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The Significance and Character of Architectural Spaces in a Film institute

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International Journal of Advanced in Management, Technology and Engineering Sciences ISSN NO: 2249-7455

The Significance and Character of Architectural Spaces in a Film institute

Rumi Kankariya, 4th year B.Arch, B.K.P.S. College of Architecture, Pune

Dr. Parag Narkhede, H.O.D. at B.K.P.S. College of Architecture, Pune

Abstract:

Films are referred to as synonymous to “motion pictures”. In the last few decades, motion pictures
have become more and more recognized for both their cultural and historical mediums for our
society. The process of film making is both an art and an industry. Film is considered to be an
important art form, a source of popular entertainment, and a powerful medium for educating. The
visual basis of film gives it a universal power of communication. Film industry is probably the
broadest and most creative field. In fact, the film making field is highly competitive. There is much
scope for filmmaking. In order to be successful in the film making field, one must be artistic with
technical skills and ability to express ideas.

Taking into consideration the rise in technology and the remarkable growth in the Indian Film
industry, an Institute for Film making courses helps with the learning techniques and integrated
development of films. These spaces are often different from any other institute. The amount of light,
ventilation, character and colour are very important factors while designing the institute. This paper
explores the various spaces required in a film institute and its characteristics are studied to study the
significance in architecture. The methodology is based on literature review and case studies. The
research study concludes a remarkable point that is referable by architects and designers to design a
film institute project.

Keywords: design, film, interior, institution.

Introduction:

Entertainment industry has always been dazzling, creative and popular among people of all groups.
Traditional and modern styles are depicted through the design of sets. Life, architecture, nature and
people are shown through a movie which creates a strong perception in people's mind. [6] Every
movie has to create sets showing architectural features. [4] However literature and education do not
show much interest in such creative fields where architects are required and have the ability to
suggest a better environment. There is very little knowledge about how the filmmaking process
works and what the requirements are. A film may not only be an entertainment but it is the
strongest media of communication when we want to spread a positive message. Thus the author
strongly believes that a study of space design of a film institute will encourage students and more
participation with opportunities to the youth. A film institute has all the types and needs of a film
making requirement. Various courses are involved thus the design is very different from other
institutes.

The space requirement for various courses available in film institutes may vary. Thus it depends on
the various processes involved in film making, which needs to be understood. The process of film
making gives guidelines and a brief image of what is expected to design. [6] Unless we understand
the technologies used, it is impossible to design an ideal film institute. This paper elaborated the
process of film making and how it is useful in design and planning. [5]

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International Journal of Advanced in Management, Technology and Engineering Sciences ISSN NO: 2249-7455

Process of Film Making:

Filmmaking involves a number of stages including an initial story, idea, through scriptwriting, casting,
shooting, sound recording and reproduction, editing, and screening. [4] Filmmaking uses a variety of
technologies and cinematic techniques. [1] It involves a large number of people and several major
stages:

1. Development — ideas for the film are created and the screenplay is written.
2. Pre-production — Preparations are made for the shoot, in which cast and film crew are
hired, locations are selected and sets are built.
3. Production — the raw elements for the film are recorded during the film shoot.
4. Post-production — the images, sound, and visual effects of the recorded film are edited.
5. Distribution — the finished film is distributed and screened in cinemas.

Figure 1: Film making courses in a Film institute

Technical Components during film making:

1. Sound Recording Studio

As sound effects play an important role in developing an atmosphere in a theatre or making effects
on the viewer’s mind. Sound rec. studio is the most important studio, since without sound it won't be
possible to watch any films, for example a horror movie won't have that much impact without sound.
Therefore the sound studio becomes an integral part of animation. In sound recording studio effects
can be added, dubbing can be done and also sound can be created. The studio consists of main four
parts:

● Foley Studio
● Live Studio
● Dubbing Studio

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International Journal of Advanced in Management, Technology and Engineering Sciences ISSN NO: 2249-7455

