4.63 B.A. - Film, Television & New Media Production

Page 1
UNIVERSITY OF MUMBAI
No. UG/84 of 2013-14

CIRCULAR:-

The Principals of affiliated Colleges in Arts and the Heads of Recognized
Institutions concerned are hereby informed that the recommendation made by the Faculty
of Arts at its meeting held on 16
th
March, 2013 has been accepted by the Academic
Council at its meeting held on 29
th
April, 2013 vide item No. 4.63 and subsequently
approved by the Management Council at its meeting held on 20
th
J une, 2013, 21
st
J une,
2013 & 11
th
J uly, 2013 vide item No.14 and that in accordance therewith, in exercise of
the powers conferred upon the Management Council under Section 54 (1) and 55 (1) of
the Maharashtra Universities Act, 1994 and the Ordinances 6078 and 6079 and
Regulations 8720, 8721 and 8722 and syllabus as per Credit Based Semester and Grading
System for B.A. Programme in Film, Television and New Media Production is introduced,
which is available on the Universitys web site (www.mu.ac.in) and that the same has
been brought into force with effect from the academic year 2013-14.

MUMBAI 400 032 REGISTRAR
27
th
December, 2013

To,

The Principals of affiliated Colleges in Arts and the Heads of Recognized
Institutions concerned.

A.C/4.63/29/04/2013_____________________
M.C/14/20/06/2013, 21/06/2013 &11/07/2013

***************
No. UG/84 -A of 2013-14 MUMBAI-400 032 27
th
December, 2013
Copy forwarded with Compliments for information to:-
1) The Dean, Faculty of Arts.
2) The Director, Board of College and University Development.
3) The Professor-cum-Director, Institute of Distance & Open Learning (IDOL)
4) The Co-Ordinator, University Computerization Centre.
5) The Controller of Examinations.

Sd/-
Deputy Registrar
Under Graduate Studies
Page 2

AC29/4/2013
ItemNo.4.63
UNIVERSITYOFMUMBAI
BachelorofArts
(Film,Television&NewMediaProduction)
(IntroductionasperCreditBasedSemesterandGradingSystemw.e.f.201314)
Page 3

INDEX
Sr.No. Content PageNo
1.
ObjectivesofBachelorofArtsFilmTelevision&NewMediaProduction 3
2.
OrdinancesandRegulationsrelatingtothedegreeprogrammeofBA(Film,
Television&NewMediaProduction)
47
3.
CourseStructureofBA(Film,Television&NewMediaProduction) 8 13
4.
DetailedCurriculum 14 35
5.
EvaluationCriteriaforSemester5&6 36
6.
AdditionalBooks 37
7.
GrowthofMediaSectorinthenearfuture 38
8.
JobOpportunitiesinMediaSector 39
9.
Expertswhohavebeenconsulted forthecontents ofSyllabus 40
O6078BachelorofArts(Film,Television&NewMediaProduction)
Objectives
BachelorofArts(Film,Television&NewMediaProduction)programme
1. TopreparestudentsintheproductionaspectsofFilmTelevision&NewMedia,asrequiredbythepresent
mediaenvironmentallacrossglobe.
2. To empower the students in the production & managerial aspects of the media business with due
emphasis on latest production techniques, along with marketing and branding management of various
mediaproductsandassociatedservices.
3. To develop creative temperament and mindset needed in the content production segment of media
industry.
4. Toinculcatecompetenciestherebyenablingtoundertakeprofessionalwork.
5. Toprovideanactiveindustryinterfacebywayofcolearning.
6. To take the students through the entire pipe line of production process with regards to the content
creation for various media pads, providing the students an insight in to the correlation that exists
betweencontentcreationandassociatedcommercialaspectsofmediabusiness.
Page 4

Ordinances&Regulations
BachelorofArtsFilmTelevision&NewmediaProduction
1. GeneralGuidelines
The Credits are defined in terms of the learners hours which are divided into two parts such as Actual and
Notional.ThevalueofaparticularcoursecanbemeasuredinnumberofCreditPoints.ThevalueofOne(01)Credit
isequalto30Hoursoflearnersload.
The scheme of Examination shall be divided into two parts i.e. Internal Assessment includes Assignments,
Seminars,CaseStudiesandUnitTestswhichwillbeof40marksandtheSemesterEndExaminationswhichwillbe
of60marks.ThesemesterwiseCreditPointswillbevariedfromprogramtoprogrambutthevalueofCreditsfor
UnderGraduateProgrammesshallbeof120CreditsandforPostgraduateDegreeprogrammesitwillbe96credits
intheFacultyofArts.
3. CreditBasedEvaluationSystem
SchemeofExamination
Forall6semesters,theperformanceofthelearnersshallbeevaluatedintotwocomponents.Thefirstcomponent
shallcarry40%markswhichwillbeaninternalassessmentwhilethesecondcomponentshallcarry60%marksat
semesterendexamination.
TheallocationofmarksfortheInternalAssessment40%andSemesterEndExaminations60%areasshownbelow:
a)StructureofInternalAssessment=40%=40marks
Sr.No. Particulars Marks
1 Oneperiodicalclasstestheldinthegivensemester 10Marks
2 Subject specific Term Work Module/assessment modes atleast two as decided by the
department in the beginning of the semester (like Extension/field/experimental work,
ShortQuiz;Objectivetest,labpractical,openbooktestetcandwrittenassignments,Case
study,Projects,Postersandexhibitsetcforwhichtheassessmentistobebasedonclass
presentationswhereverapplicable)tobeselflesslyassessedbytheteacher/sconcerned
20Marks
3 Activeparticipationinroutineclassinstructionaldeliveries(andinpracticalwork,tutorial,
fieldworketcasthecasemaybe)
05Marks
4 Overall conduct as a responsible learner, mannerism and articulation and exhibit of
leadershipqualitiesinorganizingrelatedacademicactivities
05Marks
b)SemesterEndExaminations60%60Marks
i. DurationTheseexaminationsshallbeof2Hoursduration.
ii. TheoryQuestionPaperPattern:
1. Thereshallbefourquestionseachof15marks.
2. Allquestionsshallbecompulsorywithinternalchoicewithinthequestions.
3. Question may be subdivided into subquestions a, b, c and the allocation of marks depends on the
weightageofthetopic.
Page 5

The assessment of Part A i.e. Internal Assessment and Part B i.e. Semester End Examination as mentioned
above for the Semesters I to IV shall be processed by the Colleges Institutions of their learners and issue the
gradecardstothemaftertheconversionofmarksintogradeaspertheprocedurementionedbellow.
The assessment of Part A i.e. Internal Assessment as mentioned above for the Semesters V & VI shall be
processedbytheColleges/Institutionsoftheirlearnersadmittedfortheprogramme.
ForpartBthatissemesterendexaminationofthesemestersV&VI,theUniversityshallconducttheassessment.
TheInternalAssessmentmarksoflearnersappearingforSemestersV&VIshallbesubmittedtotheUniversityby
the respective colleges/ Institutions before the commencement of respective Semester End Examinations. The
Semester End Examinations for Semesters V & VI shall be conducted by the University and the results shall be
declaredafterprocessingtheinternalassessmentandthemarksawardedtothelearners.Thegradecardshallbe
issuedbytheUniversityafterconvertingthemarksintogrades.
R8720PassingStandard
Thelearnerstopassacourseshallhavetoobtainaminimumof40%marksinaggregateforeachcoursewherethe
course consists of Internal Assessment & Semester End Examination. The learners shall obtain minimum of 40%
marks(i.e.16outof40)intheInternalAssessmentand40%marksinSemesterEndExamination(i.e.24Outof60)
separately,topassthecourseandminimumofGradeEineachproject,whereverapplicable,topassaparticular
semester. A learner will be said to have passed the course if the learner passes the Internal Assessment &
SemesterEndExaminationtogether.
CARRYFORWARDOFTHEMARKSINCASEIFTHELEARNERGETSFGRADEINONEORMORESUBJECTS:
1. A learner who PASSES in the Internal Examination but FAILS in the Semester End Examination of the
course shall reappear for the Semester End Examination of that course. However his/her marks of the
InternalExaminationsshallbecarriedoverandhe/sheshallbeentitledforgradeobtainedbyhim/heron
passing.
2. AlearnerwhoPASSESintheSemesterEndExaminationbutFAILSintheInternalAssessmentofthecourse
shall reappear for the Internal Examination of that course. However his/her marks of the Semester End
Examinationshallbecarriedoverandhe/sheshallbeentitledforgradeobtainedbyhim/heronpassing.
3. For Courses without practical: In case of a learner who is reappearing for the Internal Examination, the
examination will consist of one project of 40 marks which will be divided into 20 marks for the
documentation of the project, 10 marks for the presentation and 10 marks for the viva and the
interaction.
ALLOWEDTOKEEPTERMS(ATKT):
AsperUniversityofMumbairulesandregulationsforFacultyofArts
4. AdditionalExaminations:
INTERNALASSESSMENT:AsperUniversityofMumbairulesandregulationsforFacultyofArts
A. ClasstestorassignmentforInternalAssessment:
B. SEMESTERENDEXAMINATIONS
ELIGIBILITYTOAPPEARFORADDITIONALSEMESTERENDEXAMINATION:
MODEOFCONDUCTOFSEMESTERENDADDITIONALEXAMINATION:
EvaluationofProjects(WhereverApplicable)
1. A learner who PASSES IN ALL THE COURSES BUT DOES NOT secures minimum grade of E in project as
applicablehastoresubmitafreshprojecttillhe/shesecuresaminimumofgradeE.His/hermarksinthe
Page 6

theory papers that the learner has passed will be carried forward and he/she shall be entitled for grade
obtainedbythemonpassing.
2. Theevaluationofprojectandvivavoceexaminationshallbebyawardinggradeinthesevenpointscale.
3. A learner shall have to obtain minimum of grade E (or its equivalent marks) in project evaluation and
viva/vocetakentogethertoobtain40%marksinprojectwork.
5. CalculationsofGPA&SGPA
1. AsperUniversityofMumbairulesandregulationsforFacultyofArts
O6079EligibilityforAdmission:
Candidates for being eligible for admission to the threeyear integrated course leading to the Degree of
BA (Film, Television & New Media Production), shall be required to have passed the Higher Secondary
SchoolCertificateExamination(AcademicorVocationalStream)conductedbydifferentDivisionalBoards
of Maharashtra State Board of Secondary and Higher Secondary Education or an Examinations of any
anotherUniversityorBodyrecognizedasequivalentthereofbytheSenateoftheUniversityofMumbai.
2. Eligibilityfortheawardofthedegree:
A candidate shall be eligible for the award of the Degree only if he / she has undergone the prescribed
courseofstudyinaCollegeaffiliatedtotheUniversityforaperiodofnotlessthanthreeacademicyears,
passed the examinations of all the Six Semesters earning 120 credits, letter grade of at least E or above
(i.e. O/A/B/C/D/E) in core and specialized papers and fulfilled such conditions as have been prescribed
therefor.
R8721FeeStructure
ThefeesforthecoursewillbeRs96,000/fortheentirecourseinclusiveoftuitionfees
Note:
Thebreakuppersemesterwillbeasfollows
Rs24,000/persemester
Admissionfees1000/
Tuitionfees16000/
LibraryFees1000/
ComputerLabfees6000/
AnAdditionalRefundableSecuritydepositofRs10,000/willbechargedtothestudentsandwillberefundedto
thempostthecompletionofthecourseprovidedthereisnolosstoeitherequipments&librarymaterial.
R8722StudentIntakecapacity:60students
Page 7

