1345007 pushparaj mba me.pdf

PRODUCTION REPORT

FOR

Music Video, AD Film & Short Film

CHOICES - DUREX - HIT - PURUSARTHA

A PROJECT REPORT

Submitted by

Pushparaj

0001345007

In partial fulfillment for the award of the degree

of

Masters of Business Administration

IN

Media & Entertainment

SCHOOL OF MANAGEMENT

HINDUSTAN INSTITUTE OF TECHNOLOGY & SCIENCE

CHENNAI - 603 103

May, 2015

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BONAFIDE CERTIFICATE

This is to certify that the project report titled FILM AND TELEVISION

PRODUCTION is the bonafide work of Pushparaj (0001345007) who carried out

the project work under my supervision. Certified further that to the best of knowledge

the work reported here does not form part of any other project/research work on the

basis of which a degree or award was conferred on an earlier occasion on this or any

other candidate.

Prof. Dr. B. Yamuna Krishna

Head of Department

School of Management

Hindustan Institute of

Technology and science, Padur

Prof. Dr. Smriti Verma

Professor

School of Management

Hindustan Institute of

Technology and science, Padur

Dr. Uma Vangal

HOD (M&E) LV Prasad Film &

TV Academy,

Saligramam, Chennai

.

The project viva voce examination held on _________________

INTERNAL EXAMINER EXTERNAL EXAMINER

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BRIEF CONTENTS

Chapters Particulars Page No

Cover page Title page

Certificate

Acknowledgement

Preface

Abstract

1. Introduction 1.1.Scope of the study

1.2.Objectives

1.3.Limitation

2. Industry Review 2.1.Indian media & entertainment industry

2.1.1. Regulation of Media & Entertainment Sector 2.1.2. Feature Potential of the Sector 2.1.3. Growth Potential of the sector 2.2.Indian Film Industry

2.2.1. Challenges Facing the Industry 2.2.2. Blue Print of the Growth

3. Experience and Daily Report 3.1.Experience and Impressions

3.2.Production Challenges

3.2.1. Music Video 3.2.2. AD Film 3.2.3. Short Film 3.3.Lessons and insights from Music Video, AD Film & Short Film

3.4.Subject Relevant to the Project in terms of Requirement, scope

& Value

3.5.Value Additions Brought to the Project

3.6.Troubleshooting strategy

3.7.Work dairy

3.7.1. Music Video 3.7.2. AD Film 3.7.3. Short Film

4. Supporting Document 4.1.Music Video

4.1.1. Music Video Script 4.1.2. Song Choices 4.1.3. Music Video Short Breakdown 4.1.4. Music Video Cast Contact Sheet 4.1.5. Music Video Crew Contact Sheet 4.1.6. Music Video Union Members 4.1.7. Music Video Location Permission 4.2.AD Film

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4.2.1. AD Film Durex 4.2.2. AD Film HIT 4.2.3. AD Film Cast Contact Sheet 4.2.4. AD Film Crew Contact Sheet 4.2.5. AD Film Union Members 4.2.6. AD Film Location Permission 4.3.Short Film

4.3.1. Purusartha Script 4.3.2. Short Film Cast Contact Sheet 4.3.3. Short Film Crew Contact Sheet 4.3.4. Short Film Union Members 4.3.5. Short Film Location Permission

5. Budget 5.1.Music Video

5.1.1. Daily Expenses Report 5.1.2. Cash Inflow 5.2.AD Film

5.2.1. Daily Expenses Report 5.2.2. Cash Inflow 5.3.Short Film

5.3.1. Daily Expenses Report 5.3.2. Cash Inflow

6. Bibliography

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CONTENTS

Chapters Particulars Page No

Cover page Title page

Company Certificate

Acknowledgement

Preface

Abstract

1. Introduction 1.1.Scope of the study

1.2.Objectives

1.3.Limitation

2. Industry Review 2.1.Indian media & entertainment industry

2.2.Indian Film industry an overview

3. Experience and Daily Reports 3.1.Experience and Impressions

3.2.Production Challenges

3.3.Lessons & Insights form Music Video, AD Film and Short Film

3.4.Subject Relevant to the Project in terms of Requirement, Scope

and Value

3.5.Value Additions Bought to the Project

3.6.Troubleshooting Strategy

3.7.Work Dairy

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

5. Budget 5.1.Music Video

5.2.AD Film

5.3.Short Film

6. Bibliography

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ACKNOWLEDGEMENT

Many great things have often a small beginning. A project of this type can be done

with the help of many people who are Behind the scene to whom I would like to extend

my sincere thanks.

I am extremely thankful to Mr. Venkatesh Chakravarthy, Director, L V Prasad

Film & Television Academy, Chennai for giving me an opportunity to work as the Line-

Producer.

I express my deepest thanks to Dr. Uma Vangal, Creative Producer, L V Prasad

Film & Television Academy, Chennai (External guide) for giving necessary advices,

guidance and arranged all facilities to make life easier. I choose this moment to

acknowledge her contribution gratefully.

I am deeply thankful to Dr. Smriti Verma, Professor, School of Management,

Hindustan University, Chennai (Internal guide) for her encouragement, affections,

valuable advice and guidance that helped me to complete this project successfully.

I express my sincere gratitude to Faculties and staffs of L V Prasad Film &

Television Academy for their valuable suggestions, guidance, and support during the

course of project.

My Sincere Gratitude to My Directors Vinayak Guhanarayan and Shrungar

Dadarkar for appointing me as line-producer for their Music Video, AD Film & Short

Film.

I am grateful to my friends and colleagues of L V Prasad Film & Television

Academy, Chennai in developing the project and people who have willingly helped me

out with their abilities.

The final tribute and appreciation is reserved for my parents and sister whose

contribution of love, patience, encouragement and dedication has helped me to further the

impact of this project.

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PREFACE

The Line Producer is one of the first people to be employed on a film's

production by the producer and executive producers. They are in charge of all the

business aspects of the production of films. They are called Line Producers because

they cannot start work until they know what the 'line' is between the 'above-the-line'

costs for writers, producers, directors and cast, and the 'below-the-line' costs which

include everything else. e.g., crew salaries, equipment rentals, development costs,

locations, set design and construction, insurance, etc.

Line Producers are given the script when in development to assess 'below-the-

line' cost of the production. They break down the screenplay into a timetable for the

film shoot that shows how long it will take to shoot each scene. From this schedule the

Line Producer estimates the cost of each day's shooting. They produce a provisional

budget to show the total amount of funding required. Once the Producer and

Executive Producers have raised the finance, the film can go into pre-production.

During pre-production, Line Producers work with the Director, Production Manager,

First Assistant Director, Art Director and other Heads of Department. They prepare

the production schedule and budget, and to set the shoot date.

Line Producers oversee all other pre-production activities. They hire the

production team, set up the production office, and deal with location scouting,

sourcing, equipment suppliers and selecting crew. They also hire supporting artistes

and contributors, and monitor production departments. During production, Line

Producers hand over control of the final budget to the Production Accountant. They

delegate the day-to-day operation of the production office to the Production Manager

and Production Co-ordinators. However, Line Producers are ultimately responsible for

overseeing everything and making sure the production is completed on time and

within budget.

During production, Line Producers hand over control of the final budget to the

production accountant, and delegate the day to day operation of the production office

to the production manager and production coordinator. However, Line Producers are

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ultimately responsible for overseeing all activities, and for ensuring that the

production is completed on time and within budget. This requires setting up and

implementing financial monitoring systems, controlling production expenditure,

controlling production materials, and monitoring and controlling the progress of

productions. Line Producers usually allow a 10% contingency in the budget to cater

for unforeseen circumstances, and spend much of their time juggling figures and

resources. Line Producers are responsible for certain health and safety procedures, and

for sorting out any insurance claims. At the end of the shoot, the Line Producer

oversees the 'wrap', or winding down, of the production.

