Syllabus - Three Year Courses

FILM & TELEVISION INSTITUTE OF INDIA, PUNE.
DIPLOMA COURSES
SYLLABUS
This syllabus has been approved by the Academic Council in its 54th meeting
and by the Governing Council in its 98th meeting held on 16th January, 2003.
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 phase
all 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 year
are 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.
2
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 Media
laboratory 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 theory
examinations.
During the weeks 23-28 all students undertake studies in television medium
together alternated with 16mm continuity exercise. All students are divided into two
groups for this purpose. Year-end project is slated in the last 10 weeks.
3
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 through
theory/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

4
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 modules
only.
% Attendance Max. Marks
100 25
≥80 20
≥60 15
≥50 10
≤50 NIL(≤60 nil for 5 days’ week)
For Coordinated Exercise
Application 20 marks
Professional Conduct 5 marks
For Year-end Project
Application 20 marks
Professional 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 each
discipline/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.
5
The weightage for the units of work, year ending projects, coordinated exercises
and TV components etc. will be as under -
Four practical modules 400 marks

Final 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 marks
3. Cinematography 100 marks
4. Editing 100 marks
Sectionals on-
SPW 50 marks
Film Appreciation 100 marks
16mm Coordinated Exercises 100 marks

Television module 100 marks
Computer application Exercise 100 marks (15 x 4 + 40)
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 end
of the course.
A minimum of 75% attendance is mandatory in theory classes for promotion to

second year.
6
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 200
Final 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.
7
Assessment Scheme - Third Year
DIRECTION
Diploma Film 300
CINEMATOGRAPHY
Diploma Film 300
AUDIOGRAPHY
Diploma Film 300
EDITING
Diploma Film 300

8
FIRST YEAR COURSE IN FILM AND

TELEVISION
SYLLABUS
2005
9
FIRST YEAR COURSE IN FILM & TELEVISION
Distribution of Time /Theory Subject

_____________________________________________________________
1. Direction 25
2. Cinematography 25
3. Audiography 25
4. Editing 25
5. Screen Writing 30
6. Film Appreciation 54
7. Art Direction 10
8. Production Management 10
9. Music 10
10. Screen Acting 6
11. Computer Applications 10
_____
_230_
10
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 function

How 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 transitions

Master 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 of

Imaginary line. Establishing and re-establishing
shots, how to cross the imaginary line without violating it
11
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

12
Emulsion, exposing, processing; various light sources.
Anatomy of a Still Camera
Shutters, types of shutters

Shutter 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

13
AUDIOGRAPHY
AUD 101T
THEORY

________________________________________________________________________
CONTENTS
Parameters of sound quality in film & television productions
Consistency in levels
Sound perspective
consistency of background Sounds
Factors 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 sound
Subjective aspects of Sound
Sound In Television and Films
Reproduction of sound in theatres and home
Audio Production Techniques - I
Pre-production
14
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 formats
Projection of motion pictures
Signal processing
Different record media
ASSESSMENT

15
EDITING
ED 101T
THEORY

________________________________________________________________________
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 brothers
George Meiles
Edwin Porter
D W Griffith
Pudovkin
Kuleshov
Einstein
Continuity In Editing
(a) Action continuity
(b) Dramatic continuity
Inserts, cut in, cut away, jump cuts
16
Principles Of Editing
Timing
Pace : Rhythm
(a) Filmic Time And Space
(b) Parallel Action
Sound Editing
ASSESSMENT
Theory Exam : 100 Marks

17
SCREEN WRITING
SW 101T
THEORY

________________________________________________________________________
CONTENTS
What is a Screenplay
Writing in terms of images

Writing 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
18
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)
Ideology
Vision
Form
Dramatic
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 characterization
Factors 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. dualism
and pluralism
Orchestration and planning of the total action
19
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 and

television.
Film and the other Arts : A general introduction to the relationship of film with
other arts.
Analysis of representative film texts : explanation of macrostructure( composition

in scripting) and microstructure(composition of images,sound and concept of
editing). 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.Griffith
Beginning of cinema in India : D.G.Phalke and the mythological genre
German and soviet cinema of the 20’s
Indian silent cinema in the 20’s
Transition to sound
Analytical-dramatic style and the development of long take and depth of fiekld
shooting methods in the 30’s and 40’s.
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 stars
Post-independent Indian cinema and the rise of the South Indian film industry
Satyajit Ray and the aesthetics of film realism
French new wave
New Indian cinema and state support to the development of Indian film culture.
20
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 board designing
Set material types and use
Styles and types of set designing
Set 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 films
Introduction to architecture with special reference to India
21
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 sectors

Objectives of film production
Need for production management
Basic management
Basic factors of film production
Functions of production manager
Production planning and control
Budgeting for different types of films
Relationship between budget and cost and time and money
22
MUSIC
MUS 101T
THEORY
10 HOURS
________________________________________________________________________
CONTENTS
Introduction to Music and its categories
Focus on Indian music

Focus on World music
Music in Film and TV
Introduction to the notions of Real and functional music;
background music and the film song
23
SCREEN ACTING
ACT 101T
THEORY
6 HRS
________________________________________________________________________
CONTENTS
Introduction To Acting Including Various Schools Of Acting
Observation and imagination as important souls for actors

Aspects of spontaneity
Exercises in orientation and environmental awareness
Observation and imaginary exercises
Action problem
Scene exercise
Song sequence with movement
ACTING THEORY - Stanislavsky , Brecht and Grotowsky etc.
ACTING ANALYSIS
24
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 demo

Introduction to multi-media with demo
25
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 exercises
on the spot.
26
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.

