L.V.Prasad Film & TV Academy Prospectus 2015

P RO S P E C T U S

L.V.PRASAD FILM & TV ACADEMY

C H E N N A I , T H I R U VA N A N T H A P U R A M

L.V.Prasad Film & TV Academy

59 Years of Global Service 20 National Awards for best services Over 1500 employees Worldwide presence - 12 locations

Welcome to Prasad Group L.V. Prasad Film & TV Academy, with campuses in

Prasad Group’s services encompass every area

Chennai and Thiruvananthapuram, is part of Prasad

involved in the film and video post-production process

Group, Asia’s largest provider of post-production

including Visual Effects, Digital Intermediate, Digital

services, founded in 1956 by Dada Saheb Phalke

Film Lab Services, Cine Equipment Rentals, Editing,

Award recipient Mr.L.V. Prasad. The group has been

Audio, Complete 3D Movie Production Solutions,

at the forefront of technological developments, a

Stereoscopic

trendsetter and a guiding light to the Indian post-

Film Restoration, Digital Archiving, Media Asset

production industry. Prasad Group includes Prasad

Management and Family Entertainment Concepts.

Conversion,

Digitization,

Digital

Productions Pvt. Ltd., Prasad Digital Film Laboratories, Prasad EFX, Digital Film Technology GmbH, Prasad Video Digital, Prasad Media Corporation Ltd., Prasad Recording

Studios,

Prasad

Panavision,

Prasad

Xtreme Digital Cinema Network and Prasad Corp U.S.A. The group has major production facilities and

To know more about

offices in Chennai, Mumbai, Hyderabad, Bangalore,

Prasad Group, visit

Thiruvananthapuram,

Bhubaneswar,

Germany, London, Hollywood and Japan.

Kolkata,

www.prasadgroup.org

L.V.Prasad Film & TV Academy

Director’s Note I am extremely happy to be celebrating the 10th Anniversary of the L.V.Prasad Film & TV Academy this year. It is with a feeling of great pride and humility, at the same time, that we are getting ready to welcome the 11th batch of students into the Academy. While we can feel proud that all our graduates are doing well in the film industry across the country we are also witnessing mind-blowing changes in the world of digital technology and narrative systems virtually sweeping away many of the traditional norms of filmmaking. As experienced filmmakers and post production service providers, we at Prasad Group have transformed ourselves to take advantage of this challenge with an open mind. In the midst of all this, LV Prasad Film & TV Academy has always strived to deliver the best education at minimum costs compared to all other private film schools in India.

At L.V. Prasad Film & TV Academy we have the finest set of teaching faculty in the country and we constantly endeavour to offer a well-crafted syllabus to empower students with the best that film theory and actual practice can offer. Evolving digital technologies consistently drive our equipment upgradation program and being part of a fully functional production and post production studio is a unique advantage to our students.

Student films produced by the Academy continue to win awards at most of the prestigious short film festivals across the world. All this motivates us to pledge ourselves yet again to continue with the Vision of Mr.L.V. Prasad, our founder, who dedicated his entire life for the betterment of Indian Cinema.

Ramesh Prasad Managing Director

Trained 18000 Eye Care Professionals from India and Abroad

L.V.Prasad Eye Institute Started by Mr.L.V.Prasad on 1984 as a charity

LVPEI’s mission is to provide equitable and efficient

initiative, L V Prasad Eye Institute is a comprehensive

eye care to all sections of society. Since establishment

eye health facility with its main campus located in

in 1987 we have:

Hyderabad, India.

•

Served over 18 million (1.8 crore) people with more than 50% services provided free of cost, regardless of complexity

LVPEI’s mission is to provide equitable and efficient eye care to all sections of society. A World Health

•

over 9 lakh surgeries

Organization Collaborating Centre for Prevention of Blindness, the Institute offers comprehensive patient

• •

Trained 18,100 eye care professionals from India and abroad

pursues cutting edge research and offers training in human resources for all levels of ophthalmic

Provided direct service to over 3000 villages through secondary and primary care

care, sight enhancement and rehabilitation services and high-impact rural eye health programs. It also

Seen over 85 lakh outpatients and conducted

•

Awarded 35 PhDs and published over 1550 research papers

personnel.