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ABSTRACT

Aspirations and ambition are extremely important in a nations journey towards

development. The desire to do better, run faster and go higher is a critical ingredient to

propel us, as a nation, forward. The media and entertainment industry in India is a big

part of sparking this ambition, widening horizons, and helping transform lives.

Today, Indias M&E industry reaches millions of people. 161 million TV

households, 94,067 newspapers (12,511 dailies), close to 2000 multiplexes, 214

million internet users out of which 130 million are mobile internet users all these are

platforms that could drive change and be transformational catalysts Indias Media &

Entertainment industry is one of the fastest-developing sector in the country, driven by

changing consumption patterns, the increasing number of middle income households

and the propensity of consumers to spend on leisure and entertainment. Digitization

of content and platforms, redefinition of prevalent business models, globalization,

easier access to capital and the emergence of multiple entertainment options are some

of the key trends shaping the M&E industry in India.

In 2013, the industry recorded a strong performance both in terms of content

and box office collections. As anticipated, the year was marked with movies which

scored big at the box office with stronger stories, grander sets, experimental concepts,

new faces, multi starrers and strategic marketing initiatives, which has pushed the

envelope further for the Indian film industry. While the capital poured in through

organised and unorganised channels, the industry still faced challenges in delivering

robust bottom line results. In order to deliver better returns, players have started

contesting the traditional success formulas. A quick look at the recent box office

collections shows that the traditional notions of delivering a blockbuster

performance have been tested, defeated and buried deep under. The audience have

shown their appetite for differentiated content, continuing the story of evolution of the

Indian audiences. The audiences, in many cases, stayed away from the regular run-of-

the-mill concepts, barring a few mega starrers that were able to pull in viewers based

on star persona and past successes. Content has always been the king, however it

used to struggle to reach the audience on time and content owners thus grappled with

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issues such as piracy which would eat away a major share of producers revenues. The

necessary digital infrastructure has now been developed to allow the king to travel

quickly to its audiences in both metros and regional parts of India. The Indian film

industrys growth has been fuelled by the expansion of the multiplexes that have

enabled players to effectively segment the market. While the audience now have

access to a greater variety of content, available at various price points, production

houses can now seek to develop theme based movies which attract a niche audience

but deliver a strong positive return on investment. The industry has been one of the

greatest beneficiaries of digitization; from shooting the movie on digital formats and

distributing content across various locations, to marketing the film on various social

media platforms to monetizing content on video on demand (VoD) platforms. Wider

acceptance of ticketing systems and online ticket booking have also been catalysts in

driving transparency. The industry did not stop there as many exhibitors focused on

encouraging the audience to use online platforms for booking tickets. While

monetizing of content on digital delivery platforms remains a concern in the short

term, the industry is buoyant about its long term potential due to improved internet

access at affordable prices. The drop in 3G prices and the imminent launch of

Reliance Jio are encouraging developments in driving broader adoption of high speed

internet. The Indian film industry is uniquely characterized by its heterogeneous

nature. The industry is a confluence of 10 key language markets - Hindi, Telugu,

Tamil, Malayalam, Kannada, Punjabi, Bengali, Marathi, Bhojpuri and Gujarati. Each

market is unique in its behavior and audience preferences. The industry is observing

greater interaction across the language markets from exchange of talent to remake

movies in different languages. Most of this has been possible due to studios forming

alliances with regional players and co-producing movies.

The Indian film Industry has been witnessing significant growth on the back of

differentiated content, wider release across digital screens and aggressive promotions

by production houses. Revenue is expected to grow by 56 per cent to Rs 12,800 crore

by 2015, from Rs 8,190 crore last year due to increasing digitalization of the sector.

The industry is heavily dependent on domestic theatricals which contribute more than

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75 per cent to the industrys revenues. Factors such as rapid urbanization, penetration

of multiplex in tier II and III cities, increasing sophistication in production and

marketing of films and audiences receptivity to differentiated content are together

expected to help the industry sustain its growth over the next few years and be worth

INR219.8 billion by 2018. The project was aimed to understand & learn the work of a

Line Producer in production of Music Video and Ad film that includes Development,

Pre-Production, Production (Production) and Post-Production. The scope of the study

was to emphasize importance of Line-Producer in the various production phases.

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Chapter-01

INTRODUCTION

In India Cinema has been a very important means of entertainment. Here,

cinema has seen a century of growth, and it has gone very far in the heights of

progress.Originally, in India the cinema was a movie only and it was called because

we could only see the stars acting, and there was no sound, no talking, no dialogue

and no songs. The audiences could only see action. As time passed by, these movies

got converted into talkies and, at that time dialogues got introduced in the pictures.

This made the movies more interesting and entertaining. Also, in the beginning,

cinema was only in black and white, but with the passage of time colour entered

cinema and black and white pictures got converted to coloured films. Thus, with

dialogues and colour films entered a phase of great improvement. This was not the

end of the improvements due in cinema there was a lot more to come.

In the early stages, each actor and actress had to sing his/her songs. This

curtailed the entry of stars in the movie career. However, our technical advancement

soon saw to this problem and it was with the coming of background singing the

restriction on entries to cinema got removed.

Soon people who could not sing also entered the career as; there was provision

for another man/woman to sing for him/her from the background. The problem of not

taking in for acting people who could not sing was thus solved and Indian cinema saw

another hurdle being crossed. Now with this impetus to those who could not sing, the

entry of people in cinema was duly widened.

With the passage of time there has been a continuous technological

advancement in Indian cinema. In the 20th Century, Indian cinema took huge strides

towards growth and, today, at the turn of the 21st Century Indian cinema stands at par

with Hollywood cinema.

May be we still have a lot to learn from Hollywood but this much is undoubted

that, Indian cinema stands second only to Hollywood, especially in terms of its turn

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out of movies and movie stars. In the earlier times with the orthodox views about

dancing, singing and acting, cinema was not considered to be a respectable career, not

meant to be followed by the youth of good respectable families.

However, today the boys and girls who join cinema as a career are children

from good wealthy and respectable families, and cultured families. This is because

there has been a sea change in the thinking processes of the modern people. Also, this

change has helped in the improvement of the turnout of cinema.

From the earliest times of the existence of cinema in India, it has always been

the most popular and the cheapest mode of entertainment. This is why it got the

impetus that brought it to this level of success, and its present size.

Even today, cinema in India is very popular but, with the advent of the TV and

many other avenues for entertainment, it has become a little less important in the

average person's entertainment list. Besides, the VCP and VCR have further decreased

the habit of going out to the cinema halls to see movies.

When a picture is available at home, why would anyone like to go to a cinema

hall? Thus, though going to cinema halls has come down the popularity of the cinema

is still on the upward swing. The cinema in India has, in spite of all hazards retained

its unchallenged popularity. It still remains the most liked mode of entertainment both

for the Indian gentry and the Indian masses.

It is a matter of pride that, Indian cinema has not only remained popular in

India, but it has increased its boundaries elsewhere in world. It is very popular in most

of the foreign countries, more so due to the Millions of Indians residing in foreign

countries. The latest position just heard about Indian cinema is that Cannes is

interested in showing Indian cinemas over there - a great achievement of the cinema

industry indeed - Kudos to the Indian cinema.

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1.1. Scope

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

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

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

1.2. Objectives

To have a clear understanding about the Indian Media and Entertainment

Industry.

To study production management techniques in Film and TV production.

To study the role of a Line-Producer in various stages of Film production.

To understand different stages of development of a film project.

To understand the industrial work flow.

1.3. Limitation

This project does not give clear exposures to the film industry as the crew

members are students.

The duration of the internship period was limited and hence elaborated and

comprehensive project could not be undertaken.

The budget was limited.

Major decisions are made by the director and cinematographer as they hold the

financial power.

Respondents unavailability.