27
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.
28
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 the
exercises 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 the
students 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.
29
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 cameras
Study 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.
30
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.
31
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.
32
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.

Assignments.
Screening/preview and discussion.
33
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 different

microphones, indoor and out door location.
Assessment of sounds.
METHODS OF TEACHING
Demos.
Practical.
Listening and analysis of recordings.
34
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.
35
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.
36
AUDIOGRAPHY
AUD 104P
PRACTICAL

________________________________________________________________________
OBJECTIVES
To be familiar with audio post-production.
CONTENTS
Demonstration of ADR, music and mixing session.
METHODS OF TEACHING
Demonstrations.
37
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 materials
Gauges; negative; Positive; master positive; dupe negative.
Sound materials - magnetic and opticals.
Processed Film
Silent and sync shooting, magnetic tapes and sound transfer, the
clapboard, 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 vertical
winders.
Viewers use of pic - syncs, steenbecks, moviolas. Threading of
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.
38
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.
39
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 in
narrative form.
Introduction to linear and non-linear editing
METHODS OF TEACHING
Hands-on practice.
Guidance.
40
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.
41
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 floppy, using

Windows explorer.
Understanding starting a package, creating documents, menu bars, toolbar
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.
42
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.
43
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.
44
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 one

week
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.
45
Television Module
Weeks 27 - 32
46
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 procedure

Who does what
Terms, cues and commands
Floor management
Floor plan
Script
Directing talents
Transmission
47
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 Programmes

TV Production Management
Style of functioning, studios versus locations,
fiction versus non-fiction
TV Engineering
Development of TV technology
TV Picture
Colour TV principles
Camera to receiver
Video image formation/CCD
Video recording principles/formats
Role of digital techniques
Video signal transmission and distribution
Studio chain
Chroma key
CINEMATOGRAPHY
48
Demo of simple video camcorder and basic accessories, basic controls and
functions.
AUDIO PRACTICAL
Multiple microphone exercise in television studios

Demonstration of audio for video post-production.
Editing Practical
Basic editing hardware.

Video tape and tape formats
Control track
Time code
Basic editing process
Tape preparation for editing
Basic tape signals
Recording edit black
Insert editing
Assemble 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 Exercise

on Non-Linear Editing
49
TV STUDIO (MULTI-CAMERA) COORDINATED EXERCISE
EX 101
________________________________________________________________________
OBJECTIVES
To get familiar with TV Studio (Multi-Camera) production procedure, role of

different 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

50
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 minute
fiction 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 of 25 marks each.
51
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 sound
clips, video images and having a 3 to 5 depth tree.
Animation film having 3 to 5 characters and between 10 to 12 scenes, With
sound 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.
52
VIDEO PROJECT
PROJECT 101
OVER WEEKS 35-44

________________________________________________________________________
OBJECTIVES
Applying knowledge and skills acquired during the year, use screen language at a
basic level to write, direct, shoot, record and edit a short video programme, in
fiction or non-fiction.
PRODUCTION NORMS
DVCAM : shooting in available light, only location sounds, edited duration

Ten minutes.
A shooting schedule incorporating 5 units shooting simultaneously for two shifts

each will be announced.
Each unit will be provided a 30 minute cassette for recording and another cassette
for editing. Budget for transport limited to a maximum of Rs.200/- only. One
logging shift and four editing/sound shifts provided. Only Character Generator
titles permitted.
ASSESSMENT
Each student would be assessed for Direction, Cinematography, Audiography

and Editing positions out of a maximum of 50 marks each.
53
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

54
- 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

55
- 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
56
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
57
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 1981
1880 - 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)
58
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
59
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
60
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 in

the 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
61
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
62
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
________________________________________________________________________
63
SECOND YEAR COURSE
IN
SPECIALISATIONS
64
SECOND YEAR COURSE
IN
DIRECTION
65
SECOND YEAR COURSE IN SPECIALISATION(DIRECTION)
Schedules at a glance
Subject Duration
Lectures / Demonstration 3 weeks
DIR 201 T Direction 9 hrs. a week 27 hours
DIR 202 T Screenplay Writing 6 hrs. a week 18 hours
DIR 203 T Screen Studies 9 hrs. a week 27 hours
DIR 204 T Music 3 hrs. a week 9 hours
DIR 205 T Acting 3 hrs. a week 9 hours
DIR 206 T Art Direction 3 hrs. a week 9 hours
DIR 207 T Production Management 3 hrs. a week 9 hours
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 ½ week
DIR 206 W Production Management ½ 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

66
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

67
Note : See Annexure – I

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 epic

Classical Greek drama
Renaissance drama
Brecht
Absurd drama
Kabuki theatre
Modern novel
Varied narrative structure
Overview of Indian narrative structure
The Rasa Theory

The epics
Bharat's-Dashsrupaka(natyashastra)
Oral traditions
Folk tradiotion
Classical dance forms
Theatre traditons
Popular and folk forms
Modern theatre
Marathi theatre
Bengali theatre
Hindi theatre
Malyalam theatre
68
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 of
the 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
69
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 as
a 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 and
presentation 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
70
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 composer’s

tools of the trade, such as MIDI sequencing, sampling and tone editing.
Carnatic and south Indian music
Various folk music of India

71
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.