CourseStructure
Subject
Code
SubjectName L P T
Total
Credits
SchemeofExams
Internal
Assessment
End
Semester
Exam
Total
Marks
SemesterI 20Credits
FTNP01
InitiationtoLiterature
&CreativeWriting
2 1 1 4 40 60 100
FTNP
02
Understanding
Effective
Communication
1 1 0 2 40 60 100
FTNP
03
IntroductiontoHistory
ofArtI
2 1 1 4 40 60 100
FTNP
04
BasicsofPhotography 2 1 1 4 40 60 100
FTNP
05
Introductionto
Cinema&Film
Appreciation
1 1 1 3 40 60 100
FTNP
06
BasicsofPracticalFilm
MakingI
0 3 0 3 100 0 100
TotalCredits 20
SemesterII20Credits
FTNP
07
WritingforVisual
Media
2 1 1 4 40 60 100
FTNP
08
ConceptofStory
Boarding
1 1 1 3 40 60 100
Page 8

FTNP
09
IntroductiontoHistory
ofArtII
2 1 1 4 40 60 100
FTNP
10
Basicsof
CinematographyI
1 2 0 3 40 60 100
FTNP
11
Understanding
TelevisionFormats&
Genres
1 1 1 3 40 60 100
FTNP
12
BasicsofPracticalFilm
MakingII
0 3 0 3 100 0 100
TotalCredits 20
INTERNSHIP4560daysoptional
SemesterIII20Credits
Subject
Code
SubjectName L P T
Total
Credits
SchemeofExams
Internal
Assessment
End
Semester
Exam
Total
Marks
FTNP
13
Introductionto
DirectionforTelevision
1 2 1 4 40 60 100
FTNP
14
ImportanceofSound&
SoundSpecialEffects
1 2 1 4 40 60 100
FTNP
15
CurrentAffairs 2 1 0 3 40 60 100
FTNP
16
ConceptsofPost
Production&
1 2 0 3 40 60 100
Page 9

ComputerGraphicsI
FTNP
17
Basicsof
CinematographyII
1 2 0 3 40 60 100
FTNP
18
IntermediatePractical
FilmMakingI
0 3 0 3 100 0 100
TotalCredits 20
SemesterIV20Credits
Subject
Code
SubjectName
L P T
Total
Credits
SchemeofExams

Internal
Assessment
End
Semester
Exam
Total
Marks
FTNP19
Introductionto
DirectionForFilms
1 2 1 4 40 60 100
FTNP
20
IntroductiontoMedia
Theory
2 1 0 3 40 60 100
FTNP
21
ConceptsofPost
Production&
ComputerGraphicsII
1 2 1 4 40 60 100
FTNP
22
BasicsofVisualSpecial
Effects&Compositing
1 1 1 3 40 60 100
FTNP
23
Understanding
AdvertisementFilm
Making
2 1 0 3 40 60 100
FTNP
24
IntermediatePractical
FilmMakingII
0 3 0 3 100 0 100
TotalCredits 20
INTERNSHIP
Page 10

SemesterV20Credits
Subject
Code
SubjectName
L P T
Total
Credits
SchemeofExams
Internal
Assessment
End
Semester
Exam
Total
Marks
FTNP
25
MediaLawsAn
Overview
2 0 1 3 40 60 100
FTNP
26
OverviewMedia
Business
1 0 2 3 40 60 100
FTNP
27
BasicsofMarketing&
PublicityDesign
2 1 2 4 40 60 100
FTNP
28
IntroductiontoMedia
ProjectManagement
2 1 1 4 40 60 100
FTNP
29
IntroductiontoTrends
andTechnologyinFilm
&Television
2 0 1 3 40 60 100
FTNP
30
AdvancedPractical
FilmMaking
0 3 0 3 40 60 100
TotalCredits 20
FINALPROJECTPLANNING
SemesterVI20Credits
Subject
Code
SubjectName L P T
Total
Credits
SchemeofExams
Internal
Assessment
End
Semester
Exam
Total
Marks
Page 11

FTNP
31
FinalProject[Portfolio
&Thesis]
0 20 0 20 40 60 100
TotalCredits 20
TotalCourseCredits 120
DetailedCurriculum
SEMESTERI
InitiationtoLiterature&CreativeWriting
SubjectCodeFTNP01
Objectives:
To introduce basic tenets of Indian literature including regional literature | To introduce and appreciate various
formsofliterature(Novel,Poetry,Drama,Essay)|Tohelpbuildskillsforcreativewriting|Tohelpunderstandthe
structureofStory,poetryanddrama|Tointroducewritingforinternet
Unit I Introduction to Indian Writers Hindi/Marathi/Urdu & other regional languages: History of Indian
literature, prominent writes, important works, cultural significance | Unit II A Brief Introduction to Creative
Writing: What is creative writing, various forms of writing, various form of writing styles, how to build creative
writingskills|UnitIIIFormalstructureoftheshortstory:Variousformsofwritingstyles,Genresofstory,how
todevelopanengagingidea,Prominentwriters,Pickyourstyle|UnitIVFormalaspectsofPoetry:Elementsof
poetry,typesofPoetry,Differencebetweenvariousstyles,Famouspoetsandtheirworks,StudyoftheEpicBallad
Mahabharata | Unit V Formal aspects of Drama: Structure of drama, one acttwo actthree act play,
Characterization, Freytags triangle, Subject specific drama | Unit VI Writing for the internet: How internet
writing is different from conventional writing,Blogging, Reputation management, Development of Blogs, writing
forsocialmedia,writingforSEO&SMO
Textbooks:
1. TheCreativeWritingCoursebook:FortyAuthorsShareAdviceandExercisesforFictionandPoetry
2. CreativeWritingByAdeleRamet
3. CreativeWritingforPeopleWhoCan'tNotWriteByKathrynLindskoog
ReferenceBooks:
1. CreativeWriting:AWorkbookwithReadingsByLindaAnderson
2. TeachingCreativeWritingByGraemeHarper
3. TheEverythingCreativeWritingBookByWendyBurtThomas
4. TheSoulofCreativeWritingByRichardGoodman,Goodman,Chong

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5. Minoa
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Page 13

10. RomanArt(Paper)(5TH08);byNancyRamage
11. AmericanEncounters:Art,HistoryandCultural(08);byAngelaL.Miller
12. MirroroftheWorld:NewHistoryofArt(07);byJulianBell
BasicsofPhotography
SubjectCodeFTNP04
Objectives:
TolearnthebasicsofartofPhotography|Tounderstandthebasicintricaciesinvolvedintakingaphotograph|To
understandwhatmakeagoodpicture|Todevelopbasicphotographicsenseandknowledge
UnitIDevelopmentofPhotographyovertheyears:BriefHistoryofPhotography,earlyphotographymethods,
switchfromfilmtodigital,differencebetweenfilmanddigitalphotography,formatsofimagesindigital|UnitII
Cameras&Techniques:Typesofcamera,filmcamerasV/Sdigitalcameras,lensesandtheirimportance,Story
DesignandDevelopment,LawsofComposition,GesaultLawandVisualPerception,Semioticphotography|UnitIII
LightingTheory&practice:SourcesofLighting,2pointlighting,3pointlighting,creatingcontrast,outdoor
naturallighting,relatedaccessoriesforlighting|UnitIVPostproductionofPhotos,DigitalImageEditing
Photoshop:ProcessingofRawimages,IntroductiontoAdobePhotoshopandimagereadysoftware,howto
enhancethephotodigitally
Textbooks:
1. TheArtofPhotography;byBruceBarnbaum
2. CreativeNature&OutdoorPhotography;BrendaTharp
3. ChasingtheLightbyIbarionexPerello
ReferenceBooks:
1. TheCamerabyLarryHills
2. TheCreativeBlackBook
3. ThePrintbyAnselAdams,RobertBaker
4. 500posesforPhotographingWomenbyMichellePerkins
5. CreativeLandscapes:DigitalPhotographyTips&TechniquesbyAuthor:Davis,Harold
IntroductiontoCinema&FilmAppreciation
SubjectCodeFTNP05
Objectives:
Tolearnthehistoryofcinema|Tounderstandthebasicsofvariousmovementsincinema|Tolearnaboutworld
cinema and their prominent masters | To understand the studio system | To Learn Indian cinema in association
withworldcinema
UnitIUnderstandingCinema:GenresofFilms,CulturalsignificanceinrelationtoFilm,worldcinemaandworld
view,FilmScreening|UnitIIUnderstandingstorytellingtechniquesofCinemaMasters:Importantelementsof
storytellingofcinemamasters,Howtheplothasbeendeveloped,howthecharacterizationhasbeendone,theups
anddowns|UnitIIIWorldCinemaStudyofIconicFilmDirectorsandtheirstyles
StudyofSatyajitRay,VShantaram,IngmarBergman,GeorgeLucas,FredricoFellini,StevenSpielberg,MajidMajidi,
Akira Kurosava, etc. | Unit IV Introduction to various theories of Films & Important Movements: Apparatus
theory,Auteurtheory,Feministfilmtheory,Formalistfilmtheory,RealismMovement,NeoRealismmovement
Textbooks:
1. FilmAsFilm:UnderstandingAndJudgingMoviesbyVictorF.Perkins
2. UnderstandingtheFilm:AnIntroductiontoFilmAppreciation,StudentEditionbyJanBone,RonJohnson
3. TheoryofFilm:TheRedemptionofPhysicalReality;BySiegfriedKracauer
ReferenceBooks:
1. ScreenEducation:FromFilmAppreciationtoMediaStudies;ByTerryBolas
2. AsianFilmJourneys:SelectionfromCinemayaByRashmiDoraiswamy,LatikaPadgaonkar
3. HowMoviesWorkByBruceF.Kawin
4. FilmStudy:AnAnalyticalBibliography,Volume1ByFrankManchel
5. TheWorldViewed:ReflectionsontheOntologyofFilmByStanleyCavell
6. AShortHistoryofFilmByWheelerW.Dixon,GwendolynAudreyFoste
BasicsofPracticalFilmMakingI
SubjectCodeFTNP06
Page 14

Objectives:
Tounderstandthebasicsoftheproductionpipelineoffilmmakingprocess|Tointroducetheprocessofguerilla
filmmaking&documentaryfilmmaking|Tounderstandthebasicworkflowindocumentaryfilmmakingprocess|
Togainexposureonvariousrudimentarycamerasandbasicsoftwaresusedforproductionofdocumentaryfilm
making
ThestudentswillundergotheprocessofGuerilla&DocumentaryFilmmaking.Thestudentswillbeexposedto
rudimentarycameras&softwareandwillworkonprojectsrangingfrom1015mins.Thestudentswillbeexposed
totheentireprocessoffilmmakingandtheproductionworkflowinDocumentaryproduction.
SEMESTERII
WritingforVisualMedia
SubjectCodeFTNP07
Objectives:
Tounderstandthebasicstructureofscreenplay|Tointroducetothebasicskillsforscreenwriting|To
understandtheintricaciesofscreenwriting|Tolearnthebuildcharactersandwritemeaningfulldialogues
UnitIPreparingtoThinkVisually:DivingIntotheScreenwritersMind,ApproachingScreenwritingasaCraft,
BreakingDowntheElementsofaStory,UnpackingYourIdea|UnitIIStructureofStory&Screenplay:PlotPart
I:Beginnings,PlotPartII:Middles,PlotPartIII:Endings|UnitIIIDynamicsofCharacterization:Character
Building,ConstructingDynamicDialogues,NontraditionalFilm|UnitIVFinalizingtheScript:Maintainingan
AudiencesTrust,TurningYourStoryintoaScript,TakeTwo:RewritingYourScript,AdaptationandCollaboration:
TwoAlternateWaystoWork
Textbooks:
1. Hownottowriteascreenplay:101commonmistakesmostscreenwritersmakebyDennyMartinFlinn
2. ScreenAdaptation:AScriptwritingHandbookbyKennethPortnoy
3. Screenplay:TheFoundationsOfScreenwritingBySydField
ReferenceBooks:
1. TheScreenwriter'sBibleByDavidTrottier
2. TheBareBonesBookofScreenwriting:TheDefinitiveBeginner'sGuideto...ByJ.T.Clark
3. ScreenwritingforaGlobalMarket:SellingYourScriptsfromHollywoodto...ByAndrewHorton
4. ScreenwritingForDummiesByLauraSchellhardt
5. Screenwriting:TheSequenceApproachByPaulJosephGulino
6. TheToolsofScreenwritingByDavidHoward,EdwardMabley
7. TheArtofScreenwriting:AnAtoZGuidetoWritingaSuccessfulScreenplayByWilliamPackard
8. WritingtheCharacterCenteredScreenplayByAndrewHorton
ConceptsofStoryboarding
SubjectCodeFTNP08
Objectives:
Tounderstandtheneedforstoryboarding|Tolearnthefundamentalsofshoottakinganddivision|To
understandvariousstoryboardingtechniques|Tounderstandtheimportanceofperspectiveandlightingwhile
storyboarding
UnitIIntrotoStoryboarding/VisualStorytelling&Storyboards:OriginsofStoryboardsandaspectratio|Unit
IIFundamentalsofShots:TerminologyofShoots,CameraFraming,CameraAnglesandMovements|UnitIII
StoryboardingTechniques:Conceptwhatthestoryisabout,Drawingthecomponentsofthestoryboard
Indicatingmotioninthestoryboard,Increasedrealityperspectiveandlighting|UnitIVComposition,
Perspective&Lighting:CompositionalElements,lineshapecontrast,creatingmeaningwithinimage,Creationof
depththroughlenschoiceandlinear,atmosphericandsizeperspective,HighKeyLighting,LowkeyLighting,3
pointLighting,Tonalqualityoflighting.|UnitVContinuity:BasicRulesofcontinuity,180Degreerule,screen
direction,Cutaways&Cutins|UnitVIStoryBoardsforAnimations&SpecialEffectsFilms:Structureof
animationfilms,Specialeffectsbreakdown,creatingtheenvironment|UnitVIIStoryBoardingforCommercials
andNewMedia:Structureofcommercials,elementsofbrandbuildingtobeimplemented,specialcolourscheme
forbrandsandproducts
TextBooks:
1. ExploringStoryboardingByWendyTumminello
2. TheArtoftheStoryboard:StoryboardingforFilm,Tv,andAnimationByJohnHart
Page 15

