Pre-production can take place anywhere starting from the scriptwriter’s own domicile right into the hustle

and bu
The term “studio-complex” has been termed because these:

 Incorporate multiple sound stages of varying sizes to aid the film making process
 Provide a range of production and postproduction services
 Are flexible to the needs for setting up outdoor shooting facilities along with the indoor studios
 Consist of huge backlot areas, storage facilities and integrated workshops
(Goldsmith & Reagan, 2003, Cinema Cities, Media Cities: The Contemporary International Studio Complex) (Smith,
G.F., 1996, Oxford History of World Cinema)
Post-production

Post production

offices sound complex color lab Editing cine auditorium

Major Functions involved in Post Production Process

post- production offices:

These are offices for the technicians, maintenance and administration of the postproduction sector. Since
the postproduction process requires laboratory and the involvement of chemical storage, which is likely to
be highly flammable, it is regarded that this section is separated from the production zone. These offices can
have an open plan with separate rooms for directors, chief technicians and chief engineers.
 Complex
With the onset of sound in the film making process, technologically advanced equipment required highly
efficient and sophisticated zones. Apart from the use of sound stages where the dialogues and surrounding
sounds are picked up while, the shooting process, careful attention had to be given to the post production
process of incorporating sound into films. A complete film production involves several kinds of sound
activity such as
 Dubbing
 Music
 E-recording

Editing and recording

Sound editing is another part of the postproduction process. For this, a recording studio is used. Recording
studios can be used to record musicians, voice over artist, dubbing, etc. According to Wikipedia, recording
studio is a facility for sound recording and mixing. Ideally both the recording and monitoring spaces are
specially designed by an acoustician to achieve optimum acoustics properties.” Basically, a recording studio
consists of, live room where instrumentalist and performs; control room where sound engineer controls and
records sounds by using mixing console along with computer and special software in it; isolation booth use
to accommodate loud musical instruments too. It is also used for recording vocals while performing. In
totality we can say that singer along with his musicians can perform together here.

Recording studios can be classified in to three types

according to music intended to be recorded as follows

• Home or project studio

• Separate studio and control room
• Scoring stage and control room
Home studio separate studio and control room scoring stage and control room

Architectural considerations for sound editing and recording studio

 Studio should be designed around the principles of room acoustics and should be light proof i.e., no
light should enter the spaces in the recording so that best quality of sound and visual can be
delivered.
 Minimum ceiling height should be 19’
 For visual connection between control room and recording room observation window with glass
should be provided and should be of size 6’ x 9’
 The glass panel of size 8mm thick and 12mm thick with air gap of 30cm separating them.
 All doors in the studio contain double glass with gap between them as mentioned in above point
with glass wool inside.
 Ceiling should be of RCC and should be acoustically treated
 Walls should be double leaf
 Flooring should be of carpet with sponge of excellent quality to make it noise proof.
 A constant temperature of about 18oc and low humidity should be maintained inside the studio all
the time.
 The working plane should be well illuminated

Laboratory
The function of the motion picture laboratory is to provide all the photographic processing and associated
services required to produce a film and to produce the release prints for general distribution to cinema
theatres. Services to the studio are more specialized while that of producing the prints is of mass production
type. The function of the motion picture goes through the following processes:
 Negative developing
 Rush Printing
 Release Printing
Editing
Modern film technology is highly dependent on the editing process in the complete outcome of a film. It is
the test between the aesthetic qualities and technical expertise of the editor. It is the sequential arrangement
of the shots in the production stage and synchronization of the additive elements that creates the cooperation
that the viewers see on screen. Editing involves the following functions:
 Rush editing
 Sound editing
 Synchronization of picture and sound film
 Final Editing
3.4.6 Architectural considerations for photography studio
 Camera room should be light proof
 Air condition should be used in the studio
 For portrait photography camera room should be at least 10’ x 12’
 For full length photography camera room should be at least 14’ x 12’
 Ceiling height of camera room should be more than 9’
 Makeup and dressing room should be at least 5’ x 5’
 Makeup and dressing room should get enough natural light, but privacy should be maintained.