72
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

73
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 with
units etc.
74
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) Special
effects.
Note : See Annexure - I

75
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 a

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.
76
SCREENPLAY WRITING
DIR 202 W
TWO WEEKS
OBJECTIVE
The workshop is designed to give the students the benefit of a guest lecturer’s
extended presence on the campus for consultations in order to develop and
finalise 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.

77
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 for
assessment as a year-end assignment.
78
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 the
group.
79
MUSIC
DIR 205 W
½ 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 of
creative decisions as well as in offering solutions to practical problems. The final
recording will incorporate electronically sequenced music.
80
DIR 206 W
½ 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 enter

into 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.

81
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

82
DRAMATIC SEQUENCE –35 MM FILM
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.
Budget : Rs.300/-
Exam. : 200 marks (50 for each specialisation stream)

83
DIALOGUE FILM
YEAR-END PROJECT
PROJ 201
20 WEEKS (25-44)
OBJECTIVE
To demonstrate creative, technical and collaborative skills of

specialisation 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 announced

well in advance.
3 3 rolls of 400 ft each to be shot over three shooting shifts using one
of 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 music
recording. A total of 5 sound shifts for post- production are available.
5 For the purpose of grading, two visits of the cameraman to the lab
will be provided for.
6 Budget provision ( all inclusive) Rs.3000/- only.*
Exam.: 200 marks (50 for each specialisation stream)

84
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 C’s 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 Physical

Reality - 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
85
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

86
SECOND YEAR COURSE
IN
CINEMATOGRAPHY
87
SECOND YEAR COURSE IN SPECIALISATION(CINEMATOGRAPHY)
Subject Duration
Theory 17 weeks
CIN 201 T Cinematography From
Practical 201 T TO
CIN 201 P Introduction to equipment & 202 W
ratio lighting
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 Practicals
CIN 209 P Computer Practical
CIN 210 P Lighting for table top and copying
Workshop
CIN 201 W Workshop
CIN 202 W Laboratory – Study Tour
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

88
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 light
meters, 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 and
granualirity. Acutance
Basics of colour Emulsion, Colour Vision, general colour adaptation, hue
saturation and brightness
Colour Emulsions, visual adaptation vs. film response, additive and
subtractive colour system, modern colour emulsions, negative, Positive,
intermediate reversal films, Duplicating colour films.
Colour processing
Printers & Grading
Television
Video camera pick-up devices

Waveform monitor & vectorscopes
Video Tape Recorders
Factors affecting video image
METHOD OF TEACHING
Through lectures
A/V-demos
Through interaction with experts
Exam. : 200 marks
89
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 video
cameras.
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
90
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 own
practical/projects.
CONTENTS
Study of sensitometer
Processing 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 practical
Screening and discussion
91
STUDY OF NATURAL LIGHT
CIN 203 P
PRACTICAL
ONE WEEK
OBJECTIVE
To be able to understand the various qualities of natural day light

(specular/diffused).
To be familiar with the quantity/contrast range of light at different time of the day
and 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 demonstration

Hands on practice
Screening/preview & discussion
92
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

Hands on practice
93
SET/STUDIO LIGHTING - NIGHT
CIN 205 P
PRACTICAL
TWO WEEKS
OBJECTIVE
To select appropriate lighting equipments for a given situation.

To create different night effects.
CONTENTS
Simulation of various times of the night.

Source lighting – simulation of practical lamps inside/outside the frame.
Creating different moods and effects.
Exposing and working in various positions of camera crew.
METHOD OF TEACHING

Hands on practice
94
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
95
LOCATION LIGHTING
CIN 207 P
PRACTICAL
TWO WEEKS
OBJECTIVE
To identify and select appropriate lighting equipments for a specific location, to

handle 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 practice
96
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.
97
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.
98
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.
99
WORKSHOP
CIN 201 W
WORKSHOP
THREE WEEKS
OBJECTIVE
To understand and experience the current trends and practices in the field of Film
and Television through interactions with the experts.
CONTENTS
The workshops / Lectures / Demos will be held to include the following topics
Application of colour
Exposure series in colour.
Studio/Location lighting for day/night
Make up techniques.
In addition to above, Workshops with 3 famous cinematographers will be held to

cover Studio / Location Lighting for Day / Night
METHOD OF TEACHING
Through interaction with the subject experts.

Hands on practice under guidance from expert.
Screening/Preview and discussion.
100
LABORATORY – STUDY TOUR
CIN 202 W
WORKSHOP
ONE WEEK
OBJECTIVE
To understand and experience the working of a processional colour film

processing laboratory, Film and Television studios, and hands on practice in
colour grading, through interaction with the professional experts.
CONTENTS
The working and quality control in a professional colour processing laboratory.

