Syllabus - Three year courses
Transcript of 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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FILM & TELEVISION INSTITUTE OF INDIA
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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FIRST YEAR COURSE IN FILM & TELEVISION
DIRECTION
DIR 101T
THEORY
25 HRS OVER WEEKS 1-15
________________________________________________________________________
CONTENTS
How films are made
Basics of Screen Grammar -I
The role of film director, its emergence and field of 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
FIRST YEAR COURSE IN FILM & TELEVISION
CINEMATOGRAPHY
CIN 101T
THEORY
25 HRS OVER WEEKS 1-15
________________________________________________________________________
CONTENTS
Basic properties of Light
Rectilinear propagation, absorption, reflection, refraction,
transmission etc., quality of light. Specular and diffused.
Eye, Camera and Perception
Similarities, difference, persistance of vision, binocular vision,
perception of colour, adaptative properties.
Lenses and Image Formation - i
Different types of lenses, image formation, focal length,
f number, magnification, wide and telephoto lenses.
Exposure Meters
Principles, different types. Exposure measurement.
Lenses and Image Formation - II
Perspective, depth of field and depth of focus.
Pictorial Composition
Elements, formats, balance.
Basic principles of Photography
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Emulsion, exposing, processing; various light sources.
Anatomy of a Still Camera
Shutters, types of 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
Theory Exam: 100 marks
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FIRST YEAR COURSE IN FILM & TELEVISION
AUDIOGRAPHY
AUD 101T
THEORY
25 HRS OVER WEEKS 1-15
________________________________________________________________________
CONTENTS
Parameters of sound quality in film & television productions
Consistency in levels
Sound perspective
consistency of background 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
Theory Exam: 100 marks
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FIRST YEAR COURSE IN FILM & TELEVISION
EDITING
ED 101T
THEORY
25 HRS OVER WEEKS 1-15________________________________________________________________________
CONTENTS
Role of Editor In Film And TV
Liaison with the other members of the production team
Evolution of the Concept of Editing (The History of Editing)
Contribution of the following film-makers :
The beginning of the film continuity
Lumiere 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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FIRST YEAR COURSE IN FILM & TELEVISION
SCREEN WRITING
SW 101T
THEORY
30 HRS OVER WEEKS 1-15
________________________________________________________________________
CONTENTS
What is a Screenplay
Writing in terms of 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
FIRST YEAR COURSE IN FILM & TELEVISION
FILM APPRECIATION
FA 101T
THEORY
54 HRS OVER WEEKS 1-15
________________________________________________________________________
CONTENTS
Introduction to contemporary communication media. The nature of cinema 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
FIRST YEAR COURSE IN FILM & TELEVISION
ART DIRECTION
AD 101T
THEORY
10 HOURS
________________________________________________________________________
CONTENTS
The Role of Art Director
Justification, Purpose and Function of Sets
Work process of art director- script to scrap
Story 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.
FIRST YEAR COURSE IN FILM & TELEVISION
PRODUCTION MANAGEMENT
PM 101T
THEORY
10 HOURS
________________________________________________________________________
CONTENTS
Introduction To Film Production Management
Function and purpose
Film Production Process
From script to screen
Film Business
Sources of finance, distribution & exhibition of films, Censoring
Organizational Structure Of Indian Film Industry
Public and private 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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FIRST YEAR COURSE IN FILM & TELEVISION
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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FIRST YEAR COURSE IN FILM & TELEVISION
SCREEN ACTING
ACT 101T
THEORY
6 HRS
________________________________________________________________________
CONTENTS
Introduction To Acting Including Various Schools Of Acting
Observation and imagination as important souls for 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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FIRST YEAR COURSE IN FILM & TELEVISION
COMPUTER APPLICATIONS
CA 101T
THEORY
10 HOURS
________________________________________________________________________
CONTENTS
Introduction to computers in film and
Television
Internet development and implications, search engines,
E-mail, home page
Introduction to computer animation with demoIntroduction to multi-media with demo
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FIRST YEAR COURSE IN FILM & TELEVISION
DIRECTION
DIR 101P
PRACTICAL
4 HRS DAILY POST LUNCH FROM WEEKS 1-5
________________________________________________________________________
OBJECTIVES
To be familiar with the procedure and skills of taking a shot.