•

Helped rehabilitate over 1,25,000 persons with irreversible blindness or low vision

•

Harvested over 48,000 donor corneas, and transplanted over 22,750 of them to needy patients

•

Helped upgrade eye care programs in 18 states of India and 16 other countries

12 reasons to choose

L.V.Prasad Film & TV Academy

1

GLOBAL

2

INCLUSIVE

3

VALUE

4

PRACTICAL

5

COMPREHENSIVE

6

ATTENTIVE

7

PROVEN

8

VISIBLE

9

CONNECTED

Our students come from all over India and Abroad. A diverse range of cultures and film traditions makes for a creative hothouse. This network, once built, lasts a professional lifetime.

Fees paid for includes equipment usage, plus a substantial budget for the graduation film. Most schools quote only tuition costs, with filmmaking budgets an extra.

We are committed to spending money only on your education and focus on value for money in all aspects.

There are many exercise films and a graduation work in the diploma programs, shot on digital.

Our Diploma programs include two years of training in Directing, Lighting, Editing, Sound, Screenwriting, Production and much more.

90* students, 22 full time faculty, scores of visiting lecturers – more student-lecturer ‘face time’ than any other graduate film school.

Over 10 years of operation, hundreds of high profile alumni include leading film makers and technicians.

We get your work around the World. In 2014 our films played at over 9 International Film Festivals and received over 5 prizes.

We are inside Prasad Studios and Digital Lab Campus, a center of the south Indian entertainment industry. Indian and International key figures pass through very often. The school provides mentorship, career guidance support and networking options even after graduation.

10

RECOGNISED

11

PROFESSIONAL

12

INNOVATIVE

Industry acclaimed curriculum and faculty. Academic partner for Hindustan University’s MBA Program in Media & Entertainment

Our Students are taught by working filmmakers and technical professionals. Exercise films are made on built sets, shot on professional level digital cameras, recorded and edited on high end systems and given a professional touch in Prasad Studios.

A school that works with the film industry, understands the market and employability – and also takes your ambitions and your originality very seriously. We want you to reinvent film form rather than copy what already exists. * proposed intake this year

Facilities With decades of experience in film and video post-production services, Prasad Group is an end to end service provider starting from Outdoor Equipment Services to Digtial Cinemas Services and beyond. It will be our endeavor to ensure that students get to learn and have hands-on working experience in all our facilities as they desire.

At the Academy, students get to work with high end Digital Cameras, Fine lenses, Lights, Sound Equipment, Editing Suites and other State-of-the-art facilities providing the Students with the wherewithal to enter the professional world.

A significant highlight of the academy is that the students will be learning in a busy and working environment. They will have access to interact, in a structured manner, with various film technicians and creative artistes who visit our facilities. This will inspire the students and allow them to show their own works and discuss ways of making them better.

L.V.Prasad Film & TV Academy

Cinema has always been an art and a science requiring enormous

At the L.V. Prasad Film & TV Academy we believe that it is not

synergy between creative artists and a product driven industry.

merely the training to use high-end technology that matters but it is

While cinema is a cultural artifact, the film industry is market driven.

the moulding of minds that drives great cinema.

A true marriage of academia and industry, the L V Prasad Film &

Cinema is Synergy

TV Academy continues to blend educational rigor with professional

With

practice that ensures students are trained with creative inputs

Thiruvananthapuram, the L.V. Prasad Film & TV Academy offers

two

sprawling

campuses

located

in

Chennai

&

geared to meet industry needs.

state-of-the-art training facilities and highly experienced faculty.

Admissions will open in May 2015 to admit students for its diploma

Infotainment and digital technology is going through some of

courses in three different streams.

the most exciting changes with the advent of ultra high definition imaging solutions, advanced softwares for non- linear editing, image corrections, color grading, sound recording & mixing, distribution and exhibition. It is imperative for future technicians to be well equipped to handle the artistic challenges of film and television as it embraces futuristic technologies in the coming years.

Courses

Direction

Cinematography

Editing & Sound Design

Two Years

Two Years

One Year

Post Graduate Diploma

Post Graduate Diploma

Diploma

Darling (Tamil Feature Film) - Cinematographed by Alumni Krishnan Vasant

L.V.Prasad Film & TV Academy

“Turn on the lights;

I want to see my dreams” What happens when a poor passionate dreamer chooses to lead a film enterprise? An

day for the Academy – someone’s placement, awards for our films, faculty members

entertainment conglomerate is created. Among his other valuable engagements with

nominated in Award Committees and more. “Kadhalil Sodhapuvadhu Yeppadi’ a Tamil

cinema, the idea of a film academy sprouted in Mr. L.V. Prasad’s fertile mind as early

feature film directed by alumni Balaji Mohan became the biggest hit of 2012. “Run Raja

as the 1950s. As he stood back and watched his Prasad Group of companies blossom,

Run”, a telugu feature film directed by Alumni Sujith had a dream run in 2014. Several

his long cherished dream of providing film education to aspiring filmmakers began

recent feathers in our cap include “Kalyana Samayal Saadham” in which our Alumni

to dominate his thoughts. The idea took shape again in Mr. Ramesh Prasad’s mind in

were involved.