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Chapter-02

INDUSTRY REVIEW

2.1. Indian Media and Entertainment Industry

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

and exciting industries in the world, has had a tremendous impact on the lives and the

Indian economy. As the M&E industry widens its reach, it plays a critical role in

creating awareness on issues affecting, channeling the energy of and building

aspirations among Indias millions. With more than 600 television channels, 100

million pay-TV households, 70,000 newspapers and 1,000 films produced annually,

Indias vibrant media and entertainment (M&E) industry provides attractive growth

opportunities for global corporations. Enticed by economic liberalization and high

volumes of consumption, many of the worlds media giants have been present in the

Indian market for more than two decades. However, in recent years, with near double-

digit annual \ growth and a fast-growing middle class, there has been a renewed surge

in investments into the country by global companies.

Media sectors, regarded as sunset industries in mature markets, are

flourishing in India, presenting global media companies with exciting opportunities to

counter declining revenues. For example, the newspaper industry, which is facing

declining readership in many international markets because of digital media, continues

to thrive in India, driven by increasing literacy rates and consumer spending as well as

the growth of regional markets and specialty newspapers. Newspapers account for

42% of all advertising spend in India, the highest in all media streams. Indias

favorable regulatory environment and recent reforms are creating investment

opportunities in a number of M&E sectors. Entry restrictions for foreign companies

have been relaxed and Foreign Direct Investment (FDI) caps have been recently

increased in key sectors, including Direct-To-Home (DTH) and radio. Mandatory

digitization of the countrys TV distribution infrastructure has spurred the growth of

digital cable and DTH, and created the need for these companies to fund their

expansion. The third round of radio license auctions (phase III), expected in the near

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future, is expected see radio networks adding around 700 radio stations across the

country. Then, there are Indias diverse content markets. The bulk of the countrys

urban consumption is from non-metro cities (the tier 2 and tier 3 towns) and comprises

regional markets with distinct cultures, languages and content preferences. These

markets, which are huge markets within markets, provide global M&E companies

with a variety of opportunities to deliver localized content. Many global film studios

and TV broadcasters have already entered these markets and are producing regional

language content.

Finally, there is the evolution of consumption of digital content, which is at an

inflection point in India. Although internet penetration is currently low in the country,

the recent launch of 3G services and the eventual launch of 4G are expected to bring a

late surge in wireless-based broadband adoption. In conjunction with Indias mobile

phone user base of more than 750 million subscribers, the scale and impact of the

countrys potential for digital content consumption is huge. This presents M&E

companies, foreign and domestic, with an exciting opportunity to develop digital

businesses that cater to a new generation of broadband users. While there are many

opportunities to tap, there are also unique differences and challenges. Diverse content

preferences and the low price point and high volumes of content consumption are

some of the critical differences that global M&E companies need to assess when

entering the Indian market. Companies that understand and adapt to the economic and

social fabric of the countrys operating environment and that invest in tailored content

and services are likely to maximize their success.

M&E companies operating in India continue to be exposed to risks ranging

from local competition to fraud, corruption and piracy. Furthermore, although the

development of corporate governance norms and ongoing structural and regulatory

reforms are expected to mitigate these threats, global M&E companies need to

develop flexible business plans, and identify and develop mitigation strategies for key

risks

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2.1.1. Regulation of the Media and Entertainment Sector

The media and entertainment sector comes under the purview of the Ministry

of Information and Broadcasting which is responsible for formulation and

administration of laws relating to media and entertainment. The sector also has to

adhere to the provisions laid down under the Copyright Act, 1957, Cinema

Exhibitions Rules and Entertainment Tax Regulations, etc., The film industry is

monitored by the Indian Motion Picture Producers' Association (IMPPA), Film

Television Producers' Guild of India, The Association of Motion Pictures and

Television Programme Producers (AMPTPP) and The Film Writers Association

(FWA).

2.1.2. Future Potential of the Sector

Leading chambers of commerce such as FICCI and CII have identified

entertainment as a fast growing industry. Revenues are projected to increase to $15

billion in 2015 from $6 billion currently. The global entertainment industry is

projected to grow to Rs.2, 35,000 crore in the next 10 years with nearly half of the

revenues emanating from Asia. The PWC report prepared for FICCI forecasts an

annual CAGR of 18% predicting the industry will touch Rs.1,45,000 crore on 2015.

The KPMG CII study is more optimistic estimating the current industry size at Rs.22,

200 crore and predicting that it will grow at 18% to touch Rs.1, 51,500 crore by 2015.

The following table shows the steady growth and future potential of the sector:

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2.1.3. Growth Potential of the Indian Media and Entertainment Sector

2.2. Indian Film Industry

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

movies produced. The Indian film industry produces more than 1,000 films every year

in 20 languages and over 3.7 million tickets are sold annually. The digital revolution is

visibly impacting the distribution and exhibition of films in India as the industry

completed its 100 years with revenue of 12, 800 crores. Backed with 12000 theater

screens, 400 production houses in the country with 32 corporate houses in the

business of film production.

Digitalization of film distribution and value added services like movies on

demand are set to open up new revenue streams and business models, adding that the

box office collections, at present, contribute about 80% to the total film revenues.

Technological advancements like digitalization, onset of next generation

network and availability of sophisticated devices to access media are contributing to

growing chunk of ancillary revenues.

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KPMG India and the Federation of Indian Chamber of Commerce and Industry

(FICCI) report states that while multiplexes have been growing in 2013 about 150-

200 new screens were added India still remain a heavily under-screened country.

There are an estimated 12,000 screens of which 25 percent are multiplex screens.

India has a low screen density of eight screens per million people in comparison with

177 screens per million in the U.S.

India has the potential to significantly increase the number of existing

multiplex screens in the country over the next decade without causing an oversupply.

The shift to digital screens has also been strong with about 95 percent of all screens

digitalized. But the report also warns that going forward, multiplex growth is

expected to slow down, in line with the overall delays and future expectations for the

retail sector and commercial real estate development.

But the industry will continue to be on the upswing projected to grow by almost 12

percent to hit $3.6 billion (219.8 billion rupees) by 2018 thanks to rapid

urbanization, penetration of multiplex in smaller cities, increasing sophistication in

production and marketing of films and audience receptivity to differentiated content.

2.2.1. Challenges Facing the Industry

High Incidence of Taxes

The indirect tax structure for the entertainment sector is distorted. The

incidence of indirect taxes is debilitatingly high with the entertainment taxes varying

from 40% to 70% of gross box office collections. Out of the earnings, after payment

of taxes, 40% goes to exhibitors and the balance is shared between the distributor and

the producer. Illustratively, an Rs.10 crore financing cost with a 50% entertainment

tax needs a box office collection of Rs.50 crore for breakeven and Rs.60 crore for

securing a 20% rate of return on capital. This cascading tax structure, discourages

investment, enhances risks and leads to large scale evasion of taxes.

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Piracy

The Killer Disease Piracy is the killer disease of the entertainment industry.

Piracy levels are estimated to be around 40% to 50% of the film trade and the film

industry is losing Rs.300 to Rs.400 crore a year due to piracy. While piracy is a non-

bailable cognizable offence under the Copyright Act, its enforcement leaves a lot to be

desired, emboldening the criminals involved in the trade.

Planning process

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

where as an Indian film takes 6 months in planning and 18 months in execution. While

one can suitably discount the differences due to the scale of Hollywood projects, the

gap is still significant. Indian film makers say that what they lose out in planning, they

make up on account of time and cost-efficient execution. However, this can be refuted

by pointing out that efficiency can be achieved and revenues generated by being

equally diligent at the planning stage.

Intellectual Property

The Indian film industry has gradually woken up to the relevance and

importance of IP in the work it creates prequels, sequels, remakes, copyright or

trademark for catchphrases, superheroes, etc. More work, however, is needed, since as

an industry, film industry still lagging far behind from defining and implementing a

process whereby IP is developed and nurtured in a systematic manner and results in

creation of an IP bank.

Service Tax Burden

Entertainment software production companies have been brought into the

service tax net in the current budget and would have to pay 14% service tax. With the

imposition of service tax, the industry was hoping that there would be some relief in

the customs duty front on equipment required for digital production. But their hopes

were belied.

