syllabus - three year courses

8/7/2019 Syllabus - Three year courses

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FILM & TELEVISION INSTITUTE OF INDIA, PUNE.

DIPLOMA COURSES

SYLLABUSSYLLABUS

This syllabus has been approved by the Academic Council in its 54th meetingand by the Governing Council in its 98 th meeting held on 16th January, 2003.


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FILM & TELEVISION INSTITUTE OF INDIA

Introduction

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

students through basic understanding of media to near professionalism.

The first year of the course is designed to give a feel of all disciplines of

filmmaking and allied subjects through theory and practical. During this learning phaseall students go through the same exercises it is aptly called a common course. During

this year coordinated exercises help a student to understand filmmaking as a group effort.

Each student assumes the role of crucial crewmember of filmmaking process.

During the second year a student focuses on the chosen area of specialization.

Through lectures, demonstrations and workshops students are helped through a thorough

understanding of their specialization field. Year ending projects during the second yearare at a higher level of sophistication. Each student during this year focuses only on the

area of specialization in exercises and projects.

The third year of the course is mainly devoted to projects. The scope of the projects

is extensive compared to the previous years. The projects are highest in quality giving

opportunity to a student to explore creative areas of their specialisations.


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STRUCTURE OF THE COURSES

FIRST YEAR

WEEK SHORT DESCRIPTION

1 - 5 Module One (Theory and practical )

6 - 10 Module Two (Theory and practical)

11 - 15 Module Three (Theory and practical )

16 - 20 Module 4 (Practical only)

21 - 22 Examination

23 - 28 16mm Continuity Exercise / TV Modules

29 - 38 DV Project

Modules have following components-

a) Theory in the morning hours in three modules

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

module

For practical modules all students will be divided in to 5 groups. These groups

attend practical classes in Direction, Cinematography, Sound, Editing and Medialaboratory by rotation every week, completing one module at the end of 5 weeks.

Four modules will be covered in 20 weeks. Module 4 is covered in week No.16

through 20 and next two weeks ( 21st

& 22nd

) are for preparation and theoryexaminations.

During the weeks 23-28 all students undertake studies in television medium

together alternated with 16mm continuity exercise. All students are divided into twogroups for this purpose. Year-end project is slated in the last 10 weeks.

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SECOND YEAR (General plan)

WEEK SHORT DESCRIPTION

1 - 10 Focus on specialization*

11 12 Theory Examination

13 18 Dramatic Sequence

19 38 Dialogue Film

* Specific details of specialisation topics in each of the disciplines can be seen on first

page of the respective syllabi.

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

specialisations. For 10 weeks the focus is in their area of specialisation throughtheory/practical/workshops etc. Theory examinations are slated during weeks 11 and 12.

Dramatic sequence is slotted in next 6 weeks i.e. from 13 18 while the year-end project(dialogue film) is slated in the last 20 weeks.

THIRD YEAR

WEEK DESCRIPTION

1-38 Diploma film

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Assessment Scheme First Year

The assessment in the course will be a continuous one. The students will be

assessed for every unit of work, Television module, coordinated exercises and the year-end projects.

The assessment for each unit in Direction, Cinematography, Audiography,Editing and Digital Media studies will be for a maximum of 25 marks based on

application and professional conduct. Maximum score also depends upon the attendance

as per the following formula. A session is considered attended if a student is present

for 50% of the module time. Attendance formula is applicable for practical modulesonly.

% Attendance Max. Marks

100 2

80 260

50

50 N

For Coordinated Exercise

Application 20 marksProfessional Conduct 5 marks

For Year-end Project

Application 20 marksProfessional Conduct 5 marks

Students will be assessed for all the key positions they work in for the

coordinated exercises as well as the year-end projects. Maximum marks for eachdiscipline/specialization will be 25 for a coordinated exercise and 25 for year ending

project.

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

practical work and 40 for the exercise.

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The weightage for the units of work, year ending projects, coordinated exercisesand TV components etc. will be as under -

Four practical modules 400 marksFinal Theory Examinations 400 marks(see break-up below)Sessional 200 marks(see break-up below)

Theory examination papers on -

1. Direction 100 marks

2. Sound 100 marks3. Cinematography 100 marks

4. Editing 100 marks

Sectionals on-

SPW 50 marksFilm Appreciation 100 marks

16mm Coordinated Exercises 100 marksTelevision module

Computer application Exercise 100 marks (15 x

DVCAM Year-end Project 200 marks

---------------

2050 marks---------------

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

55% aggregate in their chosen area of specialisation and 50% aggregate overall at the endof the course.

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

second year.

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Assessment Scheme Second Year

The assessment for the course will be a continuous one. The student will be

assessed for every unit of practical/workshop/assignments/coordinated exercises and the

year-ending project.

For every unit of completed work, 80% marks will be for the completion of

practical work/assignment, and 20% for professional conduct.

The distribution of marks for the units of work, year ending projects, coordinated

exercises, Television component will be as under

Practical/workshops 800

Coordinated Exercise Dramatic Sequence 200

Dialogue Exercise 200Final Theory Examination 200

Sessionals on

Screenplay writing 50

Film appreciation 50-----

1500***

*** Total may differ from one specialisation to another as the number of

workshops/theory sessions etc. are not the same in each course.

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

55% aggregate at the end of the course.

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Assessment Scheme - Third Year

DIRECTION

Diploma Film 300

CINEMATOGRAPHY

Diploma Film 300

AUDIOGRAPHY

Diploma Film 300

EDITING

Diploma Film 300

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FIRST YEAR COURSE IN FILM AND

TELEVISION

SYLLABUS

2005

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FIRST YEAR COURSE IN FILM & TELEVISION

Distribution of Time /Theory Subject

_____________________________________________________________

1. Direction 252. Cinematography 25

3. Audiography 25

4. Editing 255. Screen Writing 30

6. Film Appreciation 54

7. Art Direction 108. Production Management 10

9. Music 10

10. Screen Acting 611. Computer Applications 10

_____

_230_

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DIRECTION

DIR 101T

THEORY

25 HRS OVER WEEKS 1-15

________________________________________________________________________

CONTENTS

How films are made

Basics of Screen Grammar -I

The role of film director, its emergence and field of functionHow film pictures move, visual perspective.

Elements of composition in static shots

(Image size, camera angles, lenses, camera speed,lighting, graphics, color, mise-en-scene, montage.

Basics of Screen Grammar - II

Elements of composition in moving shots

(Various types of camera movement)Director's viewfinder

Sound perspective

Speech, effect sound, music, and silence

Basics of Screen Grammar - III

Match cut, jump cut, other transitionsMaster shot and insert, cut-in and cut away,

flash back and flash forward

Basics of Screen Grammar- IV

Concept of filmic continuity and the role ofImaginary line. Establishing and re-establishing

shots, how to cross the imaginary line without violating it

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ASSESSMENT

Theory Exam: 100 marks


CINEMATOGRAPHY

CIN 101T

THEORY


________________________________________________________________________

CONTENTS

Basic properties of Light

Rectilinear propagation, absorption, reflection, refraction,

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

Eye, Camera and Perception

Similarities, difference, persistance of vision, binocular vision,

perception of colour, adaptative properties.