2003, when he chose to commemorate his father’s memory in a meaningful manner.

The result of this vision and effort is L.V. Prasad Film & TV Academy becoming a

Mr. Ramesh Prasad said on the opening day of the Academy “My father, L.V. Prasad,

reality in 2005 coinciding with the 50th Anniversary of Prasad Group. By 2015, the

a man of cinema, is a humble soul who worked his way up in the film studios of

dream became a success story as L.V.Prasad Film & TV Academy is on the eve of

the tinsel town Mumbai all the way from the silent era. He arrived there with just

celebrating its 10th Anniversary.

100 rupees in his pocket with a headful of dreams. He had little schooling and did not have much knowledge of Hindi or English. Starting at the bottom as a cleaner

Filmmaking or Television Production is an industry dependent on story telling.

and assistant in a tailor shop outside the erstwhile Kohinoor Studios, he went on to

Mediums may evolve, technology will change but man’s urge for listening to

receive the Nation’s greatest film honour - the Dadasaheb Phalke Award in 1983. He

stories will never cease. And with scientific advancements and newer modes of

had the rare distinction of having acted in all the three first talkies of Hindi, Tamil

communication, it has become an exciting world of sounds and images. So how do we

and Telugu Cinema. He had a vision and I am fulfilling my duty by making his dream

make a successful film or a television serial? What are the stories waiting to be told?

a reality today!”

How can we emotionally connect the viewer to the story being told? Are you the young kid who wakes up in the middle of the night and says “Turn on the lights; I want to see my dreams”! If the answer is “YES”, then LV Prasad Film & TV Academy is the place for you. LV Prasad Film & TV Academy is a vibrant space with talented young minds

And Now - well in to the Digital Era

aspiring to excel in their profession and a faculty equally energetic with new ideas

LV Prasad Film & TV Academy today stands proud and tall as the 11th batch of students

and enthusiasm to share their valuable experience. The students here are tutored and

march in. Having successfully graduated 8 batches of filmmakers, we welcome into

mentored with the best professional practicing environment.

our folds yet another batch of eager young filmmakers with great dreams in their eyes. We have also embraced cutting edge technologies and students use high end

One of our big moments of glory came in 2010, when ‘THE POSTMAN’ a diploma film

Digital Work Spaces. dedicated DI Suites, Digital Cameras and accessories for their

by B. Manohar and his team won the Golden Lotus [Best Film] award in the Short

Diploma Projects.

Films category at the National Film Awards. Now there is good news almost every

Student Film - Kandava Parvam

Course Outline – Direction & Cinematography The two year programs in Direction and Cinematography are conducted in the first two trimesters as an integrated class. From the third trimester onwards, they will branch off into specialized streams and continue to work in collaborative team projects.

TRIMESTER 1 101 Film Production I Students are introduced to the fundamentals of film production including a review of the historical perspectives of the studio-system, independent film and other avenues. The main focus will be on the primacy of visual design as manifested in the shot and it’s Sequence shot-scène. The shot is seen as a dynamic expression which combines the ability to reproduce actuality and also represent a cultural meaning. The students are thus initiated into the roots of representation through the world of images. The production of these moving images, be it fictional or documentary, have to negotiate the concepts of literal versus figurative visual language by discussing the use of motifs, symbols and metaphors. Assignments include extensive reporting on pre-planning, filming and postproduction processes. The culmination of their efforts will be in producing one hand drawn animation story, a stills-based short story and a continuity sequence. This introductory unit emphasizes the overall interactive and teamwork aspects of film production without sacrificing the individuality of the idea.

Assessments are based on:

• • •

Deconstruction of images Identification of sociocultural discourses Ability to convert ideas and words into images

Instruction hours per week: 6

FY 102 Advanced Technological Developments I The main focus of this input is to impart a strong theoretical foundation in the film production process and to augment the theoretical knowledge with practical experience. An introduction to a broad range of historical and current technologies available in all aspects of film production, beginning with the emergence of cinema and the Lumière film cameras will be provided. Students acquire close familiarity with technologies of shooting, editing and sound recording. This includes visits to Prasad Group facilities. The students will have a more focused understanding of the mechanics, techniques, and aesthetics of photography & digital camera operation, sound recording and its designing principles and the way editing plays a key role in providing the appropriate rhythm.