3. DirectingtheStoryByFrancisGlebas
ReferenceBooks:
1. BeginningIllustrationAndStoryboardingForGamesByLesPardew
2. Storyboards:MotionInArtByMarkSimon
3. FromWordtoImage:StoryboardingandtheFilmmakingProcessByMarcieBegleiter
4. Preparetoboard!ByNancyBeiman
5. Storyboarding101:ACrashCourseinProfessionalStoryboardingByJamesO.Fraioli
6. Writingwithpictures:howtowriteandillustratechildren'sbooksByUriShulevitz
IntroductiontoHistoryofArtII
SubjectCodeFTNP09
Objectives:
TounderstandthebasicsofPaintings,sculpturesandArchitecture
TolearntodifferentiatebetweenvariousformsofPaintings,sculpturesandArchitecture
TounderstandbasicsofcontemporaryPaintings,sculpturesandArchitecture
Tolearnaboutthebasicsofcompositionanddetailingandalsotheelementaryculturalsignificancefrom
Paintings,sculpturesandArchitecture
TolearnthebasicsofPaintings,sculpturesandArchitectureinrelationtoFilmmaking
UnitIPaintings
1. EarlyCavePaintings
2. EuropeanPaintingsandPainters
3. IndianPaintings&Painters
4. ImportantMovements
UnitIISculptures
1. EarlySculptures
2. EuropeanSculptureandArtists
3. IndianSculptureandArtists
4. AmericanSculptureandArtists
5. Importantmovements
UnitIIIArchitecture
1. EuropeanArchitecture
2. AfricanArchitecture
3. AsianArchitecture
4. AmericanArchitecture
5. RussianArchitecture
6. ImportantMovements
Textbooks:
1. HistoryofArtBernard.S.Myers,TrawinCopplestone
2. TheAtlasofAncientWorldMargaretOliphant
BasicsofCinematographyI
SubjectCodeFTNP10
Objectives:
Tounderstandtheimportanceofcinematographyinfilmmaking|Toenhancethebasicknowledgeaboutlighting
anditsuse|Tounderstandvariousequipmentsrequiredforvariousformoflighting|Tounderstandthebasicsof
variouscamera,lensesanddigitalcinematography
Unit I Power of a Picture: Power of a still picture | Shooting a good Still picture | CompositionFraming |
Understanding&Useofcolor|CapturingtheDrama|BlackandwhitePhotography;UnitIILight:Roleoflight|
Lighting techniques | Concept of lighting various planes | Understanding Various types: Tungsten lamps, Cool
Lights, HMI, Cyclorama/background lights, Soft Box lights. | Use of cutter stand, black cloth and Camera filters |
barn doors | use of reflectors | Three point lighting | Ratio lighting: 1:2, 1:3, 1:4 | Creating various Background
patterns and types | Lighting Situations | Studio lighting for three cameras set up: Talk Show, Game Show |
Availabledaylightsituations|ShootingforDocumentarystyle|Facelighting.Key,fill,backlight|Depthoffield
Exercise|Highkeylighting|Lowkeylighting;UnitIIILenses:TypeofLenses|PowerofLenses|Understanding
the shot requirement and usage of a lens | Idea of perspective: Depth Of Field, Depth of focus, Critical
understandingofFixedLensVs.ZoomLens|Focuspulling|18%greycard|Metering|Colortemperaturemeter;
Unit IV Camera Movements: Basic grammar of shots | Primary Camera Movement: Pan, Tilt, Zoom, Character
Page 16

Movement|UsageandneedofTrackandtrolly,Crane,jimygip,PollCam|ManagingMovements|Singlecamera
Setup | Multi camera setup | Continuity Exercise | Dos and donts of camera movements | Aesthetics and
PsychologicalImpactofMovingImages|VariouspartsofMotionpicturecameras|MovingImageMotionPicture
|ImpactofcollectivemovingImages|MotionPictureDynamics;UnitVUnderstandingdigitalvideorecording
Principleofvideorecording|DigitalRecordingFormats|Editingandcompression|Digitalsamplingandstorage|
TechnicalformatsofvideoPAL,NTSC|TimeCodeinVideoRecording|FilmStockandProcessing
Textbooks:
1. CameraTermsandConceptsbyDavidElkins
2. TheCameraAssistantbyDougHart
3. MotionPictureCameraandLightingEquipmentbyDavidSamuelson
ReferenceBooks:
1. MotionPictureCameraTechniquesbyDavidSamuelson
2. The16mmCameraBookbyDouglasUnderdahl
3. TheHandsOnManualforCinematographersbyDavidSamuelson
4. TheProfessionalLightingHandbookbyVerneCarlson
5. TheFilmmakersPocketReferencebyBlainBrown
6. AmericanCinematographerASCManual
7. TheZoneSystemforPhotographersbyCarsonGraves
8. Cinematography:ScreencraftbyPeterEttedgui
9. ContemporaryCinematographersOnTheirArtbyPaulineRodgers
10. OperatingCinematographyforFilmandVideobyWilliamHines
11. CinematographyAGuideforFilmmakersandFilmTeachersbyKrisMalkeiwicz
12. FilmLighting:TalkswithHollywood'sCinematographersandGaffersbyKrisMalkiewicz
13. TheFiveC'sofCinematography:MotionPictureFilmingTechniquesbyJosephV.Mascelli
14. TheArtoftheCinematographer:ASurveyandInterviewswithFiveMastersbyLeonardMaltin
15. AntonWilson'sCinemaWorkshopbyAntonWilson
16. ImageControlMotionPictureandVideoCameraFiltersandLabTechniquesbyGeraldHirschfeld
17. LightingforFilmandElectronicCinematographybyJohnDavidVieraandDaveViera
18. PaintingwithLightbyJohnAlton
19. PictureCompositionforFilmandTelevisionbyPeterWard
20. MattersofLightandDepthCreatingMemorableImagesforVideo,FilmandStillsThroughLightingbyRoss
Lowell
21. LightingTechnologybyFittandThornleySetLightingTechnician'sHandbookbyHarryC.Box
22. DigitalCinematographybyBenDeLeeuw
23. IfIt'sPurple,Someone'sGonnaDie:ThePowerOfColorInVisualStorytellingByPattiBellantoni
24. HighDefinitionCinematographyByPaulWheeler
UnderstandingTelevisionFormats&Genres
SubjectcodeFTNP11
Objectives:
Tounderstandhowtelevisionprogrammingworks|TolearnaboutTRPsanddramacreation|Tostudytheimpact
ofnicheprogramming|Tolearnaboutvariousgenresoftelevisionprogramming
UnitINatureofdramaintelevision:Variousshows,formatsandgenres,telecastpatterns,audienceviewership
performance | Unit II Creating Drama for TRPs: Building the story, herd culture existing in current times,
breaking the barriers | Unit III Creating niche television programming: Importance of niche content, niche
content channels, producing niche content in wake of DTH connections | Unit IV Differentiation of
infotainment, edutainment, entertainment, lifestyle genres: Differentiation of genres, Specialty of different
genres,popularityofgenres,contentondemand,StudyofBBC&Discovery,StudyofGECs
Textbooks:
1. FundamentalsofFilmDirectingByDavidK.Irving
2. Writing,Directing,andProducingDocumentaryFilmsandVideosByAlanRosenthal
3. BreakingintoFilmbyKennaMcHugh
4. BeforeYouShoot:AGuidetoLowBudgetFilmandVideoProductionbyHelenGarvey
ReferenceBooks:
1. FilmDirectingCinematicMotion:AWorkshopforStagingScenesByStevenDouglasKatz
2. FilmDirectingFundamentals:SeeYourFilmBeforeShootingByNicholasT.Proferes
3. ProblemsOfFilmDirectionBySergeiEisenstein
Page 17