Lenses and Image Formation - i

Different types of lenses, image formation, focal length,

f number, magnification, wide and telephoto lenses.

Exposure Meters

Principles, different types. Exposure measurement.

Lenses and Image Formation - II

Perspective, depth of field and depth of focus.

Pictorial Composition

Elements, formats, balance.

Basic principles of Photography

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Emulsion, exposing, processing; various light sources.

Anatomy of a Still Camera

Shutters, types of shuttersShutter speeds

Viewfinders

Reflex and non-reflex

Familiarization with Digital Technology

Anatomy of Motion Picture Camera

Principles, various basic components and their functions.

Film Processing Laboratory

Organisational structure, equipment, procedures and practices.

Printers-continuous contact, step contact and optical printers

Filters in Photography

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

Basic principles of Colour - I

Trichromatic theory of vision; colour adaptation

Primary and complimentary colours.

Basic principles of Colour - II

Additive and subtractive principles of colour photography.

Visual Appreciation (Guest Faculty)

Elements of visual design and composition

ASSESSMENT


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AUDIOGRAPHY

AUD 101T

THEORY


________________________________________________________________________

CONTENTS

Parameters of sound quality in film & television productions

Consistency in levels

Sound perspective

consistency of background SoundsFactors affecting sound quality

Indicators for judging the sound quality

Sound-In-Cinema

Channels of information (speech, music & effects)

Fundamentals of Sound

Understanding sound

Physical aspects of soundSubjective aspects of Sound

Sound In Television and Films

Reproduction of sound in theatres and home

Audio Production Techniques - I

Pre-production

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Production

Audio Production Techniques - II

Post-production

Audio Production Techniques - III

Present day techniques

Aesthetics Of Sound

Effective use of speech, silence, music & effects

Release film formatsProjection of motion picturesSignal processing

Different record media

ASSESSMENT


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EDITING

ED 101T

THEORY

25 HRS OVER WEEKS 1-15________________________________________________________________________

CONTENTS

Role of Editor In Film And TV

Liaison with the other members of the production team

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

Contribution of the following film-makers :

The beginning of the film continuity

Lumiere brothersGeorge Meiles

Edwin Porter

D W GriffithPudovkin

Kuleshov

Einstein

Continuity In Editing

(a) Action continuity

(b) Dramatic continuity

Inserts, cut in, cut away, jump cuts

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Principles Of Editing

Timing

Pace : Rhythm

(a) Filmic Time And Space

(b) Parallel Action

Sound Editing

ASSESSMENT

Theory Exam : 100 Marks

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SCREEN WRITING

SW 101T

THEORY


________________________________________________________________________

CONTENTS

What is a Screenplay

Writing in terms of imagesWriting in terms of sound

Writing in terms of rhythm

Realization of an idea through final screenplay to a film.

What is Fiction?

Structural factors involved in scripting for fiction film

Perceptible/obvious elements-immersed/recondite elements

Life as a source of fiction-ideas from memory, experience, imagination.

Other sources of ideas-adaptations from novels, short stories, play etc.Necessity/importance of research for screenplay writing

What is a Narrative ?

Causal, temporal and structural elements.

Elements of Fictional Narrative- I

Action

Elements of Fictional Narrative- II

Character

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Elements Of Fictional Narrative- III

Setting

Elements of Fictional Narrative -IV

Dialogue

Elements of Non-Fictional Narrative

Different approaches.

Elements of Drama

Conflict, mystery, surprise, suspense, dramatic irony.

Construction Of Scene/Sequence

Evolving a Screenplay

Idea - theme

Word view

Zeitgeist (spirit of the age)

IdeologyVision

FormDramatic

Non-dramatic

Structure

Linear

Non-linear

Parameters Of A Script

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

Selected Areas of Study

Reality and realism

Plot and life

Aspects of characterizationFactors influencing human behaviour - the milieu, the zeitgeist(spirit of

the age) and the weltanschauung ( world view )

The atmosphere base - its components

The realities - physical / objective, psychological / symbolic, etc. dualismand pluralism

Orchestration and planning of the total action

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Tragedy and comedy - differences in approach and techniques

ASSESSMENT

Sessionals: 50 marks


FILM APPRECIATION

FA 101T

THEORY


________________________________________________________________________

CONTENTS

Introduction to contemporary communication media. The nature of cinema andtelevision.

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

Analysis of representative film texts : explanation of macrostructure( composition

in scripting) and microstructure(composition of images,sound and concept ofediting). Relationship of structure, sequencing, meaning and value. Image

construction : organisation of time, space and event in composition.Different genres and kinds of films : non-fiction, documentary, fiction,

experimental and animation.

Film history to 1950

Early cinema to D.W.GriffithBeginning of cinema in India : D.G.Phalke and the mythological genre

German and soviet cinema of the 20s

Indian silent cinema in the 20sTransition to sound

Analytical-dramatic style and the development of long take and depth of fiekld

shooting methods in the 30s and 40s.Studio period in Indian cinema and effects of World war II on the film industry

Italian neo-realism

Film history since 1950

Hollywood cinema: Myth, genre, auteur and starsPost-independent Indian cinema and the rise of the South Indian film industry

Satyajit Ray and the aesthetics of film realism

French new waveNew Indian cinema and state support to the development of Indian film culture.

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Cinemas of Asia, Eastern Europe and Latin America.

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

ASSESSMENT

Sessional: 100 marks


ART DIRECTION

AD 101T

THEORY

10 HOURS

________________________________________________________________________

CONTENTS

The Role of Art Director

Justification, Purpose and Function of Sets

Work process of art director- script to scrap

Story boarddesigningSet material types and use

Styles and types of set designingSet vis-a-vis character, camera and sound

Property & Costume

Budgeting for Sets

Money, manpower, material, time, transport etc.

Meaning and Purpose of Visual Design

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

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

Following topics covered by Guest Lecturers in spare weeks :-

History of art in relation to films

History of architecture in relation to filmsIntroduction to architecture with special reference to India

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Introduction to cultural mores in different regions of India.


PRODUCTION MANAGEMENT

PM 101T

THEORY

10 HOURS

________________________________________________________________________

CONTENTS

Introduction To Film Production Management

Function and purpose

Film Production Process

From script to screen

Film Business

Sources of finance, distribution & exhibition of films, Censoring

Organizational Structure Of Indian Film Industry

Public and private sectorsObjectives of film production

Need for production managementBasic managementBasic factors of film production

Functions of production manager

Production planning and controlBudgeting for different types of films

Relationship between budget and cost and time and money

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MUSIC

MUS 101T

THEORY

10 HOURS

________________________________________________________________________

CONTENTS

Introduction to Music and its categories

Focus on Indian musicFocus on World music

Music in Film and TV

Introduction to the notions of Real and functional music;

background music and the film song

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SCREEN ACTING

ACT 101T

THEORY

6 HRS

________________________________________________________________________

CONTENTS

Introduction To Acting Including Various Schools Of Acting

Observation and imagination as important souls for actorsAspects of spontaneity

Exercises in orientation and environmental awareness

Observation and imaginary exercises

Action problemScene exercise

Song sequence with movement

ACTING THEORY - Stanislavsky , Brecht and Grotowsky etc.

