot and life
Aspects of characterization
Factors influencing human behaviour - the milieu, the zeitgeist(spirit of
the age) and the weltanschauung ( world – view )
The atmosphere base - its components
The realities - physical / objective, psychological / symbolic, etc. dualism
and pluralism
Orchestration and planning of the total action
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Tragedy and comedy - differences in approach and techniques

ASSESSMENT

Sessionals: 50 marks

FIRST YEAR COURSE IN FILM & TELEVISION

FILM APPRECIATION

FA 101T

THEORY

54 HRS OVER WEEKS 1-15


________________________________________________________________________

CONTENTS

Introduction to contemporary communication media. The nature of cinema and


television.

Film and the other Arts : A general introduction to the relationship of film with
other arts.

Analysis of representative film texts : explanation of macrostructure( composition


in scripting) and microstructure(composition of images,sound and concept of
editing). Relationship of structure, sequencing, meaning and value. Image
construction : organisation of time, space and event in composition.
Different genres and kinds of films : non-fiction, documentary, fiction,
experimental and animation.
Film history to 1950
Early cinema to D.W.Griffith
Beginning of cinema in India : D.G.Phalke and the mythological genre
German and soviet cinema of the 20’s
Indian silent cinema in the 20’s
Transition to sound
Analytical-dramatic style and the development of long take and depth of fiekld
shooting methods in the 30’s and 40’s.
Studio period in Indian cinema and effects of World war II on the film industry
Italian neo-realism
Film history since 1950
Hollywood cinema: Myth, genre, auteur and stars
Post-independent Indian cinema and the rise of the South Indian film industry
Satyajit Ray and the aesthetics of film realism
French new wave
New Indian cinema and state support to the development of Indian film culture.
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Cinemas of Asia, Eastern Europe and Latin America.


Indian popular cinema since 1975 : major genres, directors and stars.

ASSESSMENT

Sessional: 100 marks

FIRST YEAR COURSE IN FILM & TELEVISION

ART DIRECTION

AD 101T

THEORY

10 HOURS
________________________________________________________________________

CONTENTS

The Role of Art Director

Justification, Purpose and Function of Sets

Work process of art director - script to scrap


Story board designing
Set material types and use
Styles and types of set designing
Set vis-a-vis character, camera and sound

Property & Costume

Budgeting for Sets

Money, manpower, material, time, transport etc.

Meaning and Purpose of Visual Design

Elements of pictorial composition - point, line, plans, texture, rhythm, contrast,


perspective and space, balance, light and colour, film graphics, titles

Following topics covered by Guest Lecturers in spare weeks :-

History of art in relation to films


History of architecture in relation to films
Introduction to architecture with special reference to India
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Introduction to cultural mores in different regions of India.

FIRST YEAR COURSE IN FILM & TELEVISION

PRODUCTION MANAGEMENT

PM 101T

THEORY

10 HOURS
________________________________________________________________________

CONTENTS

Introduction To Film Production Management

Function and purpose

Film Production Process

From script to screen

Film Business

Sources of finance, distribution & exhibition of films, Censoring

Organizational Structure Of Indian Film Industry

Public and private sectors


Objectives of film production
Need for production management
Basic management
Basic factors of film production
Functions of production manager
Production planning and control
Budgeting for different types of films
Relationship between budget and cost and time and money
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FIRST YEAR COURSE IN FILM & TELEVISION

MUSIC

MUS 101T

THEORY

10 HOURS
________________________________________________________________________

CONTENTS

Introduction to Music and its categories

Focus on Indian music


Focus on World music
Music in Film and TV
Introduction to the notions of Real and functional music;
background music and the film song
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FIRST YEAR COURSE IN FILM & TELEVISION

SCREEN ACTING

ACT 101T

THEORY

6 HRS
________________________________________________________________________

CONTENTS

Introduction To Acting Including Various Schools Of Acting

Observation and imagination as important souls for actors


Aspects of spontaneity
Exercises in orientation and environmental awareness
Observation and imaginary exercises
Action problem
Scene exercise
Song sequence with movement

ACTING THEORY - Stanislavsky , Brecht and Grotowsky etc.

ACTING ANALYSIS
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FIRST YEAR COURSE IN FILM & TELEVISION

COMPUTER APPLICATIONS

CA 101T

THEORY

10 HOURS
________________________________________________________________________

CONTENTS

Introduction to computers in film and


Television

Internet development and implications, search engines,


E-mail, home page

Introduction to computer animation with demo


Introduction to multi-media with demo
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FIRST YEAR COURSE IN FILM & TELEVISION

DIRECTION

DIR 101P

PRACTICAL

4 HRS DAILY POST LUNCH FROM WEEKS 1-5


________________________________________________________________________

OBJECTIVES

To be familiar with the procedure and skills of taking a shot.


To get acquainted with different formats and basic principles of screenplay
writing.
To develop faculty of observation through actual visit to a place in the city -
hospital, vegetable market, courts etc - and writing a creative, non-fiction account
using audio-visual elements from the visit.

CONTENTS

Day 1 Observation Visit. Day 2, 3, 4 Video Practical with video camera


introducing procedure and skills of taking a shot. Day 5 Screenplay Writing,
formats and principles of both fiction and non-fiction. Day 6 Discussion on
individual observation reports.

METHODS OF TEACHING

Introduction to Digital Video camera followed by hands-on practice.


Classroom discussion on individual observation reports after each is read out.
Brief classroom instructions on screenplay writing, followed by writing exercises
on the spot.
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FIRST YEAR COURSE IN FILM & TELEVISION

DIRECTION

DIR 102P

PRACTICAL

4 HRS DAILY POST LUNCH FROM WEEKS 6-10


________________________________________________________________________

OBJECTIVES

To shoot and edit a simple scene using camera angles, image sizes but no camera
movement, nor sound; and maintaining physical continuity and original rhythm of
the action.

CONTENTS

Action Continuity Exercise I

Attempt a story using 6 shots, one main character, mute.


Shooting, editing, preview and discussion.

METHODS OF TEACHING

Shooting, editing, preview and discussion according to a prepared schedule.


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FIRST YEAR COURSE IN FILM & TELEVISION

DIRECTION

DIR 103P

PRACTICAL

4 HRS DAILY POST LUNCH FROM WEEKS 11-15


________________________________________________________________________

OBJECTIVES

To shoot and edit a simple scene using camera angles, image sizes, camera
movements and dialogue while maintaining physical continuity and original
rhythm of the action.

CONTENTS

Action Continuity Exercise II

Attempt a story using ten shots, two main characters and with dialogue.
Writing, shooting, editing, preview and discussion.

METHODS OF TEACHING

Writing, shooting, editing, preview and discussion according to a prepared


schedule.
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FIRST YEAR COURSE IN FILM & TELEVISION

DIRECTION

DIR 104P

PRACTICAL

6 HRS DAILY FROM WEEKS 16-20


________________________________________________________________________

OBJECTIVES

To be introduced to the art and craft of screen acting.


To further develop the technique of screen writing directly in relation to the
exercises and course-ending project.
To learn the techniques of shooting and editing interviews through video
practical.

CONTENTS

A screen acting workshop over three half-days. After basic introduction, the
students will choose from a bank of five scripts offered by the teacher and act it
out. The performance will be video taped and discussed in the group.
A screen writing workshop over three half-days. Basic script formats of each of
the exercises and course-ending project will be shown and discussed by the
teacher. The production scope of each exercise will then be discussed and the
students asked to write two scripts of each in the class.
An interview techniques workshop over six half-days. After basic introduction,
the students will shoot and edit the exercise to a schedule drawn for the purpose.
Each will finally be discussed on the last day.

METHODS OF TEACHING

Screen acting workshop on a suitable floor, through practice, preview and


discussion.
Screen writing workshop through the students being asked to write in the class.
Interview techniques workshop through hands on experience.
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FIRST YEAR COURSE IN FILM & TELEVISION

CINEMATOGRAPHY

CIN 101P

PRACTICAL

4 HRS DAILY POST LUNCH FROM WEEKS 1-5


________________________________________________________________________

OBJECTIVES

To be familiar with simple still & video cameras and video camcorders.
To learn the basic operations, handling and care of the equipment.

CONTENTS

Introduction/demo of still and video cameras and basic accessories.


Use of bulk loader, loading reusable cassettes, loading and unloading the camera.
Practice in exposing outdoors, (available light).
Understanding under and over exposure through exposure series. Mounting of
positives and projection
Forwarding the exposed material to the laboratory for processing and printing.
Basic practice on video cameras
Study of various controls
Recording Static Shots

METHODS OF TEACHING

Introduction and demonstration of still and video cameras.


Guidance during hands-on practice.
Preview and analysis.
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FIRST YEAR COURSE IN FILM & TELEVISION

CINEMATOGRAPHY

CIN 102P

PRACTICAL

4 HRS DAILY POST LUNCH FROM WEEKS 6-10


________________________________________________________________________

OBJECTIVES

To be familiar with the basic darkroom procedures and discipline.


To develop the skills in use of shutter and aperture controls.
To develop the basic skills in the use of the controls of a camcorder.
To develop operational skills in basic camera movements with video camera.

CONTENTS

Introduction to photographic darkroom procedures and discipline.


Preparation of developers and fixer (group activity).
Spiral loading and processing.
Continuation of practice in exposing outdoors available light with -
Shutter speed control to simulate/freeze motion.
Selective focus.
Depth of field control.
Negative processing and forwarding to laboratory for printing.
Use of simple on camera filters.
Introduction to exposure meter and its use.
Projection and analysis.
Operation practice on video cameras

METHODS OF TEACHING

Demonstration.
Guidance during hands-on practice.
Preview and analysis.
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FIRST YEAR COURSE IN FILM & TELEVISION

CINEMATOGRAPHY

CIN 103P

PRACTICAL

4 HRS DAILY POST LUNCH FROM WEEKS 11-15


________________________________________________________________________

OBJECTIVES

To be familiar with the 16mm motion picture camera and accessories.


To be able to set up the camera, perform basic camera operations and expose
simple shots.
To develop basic skills in the use of simple lighting accessories and tracks &
trolley; using film & video cameras.

CONTENTS

Introduction/demo of a 16mm motion picture camera and basic accessories.


Loading and unloading the magazines in darkroom/changing bag.
Mounting the camera on a tripod, threading practice with dummy film.
Operations practice, precautions to be taken while operating.
Introduction to reflectors for lighting control, hands-on practice.
Visit to FTII Film processing laboratory.
Exposing simple shots with above parameters.
[Maximum 100' of 16mm B&W picture negative per student for the
module]
Follow up of the exposed material through the Lab.
Screening of rushes and discussion.
Practical assignments in still photography.
Continuation of operation practice on video cameras.

METHODS OF TEACHING

Introduction/demos.
Guidance during hands-on practice.
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Assignments.
Screening/preview and discussion.

FIRST YEAR COURSE IN FILM & TELEVISION

CINEMATOGRAPHY

CIN 104P

PRACTICAL

6 HRS DAILY FROM WEEKS 16-20


________________________________________________________________________

OBJECTIVES

To develop further skills in the use of film and video camera.


To have more practice in the use of reflectors/a filler light on outdoor location.

CONTENTS

Practicing and exposing outdoors, available light with camera movements using
film & video equipments incorporating the inputs given in the preceding module.
[Maximum 100' of 16mm B&W picture negative per student for the module]

Follow up of the exposed material through the Laboratory.


Screening of rushes and discussion.
Practical assignments in still photography.

METHODS OF TEACHING

Discussion and demo.