BasicsofPracticalFilmMakingII
SubjectCodeFTNP12
Objectives:
Tounderstandtheproductionpipelineoffilmmakingprocesswithrespecttoshortfilm|Tointroducetheprocess
of2charactersinglelocationfictionshortfilmmaking&indepthdocumentaryfilmmaking|Tounderstandthe
entireworkflowindocumentaryfilmmakingprocess|Togainexposureonvariouscamerasandsoftwareusedfor
productionofdocumentaryandshortfilmmaking
Thestudentswillundergotheprocessof2CharacterSinglelocationFictionShortfilmmakingandIndepth
DocumentaryFilmmaking.ThestudentswillbeexposedtoSemiprofessionalcameras&softwareandwillworkon
projectsrangingfrom1015mins.Thestudentswillbeexposedtotheentireprocessoffilmmakingandthe
productionworkflowinShortFilmFictionCategory.
SEMESTERIII
IntroductiontoDirectionforTelevision
SubjectCodeFTNP13
Objectives:
Tounderstandtheneedfordirectionintelevision|Tounderstandtheroleplayedbyadirector|Tounderstand
theQualitiesrequiredtobeadirector|Tolearnhowtomanagecreativityandcreativeteam
UnitIStillstomotionpicture,APerspectiveon:Impactofastillpicture,Analyzingapicture,CriticalIngredients
LeonardoDaVinci,CompositionFraming,Functionandproperuseoflenses,Understanding&Useofcolor,
AestheticsofPaintingandSpatialArts,MovingImageMotionPicture,ImpactofcollectivemovingImages,Motion
PictureDynamics,PrimaryMovementSecondaryMovements,ManagingMovements,TonalValueDepthofField,
AestheticsandPsychologicalImpactofMovingImages|UnitIISound&Music,APerspectiveon:Associationof
sound,ListeningtoSound,Contributionandimpactofsound,Understandingrhythm,melody,drama,Knowing
variousinstruments,ImpactofSoundMoods,Roleofnotesandbeats,TonalQuality,PitchVolumePerspective,
TheconceptofMusic,GlimpsesofWorldMusic,Voicecultureforspeech,Acoustics,HarmonySymphony,
RhythmvariousTypesofRhythmIndianandWesternConceptsPermutations&CombinationsofNotes&Rhythm,
TheformationofMusicGlimpsesofWorldMusicComboofMusic&EffectsBackgroundscore|UnitIIILighting,
APerspectiveon:Whatmakesagoodpicturepartsplayedbycomposition,light,contrastanddrama,Light
contrastVolumeForegroundMidgroundBackgroundPropenquityDistanceColourAngle,Dynamisminvolvedin
motion/actionSettingdynamisminactionCreatingaction|UnitIVArtofFilmMaking,APerspectiveon:
UnderstandingtheImportanceandpowerofaudiovisualcommunication,PictureCompositions,Qualitiesof
motionpicture:SenseofTensionandSurprise,IntensityofDrama,Facilitytotravelwithviewersfromonelocation
toanother;Howtostoreastillandamovie,Importanceoflisting,makeup,properties,setcontract,Genresof
filmsAction,Horror,Romantic,Social,SciFi,Futuristic,War,ThefilmpipelineCreativeProcess:Concept
ResearchideationStructuringaStoryStoryBoardingCharactersscreenplayDialoguesCastingShootEditRe
RecordingFinalPrint/DVD.Understandingtheneedsofcinematographer/Sounddesigner/editor/clientservicing
executive,ThefilmpipelineProductionProcess,FormationofTeamLocationSurveyAuditionsPlanningthe
shootProductionManagementHiringoffacilitiesCostControlManagingcrew&artists|UnitVDirector
ConductorofanAudioVisualorchestra:WhatitmeanstobeaDirector,Managingcreativityofcolleaguesand
managingacreativeteam,Understandingofroles&responsibilitiesofthecrew,UnderstandingtheEmotional
Aspect&TechnologicalAspectsofActors,Cinematographer,Editor,MusicDirector,SoundEngineer,Makeup
Man,Howtobringtheeffectsofmusic&picturetogether|UnitVIHandsontoolsforaDirector,APerspective
On:Howtobecreative,whatdoescreativitymean,Thelanguageofcinema,Theartofepisodes,HistoryofIndian
&WorldCinema,AdfilmMaking,Documentaries
Textbooks:
ReferenceBooks:
1. Directing:FilmTechniquesandAestheticsByMichaelRabiger
2. OndirectingfilmByDavidMamet
3. DirectingActors:CreatingMemorablePerformancesforFilmandTelevisionByJudithWeston
4. ArtDirectionforFilmandVideoByRobertL.Olson
5. Thefilmdirector'steamByAlainSilver,ElizabethWard
6. NotesofafilmdirectorBySergeiEisenstein
7. ProducingandDirectingtheShortFilmandVideoByPeterW.Rea,DavidK.Irving
Page 18

ImportanceofSound&SoundSpecialEffects
SubjectCodeFTNP14
Objectives:
Tolearnaboutthebasicofsound|Tounderstandthenatureofsoundandrecordingdevices|Tolearnthebasics
ofsyncsound,mixingconsole,analogv/sdigitalworkflow|Tounderstandtheneedforsoundandimportanceof
soundinfilm|Tolearntorecordasong
UnitIBasicsofSound:Natureofacousticalwaves;conceptsofamplitudeandfrequencywavelengthand
harmonics.Psychoacoustics:Natureofhearingandperceptionofsound,includingconceptsofpitch,loudness,
andtimbre;theprecedenceeffect;localizationinrooms;equalloudnesscontours;andothermysteriesofhearing.
PrinciplesofStereophony|UnitIISoundforFilmandVideo:ThesoundtrackitsimportanceinanAVmedium,
Differentelementsofasoundtrack,Explanationofhowsoundisputtothefilm|UnitIIISyncSound:Thesizeof
therolesoundshouldplayinyourfilmwillvarydependingonyourprofessor'srequests,butwhenitcomestothe
technicalsideofthings,youareatleastrequiredtoknowhowtoachievesynchronizedsoundandpicturewith
film.InterconnectivityofAnalog&DigitalEquipment:Basicanalogconnectors,cabling,patchbay,
interconnectivitybetweenvariousrecordingstudioequipment.VariousDigitalinterconnectsandtheirsocketson
thedigitalequipment.MicrophonesTypes:Dynamic,Condenser,Ribbon,PolarPattern,Sensitivity.Microphone
designsforspecialapplicationsAcousticsI(Fundamentals):Thebehaviorofsoundinoutdoorsandinclosed
spaces;Absorption,reflection,diffraction,refraction,reverberation.|UnitIVMixingConsoleBasics
Thesignalflowandvariousauxiliarysystems.DigitalAudio:AnalogtoDigitaltoAnalogconversion.Sampling
Frequency,BitRates.Problemsindigitalaudio.Differentdigitalmedia,Standarddigitalrecording&mastering
formats.Audiofileformats,storagemediumsoptical,magnetic,Jitteretc.ComputersinAudio:Different
platformsdifferentoperatingsystems,ConfigurationofaPCforsoundrecording.MotherBoards,Processor,
SoundCard,Graphiccard,MonitorsRecorders:Analog,Digital,TapeBased&Tapeless.DigitalAudioWorkstations
(DAWs)|UnitVFilmShowcase:CasestudiesoffamousIndianaswellasforeignfilms|UnitVIMicrophone
Techniques:Placement,Applications,Proximityeffectsetc.microphonesandplacementtechniquesforstereo
recording.MonitoringSystems:Active&Passivetypes,Domesticandprofessionallisteningenvironment,Stereo
andsurroundmonitoring.|UnitVIITheProductionProcessofaSong:MusicBasics.TypesofMusic,Concepts
ofMelody,Harmony,Rhythm&countermelodyetc.Formatofasong.Preproduction,Tracking,Overdubbing,
Editing,MixingandMastering.Processors:TheoryofTonal,Dynamic&Spatialprocessors.Equalizerstypesand
theirapplication,Compressors&Limiterstheoryandapplication,EffectsprocessorsReverberationandDelay
devicesandtheirplugincounterparts.|UnitVIIISoundforfilm:Locationsound,Radiomicsusesandpotential
difficulties.Boomoperationforsyncsound,Handsontraininginlocationsoundrecordingforvideo.Nuendo
Basic:Basicprinciples,understandingtheprocessfrominitialsetuptocompletionofaproject.Tosetupfora
vocal/instrumentsdub.HandsontrainingYouwillshareaNuendoworkstationduringtheclass.Principlesof
Mixing:Thebasictechniquesofmixingandthefundamentalapproach.TheBuildingBlocksofMixing
Settingthesoundstage,andthesonicimplicationsofpanningandofplacinginstrumentsatvaryingdistancesfrom
thelistener;ConsiderationofdifferentapproachestogettingdesiredresultsfromEQ;Acomprehensivereviewof
theusesofdynamicprocessor;onIndividualchannelsandMixmaster.Finishingamixwithautomation.
"Mixinginthebox."AndMixingthroughtheboard.ProductionoftheSoundTrackforthestudentprojectfilm:
Discussingsounddesignstrategywiththedirectorofthefilmatpreproductionstage.Attendingfilmsyncshoots.
VideoFileformats,Acquiringpictureforpostproductionfromeditsuite.Dubbingthedialogueswherever
necessary,SelectingSFXandBGmusicfromthelibrary,recordingFoleyandmusicasperthedemandofthescript.
Mixingthefinaltrack.Exportittotheeditor,supervisethefinalassemblyofthefilm.
Textbooks:
1. ProTools9:MusicProduction,Recording,EditingandMixingByMikeCollins
2. ProToolsAllinOneDeskReferenceForDummiesByJeffStrong
3. SoundforFilmandTelevisionByTomlinsonHolman
ReferenceBooks:
1. SoundForDigitalVideoByTomlinsonHolman
2. ProducingforTVAndVideo:ARealworldApproachByCathrineKellison
3. Soundforpicture:aninsidelookataudioproductionforfilmandtelevisionByJeffForlenza,TerriStone
4. AudioinMediaByStanleyR.Alten
5. MasterHandbookofAcousticsByF.AltonEverest
6. ModernRecordingTechniquesByDavidMilesHuber
7. MasteringAudioByBobKatz
8. MixingAudioByRoeyIzhaki
9. PracticalRecordingTechniquesByJennyBartlett
10. CriticalListeningSkillsforAudioProfessionalsByF.AltonEverest
11. TheAudiblePastByJonathanSterne
Page 19

CurrentAffairs
SubjectCodeFTNP15
Objectives:
Tounderstandaboutthecurrenthappeningintowardsworld|Tolearnaboutvariousenvironmentalissues|To
understandabouthumanrightsandvariousconceptspertainingtoit|Tounderstandthepoliticalsystemand
relatedconcepts|TounderstandtheIndianconstitutionandIndianpoliticalsystem|Tounderstandvarious
politicalideologies
UnitIEnvironmentalissues:Worldwithoutborders,Resourceuseandsustainability,Environmentaldegradation
ozonedepletionpollution|UnitIIUniversalhumanrightsuniversaldeclaration(1949);declarationofthe
righttodevelopment(1986);examiningtheconceptofuniversalhumanrightsandtheindividualcontext:Self
determinationissuesofsecession;issuesandantistateviolence,Population,consumptionandsustainability,
Emancipatormovements,Tradeunion,Peasantsmovements(withglobalvision),Environmentmovements
chipko,Rachelcarsonsilentspring;72UNsummitonenvironment,Womensmovement,Homosexualrights,The
developmentdebateantilargemovements,rehabilitation,developmentchoises,peoplesinvolvement,Tribal
movements|UnitIIIGovernanceandrelatedissues:Declineoflaw,Corruption,Nexusbetweencrimeand
politics,Politicalapathy,Secularism,Issuesofaccountability|UnitIVConcept:State,Society,Nation|UnitV
Politicalideologies:Liberalism,Fascism,Socialism,Communism,Democracy|UnitVIIndianconstitution:Brief
historyofIndianconstitution,Salientfeatures,Preamble,Fundamentalrightsandduties,Indianfederalism|Unit
VIIIndianpoliticalsystem:FeaturesofIndianpoliticalsystem,NatureofIndianpoliticalsystemPoliticalparties
featuresofIndianpoliticalparties,significantpoliticalparties,Identitypolitics:caste,reservation,politicsparties,
Regionalismandsecessionism,ElectionsinIndia:understandingelectionprocess,opinionandexitpolls,landmarks
inelectoralprocess52,77,89elections
Textbooks:
1. Internationaltheoryofhumanrights;OUP
2. Guha,R;socialecology;OUP
3. Stateoftheworldseries;worldwatchinstitute
ReferenceBooks:
1. StateofIndiasenvironment;CSE;(2000);
2. DSouza,dilip;brandedbylaw;(2001);penguin
3. Banerjee,ruben;theOrissatragedy(2001)bookstodayindiatodaygroup.
4. Mander,harsh;unheardvoices(2001);penguin
5. Goyal;Indianpoliticalsym(mcmillan)
6. MachereyandTikekar:Indianpoliticalsystem
7. Axford,browning,huggins,rosamondandturner;politicsanintroduction;(1997);routledge
8. Ed.Frankel,hasanbhargavaandarora;transformingindia;(2000);OUP
9. Theoxfordcompaniontopolitics.
ConceptsofPostProduction&ComputerGraphicsI
SubjectCodeFTNP16
Objectives:
Tounderstandthebasicsofvideoeditingandaesthetics|Tounderstandthevarioustypesofeditingandvarious
possibilitieslikerhythm&pace,dramaticcontinuityetc.|Tounderstandadobeeditingsoftwareandmac
interface|Tounderstandthevariouseditstylesandpatterns|Tounderstandthedigitalv/sanalogediting
Theory
1)Aesthetics/Principlesofediting,2)Spatial&Temporalpossibilities,3)Manipulationoftime,4)Rhythm&Pace,
5) Dramatic Continuity, 6) Soviet school of editing Dziga Vertov, Eisenstein, Pudovkin, 7) French new wave
Godard, Chabrol, 8) Classical Hollywood narrative in sound era: Hitchcock, 9) Individual departures from classical
Hollywood narrative: Bunuel: Discontinuity, Dreyer: Close up, Bresson : Minimalism, Renoir: Deep Focus, Long
takes,Ozu:Breaking180degreerule,Pillowshots,10)Linear&NonlinearEditing,11)Analog&DigitalRecording
PRACTICAL
1)IntroductiontoAdobePremierProandMacInterface,2)ArrangingtheInterface,3)LearningCustomLayout,4)
CustomizingthekeyboardLayout,5)SettingScratchDisk,6)Binmanagement,Logging,Digitizing,andCapturing,7)
SavingProjectsandAccessingtheAutosaveVault,8)OrganizingVideoFootage,9)MediaManagement,10)Insert
and Overwriting Editing, 11) Three point Editing, 12) Split Edit, 13) Working with Multi Layers, 14) Key framing
Image, 15) Time Remapping, 16) Effects, Applying Transitions, Compositing, 17) Motion Tab, 18) Render Setting,
19)Titling,20)SoundEditing,21)Tracklaying(Effects,Music,Narration),22)DubbingandSyncing,23)Adjusting
AudioLevels,24)MixdownAudio,25)PremierCompatibleandSupportingSoftware,26)PrinttoVideo
Textbooks:
1. EditingDigitalVideoByRobertM.Goodman,PatrickJ.McGrath
2. VideoEditingandPostProduction:AProfessionalGuideByGaryH.Anderson
3. DigitalVideoForDummiesByKeithUnderdahl
ReferenceBooks:
Page 20