ACTING ANALYSIS

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COMPUTER APPLICATIONS

CA 101T

THEORY

10 HOURS

________________________________________________________________________

CONTENTS

Introduction to computers in film and

Television

Internet development and implications, search engines,

E-mail, home page

Introduction to computer animation with demoIntroduction to multi-media with demo

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DIRECTION

DIR 101P

PRACTICAL

4 HRS DAILY POST LUNCH FROM WEEKS 1-5

________________________________________________________________________

OBJECTIVES

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

To get acquainted with different formats and basic principles of screenplay

writing.To develop faculty of observation through actual visit to a place in the city -

hospital, vegetable market, courts etc - and writing a creative, non-fiction account

using audio-visual elements from the visit.

CONTENTS

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

introducing procedure and skills of taking a shot. Day 5 Screenplay Writing,

formats and principles of both fiction and non-fiction. Day 6 Discussion on

individual observation reports.

METHODS OF TEACHING

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

Classroom discussion on individual observation reports after each is read out.

Brief classroom instructions on screenplay writing, followed by writing exerciseson the spot.

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DIRECTION

DIR 102P

PRACTICAL


________________________________________________________________________

OBJECTIVES

To shoot and edit a simple scene using camera angles, image sizes but no camera

movement, nor sound; and maintaining physical continuity and original rhythm of

the action.

CONTENTS

Action Continuity Exercise I

Attempt a story using 6 shots, one main character, mute.Shooting, editing, preview and discussion.

METHODS OF TEACHING

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

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DIRECTION

DIR 103P

PRACTICAL


________________________________________________________________________

OBJECTIVES

To shoot and edit a simple scene using camera angles, image sizes, camera

movements and dialogue while maintaining physical continuity and original

rhythm of the action.

CONTENTS

Action Continuity Exercise II

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

METHODS OF TEACHING

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

schedule.

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DIRECTION

DIR 104P

PRACTICAL

6 HRS DAILY FROM WEEKS 16-20

________________________________________________________________________

OBJECTIVES

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

To further develop the technique of screen writing directly in relation to theexercises and course-ending project.

To learn the techniques of shooting and editing interviews through video

practical.

CONTENTS

A screen acting workshop over three half-days. After basic introduction, the

students will choose from a bank of five scripts offered by the teacher and act it

out. The performance will be video taped and discussed in the group.A screen writing workshop over three half-days. Basic script formats of each of

the exercises and course-ending project will be shown and discussed by the

teacher. The production scope of each exercise will then be discussed and thestudents asked to write two scripts of each in the class.

An interview techniques workshop over six half-days. After basic introduction,

the students will shoot and edit the exercise to a schedule drawn for the purpose.

Each will finally be discussed on the last day.

METHODS OF TEACHING

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

discussion.

Screen writing workshop through the students being asked to write in the class.Interview techniques workshop through hands on experience.

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CINEMATOGRAPHY

CIN 101P

PRACTICAL


________________________________________________________________________

OBJECTIVES

To be familiar with simple still & video cameras and video camcorders.

To learn the basic operations, handling and care of the equipment.

CONTENTS

Introduction/demo of still and video cameras and basic accessories.Use of bulk loader, loading reusable cassettes, loading and unloading the camera.

Practice in exposing outdoors, (available light).Understanding under and over exposure through exposure series. Mounting of

positives and projection

Forwarding the exposed material to the laboratory for processing and printing.

Basic practice on video camerasStudy of various controls

Recording Static Shots

METHODS OF TEACHING

Introduction and demonstration of still and video cameras.

Guidance during hands-on practice.

Preview and analysis.

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CINEMATOGRAPHY

CIN 102P

PRACTICAL


________________________________________________________________________

OBJECTIVES

To be familiar with the basic darkroom procedures and discipline.

To develop the skills in use of shutter and aperture controls.

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

CONTENTS

Introduction to photographic darkroom procedures and discipline.

Preparation of developers and fixer (group activity).Spiral loading and processing.

Continuation of practice in exposing outdoors available light with -

Shutter speed control to simulate/freeze motion.

Selective focus.Depth of field control.

Negative processing and forwarding to laboratory for printing.

Use of simple on camera filters.Introduction to exposure meter and its use.

Projection and analysis.

Operation practice on video cameras

METHODS OF TEACHING

Demonstration.

Guidance during hands-on practice.Preview and analysis.

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CINEMATOGRAPHY

CIN 103P

PRACTICAL


________________________________________________________________________

OBJECTIVES

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

To be able to set up the camera, perform basic camera operations and expose

simple shots.To develop basic skills in the use of simple lighting accessories and tracks &

trolley; using film & video cameras.

CONTENTS

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

Loading and unloading the magazines in darkroom/changing bag.

Mounting the camera on a tripod, threading practice with dummy film.

Operations practice, precautions to be taken while operating.Introduction to reflectors for lighting control, hands-on practice.

Visit to FTII Film processing laboratory.

Exposing simple shots with above parameters.[Maximum 100' of 16mm B&W picture negative per student for the

module]

Follow up of the exposed material through the Lab.Screening of rushes and discussion.

Practical assignments in still photography.

Continuation of operation practice on video cameras.

METHODS OF TEACHING

Introduction/demos.Guidance during hands-on practice.

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Assignments.

Screening/preview and discussion.


CINEMATOGRAPHY

CIN 104P

PRACTICAL


________________________________________________________________________

OBJECTIVES

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

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

CONTENTS

Practicing and exposing outdoors, available light with camera movements using

film & video equipments incorporating the inputs given in the preceding module.[Maximum 100' of 16mm B&W picture negative per student for the module]

Follow up of the exposed material through the Laboratory.

Screening of rushes and discussion.

Practical assignments in still photography.

METHODS OF TEACHING

Discussion and demo.

Guidance during hands-on practice.

Assignments.Screening/preview and discussion.

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AUDIOGRAPHY

AUD 101P

PRACTICAL


________________________________________________________________________

OBJECTIVES

To introduce audio recording/reproduction.

To develop skills in handling audio recorders and microphones.

To develop listening senses to be able to differentiate between recordings/faults.

CONTENTS

Handling of professional audio recording machines, recording with differentmicrophones, indoor and out door location.

Assessment of sounds.

METHODS OF TEACHING

Demos.Practical.

Listening and analysis of recordings.

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AUDIOGRAPHY

AUD 102P

PRACTICAL


________________________________________________________________________

OBJECTIVES

To be able to maintain consistent voice quality and perspective.

To be familiar with sound editing.

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

picture.

CONTENTS

Outdoor recording practical, matching of voices, recording of background sounds.Continuity of background and foreground sounds, sound perspective.

METHODS OF TEACHING

Demos.

Practical.

Listening and analysis of recordings.

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AUDIOGRAPHY

AUD 103P

PRACTICAL


________________________________________________________________________

OBJECTIVES

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

CONTENTS

Location recording, synchronisation of sound with visuals.

METHODS OF TEACHING

Demo.

Practical and analysis of work.