Guidance during hands-on practice.
Assignments.
Screening/preview and discussion.
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FIRST YEAR COURSE IN FILM & TELEVISION

AUDIOGRAPHY

AUD 101P

PRACTICAL

4 HRS DAILY POST LUNCH FROM WEEKS 1-5


________________________________________________________________________

OBJECTIVES

To introduce audio recording/reproduction.


To develop skills in handling audio recorders and microphones.
To develop listening senses to be able to differentiate between recordings/faults.

CONTENTS

Handling of professional audio recording machines, recording with different


microphones, indoor and out door location.
Assessment of sounds.

METHODS OF TEACHING

Demos.
Practical.
Listening and analysis of recordings.
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FIRST YEAR COURSE IN FILM & TELEVISION

AUDIOGRAPHY

AUD 102P

PRACTICAL

4 HRS DAILY POST LUNCH FROM WEEKS 6-10


________________________________________________________________________

OBJECTIVES

To be able to maintain consistent voice quality and perspective.


To be familiar with sound editing.
To be able to maintain continuity of sounds with respect to visuals.
To understand foreground and background sounds and their relationship with
picture.

CONTENTS

Outdoor recording practical, matching of voices, recording of background sounds.


Continuity of background and foreground sounds, sound perspective.

METHODS OF TEACHING

Demos.
Practical.
Listening and analysis of recordings.
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FIRST YEAR COURSE IN FILM & TELEVISION

AUDIOGRAPHY

AUD 103P

PRACTICAL

4 HRS DAILY POST LUNCH FROM WEEKS 11-15


________________________________________________________________________

OBJECTIVES

To be able to effectively handle audio operations on locations and studios

CONTENTS

Location recording, synchronisation of sound with visuals.

METHODS OF TEACHING

Demo.
Practical and analysis of work.
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FIRST YEAR COURSE IN FILM & TELEVISION

AUDIOGRAPHY

AUD 104P

PRACTICAL

6 HRS DAILY FROM WEEKS 16-20


________________________________________________________________________

OBJECTIVES

To be familiar with audio post-production.

CONTENTS

Demonstration of ADR, music and mixing session.

METHODS OF TEACHING

Demonstrations.
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FIRST YEAR COURSE IN FILM & TELEVISION

EDITING

ED 101P

PRACTICAL

4 HRS DAILY POST LUNCH FROM WEEKS 1-5


________________________________________________________________________

OBJECTIVES

Be able to operate basic film and video editing equipment.


Be able to identify contents of shots and their relationship in continuity.

CONTENTS

Introduction to cutting room - Design, location and equipment.

Film materials
Gauges; negative; Positive; master positive; dupe negative.
Sound materials - magnetic and opticals.
Processed Film
Silent and sync shooting, magnetic tapes and sound transfer, the
clapboard, continuity sheet and reports.
Classification of shots, scenes and shot takes.
Sorting and assembling.
Types of shots, order of shots, basic contents of shots, the scene.
Splicers making various types of joints.
Winders winding, packing, loading on spools, horizontal and vertical
winders.
Viewers use of pic - syncs, steenbecks, moviolas. Threading of
films and operations of viewers.

Construction of silent continuity in 16mm. This involves identifying and study of


contents of disjointed shots which are to be assembled in a coherent narrative
order with physical continuity to convey a story.
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METHODS OF TEACHING

Demonstrations.
Hands-on practice.
Preview and analysis.

FIRST YEAR COURSE IN FILM & TELEVISION

EDITING

ED 102P

PRACTICAL

4 HRS DAILY POST LUNCH FROM WEEKS 6-10


________________________________________________________________________

OBJECTIVES

To acquire proficiency in handling editing equipment.


To understand basic procedure of editing.
To edit simple sequence of action continuity.

CONTENTS

Editing of 16mm silent continuity.

Silent continuity exercises in 16mm will be given to each student for


editing to enable them to explore and understand the concepts of physical
continuity.

METHODS OF TEACHING

Hands-on practice.
Preview and analysis.
Guidance.
39

FIRST YEAR COURSE IN FILM & TELEVISION

EDITING

ED 103P

PRACTICAL

4 HRS DAILY POST LUNCH FROM WEEKS 11-15


________________________________________________________________________

OBJECTIVES

To be able to develop conceptual and operational skills.


To understand standard editing room procedures.
To understand the principles of dramatic continuity and the use of bridging shots,
cut-aways, cut-ins, jump cuts and their dramatic use.

CONTENTS

Editing of 16mm silent continuity.

In this module, exercises will be given to each student to understand the principles
of dramatic continuity and the use of bridging shots, cut aways, cut ins and jump
cuts. This involves editing rushes of silent stories with dramatic contents in
narrative form.

Introduction to linear and non-linear editing

METHODS OF TEACHING

Hands-on practice.
Preview and analysis.
Guidance.
40

FIRST YEAR COURSE IN FILM & TELEVISION

EDITING

ED 104P

PRACTICAL

6 HRS DAILY FROM WEEKS 16-20-


_____________________________________________________________________

OBJECTIVES

To understand the basic principles of editing of sequences with dialogue/sound.

CONTENTS

Editing of 16mm picture and sound, dialogue synchronisation, order of shots, use
of silent inserts and sound overlaps. One exercise will be given to each student.

Introduction of sound editing, sound overlaps on picture and use of silent inserts.
One exercise will be given to each student.

METHODS OF TEACHING

Hands-on practice.
Preview and analysis.
Guidance.
41

FIRST YEAR COURSE IN FILM & TELEVISION

COMPUTER APPLICATIONS

CA 101P

PRACTICAL

4 HRS DAILY POST LUNCH FROM WEEKS 1-5


________________________________________________________________________

OBJECTIVES

To get acquainted with the basic concepts of computers - hardware, software,


applications.
To be familiar with the Windows Operating System.
To be familiar with the basic packages for Word Processing, Spreadsheet and
Presentation.

CONTENTS

In this module students would do the following in either pre-lunch or post-lunch


sessions.

Using mouse, starting and stopping computer, using floppy, using


Windows explorer.
Understanding starting a package, creating documents, menu bars, toolbar
buttons. Using Paint for graphics. Using sound recorder for sound clips.
Using the Presentation to make a small presentation.
Using the Spreadsheet for simple budgeting exercise.
Using word-processor package.
Using all above to make observation reports on field-trips.

METHODS OF TEACHING

Hands on practice.
Group discussion.
Exercises.
42

FIRST YEAR COURSE IN FILM & TELEVISION

COMPUTER APPLICATIONS

CA 102P

PRACTICAL

4 HRS DAILY POST LUNCH FROM WEEKS 6-10


________________________________________________________________________

OBJECTIVES

To get acquainted with the Internet and its knowledge base.


To create email account and use email.
To design a web.

CONTENTS

In this module students would do the following in either pre-lunch or post-lunch


sessions.

Surfing the Internet.


Using the search engines. Finding useful things for the course.
Using email, setting up your own email account, email attachments.
Designing your home page.
Designing the group web I.
Designing the group web I. Posting the web on the Internet.

METHODS OF TEACHING

Hands on practice.
Group discussion.
Exercises.
43

FIRST YEAR COURSE IN FILM & TELEVISION

COMPUTER APPLICATIONS

CA 103P

PRACTICAL

4 HRS DAILY POST LUNCH FROM WEEKS 11-15


_______________________________________________________________________

OBJECTIVES

To be familiar with the basic concepts of animation and modeling.

CONTENTS

Students would do the following according to a prepared schedule

Overview of features of animation package.


Creating simple objects and animating them.
Animation with using lights, cameras.
Modeling basic. Modeling with shapes.
Using characters.
Creating a simple 5-second animation film.

METHODS OF TEACHING

Hands on practice.
Group discussion.
Exercises.
44

FIRST YEAR COURSE IN FILM & TELEVISION

COMPUTER APPLICATIONS

CA 104P

PRACTICAL

6 HRS DAILY FROM WEEKS 16-20


________________________________________________________________________

OBJECTIVES

To get acquainted with the basic concepts of Multi-media and be familiar with
tools.

CONTENTS

Students would do the following in either pre-lunch or post-lunch sessions of one


week

Introduction to tools for multi-media. Viewing some multi-media CDs.


Designing a multi-media project.
Transforming still images. Colour transformations.
Transforming and editing sounds.
Authoring systems for multi-media.
Creating a simple multi-media project.
Workshop / tour for multi-media work

METHODS OF TEACHING

Hands on practice.
Group discussion.
Exercises.
45

FILM & TELEVISION INSTITUTE OF INDIA

Television Module
Weeks 27 - 32
46

FIRST YEAR COURSE IN FILM & TELEVISION

TELEVISION MODULE

WEEKS 27-32

_______________________________________________________________________

DIRECTION

How TV Programmes Are Made

TV As Medium

TV Director vis-a-vis team members


(Personality, skills, role & responsibility)

Single Camera Video Production

Planning and procedure

TV Programme Formats

Scriptwriting For TV

Broadcasting code, rules and regulations


Graphics in Film and TV

TV Studio Production

Planning and procedure


Who does what
Terms, cues and commands
Floor management
Floor plan
Script
Directing talents

Transmission
47

APPRECIATION

Early Years of TV in India

Emergence, policy, programming

Doordarshan

Role, growth, policy, programming, present status

Educational & Developmental Television -

SITE, prototype, DD, EMRC's, SIET's, IGNOU etc


Satellite & Cable TV - Private channels, programming,
Sponsored programs, cable TV

CURRENT TRENDS IN INDIAN TELEVISION

Art Direction

Floor Plan-designing for single camera

Production management

Budgeting For TV Programmes


TV Production Management
Style of functioning, studios versus locations,
fiction versus non-fiction

TV Engineering

Development of TV technology
TV Picture
Colour TV principles
Camera to receiver
Video image formation/CCD
Video recording principles/formats
Role of digital techniques
Video signal transmission and distribution
Studio chain
Chroma key

CINEMATOGRAPHY
48

Demo of simple video camcorder and basic accessories, basic controls and
functions.

AUDIO PRACTICAL

Multiple microphone exercise in television studios


Demonstration of audio for video post-production.

Editing Practical

Basic editing hardware.


Video tape and tape formats
Control track
Time code
Basic editing process
Tape preparation for editing
Basic tape signals
Recording edit black
Insert editing
Assemble editing
Off-line versus on-line editing.
Linear versus non-linear editing.
Basic operations of video editing equipment.
Two silent continuity exercises will be given to each student for
editing on video.
Editing of silent continuity in video.

Three exercises in video will be given to each student to understand the


principles of dramatic continuity and the use of bridging shots, cut aways,
cut ins and jump cuts.

Introduction to Non-Linear Editing (Avid DV Express) practical Exercise


on Non-Linear Editing
49

FIRST YEAR COURSE IN FILM & TELEVISION

TV STUDIO (MULTI-CAMERA) COORDINATED EXERCISE

EX 101

________________________________________________________________________

OBJECTIVES

To get familiar with TV Studio (Multi-Camera) production procedure, role of


different team members and basic operations of the respective equipment by
producing simple 3-4 minute long programmes as an exercise.

CONTENTS

Familiarisation with all key positions of a multi-camera set-up.

ASSESSMENT

100 Marks including theory


50

FIRST YEAR COURSE IN FILM & TELEVISION

FILM COORDINATED EXERCISE

EX 102

WEEKS 29-34
__________________________________________________________________

OBJECTIVES

To get a hands-on experience in playing different creative and technical roles in a


film unit.

PRODUCTION NORMS

16mm, B&W; available light, on-campus, outdoors; sep-mag.