1. TheTechniqueofFilmandVideoEditing:History,Theory,andPracticeByKenDancyger
2. NonlinearEditingBasics:ElectronicFilmandVideoEditingByStevenE.Browne
BasicsofCinematographyII
SubjectCodeFTNP17
Objectives:
Tounderstandthebasicstructureoffilmanddigitalcamera|Toenhancethebasicknowledgeaboutlightingand
itsuse|Tounderstandvariousequipmentsrequiredforvariousformofmoodlighting|Tounderstandbasicsof
variousdigitalcameras,lensesanddigitalcinematography|Tolearnthebasicsofspecialeffectscinematography
|Tounderstandtheneedsofcocreators
UnitIStructureofFilmandDigitalCamera:Understandingtheinternalstructureofcamera|perforationloop|
pressure plate | Pull down claw | Magazine: Types of magazine | Threading of film | Intermittent Movement |
AnalysisofClawmotion|Registrationpin|Sprocketwheel|Framespersec|CameraMotors|Slowmotionand
Fast motion | Reverse Movement | Lens Mount Flange Depth | Magazine Cover/rain cover | Digital Process of
Image capturing | Latitude of film Camera format | Latitude of digital format | Shooting Format16mm/35
mm/70mm/super.16/Imax/3D | Convenience of Digital format | The Future of Film Formats ; Unit II Special
EffectsandCinematography:ChromekeyConcept|Preparationforchromekey|CompositingadigitalPicture|
Digitalmattepainting;UnitIIIMoodLighting&ColourLightingTheory&Practice:Red,Blue,Green,Purple&
OrangelightsandTreatmentsforVariousScenes|ColourandCultural;UnitIVImageformation(Understanding
requirements of a director): Understanding a Screenplay writing | Writing for visuals STORY BOARDING |
Capturingthedramaonthecamera|HowtocreatepacketsofemotionalexperienceScene|CreationofDrama
IngredientsofaDrama;UnitVUnderstandingtheneedsofCocreators(Director,Editor,SoundRecordist...)
Workinginteam|TeamBuilding|Conflictformation|ConflictResolution
Textbooks:
1. CameraTermsandConceptsbyDavidElkins
2. TheCameraAssistantbyDougHart
3. MotionPictureCameraandLightingEquipmentbyDavidSamuelson
ReferenceBooks:
1. MotionPictureCameraTechniquesbyDavidSamuelson
2. The16mmCameraBookbyDouglasUnderdahl
3. TheHandsOnManualforCinematographersbyDavidSamuelson
4. TheProfessionalLightingHandbookbyVerneCarlson
5. TheFilmmakersPocketReferencebyBlainBrown
6. AmericanCinematographerASCManual
7. TheZoneSystemforPhotographersbyCarsonGraves
8. Cinematography:ScreencraftbyPeterEttedgui
9. ContemporaryCinematographersOnTheirArtbyPaulineRodgers
10. OperatingCinematographyforFilmandVideobyWilliamHines
11. CinematographyAGuideforFilmmakersandFilmTeachersbyKrisMalkeiwicz
13. TheFiveC'sofCinematography:MotionPictureFilmingTechniquesbyJosephV.Mascelli
14. TheArtoftheCinematographer:ASurveyandInterviewswithFiveMastersbyLeonardMaltin
15. AntonWilson'sCinemaWorkshopbyAntonWilson
16. ImageControlMotionPictureandVideoCameraFiltersandLabTechniquesbyGeraldHirschfeld
17. LightingforFilmandElectronicCinematographybyJohnDavidVieraandDaveViera
18. PaintingwithLightbyJohnAlton
19. PictureCompositionforFilmandTelevisionbyPeterWard
20. MattersofLightandDepthCreatingMemorableImagesforVideo,FilmandStillsThroughLightingbyRoss
Lowell
21. LightingTechnologybyFittandThornleySetLightingTechnician'sHandbookbyHarryC.Box
22. DigitalCinematographybyBenDeLeeuw
23. IfIt'sPurple,Someone'sGonnaDie:ThePowerOfColorInVisualStorytellingByPattiBellantoni
24. HighDefinitionCinematographyByPaulWheeler
IntermediatePracticalFilmMakingI
SubjectCodeFTNP18
Objectives:
Tounderstandtheproductionpipelineoffilmmakingprocessformultiplelocationsinshortfilms|Tointroduce
theprocessof2CharactermultiplelocationFictionShortfilmmakingandIndepthMultipleCharactersSingle
LocationShortFilm|Tounderstandtheentireworkflowin2CharactermultiplelocationFictionShortfilm
makingandIndepthMultipleCharactersSingleLocationShortFilmmakingprocess|Togainexposureonvarious
Page 21

camerasandsoftwareusedforproductionof2CharactermultiplelocationFictionShortfilmmakingandIndepth
MultipleCharactersSingleLocationShortFilm
Thestudentswillundergotheprocessof2CharactermultiplelocationFictionShortfilmmakingandIndepth
MultipleCharactersSingleLocationShortFilm.ThestudentswillbeexposedtoSemiprofessionalcameracameras
&softwareandwillworkonprojectsrangingfrom1015mins.Thestudentswillbeexposedtotheentireprocess
offilmmakingandtheproductionworkflowinShortFilmproduction.
SEMESTERIV
IntroductiontoDirectionforFilms
SubjectCodeFTNP19
Objectives:
Tounderstandtheneedfordirectioninfilms|Tounderstandtheroleplayedbyadirector|Tounderstandthe
Qualitiesrequiredtobeadirector|Tolearnhowtomanagecreativityandcreativeteam|Tolearnaboutdrama
andcontinuityforfilms|Tolearnthedetailsinvolveintheproductionofafeaturefilms
UnitIARTISTICIDENTITYANDDRAMA:TheWorldoftheFilmDirector,IdentifyingYourThemes|UnitII
SCREENCRAFT:ADirectorsScreenGrammar,SeeingwithaMoviemakersEye,ShootingProjects|UnitIIITHE
STORYANDITSDEVELOPMENT:RecognizingtheSuperiorScreenplayHowtocreatedrama,Analyzinga
Screenplay,DirectorsDevelopmentStrategies,AlternativeStorySources,SettingCreativeLimitations|UnitIV
AESTHETICSANDAUTHORSHIP:PointofView,Subtext,Genre,andArchetypes,Time,Structure,andPlot,Space,
StylizedEnvironments,andPerformances,FormandStyle|UnitVPRODUCTION:DevelopingaCrew,Miseen
Scne,ProducingaShootingScript,BeforetheCameraRolls,RollCamera,LocationSound,Continuity,Directing
theActors,DirectingtheCrew,MonitoringProgress|UnitVIORGANIZINGACTIONINANACTIONSCENE:
StagingandCameraforOverEasyActionScene,DevelopmentofScreenplay,DirectorsPreparationforDirecting
anActionScene,OverEasyActionScene/StagingandCameraAnglesforStoryboardArtist|UnitVII
ORGANIZINGACTIONINANARRATIVESCENE:StagingandCameraforNarrativeScene,ChoosingaLocation,
Staging,CameraStyle|UnitVIIIStylesAndDramaticStructures:Style,Narrative,Dramatic,andPoeticVisual
Styles,TheVarietyofDramaticStructures,
Textbooks:
ReferenceBooks:
1. Directing:FilmTechniquesandAestheticsByMichaelRabiger
2. OndirectingfilmByDavidMamet
3. DirectingActors:CreatingMemorablePerformancesforFilmandTelevisionByJudithWeston
4. ArtDirectionforFilmandVideoByRobertL.Olson
5. Thefilmdirector'steamByAlainSilver,ElizabethWard
6. NotesofafilmdirectorBySergeiEisenstein
IntroductiontoMediaTheory
SubjectCodeFTNP20
Objectives:
TounderstandthefourerasofMediatheory|Tounderstandthevariousnormativetheories|Tounderstandthe
variouseffectstheories|TounderstandtheimportanceofCultureandsocietalchangebroughtaboutbymedia
UnitIMedia&FourErasofMediaTheory:Definitionandneed,Societyandmassculture,Emergenceof
scientificperspective|UnitIINormativetheories:Socialresponsibility,Technocraticcontrolv.slibertarianism,
Radicallibertarianismlaissezfaire,Civicjournalism,developmentaltheoryschramm,Democraticparticipant
theoryPaoloFrieire|UnitIIEffectstheories:Magicbullet,Limitedeffectsparadigmklapper,Attitude
change,Selectiveexposureandcognitivedissonance,Moderateeffectsmodel,Lazarsfeld2stepflowtheory|
UnitIIIMediaandsociety:Innisoralsocieties,literatesocietieselectronicsociety,Mediaandtechnological
determination,McluhanthemediumisthemessagethemediumisthemessageHotandcoolmedium
ConceptoftheglobalvillageRaymondWilliamscritiqueoftechnologicaldetermination,Culturalcriticism,
Marxist,Psychoanalyticperspectiveonthemedia
Textbooks:
Page 22