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AUDIOGRAPHY

AUD 104P

PRACTICAL


________________________________________________________________________

OBJECTIVES

To be familiar with audio post-production.

CONTENTS

Demonstration of ADR, music and mixing session.

METHODS OF TEACHING

Demonstrations.

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EDITING

ED 101P

PRACTICAL


________________________________________________________________________

OBJECTIVES

Be able to operate basic film and video editing equipment.

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

CONTENTS

Introduction to cutting room - Design, location and equipment.

Film materialsGauges; negative; Positive; master positive; dupe negative.

Sound materials - magnetic and opticals.

Processed Film

Silent and sync shooting, magnetic tapes and sound transfeclapboard, continuity sheet and reports.

Classification of shots, scenes and shot takes.

Sorting and assembling.Types of shots, order of shots, basic contents of shots, the scene.

Splicers making various types of joints.

Winders winding, packing, loading on spools, horizontal and verticalwinders.

Viewers use of pic - syncs, steenbecks, moviolas. Threadin

films and operations of viewers.

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

contents of disjointed shots which are to be assembled in a coherent narrative

order with physical continuity to convey a story.

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METHODS OF TEACHING

Demonstrations.

Hands-on practice.



EDITING

ED 102P

PRACTICAL


________________________________________________________________________

OBJECTIVES

To acquire proficiency in handling editing equipment.

To understand basic procedure of editing.

To edit simple sequence of action continuity.

CONTENTS

Editing of 16mm silent continuity.

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

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

continuity.

METHODS OF TEACHING

Hands-on practice.


Guidance.

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EDITING

ED 103P

PRACTICAL


________________________________________________________________________

OBJECTIVES

To be able to develop conceptual and operational skills.

To understand standard editing room procedures.

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

CONTENTS

Editing of 16mm silent continuity.

In this module, exercises will be given to each student to understand the principles

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

cuts. This involves editing rushes of silent stories with dramatic contents innarrative form.

Introduction to linear and non-linear editing

METHODS OF TEACHING

Hands-on practice.


Guidance.

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EDITING

ED 104P

PRACTICAL

6 HRS DAILY FROM WEEKS 16-20-

_____________________________________________________________________

OBJECTIVES

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

CONTENTS

Editing of 16mm picture and sound, dialogue synchronisation, order of shots, use

of silent inserts and sound overlaps. One exercise will be given to each student.

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

METHODS OF TEACHING

Hands-on practice.


Guidance.

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CA 101P

PRACTICAL


________________________________________________________________________

OBJECTIVES

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

applications.

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

Presentation.

CONTENTS

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

sessions.

Using mouse, starting and stopping computer, using Windows explorer.

Understanding starting a package, creating documents, menu bars,

buttons. Using Paint for graphics. Using sound recorder for sound clips.Using the Presentation to make a small presentation.

Using the Spreadsheet for simple budgeting exercise.

Using word-processor package.Using all above to make observation reports on field-trips.

METHODS OF TEACHING

Hands on practice.

Group discussion.Exercises.

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CA 102P

PRACTICAL


________________________________________________________________________

OBJECTIVES

To get acquainted with the Internet and its knowledge base.

To create email account and use email.

To design a web.

CONTENTS

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

sessions.

Surfing the Internet.

Using the search engines. Finding useful things for the course.

Using email, setting up your own email account, email attachments.Designing your home page.

Designing the group web I.

Designing the group web I. Posting the web on the Internet.

METHODS OF TEACHING

Hands on practice.

Group discussion.

Exercises.

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CA 103P

PRACTICAL


_______________________________________________________________________

OBJECTIVES

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

CONTENTS

Students would do the following according to a prepared schedule

Overview of features of animation package.

Creating simple objects and animating them.Animation with using lights, cameras.

Modeling basic. Modeling with shapes.

Using characters.

Creating a simple 5-second animation film.

METHODS OF TEACHING

Hands on practice.

Group discussion.Exercises.

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CA 104P

PRACTICAL


________________________________________________________________________

OBJECTIVES

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

tools.

CONTENTS

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

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

Designing a multi-media project.

Transforming still images. Colour transformations.

Transforming and editing sounds.Authoring systems for multi-media.

Creating a simple multi-media project.

Workshop / tour for multi-media work

METHODS OF TEACHING

Hands on practice.

Group discussion.

Exercises.

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Television Module

Weeks 27 - 32

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TELEVISION MODULE

WEEKS 27-32

_______________________________________________________________________

DIRECTION

How TV Programmes Are Made

TV As Medium

TV Director vis-a-vis team members(Personality, skills, role & responsibility)

Single Camera Video Production

Planning and procedure

TV Programme Formats

Scriptwriting For TV

Broadcasting code, rules and regulations

Graphics in Film and TV

TV Studio Production

Planning and procedureWho does what

Terms, cues and commands

Floor management

Floor planScript

Directing talents

Transmission

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APPRECIATION

Early Years of TV in India

Emergence, policy, programming

Doordarshan

Role, growth, policy, programming, present status

Educational & Developmental Television-

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

Satellite & Cable TV - Private channels, programming,

Sponsored programs, cable TV

CURRENT TRENDS IN INDIAN TELEVISION

Art Direction

Floor Plan-designing for single camera

Production management

Budgeting For TV ProgrammesTV ProductionManagement Style of functioning, studios versus locations,

fiction versus non-fiction

TV Engineering

Development of TV technologyTV Picture

Colour TV principles

Camera to receiverVideo image formation/CCD

Video recording principles/formats

Role of digital techniquesVideo signal transmission and distribution

Studio chain

Chroma key

CINEMATOGRAPHY

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

functions.

AUDIO PRACTICAL

Multiple microphone exercise in television studiosDemonstration of audio for video post-production.

Editing Practical

Basic editing hardware.

Video tape and tape formats

Control trackTime code

Basic editing process

Tape preparation for editing

Basic tape signalsRecording edit black

Insert editingAssemble editing

Off-line versus on-line editing.

Linear versus non-linear editing.

Basic operations of video editing equipment.Two silent continuity exercises will be given to each student for

editing on video.

Editing of silent continuity in video.

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

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

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

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TV STUDIO (MULTI-CAMERA) COORDINATED EXERCISE

EX 101

________________________________________________________________________

OBJECTIVES

To get familiar with TV Studio (Multi-Camera) production procedure, role ofdifferent team members and basic operations of the respective equipment by

producing simple 3-4 minute long programmes as an exercise.

CONTENTS

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

ASSESSMENT

100 Marks including theory

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FILM COORDINATED EXERCISE

EX 102

WEEKS 29-34

__________________________________________________________________

OBJECTIVES

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

film unit.

PRODUCTION NORMS

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

Write, direct, shoot, record and edit by rotation (as also act in) a 1 to 2 minutefiction situation with dialogue. 200 feet to be shot over one day from dawn to

dusk, its sound transferred over half a shift, and edited over two shits.

ASSESSMENT

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

Editing positions out of a maximum of25 marks each.

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COMPUTER APPLICATIONS EXERCISE

EX 103

WEEKS 35-44

________________________________________________________________________

OBJECTIVES

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

developed during the year in the computer applications course.