Write, direct, shoot, record and edit by rotation (as also act in) a 1 to 2 minute
fiction situation with dialogue. 200 feet to be shot over one day from dawn to
dusk, its sound transferred over half a shift, and edited over two shits.

ASSESSMENT

Each student would be assessed for Direction, Cinematography, Audiography and


Editing positions out of a maximum of 25 marks each.
51

FIRST YEAR COURSE IN FILM & TELEVISION

COMPUTER APPLICATIONS EXERCISE

EX 103

WEEKS 35-44
________________________________________________________________________

OBJECTIVES

To conceive, design and make a presentation applying knowledge and skills


developed during the year in the computer applications course.

NORMS

The students have a choice to select one of the following

A 'portal' web site for public use having at least 10 web pages including sound
clips, video images and having a 3 to 5 depth tree.
Animation film having 3 to 5 characters and between 10 to 12 scenes, With
sound track Duration - 30 seconds to 1 minute.
A multi-media CD with sound, video, graphics of about 5 pages of text material,
about 5 minutes of sound, about 3 minutes of video and a complete browse time
of about 10 minutes.

It is expected that each student will take between 5 to 6 days of total time to
complete any one of these presentations.

ASSESSMENT

Assessment will be based on the selection of theme, its treatment, design


documentation and the final. A student will be assessed for out of a maximum of
40 marks.
52

FIRST YEAR COURSE IN FILM & TELEVISION

VIDEO PROJECT

PROJECT 101

OVER WEEKS 35-44


________________________________________________________________________

OBJECTIVES

Applying knowledge and skills acquired during the year, use screen language at a
basic level to write, direct, shoot, record and edit a short video programme, in
fiction or non-fiction.

PRODUCTION NORMS

DVCAM : shooting in available light, only location sounds, edited duration


Ten minutes.

A shooting schedule incorporating 5 units shooting simultaneously for two shifts


each will be announced.

Each unit will be provided a 30 minute cassette for recording and another cassette
for editing. Budget for transport limited to a maximum of Rs.200/- only. One
logging shift and four editing/sound shifts provided. Only Character Generator
titles permitted.

ASSESSMENT

Each student would be assessed for Direction, Cinematography, Audiography


and Editing positions out of a maximum of 50 marks each.
53

FIRST YEAR COURSE IN FILM & TELEVISION

RECOMMENDED READING
________________________________________________________________________

DIRECTION

1 Film and the Director Sterling Publishers (Pvt.) Ltd.


- Don Livingston Delhi

2 Elements of Film
- Lee R. Bobker

3 Art of Dramatic Writing Simon & Schuster


- Lajos Egri New York

4 Playwriting
- Bernard Grebanier

5 Technique of Screenplay Writing Souvenir Press


- Eugene Vale London

6 Our Films Their Films Orient Longman


- Satyajit Ray

7 Technique of Film Faber & Faber


- Raymond Spottiswoode

8 How to read a Film Oxford University Press


- James Monaco New York

9 Film as Art Faber & Faber


- Ernest Lindgren

10 Art of the Film


- Stephenson and Debrix

11 The Five C's of Cinematography Cine/Graphic Publication


- Joseph V. Mascelli Hollywood

12 The Technique of Television Production Focal Press


54

- G. Millerson

13 Television Production Hand Book Wadsworth


- Herbert Zettl

14 Television Production McGraw Hill


- Allan Wurtzel & S.R. Acker
15 Film Scriptwriting A Practical Manual Focal Press
- D.V. Swain & J.R. Swain

16 News Interview Sage Publication


- Akiba A. Cohen
________________________________________________________________________

CINEMATOGRAPHY

1 Basic Photography Focal Press


- M.J. Langford London

2 Manual of Photography Focal Press


- Jacobson

3 Photographic Theory for Motion Picture A. Zwemmer


Cameraman
- Russel Campbell

4 Basic Motion Picture Technology Focal Press


- Happe London

5 Video Camera Techniques Focal Press


- Gerald Millerson

6 Techniques of the TV Cameraman Focal Press


- Peter Jones

7 Single Camera Video Production Focal Press


- Robert Musberger

8 Lighting for Portraiture Focal Press


- Walter Nuremberg London

9 Exploring the Colour Image


- Kodak Worldwide Students' Programme

10 Student filmmaker's handbook Kodak


- Kodak Worldwide Students' Programme

11 The Art of Colour and Design McGraw - Hill Publication


55

- Maitland Graves

12 Design Fundamentals McGraw - Hill Publication


- R.G. Scott

_______________________________________________________________________

AUDIOGRAPHY

1 Accoustics Focal Press


- Mackenzie

2 Film and its Technique Faber & Faber Ltd.


- Spootiswoode

3 From Microphone to Ear


- G. Slot

4 Technique of Film Music Focal Press


- John Huntley

5 The Technique of Sound Studio Focal Press, London


- Alec Nisbett

6 Audio Cyclopaedia Howard W. Sams & Co. Inc.


- Tremaine

7 The Art of the Sound Effects Editor Focal Press


- Marvin M. Kerner

8 The Focal Encyclopedic of Film Focal Press


and Television Techniques

9 Indian Music Indian Council for Cultural


- B. Chaintanya Deva Relations

________________________________________________________________________

EDITING

1 Film and its Techniques Faber & Faber


- Raymond Spottiswood

2 The Technique of Editing of 16mm film Hastings House Pub.


- John Burder New York
56

3 Introduction to Film Editing Focal Press


- Bernard Balmuth, A.C.E.

4 The Technique of Film Editing Focal Press


- Karel Reisz & Gavin Miller London

5 The Language and Technique of the Film Mouton


- Gianfranco Battetini

6 Film Technique Lear


- Pudovkin New York

7 Film Form and Film Sense Meridian Books Inc.


- Sergei Eisenstein New York

8 Video Editing and Post Production - Knowledge Industry Pub.


A professional guide Inc. New York
- Garry M. Anderson

9 Video Tape Editing - A post production primer Focal Press


- Browne S.E.

10 The Technique of Film and Video Editing Focal Press


- Ken Dancyger
________________________________________________________________________

SCREEN WRITING

1 The Writer and the Screen


- Wolf Rilla

2 A Manual of Screenplay Writing New American Lib


- Lewis Herman

3 Technique of Screenplay Writing Souvenir Press


- Eucene Vale

4 Screenplay A Delta Book


- Syd Field
________________________________________________________________________

FILM APPRECIATION
57

History of Indian Cinema

1 One Hundred Indian Feature Films Garland Publishing


An Annotated Filmography New York & London 1988
- Shampa Bannerjee & Anil Srivastava (eds)

2 Indian Film Oxford University Press


- Erik Barnouw & Krishnaswamy S. New Delhi 1980

3 The Message Bearers Nationalist Politics Madras Cre - A Publishers


and the Entertainment Media in South India 1981
1880 - 1945
- S. Theodore Baskaran

4 Light of Asia Indian Silent Cinema 1912-1934 Wiley Eastern Ltd.,


- Suresh Chabria (ed.) New Delhi 1994

5 National Identity in Indian Popular Cinema Oxford University Press


1947 - 1987 New Delhi 1996
- Sumita S. Chakravarty

6 The Cinema of Satyajit Ray Vikas Publishing New Delhi


- Chidananda Das Gupta 1980

7 The Painted Face Studies in India's Popular Roli Books New Delhi 1991
Cinema
- Chidananda Das Gupta

8 Encyclopaedia of Indian Cinema Oxford University Press


- Ashish Rajadhyaksha & Paul Willemen (eds) New Delhi 1999

9 70 Years of Indian Cinema 1913 - 1983 Cinema India - International


- T.M. Ramachandran (ed.) Bombay 1985

10 Indian Cinema Clarion Books New Delhi


- Firoze Rangoonwalla 1983

11 The Moving Image A Study of Indian Cinema Orient Longman Hyderabad


- Kishore Valicha 1988

12 Indian Cinema Superbazaar Vikas New Delhi 1983


- Aruna Vasudeo & Philippe Lenglet (eds)
58

Development of TV in India

13 Television in India Changes & Challenges Vikas Publication 1966


- Gopal Saxena

14 Broadcasting in India Sage Publication


- P.C. Chatterjee

15 Latest Edition of Doordarshan Audience Research Unit,


[Compilation of Facts & Figures of Doordarshan
Television in India]
________________________________________________________________________

ART DIRECTION

1 Design Fundamentals McGraw Hill Book Co.


- Scott

2 Film as Art University of California Press


- Rudolf Arnheim Berkley

3 The Art of Composition Doubleday Doran & Co. Inc.


- Michael Jacobs

4 Designing for Moving Pictures E. Studio Publication


- Edward Carrick London

5 Basics of TV Design Focal Press


- Millerson

6 The Art of Interior Design


- V.K. Ball
________________________________________________________________________

PRODUCTION MANAGEMENT

1 Handbook of Motion Picture Production A Wiley-Interscience Pub.


- Williams B. Adams New York

2 Movie Business Vintage Books


- Less David & Berkowitz S.

3 Film Censorship
- Guy Phelps

4 Law for Cinema and Videos


- Vijay Malik
59

5 Production Management for Film and Video Focal Press


- R. Gate

6 The Technique of TV Production


- G. Millerson

7 Film Production Management Focal Press


- Bastian Clev's

8 Media Production Agreement A Blueprint Book


- Philip Alberstat New York

9 Electronic Media Management Focal Press


- K. Pringle, Michael F. Starr, W.E. Mccavit

10 TV Station Operations and Management Focal Press


- R.L. Hilliard

11 Inside TV Producing Focal Press


- R.D. Lindheim & R.A. Blum
________________________________________________________________________

TV ENGINEERING

1 Basic Television & Video System McGraw Hill Book Company


- Bernard Grob

2 Video Techniques Newness Technical Books


- Gordon White

3 The Complete Handbook of Video Penguin Books


- Owen & Dunton

4 Video Handbook Newness Technical Books


- Ru Van Wezel

5 Guide to TV & Video Technology Newness Technical Books


- Eugene Trundle

6 Monochrome & Colour TV Wiley Eastern Ltd


- Gulati R.R.

7 Colour Television - Principles & Practice Wiley Eastern Ltd


- Gulati R.R.

8 Colour Television Theory McGraw Hill Book Co.


- G.H. Hutson
60

9 Principles of DIGITAL - Audio & Video Artech House Inc.


- Arch C. Luther

10 The New Communication Technologies Focal Press


- Michael Mirabito
________________________________________________________________________
MUSIC

1 Film Form Harvest/HBJ Books


- Sergei Eisenstein New York

2 Film Sense Faber & Faber


- Sergei Eisenstein

3 Composing for Films 1947 London


- H. Eisler & T. Adorno Dennis Debson

4 Scoring for Films - A Complete Text New York 1971


- E. Hagan (Ed)

5 Film Music Metuchen, NJ, 1974


- J.L. Limbacher (Ed)

6 Knowing the Score - Notes on Film Music New York 1975


- Bazelon I

7 Soundtrack - The Music of the Movies New York 1975


- Evans M.