3.4 Screening room

According to Wikipedia, “Screening room is a room in which films are shown on a large screen for a small
private audience.” The film making team to see whether the final quality of movie has been accomplished
according to vision of director producer and other creative staffs and is used in between to see the quality of
work uses usually screening room. Beside this screening room in film studio is also used for primer of
movies where no of guests is called along with the film making team. During primer of movies film making
team along with actors attends primer program in screening room where red carpet is laid from a certain
distance of entrance where they are dropped from the car. After entrance at certain point, they give short
interview to the press who are called to the primer of the movie. Then all the guests and film making team
walks towards the screening room.

Architectural consideration for screening room

• Main room
 The maximum viewing distance should not be greater than twice the width of the Widest picture to
be projected.
 The width of the seating pattern should vary from 1 time the widest projected Picture of the first
row to 1.3 times at the row farthest from the screen

Maximum viewing angle, first row maximum viewing distance

 The viewing angle from the first row of the seats to the center of the picture screen should
not exceed 30 degrees.
 Area of 0.5m2 per person for seating arrangement.
 It should not have natural light walls and ceiling should be made up of non-reflective material
  The viewing angel from first row of seat to the center of the picture should not exceed 30 degree.
Elevation of sheeting

 Floor gradient is achieved by an inclination of up to 10%

 For seating raiser should be 6” and tread should be 3’-9’.
 Sightline clearance should not be less than 5’’
Screen

 Center of projected beam should not deviate more than 5 degree horizontal or vertically from the
center of screen and it should be deflected via a
Deflection mirror
 Minimum distance of projection screen from wall should be 3’-9’’.
 Lower edge of projection screen should be at least 3’-9’’ above the floor
 Large projection screens are curved with a radius centered at last row of seats
Gangway

 Maximum no. of seats in one way gangway :11 seats

Maximum no. of seats in two-way gangway: 22 seats
 Here should be minimum 1 gang way after 15 rows
 Width of central longitudinal gangway ≥ 4’
 Width of side longitudinal gangway ≥ 3’
 Width of cross gangway should be ≥ 4’
Projection room

 Projection window should be at least 7’ high from the last row floor
 Height of projection room should be at least 9’
 Projection room can vary from 9’- 8” to 14’- 7” depending on site Circumstances
Rest rooms

 Rest rooms should be provided in screening room according to following Guidelines

CAPACITY MEN WOMEN
UP TO 400 SEATS 1 basin 1 basin
1 toilet 2 toilets
1 urinal
400 TO 600 SEATS 2 basins 2 basins
2 toilets 3 toilets
2 urinals
600 TO 1000 SEATS 2 basins 2 basins
2 toilets 4 toilets
2 urinals
Table ;3.5
Architectural consideration for restaurant
Dining room
 To be able to eat comfortably one person requires a table area around 1’- 9” wide and 1’- 3” deep.
An additional space of 7” in the center dishes is sometimes desirable.
 The kitchen, storerooms, delivery points, toilet and other service areas should be grouped around
the dining room
 Aisle widths should be main aisle 6’ – 5”, intermediate aisle 2’ – 9” and side aisle 3’ – 9”
 Ceiling height of dining room should be considered according to following

FLOOR AREA HEIGHT

≤ 538 sqft 8’-2’’
> 538 sqft 9’
≥ 1076 sqft 10’
Table ;3.6.1-1
 Space required for dining area can be calculated by following formula
SD = SP x N
SD = Space required for dining
area SP = No of sqft per person
N = No of person at one time
 Walkway width should be considered according to following
DINNING FLOOR AREA (Sqft ) WALKWAY WIDTH (ft)
Up to 1076 ≥ 3’ – 6”
Up to 2690 ≥ 4’ – 3”
Up to 5381 ≥ 5’ – 4”
Up to 10763 ≥ 5’ – 9”
Over 10763 ≥ 6’ - 8”
Table ;3.6.1-2

Kitchen
 Area for kitchen = ½ x Area of dinning
 The server for a restaurant kitchen with a counter or bar serving point is best located between the
preparation area and dining room
 About 10% to 15% area of the kitchen area should be reserved for offices and staff rooms.
 The server for a restaurant kitchen with a counter or bar serving point is best located between the
preparation area and dining room
 Kitchen staffs must be provided with changing rooms, washroom, and toilets
 If more than 10 staffs are employed rest and break rooms are required
 More than 64 sqft should be provided for the changing room with 4 to 6 air changing per hour as
well as visual screening.
 Area Proportion in %
Goods deliveries including inspection and waste 10
storage
Storage in deep freeze, cold and dry room 20
Daily store
Vegetable and salad preparation kitchen 2
Cold meals, desserts 8
Cake shop 8