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2.2.2. The Blueprint for Growth

Addressing the above issues by undertaking the following measures will ensure the

sustained growth of the film industry.

Curbing Piracy

Investment in theatres and multiplexes

Rationalization of Taxes

Transparent financing at reasonable rates

Professionally managed Venture Capital fund

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Chapter-03

EXPERIENCE AND DAILY REPORTS

3.1. Experience and Impression

The experience of working with the Director, Cinematographer and Editing

students was exciting and challenging one. Deep knowledge and understanding was

required not only about the media, film and television industry, but also needs a strong

sense of business, as well as how to manage time, money, and people in order to

ensure that the people working in both sides of the industry end up happy with the

final production.

The experience of being a line producer taught me a great deal about how the

film industry works and allowed me the luxury of understanding, appreciating the

script, storyline, obtaining shooting location permission, prop-collection, crating

special props, taking care of hospitality, artist management, crisis management and

artistic creations etc.

As I was new to the industry workflow and production, industry jargons were

thought and guided by the concern faculties and industrial experts. Such as media

glossaries, script development, script breakdowns, treatment, union rules and

regulations, industrial norms, industry call sheet timings, battas etc.

As a line producer I was able to take criticism and complaints from both

directions, process them into something that will be useful within a given context, and

then utilize the information to help the crew members make better decisions. More

over as a line producer often need to understand business concepts like people and

time management more than the artistic merits of film theory and the different lenses

used to capture different types of scenes. I was concerned of those who are paying for

the movie I mean the director, while ensuring that actors and crew members are happy

and providing the work needed to create a movie.

During pre-production phase to obtain permission for a location was difficult

task. Concern people demanded not only rent but also they were bribed in order to

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

creating of special props, set building, and other aspects were a whole new set of

experience and atmost care was taken in allocating the budget for all the phases of

production so, that all the needs are met.

During production phase, monitoring the budget and production schedule,

revising the schedule and controlling expenses to keep the film on time and within

budget was crucial task. The artist management and hospitality, starting from their

transport to stay, food, accommodation and comfort along with their requirements like

make-up, changing rooms, etc. and to oversee the wrap when shooting ends, sets are

stuck, and rental equipment is returned all were part of the learning process.

3.2. Production Challenges

3.2.1. Music video

The length of the video was just 5.39 min with 70 shots and was scheduled for

3 day schedule with one call sheet per day

Since there was no production assistant for the entire shoot, we were forced to

employee them by the union for the 1st day of the shoot.

The lead actor was unable to attend shooting due his busy schedule, so there

was sudden change of production plan on the 2nd

day.

3.2.2. AD Film

The budget was very less. So, I had to negotiate and make smart deals for

props, costumes, travel etc. but production value was maintained.

There was significant increase in street traffic, overcrowded, noise, and light

due to AIAMK Supremo J Jayalalithaas birthday.

Though we had all the permission for the shoot in place we shot, but we still

faced problem (Nehru Nagar, Saligramam) from the public and police.

On the 3rd day of the shoot 2 baby lights were fused, so there was wastage of

time.

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On the 1st day of shoot we had only 17 shots to shoot in the entire day. Because

of pets were in the leading role it was time consuming and extra care was

taken.

Finally we had to consider the small fact of Health and Safety, we had to

always consider our crew safety as we didnt want to be responsible of any

injuries that may have occurred while shooting.

3.2.3. Short Film

There was no appropriate pre-production plan.

The lead actor was unable to attend shooting due his busy schedule, so there

was sudden change of production plan on the 2nd

day.

Cinematographer took huge amount of time to let the lights.

The allocated 4 days shoot extended to 5 days.

Since there was no set assistant for the entire shoot, we were forced to

employee them by the union for the 1st day of the shoot.

Finding a artistes who is of 65 of year old and with a knowledge of classical

music was difficult task.

3.3. Lesson and Insights from Music Video, Ad Film & Short Film

The life of a movie can often depend upon the work of its line-producers, and

without effective work by a Line-Producer, the movie can easily flounder in any stage

of production. This means that more than anything else, production of a film is about

business and the balance between financial concerns and artistic creation.

Working on these 3 projects was one of the most important aspects of MBA.

The experience and learning from these projects has allowed me to experience the

importance of the job position of a line-producer. I learnt through the experience that a

good understanding of media industry along with important personality traits like

responsibility, honesty, sincerity, control, risk taking, innovative, self-conduct, self-

motivated, visionary, fanatical and openness in communication as well as in

acceptance and understanding of ideas and inputs from other members of the team.

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14

Working closely with the creative team, allowed us to fulfill all requirement of the

team with respect to the location feasibility, actors, prop and costume needs. Also

understood that for a production the most important things are written and recorded.

Permissions for location and usage of other facilities, as well as thorough

understanding of the location are required to shoot at.

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

Value.

Accounts - Creating Budget/Managing Budget/Tracking Spending

As a Line-Producer it was my responsibility for creating the budget; there were

lot of things that I had to consider, so that all the necessary needs of the production are

met. In order to do so, one must have strong understanding of industry and union rates

which will come in handy and never to forget about taxes and fringes. In order to

make budgets it is necessary to know what things cost, what is the standard rate for a

light man, how much to pay a production assistant, what are the union rates for make-

up artist, crane operators, electrician etc.

Negotiating contracts and renting out equipments, I had to consider it in the

budget. When more money was spent on locations and costumes, it had to be

compensated with equipments. A track was maintained for every expenditure and it

was necessary for me to make smart deals and also to compromise with the director if

the expenditure exceeded the budget. So, as a line-producer it was crucial to

understand the principles of accurate bookkeeping process.

Financial Management

Finance is the science of funds management. Finance includes saving money.

Finance deals with the concepts of time, money, risk and how they are interrelated. It

also deals with how money is spent and budgeted.

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Human Relation Management

Management in all business and organizational activities is the act of getting

people together to accomplish desired goals and objectives using available resources

efficiently and effectively. Management is in charge of planning, organizing, staffing,

leading or directing, and controlling on organization. Resourcing encompasses the

deployment and manipulation of human resources, financial resources, technological

resources, and natural resources.

Research and Planning within a Production

In film production research plays a vital role and includes lot of multi-tasking

and adaptability especially with the locations, for example to analyze and take

photographs of the area for the Director.

Research is important because it allows the production to run more smoothly

and be on schedule and so everything can go ahead. It also makes the availability

more clear, so money can be spent wisely on equipment and crew, and some

contributors may only be available for certain periods of time etc.

There are two methods of research, primary and secondary, which are both

important as they contribute to the production. Primary is where the line-producer has

together the research himself, either through surveys, or calling upon a location to get

information. Secondary is where the research is gathered from third party resources

for the production, such as results from other online surveys, or information that other

people have done themselves, each type enabling the researcher to plan for the future.

Managing Production

Managing the production was another big task that I encountered. It was my

duty to make sure that things went on smoothly throughout the shoot. Being a part of

the team it was my responsibility to tackle the problems such as avoiding any major

crises and obstacles, etc. The overall function of the production team was to manage

and utilize the maximum number of resources that were made available to the crew.

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16

An effective allocation of these resources in such a way that it provided the greatest

extent of benefit to the entire production process.

Film Production

This is the stage at which all the filming is carried out. All scenes planned out

in pre-production are filmed at the relevant locations. Each scene is filmed as many

times as the director deems fit, to ensure the best quality scenes will be used to

construct the film. This is where the strength of the pre-production work is put to the

test. Great care has been taken to make sure that all the filming is done correctly and

all necessary shots are taken, as it is sometimes difficult or impossible to go back and

repeat certain events if the filming is incomplete when it comes to the post-production

stage. The process can apply to any type of media production including film, video,

television and audio recording.