In the cinematography classes, the students will be initiated into the world of images. Probing from the wonder of ‘Eye-Vision’ to the magic of ‘Cinema’, it will be a journey through science and images. Apart from the basic theory of photography, lenses, exposure, aesthetics etc, the students will get hands-on experience with 35mm DSLR cameras and digital movie cameras whereby they acquire a fundamental knowledge of their working and inculcate the ideas of exposure, electronic image creation etc. Assessment will be based on all

L.V.Prasad Film & TV Academy

Classroom theory becomes creative strategy in the hands of each student.

Assignments include

• • • •

Reading of histories of technologies Developing a vocabulary of film production Basic research on the new developments in technology Classroom discussion on the limits and potentials of film technologies

Instruction hours per week: 8

FY 103 Producing and Production Management I This unit introduces the student to the basics of producing film and production management. Students look at the film as an economic activity that entails planning, goal setting, financial outlays and execution. The processes of film production and its ramifications on the output are also stressed upon. These sessions will largely be practice oriented, getting all the students to handle cameras and lighting gear, edit suites and sound recording equipment while they make detailed notes and observations as part of their portfolio.

These modules help the students to understand the true spirit of team work in the art of filmmaking. Students are also introduced to basic production management tasks and paperwork. Assessment will be based on small exercises provided on a periodical basis in the practical sessions relating to the various aspects of production management.

Assignments will include

• • • • •

Planning project specific proposals Mock scheduling Budgeting Location scouting Art direction/ costumes/ make-up sketching

Instruction hours per week: 6

FY 104 Scriptwriting I What is it to be an effective communicator in film and television?

The focus of this course is meant to provide and develop skills in script ideation, story development and the writing of a screenplays and television episodes.

Communication is seen as an integral part of the cultural and socio-political make up of the creator. The students are exposed to media theories and models to focus on communication and creation as a manifestation of our beliefs and thought systems and the popular discourse in society. Inputs are given on media, culture and society to enable a better understanding of the role of film as a medium of communication and the commitment required by an emerging artist.

Students will begin their specific exercises in idea development, communicating with audiences and in fundamentals of clarity as well as poetry of expression.

This course emphasizes skills in writing scripts of various forms— narrative, expository, episodic and poetic. Students develop an understanding of different styles, from Hollywood to Indian mainstream cinema; documentaries to NeoRealism.

Assessments are based on:

• • • •

Ideas that can become meaningful scripts Understanding of film medium as communication Realizing the vital role it plays in popular culture Contextualizing term projects

Instruction Hours per week: 6

L.V.Prasad Film & TV Academy

The Term Projects FY P1 Frame-by-Frame exercise: A simple hand drawn animation exercise. This exercise requires images to be directly hand-drawn frame-by-frame onto 35mm film strip to create a 30 second animated film.

FY P2 Photo Story: This exercise involves the telling of a story with a series of still images. FY P3 Continuity Exercise: The shooting and editing of one silent 5-minute short continuity action exercise involving at least 2 performers. Students should display their understanding of spatial contiguity and temporal continuity.

Assessments are based on:

• • •

Concept Visual Design Execution

TRIMESTER 2 FY 201 Film Production II This unit is an advanced look into the principles and processes of shooting, recording and basics of editing, enhanced by guided visits to Prasad facilities. The emphasis now shifts onto narrative methodologies. Classics from both Indian and world cinema will be deconstructed in order to see how filmmakers across the world have managed to translate and design their thoughts into images and sounds. Writing short scripts with design

principles in mind help the emergence of an aesthetic and a socially purposeful script at the same time.

Extensive sessions in visualization techniques are essential to see whether a storyboard can actually be translated into an image on location. Emphasis on short and challenging exercises will lead into one actuality exercise in collaboration with overseas students. Students also work on a short fictional dialogue sequence with synchronized sound.