The latest professional equipments and new approaches in executing various
programmes.
Have hands on practice on colour grading equipments.
Interact with the experts in the field and enrich the knowledge.
METHOD OF TEACHING
Through visiting the professional Film & TV set ups and interacting with the
experts.
By participation and observation.
Screening of latest materials being shot/recorded.
101
DRAMATIC SEQUENCE -35MM FILM
CEX 202
FIVE WEEKS (18-22)
OBJECTIVE

PRODUCTION NORMS

Budget : Rs. 300/-
VIDEO
102
DIALOGUE FILM - 35 MM COLOR
PROJ 201
YEAR-END PROJECT
20 WEEKS (25-44)
OBJECTIVE

PRODUCTION NORMS
1 35mm 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

announced well in advance.
3 3 rolls of 400 ft each to be shot over three shooting shifts

using one of 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 for fresh music recording. A total of 5
sound shifts for post production are available.
5 For the purpose of grading, two visits of the cameraman to

the lab will be provided for.
Exam. : 100 marks (25 for each specialisation stream)
* Subject to approval of SFC.

103
RECOMMENDED READING
1 Photographic Theory for Motion Picture

Cameraman - Russel Campbell
2 The Five Cs of Cinematography - Joseph Mascelli
3 Student Film Makers Handbook - Kodak Worldwide

Student’s Programme
4 Exploring the Colour Image - Kodak Worldwide

Student’s Programme
5 Hands on Cinematographer’s Manual - David Samuelson
6 American Cinematographer’s Manual - American Society of

Cinematographers
7 Video Camera Techniques - Gerald Millerson
8 Techniques of the Television Cameraman - Peter Jones
9 Anton Wilson’s Cinema Workshop - Anton Wilson
10 Negative - Anser Adams
11 Film Lighting - Chris Macalwitz
12 Newsreel Cameraman - Focal Press
13 Videographer’s Manual - A.S.C.
14 Paint & Effect - Discreet Logic
15 Image Control - Gerald Hirschfeld
16 The Technique of Lighting for Film and Television - Gerald Millerson

104
SECOND YEAR COURSE
IN
AUDIOGRAPHY
105
SECOND YEAR COURSE IN AUDIOGRAPHY
Syllabus at a glance
Subject Duration Week

Theory
AUD 201 T Recording 6 hrs./week 102 hrs. Over 17 weeks
AUD 202 T Electronics 6 hrs./ week 102hrs. Over 17 weeks
Practical
AUD 201 P Dubbing 30hrs./wk 12 sessions 1st & 2nd
AUD 202 P Dialogue Replacement 30hrs./week 12+8=20 3 & 4th
10 hrs./week sessions 5th to 8th
AUD 203 P Music Recording 10 hrs./week 5th. to 17th.
AUD 204 P Sound Mixing 10 hrs./week 5th to 17th
Self practice Flexible time 27th to 42th
AUD 205 P Audio Measurements 10hrs./week 7th to 17th
AUD 206 P Introduction to digital Media 6 hrs./week 20th to 26th

Self Practice flexible time 27th to 42nd
AUD 207 P Electronic Practical 30 hrs./week 1st to 6th

20 hrs./week 7th to 17th
Examination 2 weeks (23-24)
CEX202 Dramatic Sequence – 35 MM 5 weeks

B/W 18-22
Projects
PROJ 201 Dialogue film ( 16 mm color ) 20 weeks

25th. To 44th.
TOTAL 17+5+2+20
106
RECORDING
AUD 201 T
THEORY
6 HRS/WEEK OVER 17 WEEKS
OBJECTIVE
To understand basic principles of recording

To familiarise with various record media and their comparisons
To understand audio recording for media
To understand studio operations
To understand audio control and processing
CONTENTS
Sound reproduction and acoustics

Sound recording studios
Record media
Sound control and processing
Digital audio
Sound for cinema and television
Sound design
Audio post production and procedures
Film and video projection on large screen
Recording techniques for television
METHOD OF TEACHING
Theory and demos
ASSESSMENT
Theory exam 100 marks

107
ELECTRONICS
AUD 202 T
THEORY
6 HRS/WEEK OVER 17 WEEKS
OBJECTIVE
To understand basics of electronics

To understand electronic devices and their functions
To understand circuitry using discrete and integrated circuits
To understand types of amplifiers , power supplies, oscillators and control circuits
in audio devices.
To understand basics of digital electronics
CONTENTS
Electronic fundamentals
Electronic devices
Use of electronic devices in audio circuits
Building blocks of a complex audio equipment
Digital electronics
Digital devices
Logic functions and their implementation using MSI & LSI devices
Use of digital circuits in various audio equipments
METHOD OF TEACHING
Theory
Related software
ASSESSMENT
Theory examination 100 marks

108
DUBBING
AUD 201 P
PRACTICAL
30 HRS/WEEK OVER WKS 1 & 2
OBJECTIVE
To familiarize with various recording equipment in a sound studio.

To understand audio levels and other parameters while dubbing programs.
To be able to make out differences between record media.
CONTENTS
Handling of various equipment for dubbing of programs.