To get acquainted with different formats and basic principles of screenplay
writing.To develop faculty of observation through actual visit to a place in the city -
hospital, vegetable market, courts etc - and writing a creative, non-fiction account
using audio-visual elements from the visit.
CONTENTS
Day 1 Observation Visit. Day 2, 3, 4 Video Practical with video camera
introducing procedure and skills of taking a shot. Day 5 Screenplay Writing,
formats and principles of both fiction and non-fiction. Day 6 Discussion on
individual observation reports.
METHODS OF TEACHING
Introduction to Digital Video camera followed by hands-on practice.
Classroom discussion on individual observation reports after each is read out.
Brief classroom instructions on screenplay writing, followed by writing exerciseson the spot.
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FIRST YEAR COURSE IN FILM & TELEVISION
DIRECTION
DIR 102P
PRACTICAL
4 HRS DAILY POST LUNCH FROM WEEKS 6-10
________________________________________________________________________
OBJECTIVES
To shoot and edit a simple scene using camera angles, image sizes but no camera
movement, nor sound; and maintaining physical continuity and original rhythm of
the action.
CONTENTS
Action Continuity Exercise I
Attempt a story using 6 shots, one main character, mute.Shooting, editing, preview and discussion.
METHODS OF TEACHING
Shooting, editing, preview and discussion according to a prepared schedule.
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FIRST YEAR COURSE IN FILM & TELEVISION
DIRECTION
DIR 103P
PRACTICAL
4 HRS DAILY POST LUNCH FROM WEEKS 11-15
________________________________________________________________________
OBJECTIVES
To shoot and edit a simple scene using camera angles, image sizes, camera
movements and dialogue while maintaining physical continuity and original
rhythm of the action.
CONTENTS
Action Continuity Exercise II
Attempt a story using ten shots, two main characters and with dialogue.Writing, shooting, editing, preview and discussion.
METHODS OF TEACHING
Writing, shooting, editing, preview and discussion according to a prepared
schedule.
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FIRST YEAR COURSE IN FILM & TELEVISION
DIRECTION
DIR 104P
PRACTICAL
6 HRS DAILY FROM WEEKS 16-20
________________________________________________________________________
OBJECTIVES
To be introduced to the art and craft of screen acting.
To further develop the technique of screen writing directly in relation to 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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FIRST YEAR COURSE IN FILM & TELEVISION
CINEMATOGRAPHY
CIN 101P
PRACTICAL
4 HRS DAILY POST LUNCH FROM WEEKS 1-5
________________________________________________________________________
OBJECTIVES
To be familiar with simple still & video cameras and video camcorders.
To learn the basic operations, handling and care of the equipment.
CONTENTS
Introduction/demo of still and video cameras and basic accessories.Use of bulk loader, loading reusable cassettes, loading and unloading the camera.
Practice in exposing outdoors, (available light).Understanding under and over exposure through exposure series. Mounting of
positives and projection
Forwarding the exposed material to the laboratory for processing and printing.
Basic practice on video 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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FIRST YEAR COURSE IN FILM & TELEVISION
CINEMATOGRAPHY
CIN 102P
PRACTICAL
4 HRS DAILY POST LUNCH FROM WEEKS 6-10
________________________________________________________________________
OBJECTIVES
To be familiar with the basic darkroom procedures and discipline.
To develop the skills in use of shutter and aperture controls.
To develop the basic skills in the use of the controls of a camcorder.To develop operational skills in basic camera movements with video camera.
CONTENTS
Introduction to photographic darkroom procedures and discipline.
Preparation of developers and fixer (group activity).Spiral loading and processing.
Continuation of practice in exposing outdoors available light with -
Shutter speed control to simulate/freeze motion.
Selective focus.Depth of field control.
Negative processing and forwarding to laboratory for printing.
Use of simple on camera filters.Introduction to exposure meter and its use.
Projection and analysis.