NORMS

The students have a choice to select one of the following

A 'portal' web site for public use having at least 10 web pages including soundclips, video images and having a 3 to 5 depth tree.

Animation film having 3 to 5 characters and between 10 to 12 scenes, Withsound track Duration - 30 seconds to 1 minute.

A multi-media CD with sound, video, graphics of about 5 pages of text material,

about 5 minutes of sound, about 3 minutes of video and a complete browse time

of about 10 minutes.

It is expected that each student will take between 5 to 6 days of total time to

complete any one of these presentations.

ASSESSMENT

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

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

40 marks.

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RECOMMENDED READING

________________________________________________________________________

DIRECTION

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

- Don Livingston Delhi

2 Elements of Film

- Lee R. Bobker

3 Art of Dramatic Writing Simon & Schuster - Lajos Egri New York

4 Playwriting- Bernard Grebanier

5 Technique of Screenplay Writing Souvenir Press

- Eugene Vale London

6 Our Films Their Films Orient Longman- Satyajit Ray

7 Technique of Film Faber & Faber

- Raymond Spottiswoode

8 How to read a Film Oxford University Press

- James Monaco New York

9 Film as Art Faber & Faber

- Ernest Lindgren

10 Art of the Film

- Stephenson and Debrix

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

- Joseph V. Mascelli Hollywood

12 The Technique of Television Production Focal Press

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- G. Millerson

13 Television Production Hand Book Wadsworth- Herbert Zettl

14 Television Production McGraw Hill- Allan Wurtzel & S.R. Acker

15 Film Scriptwriting A Practical Manual Focal Press

- D.V. Swain & J.R. Swain

16 News Interview Sage Publication

- Akiba A. Cohen________________________________________________________________________

CINEMATOGRAPHY

1 Basic Photography Focal Press- M.J. Langford London

2 Manual of Photography Focal Press

- Jacobson

3 Photographic Theory for Motion Picture A. Zwemmer

Cameraman

- Russel Campbell

4 Basic Motion Picture Technology Focal Press

- Happe London

5 Video Camera Techniques Focal Press

- Gerald Millerson

6 Techniques of the TV Cameraman Focal Press

- Peter Jones

7 Single Camera Video Production Focal Press

- Robert Musberger

8 Lighting for Portraiture Focal Press- Walter Nuremberg London

9 Exploring the Colour Image- Kodak Worldwide Students' Programme

10 Student filmmaker's handbook Kodak - Kodak Worldwide Students' Programme

11 The Art of Colour and Design McGraw - Hill Publication

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- Maitland Graves

12 Design Fundamentals McGraw - Hill Publication- R.G. Scott

_______________________________________________________________________

AUDIOGRAPHY

1 Accoustics Focal Press- Mackenzie

2 Film and its Technique Faber & Faber Ltd.

- Spootiswoode

3 From Microphone to Ear- G. Slot

4 Technique of Film Music Focal Press

- John Huntley

5 The Technique of Sound Studio Focal Press, London

- Alec Nisbett

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

- Tremaine

7 The Art of the Sound Effects Editor Focal Press

- Marvin M. Kerner

8 The Focal Encyclopedic of Film Focal Press

and Television Techniques

9 Indian Music Indian Council for Cultural

- B. Chaintanya Deva Relations

________________________________________________________________________

EDITING

1 Film and its Techniques Faber & Faber

- Raymond Spottiswood

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

- John Burder New York

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3 Introduction to Film Editing Focal Press

- Bernard Balmuth, A.C.E.

4 The Technique of Film Editing Focal Press

- Karel Reisz & Gavin Miller London

5 The Language and Technique of the Film Mouton

- Gianfranco Battetini

6 Film Technique Lear

- Pudovkin New York

7 Film Form and Film Sense Meridian Books Inc.- Sergei Eisenstein New York

8 Video Editing and Post Production - Knowledge Industry Pub.

A professional guide Inc. New York

- Garry M. Anderson

9 Video Tape Editing - A post production primer Focal Press

- Browne S.E.

10 The Technique of Film and Video Editing Focal Press

- Ken Dancyger

________________________________________________________________________

SCREEN WRITING

1 The Writer and the Screen

- Wolf Rilla

2 A Manual of Screenplay Writing New American Lib

- Lewis Herman

3 Technique of Screenplay Writing Souvenir Press

- Eucene Vale

4 Screenplay A Delta Book

- Syd Field

________________________________________________________________________

FILM APPRECIATION

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History of Indian Cinema

1 One Hundred Indian Feature Films Garland Publishing

An Annotated Filmography New York & London 1988

- Shampa Bannerjee & Anil Srivastava (eds)

2 Indian Film Oxford University Press

- Erik Barnouw & Krishnaswamy S. New Delhi 1980

3 The Message Bearers Nationalist Politics Madras Cre - A Publishers

and the Entertainment Media in South India 19811880 - 1945

- S. Theodore Baskaran

4 Light of Asia Indian Silent Cinema 1912-1934 Wiley Eastern Ltd.,- Suresh Chabria (ed.) New Delhi 1994

5 National Identity in Indian Popular Cinema Oxford University Press

1947 - 1987 New Delhi 1996

- Sumita S. Chakravarty

6 The Cinema of Satyajit Ray Vikas Publishing New Delhi

- Chidananda Das Gupta 1980

7 The Painted Face Studies in India's Popular Roli Books New Delhi 1991

Cinema- Chidananda Das Gupta

8 Encyclopaedia of Indian Cinema Oxford University Press

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

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

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

10 Indian Cinema Clarion Books New Delhi

- Firoze Rangoonwalla 1983

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

- Kishore Valicha 1988

12 Indian Cinema Superbazaar Vikas New Delhi 1983

- Aruna Vasudeo & Philippe Lenglet (eds)

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Development of TV in India

13 Television in India Changes & Challenges Vikas Publication 1966- Gopal Saxena

14 Broadcasting in India Sage Publication- P.C. Chatterjee

15 Latest Edition of Doordarshan Audience Research Unit,[Compilation of Facts & Figures of Doordarshan

Television in India]

________________________________________________________________________

ART DIRECTION

1 Design Fundamentals McGraw Hill Book Co.

- Scott

2 Film as Art University of California Press- Rudolf Arnheim Berkley

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

- Michael Jacobs

4 Designing for Moving Pictures E. Studio Publication

- Edward Carrick London

5 Basics of TV Design Focal Press

- Millerson

6 The Art of Interior Design

- V.K. Ball________________________________________________________________________


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

- Williams B. Adams New York

2 Movie Business Vintage Books

- Less David & Berkowitz S.

3 Film Censorship

- Guy Phelps

4 Law for Cinema and Videos

- Vijay Malik

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5 Production Management for Film and Video Focal Press

- R. Gate

6 The Technique of TV Production

- G. Millerson

7 Film Production Management Focal Press

- Bastian Clev's

8 Media Production Agreement A Blueprint Book

- Philip Alberstat New York

9 Electronic Media Management Focal Press

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

10 TV Station Operations and Management Focal Press- R.L. Hilliard

11 Inside TV Producing Focal Press

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

________________________________________________________________________

TV ENGINEERING

1 Basic Television & Video System McGraw Hill Book Company- Bernard Grob

2 Video Techniques Newness Technical Books- Gordon White

3 The Complete Handbook of Video Penguin Books- Owen & Dunton

4 Video Handbook Newness Technical Books

- Ru Van Wezel

5 Guide to TV & Video Technology Newness Technical Books

- Eugene Trundle

6 Monochrome & Colour TV Wiley Eastern Ltd

- Gulati R.R.