8 The Film Music Book - A Guide to Film New Rochelle 1978


Composer
- K. Gouch, Yates & M. Tarrat

9 Hindustani Music National Book Trust 1997


- Ashok Ranade

Also

1 Elementary books on the rudiments of Indian and Western Music as available in


the FTII Library.
2 Relevant references may be found on a variety of music related subjects (both
Indian and Western) in the multivolume "Grover's Dictionary of Music and
Musicians".
3 Specific to Indian Film Music - the following volumes of Cinemavision are
useful
61

i) Volume 1 Number 4
ii) Volume 2 Number 2

4 Articles by Bhaskar Chandavarkar on Indian film music in issues of "Cinema


Vision" (1980-81).
________________________________________________________________________
SCREEN ACTING

1 An Actor Prepares Geoffrey Bles


- Constantin Stanislavski London

2 Creating a Role
- Constantin Stanislavski

3 Building a Character Theatre Arts Books


- Constantin Stanislavski New York

4 On Screen Acting Focal Press


- Edward & Jean Porter Dmytryk

5 Styles of Acting Prentice Hall Press


- Elaine Adams Novak New York
________________________________________________________________________

COMPUTER APPLICATION

1 Sp. Ed. Using MS FrontPage 2000


- Randall

2 Adobe Illustrator 8.0 Classroom in a Book

3 Adobe Premiere 5.0 Classroom in a Book

4 Teach yourself Active Server Pages 2.0 in 21 days

5 Essential Windows NT System Admn.


- Frisch

6 How Computers Work


- White

7 Windows 98 - No Experience Required


- Crawford

8 3D Studio MAX 3 Fundamentals


- Peterson
62

9 The BIG BASIC Book of the INTERNET


- Habraken

10 Mastering MS Office 2000


- Courter

11 Teaches the Internet


- Harley Hahn

12 Mastering Macromedia Director 6


- Henderson

13 Mastering MS FrontPage 2000


- Tauber

14 PageMaker 6.5 Complete


- Mortier

15 Adobe Photoshop 5.0 Classroom in a Book

16 MULTIMEDIA - An Introduction
- Villamil-Casanova

17 How to Activate Your Website


- Algie
________________________________________________________________________
63

FILM & TELEVISION INSTITUTE OF INDIA

SECOND YEAR COURSE

IN

SPECIALISATIONS
64

FILM & TELEVISION INSTITUTE OF INDIA

SECOND YEAR COURSE

IN

DIRECTION
65

SECOND YEAR COURSE IN SPECIALISATION(DIRECTION)

Schedules at a glance

Subject Duration
Lectures / Demonstration 3 weeks
DIR 201 T Direction 9 hrs. a week 27 hours
DIR 202 T Screenplay Writing 6 hrs. a week 18 hours
DIR 203 T Screen Studies 9 hrs. a week 27 hours
DIR 204 T Music 3 hrs. a week 9 hours
DIR 205 T Acting 3 hrs. a week 9 hours
DIR 206 T Art Direction 3 hrs. a week 9 hours
DIR 207 T Production Management 3 hrs. a week 9 hours
Theory Examination 2 weeks
Workshops / Guest Lecturers 7 weeks
DIR 201 W Video Documentary 2 weeks
DIR 202 W Screenplay Writing 2 weeks
DIR 203 W Film Theory / Mise-en-Scene 1 week
DIR 204 W Working with Actors 1 week
DIR 205 W Music ½ week
DIR 206 W Production Management ½ week

Coordinated Exercise
CEX 202 Dramatic Sequence – 35mm B/W 6 weeks
incld.
Prepara-
tion

Projects
PROJ 201 Dialogue film (35 mm color ) 20 weeks

Total 3+2+7+6+20 = 38 weeks


66

SECOND YEAR COURSE IN DIRECTION

DIRECTION

DIR 201 T

LECTURES / DEMONSTRATION

NINE HOURS A WEEK FOR 3 WEEKS

CONTENTS

Introduction to Film Theory – with an overview of approaches to film studies.

Marxist/Structuralist approach; Psycho-analytical approach; Semiotic approach;


Feminist approach, any other.

Structural analysis of a feature film.

Detailed analysis of a feature film chosen in consultation with the students.

Structural analysis (continued)

Indian Popular Cinema

Formula/Anti-formula; publicity; star system; gharanas

Indian Parallel Cinema

FFC/NFDC; Film Societies; aesthetics of the low-budget; distribution

Theory Exam. : 200 marks


67

Note : See Annexure – I


SECOND YEAR COURSE IN DIRECTION

SCREENPLAY WRITING

DIR 202 T

LECTURES / DEMONSTRATION

SIX HOURS A WEEK FOR 3 WEEKS

CONTENTS

Selected areas of study

Overview of narrative traditions of the World

Classical Greek epic


Classical Greek drama
Renaissance drama
Brecht
Absurd drama
Kabuki theatre
Modern novel
Varied narrative structure

Overview of Indian narrative structure

The Rasa Theory


The epics
Bharat's-Dashsrupaka(natyashastra)
Oral traditions
Folk tradiotion
Classical dance forms
Theatre traditons
Popular and folk forms
Modern theatre
Marathi theatre
Bengali theatre
Hindi theatre
Malyalam theatre
68

Parsi theatre and its influence on cinema

Reading and discussing in the class a variety of short stories from


both Indian and world literature sources.

Apart from discussing character, conflict and resolution, making


detailed observations on the construction and structural aspects of
the stories.

Discussing distinction between the viewpoint of the writer and that


of the critic.

Working further on one of the above as an exercise in adaptation.

ASSESSMENT

Sessionals: 50 marks
69

SECOND YEAR COURSE IN DIRECTION

FILM APPRECIATION

THEORY / LECTURES / DEMONSTRATION

DIR 203 T

NINE HOURS A WEEK FOR 3 WEEKS

CONTENTS

History of Cinema

Selected topics from the history of Indian and International cinema such as
a major historical period, genre or film director.

Two topics will be decided on after discussion with the students. At the
end of the semester each student will do a study of one selected topic of
his choice and will be assessed on the basis of a written sessional and
presentation on the subject

Textual analysis of a feature film in the analytical-dramatic style.

Textual analysis of a modernist feature film.

Contemporary approaches to image making and media practice:

Semiotics, Cine-feminism, Post-Modernism, Structuralism,


Deconstruction and other contemporary theories.

ASSESSMENT

Sessionals: 50 marks
70

SECOND YEAR COURSE IN DIRECTION

MUSIC

LECTURES / DEMONSTRATION

DIR 204 T

THREE HOURS A WEEK OVER 3 WEEKS.

CONTENTS

Acquaintance with the former and contemporary usages of music in film and
television.

Viewing and analysis of relevant clips on video spread over 2 sessions.

Analysis of music as used in a contemporary Indian film.

Analysis of music as used in a contemporary non-Indian film.

The concept of MIDI and an introduction to the contemporary screen composer’s


tools of the trade, such as MIDI sequencing, sampling and tone editing.

Carnatic and south Indian music

Various folk music of India


71

SECOND YEAR COURSE IN DIRECTION

ACTING

LECTURES / DEMONSTRATION

DIR 205 T

THREE HOURS A WEEK OVER 3 WEEKS.

CONTENTS

Stanislavsky and his system.

Mechanics of Screen Acting.

Role analysis.

Casting problems and methods.


72

SECOND YEAR COURSE IN DIRECTION

ART DIRECTION

LECTURES / DEMONSTRATION

DIR 206 T

THREE HOURS A WEEK FOR 35 WEEKS.

CONTENTS

Designing sets from concept to a scale drawing for a given script as a base

Floor plan designing

Feature film set analysis

Advertisement film set analysis

Song picturisation-dream sequence set analysis


73

SECOND YEAR COURSE IN DIRECTION

PRODUCTION MANAGEMENT

DIR 207 T

LECTURES / DEMONSTRATION

THREE HOURS A WEEK FOR 5 WEEKS

CONTENTS

Detailed study on the process of Production Management with practical tips.

The development of the subject – pre-production, production, post-production.

Preparing for production – namely script breakdown, shooting schedule.

What makes a film expensive – Overview of the finalisation of budget format,


equipment, unit etc.

Law and business essentials – Locations survey, permits finalization of the shoot
including foreign locations, if any. Agreement with cast and crew dealing with
units etc.
74

SECOND YEAR COURSE IN DIRECTION

DEMONSTRATIONS EDITING A/B ROLL, SILICON GRAPHICS, MAKE-UP

DIR 208 T

LECTURES / DEMONSTRATION

THREE, SIX AND SIX HOURS RESPECTIVELY

CONTENTS

Editing A/B Roll

Explanation in brief about the subject.


Pre-shooting precautions during planning.
Demonstration.

Silicon Graphics

The hardware setup.


Introduction to software.
Demonstration (a) Showcase 2D/3D, (b) Viz. Paint, and (c) Alias

Make-up

Balance of face.
Types of face.
Optical illusion.
Corrective Make-up (a) General (b) Glamour (c) Character (d) Special
effects.

Note : See Annexure - I


75

SECOND YEAR COURSE IN DIRECTION

VIDEO DOCUMENTARY

DIR 201 W

WORKSHOP – GUEST LECTURER

TWO WEEKS

OBJECTIVE

To understand the concept & techniques of a documentary production

CONTENTS

Introduction to the concept, theory, practice, producing & marketing of a


documentary

Production of a video documentary as a workshop outcome

METHOD OF TEACHING

The workshop will be conducted by a guest faculty. It will include lecture,


preview, discussion, subject research, scripting, shooting and post production
involving procedures.

The activity will lead to production of a 10 mts. documentary with active


participation of the students under the supervision of the subject expert.
76

SECOND YEAR COURSE IN DIRECTION

SCREENPLAY WRITING

WORKSHOP – GUEST LECTURER

DIR 202 W

TWO WEEKS

OBJECTIVE

The workshop is designed to give the students the benefit of a guest lecturer’s
extended presence on the campus for consultations in order to develop and
finalise the screenplays of their year-ending Dialogue Film project.

CONTENTS

Narration of each story and treatment in the class.

Presentation of each in print for further discussion in the class.

Individual consultations with the guest lecturer with prior appointment as the
screenplay evolves.

METHOD OF TEACHING

Through presentation and general discussion in the class, followed by personal


consultations until the final draft of the screenplay is ready.

This final draft would be submitted for evaluation.


77

SECOND YEAR COURSE IN DIRECTION

FILM THEORY, LEADING TO MISE-EN-SCENE

DIR 203 W

WORKSHOP – GUEST LECTURER

ONE WEEK

OBJECTIVE

The workshop is designed to introduce, discuss and debate major film theories of
cinema, with special emphasis on the films and ideas of Sergie Eisenstein.

The study would be the culmination of students’ own struggle with film theories.
On the conclusion of the workshop, it is expected that the student would have
found his own preferences and sympathies among the ideas that have shaped his
medium.

CONTENTS

The subject will include the following topics

Major film theories and their authors.


The related examples from films.
Sergie Eisenstein as filmmaker, film teacher and theoretician.
Mise-en-Scene.

METHOD OF TEACHING

Conducted by a guest lecturer, the workshop would start with seminar sessions. It
will conclude with a demonstration of the concept of Mise-en-Scene using
existing studio sets and Beta.

ASSIGNMENT

All students will write a sessional on either a chosen aspect of film theory or any
other area of their interest like study of an important filmmaker, sociology of film
or television, genres of cinema, or any other. This would be submitted for
assessment as a year-end assignment.
78

SECOND YEAR COURSE IN DIRECTION

WORKING WITH ACTORS

WORKSHOP – GUEST LECTURER

DIR 204 W

ONE WEEK

OBJECTIVE

The workshop is designed to introduce the skill of handling of actors for


achieving effective performance, with special emphasis to

Communicate with actors in a succinct, clear language

Practice a number of directing techniques, and

Diagnose performance problems and assist the actors.

CONTENTS

The subject will include the following topics

Improvisation

Scene exercises

METHOD OF TEACHING

The workshop would start with improvisations in which all the students to
participate as actors. It will conclude with each student directing a short scene
using the fellow students as actors. This will be video taped and discussed in the
group.
79

SECOND YEAR COURSE IN DIRECTION

MUSIC

DIR 205 W

WORKSHOP – GUEST LECTURER

½ WEEK

OBJECTIVE

On completion of this module, students would be able to outline a music design


for a short film or TV clip.