Operation practice on video cameras
METHODS OF TEACHING
Demonstration.
Guidance during hands-on practice.Preview and analysis.
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FIRST YEAR COURSE IN FILM & TELEVISION
CINEMATOGRAPHY
CIN 103P
PRACTICAL
4 HRS DAILY POST LUNCH FROM WEEKS 11-15
________________________________________________________________________
OBJECTIVES
To be familiar with the 16mm motion picture camera and accessories.
To be able to set up the camera, perform basic camera operations and expose
simple shots.To develop basic skills in the use of simple lighting accessories and tracks &
trolley; using film & video cameras.
CONTENTS
Introduction/demo of a 16mm motion picture camera and basic accessories.
Loading and unloading the magazines in darkroom/changing bag.
Mounting the camera on a tripod, threading practice with dummy film.
Operations practice, precautions to be taken while operating.Introduction to reflectors for lighting control, hands-on practice.
Visit to FTII Film processing laboratory.
Exposing simple shots with above parameters.[Maximum 100' of 16mm B&W picture negative per student for the
module]
Follow up of the exposed material through the Lab.Screening of rushes and discussion.
Practical assignments in still photography.
Continuation of operation practice on video cameras.
METHODS OF TEACHING
Introduction/demos.Guidance during hands-on practice.
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Assignments.
Screening/preview and discussion.
FIRST YEAR COURSE IN FILM & TELEVISION
CINEMATOGRAPHY
CIN 104P
PRACTICAL
6 HRS DAILY FROM WEEKS 16-20
________________________________________________________________________
OBJECTIVES
To develop further skills in the use of film and video camera.
To have more practice in the use of reflectors/a filler light on outdoor location.
CONTENTS
Practicing and exposing outdoors, available light with camera movements using
film & video equipments incorporating the inputs given in the preceding module.[Maximum 100' of 16mm B&W picture negative per student for the module]
Follow up of the exposed material through the Laboratory.
Screening of rushes and discussion.
Practical assignments in still photography.
METHODS OF TEACHING
Discussion and demo.
Guidance during hands-on practice.
Assignments.Screening/preview and discussion.
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FIRST YEAR COURSE IN FILM & TELEVISION
AUDIOGRAPHY
AUD 101P
PRACTICAL
4 HRS DAILY POST LUNCH FROM WEEKS 1-5
________________________________________________________________________
OBJECTIVES
To introduce audio recording/reproduction.
To develop skills in handling audio recorders and microphones.
To develop listening senses to be able to differentiate between recordings/faults.
CONTENTS
Handling of professional audio recording machines, recording with differentmicrophones, indoor and out door location.
Assessment of sounds.
METHODS OF TEACHING
Demos.Practical.
Listening and analysis of recordings.
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FIRST YEAR COURSE IN FILM & TELEVISION
AUDIOGRAPHY
AUD 102P
PRACTICAL
4 HRS DAILY POST LUNCH FROM WEEKS 6-10
________________________________________________________________________
OBJECTIVES
To be able to maintain consistent voice quality and perspective.
To be familiar with sound editing.
To be able to maintain continuity of sounds with respect to visuals.To understand foreground and background sounds and their relationship with
picture.
CONTENTS
Outdoor recording practical, matching of voices, recording of background sounds.Continuity of background and foreground sounds, sound perspective.
METHODS OF TEACHING
Demos.
Practical.
Listening and analysis of recordings.
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FIRST YEAR COURSE IN FILM & TELEVISION
AUDIOGRAPHY
AUD 103P
PRACTICAL
4 HRS DAILY POST LUNCH FROM WEEKS 11-15
________________________________________________________________________
OBJECTIVES
To be able to effectively handle audio operations on locations and studios
CONTENTS
Location recording, synchronisation of sound with visuals.
METHODS OF TEACHING
Demo.
Practical and analysis of work.
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FIRST YEAR COURSE IN FILM & TELEVISION
AUDIOGRAPHY
AUD 104P
PRACTICAL
6 HRS DAILY FROM WEEKS 16-20
________________________________________________________________________
OBJECTIVES
To be familiar with audio post-production.