● ADR Studio

2. Blue Screen & Motion Capture

Motion capture, motion tracking are terms used to describe the process of recording movement &
translating that into a digital model. It is used in military, entertainment, sports & medical
applications. In filmmaking it refers to recording actions of human actors & using that information to
animate digital character models in 2D or 3D computer animation. In motion capture sessions,
movements of one or more actors are sampled many times per second, although with most
techniques (recent developments from Weta use images for 2D motion capture and project into 3D)
motion capture records only the movements of the actor, not his/her visual appearance. This
animation data is mapped to a 3D model so that the model performs the same actions as the actor

3. Motion Photography Studio:

Motion control photography is a technique used in still and motion photography that enables precise
control of & optionally also allows repetition of camera movements. It can be used to facilitate
special effects photography. The process involves filming several elements using the same camera
motion & then composing the elements into a single image. [4]

Motion control camera rigs are also used in still photography with or without composing; for
example in long exposures of moving vehicles. Common applications of this process include shooting
with miniatures, either to compose several miniatures or to compose miniatures with full-scale
elements.

4. Animatronics:

Animatronics is the use of electronics & robotics in mechanized puppets to simulate life. It is mainly
used in moviemaking, but also in theme parks & other forms of entertainment. The technology
behind animatronics has become more advanced & sophisticated over the years, making the puppets
even more realistic and lifelike. Animatronics for film & TV productions are used to perform action on
camera in situations where the action involves creatures that do not exist, the action is too risky or
costly to use real actors or animals, or the action could never be obtained with a living person or
animals. The technology has advanced to the point that puppets can be made from their living
counterparts.

5. Master Control Room:

Master control is the technical hub of a broadcast operation common among most over-the-air TV
stations & networks. It is distinct from production control rooms in TV studios where the activities
such as switching from camera to camera are coordinated. [5] It is the final point before a signal is
transmitted over-the-air or sent on to a cable TV operator or satellite provider for broadcast. TV
MCR’s include video monitors, satellite receivers, transmission equipment & more recently, computer
broadcast automation equipment for recording and playback of on-air programming.

6. Dubbing Room:

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International Journal of Advanced in Management, Technology and Engineering Sciences ISSN NO: 2249-7455

Dubbing Room of the Documentation Unit is fully equipped for making copies of audio and video
recordings from various formats like quarter inch spool tapes, audio cassettes, digital audio tapes,
VHS tapes, SVHS tapes U-Matic Low Band, U-Matic High Band, Beta SP and DVCAM, DVD, VCD.

7. Dark Room:

Photo Dark Room for in-house processing and printing of black & white and colour negative and slide
films. Black & white and colour 20" X 24 " size prints can be blown up in Photo Dark Room. For
reproduction of the photographs and slides, the required apparatus is also available in the Photo
Unit.

Literature Review:

A paper by Alexa Griffin Winton named ‘Framing interiority: film sets and the discipline of interior
design’ demonstrates the uniqueness of the interiors of film sets. This paper comes under the
proceedings of the theme: ‘Interiors beyond Architecture’. The interiors of film sets are designed with
a wide consideration of scale, illusion, colours, objects, lights, sound, textures, styles and technology.
The character always changes as per requirement. The amount of light and shadows are different in
every film and every scene. This continuous change in illusion of space is a challenge to the architect
and interior designer where space makes stories of the world. All the climatic conditions, places and
timeline are to be shown in one space. The paper discusses three case studies and concludes that the
visual and special characteristics of cinematic interiors influences the designers and makes them
realise the flexibility of designing a particular space in creating a strong perception.

Case studies:

1. Film and Television Institute of India Pune, Maharashtra

Location: Law College Road, Pune, Maharashtra

Site area: 22 acres of land in use. 35 acres reserved for future expansion.
Year of commencement: 1960
The main building is on the south side of the campus. It is an L shaped building, of which one arm
consists of the TV wing and the other arm consists of administration & academic departments. It
consists of: TV studios - 2nos, Respective control rooms -2 no’s, Master control room -1 no, Make-up
room -2 nos. Costume & Property store -1 no Video library -1 no., Preview theatre -1 no., Classrooms
- 3 nos., Video editing rooms - 6 nos., Conference room -1 no. (40 capacity)

The Film Wing has well equipped Studios, Editing Department, Sound Department, Processing
Laboratory, Make-up Department, Art Design Department, Carpentry Room, etc.
● The Film Wing has one of the largest studios in India.
● It's a load bearing structure; 54m x 25m in dimension and around 13m clear height.
● This is studio no. 1 which is flanked on one side by production offices and a few rooms for
technical, which act as a barrier from the access road noise level.
● The studio no. 2 is smaller with no special acoustical treatments.