Monitoring sound quality on different record media.
METHOD OF TEACHING
Practical
Listening and analysis.
ASSESSMENT
In addition to the common elements in assessment, a student is assessed after he

has put a minimum of 6 hrs on
Handling of equipment
Performance
Analytical ability
109
DIALOG REPLACEMENT
AUD 202 P
PRACTICAL
30 HRS/WEEK OVER WKS 3 & 4

10 HRS/WEEK OVER WKS 5 - 8
OBJECTIVE
Familarisation with ADR equipments and procedures

Dialog recording with visual reference
To be able to maintain consistent quality and perspective
CONTENTS
Practical sessions on ADR equipment

- Line up of equipments
- Testing of their execusion
Handling of voices on multitrack recorders and mixing
METHOD OF TEACHING
Theory
Demo
Practical
ASSESSMENT
A student is assessed after completing a minimum of 10 hrs. On
Performance
110
MUSIC RECORDING
AUD 203 P
PRACTICAL
OBJECTIVE
To familiarize a student with various acoustic and electronic musical instruments.

To help the student develop critical listening.
To handle audio processing equipment.
To understand traditional and modern methods of recording.
CONTENTS
Handling of different microphones and placements for music sessions.

Handling of multi-channel mixing consoles.
Using sound processing in real time and in mix-down sessions.
Handling digital and analogue record media.
METHOD OF TEACHING
Practical
ASSESSMENT
After a student has gone through a minimum of six recording sessions he will be
assessed on-
Performance
Analytical capability
111
SOUND MIXING
AUD 204 P
PRACTICAL
OBJECTIVE
To familiarise with dubbing procedures.

To understand sound levels and perspective with reference to visuals.
To understand track formations and laying for proper mixing
CONTENTS
Dubbing from various sources

Track assessment and corrections
Mixing practice, non automation
Basics of automated mixing
METHOD OF TEACHING
Practical
ASSESSMENT
After a minimum number of 15 hrs. A student is assessed on-
Performance
112
AUDIO MEASUREMENTS
AUD 205 P
PRACTICAL
10 HRS/WEEK OVER WKS 7 – 17
OBJECTIVE
To understand the parameters of an audio device and its measurements

To understand the quality of an audio device vs .electronic parameters
To familiarise with measurement techniques and its importance
To achieve a better understanding of complex equipments
To understand audible quality vis-à-vis acoustic parameters
CONTENTS
Introduction and use of measuring equipments

Taking measurements on audio amplifiers of tape recorders
Taking measurements on a tape recorder for conformity of its specifications
Measure acoustic parameters of a given enclosure and correlate these with
subjective feel
METHOD OF TEACHING
Demos
Practical
Use of related computer software
ASSESSMENT
In addition to the common assessment a student is assessed after completing 10

practical and demos.
Understanding
Documentation in a journal
113
INTRODUCTION TO DIGITAL MEDIA
AUD 206 P
PRACTICAL
OVER WKS 20 -26.
OBJECTIVE
To familiarise with digital media

To understand and use audio recording and editing softwares
Introduction to digital as a means of automation
CONTENTS
Introduction to digital media, tape, CD, MOD and mini discs.

Comparing analogue and digital recordings
Using a workstation for a specific job of recording and editing
Using a workstation for video post production
ASSESSMENT

hrs on
Performance
Consistency in sound layering
114
ELECTRONICS
AUD 207 P
PRACTICAL
30 HRS/WK OVER WKS 1 – 6

20 HRS/WK OVER WKS 7 – 17
OBJECTIVE
To understand basic electronics

To understand basic principles behind designs and functioning of audio circuits
To understand the functioning of simple digital circuits
CONTENTS
Introduction to electronic components

Electronic measurements
Soldering and assembling practice
Basic electronic devices and their characteristics
Assembling an audio circuit and measuring its performance
Building simple digital circuits and understand their functions
ASSESSMENT

practical in:-
Understanding
Documentation in a journal
115
SECOND YEAR COURSE IN AUDIOGRAHY
CEX 202
FIVE WEEKS (18-22)
OBJECTIVE

PRODUCTION NORMS
35mm B&W, separate sound track.

Budget : Rs.300/-
Exam. : 100 marks ( 25 for each specialisation stream)
FORMAT CHANGE
116
DIALOGUE FILM
PROJ 201
YEAR-END PROJECT
20 WEEKS (25-44)
OBJECTIVE

PRODUCTION NORMS
1 35mm colour, 10 minutes including titles; synch-shot

exclusively on a given studio set; re-recorded and release-printed.
2 The project will be shot to a comprehensive schedule

announced well in advance.
3 63 rolls of 400 ft each to be shot over three shooting shifts

using one of the two available sets.
4 Shift timings will be from 9.00 a.m. to 6.00 p.m.
5 To be edited over a total of 8 editing shifts, including those

for track laying on non-linear system. A maximum of 4 sound channels would be
available, including the synch-shot dialogue channel. There will be no provision
for dubbing for fresh music recording. A total of 6 sound shifts for post
production are available.
6 For the purpose of grading, one of the cameraman to the

lab will be provided for.
7 Budget provision ( all inclusive) Rs.6000/- only.* (Rs.3000

for set modifications and Rs.3000 for incidental.)
*Subject to approval by SFC.