7 Colour Television - Principles & Practice Wiley Eastern Ltd

- Gulati R.R.

8 Colour Television Theory McGraw Hill Book Co.

- G.H. Hutson

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

- Arch C. Luther

10 The New Communication Technologies Focal Press

- Michael Mirabito________________________________________________________________________

MUSIC

1 Film Form Harvest/HBJ Books

- Sergei Eisenstein New York

2 Film Sense Faber & Faber - Sergei Eisenstein

3 Composing for Films 1947 London

- H. Eisler & T. Adorno Dennis Debson

4 Scoring for Films - A Complete Text New York 1971- E. Hagan (Ed)

5 Film Music Metuchen, NJ, 1974

- J.L. Limbacher (Ed)

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

- Bazelon I

7 Soundtrack - The Music of the Movies New York 1975

- Evans M.

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

Composer- K. Gouch, Yates & M. Tarrat

9 Hindustani Music National Book Trust 1997

- Ashok Ranade

Also

1 Elementary books on the rudiments of Indian and Western Music as available inthe FTII Library.

2 Relevant references may be found on a variety of music related subjects (both

Indian and Western) in the multivolume "Grover's Dictionary of Music and

Musicians".3 Specific to Indian Film Music - the following volumes of Cinemavision are

useful

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i) Volume 1 Number 4

ii) Volume 2 Number 2

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

Vision" (1980-81).________________________________________________________________________

SCREEN ACTING

1 An Actor Prepares Geoffrey Bles

- Constantin Stanislavski London

2 Creating a Role- Constantin Stanislavski

3 Building a Character Theatre Arts Books

- Constantin Stanislavski New York

4 On Screen Acting Focal Press- Edward & Jean Porter Dmytryk

5 Styles of Acting Prentice Hall Press

- Elaine Adams Novak New York ________________________________________________________________________

COMPUTER APPLICATION

1 Sp. Ed. Using MS FrontPage 2000- Randall

2 Adobe Illustrator 8.0 Classroom in a Book

3 Adobe Premiere 5.0 Classroom in a Book

4 Teach yourself Active Server Pages 2.0 in 21 days

5 Essential Windows NT System Admn.

- Frisch

6 How Computers Work

- White

7 Windows 98 - No Experience Required

- Crawford

8 3D Studio MAX 3 Fundamentals

- Peterson

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9 The BIG BASIC Book of the INTERNET

- Habraken

10 Mastering MS Office 2000

- Courter

11 Teaches the Internet

- Harley Hahn

12 Mastering Macromedia Director 6

- Henderson

13 Mastering MS FrontPage 2000

- Tauber

14 PageMaker 6.5 Complete- Mortier

15 Adobe Photoshop 5.0 Classroom in a Book

16 MULTIMEDIA - An Introduction

- Villamil-Casanova

17 How to Activate Your Website

- Algie________________________________________________________________________

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SECOND YEAR COURSE

IN

SPECIALISATIONS

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SECOND YEAR COURSE

IN

DIRECTION

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SECOND YEAR COURSE IN SPECIALISATION(DIRECTION)

Schedules at a glance

Subject Duration

Lectures / Demonstration 3 weeks

DIR 201 T Direction

DIR 202 T Screenplay Writing 6 hrs. a wee

DIR 203 T Screen Studies

DIR 204 T Music

DIR 205 T Acting

DIR 206 T Art Direction

DIR 207 T Production Management 3 hrs. a week 9 hou

Theory Examination 2 weeks

Workshops / Guest Lecturers 7 weeks

DIR 201 W Video Documentary 2 weeks

DIR 202 W Screenplay Writing 2 weeks

DIR 203 W Film Theory / Mise-en-Scene 1 week

DIR 204 W Working with Actors 1 week

DIR 205 W Music weekDIR 206 W Production Management week

Coordinated Exercise

CEX 202 Dramatic Sequence 35mm B/W 6 weeks

incld.

Prepara-

tion

Projects

PROJ 201 Dialogue film (35 mm color ) 20 weeks

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

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SECOND YEAR COURSE IN DIRECTION

DIRECTION

DIR 201 T

LECTURES / DEMONSTRATION

NINE HOURS A WEEK FOR 3 WEEKS

CONTENTS

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

Marxist/Structuralist approach; Psycho-analytical approach; Semiotic approach;Feminist approach, any other.

Structural analysis of a feature film.

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

Structural analysis (continued)

Indian Popular Cinema

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

Indian Parallel Cinema

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

Theory Exam. : 200 marks

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Note : See Annexure ISECOND YEAR COURSE IN DIRECTION

SCREENPLAY WRITING

DIR 202 T


SIX HOURS A WEEK FOR 3 WEEKS

CONTENTS

Selected areas of study

Overview of narrative traditions of the World

Classical Greek epicClassical Greek drama

Renaissance drama

BrechtAbsurd drama

Kabuki theatre

Modern novelVaried narrative structure

Overview of Indian narrative structure

The Rasa Theory

The epics

Bharat's-Dashsrupaka(natyashastra)

Oral traditionsFolk tradiotion

Classical dance formsTheatre traditons

Popular and folk forms

Modern theatreMarathi theatre

Bengali theatre

Hindi theatre

Malyalam theatre

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Parsi theatre and its influence on cinema

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

both Indian and world literature sources.

Apart from discussing character, conflict and resolution, making

detailed observations on the construction and structural aspects ofthe stories.

Discussing distinction between the viewpoint of the writer and that

of the critic.

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

ASSESSMENT


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FILM APPRECIATION

THEORY / LECTURES / DEMONSTRATION

DIR 203 T

NINE HOURS A WEEK FOR 3 WEEKS

CONTENTS

History of Cinema

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

Two topics will be decided on after discussion with the students. At the

end of the semester each student will do a study of one selected topic of

his choice and will be assessed on the basis of a written sessional andpresentation on the subject

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

Textual analysis of a modernist feature film.

Contemporary approaches to image making and media practice:

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

Deconstruction and other contemporary theories.

ASSESSMENT


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MUSIC


DIR 204 T

THREE HOURS A WEEK OVER 3 WEEKS.

CONTENTS

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

television.

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

Analysis of music as used in a contemporary Indian film.

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

The concept of MIDI and an introduction to the contemporary screen composerstools of the trade, such as MIDI sequencing, sampling and tone editing.

Carnatic and south Indian music

Various folk music of India

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ACTING


DIR 205 T

THREE HOURS A WEEK OVER 3 WEEKS.

CONTENTS

Stanislavsky and his system.

Mechanics of Screen Acting.

Role analysis.

Casting problems and methods.

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ART DIRECTION


DIR 206 T

THREE HOURS A WEEK FOR 35 WEEKS.