CONTENTS
Demonstration of ADR, music and mixing session.
METHODS OF TEACHING
Demonstrations.
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FIRST YEAR COURSE IN FILM & TELEVISION
EDITING
ED 101P
PRACTICAL
4 HRS DAILY POST LUNCH FROM WEEKS 1-5
________________________________________________________________________
OBJECTIVES
Be able to operate basic film and video editing equipment.
Be able to identify contents of shots and their relationship in continuity.
CONTENTS
Introduction to cutting room - Design, location and equipment.
Film 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.
Preview and analysis.
FIRST YEAR COURSE IN FILM & TELEVISION
EDITING
ED 102P
PRACTICAL
4 HRS DAILY POST LUNCH FROM WEEKS 6-10
________________________________________________________________________
OBJECTIVES
To acquire proficiency in handling editing equipment.
To understand basic procedure of editing.
To edit simple sequence of action continuity.
CONTENTS
Editing of 16mm silent continuity.
Silent continuity exercises in 16mm will be given to each student for
editing to enable them to explore and understand the concepts of physical
continuity.
METHODS OF TEACHING
Hands-on practice.
Preview and analysis.
Guidance.
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FIRST YEAR COURSE IN FILM & TELEVISION
EDITING
ED 103P
PRACTICAL
4 HRS DAILY POST LUNCH FROM WEEKS 11-15
________________________________________________________________________
OBJECTIVES
To be able to develop conceptual and operational skills.
To understand standard editing room procedures.
To understand the principles of dramatic continuity and the use of bridging shots,cut-aways, cut-ins, jump cuts and their dramatic use.
CONTENTS
Editing of 16mm silent continuity.
In this module, exercises will be given to each student to understand the principles
of dramatic continuity and the use of bridging shots, cut aways, cut ins and jump
cuts. This involves editing rushes of silent stories with dramatic contents innarrative form.
Introduction to linear and non-linear editing
METHODS OF TEACHING
Hands-on practice.
Preview and analysis.
Guidance.
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FIRST YEAR COURSE IN FILM & TELEVISION
EDITING
ED 104P
PRACTICAL
6 HRS DAILY FROM WEEKS 16-20-
_____________________________________________________________________
OBJECTIVES
To understand the basic principles of editing of sequences with dialogue/sound.
CONTENTS
Editing of 16mm picture and sound, dialogue synchronisation, order of shots, use
of silent inserts and sound overlaps. One exercise will be given to each student.
Introduction of sound editing, sound overlaps on picture and use of silent inserts.One exercise will be given to each student.
METHODS OF TEACHING
Hands-on practice.
Preview and analysis.
Guidance.
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FIRST YEAR COURSE IN FILM & TELEVISION
COMPUTER APPLICATIONS
CA 101P
PRACTICAL
4 HRS DAILY POST LUNCH FROM WEEKS 1-5
________________________________________________________________________
OBJECTIVES
To get acquainted with the basic concepts of computers - hardware, software,
applications.
To be familiar with the Windows Operating System.To be familiar with the basic packages for Word Processing, Spreadsheet and
Presentation.
CONTENTS
In this module students would do the following in either pre-lunch or post-lunch
sessions.
Using mouse, starting and stopping computer, using 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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FIRST YEAR COURSE IN FILM & TELEVISION
COMPUTER APPLICATIONS
CA 102P
PRACTICAL
4 HRS DAILY POST LUNCH FROM WEEKS 6-10
________________________________________________________________________
OBJECTIVES
To get acquainted with the Internet and its knowledge base.
To create email account and use email.
To design a web.
CONTENTS
In this module students would do the following in either pre-lunch or post-lunch
sessions.
Surfing the Internet.
Using the search engines. Finding useful things for the course.
Using email, setting up your own email account, email attachments.Designing your home page.
Designing the group web I.
Designing the group web I. Posting the web on the Internet.
METHODS OF TEACHING
Hands on practice.
Group discussion.
Exercises.