Film Marketing and Distribution

Film Marketing in Line with the Marketing Management processes in other

industries, begins at the new product development stage and Continuous throughout

the information of the project ideas, through production and into distribution and

exhibition. The distribution of a film or movie is the process through which a movie is

made available to watch for the audience by a film distributor. This task may be

accomplished in a variety of ways for example, with a theoretical release, a home

entertainment release (in which the movie is made available on DVD - video or blue-

ray disc) or a television programme for broadcast syndication and may include digital

distribution. Co-operation with the entire cast and crew members and ensuring their

safety, security and comfort are key factors for the success of the production, since

understanding their needs would motivate the team and inspire them to work together

in harmony and mutual respect.

3.5. Value Additions Brought to the Project

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

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

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Managing the time has ensured the quality of the project without depleting any form

of resources and production value.

As a student of media and entertainment it has allowed me to incorporate my

creative ideas and theoretical inputs on the basis of the script and screenplay

requirements. With my creative thinking I was able to provide assistance in the

process of selection such as artist costumes, jewels, make-up etc.

Mechanical support was also required for the production process i.e.

transportation, shifting of equipments, renting out props and costumes, execution of

special props etc.

It has made me a confident leader; to guide a team as well as to execute my

strategies. Being a confident and clear communicator has saved me a lot of time and

trouble. Whether in person, over the phone or by email, I made sure that I

communicate in such a way that it is understandable and concise.

It is was my job to spend the budget as wisely as possible; negotiating smart

deals and solid contracts are what made me a sought after Line-Producer.

As a Line-Producer most of the hiring for a production, deals for equipment

and to track down any special needs that might be required for the production.

3.6. Troubleshooting Strategy

Have control over the crew.

Keep updating the crew about any change in plan.

Make sure you reach well before the crew and ensure everything is ready so, that

camera rolls on time.

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

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

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

submit only the photocopy.

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

cash.

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Make sure the shoot goes according to the production schedule and on time to avoid

unnecessary confusions, crises, save time and resources.

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

Make sure the necessary permission are taken and the Police is informed before the

shoot day and if necessary request the authorities for the police protection.

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

hand.

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

before going for the shoot.

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

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

authorities.

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

public.

Ask feedbacks among the crew for the work done.

Make sure locations for shoot are booked well before in advance. And has required

facilities such as parking for the unit van, spacious, security etc.

It is the duty of the line producer to make sure that no harm or damage is caused for

the equipments, location, props etc.

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

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

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

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

Do analysis, break costs down, keep an eye on the schedule and one should not rely

on the AD to tell you what scenes you still need to shoot or pick up

Understand the feasibility for the location.

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

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

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

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

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

returned

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

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Flexibility to deal with unexpected changes

A calm approach during crisis management

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

providing encouragement

And lastly, but of greatest importance: NEVER FORGET THE BIG PICTURE AND

WHATEVER ELSE YOU DO DONT FORGET TO HAVE FUN!

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3.7. Work Dairy

MBA in Media and Entertainment - Hindustan University

Project Report & Diary

Lesson Plan

Course MBAM&E Broadcast / Films Semester IV

Year 2015 Period Feb 2015-June 2015

Subject name and code Project

Total Marks 100 ( 12 credits)

Number of sessions 420 hours Duration 4 months

Requirements

1. Project is appropriate to the specialization of the student

2. Project requires usage of skill sets learned & practiced for the Elective Chosen

3. Project provides scope for innovation

4. Project involves training & practice aspects

5. Project has a clear deliverable that can be evaluated

6. Project should result in insights/learning

7. Project is a reflection of the students proposed field of placement

Faculty

Name Contact numbers E-mail ID

Dr. Uma Vangal

Mr. VenkateshChakravarthi

[email protected]

[email protected]

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3.7.1. Music Video

Name of student Pushparaj

Roll No 1345007

Specialisation MBA (Media & Entertainment Management)

Faculty in charge Mr. Venkatesh Chakravarthi

Details of Project

Music Video

A young boy gets a first look at how grotesque the world truly is as

people commit acts of violence and partake in ignorance as they

hold true to their respective individual ideologies.

Team Members

Director : Vinayak Guhanarayan DOP : Mahesh Editor : Keshav Line-Producer : Pushparaj & Helbert Bernard

Hierarchy of Project Team

Director : Mr. Venkatesh Chakravarthi Creative Producer : Dr. Uma Vangal Line Producers : Pushparaj & Helbert Bernard Director : Vinayak Guhanarayan

Criteria for Project Selection

To understand & learn the work of a Line Producer in production of Music Video that includes Development, Pre-Production, Production (Production) and Post-Production.

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Project dairy

Week 1

No. of Hours 5 X 6 = 30 Hours

Brief

Team Members were introduced.

Locations were discussed and Line-Producers started location scouting in accordance with the requirements of the script.

Planning / Expected outcome

The location required by the script were: House (Valasaravakkam) School (kalembakam) Street (MGR Film Institute)

Permission letters for these locations were drafted from the college.

Initial Planning and rough budgeting was done.

Props requirements were discussed.

Assignments (Details / deadlines)

Special props were done for house location scene i.e., painting of canvas boards and orders were placed for wrist bands etc.

Props were hired for House location on February 10, 2015.

Foods and Hospitality were arranged for the crew members i.e., Technicians, cast, and for location maintainers.

Insights/learning & Additional Remarks

Insights/learning

Got to know the fellow team members.

Understood the work plans and style of each member of the team in order to adjust production requirements as suited.

Script breakdown and coming up with the requirements and creating back-up plans for the changes in the script that were done in accordance with the suggestions and requirements of the director and cinematographer.

Faculty Remarks

Date: Signature:

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Project dairy

Week 2

No. of Hours

5 X 6 = 30 Hours

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


The entire production for the shoot was planned and set.

Actors to be finalized and informed before the shooting day.

Crew to be given reminder calls and messages.

Food requirements according to the call sheet timings.

Submission of bills and statement of the expenses to the college.

Assignments (Details / deadlines) The crew members were given frequent reminders to finish the shoot on time in location.

To keep complete track of cash inflow and outflow.


Insights/learning

Got to know the industry work flow.

Got to know the union (FEFSI) rates for its various union card holders.

Additional Remarks

Do not keep any preparations for the last minute.

Maintain proper time management while shooting.

Faculty Remarks

Date: Signature:

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3.7.2. AD Film


Roll No 1345007


Faculty in charge Mr. Venkatesh Chakravarthi

Details of Project

AD

DUREX HIT

Team Members

Directo : Shrungar Dadarkar DOP : Dugha Editor : David Line-Producer : Pushparaj & Helbert Bernard


Director : Mr. VenkateshChakravarthi Creative Producer : Dr. Uma Vangal Line Producers : Pushparaj & Helbert Bernard Director : Shrungar Dadarkar


To understand & learn the work of a Line Producer in production of AD that includes Development, Pre-Production, Production (Production) and Post-Production.

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Project dairy

Week 3


Brief




The location required by the script were: Street 1 (Kalakshetra Colony, Besent Nagar) Street 2 (Raja Street, Saligramam) Bus Stand(Arunachalam Road, Saligramam) House (Neelangarai)

The actors to be informs

The crew to be given reminder calls and messages.



Helped the crew on the set and took care of all the artist co-ordination and all payments.

Special props were done.



Insights/learning



Understanding the exact needs and requirements of the director plays a vital role in the success of the AD.

Faculty Remarks

Date: Signature:

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Project dairy

Week 4


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



Final schedule with shot break down was done.






The crew members were given frequent reminders to finish the shoot on time in location.



Insights/learning


Understanding the work plans and style of each member of the team in order to adjust production requirement as suited.


Additional Remarks

Efficient time management, polite and friendly outlook are critical in the success of any production process.