1. Barananddavis;masscommunicationtheory;(2000);Thomaswadsworth
2. Fiske;introductiontocommunicationstudies;(1982)
ReferenceBooks:
1. Infant,rancerandWomack;buildingcommunicationheory;2
nd
edition;(1993);wavelandpress
2. Berger;mediaanalysistechniques
ConceptsofPostProduction&ComputerGraphicsII
SubjectCodeFTNP21
Objectives:
Tounderstandthebasicsofeditingandasthetics|Tounderstandthevarioustypesofeditingandvarious
possibilities|Tounderstandfinalcutproeditingsoftwareandmacinterface|Tounderstandthevariousedit
stylesandpatterns|Tounderstandthebasicsofcontemporaryeraeditingforadvertisingandmusicvideos
Theory
1) Television Aspect ratio, Different television standardization, 2) Editing Action Sequence / Cross Cutting /
ParallelCutting,3)ContemporaryEditingStyle,4)EditingAdvertising&Promotionalvideo,5)EditingComplex
DramaticScene,6)Analysisoffilmsequencesfromeditingpointofview,7)Animation:Cellanimation,Computer
animation,Incorporatinganimation&liveaction
PRACTICAL
1) Introduction to Final Cut Pro, 2) Arranging the Interface, 3) Learning Custom Layout, 4) Customizing the
keyboardLayout,5)SettingScratchDisk,6)Binmanagement,Logging,Digitizing,andCapturing,7)SavingProjects
andAccessingtheAutosaveVault,8)OrganizingVideoFootage,9)MediaManagement,10)InsertandOverwriting
Editing, 11) Three point Editing, 12) Split Edit, 13) Working with Multi Layers, 14) Key framing Image, 15) Time
Remapping, 16) Effects, Applying Transitions, Compositing, 17) Motion Tab, 18) Render Setting, 19) Titling, 20)
SoundEditing,21)Tracklaying(Effects,Music,Narration),22)DubbingandSyncing,23)AdjustingAudioLevels,24)
MixdownAudio,25)FinalCutProCompatibleandSupportingSoftware,26)PrinttoVideo
Textbooks:
1. EditingDigitalVideoByRobertM.Goodman,PatrickJ.McGrath
2. VideoEditingandPostProduction:AProfessionalGuideByGaryH.Anderson
3. DigitalVideoForDummiesByKeithUnderdahl
ReferenceBooks:
1. TheTechniqueofFilmandVideoEditing:History,Theory,andPracticeByKenDancyger
2. NonlinearEditingBasics:ElectronicFilmandVideoEditingByStevenE.Browne
BasicsofVisualSpecialEffects&Compositing
SubjectCodeFTNP22
Objectives:
Tounderstandthebasicsofvisualeffects|Tounderstandthebasicprocessofvisualeffects|TolearnaboutGUI
andCG|Tounderstandthebasicsof3Dandcreatingrealworldinthedigitalworld|Tolearnaboutcompositing
andcameratracking|Tounderstandtheprocessofvfxandfinalrendering
Unit I Introduction to preproduction, production and postproduction: Visual effects a relatively new term
describes what used to be more appropriately called special photographic effects. What makes an effect
special? The decision as to which medium and format VFX elements are going to be shot with is directly
dependentonhowtheyshallbeemployedandwhatthespecificationsarefortheirfinalrestingplace.Methodsof
creating visual effects, Implementation | Unit II Introduction to the User Interface (GUI): Introduction to 3D
Space and the GUI, Introduction to Modeling, Introduction to Polygonal Box Modeling, Introduction to Shell
Modeling|UnitIIICGBasics:AnimationBasics,AnimationHierarchiesandDeformation,JointsHierarchiesand
Constraints, Cameras, Rendering and Path Animation | Unit III Understanding Pipeline and integration: Digital
image manipulation, 2D digital image manipulation, Compositing software, New life into old methods, Perfecting
the illusion, 3D computergenerated imaging (CGI), Digitizing (getting information into the computer) | Unit IV
Introduction to Lighting and Rendering: Light Properties, Defining Shadows, Defining Highlights and Specular,
Diffuse Interreflection and Global Illumination, Render Layers, Rendering Engines and methods | Unit V
Introduction to Compositing: Camera Staging and Composition, Renderers and Algorithms
Benefits/Disadvantages, Rendering Passes, Introduction to Specific Compositing Software, Compositing 3D | Unit
VI Study of VFX and Camera Tracking: Overview of Production Pipelines, Rendering Utility Nodes, Camera
Tracking Foundation 2D and 3D | Unit VII Introduction to FX (Effects): Overview of Dynamics, Rigid Body and
Fluids, Introduction to Particles, Expressions, Introduction to Fields, Project Work | Unit VIII Compositing and
Rendering:TheInterface,Keying,Rotoscoping,ColorCorrection,Keying,MultiPassCompositing
Textbooks:
1. TheArtandTechniqueofMatchmoving:SolutionsfortheVFXArtistByEricaHornung
2. MayaVisualEffects:TheInnovator'sGuideByEricKeller
3. TheFilmmaker'sBookoftheDead:HowtoMakeYourOwnHeartRacingHorrorMovieByDannyDraven
Page 23

ReferenceBooks:
1. AdobePhotoshopforVFXartistsByLopsieSchwartz
2. VisualEffectsforFilmandTelevisionByA.J.Mitchell
3. TheVisualEffectsProducer:UnderstandingtheArtandBusinessofVFXByCharlesL.Finance,Susan
Zwerman
4. TheVESHandbookofVisualEffectsByJeffreyA.Okun,SusanZwerman
5. CompositingVisualEffects:EssentialsfortheAspiringArtistBySteveWright
6. VfxArtistryBySpencerDrate,JudithSalavetz
7. TheVisualEffectsArsenal:VFXSolutionsfortheIndependentFilmmakerByBillByrne
8. EncyclopediaofColorCorrectionbyAlexisVanHurkman
9. TheArtAndScienceOfDigitalCompositingbyRonaldBrinkman
10. CreatingMotionGraphicswithAfterEffects,Vol.2byChrisMeyer
UnderstandingAdvertisementFilmMaking
SubjectCodeFTNP23
Objectives:
Tounderstandtheprocessofanadvertisementfilmmaking|Thelearntheessenceofcreatingactiondemanding
storiesrequiredinadfilmmaking|Tounderstandthevariouselementsofadvertisinglikecopwriting,designetc.
|Tounderstandtheart&scienceofadfilmmaking
UnitIThefilmpipelineanoverviewCreativeProcess:ConceptResearchideation|StructuringaStoryStory
BoardingCharactersscreenplayDialoguesCasting|ShootEditReRecordingFinalPrint/DVD|Understanding
theneedsofcinematographer/Sounddesigner/editor/clientservicingexecutive|ContributionbyLighting
LensesVfxRRCompositing;UnitIIThefilmpipelineanoverviewProductionProcess:FormationofTeam
LocationSurvey|AuditionsPlanningtheshootProductionManagement|HiringoffacilitiesCostControl
Managingcrew&artists;UnitIIIArtofFilmMaking:ImportanceandpowerofAudiovisualcommunication|
StrengthofastillpictureRequisitesofgoodstillHowtoshootagoodstill|Basicsofagoodstillpicture
ObservationbyLeonardoDaVinci|AppreciationofStillpictureB&WColourTheory|UnderstandingAudio
Visualspsychologically|UnderstandingthelifearoundusCreationofDramaRoleofCharacters|Creatingthe
finalmixThefinalAmbianceThecrescendo;UnitIVSound:Nature&RoleofSoundNoise|SoundBasicNotes
HarmonySymphonyRhythm|VarioustypesofRhythmIndianandWesternConcepts|Permutations&
CombinationsofNotes&Rhythm|TheformationofMusicGlimpsesofWorldMusic|ComboofMusic&Effects
Backgroundscore;UnitVTheWordSpoken&Written:WritingforvisualsHowtousewordseffectively|Study
ofsomesignificantliteraryworks|Balancebetweenwordsandvisuals|Powerofsilence;UnitVIArt&Science
ofAdvertising:TheneedforadvertisingSocialScenario|ToomanyProductschasingdivergentCustomers|
Understandingthecustomer/consumerbehavior|UnderstandingtheclientbehaviorArtofpersuasion|
PrincipalsofcopywritingandAdvertisingdesign|BasicsofGraphicsBasicsofMarketingandsales|Hierarchyof
adfilmsinmarketingcollaterals|CreationofcollateralsLoudMessagesCovertMessages|StudyofgreatGlobal
AVcampaigns;UnitVIIBeinganAdvertisingFilmmaker:TheadvertisingmindframeAchievingtheimpossible|
Variousgenresoffilmslikecorporateviralmarketingvideos|Filmsingeneralvsadfilmmakingthekey
differentiators|Studyingprovenadfilmscampaign|Creating3ad/socialmessagefilmsProductionManagement
ofad/filmmaking|UnderstandingthespecificneedsofTV/Film/Web/Mobileaudiences|Optimizingresources|
DecidingontherightpitchThinkingoutofthebox.|Intrapersonalcommunicationskills
Textbooks:
1. HeyWhipple,SqueezeThisbyLukeSullivan
2. OgilvyOnAdvertisingbyDavidOgilvy
3. FromThoseWonderfulFolksWhoGaveYouPearlHarborbyJerryDellaFemina
ReferenceBooks:
1. PurpleCow:TransformYourBusinessbyBeingRemarkablebySethGodin
2. Truth,Lies&Advertising:TheArtofAccountPlanningbyJonSteel
3. Positioning:TheBattleForYourMindbyAlRiesandJackTrout
4. HowtoWriteanInspiredCreativeBriefbyHowardIbach
5. ATechniqueforProducingIdeasbyJamesWebbYoung
6. LateralThinking:CreativityStepbyStepbyEdwarddeBono
7. CaffeinefortheCreativeMindbyStefanMumawandWendyLeeOldfield
8. ZagMartyNeumeier
9. ReWorkJasonFriedandDavidH.Hansson
10. MyLifeinAdvertisingandScientificAdvertisingClaudeHopkins
11. TheTippingPointMalcolmGladwell
12. TheBrandGap
13. Engage:TheCompleteGuideforBrandsandBusinessestoSucceedBrianSolis
IntermediatePracticalFilmMakingII
Page 24

SubjectCodeFTNP24
Objectives:
Tounderstandtheproductionpipelineoffilmmakingprocessinadvertisementfilmmaking|Tointroducethe
processofAdvertisementFilm(productaswellasPSU)CorporateAVandIndepthMultipleCharactersSingle
MultipleLocationShortFilmmaking|TounderstandtheentireworkflowinAdvertisementFilm(productaswellas
PSU)CorporateAVandIndepthMultipleCharactersSingleMultipleLocationShortFilm|Togainexposureon
variouscamerasandsoftwareusedforproductionofAdvertisementFilm(productaswellasPSU)CorporateAV
andIndepthMultipleCharactersSingleMultipleLocationShortFilm
ThestudentswillundergotheprocessofAdvertisementFilm(productaswellasPSU),CorporateAVandIndepth
MultipleCharactersSingleMultipleLocationShortFilm.ThestudentswillbeexposedtoprofessionalHDcameras
&softwareandwillworkonprojectsrangingfrom30Seconds15mins.Thestudentswillbeexposedtotheentire
processoffilmmakingandtheproductionworkflowinAdvertismentandMultipleCharactermultiplelocation
ShortFilmproduction.
SEMESTERV
MediaLawsAnOverview
SubjectCodeFTNP25
Objectives:
Tounderstandthevariouslawspertainingtomedia|TounderstandtheneedandimportanceofCopyright|To
learnaboutintellectualpropertyrights|Tounderstandaboutmediabusinessethicsandissuespertainingtoit
UnitIIndianContractAct,1872:Essentialsofvalidcontract
dischargeofcontract,remediesforbreachofcontract.ContractsofIndemnity,Guarantee,Bailment,Pledgeand
Agency.|UnitIITheNegotiableInstrumentsAct1881:EssentialsofaNegotiableinstruments,Kindsof
NegotiableInstrumentHolderandHolderinDueCourse,Negotiationbyendorsements,crossingofachequeand
Dishonourofacheque.|UnitIIIMediaLaw,CopyrightandIntellectualProperty:IPR&copyrightlaws,
CopyrightAgreements:ShortTermvs.LongTermAgreements,MediaLawandInfringements:CaseStudies,
Menaceofpiracyandremediestocounterpiracy,Statutoryandnonstatutorybodiesformedtofightpiracy|
UnitIVRoleandimportanceofBusinessEthicsandValuesinBusinessDefinitionofBusiness,EthicsImpacton
Business Policy andBusiness Strategy Role of CEO Impact on the Business Culture.| Unit V Types of Ethical
issues Bribes Coercion Deception Theft Unfair Discrimination. | UnitVI Vendors, Government,& Social
Audit. | CSR Definition and Importance, examples of various initiatives taken by various business groups like
TATAs, Infosys, Birla and others | Difference between Cause Related Marketing (CRM) and CSR Case Studies:
Reliance WLL license, 2G Scam, Satyam Scam and PWCs role in the scam!!! | Role of bodies like Competition
CommissionofIndia,SEC,SEBI,TRAI,etcincurbingunethicalpractices
TextBooks:
1. Maheshwari,S.N.andS.K.Maheshwari;AManualofBusinessLaw,2nd
Edition,HimalayaPublishingHouse,2004.
2.KuchhalM.C.,ModernIndianCompanyLaw,2004,ShreeMahavirBookDepot.
3.Kuchhal,M.C.;BusinessLaw,VikasPublishingHouse,NewDelhi,2004.
ReferenceBooks:
1.Kapoor,N.D.;ElementsofMercanliteLaw,SultanChand&Sons,NewDelhi,2003
2.Memoria&MenoriaBusinessPolicy
3.DavidJ.FritzscheBusinessEthics:AGlobal&ManagementPerspectiveTata
McGrawHill
4.RamaswamyNamakumariStrategicPlanningCorporateStrategyMacMillan
IndiaLtd
5.VelasquezBusinessEthicsPrenticeHallofIndia
6.Dr.S.ShankaranBusinessEthics&values
7. Gulshan S.S. and Kapoor G.K., Business Law including CompanyLaw,2003,New Age International Private
LimitedPublishers.
8.AggarwalS.K.,BusinessLaw,2003,GalgotiapublishingCompany.
9.Bagrial,Ashok;CompanyLaw,VikasPublishingHouse,2004.4.Kapoor,N.D.;
10.ElementsofCompanyLaw,SultanChand&Sons,NewDelhi,2003.5.Dr.Singh,Avtar;
11.CompanyLaw,EasternBookCo.Lucknow,BharatLawHouse,Delhi,2004
12.PeterMadsen&JayM.ShafritzEssentialofBusinessEthics
13.KenSmithandPhilJohnsonBusinessEthicsandBusinessBehavior
14.PratleyEssenceofBusinessEthicsPrenticeHallofIndia
OverviewMediaBusiness
SubjectCodeFTNP26
Objectives:
Page 25