Meat preparation 2
Cooking area 8
Washing area 10
Walk ways 17
Staff rooms and office 15
Total 100

Parking
Correct and accurate parking facility is must in the film studio so that it will help to do all other works
easily and faster. Parking should be provided so that actors should not have to walk more distance for
backlot and sound stage and staffs should not have to walk more for their respective office spaces. For the
shooting in outdoor location outside film studio a vanity van is needed and should be stored in parking area
like underground parking areas until and unless they are needed.
3.7.1 Architectural consideration for parking
• Parking space should be outlined by 5” to 7” wide yellow or white lines. When parking facing a wall,
these lines should be painted at a height of up to 3’
for better visibility.
• Parking types
 Parallel parking
 30-degree parking
 45-degree parking
 60-degree parking
 90-degree parking

 For car, parking unit should be 16’- 4” long and 7’- 5” wide but parking space for disable should be
more than 11’ wide
• Circulation space for car parking should be minimum 11’ wide
 3.5 Crewmembers involved
Hiring of crewmembers entirely depends upon the budget of the movie. If the budget of the film is low, then
crew members are hired on the individual basis as per necessity and if the film is of big budget then
department heads are hired and they hire rest of the crew members as per the necessity of film. Key
department heads are
 Director of photography
 Production manager
 Assistant director
 Production designer


film making in the Production and Post Production processes. Certain examples are cited for references and average workin

y always assist in allocating the facilities. The outdoor shooting facilities and indoor shooting facilities should be clearly dem

For the overall planning strategy, factors that need to be addressed include:
Built and un-built spaces
For outdoor shooting, make optimum use of the topography
Security control, check points, numerous watchtowers, and a main security gate
Designing of the entire electrical network in direct relationship with the land use
Water supply, wastewater, and storm water management servicing schemes
Firefighting services
Proper drainage of the overall site
Use of renewable sources of energy

Apart from keeping these factors in mind in the overall planning strategy, one must remember that the services th
 Types of outdoor shooting areas
n. To mention a few problems that filmmakers encounter includes massive crowd control troubles and damage to filming equipment. J

Outdoor shooting
Artificial sets or natural setting in Artifical location
the complex

Backlots:
Studio-complexes around the world have a space named as Backlots that can accommodate massive standing
sets. These sets are changed according to the need of the script and the demand of the filmmaker.
This area should:
 have accessibility via a vehicular road to bring in services to construct sets
 be near the workshops
 be connected to electrical system
 preferably have a green background (forest,hills,etc.) on one or more sides
 have storage facilities nearby

Artificial sets or natural settings:

Along with the backlots, an integrated studio complex can design vast open spaces resembling dense
forests, hills, dams, fountains, paddy fields, Helipads, rail-tracks, straight and serpentile roads, gardens, and
other natural settings. Another facility that a film city can offer its film makers are ready made sets of

Village
 setting, Urban Street, Office buildings, Jails, Courts, Stations etc. over which the facade can be altered
according to the film makers liking. The Ramoji Film City, Universal Studios and many other studio
complexes are providing many such on the spot facilities.

Creating these sets would mean giving extra attention to the overall landscape of the site. Ranging from the
different types of trees that would surround this zone, transitions between paved, semi-paved and lush green
spaces should be well organized.

Indoor facilities
The indoor facilities are broadly categorized into production facilities, postproduction facilities along with
the ancillary services.