117
RECOMMENDED READING
1 Sound Recording - John Eargle

2 Audio Electronics - John L. Hood
3 Audio Post Production in Video & Film - Tim Amyes
4 Audio Post Production Techniques for Video - William L. Hagerman
5 Digital Audio and Compact Disc Technology - Luc Baert
6 Loudspeaker & Headphone Handbook - John Borwick
7 Magnetic Recording Handbook - Marvin Camras
8 MIDI Manual - David M. Huber
9 Modern Recording Techniques - David M. Huber
10 Music Editing for Motion Pictures - Millon Lustig
11 New Recording Studio Handbook - John M. Woram
12 On Location Recording Techniques - Bruce Bartlelt
13 Sound System Engineering - Davis & Davis
14 Tape Less Sound Recording - Francis Rumsey
15 Practical Art of Motion Picture Sound - David Lewis Yewdall
16 Audio in Media - Stanley R. Alten
17 Handbook for Sound Engineers -
- The New Audio Cyclopedia
18 Art of Digital Audio - John Watkinson
19 Audio Hi-Fi Handbook - Ian R. Sinclair
118
SECOND YEAR COURSE
IN
EDITING
119
SECOND YEAR COURSE IN SPECIALISATION
Subject Duration
Theory
ED 201 T Editing theory Over 16
weeks
ED 202 T Technical aspects of Video Editing FROM
ED 203 T Film Editing procedure 201 T
Practical TO
ED 201 P Editing of dialogue sequence-I 205 W
ED 202 P Editing of action sequence
ED 203 P Editing of dialogue sequence-II
ED 204 P Editing of playback/musical sequence
ED 205 P Editing of video documentary
Workshops
ED 201 W Non-Linear Editing 1 week
ED 202 W Video post production 1 week
ED 203 W Non-linear editing 1 week
ED 204 W Editing of documentary (video ) 1 week
ED 205 W Complex method of film editing 1 week
Co-ordinated exercises
CEX 201 Action Sequence -16 mm film 2 weeks
CEX 202 Dramatic Sequence –35mm B/W 4 weeks
Projects
PROJ 201 Dialogue film 20 weeks

Examination 2 Week
Total 16+2+4+2+20 = 44 weeks

120
SECOND YEAR COURSE IN EDITING
EDITING
ED 201 T
THEORY
40 HRS SPREAD OVER 12 WEEKS
OBJECTIVE
To have a thorough understanding of editing concepts in practice
CONTENTS
Problem of Editing of action sequence

Creative treatment of sound in editorial construction
Montage construction
Editing of comedy sequences
Editing of reportage films
Documentary films of ideas
Imaginative documentary
Educational/instructional films
Compilation films
Modern trends
METHOD OF TEACHING
Lecture, screening and discussions.

121
TECHNICAL ASPECTS OF VIDEO EDITING
ED 202 T
THEORY
THREE SESSIONS OF 3 HOURS EACH SPREAD OVER ONE WEEK
OBJECTIVE
To study the technical aspect of Video Editing
CONTENTS
Study of various types of video signals.

- Composite, Y/C, components, digital and their
specifications.
- TBC and volume unit meters.
Study of time code
- LTC, VITC and time code editing
Types of compressions
- Storage capacity
- Resolution, quality
Resolving the variation between film and video frame speed for editing on
nonlinear system.
METHOD OF TEACHING
Lecture/ demonstration.
122
FILM EDITING PROCEDURE
ED 203 T
THEORY
TWELVE SESSIONS OF 3 HOURS EACH SPREAD OVER 3 WEEKS
OBJECTIVE
To study and understand in detail the procedure of preparation for Optical

Effects, mixing and release print
CONTENTS
Optical effects
- Types
- preparation for marking
Preparation for mixing
- Track laying of dialogue, music and effects.
Cue-sheets
- Pre-mixing and final mixing
- Editors responsibilities in mixing operation
Preparation for negative cutting
- Negative cutting
- Insertion of optical dupes, titles, etc.
- Matching of the final negatives.
- Release print.
METHOD OF TEACHING
Lectures, demonstrations and practical.

123
EDITING OF DIALOGUE SEQUENCE - I
ED 201 P
PRACTICAL
ONE WEEK
OBJECTIVE
The students will learn to edit simple sequences on film/video using visuals and
synchronous sounds, consisting predominantly of dialogues to bring out the
meaning and effect of the scene.
CONTENTS
Sorting, assembling and synchronization of sound with reference to clap.

Editing of four simple, dialogue sequences, observing proper timing and
maintaining the required pace.
METHODS OF TEACHING
Lecture, screening, demonstration.

Classroom practical.
Analysis, discussion and evaluation of the work of students.
124
EDITING OF ACTION SEQUENCE
ED 202 P
PRACTICAL
TWO WEEKS
OBJECTIVE
To understand the dynamics of picture and sound in editing of action sequence.

Edit an action sequence.
CONTENTS
Study of action sequence.

Editing of two action sequences.
Editing of Action Sequence done as coordinated exercise.
METHODS OF TEACHING
Lectures, screenings, demonstrations.