ToeducateaboutthebasicsofMediaandentertainmentbusiness|Tounderstandthebasicsoftelevision
businessandchallengesfacedbyit|Tounderstandthebasicsofradiobusinessandchallengesfacedbyit|To
understandbasicsofanimationandgamingbusiness
UnitIIndianMediaIndustryOverview:StateoftheMedia:FICCICIIreportoverview.ThechangingDynamicsof
Media | Unit II Challenges facing Television and Radio: The all new web media and associated ramification,
TelevisionDistribution:IssuesandChallenges,ContentRepackaging,PiracyIssuesInrealandwebvirtualdomains,
Challenges associated with IPTV & DTH | Unit III Animation, Gaming and VFX industries growth and
opportunities:AnimationIndustryGrowthandChallenges,VFXforCinema:ImpactofHollywood,GamingIndustry
Challenges and Conflicts ; Multiplication of Gaming platforms, Evolution of Gaming technology from 8 bit to
console gaming, Gaming as additional revenue stream for monetizing a franchise. Case Study: Avatar, Kungfu
Panda,Ratatouille,WallE,etcSPIDERMAN,KRISH,HANUMAN,GHAJINI,ROADSIDEROMEO:CaseStudy|UnitIV
International Issues Facing the Media Industry : Case Studies: Piracy Issues and Introduction to IPR, Adapting
international content to Indian television : KBCBig Boss Case Study, Pricing Challenges, Unconventional Media
OpportunitiesinIndia,Definitionsandtermsinunconventionalmedia,PodCasting,imediaanddigitalmedia
BasicsofMarketing&PublicityDesign
SubjectCodeFTNP27
Objectives:
Tointroducethebasicsofmarketingandpublicitydesign|Toeducateabouttheimportanceofmarketingin
todaysworld|Tohelpunderstandthevarioustoolsneededformarketingandpublicitydesign|Tolearnabout
themarketingplanandmarketresearch|Tohelpgetinsightintoconsumerconsumptionbehavior
UnitIIntroductiontoMarketing:1. Importanceofmarketing,definitionofmarketing,scopeofmarketing,
functions of marketing, marketing and its relation to other business functions, difference between sales and
marketing.2. Key marketing terms and concepts need, want, demand, exchange, marketing myopia and
marketingorientations,distinctionbetweensellingandmarketing.3. Marketing Mix, 4Ps, 7Ps, 4Cs. | Unit II
MarketingResearch:Definition,MarketingResearchProcess,TypesofResearch:Primary,Secondary,Qualitative,
Quantitative|UnitIIIConsumerBehavior:1. Introduction and importance, model of consumer behavior,
characteristics affecting consumer behavior. | Unit IV Segmentation, Targeting & Positioning: 1.
Segmentation Bases and process of segmentation, requirements for effective segmentation, niche
marketing,segmentingconsumermarkets,segmentingbusinessmarkets.2. Targeting Evaluating market
segments,selectingtargetmarketsegments.3. Positioning Positioning maps, differentiation and positioning
strategy, communicating and delivering the chosen position | Unit V Introduction to the concept of IMC:
Introduction & Familiarization, Definition of Promotion & Promotion Mix, Tools of Promotion Mix, IMC Planning
Process, Creative Strategy, Media Strategy | Unit VI Packaging for film & television: The art of Promo,
Advertisement & In serial promotions, Art of Writing Copy, Designing for various mediums, Public Relations,
Planning, organizing and managing events. Managing the internet and social Media. Vendor selection and
management,MediaPlanning&Buying
Referencebooks:
1. CompetingForTheFutureByC.K.Prahalad&GaryHamel.
2. KotleronMarketing:HowtoCreate,Win,andDominateMarketsByPhilipKotler.
3. HowtoWinFriendsandInfluencePeopleByDaleCarnigie.
4. MarketResearch:AGuidetoPlanning,MethodologyandEvaluationByPaulHague.
5. ArtofWarBySunTzu.
6. StrategicManagementByGregoryDess,Lumpkin&Taylor.
7. HowWinnersSell:21ProvenStrategiestoOutsellYourCompetitionandWintheBigSaleByDaveStein.
8. Beyond Bullet Points: Using Microsoft Office PowerPoint 2007 to Create Presentations That Inform,
Motivate,andInspireByCliffAtkinson.
9. SellingtheInvisible:AFieldGuidetoModernMarketingByHarryBeckwith.
10. MarketingServices:CompetingThroughQualityByParasuraman&LeonardL.Berry.
11. MarketingManagement(12thEdition)(MarketingManagement)ByPhilipKotler.
12. ConsumerBehavior:BuildingMarketingStrategy,9/e,(withDDBNeedhamDataDisk)ByHawkins,Best,&
Coney.
13. Crossing the Chasm: Marketing and Selling HighTech Products to Mainstream CustomersByGeoffrey A.
Moore.
14. MindandHeartoftheNegotiator,The(3rdEdition)ByLeighThompson.
15. RadicallyTransparentByAndyBeal&JudyStrauss.
IntroductiontoMediaProjectManagement
SubjectCodeFTNP28
Objectives:
Toeducateaboutthebasicsinvolvedinamediaprojectmanagement|Toeducateaboutthebasicproject
productionworkflowandmanagement|Toeducateabouttheroleofaprojectmanager|Tohelpunderstandthe
detailsinvolvinganewbusinessprojectorproposal
Unit I Production Management: The production Managers job, The process of Production Management, The
BusinessofFilmPreproduction,production&postproduction,Preparingforproduction,SpecialLowBudgetIndie
productions,Locations&unionsManagement,Cast&CrewSelection,contracts,agreements,workpermits,etc.,
Page 26

Budget preparation and budget forms, Insurance & competition bonds | Unit II Business Creation: Business
PlansandIdeation:EntrepreneurshipRoutes,CaseStudies(Relevantandtimespecific),IntroductiontoCompany
Creation, Processes of Registration and Incorporation, Company Law, Introduction to Company Law, Registration
Procedures and Exceptions, Company Procedure and Ethics | Unit III Contracts and Negotiations: Revenue
sharing model, Minimum guarantee model, Share in profits model | Unit IV Conflict Resolutions: Negotiations
andBargaining:RolePlayExercise,ResearchMethodologyforBusinessPlanning|UnitVScoutingforbusiness
opportunities: Investor Pitch Exercises, Business Plan Formulation and Redesign, Financial Projections for
Businesses
Textbooks:
1. FilmProductionManagement101ManagementandCoordinationbyDeborahSPatz
2. SurvivingProduction:TheArtofProductionManagementforFilmandTelevisionbyDeborahSPatz
3. FilmProductionManagementbyBastianCleve
ReferenceBooks:
1. CharacterAnimation&FilmProductionByChrisNeuhahn,JoshBook
3. FilmProductionTheoryByJeanPierreGeuens
4. ProductionManagementforFilmandVideoByRichardGates
5. The Independent Film Producer's Survival Guide: A Business and Legal SourcebookBy Gunnar Erickson,
HarrisTulchin,MarkHalloran
6. TheCompleteFilmProductionHandbookByEveLightHonthaner
7. IndependentfeaturefilmproductionByGregoryGoodell
8. FilmProductionByStevenBernstein
9. Filmproduction:thecompleteuncensoredguidetoindependentfilmmakingByGregMerritt
IntroductiontoTrendsandTechnologyinFilm&Television
SubjectCodeFTNP29
Objectives:
Toeducateabouttheevolvingtechnologyinthefilm&televisionindustry|Tolearnaboutvariousevolving
formatsandprevalenttrendsinmotionpictureandtelevisionindustry|Toeducateaboutthebusiness,history
andfutureofMediaandEntertainmentindustry
UnitIFilm&EntertainmentanOverview:Growthoffilminternationalandnationalperspectivei.eHollywood,
World Cinema , Bollywood, Indian regional cinema, Opportunities globally need to tap these opportunities,
Business of cinema, genres in cinema, Emergence of additional content monetizing avenues like merchandising,
gaming, theme parks,etc . Case study Disney, Hanuman, Krish, 3 idiots, Ghajini, Ra one. | Unit II Evolving
Technology:Changesintechnology(andreverse);digitalrevolution,Contentdictatingform,Technologiesrelated
tofilmDistribution&Exhibitionanoverview,Understandingformats:35mm/16mm/HD/Super16/,Stock&
Processing,Crewing&Technologyanoverview,VFXandSoundanoverview,technologicalrequirements|Unit
IIITheAnimationIndustryAnoverview:Thetrendsinanimationindustry,Prospectsandmarkets,Production
planning for animation, Problems and cost implications, Development of animation in India, Animation success
stories|UnitIVTelevisionEntertainment:Emergencenewgenresofprogramsviz;lifestyle,realityshows,game
shows,etc, Success of niche channels with specialized content like shopping,travel & leisure ,nature. quick news,
etc,AdoptionofInternationalformatsofrealityshows,remakesoffilmsandoldmythologicalserials,Conceptof
TRP,reachandviewership
TEXTBOOKS:
ProducingandDirectingtheShortFilm&VideobyDavidK.Irving&PeterW.Rea
AllYouNeedtoKnowAbouttheMovieandTVBusiness:FifthEdition,byScottTrost(Author),GailResnik
(Author)
FilmTechnologyinPostProduction,SecondEditionDominicCase
ReferenceBooks:
MovieMagicScreenwriterUsersManualforWindows,MacintoshyKevinHindley(1,2,4)
ScriptBreakdown&SchedulingSoftware;TutorialManual(forIBMCompatibles).
MovieMagic;byScreenplaySystems(Wholemanual)FINALDRAFTVERSION8
UPGRADETUTORIALMANUAL
DigitalStorytellingCarolynHandlerMiller(Chapters10)
Inspired3DshortfilmproductionByJeremyCantor,PepeValencia,BillKroyer,
MichaelFord,KyleClark
ADDITIONALREADING:
RestorationofMotionPictureFilmByPaulRead,MarkPaulMeyer,GammaGroup
FromWordtoImage:StoryboardingandtheFilmmakingProcessbyMarcieBegleiter
SalaambollywoodBhawanaSomaayaPersonalviewofIndianfilmindustryentirebookforoverallview,
Page 27