Sound stages:
Sound stage is a building or portion of a building usually insulated from outside noise and natural light for
use by the entertainment industry for the purpose of motion picture, television and commercial production.
Sound stages are classified according to floor area as small, medium, large and extra-large. For more
requirements of big budget films typically provide such accessible areas as well. At the same time, these
shooting locations offer the convenience of large parking spaces for the many trucks and trailers used by the
production.
Super stages are also used which has area more than 1800 sqm. These are built for re-creating outdoor
setting in feature films. Sometimes super stages are made up of block of two or three sound stages of
increased ceiling height separated by sliding or roll up soundproof partitions, which enable the block to be
used either as two or three separate sound stage or as single stage.
Architectural considerations for sound stage
 Area of small soundstage should be 400 sq m, medium should be 820 sqm, large should be
1400sqm and extra-large should be 1800 sqm.
 Clear height for these categories should be proportional to diagonal length and should not be
less than 0.23D
 For super stages span should be 38m to 48m and length should be 54m to 72m.
 Height should be up to 25m
 Soundproofing should be done to keep away outside noise
 A powerful and noiseless air conditioning system should be provided
HVAC system:
In filming studios, which are huge volumetric spaces, the HVAC system should be intelligently designed.
The basic principle in to ensure a controlled environment inside the indoor shooting stages while a proper
zoning is indispensable to reduce cost and cut down on energy requirement. In selecting a suitable air
conditioning system for a particular application, considerations are given to the following:
Architectural Constraints:
 Floor space and clear heights to accommodate HVAC equipment and distribution elements
 Aesthetics
 Size and appearance of terminal devices
 Coordination of reflected ceiling plans with lighting, fire sprinklers/detectors
 Acceptable noise levels
  Space available to house equipment and its location relative to the conditioned space
 Shaft spaces available for routing ducts/pipes, etc.
 Climate and shading
 Indoor and outdoor equipment preferences
 Acceptability of components projecting into the conditioned space
 Codes and standards of smoke removal systems
 Usage patterns
 Occupancy.

Lighting:
The concept and arrangement of openings to provide natural lighting permit diversity in architectural
design. Roof lights and gabled glazed roofs are common along with light bands. Openings for natural
lighting can serve as smoke and heat outlets.
CONCEPTUAL ELEMENTS IN ARCHITECTURE AND CINEMA

Of all the ingredients that compose a moving picture, the importance of the narrative is the least understood or appreciated
by an audience. On the contrary, as Robert Gessner states that it is the key that unlocks most of the secrets in cinema:
"A character can be fascinating for his expressions of love, hate or indifference. A plot can be intriguing for its
involvement, detachment, or puzzling dilemmas. The rhythm and acceleration of camera and editing may pace our
concentration. Yet all these factors find their first life on paper, without which their final form on the screen could not
exist. Even colour and music have been indicated or suggested in some scripts. That there is a difference between the
script page and the moving image is as obvious as the distinction between a printed play and a performance on a stage. Yet
in the beginning there is the word (mind).... It is reasonable to conclude that no picture in cinema resembles exactly the
mental image originally evoked in the language of words; conversely, no picture exists on the screen without first having
had a prior form in the mind and usually on paper.

The importance of narrative for the process of filmmaking is lying at drawing the outlines of the final product, formulating
the parts or elements that compose the whole. Similar to the conceptual architectural elements, narrative enables us to
conceive the final product in the mind before it takes on physical shape. Therefore, a comparative analysis between
architecture and cinema may be realized on the resemblance of approach in the configuration of these primary elements.
While, in the case of architecture, point, line, plane and volume give basic shape to a design element; in the case of
filmmaking, the properties of character, time and space the place of the story, the combination of these three inputs in the
name of 'cinematic volume and their gathering in cause and effect relation under a development pattern contribute to the
primary formation of filmic narrative.

As they both guide the initial decisions and establish the basis for the final appearance of the end products, the principles
of organization in both fields can be compared, starting with the primary elements of each, as shown in the Table:
The similarity between a 'point' and the descriptive adjectives of each character, time and space' belong to their
resemblance in being the smallest and most basic element of their own fields. The descriptive adjectives can be
exemplified as young, tall, thin, handsome, clever, poor...etc. for the character; in an ordinary day, at war time, after
1980's, in the future...etc. for time; and in a town, in a city, on a planet, in a room, at school...etc. for space. Since they
have no length, breadth or depth in space, and they influence the origins of their domains by articulating the
transformative quality of the end product, 'points and such 'psychological and physiological properties are mostly used to
form the conceptual thoughts by indicating only the descriptive qualifications. Like a point, marking or indicating the
limits of the two ends of a line, descriptive adjectives point out the limits of both concrete and abstract expressive
qualifications. Nevertheless, it is difficult to talk about a creation of a composition by using just a number of these
elements because the end product will still be neither an 'architectural object' nor a "film". In other words, without any
visual or topological properties, or without any relational elements, they will be left behind as conceptual.