CONTENTS

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

Floor plan designing

Feature film set analysis

Advertisement film set analysis

Song picturisation-dream sequence set analysis

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DIR 207 T


THREE HOURS A WEEK FOR 5 WEEKS

CONTENTS

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

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

Preparing for production namely script breakdown, shooting schedule.

What makes a film expensive Overview of the finalisation of budget format,equipment, unit etc.

Law and business essentials Locations survey, permits finalization of the shoot

including foreign locations, if any. Agreement with cast and crew dealing withunits etc.

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

DIR 208 T


THREE, SIX AND SIX HOURS RESPECTIVELY

CONTENTS

Editing A/B Roll

Explanation in brief about the subject.Pre-shooting precautions during planning.

Demonstration.

Silicon Graphics

The hardware setup.

Introduction to software.

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

Make-up

Balance of face.Types of face.

Optical illusion.

Corrective Make-up (a) General (b) Glamour (c) Character (d) Specialeffects.

Note : See Annexure - I

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VIDEO DOCUMENTARY

DIR 201 W

WORKSHOP GUEST LECTURER

TWO WEEKS

OBJECTIVE

To understand the concept & techniques of a documentary production

CONTENTS

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

documentary

Production of a video documentary as a workshop outcome

METHOD OF TEACHING

The workshop will be conducted by a guest faculty. It will include lecture,preview, discussion, subject research, scripting, shooting and post production

involving procedures.

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

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

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SCREENPLAY WRITING


DIR 202 W

TWO WEEKS

OBJECTIVE

The workshop is designed to give the students the benefit of a guest lecturers

extended presence on the campus for consultations in order to develop andfinalise the screenplays of their year-ending Dialogue Film project.

CONTENTS

Narration of each story and treatment in the class.

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

Individual consultations with the guest lecturer with prior appointment as the

screenplay evolves.

METHOD OF TEACHING

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

consultations until the final draft of the screenplay is ready.

This final draft would be submitted for evaluation.

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FILM THEORY, LEADING TO MISE-EN-SCENE

DIR 203 W


ONE WEEK

OBJECTIVE

The workshop is designed to introduce, discuss and debate major film theories of

cinema, with special emphasis on the films and ideas of Sergie Eisenstein.

The study would be the culmination of students own struggle with film theories.On the conclusion of the workshop, it is expected that the student would have

found his own preferences and sympathies among the ideas that have shaped his

medium.

CONTENTS

The subject will include the following topics

Major film theories and their authors.The related examples from films.

Sergie Eisenstein as filmmaker, film teacher and theoretician.

Mise-en-Scene.

METHOD OF TEACHING

Conducted by a guest lecturer, the workshop would start with seminar sessions. It

will conclude with a demonstration of the concept of Mise-en-Scene using

existing studio sets and Beta.

ASSIGNMENT

All students will write a sessional on either a chosen aspect of film theory or any

other area of their interest like study of an important filmmaker, sociology of film

or television, genres of cinema, or any other. This would be submitted forassessment as a year-end assignment.

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WORKING WITH ACTORS


DIR 204 W

ONE WEEK

OBJECTIVE

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

achieving effective performance, with special emphasis to

Communicate with actors in a succinct, clear language

Practice a number of directing techniques, and

Diagnose performance problems and assist the actors.

CONTENTS

The subject will include the following topics

Improvisation

Scene exercises

METHOD OF TEACHING

The workshop would start with improvisations in which all the students to

participate as actors. It will conclude with each student directing a short scene

using the fellow students as actors. This will be video taped and discussed in thegroup.

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MUSIC

DIR 205 W


WEEK

OBJECTIVE

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

for a short film or TV clip.

CONTENTS

The workshop involves putting together music for a ten-minute film or video clip

on beta format.

METHODS OF TEACHING

The workshop would start with a few sessions in the classroom followed up by

work in a studio. Students will be expected to contribute in the making ofcreative decisions as well as in offering solutions to practical problems. The final

recording will incorporate electronically sequenced music.

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DIR 206 W


WEEK

OBJECTIVE

This workshop is designed to introduce and to discuss the practical aspects of the

film and television production management.

CONTENTS

The producer and the market audiences.

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

Legal aspects copyright, relation to intellectual property, negotiate and enterinto contract with writer, director and all other concerned.

Film Certification

Tax incentives in investment structure for finance of production, identifying

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

METHOD OF TEACHING

Seminars, lectures, discussion.

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ACTION SEQUENCE 16 MMFILM

CEX 201

COORDINATED EXERCISE

DIR & EDITING STUDENTS ONLY

FOUR WEEKS (6-9)

OBJECTIVE

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

sequence involving action.

PRODUCTION NORMS

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

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

A roll of 400 feet to be synch shot over one day. Sound to be transferred over one

shift and the sequence edited over two shifts.

No budget.

Exam. : 100 marks

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DRAMATIC SEQUENCE 35 MM FILM

COORDINATED EXERCISE

CEX 201

SIX WEEKS(13-18)

OBJECTIVE

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

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

PRODUCTION NORMS

35mm B&W; separate sound track.

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

on one of the available sets.

A roll of 400 feet to be synch shot over one day. Sound to be transferred over one

shift and the sequence edited over two shifts.

Budget : Rs.300/-

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

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DIALOGUE FILM

YEAR-END PROJECT

PROJ 201

20 WEEKS (25-44)

OBJECTIVE

To demonstrate creative, technical and collaborative skills ofspecialisation students towards presenting a dialogue-based short story

conceived and written especially and exclusively for indoors.

PRODUCTION NORMS

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

re-recorded and release-printed.

2 The project will be shot to a comprehensive schedule announcedwell in advance.

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

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

track laying. A maximum of 4 sound channels would be available, including the

synch-shot dialogue channel. There will be no provision for dubbing or musicrecording. A total of 5 sound shifts for post- production are available.

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

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

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

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RECOMMEDNED READING

1 Film and Director - Don Livingston

2 Elements of Film - Lee R. Bobker

3 Art of Dramatic Writing - Lajos Egri

4 Playwriting - Bernard Grebanier

5 Technique of Screenplay Writing - Eugene Vale

6 Our Films Their Films - Satyajit Ray

7 Technique of Film - Raymond Spottiswoode

8 How to Read a Film - James Monaco

9 Film as Art - Ernest Lindgren

10 Art of the Film - Stephenson and Debrix

11 The Five Cs of Cinematography - Joseph V. Mascelli

12 Film Form - Sergie Eisenstein

13 Film Sense - Sergie Eisenstein

14 Notes of a Film Director - Sergie Eisenstein

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

16 Theory of Film the Redemption of PhysicalReality - Siegfried Kracauer

17 Cinema as a Graphic Art - Vladimir Nilsen

18 Film Theory and Criticism introductory readings - Mast and Cohen

19 Film Language a Semiotics of the Cinema - Christian Metz

20 Brecht on Theatre the development of an - John Willett

aesthetic

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21 The Messingkauf Dialogues - Bertolt Brecht