HistoryofCinema:Ahumorouseasytoreadbookwithillustrationonworldcinema]
AworkthatunitesRaysanalysis&commentaryofcinemafromKurosawatoJohnfordTruffautAmust
readbookforeverystudent,
FICCIhandBook20122013
AdvancedPracticalFilmMaking
SubjectCodeFTNP30
Objectives:
TointroducetheprocessofMusicVideoand25minsTelevisionseriesmaking|Tounderstandtheproduction
pipelineofMusicVideoand25minsTelevisionseriesmakingprocess|Tounderstandtheentireworkflowin
MusicVideoand25minsTelevisionseriesmakingprocess|Togainexposureonvariouscamerasandsoftware
usedforproductionofMusicVideoand25minsTelevisionseriesmaking
ThestudentswillundergotheprocessofMusicVideoand25minsTelevisionseries.Thestudentswillbeexposed
toprofessionalHDcameras&softwareandwillworkonprojectsrangingfrom5Mins25mins.Thestudentswillbe
exposedtotheentireprocessoffilmmakingandtheproductionworkflowinmusicVideo&televisionSeries
production.
SEMESTERVI
FinalProject[Portfolio]&thesis
SubjectCodeFTNP31
Objectives:
Togiveasimulatingliveprojectlikeexperience|Toinculcateteambuildingcapabilitiestothestudents|To
preparefortheactualjobmarket|Togainprofessionalworldexperience
ThestudentswillchoosetheirSpecialization(Direction&Script,Editing,VFX&Compositing,Cinematographyand
Sound)andwillworkwithfieldexpertsinrespectivedomainsandwillreceiveadvancedtraining&guidance.The
StudentswillchoosetheirSpecializationandwillworkasacrewona45minsMiniFeatureintheperiodofsix
months.
InAdditiontothisthestudentswillhavetowriteathesisreportonthefieldofspecialization.
EvaluationCriteriaforSemesterVAdvancedpracticalFilmMaking&SemesterVIfinalproject:
TheProjectswillbeevaluatedbyaselectpanelbytheUniversityofMumbai.Thememberscouldbefrom
thefieldofmediaand/orfacultyofliterature/Sociology/Psychology/History/journalism/communication
orequivalenttothereof
Page 28

ThepanelwillbeselectedfromthefieldofFilmandtelevision&Webmediaindustry/orfacultyof
literature/Sociology/Psychology/Historyorequivalenttothereof
Withandactiveworkexperienceof5yearsinmediaandabove.
TheStudentswillberequiredtouploadtheirprojectonacentralserverandtheselectedpanelistcan
viewtheworkathis/herconvenience.
Onepanelistcanassessamaximum50filmsintwoweeks
Thepanelistwillratetheworkonasalespecifiedtothemwithvariouscriteriaasshownbelow:Allthe
paperworkrelatedtofollowingneedstobesubmittedindocformatontheserver.
Sr.No. Criteria TotalMarks MarksObtained

1. Screenplay&Storyboard 10
2. PaperworkforProduction 10
3. Direction 10
4. Sound 10
5. Editing 10
6. Cinematography 10
Total 60
Thethesisreportwillbeevaluatedbytheteacher/instructorintheCollegeandthereporttobesentto
theUniversityofMumbaiandwillcarry40Marks.
Alternativesystemforevaluationfortheabovewouldbe:Theevaluator/panelistwouldvisittheindividualcollege
campus and view the films (students projects) along with the associated paper work like story board and other
elementsasmentionedintableaboveandassigntherequisitemarks.
Faculty:
Forteachingthesecourses3Leveloffacultyisenvisaged,adheringtothenormsoffacultyofartsofUniversityof
Mumbai:
RegularFaculty:Aspertheuniversityspecification/ordinance
Tutors/Demonstrators:Thesewillsupervisestudentpracticalwork.Thecandidatetohaveaminimumof
4yearofexperienceinfieldofspecialization(cinematography,postproduction,mediaplanning,etc.)
GuestFaculty:Guestfacultywillbeactualindustryprofessionalwithnotlessthan8yearsofexperienceor
tohavepublished/writtenpapersinthefieldoffilmproduction&mediaentertainment.
Additionalreferencebooks
1. Writing,DirectingandProducingDocumentaryFilmsandVideosbyAlanRosenthal
TheSubjectofDocumentarybyMichaelRenov
2. NewDocumentary:ACriticalIntroductionbyStellaBruzzi
3. DocumentaryintheDigitalAgebyMaxineBaker
4. TheOxfordHistoryofWorldCinemabyGeoffreyNowellSmith.
CommunicatingIdeaswithFilm,Video,andMultimedia:APracticalGuidetoInformationMotionMedia
byS.MartinShelton
5. ChangeMummified:Cinema,Historicity,TheorybyPhilipRosen.
6. PrivacyandDocumentaryFilmmaking,inSocialResearchbyFrederickWiseman.
7. PublicIntimacy:TheDevelopmentofFirstPersonDocumentary,inAfterimagebyPatriciaAufderheide.
8. BecomingFilmLiterate:TheArtandCraftofMotionPicturesbyVincentLoBrutto
9. FeminismandDocumentarybyDianeWaldman,JanetWalker
11. TheCompleteFilmProductionHandbookbyEveLightHonthaner
12. FilmTechnologyinPostProductionbyDominicCase
13. GuidetoPostproductionforTVandFilm,SecondEdition:ManagingtheProcessbyBarbaraClarkand
SusanSpohr
14. FilmTechnologyinPostProduction,SecondEditionbyDominicCase
15. FixItInPost:SolutionsforPostproductionProblemsbyJackJames
Page 29

OverviewofMedia&EntertainmentIndustry:
TheIndianMediaandEntertainment(M&E)industryisexpectedtogrowat15percentcompoundannualgrowth
rate(CAGR)toreachanoverallvalueofRs.1457billionbytheendof2016.Thespectaculargrowthofdemandis
due to huge growing middle class and associated aspirations of the multitude. This coupled with technological
breakthroughs, advancements, and policy initiatives taken by the Indian government to encourage the inflow of
investment,andinitiativebyprivateglobalmediacompanieswillusherIndiaintoanothermediarevolution.Inthe
above mentioned context, trained media professionals in all aspects of media, especially in the media business
domain,willbethekeydriverforthisindustry.Theindustryhasbeenforecasttooutperformeconomicgrowthin
eachyeartill2016.
As such the digital advertising industry will post the highest CAGR of 30 %, rising from its current size of Rs 15
billiontoRs57billionby2016.TheTelevisionindustryisprojectedtogrowby17%fromRs329billiontoRs735
billionby2016;FilmedEntertainmentby10%fromRs93billiontoRs150billion;PrintMediaby9%fromRs209
billiontoRs323billion;Radioby21%fromRs12billiontoRs30billion;Musicby15percentfromRs9billionto
Rs 18 billion; Live Entertainment by 16 % from Rs 9 billion to Rs 19 billion; and Outofhome advertising by 10%
fromRs18billiontoRs29billion.
Belowaresomeimportantfactsthathighlightthegrowthinthemedia&entertainmentindustry:
1) Media&EntertainmentIndustryinIndiatoreachRs1457billionby2016
2) AveragetimespentwatchingtelevisioninIndiais2.55hrs/day.Oneofthehighestintheworld.
3) TVhouseholdsinIndia226million
4) Morethan500TelevisionchannelsarenowavailableinIndia
5) Subscriberbaseofcable&satelliteTVtoreach155.8millionby2015.
6) AdvertisingspendsacrossallmediatocrossRs540Billionby2015
7) 28millionhouseholdsDTHsubscribersbaseinIndia
8) 107millioncopiesofnewspaperscirculateddailyaccountingforthan20%ofalldailiesintheworld.
9) Indianfilmindustryispeggedat83.3billionINRandproducesmoremoviesthanHollywoodeveryyear
10) 3billionmoviegoersannuallyacross12,000moviescreens
11) 20%filmsreleasedinIndiaareHollywoodfilms
12) MissionImpossible:GhostProtocolandTheAdventuresOfTintin:TheSecretOfTheUnicornreleasedin
IndiabeforetheydidintheU.S
13) Radioindustryhasclockedrevenuesof10billionINRandisgrowing@20%CAGR.
14) Digitalsalesofmusiccontributes42%oftotalrevenuesofthemusicindustryinIndiaanditssharewillbe
almost80%by2015
15) MusicrelatedVASforms56%ofnonvoicerevenuesforthetelecomindustry
16) MarketersspentapproximatelyINR16.5billionin2010onOutofhomeAdvertising
17) Animation,VFXandpostproductionindustrytoreachRs23.6billionby2015
Page 30

18) 771.2millionmobilephones,548.7millionactivemobilesubscribersand81millioninternetusers
19) IndiangamingindustrywillbeworthINR38.3billionby2015withmobilegamingwillcontributing45%
20) Morethan35millionIndiansareloggedontosomekindofsocialnetwork
21) Indiahasthe2
nd
highestnumberofusersofFacebook.
(Source:FICCIKPMGIndianMedia&EntertainmentIndustryReport2011)
In this firmament, and in the new age of web based interactive media there is a growing need for professionals
whoareequippedtohandlethismediaboomintermsofunderstandingmediaasabusinessthathastobegrown
organically, as well as understand the domain in terms of the marketing process and production technologies
involved,sothattheybecomecomprehensivemediaprofessionalsattheendofanystructuredtraining.
EmploymentOpportunitiesforstudentsaftercompletionofthecourse:
1) AssociateProducer
2) ExecutiveProducer
3) CoProducer
4) LineProducer
5) Producer
6) ProductionController
7) ProductionExecutiveorManager
8) Director
9) FirstAssistantDirector
10) CreativeDirector
11) Associate&AssistantDirector
12) ProductionRunner
13) CastingDirector
14) ChiefAsst.Director
15) OperativeCameraMan
16) AssistantCinematographer
17) Assistant/AssociateCameraman
18) DirectorofPhotography(DOP)/Asst.DOP
19) ProductionDesigner
20) PurchaseManager
ListofExpertswhohavebeenconsultedforthesyllabusformation
1. Mr.FerozeNadiadwalaProminentFilmProducer
HasproducedsuperhitfilmslikeHerapheriandPhirHeraPheri
Page 31

2. Mr.B.PSingh
TelevisionSerialDirectorwhohasthedistinctionofdirecting,thelongestrunningTVseries,CID.
3. Mr.TaranAdarsh
PopularandLeadingFilmCriticandEntertainmentJournalist
4. MsMahashwetaDubey
ContentAcquisitioninchargeforSonyEntertainmentTelevision
5. Mr.RohitSharmaFounderPOKKT
Former CEO of Zapak Digital Entertainment Limited (Reliance ADAG) and an expert in gaming and
mobileadvertising
6. Mr.NitinShetyeMD,ArmsAdvertising
AdvertisingProfessionalwith40yearsofexperience
7. RishirajSrivastav
AssistantManagerDainikBhaskar
ExpertinDigitalAdvertisingSales
8. Prof.VinayDhumaleDirector,DeviprasadGoenkaManagementInstituteofMediaStudies
FilmandDocumentaryMaker,EducationistandMediaConsultantwith40yrsofexperience
9. Mr.VishalDesaiFaculty,DeviprasadGoenkaManagementInstituteofMediaStudies
Industryprofessionalfrommedia&entertainmentindustrywith12yearsofexperience.Hehasworked
with leading entertainment companies like Shemaroo Entertainment Ltd. & Milestone Interactive
Group.
10. Mr.AninashOak
A Gold Medalist from FTII with experience of 35 years in sound recording. He has worked on movies
likeDevdas,Sarfarosh,KuchKuchHotaHai,GadarEkPremKathaandmanymore.

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