TIME AND SPACE OF THE SETTING

A comprehensive and comparative between architecture and films, studying their inter relationships and interdependence
on each other, in order to redefine the design process of a film and to reveal the existence of fundamental principles and
influence of architectural design in the process of filmmaking." This research deals with a simple question, 'Does
Architecture influence Cinema?" And if then how. It does,
Cinema and Architecture are distinct arts, dynamic and static respectively; whose complex relationship gives life to each
other. Architecture, gives films its believability; setting the mood, character, time and place for the action. Films, on the
other hand, provide an outlet for realising visions that exist or can exist and entreat experiences that in reality have
occurred or have not occurred, when we talk about both movies based on the real world and the science fictions
respectively.

"Film provides a very rich representation of architecture" -Gerard

Gerard stated in our interview September 2010 that "film as a medium develops the conception (both the mental picture
and the of conceiving) of architecture He elaborated on this topic by describing how the filmic space confronts us with
specific aspects of physical space that as architects we are contributing to (and physical space has to be taken here in its
broadest meaning: the sensorial space, the social space... etc.)

The architecture in a film i.e., the whole setting of space and its depiction makes the user or viewer understand the
respective setting .e of the location (where the story is based- SPACE) and TIME (the time aspect of the storyline).
On the other hand, cinema also helps us form an image of a place and as for architects, it helps them to actually see and
understand the use of spaces in particular, both interior and exterior.
Perhaps it is more accurate to say that the audience enters into and subsequently becomes immersed in the body of the him
as they would a building. The director arranges shots in sequence as the architect designs a floor plan, framing and
confining, dissecting and condensing elements through which the spectator is encouraged to partake in the flow of
movement. Similarly, both architecture and tim passess the ability to effect the audience in a somewhat unconscious
manner.

It is evident from the informal research of various movies, in the previous chapters, that every movie, is set up in some
Space and Time. Architecture, plays a very important role in determining that Space and time and also in creating a
Cognitive Image of a certain place, in the mind of the viewer, and hence having the ability to affect the audience. This
ability relies in their common tendency to manipulate what Richard A. Etlin defines as 'existential space';
"...architecture creates...enclosures for us in which the vertical middle axis remains empty...The spatial construct is an
emanation of the human being present, a projection from within the subject, irrespective of whether we physically place
ourselves inside the space or mentally project ourselves into it."

In this way, the hollows of time which create a film may be seen as the cinematic equivalent of the inhabitable negative
spaces of architecture.

Cinema constructs spaces in the mind, creates mind-spaces, reflecting thus the inherent ephemeral architecture of human
mind, thought and emotion. The mental task of buildings and cities is to structure our being-in-the-world and to articulate
the surface between the experiencing self and the world.

There are hardly any films which do not include images of architecture. This statement holds true regardless of whether
buildings are actually shown in the film or not, because already the framing of an image, or the definition of scale or
illumination, implies the establishment of a distinct place. On the other hand, establishing a place is the fundamental task
of architecture; the first task of architecture is to mark man's place in the world. As Martin Heidegger expresses it, we are
thrown into the world.

Through architecture we transform our experience of outsideness and estrangement into the positive feeling of domicile.
The structuring of place, space, situation, scale, illumination, etc.. characteristic to architecture - the framing of human
existence - seeps unavoidably into every cinematic expression. In the same way that architecture articulates space, it also
manipulates time.

Architecture is not only about domesticating space,' writes Karsten Harries, it is also a deep defence against the terror of
time. The language of beauty is essentially the language of timeless reality. Re-structuring and articulating time-re-
ordering, speeding up, slowing down, halting and reversing - is equally essential in cinematic expression. The relations of
the two art forms could, with their fantasy architecture suspended between reality and dream; over the real architectural
projects of these architects of notable buildings. An architect who made superb projects both as a designer of buildings
and set designer was Paul Nelson. His project Maison Suspendue, a house in which individual rooms are suspended within
a steel and-glass cage like bird nests, is as fantastic as any of the ideas expressed through the art form of projected illusion.

In addition, every place has its history and symbolic connotations which merge into the incident. Presentation of a
cinematic event is, thus, totally inseparable from the architecture of space, place and time, and a film director is bound to
create architecture, although often unknowingly. It is exactly this innocence and independence from the professional
discipline of architecture that makes the architecture of cinema so subtle and revealing.

Not only Cinema, a similar pattern can be observed in Plays, Video Games or even in a Book which requires Architecture
to define the Space and Time in the story. For instance, in the game Prince of Persia, the player is forced to believe, the
main character of the game, Jaffar (the prince) is actually placed in Persia, in a specific time, because of the presence of
the Castle in the game.