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International Journal of Advanced in Management, Technology and Engineering Sciences ISSN NO: 2249-7455

As the institute has been established on the same site of Prabhat studios, it has occupied the old
structures and an attempt is made to fit the institutional requirements into that. This is the basic
reason that most of the institute requirements are not designed as per their function lacking in
internal space interaction with the structures. As the scope of work of the institute was increasing it
was the basic need of the institute to accommodate the new requirements in new structures. All the
new buildings lack in aesthetic sense as no attention been made on the facade treatments of the
buildings

Figure 2: Zoning Plan of Film and Television Institute of India Pune, Maharashtra

2. Whistling Woods International Mumbai, Maharashtra

Location: Film city, Mumbai. Maharashtra

Site area: 22 acres. 4.24 acres is developed
Year of commencement: 2005
The major advantage of locating this institution in Film city is that the students can constantly
interact with the people in the business. Another advantage is that the whole educational institute is
under one complex. Students don't have to walk large distances. As the campus is in the developing
stage they are going to provide large studios, amphitheatre and hostel facilities. Right now the
students are staying in studio apartments nearby, the whole building is being used by the students
learning here. This complex is well equipped with all the latest technology and machinery needed for
it. Also it has central air-conditioning. Though many common areas have an option of natural
ventilation like the reception lobby, cafeteria, and the connecting bridge. They have provided many
facilities and amenities for the students. Also there is ample natural light in the complex, without
having a glaring effect. All the classrooms are oriented towards the north which is good for taking in
north light. There are many unused corners in the complex and outdoors which are waste spaces.

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International Journal of Advanced in Management, Technology and Engineering Sciences ISSN NO: 2249-7455

Figure 3: Zoning Plan of Whistling Woods International Mumbai, Maharashtra

Findings:

The analysis done by case studies and literature shows that space of a film institute and an
educational building also requires cinematic interiors and consideration while designing. The
characteristics of the space vary and have to be studied before planning and designing as each space
is associated with different activities using advanced machinery. A challenge to be able to create any
scene within the space and of any scale is faced during design of the sets. [6] The role of the architect
is to understand the film making process, the significance and characteristics of the interior and
exterior spaces and design accordingly to provide ease of learning.

Conclusion:

By various literature studies, case studies and expert guidance, some of the important points are to
be considered while interior designing; controlled temperature and humidity levels, color film
storage in low temperature, Custom designed Archive Storage Vaults to maximize any of the space
requirements at present and also in future, Vaults are constructed with 4” polyurethane insulated
wall panels that have painted galvanized metal or aluminium surfaces, Films should not come into
contact with natural sunlight hence the vault should be opening less and be properly sealed. [3]

All of the above mentioned findings helped in achieving a set of guidelines to understand actual
requirements of the Film Archive with respect to a functional interior planning and space
development for the same.

References:

Books:

[1] National Film Preservation Foundation: The film preservation guide: the basics for archives,
libraries, and museums: National Film Preservation Foundation: 870 Market Street, San
Francisco, CA 94102

[2] Managing public sector records: a study programme, Preserving Records, International
Records Management Trust, 12 John Street, London WC1N 2EB UK

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International Journal of Advanced in Management, Technology and Engineering Sciences ISSN NO: 2249-7455

[3] A manual for Small archives, Vancouver, 1988, Partially Revised 1994, Archives Association of
British Columbia

Journals:

[4] Alexa Griffin Winton, ‘Framing interiority: film sets and the discipline of interior design’,
researchgate, January 2018.

[5] Bordwell, David, and Kristin Thompson, ‘Film Art: An Introduction’ New York, McGraw Hill,
2004.

[6] Dovey, Kim, ‘Framing Places: Mediating power in built form’, New York, Routledge, 1999.

[7] Evans, Barrie.’News storeys’ The Architect’s Journal Sept. 2002: 36+, Garofalo, Francesco, ed.
Steven Holl, New York, Universe, 2003.

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