Faculty Remarks

Date: Signature:

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3.7.3. Short Film


Roll No 1345007


Faculty in charge Mr. VenkateshChakravarthi

Details of Project

Purusartha

Team Members

Director : Vinayak Guhanarayan DOP : Abhishek Bargava Editor : Gokul Krishnan Line-Producer : Pushparaj & Ram Lal


Director : Mr. Venkatesh Chakravarthi Creative Producer : Dr. Uma Vangal Line Producers : Pushparaj & Ram Lal Director : Vinayak Guhanarayan


To understand & learn the work of a Line Producer in production of Music Video that includes Development, Pre-Production, Production (Production) and Post-Production.

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Project dairy

Week 5


Brief




The location required by the script were: Hospital Baba Shoot House& L V P Lab () House - Bloom Nest (Vadapalani) School L V Prasad Academy


Initial Planning and rough budgeting was done.

Props requirements were discussed.


Hospital and House Props were hired for location on April 23, 2015.



Insights/learning


Understood the work plans and style of each member of the team in order to adjust production requirements as suited.


Faculty Remarks

Date: Signature:

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Project dairy

Week 4


Brief The shoot was completed.

4 Days Planned shoot was extended to 7 days.



Final schedule with shot break down was done.






The crew members were given frequent reminders to finish the shoot on time in location.



Insights/learning


Understanding the work plans and style of each member of the team in order to adjust production requirement as suited.


Additional Remarks

It took huge time to set-up the light (baba shoot House), for the cinematographer.

The working of the entire crew was very slow.

Need to improve the pre-production work. i.e., story board, script breakdown etc.

Faculty Remarks

Date: Signature:

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Chapter-04

SUPPORTING DOCUMENTS

4.1. Music Video Script

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

his locale. He lives in a shabby home along with two other people... and he seems to

be relatively unkempt and in his mid 20's receiving a towel wrapped object from his

two other peers. He takes the towel wrap and walks towards a wall later to be

revealed as a pattern of blue wristbands.

A young child wakes up and performs his morning rituals as he prepares to go

to school with his father dropping him off on the way. On the way to school, the kid

and father walk noticing the great divide between Red/Blue in a public scenario. As

the father is not so intimidated by common folk, he notices a normal blue collared

working class person walking in the opposite direction as him. He gives this man a

very disgusting look, almost as though he wants to get physically violent with this

man. The blue man looks at him and gets intimidated... turning his head and walking

away.

Up ahead, there lies a blind beggar who seems to be affiliated with the red

party. The father looks at him with a sense of disappointment... almost as though the

beggar was a disgrace to the red party. The child over here is seen to show some

sense of empathy for the beggar... and in feeling so, he looks at his father curiously.

While looking at his father and not ahead, the murderer runs and bumps into the kid.

The kid runs towards the scene as the crowd gathers... being conveniently short gets a

first glance of the aftermath of a murder. The father steps in to investigate the issue,

and tries to blind his son from the gore of blood. While doing so, the victim grabs the

father's hand pleading for help. The father grabs his hand noticing one part of his

hand to be red from the blood (wristband), but as he turns his hand around, its

revealed that the wristband is actually blue in color. He throws the victim's hand

away, grabs his boy and starts pacing away from the scene. The boy is confused and

follows his father as he is left with no choice.

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31

The kid now enters his school; In the classroom, the boy stands attention for his

pledge of allegiance. He questions his own actions while doing so.

The father now enters his working space which happens to be a hospital. It is

see that both (red) and (blue) doctors alike work in this space. A patient of his has a

baby and he hands over the baby to the mother. He furthermore puts a red wristband

around the babies wrist. As the doctor walks through the corridor, he notices a

stretcher taking the same victim that he had seen bleed away earlier that day.

At the playground, the kid takes off his wristband and inspects it. He looks at it

curiously then looks around as though he gets the feeling that someone may be

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

wristband... glaring at him and walking away. The kid exits the scenario intentionally

leaving behind the red wristband then coming back to pick it up

The murderer comes back to his studio pad with extreme resentment and

disappointment. He breaks down conveying that he's either guilty for committing the

crime or that he failed to do the job thoroughly.

Walking back home and turning a corner, he runs into 3 (blue) thugs. They

seem aggressive but all they do to him is pet his head giving guilty smirks. As he

slowly walks away from them, he notices a woman left defiled wearing a red

wristband. He paces home.

Father and son walk through a heavily blue dominant neighborhood. As they're

walking, they notice blue guards guarding the wall (tidal park background). As they

both walk and see the guards, the father tends to become more protective of his son

and holds his hand... shying his face from the guards. There is a very gloomy sense of

instability.

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32

4.1.1. Song Choices

You spoke of a world with peace and harmony, well show it to me..

Will you be my guide to the chosen one or bring him to me.

If we fall, we fall away, its a choice left to you.

To be a man who hides behind the makeup in silence..

That's all you will be!

Run away be the voice of a nation

Try and not be found

Make believe the very lie you were born in.

Don't push me far behind

Build a bridge just to scar the remains of,

this time not nor your side

Make a stand its a voice you can raise one.

Murderous fruit n I rode past the shadow of taboo.

Murmurs silent left by the bodies left so vacant.

My souls grown tired, by the years of torment.

If I never know then I'll never bleed if I was to believe

And how broken is that world

( a broken world)

When there's no one left to believe. Anymore.

Run away be the voice of a nation

Try and not be found

Make believe the very lie you were born in.

Don't push me far behind

Build a bridge just to scar the remains of,

this time not nor your side

Make a stand its a choice you can raise one.

Solo.

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33

4.1.2. Music Video Shot Breakdown

Chorus repeat! (2).

00:00 to 00:36 Intro

1. Mid Track into murderer with goons

2. Cu: tilt up murderer unwrapping the cloth

3. Mid: track out of Victim with tie

4. Wide: track of Victim living room with family

5. POV trophy wall with murderer

6. Mid of victims family (track back walking towards green wall)

7. POV trophy with 3 goons

8. Mid of Victim walking into frame looking at Blue square (Track in from wall)

9. Close of victim looking at blue square (Track left to right)

10. Mid: Track in diagonal to trophy & 3 goons saluting the wall

11. Wide: Victim exiting (track in almost along wall)

Stanza x 1 00:37 to 01:33

12. Wide: Track back to kid looking outside window with uniform foreground

13. Wide: Track right arc revealing kids face and room setting (red square)

14. Mid: Track back of dad with tie picking up wristbands

15. Mid - Kid running down stairs spiral (track back)

16. CU- Frontal of kid reaching ground floor looking at dad (match cut)

17. Mid Track in circular- Father saluting (red square) and kid entering frame right

(back)

18. CU: Kid looking at father/saluting... father correcting son

19. Mid CU: Track father correcting sons posture, son looking at dad

20. CU from above: Father correcting posture & looking at the (red square) content.

Son looking at dad and looks straight

Chorus x 1 01:34 to 02:16

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

establishing tidal park on (Right) ending with guard frontal

22. Mid: Father right son left (reverse axis) track out + father look

23. track in CU: Inspecting Blue person Tilt from face to wristband (EYELINE)

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34

24. track profile: Father glaring + looking ahead

24b. match cut of dad looking straight

25. Wide: Diagonal low angle track left to right with homeless & workers in

foreground

26. Wide: Top POV (GOD) + Track of kid looking at father + Bump

27. Mid: Side profile of murderer bumping into kid (Side track Curve*)

28. Mid: 30 degree cut of same action (pan right while track back to kid back) kid

turning around looking at murderer and murderer stopping, looking back and running

way into crowd.