Classroom practical, discussions.
125
EDITING OF DIALOGUE SEQUENCE – II
ED 203 P
PRACTICAL
THREE WEEKS
OBJECTIVE
To edit a complex dialogue sequence using creative editing skills.
CONTENTS
Editing of four dialogue sequences of complex nature on film/video.
METHODS OF TEACHING

Analysis, discussion and evaluation of the work done by students.
126
EDITING OF PLAYBACK/MUSICAL SEQUENCE
ED 204 P
PRACTICAL
THREE WEEKS
OBJECTIVE
The students will learn to prepare a sound track for playback, cue, synchronize
and edit playback sequence.
CONTENTS
Editing of four playback/musical sequences of varying complexity.
METHODS OF TEACHING

127
EDITING OF VIDEO DOCUMENTARY
ED 205 P
PRACTICAL
TWO WEEKS
OBJECTIVE
The students will be able to understand the creative skills required for editing
documentaries.
CONTENTS
Study of documentary editing.

Editing of documentaries.
METHODS OF TEACHING
Lectures, screenings, discussions.

Analysis and discussion.
128
FILM EDITING
ED 201 W
WORKSHOP
ONE WEEK
OBJECTIVE
Application of various editing concepts/theories of Editing.
CONTENTS
Analysis of editing theory and its application on a specific classroom projects or

other examples.
METHODS OF TEACHING
Lectures, discussions and hands on practice

129
VIDEO POST PRODUCTION
ED 202 W
WORKSHOP ON BETACAM
ONE WEEK
OBJECTIVE
To acquire the technical knowledge involved in video post production process.
CONTENTS
Video post production techniques, visual effects, audio mixing, preparing

titles with the help of Character Generator, preparation of final edit version.
METHOD OF TEACHING
Lectures, discussions and practical.

130
NON-LINEAR EDITING
ED 203 W
WORKSHOP
ONE WEEK
OBJECTIVE
The students will learn to edit complete sequences on Non-Linear system.
CONTENTS
Introduction of Non-Linear System.
Demonstration of editing on the system.
Individual practical in editing sequences on non-linear system.
METHODS OF TEACHING
Lectures, demonstrations and hands on practice.

131
VIDEO DOCUMENTARY
ED 204W
WORKSHOP
ONE WEEK
OBJECTIVE
To understand the concept, technique and complexities involved in a

Documentary editing.
CONTENTS
Introduction to the concept, practice, complexities, focus, creative use of sound

and choice that are involved in a documentary editing.
Editing of the rushes provided to the students.
METHODS OF TEACHING
The workshop will be conducted by Guest faculty.

Hands on Practical.
Screening/Preview and discussion.
132
COMPLEX FILM EDITING
ED 205 W
WORKSHOP
ONE WEEK
OBJECTIVE
To edit a complex Dialogue Sequence.
CONTENTS
Introduction to complex method of editing material on film. Multiple characters,

Sound overlap etc.
METHODS OF TEACHING
Lectures, demonstration, discussion and hands on practice.

133
ACTION SEQUENCE -16MM FILM
CEX 201
TWO WEEKS (8 -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.
No budget.
CHANGE OF FORMAT
134
CEX 202
FOUR WEEKS (19-22)
OBJECTIVE

PRODUCTION NORMS

Budget : Rs.300/-

135
DIALOGUE FILM
PROJ 201
YEAR-END PROJECT
20 WEEKS
WEEKS 25-44
OBJECTIVE

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 announced

well in advance.
3 rolls of 400 ft each to be shot over three shooting shifts using one
of 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 for fresh
music recording. A total of 5 sound shifts for post production are available.
5 For the purpose of grading, two visits of the cameraman to the lab
will be provided for.

*Subject to approval by SFC.
136
RECOMMENDED READING
1 Rise of American Film – Lewis Jacobs
2 The Technique of Film Editing – Karel Reisz & Gravin Miller
3 The Technique of the Film Cutting Room - Ernest Walter
4 The Technique of Editing of 16mm Film - John Burder
5 Film Technique - Pudovkin
6 Film and Film Sense - Sergei Eisenstein
7 Video Editing and Post Production - Garry M. Anderson
8 Digital Nonlinear Editing - Thomas A. Ohanian
9 Special Effects in Television - Bernard Wilkie
10 Time Code - A User’s Guide by John Ratcliff
11 Grammar of the Edit - Roy Thompson
12 Electronic Post Production and Video

Tape Editing - Arthur Schneider
137
THIRD YEAR COURSE
IN
SPECIALISATIONS
138
THIRD YEAR COURSE
IN
DIRECTION
ONE YEAR
[44 WEEKS]
139
THIRD YEAR COURSE IN DIRECTION
FEATURE FILM SCREENPLAY SESSIONAL
DFT 301
SESSIONAL SUBMISSION
OVER THE WHOLE YEAR

________________________________________________________________________
ABSTRACT
The Feature Film Screenplay Sessional is intended to give the student necessary
confidence and experience of marshalling his scriptwriting resources to the
enlarged canvas of a feature film.
OBJECTIVES
Equipped with a fully worked out Feature Film Screenplay, the student would be
ready to join the profession as an aspiring filmmaker at the earliest opportunity
after graduating.
CONTENT
Each student will at the beginning of the year submit a brief outline of the
proposal, along with names of two guides from the field in consultation with
whom he would like to develop the screenplay. The institute would then get in
touch with the guides and formalise the arrangement with one. Through 2 or 3
sessions of interaction with the guide, the student would over the year be expected
to write, print and bind three copies of the screenplay for submission.
ASSESSMENT
Sessional 200 marks

140
THIRD YEAR COURSE IN DIRECTION
DIPLOMA PROJECT FILM
DFT 303 YEP
YEAR ENDING PROJECT
OVER 33 WEEKS
OBJECTIVES
Diploma film is the highest level project in film to showcase the conceptual and
technical skills acquired by the students in their respective specialisations.
NORMS
35mm colour, , maximum duration 22 minutes, fiction or non-fiction.
Raw Stock 6000 feet picture negative and corresponding

positive.
DETAIL
Shooting Shifts 10 shifts in Studio or on location within 200 kms

HOURS
from Pune (Consecutive 10 working days).