Assessments are based on:

• • • •

Grasp of the narrative structure Ways of creative interventions as film technicians Maintaining production dossiers The insights gained during the trimester

Instruction hours per week: 6

FY 202 Advanced Technological Developments II Through a series of exercises meant to enhance their familiarity and mastery over equipment/technology, students broaden their usage of technology in film, television and other digital media. The exercises will include assignments in production and digital cameras to enhance the understanding of Digital Camera techniques. In the practical sessions, the unit also enables familiarization with non-linear editing, and location sound recording. In the cinematography classes/ practical, the students will have a more focused understanding of the mechanics, techniques and aesthetics of lighting and basic cinematography with Digital Cameras.

Assessments are based on:

• • •

Incorporation of technology into storytelling Creative handling of technology Use of sound, editing and cinematography in term projects

Instruction hours per week: 8

FY 203 Producing and Production Management II At a more advanced level, students learn hands-on production through the various projects and production management challenges for the short film. Live projects for practice of skills in scheduling, budgeting, and logistics equip students to be professional in production techniques.

Each student is expected to take on different roles in the production hierarchy so as to gain insights into the contribution made by the various team members. Guest lectures are delivered by industry professionals working in the areas of film production, management and distribution.

Darling (Tamil Feature Film) - Cinematographed by Alumni Krishnan Vasant

Assessments are based on:

• • •

Maintenance of their dossiers Planning and co-ordination Effective handling of their projects

Instruction hours per week: 6

FY 204 Scriptwriting II With the central focus on fictional narration, students complete several exercises in plot development, story structure and character development. Along with strong skills in writing and script organization, students also learn to analyze original scripts and adaptations. Classes will focus on sociocultural perceptions and the practices of storytelling as an extension of the oral traditions of communication.

Emphasis is placed on visualization, development of continuity and relationship between the word and the image. The students also start looking at the screenplay as the basic blueprint for the film in order to carefully elaborate upon the characters and their characterizations. Introduction to the Final Draft software will help students realize the importance of timing their ideas on paper.

Assessments are based on:

• • • •

Narrative skills Writing techniques Forms of narrative visualization Continuity and coherence in narration

Instruction hours per week: 6

The Term Projects FY P4 Dialogue Exercise: A 4-6 minute sequence involving dialogues and sync sound. Students script, plan, produce and edit a 6 to 8 minute dramatic film involving artificial lighting and synchronous sound.

Assessments are based on:

• • • • •

Quality of the script Performance of the actors Visual Design Technical Rigour Production Process

L.V.Prasad Film & TV Academy

TRIMESTER 3 From this trimester, Direction and Cinematography students branch out to focus on their specialized streams. They will attend some combined classes.

Direction Stream: FY 301 Film Production III Direction Students will be taken through an advanced course in independent film production followed by an introduction to the art of makeup, costuming and set decoration. Along with film production practice, there will be a rigorous study of film theories from across the world, and the way they takeoff from current debates in the world of literature, politics and the other social sciences.

Intensive script writing exercises will help the students to find the right balance between the spoken dialogue and the unspoken feelings of the image and ambient sounds. During this term, they will also spend considerable time working with theatre and film actors in workshops. This will be done to help students see how physical action and dialogue in combination with the camera’s point of view result in complex emotions.

The final exercise will be an elaborate single-take ‘Sequence Shot Exercise’ that requires complete co-ordination of all the elements of mise-en-scene.

Instruction hours per week: 6

FY 302 Scriptwriting III Students complete assignments in writing scripts in various forms and prepare a shooting script and storyboard for one short fictional film. The main focus will be in synergizing points of view, either based on first person characters, observing narrators, or on objective formal design principles.

Ways of accommodating realism and formalism as socio-structural principles in communication will be envisioned in the script writing process. Adaptation of literary works into films will be studied at a basic level.

Assessment will be on

• • • •

Working within their own teams Developing a comprehensive shooting script Planned storyboard with all production details Formatted draft scripts

Instruction hours per week: 6

Cinematography Stream FY 303 Advanced Technological Developments III This subject will be addressed to the cinematography students as the branching off begins here in this trimester. Classes will take place in the large studio floors as teachers guide them through basic studio lighting principles & practice. They will be made to understand the importance of lensing and camera movements as they synthesize with the demands of art direction, make-up and costume. Students will become familiar with everyday problems and practical solutions and equip themselves with sound knowledge to use alternative effective methods. Since students will now start handling the light and grip equipments themselves, they will be provided with other support equipments used in different environments for studio and location. The students will also be introduced to electrical theory and practical applications in studio electrical connections. Upon completion, students should be able to execute complex camera operations and lighting design for Sequence shot-shot exercise.