CONTENTS

The workshop involves putting together music for a ten-minute film or video clip
on beta format.

METHODS OF TEACHING

The workshop would start with a few sessions in the classroom followed up by
work in a studio. Students will be expected to contribute in the making of
creative decisions as well as in offering solutions to practical problems. The final
recording will incorporate electronically sequenced music.
80

SECOND YEAR COURSE IN DIRECTION

PRODUCTION MANAGEMENT

DIR 206 W

WORKSHOP – GUEST LECTURER

½ WEEK

OBJECTIVE

This workshop is designed to introduce and to discuss the practical aspects of the
film and television production management.

CONTENTS

The producer and the market audiences.

Doing business with industry channels, raising finance, running a company etc.

Legal aspects – copyright, relation to intellectual property, negotiate and enter


into contract with writer, director and all other concerned.

Film Certification

Tax incentives in investment structure for finance of production, identifying


banking and finance sector related to cash following the cost production.

METHOD OF TEACHING

Seminars, lectures, discussion.


81

SECOND YEAR COURSE IN DIRECTION

ACTION SEQUENCE –16 MMFILM

CEX 201

COORDINATED EXERCISE

DIR & EDITING STUDENTS ONLY

FOUR WEEKS (6-9)

OBJECTIVE

To develop skills of scripting, shooting, recording and editing an outdoor


sequence involving action.

PRODUCTION NORMS

16mm B&W; available light, on-campus, outdoors; sep-mag.

The exercise will be shot to a schedule announced well in advance.

A roll of 400 feet to be synch shot over one day. Sound to be transferred over one
shift and the sequence edited over two shifts.

No budget.

Exam. : 100 marks


82

SECOND YEAR COURSE IN DIRECTION

DRAMATIC SEQUENCE –35 MM FILM

COORDINATED EXERCISE

CEX 201

SIX WEEKS(13-18)

OBJECTIVE

To develop skills of scripting, shooting, recording and editing of the specialistion


students in executing a dialogue-based dramatic sequence on a studio set.

PRODUCTION NORMS

35mm B&W; separate sound track.

The exercise will be shot to a comprehensive schedule announced well in advance


on one of the available sets.

A roll of 400 feet to be synch shot over one day. Sound to be transferred over one
shift and the sequence edited over two shifts.

Budget : Rs.300/-

Exam. : 200 marks (50 for each specialisation stream)


83

SECOND YEAR COURSE IN DIRECTION

DIALOGUE FILM

YEAR-END PROJECT

PROJ 201

20 WEEKS (25-44)

OBJECTIVE

To demonstrate creative, technical and collaborative skills of


specialisation students towards presenting a dialogue-based short story
conceived and written especially and exclusively for indoors.

PRODUCTION NORMS

1 16mm colour, 10 minutes; synch-shot exclusively in a studio set;


re-recorded and release-printed.

2 The project will be shot to a comprehensive schedule announced


well in advance.

3 3 rolls of 400 ft each to be shot over three shooting shifts using one
of the two available sets.

4 To be edited over a total of 10 editing shifts, including those for


track laying. A maximum of 4 sound channels would be available, including the
synch-shot dialogue channel. There will be no provision for dubbing or music
recording. A total of 5 sound shifts for post- production are available.

5 For the purpose of grading, two visits of the cameraman to the lab
will be provided for.

6 Budget provision ( all inclusive) Rs.3000/- only.*

Exam.: 200 marks (50 for each specialisation stream)


84

SECOND YEAR COURSE IN DIRECTION

RECOMMEDNED READING

1 Film and Director - Don Livingston

2 Elements of Film - Lee R. Bobker

3 Art of Dramatic Writing - Lajos Egri

4 Playwriting - Bernard Grebanier

5 Technique of Screenplay Writing - Eugene Vale

6 Our Films Their Films - Satyajit Ray

7 Technique of Film - Raymond Spottiswoode

8 How to Read a Film - James Monaco

9 Film as Art - Ernest Lindgren

10 Art of the Film - Stephenson and Debrix

11 The Five C’s of Cinematography - Joseph V. Mascelli

12 Film Form - Sergie Eisenstein

13 Film Sense - Sergie Eisenstein

14 Notes of a Film Director - Sergie Eisenstein

15 What is Cinema, Part I & II - Andre Bazin

16 Theory of Film – the Redemption of Physical


Reality - Siegfried Kracauer

17 Cinema as a Graphic Art - Vladimir Nilsen

18 Film Theory and Criticism – introductory readings - Mast and Cohen

19 Film Language – a Semiotics of the Cinema - Christian Metz

20 Brecht on Theatre – the development of an - John Willett


aesthetic
85

21 The Messingkauf Dialogues - Bertolt Brecht

22 Pedagogical Sketchbook - Paul Klee

23 Ways of Seeing - John Berger

24 The Act of Creation - Arthur Koestler

25 The Technique of Television Production - G. Millerson

26 Television Production Handbook - Herbert Zettl

27 Television Production - Allan Wurtzel & S.R. Acker

28 Film Scriptwriting A Practical Manual - D.V. Swain & J.R. Swain

29 News Interview - Akiba A. Cohen

30 Directing the Documentary - Michael Rabiger, Focal

31 How to make Documentary for Video, - Mike Wolverton,


Radio & Film Gulf Publishing Company

32 Global Television - Barker Chris, Blackwell


publishers

33 Television Technology & Culture Form - Raymond Willams,


Routledge

34 Television & its Viewers - James S. Morgan,


Cambridge University Press

35 Technique of Special Effects in Television - Bernard Wilkie, Focal

36 TV News - Ivor York, Focal

37 Broadcast Journalism Technique of TV


& Radio News - Andrew Boyd, Focal

38 All Published – unpublished original screenplays

39 All autobiographies of filmmakers

40 All interviews with filmmakers


86

FILM & TELEVISION INSTITUTE OF INDIA

SECOND YEAR COURSE

IN

CINEMATOGRAPHY
87

SECOND YEAR COURSE IN SPECIALISATION(CINEMATOGRAPHY)

Subject Duration
Theory 17 weeks
CIN 201 T Cinematography From
Practical 201 T TO
CIN 201 P Introduction to equipment & 202 W
ratio lighting
CIN 202 P Laboratory Practical
CIN 203 P Study of natural light
CIN 204 P Set/Studio Lighting-day
CIN 205 P Set-Studio Lighting-Night
CIN 206 P Set-Studio Lighting-
High Key/Low Key
CIN 207 P Location Lighting
CIN 208 P Colour Practicals
CIN 209 P Computer Practical
CIN 210 P Lighting for table top and copying
Workshop
CIN 201 W Workshop
CIN 202 W Laboratory – Study Tour

Coordinated Exercise

CEX 202 Dramatic Sequence – 35mm B/W 5 weeks

Projects

PROJ 201 Dialogue film 20 weeks


Examination 2 Week

Total 17+5+20+2 = 44 weeks


88

SECOND YEAR COURSE IN CINEMATOGRAPHY

CINEMATOGRAPHY

CIN 201 T

THEORY

26 HOURS OVER 10 WEEKS

OBJECTIVE
To have a good understanding of Photographic emulsions, Laboratory processes
and Video technology.

CONTENTS
Film
Photometry, Light measurement systems, equipments, incident light
meters, Spot meters
Zone system
Evolution of B&W Emulsions, Picture negative, positive, dupe stocks,
sound negative, reversal film
Sensitometry
Latent image formation, Exposure evaluation grains, graininess and
granualirity. Acutance
Basics of colour Emulsion, Colour Vision, general colour adaptation, hue
saturation and brightness
Colour Emulsions, visual adaptation vs. film response, additive and
subtractive colour system, modern colour emulsions, negative, Positive,
intermediate reversal films, Duplicating colour films.
Colour processing
Printers & Grading
Television

Video camera pick-up devices


Waveform monitor & vectorscopes
Video Tape Recorders
Factors affecting video image

METHOD OF TEACHING

Through lectures
A/V-demos
Through interaction with experts
Exam. : 200 marks
89

SECOND YEAR COURSE IN CINEMATOGRAPHY

INTRODUCTION TO EQUIPMENTS AND RATIO LIGHTING

CIN 201 P

PRACTICAL

ONE WEEK

OBJECTIVE

To understand the functions of various lighting equipments and their accessories


and basic lighting.

To understand the anatomy and functioning of various 35/16mm film and video
cameras.

CONTENTS

Demonstration of various lights/grip equipments and exposure meters.


Basic lighting – key, fill, back light and background light.
Various lighting ratios.
Demonstration of various 35/16mm film & video cameras.
Exposure series – Black & White Film (on still cameras), Video

METHOD OF TEACHING

Demo slides
Hands on –exposing as a group
Preview and discussion
90

SECOND YEAR COURSE IN CINEMATOGRAPHY

LABORATORY PRACTICAL

CIN 202 P

PRACTICAL

21 HOURS OVER 7 WEEKS

OBJECTIVE

To understand the processing, printing and various control techniques. They will
be able to apply the experience thus gained during the execution of their own
practical/projects.

CONTENTS

Study of sensitometer
Processing of exposed strips for different gammas.
Study of densitometer, measuring the densities of control strips.
Plotting the H & D curves.
Study of various factors affecting film processing.
Study of different printers.
Grading of negatives and printing.
Giving “look” to the print through trim and voltage control

METHOD OF TEACHING

Through interaction with the laboratory Staff


Hands on practical
Screening and discussion
91

SECOND YEAR COURSE IN CINEMATOGRAPHY

STUDY OF NATURAL LIGHT

CIN 203 P

PRACTICAL

ONE WEEK

OBJECTIVE

To be able to understand the various qualities of natural day light


(specular/diffused).

To be familiar with the quantity/contrast range of light at different time of the day
and effect of surrounding on the contrast range.

CONTENTS

Selection of camera angle (view point) with respect to the position of the sun.
Under/over exposure and its effect.
Contrast control

METHOD OF TEACHING

Through discussion and demonstration


Hands on practice
Screening/preview & discussion
92

SECOND YEAR COURSE IN CINEMATOGRAPHY

SET/STUDIO LIGHTING – DAY

CIN 204 P

PRACTICAL

TWO WEEKS

OBJECTIVE

To identify and select the appropriate equipment for a specific/given situation.


To create various times of the day.

CONTENTS

Simulation of various times of the day.


Creating different moods and effects.
Expose incorporating the above and working in various positions of camera crew.
Realistic/pictorial lighting.

METHOD OF TEACHING

Through discussion and demonstration


Hands on practice
Screening/preview & discussion
93

SECOND YEAR COURSE IN CINEMATOGRAPHY

SET/STUDIO LIGHTING - NIGHT

CIN 205 P

PRACTICAL

TWO WEEKS

OBJECTIVE

To select appropriate lighting equipments for a given situation.


To create different night effects.

CONTENTS

Simulation of various times of the night.


Source lighting – simulation of practical lamps inside/outside the frame.
Creating different moods and effects.
Exposing and working in various positions of camera crew.

METHOD OF TEACHING

Through discussion and demonstration


Hands on practice
Screening/preview & discussion
94

SECOND YEAR COURSE IN CINEMATOGRAPHY

SET/STUDIO LIGHTING HIGH KEY /LOW KEY

CIN 206 P

PRACTICAL

ONE WEEK

OBJECTIVE

To light up high/low key situations.


To select proper surrounding and properties for the above effects.