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FIRST YEAR COURSE IN FILM & TELEVISION
COMPUTER APPLICATIONS
CA 103P
PRACTICAL
4 HRS DAILY POST LUNCH FROM WEEKS 11-15
_______________________________________________________________________
OBJECTIVES
To be familiar with the basic concepts of animation and modeling.
CONTENTS
Students would do the following according to a prepared schedule
Overview of features of animation package.
Creating simple objects and animating them.Animation with using lights, cameras.
Modeling basic. Modeling with shapes.
Using characters.
Creating a simple 5-second animation film.
METHODS OF TEACHING
Hands on practice.
Group discussion.Exercises.
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FIRST YEAR COURSE IN FILM & TELEVISION
COMPUTER APPLICATIONS
CA 104P
PRACTICAL
6 HRS DAILY FROM WEEKS 16-20
________________________________________________________________________
OBJECTIVES
To get acquainted with the basic concepts of Multi-media and be familiar with
tools.
CONTENTS
Students would do the following in either pre-lunch or post-lunch sessions of 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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FILM & TELEVISION INSTITUTE OF INDIA
Television Module
Weeks 27 - 32
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FIRST YEAR COURSE IN FILM & TELEVISION
TELEVISION MODULE
WEEKS 27-32
_______________________________________________________________________
DIRECTION
How TV Programmes Are Made
TV As Medium
TV Director vis-a-vis team members(Personality, skills, role & responsibility)
Single Camera Video Production
Planning and procedure
TV Programme Formats
Scriptwriting For TV
Broadcasting code, rules and regulations
Graphics in Film and TV
TV Studio Production
Planning and 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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FIRST YEAR COURSE IN FILM & TELEVISION
TV STUDIO (MULTI-CAMERA) COORDINATED EXERCISE
EX 101
________________________________________________________________________
OBJECTIVES
To get familiar with TV Studio (Multi-Camera) production procedure, role 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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FIRST YEAR COURSE IN FILM & TELEVISION
FILM COORDINATED EXERCISE
EX 102
WEEKS 29-34
__________________________________________________________________
OBJECTIVES
To get a hands-on experience in playing different creative and technical roles in a
film unit.
PRODUCTION NORMS
16mm, B&W; available light, on-campus, outdoors; sep-mag.
Write, direct, shoot, record and edit by rotation (as also act in) a 1 to 2 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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FIRST YEAR COURSE IN FILM & TELEVISION
COMPUTER APPLICATIONS EXERCISE
EX 103
WEEKS 35-44
________________________________________________________________________
OBJECTIVES
To conceive, design and make a presentation applying knowledge and skills
developed during the year in the computer applications course.
NORMS
The students have a choice to select one of the following
A 'portal' web site for public use having at least 10 web pages including 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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FIRST YEAR COURSE IN FILM & TELEVISION
RECOMMENDED READING
________________________________________________________________________
DIRECTION
1 Film and the Director Sterling Publishers (Pvt.) Ltd.
- Don Livingston Delhi
2 Elements of Film
- Lee R. Bobker
3 Art of Dramatic Writing Simon & Schuster - Lajos Egri New York
4 Playwriting- Bernard Grebanier
5 Technique of Screenplay Writing Souvenir Press
- Eugene Vale London
6 Our Films Their Films Orient Longman- Satyajit Ray
7 Technique of Film Faber & Faber
- Raymond Spottiswoode
8 How to read a Film Oxford University Press
- James Monaco New York
9 Film as Art Faber & Faber
- Ernest Lindgren
10 Art of the Film
- Stephenson and Debrix
11 The Five C's of Cinematography Cine/Graphic Publication
- Joseph V. Mascelli Hollywood
12 The Technique of Television Production Focal Press
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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________________________________________________________________________
PRODUCTION MANAGEMENT
1 Handbook of Motion Picture Production A Wiley-Interscience Pub.
- Williams B. Adams New York
2 Movie Business Vintage Books
- Less David & Berkowitz S.