29. Murderer profile tele turning to look back at kid and turning back, running away.

30. Kids close-up of looking at murderer

31. Side track close left to right from kids profile to reveal the crowd gathering

Stanza x 2 02:17 to 03:00

30. Mid: POV of victim, all the crowd gathered around him + kid entering *TRACK

BACK

31. Mid: Kid ots glaring at the victim(his right hand covering wound) as he profusely

bleeds

32. CU: Profile of father walking into frame looking at the victim & then looking for

his son... and walking towards his son

33. Mid (kid): Father stepping forward to cover his son from the sight and taking a

step towards the victim squatting

34. Mid CU: Father grabbing victims hand (bloodied band prominent) to investigate

the wound

35. CU: Father looking at wound and general at victim and looks at wristband (off

frame)

36. CU Side: father holding victim's hand, wristband blue in color

37. CU: father looks from band to victim disgusted and jerks away.

38. CU Side: father's hand dropping victim's hand

39. Kid OTS: father dropping hand (off focus) turns back and comes n grabs kid.

40. Pov victim: father turning back n grabs kid

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35

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

Chorus x 2 03:01 to 03:29

39. Wide: Establish school building with statue (wristband) + kid walking (track R to

L)

40. Wide: Establish hospital corridor with red & blue doctors

41. Mid: Kids doing the pledge of allegiance inside the classroom

42. CU: Kid looking at his posture and changing it

43. Wide: Father handing baby to mother (track right to left) and picking up wristband

44. Mid: Father putting wristband on baby

45. CU: Baby's hand with wristband

46. Wide: Kid at playground with other (red) kids

47. Mid: Kid sitting down and inspecting his wristband looking around and staring in

the distance

48. Mid: Father walking in corridor and looking at strecher (track back)

49. Mid: OTS of Victim on stretcher being taken away still alive/bleeding

50. CU: Father looking disgusted and walking away

51. Mid: (tele) Blue kid looking back

52. Mid: Murderer sitting, two goons around him standing (track back towards trophy

wall)

52b. Track into trophy wall

53. CU: Blue kid looking into camera and walking away

54. Mid: Kid looking from blue kid to his hand

55. CU: Kid puts wristband on the floor and walks away

56. Mid/Wide: track back from kid walking away & then running back to go pick it up

57. Wide: Kid in cafeteria spaced out then turning to look at a painting on a wall

(trackin)

58. CU to Mid: Portrait image showing the murderer turning around and walking

towards kid with the knife stabbing him (track in)

59. CU: Kids reaction from hallucinating to exiting the cafeteria

60. Wide: Kid walking brisk on the street alone turning around the corner

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36

61. Mid: Kid bumps into three blue goons

62. Pov kid's perspective of goons looking intimidating but the leader pets the kid on

the head

63. Mid to wide: Goons leaving and the kid shaken walking away

64. Wide: revealing alleyway where a woman is left defiled (shown with a red

wristband)

65. Mid: Red wristband on the woman's hand (jump)

64. CU: Red wristband (jump)

65. Mid: Kid looking disturbed walking away

66. Mid: Kid walking up staircase into house (track in reverse of shot 15)

67. Mid: Kid in bathroom washing face trying to take wristband off but not able to

69. Mid: Mirror reflection able to remove the wristband (Chroma)

70. Wide: Kid walking to school the next day with father dropping wristband

`

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4.1.3. Music Video Cast Contact Sheet

Production : L. V Prasad Film & Television Academy

Date : 11/02/2015 13/02/2015

Production #: 01

SL. # NAME CHARACTER PHONE # ADDRESS

01 Aroul D Red Party Supporter. Father/ Doctor

9840636600 Plot no: 1 & 2 Team house, Sri Kumaran Nagar, Vivekanandha main road, Kolathur, Chennai 600 099

02 Ram Blue Party Member. Father / Husband. Victim of hate crime

9566135732 / 9789924083

2nd floor, Guru Gayathri Apartments Balaji Nagar, Nanganallur, Chennai 600 061

03 Sanjay Red Party Extremist. Murderer

9884294804 No: 18, 16th cross street, Besant Nagar, Chennai - 600 090

04 Sri Rudhran

Arouls Son. Red Party / School student

9094117840 S/O Saravanan, BM Street, Periyar Nagar, Vellakkal, Medavakkam, Chennai 600 100

`

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4.1.4. Music Video Crew Contact Sheet

Sl. # POSITION NAME PHONE

PRODUCTION 01 Line-Producer Pushparaj

Helbert 9791024678 9840620045

02 Director Vinayak Guhanarayan 9677084516 03 1st AD Gautam Arora 04 2nd AD Shrungar

CAMERA 05 Director of photography Mahesh 9176837630 06 Camera Assist Colin

Rocky

LIGHTING 07 Gaffer Arjun

Colin 9654959195

POST-PRODUCTION 08 Editor Keshaw

`

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4.1.5. Music Video Union Members in Crew

Sl. No POSITION NAME

01 Academy Light man Ravi

02 Union Light man S. Krishnan N. Kumaravel

03 Camera Attender Vellu

04 Electrician Sakthivel

05 Generator operator Balakrishna

06 Production Assistant Yesudas Bhagyaraj

07 Make-up artist Giri

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4.1.6. Music Video Location Permission

SL. # LOCATION PERMISSION

REQUIRED/APPROVAL

01 Priya Shooting House, valasaravakkam, Chennai 600087

Ms. Lakshmi, Manager, Ph : 9841825257

02 Nava Bharathi School, kelambakkam, Chennai 603 103

Mrs. Ruth Patrick,Headmistress Ph : 9840457647

03 M. G. R. Government Film and Television Institute, C.I.T Campus, Tharamani, Chennai - 600 113

L. Krishnamoorthy, Principle. Ph : 9498042407 Approved by : Mr. MuthuManikham, Vice-Principle. Ph : 9941503939

04 L V Prasad Lab Arunachalam Road, Saligramam, Chennai 600 093

Mr. Sivaraman, General Manager, Prasad Group, Chennai. Approved by : Mr. R. N. Subramaninan, Admin Head Ph : 9840210909 Mr. Balakrishnan, Security L V Prasad Lab.

`

41

4.2.1 AD Film - Durex

EXT. STREET, DAY

A dog is happily walking on pavement, feeling the sun and breeze. When out of

nowhere he sees a beautiful girl dog across the street and immediately falls in love. He

is staring at the girl dog and she appears in slow motion. He snaps out and starts

walking towards her when suddenly he is being picked up and captured by a Animal

population control van. The van vanishes.

PRODUCT APPEARS

e.g. Dog population: 500 million Approx.

Human population: 7 billion Approx.

`

42

4.2.2. AD Film - HIT

INT. BEDROOM, EVENING 05.00 PM

Warm evening light is entering through a window of a messy bedroom. A skinny

teenage boy in just a towel enters and stands in front of a wardrobe with a huge

mirror. The boy The boy in his towel checks himself out, looks down and grabs 2

deodorant cans, sprays it on his chest, then underarms, then inside his towel, dresses

up and leaves home.

EXT. STREET, EVENING

Boy stylishly walking on the street. He is been eyed by several girls who with closed

eyes try to smell his aroma, then by older woman with a grocery bag, and then even

by a fat sweaty man who slaps his arm to kiss a mosquito. He turns his head up when

he sees a granny opening her window and calling him to her place with a naughty

smile. He turns his face away.

INT. CORRIDOR

The boy reaches the front of a door of a house and rings it. A beautiful looking girl

opens the door.

INT. DINNING ROOM, NIGHT

The room is lit by candles and corner lamps. They are enjoying dinner when slowly it

reveals that even her parents are there on the table. They are holding each other and

are in tears of joy. He wipes his face with the napkin, and signals Namaste to leave.

Her parents opens a bedroom door inviting him in while the girl giggles sheepishly,

the boy is puzzled and trying to make sense out of it. The girl quickly pushes him in

her room as she closes the room while biting her lips.

PRODUCT APPEARS

Hit with chocolate aroma: Machharbhagai, aurraateinsajai.