22 Pedagogical Sketchbook - Paul Klee

23 Ways of Seeing - John Berger

24 The Act of Creation - Arthur Koestler

25 The Technique of Television Production - G. Millerson

26 Television Production Handbook - Herbert Zettl

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

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

29 News Interview - Akiba A. Cohen

30 Directing the Documentary - Michael Rabiger, Focal

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

Radio & Film Gulf Publishing Company

32 Global Television - Barker Chris, Blackwell

publishers

33 Television Technology & Culture Form - Raymond Willams,

Routledge

34 Television & its Viewers - James S. Morgan,

Cambridge University Press

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

36 TV News - Ivor York, Focal

37 Broadcast Journalism Technique of TV

& Radio News - Andrew Boyd, Focal

38 All Published unpublished original screenplays

39 All autobiographies of filmmakers

40 All interviews with filmmakers

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SECOND YEAR COURSE

IN

CINEMATOGRAPHY

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SECOND YEAR COURSE IN SPECIALISATION(CINEMATOGRAPHY)

Subject Duration

Theory 17 weeks

CIN 201 T Cinematography FromPractical 201 T TO

CIN 201 P Introduction to equipment &

ratio lighting202 W

CIN 202 P Laboratory Practical

CIN 203 P Study of natural light

CIN 204 P Set/Studio Lighting-day

CIN 205 P Set-Studio Lighting-Night

CIN 206 P Set-Studio Lighting-

High Key/Low Key

CIN 207 P Location Lighting

CIN 208 P Colour PracticalsCIN 209 P Computer Practical

CIN 210 P Lighting for table top and copying

Workshop

CIN 201 W Workshop

CIN 202 W Laboratory Study Tour

Coordinated Exercise

CEX 202 Dramatic Sequence 35mm B/W 5 weeks

Projects

PROJ 201 Dialogue film 20 weeks

Examination 2 Week

Total 17+5+20+2 = 44 weeks

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SECOND YEAR COURSE IN CINEMATOGRAPHY

CINEMATOGRAPHY

CIN 201 T

THEORY

26 HOURS OVER 10 WEEKS

OBJECTIVE

To have a good understanding of Photographic emulsions, Laboratory processes

and Video technology.

CONTENTS

Film

Photometry, Light measurement systems, equipments, incident lightmeters, Spot meters

Zone system

Evolution of B&W Emulsions, Picture negative, positive, dupe stocks,sound negative, reversal film

Sensitometry

Latent image formation, Exposure evaluation grains, graininess andgranualirity. Acutance

Basics of colour Emulsion, Colour Vision, general colour adaptation, hue

saturation and brightnessColour Emulsions, visual adaptation vs. film response, additive andsubtractive colour system, modern colour emulsions, negative, Positive,

intermediate reversal films, Duplicating colour films.

Colour processingPrinters & Grading

Television

Video camera pick-up devices

Waveform monitor & vectorscopes

Video Tape RecordersFactors affecting video image

METHOD OF TEACHING

Through lectures

A/V-demos

Through interaction with expertsExam. : 200 marks

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INTRODUCTION TO EQUIPMENTS AND RATIO LIGHTING

CIN 201 P

PRACTICAL

ONE WEEK

OBJECTIVE

To understand the functions of various lighting equipments and their accessories

and basic lighting.

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

CONTENTS

Demonstration of various lights/grip equipments and exposure meters.

Basic lighting key, fill, back light and background light.Various lighting ratios.

Demonstration of various 35/16mm film & video cameras.

Exposure series Black & White Film (on still cameras), Video

METHOD OF TEACHING

Demo slides

Hands on exposing as a group

Preview and discussion

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LABORATORY PRACTICAL

CIN 202 P

PRACTICAL

21 HOURS OVER 7 WEEKS

OBJECTIVE

To understand the processing, printing and various control techniques. They will

be able to apply the experience thus gained during the execution of their ownpractical/projects.

CONTENTS

Study of sensitometerProcessing of exposed strips for different gammas.

Study of densitometer, measuring the densities of control strips.

Plotting the H & D curves.Study of various factors affecting film processing.

Study of different printers.

Grading of negatives and printing.Giving look to the print through trim and voltage control

METHOD OF TEACHING

Through interaction with the laboratory Staff

Hands on practicalScreening and discussion

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STUDY OF NATURAL LIGHT

CIN 203 P

PRACTICAL

ONE WEEK

OBJECTIVE

To be able to understand the various qualities of natural d

(specular/diffused).

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

CONTENTS

Selection of camera angle (view point) with respect to the position of the sun.

Under/over exposure and its effect.Contrast control

METHOD OF TEACHING

Through discussion and demonstrationHands on practice

Screening/preview & discussion

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SET/STUDIO LIGHTING DAY

CIN 204 P

PRACTICAL

TWO WEEKS

OBJECTIVE

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

To create various times of the day.

CONTENTS

Simulation of various times of the day.

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

Realistic/pictorial lighting.

METHOD OF TEACHING

Through discussion and demonstration

Hands on practice


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SET/STUDIO LIGHTING HIGH KEY /LOW KEY

CIN 206 P

PRACTICAL

ONE WEEK

OBJECTIVE

To light up high/low key situations.To select proper surrounding and properties for the above effects.

CONTENTS

Simulation of High/Low key effects.Effect of proper BG and properties.

Image manipulation with under/over exposure and diffusion/fog filters.

METHOD OF TEACHING


Hands on practice


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LOCATION LIGHTING

CIN 207 P

PRACTICAL

TWO WEEKS

OBJECTIVE

To identify and select appropriate lighting equipments for a specific location, tohandle contrast.

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

CONTENTS

Selection of appropriate equipments and accessories for location shooting.

Lighting up the location with the given equipment and exposing.

Maintaining the lighting continuity on location.

METHOD OF TEACHING


Hands on practiceScreening/preview & discussion

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COLOUR PRACTICAL

CIN 208 P

PRACTICAL

TWO WEEKS

OBJECTIVE

To understand characteristics of the colour emulsions.

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

CONTENTS

Use of colour temperature meter and applications.Selection of the right colour emulsion for a given situation.

Effects of under and over exposure.

Application of the principles of colour harmony.Exposing on colour negative incorporating above inputs and do the grading and

printing during the study tour.

METHOD OF TEACHING

Through demo films/slides.

Learning by doing.

Analysis and discussion.

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MEDIALAB PRACTICAL

CIN 209 P

PRACTICAL

15 HRS/STUDENT IN UNSCHEDULED TIME

OBJECTIVE

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

computer and specialized packages like

To study the look of the color image in a more flexible manner.

CONTENTS

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

METHOD OF TEACHING

Interaction with the subject experts.

Hands on practice.

Analysis of the work done during the practical.

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ANIMATION AND COPYING PRACTICAL

CIN 210 P

PRACTICAL

20 HOURS PER STUDENT IN UNSCHEDULED TIME

OBJECTIVE

FamiliarisationTo do lighting for a table top model.

To copy a given art work.

CONTENTS

Familarisation with the specialized camera equipments.

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

METHOD OF TEACHING

Through discussion and demonstration.Hands on practice.

Analysis of the work done during practical.

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WORKSHOP

CIN 201 W

WORKSHOP

THREE WEEKS

OBJECTIVE

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

CONTENTS

The w

syllabus - three year courses

Documents