CONTENTS

Simulation of High/Low key effects.


Effect of proper BG and properties.
Image manipulation with under/over exposure and diffusion/fog filters.

METHOD OF TEACHING

Through discussion and demonstration


Hands on practice
Screening/preview & discussion
95

SECOND YEAR COURSE IN CINEMATOGRAPHY

LOCATION LIGHTING

CIN 207 P

PRACTICAL

TWO WEEKS

OBJECTIVE

To identify and select appropriate lighting equipments for a specific location, to


handle contrast.
To plan and execute lighting for location requirements, as per instructions.

CONTENTS

Selection of appropriate equipments and accessories for location shooting.


Lighting up the location with the given equipment and exposing.
Maintaining the lighting continuity on location.

METHOD OF TEACHING

Through discussion and demonstration


Hands on practice
Screening/preview & discussion
96

SECOND YEAR COURSE IN CINEMATOGRAPHY

COLOUR PRACTICAL

CIN 208 P

PRACTICAL

TWO WEEKS

OBJECTIVE

To understand characteristics of the colour emulsions.


To understand the principles of colour and manipulation of colour temperature.
To understand the application of conversion and correction filters.

CONTENTS

Use of colour temperature meter and applications.


Selection of the right colour emulsion for a given situation.
Effects of under and over exposure.
Application of the principles of colour harmony.
Exposing on colour negative incorporating above inputs and do the grading and
printing during the study tour.

METHOD OF TEACHING

Through demo films/slides.


Learning by doing.
Analysis and discussion.
97

SECOND YEAR COURSE IN CINEMATOGRAPHY

MEDIALAB PRACTICAL

CIN 209 P

PRACTICAL

15 HRS/STUDENT IN UNSCHEDULED TIME

OBJECTIVE

To understand the various possibilities of image manipulation through the use of


computer and specialized packages like
To study the look of the color image in a more flexible manner.

CONTENTS

Use of computer and the specialized software packages. for image manipulation.

METHOD OF TEACHING

Interaction with the subject experts.


Hands on practice.
Analysis of the work done during the practical.
98

SECOND YEAR COURSE IN CINEMATOGRAPHY

ANIMATION AND COPYING PRACTICAL

CIN 210 P

PRACTICAL

20 HOURS PER STUDENT IN UNSCHEDULED TIME

OBJECTIVE

FamiliarisationTo do lighting for a table top model.


To copy a given art work.

CONTENTS

Familarisation with the specialized camera equipments.


Copying of photographs, artworks etc.
Exposing titles incorporating simple in –camera effects.

METHOD OF TEACHING

Through discussion and demonstration.


Hands on practice.
Analysis of the work done during practical.
99

SECOND YEAR COURSE IN CINEMATOGRAPHY

WORKSHOP

CIN 201 W

WORKSHOP

THREE WEEKS

OBJECTIVE

To understand and experience the current trends and practices in the field of Film
and Television through interactions with the experts.

CONTENTS

The workshops / Lectures / Demos will be held to include the following topics

Application of colour
Exposure series in colour.
Studio/Location lighting for day/night
Make up techniques.

In addition to above, Workshops with 3 famous cinematographers will be held to


cover Studio / Location Lighting for Day / Night

METHOD OF TEACHING

Through interaction with the subject experts.


Hands on practice under guidance from expert.
Screening/Preview and discussion.
100

SECOND YEAR COURSE IN CINEMATOGRAPHY

LABORATORY – STUDY TOUR

CIN 202 W

WORKSHOP

ONE WEEK

OBJECTIVE

To understand and experience the working of a processional colour film


processing laboratory, Film and Television studios, and hands on practice in
colour grading, through interaction with the professional experts.

CONTENTS

The working and quality control in a professional colour processing laboratory.


The latest professional equipments and new approaches in executing various
programmes.
Have hands on practice on colour grading equipments.
Interact with the experts in the field and enrich the knowledge.

METHOD OF TEACHING

Through visiting the professional Film & TV set ups and interacting with the
experts.
By participation and observation.
Screening of latest materials being shot/recorded.
101

SECOND YEAR COURSE IN CINEMATOGRAPHY

DRAMATIC SEQUENCE -35MM FILM

CEX 202

COORDINATED EXERCISE

FIVE WEEKS (18-22)

OBJECTIVE

To develop skills of scripting, shooting, recording and editing of the specialistion


students in executing a dialogue-based dramatic sequence on a studio set.

PRODUCTION NORMS

35mm B&W; separate sound track.

The exercise will be shot to a comprehensive schedule announced well in advance


on one of the available sets.

A roll of 400 feet to be synch shot over one day. Sound to be transferred over one
shift and the sequence edited over two shifts.

Budget : Rs. 300/-

Exam.: 100 marks (25 for each specialisation stream)

VIDEO
102

SECOND YEAR COURSE IN CINEMATOGRAPHY

DIALOGUE FILM - 35 MM COLOR

PROJ 201

YEAR-END PROJECT

20 WEEKS (25-44)

OBJECTIVE

To demonstrate creative, technical and collaborative skills of


specialisation students towards presenting a dialogue-based short story
conceived and written especially and exclusively for indoors.

PRODUCTION NORMS

1 35mm colour, 10 minutes; synch-shot exclusively in a


studio set; re-recorded and release-printed.

2 The project will be shot to a comprehensive schedule


announced well in advance.

3 3 rolls of 400 ft each to be shot over three shooting shifts


using one of the two available sets.

4 To be edited over a total of 10 editing shifts, including


those for track laying. A maximum of 4 sound channels would be
available, including the synch-shot dialogue channel. There will
be no provision for dubbing for fresh music recording. A total of 5
sound shifts for post production are available.

5 For the purpose of grading, two visits of the cameraman to


the lab will be provided for.

6 Budget provision ( all inclusive) Rs.3000/- only.*

Exam. : 100 marks (25 for each specialisation stream)

* Subject to approval of SFC.


103

SECOND YEAR COURSE IN CINEMATOGRAPHY

RECOMMENDED READING

1 Photographic Theory for Motion Picture


Cameraman - Russel Campbell

2 The Five Cs of Cinematography - Joseph Mascelli

3 Student Film Makers Handbook - Kodak Worldwide


Student’s Programme

4 Exploring the Colour Image - Kodak Worldwide


Student’s Programme

5 Hands on Cinematographer’s Manual - David Samuelson

6 American Cinematographer’s Manual - American Society of


Cinematographers

7 Video Camera Techniques - Gerald Millerson

8 Techniques of the Television Cameraman - Peter Jones

9 Anton Wilson’s Cinema Workshop - Anton Wilson

10 Negative - Anser Adams

11 Film Lighting - Chris Macalwitz

12 Newsreel Cameraman - Focal Press

13 Videographer’s Manual - A.S.C.

14 Paint & Effect - Discreet Logic

15 Image Control - Gerald Hirschfeld

16 The Technique of Lighting for Film and Television - Gerald Millerson


104

FILM & TELEVISION INSTITUTE OF INDIA

SECOND YEAR COURSE

IN

AUDIOGRAPHY
105

SECOND YEAR COURSE IN AUDIOGRAPHY

Syllabus at a glance

Subject Duration Week


Theory
AUD 201 T Recording 6 hrs./week 102 hrs. Over 17 weeks
AUD 202 T Electronics 6 hrs./ week 102hrs. Over 17 weeks
Practical
AUD 201 P Dubbing 30hrs./wk 12 sessions 1st & 2nd
AUD 202 P Dialogue Replacement 30hrs./week 12+8=20 3 & 4th
10 hrs./week sessions 5th to 8th
AUD 203 P Music Recording 10 hrs./week 5th. to 17th.
AUD 204 P Sound Mixing 10 hrs./week 5th to 17th
Self practice Flexible time 27th to 42th

AUD 205 P Audio Measurements 10hrs./week 7th to 17th

AUD 206 P Introduction to digital Media 6 hrs./week 20th to 26th


Self Practice flexible time 27th to 42nd

AUD 207 P Electronic Practical 30 hrs./week 1st to 6th


20 hrs./week 7th to 17th

Examination 2 weeks (23-24)

Coordinated Exercise

CEX202 Dramatic Sequence – 35 MM 5 weeks


B/W 18-22

Projects

PROJ 201 Dialogue film ( 16 mm color ) 20 weeks


25th. To 44th.

TOTAL 17+5+2+20
106

SECOND YEAR COURSE IN AUDIOGRAPHY

RECORDING

AUD 201 T

THEORY

6 HRS/WEEK OVER 17 WEEKS

OBJECTIVE

To understand basic principles of recording


To familiarise with various record media and their comparisons
To understand audio recording for media
To understand studio operations
To understand audio control and processing

CONTENTS

Sound reproduction and acoustics


Sound recording studios
Record media
Sound control and processing
Digital audio
Sound for cinema and television
Sound design
Audio post production and procedures
Film and video projection on large screen
Recording techniques for television

METHOD OF TEACHING

Theory and demos

ASSESSMENT

Theory exam 100 marks


107

SECOND YEAR COURSE IN AUDIOGRAPHY

ELECTRONICS

AUD 202 T

THEORY

6 HRS/WEEK OVER 17 WEEKS

OBJECTIVE

To understand basics of electronics


To understand electronic devices and their functions
To understand circuitry using discrete and integrated circuits
To understand types of amplifiers , power supplies, oscillators and control circuits
in audio devices.
To understand basics of digital electronics

CONTENTS

Electronic fundamentals
Electronic devices
Use of electronic devices in audio circuits
Building blocks of a complex audio equipment
Digital electronics
Digital devices
Logic functions and their implementation using MSI & LSI devices
Use of digital circuits in various audio equipments

METHOD OF TEACHING

Theory
Related software

ASSESSMENT

Theory examination 100 marks


108

SECOND YEAR COURSE IN AUDIOGRAPHY

DUBBING

AUD 201 P

PRACTICAL

30 HRS/WEEK OVER WKS 1 & 2

OBJECTIVE

To familiarize with various recording equipment in a sound studio.


To understand audio levels and other parameters while dubbing programs.
To be able to make out differences between record media.

CONTENTS

Handling of various equipment for dubbing of programs.


Monitoring sound quality on different record media.

METHOD OF TEACHING

Practical
Listening and analysis.

ASSESSMENT

In addition to the common elements in assessment, a student is assessed after he


has put a minimum of 6 hrs on

Handling of equipment
Performance
Analytical ability
109

SECOND YEAR COURSE IN AUDIOGRAPHY

DIALOG REPLACEMENT

AUD 202 P

PRACTICAL

30 HRS/WEEK OVER WKS 3 & 4


10 HRS/WEEK OVER WKS 5 - 8

OBJECTIVE

Familarisation with ADR equipments and procedures


Dialog recording with visual reference
To be able to maintain consistent quality and perspective

CONTENTS

Practical sessions on ADR equipment


- Line up of equipments
- Testing of their execusion

Handling of voices on multitrack recorders and mixing

METHOD OF TEACHING

Theory
Demo
Practical

ASSESSMENT

A student is assessed after completing a minimum of 10 hrs. On

Handling of equipment
Performance
110

SECOND YEAR COURSE IN AUDIOGRAPHY

MUSIC RECORDING

AUD 203 P

PRACTICAL

10 HRS/WEEK OVER WKS 5 - 17

OBJECTIVE

To familiarize a student with various acoustic and electronic musical instruments.


To help the student develop critical listening.
To handle audio processing equipment.
To understand traditional and modern methods of recording.

CONTENTS

Handling of different microphones and placements for music sessions.


Handling of multi-channel mixing consoles.
Using sound processing in real time and in mix-down sessions.
Handling digital and analogue record media.