3 Film Censorship
- Guy Phelps
4 Law for Cinema and Videos
- Vijay Malik
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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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FILM & TELEVISION INSTITUTE OF INDIA
SECOND YEAR COURSE
IN
SPECIALISATIONS
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FILM & TELEVISION INSTITUTE OF INDIA
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
LECTURES / DEMONSTRATION
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
Sessionals: 50 marks
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SECOND YEAR COURSE IN DIRECTION
FILM APPRECIATION
THEORY / LECTURES / DEMONSTRATION
DIR 203 T
NINE HOURS A WEEK FOR 3 WEEKS
CONTENTS
History of Cinema
Selected topics from the history of Indian and International cinema such 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
Sessionals: 50 marks
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SECOND YEAR COURSE IN DIRECTION
MUSIC
LECTURES / DEMONSTRATION
DIR 204 T
THREE HOURS A WEEK OVER 3 WEEKS.
CONTENTS
Acquaintance with the former and contemporary usages of music in film and
television.
Viewing and analysis of relevant clips on video spread over 2 sessions.
Analysis of music as used in a contemporary Indian film.
Analysis of music as used in a contemporary non-Indian film.
The concept of MIDI and an introduction to the contemporary screen 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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SECOND YEAR COURSE IN DIRECTION
ACTING
LECTURES / DEMONSTRATION
DIR 205 T
THREE HOURS A WEEK OVER 3 WEEKS.
CONTENTS
Stanislavsky and his system.
Mechanics of Screen Acting.
Role analysis.
Casting problems and methods.
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SECOND YEAR COURSE IN DIRECTION
ART DIRECTION
LECTURES / DEMONSTRATION
DIR 206 T
THREE HOURS A WEEK FOR 35 WEEKS.
CONTENTS
Designing sets from concept to a scale drawing for a given script as a base
Floor plan designing
Feature film set analysis
Advertisement film set analysis
Song picturisation-dream sequence set analysis
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SECOND YEAR COURSE IN DIRECTION
PRODUCTION MANAGEMENT
DIR 207 T
LECTURES / DEMONSTRATION
THREE HOURS A WEEK FOR 5 WEEKS
CONTENTS
Detailed study on the process of Production Management with practical tips.
The development of the subject pre-production, production, post-production.
Preparing for production namely script breakdown, shooting schedule.
What makes a film expensive Overview of the finalisation of budget format,equipment, unit etc.
Law and business essentials Locations survey, permits finalization of the shoot
including foreign locations, if any. Agreement with cast and crew dealing withunits etc.
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SECOND YEAR COURSE IN DIRECTION
DEMONSTRATIONS EDITING A/B ROLL, SILICON GRAPHICS, MAKE-UP
DIR 208 T
LECTURES / DEMONSTRATION
THREE, SIX AND SIX HOURS RESPECTIVELY
CONTENTS
Editing A/B Roll
Explanation in brief about the subject.Pre-shooting precautions during planning.
Demonstration.
Silicon Graphics
The hardware setup.
Introduction to software.
Demonstration (a) Showcase 2D/3D, (b) Viz. Paint, and (c) Alias
Make-up
Balance of face.Types of face.
Optical illusion.
Corrective Make-up (a) General (b) Glamour (c) Character (d) Specialeffects.
Note : See Annexure - I
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SECOND YEAR COURSE IN DIRECTION
VIDEO DOCUMENTARY
DIR 201 W
WORKSHOP GUEST LECTURER
TWO WEEKS
OBJECTIVE
To understand the concept & techniques of a documentary production
CONTENTS
Introduction to the concept, theory, practice, producing & marketing of
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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SECOND YEAR COURSE IN DIRECTION
SCREENPLAY WRITING
WORKSHOP GUEST LECTURER
DIR 202 W
TWO WEEKS
OBJECTIVE
The workshop is designed to give the students the benefit of a guest 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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SECOND YEAR COURSE IN DIRECTION
FILM THEORY, LEADING TO MISE-EN-SCENE
DIR 203 W
WORKSHOP GUEST LECTURER
ONE WEEK
OBJECTIVE
The workshop is designed to introduce, discuss and debate major film theories of
cinema, with special emphasis on the films and ideas of Sergie Eisenstein.
The study would be the culmination of students own struggle with film theories.On the conclusion of the workshop, it is expected that the student would have
found his own preferences and sympathies among the ideas that have shaped his
medium.