`

43

4.2.3. AD Film Cast Contact Sheet

SL. # NAME CHARACTER PHONE # ADDRESS

01 Karthikiyan Protagonist 9840636600 Meenambakkam, Chennai - 600 027

02 Sai Kishore Father of Niveditha

9952421192 New no: 9, Shivaji Street, T. Nagar, Chennai 600 017

03 Niveditha Public 9677204282 Guindy, Chennai 600 032

04 Sadhya Public 9962635223 L V Prasad Student, Saligramam, Chennai 600 093

05 Pandi Tea Seller 9840909842 Saligramam, Chennai 600 093

06 Grandma Public 8939465304 Saligramam, Chennai 600 093

07 Dharmer Vegetable seller

Saligramam, Chennai 600 093

08 Daisy Protagonist (Dog)

9840395737 Nazeer, (Animal Trainer) No-10/140, Kaveri Nagar, Near Adam Mahal, Pattur, Chennai 600 122

09 Sugar Secondary (Dog)

9841261257 Dr. Uma Vangel Besant Nagar, Chennai 600 100

`

44

4.2.4. AD Film Crew Contact Sheet

Production : L. V Prasad Film & Television Academy

Date : 23/02/2015 25/02/2015 Production # : 10

Sl. No POSITION NAME PHONE

PRODUCTION

01 Line-Producer Pushparaj Helbert

9791024678 9840620045

02 Director Shrungar 9819996830

03 1st AD Vivek Vinod 7845130063

CAMERA

04 Director of photography Dugha 9884965180

05 Camera Assist Abhishek Bhargava 8890924721

LIGHTING

06 Gaffer Arjun Sundharam 9654959195

POST-PRODUCTION

07 Editor David 9629074871

`

45

4.2.5. AD Film Union Crew Members

Sl. # POSITION NAME

01 Academy Light man Ravi

02 Union Light man S. Krishnan N. Kumaravel

03 Camera Attender Vellu

04 Electrician Sakthivel

05 Generator operator Balakrishna

`

46

4.2.6. AD Film Location Permission

SL. # LOCATION PERMISSION

REQUIRED/APPROVAL

01

kalakshetra colony Besant Nagar, Chennai 600 090

Tr. S George, IPS. Chennai Police Commissioner. Ph : 9442200913 Approved by : Tr. Riazudeen, Inceptor of Police J6, Thiruvanyur Police Station. Ph : 9840401199

02 Nehru Nagar and Arunachalam Road Saligramam, Chennai 600 093

Tr. S George, IPS. Chennai Police Commissioner. Ph : 9442200913 Approved by : Tr. Jayaraj, Inceptor of Police R5, Virugambakkam Police Station. Ph : 9498130380

03 House, Neelangarai Mr. VenkatheshChakravarthi Ph : 9802073577 / 9940408895

`

47

4.3. Short Film Purusartha

SCENE 01 EARLY MORNING (MONDAY)

Sheela is in the kitchen making coffee as everyone else in the house is getting ready

for their respective days. We hear the sound of a Shruti box on, as it is constantly

looped. Ram enters the living room space (where paati is) and he struggles to open a

window. He curses the window under his tongue

RAM

(Cursing window)

Why wont you open? He leaves it be and he picks up the news paper and starts

reading the paper in the balcony.

Paati is decorating deities with flowers, and little Laxmi is unboxing a new pair of

shoes and fixing her uniform.

Laxmi whilst getting ready in the bedroom notices paati humming tunes to herself as

she decorates the deities with flowers. Sheela goes to the living room and places the

cup of coffee near paati on the dining table and looks at Ram with a mild sense of

loathing.

SHEELA

Amma your coffee...

She places paatis cup of coffee gently and dispassionately places Rams cup on the

table. Ram looks at her and Sheela doesnt make eye contact... walking away. Paati,

oblivious, continues humming and placing flowers.

SHEELA

Ram... your coffee.

Sheela returns to the kitchen and washes her hands. She stares at the drain as the

soap water disappears into the abyss of the drain. Laxmi comes from behind and gives

her mom a hug and says her goodbye. Sheela goes down to Laxmis eye level fixing

her hair and sends her off.

`

48

SHEELA

Youre going to get late kutty, go now, have a good day.

Paati is seen sitting on the sofa with her coffee in front of her humming away her

tunes as the shruti box has already been switched on. Ram is in the balcony with his

coffee. Laxmi runs off to Ram... he picks her up and kissesher forehead. Laxmi wipes

away the wet kiss with disgust making Ram smile. Ram takes his cup of coffee inside

leaving it on the table and walks out with Laxmi. Laxmi runs past paati waving

goodbye avoiding any more embarrassment. Paati looks at her with a sense of

contentedness. Ram says his goodbyes to Paati and Sheela.

RAM

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

PAATI

Bye raja.

Sheela ignores Rams goodbye in the kitchen and turns around and looks as Ram exits

the door. She turns back and continues her routine around the kitchen. Paati starts

rehearsing/singing her tunes as Ram exits. The music isaudible from the ground floor

of the building as well.

SCENE 02 PAATI SINGING #1

Ram waits outside his building to make sure that Laxmi boards her rickshaw that

takes her to school. Once Laxmi is in the rickshaw, Ram heads towards the bus

station. He boards the bus and gets off at his stop. Sheela is making food. Laxmi gets

off her bus and enters school. Ram walks for about 50 meters and enters his building

workspace.

(We transition paati singing with: Sheela tidying up around the kitchen, Laxmi in the

rickshaw/entering school, & Ram heading to work.)

Paatis song ends into real scape sound of her finishing her song and her seeing her

daughter make food. (pressure cooker sound transition to door opening)

`

49

SCENE 03 RAM AT WORK

Ram enters his office and greets a few of his colleagueswith a good morning

nod/subtle hello. He goes to his cubicle desk and sits. Shankar walks past him and

stops by to say hello. Shankar greets Ram warmly (handshake and pat around

shoulder).

SHANKAR

Sirji, epdi irke? How was your weekend?

RAM

It was good DA, I was mostly home... had to take maamiyaar to do some checkups,

with gods grace shes doing better now.

SHANKAR

Thats good DA, hows Laxmi?

RAM

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

yesterday.

SHANKAR

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

RAM

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

SHANKAR

Well Radha and I finally finished unpacking our last box. You need to come and see

the house! When will you be free for dinner? Bring (mother in law) also

`

50

RAM

Shes too weak to step out DA, it really saps the energy from her.

SHANKAR

Serri okay... well see when she feels better. Just let me know when...

RAM

Definitely.

Both Ram and Shankar share genuine smiles. Ram pops out of his chair to look

around giving Shankar a hint that their boss may be watching them.

RAM

Ill catch you after work, I betterget started...

Shankar exits the scene and Ram starts to open out files on his desk. He opens the file

and looks at a framed family portrait on his desk. (School bell rings)

SCENE 04 LAXMI AT SCHOOL (LUNCH BREAK)

The classroom bell rings and all the students disperse fortheir lunch break. Laxmi

pulls out home styled traditional south Indian food (ex. idly with chutney) from her

tiffin box. Rest of the students seem to have sandwiches and fruits nicely packaged

granola bars and packaged goods. A few girls whilst eating stare at Laxmi as she eats

alone and laugh at her. (mocking her for not having what they have) Laxmi is paying

attention to what is being said from afar and with a neutral response (non-emotive)

continues eating her food as she internalizes everything that these girls say.

RANDOM GIRL

I think her parents feed her dog food...

RANDOM GIRL 2

Those shoes probably belonged tosome circus... look at them

`

51

(Sound cut from her spoon hitting the metal tiffin box to the spoon scooping off the

remainder of the vessel at home)

SCENE 05 LUNCH AT HOME

Sheela and paati are sitting at the dining table as Sheela is scooping off the remainder

of the food from the vessel onto Paatis plate. Both of them are almost done finishing

their respective meals.

SHEELA

Amma, did you take your medicine?

PATTI

Um.... I.... I dont think I... let me check...

As Paati slowly struggles to get up, Sheela gets up in a jiffy and goes to paatis

bedroom. She sees the strip lying on the table unopened. She grabs it, walks back,

takes out a pill, removes it, and places it on the table. She then hastily pours water

into a tumbler and keeps it near her mother.

SHEELA

WHAT IS THIS MA? How many times I? How... I kept it out for you... You need to

remember these things ma, I cant always keep track for you...

PAATI

Sorry kanna...

SHEELA

Dont say sorry ma... Just

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