METHOD OF TEACHING

Practical

ASSESSMENT

After a student has gone through a minimum of six recording sessions he will be
assessed on-

Handling of equipment
Performance
Analytical capability
111

SECOND YEAR COURSE IN AUDIOGRAPHY

SOUND MIXING

AUD 204 P

PRACTICAL

10 HRS/WEEK OVER WKS 5 - 17

OBJECTIVE

To familiarise with dubbing procedures.


To understand sound levels and perspective with reference to visuals.
To understand track formations and laying for proper mixing

CONTENTS

Dubbing from various sources


Track assessment and corrections
Mixing practice, non automation
Basics of automated mixing

METHOD OF TEACHING

Practical

ASSESSMENT

After a minimum number of 15 hrs. A student is assessed on-

Handling of equipment
Performance
112

SECOND YEAR COURSE IN AUDIOGRAPHY

AUDIO MEASUREMENTS

AUD 205 P

PRACTICAL

10 HRS/WEEK OVER WKS 7 – 17

OBJECTIVE

To understand the parameters of an audio device and its measurements


To understand the quality of an audio device vs .electronic parameters
To familiarise with measurement techniques and its importance
To achieve a better understanding of complex equipments
To understand audible quality vis-à-vis acoustic parameters

CONTENTS

Introduction and use of measuring equipments


Taking measurements on audio amplifiers of tape recorders
Taking measurements on a tape recorder for conformity of its specifications
Measure acoustic parameters of a given enclosure and correlate these with
subjective feel

METHOD OF TEACHING

Demos
Practical
Use of related computer software

ASSESSMENT

In addition to the common assessment a student is assessed after completing 10


practical and demos.

Understanding
Documentation in a journal
113

SECOND YEAR COURSE IN AUDIOGRAPHY

INTRODUCTION TO DIGITAL MEDIA

AUD 206 P

PRACTICAL

OVER WKS 20 -26.

OBJECTIVE

To familiarise with digital media


To understand and use audio recording and editing softwares
Introduction to digital as a means of automation

CONTENTS

Introduction to digital media, tape, CD, MOD and mini discs.


Comparing analogue and digital recordings
Using a workstation for a specific job of recording and editing
Using a workstation for video post production

ASSESSMENT

In addition to the common assessment a student is assessed after completing 10


hrs on

Performance
Consistency in sound layering
114

SECOND YEAR COURSE IN AUDIOGRAPHY

ELECTRONICS

AUD 207 P

PRACTICAL

30 HRS/WK OVER WKS 1 – 6


20 HRS/WK OVER WKS 7 – 17

OBJECTIVE

To understand basic electronics


To understand basic principles behind designs and functioning of audio circuits
To understand the functioning of simple digital circuits

CONTENTS

Introduction to electronic components


Electronic measurements
Soldering and assembling practice
Basic electronic devices and their characteristics
Assembling an audio circuit and measuring its performance
Building simple digital circuits and understand their functions

ASSESSMENT

In addition to the common assessment a student is assessed after completing 15


practical in:-

Handling of equipment
Understanding
Documentation in a journal
115

SECOND YEAR COURSE IN AUDIOGRAHY

DRAMATIC SEQUENCE -35MM FILM

CEX 202

COORDINATED EXERCISE

FIVE WEEKS (18-22)

OBJECTIVE

To develop skills of scripting, shooting, recording and editing of the specialistion


students in executing a dialogue-based dramatic sequence on a studio set.

PRODUCTION NORMS

35mm B&W, separate sound track.

The exercise will be shot to a comprehensive schedule announced well in advance


on one of the available sets.

A roll of 400 feet to be synch shot over one day. Sound to be transferred over one
shift and the sequence edited over two shifts.

Budget : Rs.300/-

Exam. : 100 marks ( 25 for each specialisation stream)

FORMAT CHANGE
116

SECOND YEAR COURSE IN AUDIOGRAPHY

DIALOGUE FILM

PROJ 201

YEAR-END PROJECT

20 WEEKS (25-44)

OBJECTIVE

To demonstrate creative, technical and collaborative skills of


specialisation students towards presenting a dialogue-based short story
conceived and written especially and exclusively for indoors.

PRODUCTION NORMS

1 35mm colour, 10 minutes including titles; synch-shot


exclusively on a given studio set; re-recorded and release-printed.

2 The project will be shot to a comprehensive schedule


announced well in advance.

3 63 rolls of 400 ft each to be shot over three shooting shifts


using one of the two available sets.

4 Shift timings will be from 9.00 a.m. to 6.00 p.m.

5 To be edited over a total of 8 editing shifts, including those


for track laying on non-linear system. A maximum of 4 sound channels would be
available, including the synch-shot dialogue channel. There will be no provision
for dubbing for fresh music recording. A total of 6 sound shifts for post
production are available.

6 For the purpose of grading, one of the cameraman to the


lab will be provided for.

7 Budget provision ( all inclusive) Rs.6000/- only.* (Rs.3000


for set modifications and Rs.3000 for incidental.)

*Subject to approval by SFC.

SECOND YEAR COURSE IN AUDIOGRAPHY


117

RECOMMENDED READING

1 Sound Recording - John Eargle


2 Audio Electronics - John L. Hood
3 Audio Post Production in Video & Film - Tim Amyes
4 Audio Post Production Techniques for Video - William L. Hagerman
5 Digital Audio and Compact Disc Technology - Luc Baert
6 Loudspeaker & Headphone Handbook - John Borwick
7 Magnetic Recording Handbook - Marvin Camras
8 MIDI Manual - David M. Huber
9 Modern Recording Techniques - David M. Huber
10 Music Editing for Motion Pictures - Millon Lustig
11 New Recording Studio Handbook - John M. Woram
12 On Location Recording Techniques - Bruce Bartlelt
13 Sound System Engineering - Davis & Davis
14 Tape Less Sound Recording - Francis Rumsey
15 Practical Art of Motion Picture Sound - David Lewis Yewdall
16 Audio in Media - Stanley R. Alten
17 Handbook for Sound Engineers -
- The New Audio Cyclopedia
18 Art of Digital Audio - John Watkinson
19 Audio Hi-Fi Handbook - Ian R. Sinclair
118

FILM & TELEVISION INSTITUTE OF INDIA

SECOND YEAR COURSE

IN

EDITING
119

SECOND YEAR COURSE IN SPECIALISATION

Subject Duration
Theory
ED 201 T Editing theory Over 16
weeks
ED 202 T Technical aspects of Video Editing FROM
ED 203 T Film Editing procedure 201 T
Practical TO
ED 201 P Editing of dialogue sequence-I 205 W
ED 202 P Editing of action sequence
ED 203 P Editing of dialogue sequence-II
ED 204 P Editing of playback/musical sequence
ED 205 P Editing of video documentary
Workshops
ED 201 W Non-Linear Editing 1 week
ED 202 W Video post production 1 week
ED 203 W Non-linear editing 1 week
ED 204 W Editing of documentary (video ) 1 week
ED 205 W Complex method of film editing 1 week
Co-ordinated exercises
CEX 201 Action Sequence -16 mm film 2 weeks
CEX 202 Dramatic Sequence –35mm B/W 4 weeks

Projects

PROJ 201 Dialogue film 20 weeks


Examination 2 Week

Total 16+2+4+2+20 = 44 weeks


120

SECOND YEAR COURSE IN EDITING

EDITING

ED 201 T

THEORY

40 HRS SPREAD OVER 12 WEEKS

OBJECTIVE

To have a thorough understanding of editing concepts in practice

CONTENTS

Problem of Editing of action sequence


Creative treatment of sound in editorial construction
Montage construction
Editing of comedy sequences
Editing of reportage films
Documentary films of ideas
Imaginative documentary
Educational/instructional films
Compilation films
Modern trends

METHOD OF TEACHING

Lecture, screening and discussions.


121

SECOND YEAR COURSE IN EDITING

TECHNICAL ASPECTS OF VIDEO EDITING

ED 202 T

THEORY

THREE SESSIONS OF 3 HOURS EACH SPREAD OVER ONE WEEK

OBJECTIVE

To study the technical aspect of Video Editing

CONTENTS

Study of various types of video signals.


- Composite, Y/C, components, digital and their
specifications.
- TBC and volume unit meters.
Study of time code
- LTC, VITC and time code editing
Types of compressions
- Storage capacity
- Resolution, quality

Resolving the variation between film and video frame speed for editing on
nonlinear system.

METHOD OF TEACHING

Lecture/ demonstration.
122

SECOND YEAR COURSE IN EDITING

FILM EDITING PROCEDURE

ED 203 T

THEORY

TWELVE SESSIONS OF 3 HOURS EACH SPREAD OVER 3 WEEKS

OBJECTIVE

To study and understand in detail the procedure of preparation for Optical


Effects, mixing and release print

CONTENTS

Optical effects
- Types
- preparation for marking
Preparation for mixing
- Track laying of dialogue, music and effects.
Cue-sheets
- Pre-mixing and final mixing
- Editors responsibilities in mixing operation
Preparation for negative cutting
- Negative cutting
- Insertion of optical dupes, titles, etc.
- Matching of the final negatives.
- Release print.

METHOD OF TEACHING

Lectures, demonstrations and practical.


123

SECOND YEAR COURSE IN EDITING

EDITING OF DIALOGUE SEQUENCE - I

ED 201 P

PRACTICAL

ONE WEEK

OBJECTIVE

The students will learn to edit simple sequences on film/video using visuals and
synchronous sounds, consisting predominantly of dialogues to bring out the
meaning and effect of the scene.

CONTENTS

Sorting, assembling and synchronization of sound with reference to clap.


Editing of four simple, dialogue sequences, observing proper timing and
maintaining the required pace.

METHODS OF TEACHING

Lecture, screening, demonstration.


Classroom practical.
Analysis, discussion and evaluation of the work of students.
124

SECOND YEAR COURSE IN EDITING

EDITING OF ACTION SEQUENCE

ED 202 P

PRACTICAL

TWO WEEKS

OBJECTIVE

To understand the dynamics of picture and sound in editing of action sequence.


Edit an action sequence.

CONTENTS

Study of action sequence.


Editing of two action sequences.
Editing of Action Sequence done as coordinated exercise.

METHODS OF TEACHING

Lectures, screenings, demonstrations.


Classroom practical, discussions.
Analysis, discussion and evaluation of the work of students.
125

SECOND YEAR COURSE IN EDITING

EDITING OF DIALOGUE SEQUENCE – II

ED 203 P

PRACTICAL

THREE WEEKS

OBJECTIVE

To edit a complex dialogue sequence using creative editing skills.

CONTENTS

Editing of four dialogue sequences of complex nature on film/video.

METHODS OF TEACHING

Lectures, screenings, demonstrations.


Analysis, discussion and evaluation of the work done by students.
126

SECOND YEAR COURSE IN EDITING

EDITING OF PLAYBACK/MUSICAL SEQUENCE

ED 204 P

PRACTICAL

THREE WEEKS

OBJECTIVE

The students will learn to prepare a sound track for playback, cue, synchronize
and edit playback sequence.

CONTENTS

Editing of four playback/musical sequences of varying complexity.

METHODS OF TEACHING

Lectures, screenings, demonstrations.


Classroom practical.
Analysis, discussion and evaluation of the work of students.
127

SECOND YEAR COURSE IN EDITING

EDITING OF VIDEO DOCUMENTARY

ED 205 P

PRACTICAL

TWO WEEKS

OBJECTIVE

The students will be able to understand the creative skills required for editing
documentaries.