CONTENTS
The subject will include the following topics
Major film theories and their authors.The related examples from films.
Sergie Eisenstein as filmmaker, film teacher and theoretician.
Mise-en-Scene.
METHOD OF TEACHING
Conducted by a guest lecturer, the workshop would start with seminar sessions. It
will conclude with a demonstration of the concept of Mise-en-Scene using
existing studio sets and Beta.
ASSIGNMENT
All students will write a sessional on either a chosen aspect of film theory or any
other area of their interest like study of an important filmmaker, sociology of film
or television, genres of cinema, or any other. This would be submitted forassessment as a year-end assignment.
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SECOND YEAR COURSE IN DIRECTION
WORKING WITH ACTORS
WORKSHOP GUEST LECTURER
DIR 204 W
ONE WEEK
OBJECTIVE
The workshop is designed to introduce the skill of handling of actors for
achieving effective performance, with special emphasis to
Communicate with actors in a succinct, clear language
Practice a number of directing techniques, and
Diagnose performance problems and assist the actors.
CONTENTS
The subject will include the following topics
Improvisation
Scene exercises
METHOD OF TEACHING
The workshop would start with improvisations in which all the students to
participate as actors. It will conclude with each student directing a short scene
using the fellow students as actors. This will be video taped and discussed in thegroup.
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SECOND YEAR COURSE IN DIRECTION
MUSIC
DIR 205 W
WORKSHOP GUEST LECTURER
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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SECOND YEAR COURSE IN DIRECTION
PRODUCTION MANAGEMENT
DIR 206 W
WORKSHOP GUEST LECTURER
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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SECOND YEAR COURSE IN DIRECTION
ACTION SEQUENCE 16 MMFILM
CEX 201
COORDINATED EXERCISE
DIR & EDITING STUDENTS ONLY
FOUR WEEKS (6-9)
OBJECTIVE
To develop skills of scripting, shooting, recording and editing an outdoor
sequence involving action.
PRODUCTION NORMS
16mm B&W; available light, on-campus, outdoors; sep-mag.
The exercise will be shot to a schedule announced well in advance.
A roll of 400 feet to be synch shot over one day. Sound to be transferred over one
shift and the sequence edited over two shifts.
No budget.
Exam. : 100 marks
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SECOND YEAR COURSE IN DIRECTION
DRAMATIC SEQUENCE 35 MM FILM
COORDINATED EXERCISE
CEX 201
SIX WEEKS(13-18)
OBJECTIVE
To develop skills of scripting, shooting, recording and editing of the specialistion
students in executing a dialogue-based dramatic sequence on a studio set.
PRODUCTION NORMS
35mm B&W; separate sound track.
The exercise will be shot to a comprehensive schedule announced well in advance
on one of the available sets.
A roll of 400 feet to be synch shot over one day. Sound to be transferred over one
shift and the sequence edited over two shifts.
Budget : Rs.300/-
Exam. : 200 marks (50 for each specialisation stream)
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SECOND YEAR COURSE IN DIRECTION
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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SECOND YEAR COURSE IN DIRECTION
RECOMMEDNED READING
1 Film and Director - Don Livingston
2 Elements of Film - Lee R. Bobker
3 Art of Dramatic Writing - Lajos Egri
4 Playwriting - Bernard Grebanier
5 Technique of Screenplay Writing - Eugene Vale
6 Our Films Their Films - Satyajit Ray
7 Technique of Film - Raymond Spottiswoode
8 How to Read a Film - James Monaco
9 Film as Art - Ernest Lindgren
10 Art of the Film - Stephenson and Debrix
11 The Five 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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FILM & TELEVISION INSTITUTE OF INDIA
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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SECOND YEAR COURSE IN CINEMATOGRAPHY
INTRODUCTION TO EQUIPMENTS AND RATIO LIGHTING
CIN 201 P
PRACTICAL
ONE WEEK
OBJECTIVE
To understand the functions of various lighting equipments and their accessories
and basic lighting.