IN
Budget Rs.15,000/- including Rs.5,000/- for set

construction.
Or
Rs.12,000/- including Rs.2,000/- for location hire.
Editing Non-linear 10 shifts and Negative cutting 4 shifts.

Sound 15 shifts altogether
Finished length A maximum of 20 minutes including titles.
Completion date 35 days from the date of receipt of rushes
Meal Money Rs 120/- per day per head admissible only for
overnight stay on locations for not more than 9
students.
ASSESSMENT
Diploma Film 300 marks (Internal & external experts)

141
THIRD YEAR COURSE
IN
CINEMATOGRAPHY
ONE YEAR
[44 WEEKS]
142
THIRD TEAR COURSE IN CINEMATOGRAPHY
CFT 303 YEP
YEAR ENDING PROJECT
OVER 33 WEEKS
OBJECTIVES
NORMS
35mm , max. duration 22 minutes, fiction or non-fiction.,

positive.

ON NORMS

DETAILS
MORE

construction.
Or
Rs.12,000/- including Rs.2,000/- for location hire.
Meal Money Rs.120/- per day per head admissible only for
students.
ASSESSMENT 300 marks(Internal and external experts)

143
THIRD YEAR COURSE
IN
AUDIOGRAPHY
ONE YEAR
[44 WEEKS]
144
THIRD YEAR COURSE IN AUDIOGRAPHY
AF 303 YEP
YEAR ENDING PROJECT
OVER 33 WEEKS
OBJECTIVES
NORMS
35mm color, max. duration 22 minutes, fiction or non-fiction.

positive.

Budget Location hire or set construction budget to be operated by

production section and is not transferable to incidental
budget

students.
ASSESSMENT
Diploma film 300 marks(Internal and external experts)

145
THIRD YEAR COURSE
IN
EDITING
ONE YEAR
[44 WEEKS]
146
THIRD YEAR COURSE IN EDITING
EFT 303 YEP
YEAR ENDING PROJECT
OVER 33 WEEKS
OBJECTIVES
NORMS
35mm colour, max. duration 22 minutes, fiction or non-fiction.

positive.

DETAIL
HOURS

IN
construction. OR Rs.12,000/- including Rs.2,000/-

for location hire.

students.
ASSESSMENT
Diploma film 300 marks(internal and external experts)

Syllabus - Three Year Courses

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FILM & TELEVISION INSTITUTE OF INDIA, PUNE.

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

STRUCTURE OF THE COURSES

WEEK SHORT DESCRIPTION

1- 5 Module One (Theory and practical )

Modules have following components-

a) Theory in the morning hours in three modules

SECOND YEAR (General plan)

WEEK SHORT DESCRIPTION

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

1-38 Diploma film

Assessment Scheme – First Year

The assessment for each unit in Direction, Cinematography, Audiography,

% Attendance Max. Marks

For Coordinated Exercise

For Year-end Project

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

Four practical modules 400 marks

Theory examination papers on -

1. Direction 100 marks

16mm Coordinated Exercises 100 marks

DVCAM Year-end Project 200 marks

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

Assessment Scheme – Second Year

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

Assessment Scheme - Third Year

Diploma Film 300

Diploma Film 300

Diploma Film 300

Diploma Film 300

FILM & TELEVISION INSTITUTE OF INDIA

FIRST YEAR COURSE IN FILM AND

FIRST YEAR COURSE IN FILM & TELEVISION

Distribution of Time /Theory Subject

FIRST YEAR COURSE IN FILM & TELEVISION

25 HRS OVER WEEKS 1-15

How films are made

Basics of Screen Grammar -I

The role of film director, its emergence and field of function

Basics of Screen Grammar - II

Elements of composition in moving shots

Basics of Screen Grammar - III

Match cut, jump cut, other transitions

Basics of Screen Grammar- IV

Concept of filmic continuity and the role of

Theory Exam: 100 marks

FIRST YEAR COURSE IN FILM & TELEVISION

25 HRS OVER WEEKS 1-15

Basic properties of Light

Rectilinear propagation, absorption, reflection, refraction,

Eye, Camera and Perception

Similarities, difference, persistance of vision, binocular vision,

Lenses and Image Formation - i

Different types of lenses, image formation, focal length,

Principles, different types. Exposure measurement.

Lenses and Image Formation - II

Perspective, depth of field and depth of focus.

Elements, formats, balance.

Basic principles of Photography

Emulsion, exposing, processing; various light sources.

Anatomy of a Still Camera

Shutters, types of shutters