CONTENTS

Study of documentary editing.


Editing of documentaries.

METHODS OF TEACHING

Lectures, screenings, discussions.


Classroom practical.
Analysis and discussion.
128

SECOND YEAR COURSE IN EDITING

FILM EDITING

ED 201 W

WORKSHOP

ONE WEEK

OBJECTIVE

Application of various editing concepts/theories of Editing.

CONTENTS

Analysis of editing theory and its application on a specific classroom projects or


other examples.

METHODS OF TEACHING

Lectures, discussions and hands on practice


129

SECOND YEAR COURSE IN EDITING

VIDEO POST PRODUCTION

ED 202 W

WORKSHOP ON BETACAM

ONE WEEK

OBJECTIVE

To acquire the technical knowledge involved in video post production process.

CONTENTS

Video post production techniques, visual effects, audio mixing, preparing


titles with the help of Character Generator, preparation of final edit version.

METHOD OF TEACHING

Lectures, discussions and practical.


130

SECOND YEAR COURSE IN EDITING

NON-LINEAR EDITING

ED 203 W

WORKSHOP

ONE WEEK

OBJECTIVE

The students will learn to edit complete sequences on Non-Linear system.

CONTENTS

Introduction of Non-Linear System.

Demonstration of editing on the system.

Individual practical in editing sequences on non-linear system.

METHODS OF TEACHING

Lectures, demonstrations and hands on practice.


131

SECOND YEAR COURSE IN EDITING

VIDEO DOCUMENTARY

ED 204W

WORKSHOP

ONE WEEK

OBJECTIVE

To understand the concept, technique and complexities involved in a


Documentary editing.

CONTENTS

Introduction to the concept, practice, complexities, focus, creative use of sound


and choice that are involved in a documentary editing.

Editing of the rushes provided to the students.

METHODS OF TEACHING

The workshop will be conducted by Guest faculty.


Hands on Practical.
Screening/Preview and discussion.
132

SECOND YEAR COURSE IN EDITING

COMPLEX FILM EDITING

ED 205 W

WORKSHOP

ONE WEEK

OBJECTIVE

To edit a complex Dialogue Sequence.

CONTENTS

Introduction to complex method of editing material on film. Multiple characters,


Sound overlap etc.

METHODS OF TEACHING

Lectures, demonstration, discussion and hands on practice.


133

SECOND YEAR COURSE IN EDITING

ACTION SEQUENCE -16MM FILM

CEX 201

COORDINATED EXERCISE

TWO WEEKS (8 -9)

OBJECTIVE

To develop skills of scripting, shooting, recording and editing an outdoor


sequence involving action.

PRODUCTION NORMS

16mm B&W; available light, on-campus, outdoors; sep-mag.

The exercise will be shot to a schedule announced well in advance.

A roll of 400 feet to be synch shot over one day. Sound to be transferred over one
shift and the sequence edited over two shifts.

No budget.

CHANGE OF FORMAT
134

SECOND YEAR COURSE IN EDITING

DRAMATIC SEQUENCE -35MM FILM

CEX 202

COORDINATED EXERCISE

FOUR WEEKS (19-22)

OBJECTIVE

To develop skills of scripting, shooting, recording and editing of the specialistion


students in executing a dialogue-based dramatic sequence on a studio set.

PRODUCTION NORMS

35mm B&W; separate sound track.

The exercise will be shot to a comprehensive schedule announced well in advance


on one of the available sets.

A roll of 400 feet to be synch shot over one day. Sound to be transferred over one
shift and the sequence edited over two shifts.

Budget : Rs.300/-

Exam.: 100 marks (25 for each specialisation stream)


135

SECOND YEAR COURSE IN EDITING

DIALOGUE FILM

PROJ 201

YEAR-END PROJECT

20 WEEKS

WEEKS 25-44

OBJECTIVE

To demonstrate creative, technical and collaborative skills of


specialisation students towards presenting a dialogue-based short story
conceived and written especially and exclusively for indoors.

PRODUCTION NORMS

1 16mm colour, 10 minutes; synch-shot exclusively in a studio set;


re-recorded and release-printed.

2 The project will be shot to a comprehensive schedule announced


well in advance.

3 rolls of 400 ft each to be shot over three shooting shifts using one
of the two available sets.

4 To be edited over a total of 10 editing shifts, including those for


track laying. A maximum of 4 sound channels would be available, including the
synch-shot dialogue channel. There will be no provision for dubbing for fresh
music recording. A total of 5 sound shifts for post production are available.

5 For the purpose of grading, two visits of the cameraman to the lab
will be provided for.

6 Budget provision ( all inclusive) Rs.3000/- only.*

Exam.: 100 marks (25 for each specialisation stream)


*Subject to approval by SFC.
136

SECOND YEAR COURSE IN EDITING

RECOMMENDED READING

1 Rise of American Film – Lewis Jacobs

2 The Technique of Film Editing – Karel Reisz & Gravin Miller

3 The Technique of the Film Cutting Room - Ernest Walter

4 The Technique of Editing of 16mm Film - John Burder

5 Film Technique - Pudovkin

6 Film and Film Sense - Sergei Eisenstein

7 Video Editing and Post Production - Garry M. Anderson

8 Digital Nonlinear Editing - Thomas A. Ohanian

9 Special Effects in Television - Bernard Wilkie

10 Time Code - A User’s Guide by John Ratcliff

11 Grammar of the Edit - Roy Thompson

12 Electronic Post Production and Video


Tape Editing - Arthur Schneider
137

FILM & TELEVISION INSTITUTE OF INDIA

THIRD YEAR COURSE

IN

SPECIALISATIONS
138

FILM & TELEVISION INSTITUTE OF INDIA

THIRD YEAR COURSE

IN

DIRECTION

ONE YEAR

[44 WEEKS]
139

THIRD YEAR COURSE IN DIRECTION

FEATURE FILM SCREENPLAY SESSIONAL

DFT 301

SESSIONAL SUBMISSION

OVER THE WHOLE YEAR


________________________________________________________________________

ABSTRACT

The Feature Film Screenplay Sessional is intended to give the student necessary
confidence and experience of marshalling his scriptwriting resources to the
enlarged canvas of a feature film.

OBJECTIVES

Equipped with a fully worked out Feature Film Screenplay, the student would be
ready to join the profession as an aspiring filmmaker at the earliest opportunity
after graduating.

CONTENT

Each student will at the beginning of the year submit a brief outline of the
proposal, along with names of two guides from the field in consultation with
whom he would like to develop the screenplay. The institute would then get in
touch with the guides and formalise the arrangement with one. Through 2 or 3
sessions of interaction with the guide, the student would over the year be expected
to write, print and bind three copies of the screenplay for submission.

ASSESSMENT

Sessional 200 marks


140

THIRD YEAR COURSE IN DIRECTION

DIPLOMA PROJECT FILM

DFT 303 YEP

YEAR ENDING PROJECT

OVER 33 WEEKS

OBJECTIVES

Diploma film is the highest level project in film to showcase the conceptual and
technical skills acquired by the students in their respective specialisations.

NORMS

35mm colour, , maximum duration 22 minutes, fiction or non-fiction.

Raw Stock 6000 feet picture negative and corresponding


positive.
DETAIL

Shooting Shifts 10 shifts in Studio or on location within 200 kms


HOURS

from Pune (Consecutive 10 working days).


IN

Budget Rs.15,000/- including Rs.5,000/- for set


construction.
Or
Rs.12,000/- including Rs.2,000/- for location hire.

Editing Non-linear 10 shifts and Negative cutting 4 shifts.


Sound 15 shifts altogether
Finished length A maximum of 20 minutes including titles.
Completion date 35 days from the date of receipt of rushes

Meal Money Rs 120/- per day per head admissible only for
overnight stay on locations for not more than 9
students.

ASSESSMENT

Diploma Film 300 marks (Internal & external experts)


141

FILM & TELEVISION INSTITUTE OF INDIA

THIRD YEAR COURSE

IN

CINEMATOGRAPHY

ONE YEAR

[44 WEEKS]
142

THIRD TEAR COURSE IN CINEMATOGRAPHY

DIPLOMA PROJECT FILM

CFT 303 YEP

YEAR ENDING PROJECT

OVER 33 WEEKS

OBJECTIVES

Diploma film is the highest level project in film to showcase the conceptual and
technical skills acquired by the students in their respective specialisations.

NORMS

35mm , max. duration 22 minutes, fiction or non-fiction.,

Raw Stock 6000 feet picture negative and corresponding


positive.

Shooting Shifts 10 shifts in Studio or on location within 200 kms


ON NORMS

from Pune (Consecutive 10 working days).


DETAILS
MORE

Budget Rs.15,000/- including Rs.5,000/- for set


construction.
Or

Rs.12,000/- including Rs.2,000/- for location hire.

Editing Non-linear 10 shifts and Negative cutting 4 shifts.

Sound 15 shifts altogether

Finished length A maximum of 20 minutes including titles.

Completion date 35 days from the date of receipt of rushes

Meal Money Rs.120/- per day per head admissible only for
overnight stay on locations for not more than 9
students.

ASSESSMENT 300 marks(Internal and external experts)


143

FILM & TELEVISION INSTITUTE OF INDIA

THIRD YEAR COURSE

IN

AUDIOGRAPHY

ONE YEAR
[44 WEEKS]
144

THIRD YEAR COURSE IN AUDIOGRAPHY

DIPLOMA PROJECT FILM

AF 303 YEP

YEAR ENDING PROJECT

OVER 33 WEEKS

OBJECTIVES

Diploma film is the highest level project in film to showcase the conceptual and
technical skills acquired by the students in their respective specialisations.

NORMS

35mm color, max. duration 22 minutes, fiction or non-fiction.

Raw Stock 6000 feet picture negative and corresponding


positive.

Shooting Shifts 10 shifts in Studio or on location within 200 kms


from Pune (Consecutive 10 working days).

Budget Location hire or set construction budget to be operated by


production section and is not transferable to incidental
budget

Editing Non-linear 10 shifts and Negative cutting 4 shifts.


Sound 15 shifts altogether
Finished length A maximum of 22 minutes including titles.
Completion date 35 days from the date of receipt of rushes

Meal Money Rs.120/- per day per head admissible only for
overnight stay on locations for not more than 9
students.

ASSESSMENT

Diploma film 300 marks(Internal and external experts)


145

FILM & TELEVISION INSTITUTE OF INDIA

THIRD YEAR COURSE

IN

EDITING

ONE YEAR
[44 WEEKS]
146

THIRD YEAR COURSE IN EDITING

DIPLOMA PROJECT FILM

EFT 303 YEP

YEAR ENDING PROJECT

OVER 33 WEEKS

OBJECTIVES

Diploma film is the highest level project in film to showcase the conceptual and
technical skills acquired by the students in their respective specialisations.

NORMS

35mm colour, max. duration 22 minutes, fiction or non-fiction.

Raw Stock 6000 feet picture negative and corresponding


positive.

Shooting Shifts 10 shifts in Studio or on location within 200 kms


from Pune (Consecutive 10 working days).
DETAIL
HOURS

Budget Rs.15,000/- including Rs.5,000/- for set


IN

construction. OR Rs.12,000/- including Rs.2,000/-


for location hire.

Editing Non-linear 10 shifts and Negative cutting 4 shifts.


Sound 15 shifts altogether
Finished length A maximum of 20 minutes including titles.
Completion date 35 days from the date of receipt of rushes

Meal Money Rs.120/- per day per head admissible only for
overnight stay on locations for not more than 9
students.

ASSESSMENT

Diploma film 300 marks(internal and external experts)