To understand the anatomy and functioning of various 35/16mm film and 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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SECOND YEAR COURSE IN CINEMATOGRAPHY
LABORATORY PRACTICAL
CIN 202 P
PRACTICAL
21 HOURS OVER 7 WEEKS
OBJECTIVE
To understand the processing, printing and various control techniques. They will
be able to apply the experience thus gained during the execution of their 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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SECOND YEAR COURSE IN CINEMATOGRAPHY
STUDY OF NATURAL LIGHT
CIN 203 P
PRACTICAL
ONE WEEK
OBJECTIVE
To be able to understand the various qualities of natural 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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SECOND YEAR COURSE IN CINEMATOGRAPHY
SET/STUDIO LIGHTING DAY
CIN 204 P
PRACTICAL
TWO WEEKS
OBJECTIVE
To identify and select the appropriate equipment for a specific/given situation.
To create various times of the day.
CONTENTS
Simulation of various times of the day.
Creating different moods and effects.Expose incorporating the above and working in various positions of camera crew.
Realistic/pictorial lighting.
METHOD OF TEACHING
Through discussion and demonstration
Hands on practice
Screening/preview & discussion
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SECOND YEAR COURSE IN CINEMATOGRAPHY
SET/STUDIO LIGHTING HIGH KEY /LOW KEY
CIN 206 P
PRACTICAL
ONE WEEK
OBJECTIVE
To light up high/low key situations.To select proper surrounding and properties for the above effects.
CONTENTS
Simulation of High/Low key effects.Effect of proper BG and properties.
Image manipulation with under/over exposure and diffusion/fog filters.
METHOD OF TEACHING
Through discussion and demonstration
Hands on practice
Screening/preview & discussion
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SECOND YEAR COURSE IN CINEMATOGRAPHY
LOCATION LIGHTING
CIN 207 P
PRACTICAL
TWO WEEKS
OBJECTIVE
To identify and select appropriate lighting equipments for a specific location, 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
Through discussion and demonstration
Hands on practiceScreening/preview & discussion
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SECOND YEAR COURSE IN CINEMATOGRAPHY
COLOUR PRACTICAL
CIN 208 P
PRACTICAL
TWO WEEKS
OBJECTIVE
To understand characteristics of the colour emulsions.
To understand the principles of colour and manipulation of colour temperature.To understand the application of conversion and correction filters.
CONTENTS
Use of colour temperature meter and applications.Selection of the right colour emulsion for a given situation.
Effects of under and over exposure.
Application of the principles of colour harmony.Exposing on colour negative incorporating above inputs and do the grading and
printing during the study tour.
METHOD OF TEACHING
Through demo films/slides.
Learning by doing.
Analysis and discussion.
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SECOND YEAR COURSE IN CINEMATOGRAPHY
MEDIALAB PRACTICAL
CIN 209 P
PRACTICAL
15 HRS/STUDENT IN UNSCHEDULED TIME
OBJECTIVE
To understand the various possibilities of image manipulation through the use of
computer and specialized packages like
To study the look of the color image in a more flexible manner.
CONTENTS
Use of computer and the specialized software packages. for image manipulation.
METHOD OF TEACHING
Interaction with the subject experts.
Hands on practice.
Analysis of the work done during the practical.
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SECOND YEAR COURSE IN CINEMATOGRAPHY
ANIMATION AND COPYING PRACTICAL
CIN 210 P
PRACTICAL
20 HOURS PER STUDENT IN UNSCHEDULED TIME
OBJECTIVE
FamiliarisationTo do lighting for a table top model.
To copy a given art work.
CONTENTS
Familarisation with the specialized camera equipments.
Copying of photographs, artworks etc.Exposing titles incorporating simple in camera effects.
METHOD OF TEACHING
Through discussion and demonstration.Hands on practice.
Analysis of the work done during practical.
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SECOND YEAR COURSE IN CINEMATOGRAPHY
WORKSHOP
CIN 201 W
WORKSHOP
THREE WEEKS
OBJECTIVE
To understand and experience the current trends and practices in the field of Filmand Television through interactions with the experts.
CONTENTS
The w