Students work in film and digital video productions, realizing the full potential and limitations of each of these media technologies. Exercises include series of lighting simulations for day and night interiors. This trimester provides the students with most of the technical skills that will take them though the rest of their course.

Assessment are based on:

• • • •

Professionalism in planning their shoots Conduct with fellow students and staff Translating scripts into the desired visuals Timing and efficiency

Instruction hours per week: 8 Combined Sessions: FY 344 Producing and Production Management III Starting from classroom inputs in media laws, media economics, and health & safety, the unit goes on to discuss major film financing models, film insurance, marketing, promotion, distribution and exhibition. Much like the previous trimesters, the advanced training in logistics, resource and people management happens through the term production projects.

L.V.Prasad Film & TV Academy

Students will be assessed on

• • •

Maintenance of the various procedures Accounting systems Instructions required to manage term projects smoothly

Instruction hours per week: 6

FY 305 - Study of Filmmakers and Genres Students will undertake intense study of films & filmmakers from a professional perspective analyzing the exclusive areas of particular films and their makers within their own techno-social contexts. Debates surrounding auteur theory versus ‘industrial’ filmmakers will be taken forward in the classes based on specific literature available on these subjects. Direction students will choose between studying the works of one film director or an entire genre from the perspective of scripting to contextualizing. Cinematography students will pick the works of one particular master or a period/ genre of film works to analyze the role of technology and its creative usage in realizing the texts into images. The assignment will result in a first draft towards the specialized paper which will be researched in greater depth by the student during the ensuing vacation.

Instruction hours per week: 3

Assessments are based on:

• • • •

The scope, relevance and depth of research.

Rigorous application of theoretical concepts Critical Insights Presentation

Term Project FY P5 Sequence Shot Exercise: A challenging project for students, this exercise entails the making of a 3 to 4 minute long dramatic short, comprising of a single shot. The exercise will be an elaborate single-take ‘Sequence Shot Exercise’. that requires complete co-ordination of.

This is the first exercise which will be shot inside the studio by the student. It requires complete co-ordination of all the elements of mise-en-scene, and therefore involves extensive work with lighting, set design and staging. In this project, the direction and cinematography students work within their own areas of expertise.

Assessment are based on:

• • • • •

Concept Co-ordination of elements of mise-en-scene Performance of actors Technical Rigour Production Process

Common Papers FY CP 1 History of the Visual Arts (I, II, III) This unit provides an historical overview of the visual arts of (and in) India, Asia and the rest of the world. Students engage with multiple perspectives on Indian arts and aesthetics, painting, sculpture and their relationships with diverse cultural traditions—arts influenced by indigenous traditions and art under the influence of western renaissance traditions.

This provides contexts for the development of cinematic technologies, so as to situate Indian cinema in the context of the visual arts traditions of India and the rest of the world.

Instruction hours per week: 2 FY CP 2 Music Appreciation (I, II, III) The students are given a broad and extensive introduction to the aural and musical arts in India, wherein are established contexts for the arts of listening and hearing. Sound is treated both as being part of the environment, and as present in the realm of art and expression. Development of musical styles and forms in India, its various regions, cultures, and embedded traditions are also studied. Sound appreciation is treated as an integral way of life in India.

Student Film - Naaigal Jaagirathai

The development of cinematic technologies is understood through the study of the various musical art forms and theatre. The art of silence in cinema and development of talkies and its place in the tradition of sound in India is part of the learning. The recognition of the omnipresence of film music in India is an active part of music appreciation as an aesthetic faculty experience. The study of the traditions of Rasa and Raga in film music is actively encouraged.

Assessments for these sessions are done on a periodical basis by the experts who will be called in to teach these courses.

Instruction hours per week: 2

II Year Direction Stream The second and final year will see students taking up more responsibilities and preparing themselves to enter a global arena. Students will also interface a lot more with film practitioners from India and abroad including producers, directors, distributors, cinematographers, editors. Filmmaking professionals will share trouble shooting tactics when faced with ideation, scripting, production and marketing challenges. This will enable the students to identify industry needs and equip themselves accordingly.

TRIMESTER 4 SY D01 Direction The student are expected to submit proposals for the documentary project based on research and recee undertaken during the vacation along their assigned cinematography student.

Students of editing and sound design will collaborate on this project. Techniques of recording ‘subjects’ on location and ways of overcoming glitches during shooting will be discussed along with exploring the possibilities of collaboration with experts and other fellow filmmakers.

After the documentary film is completed, the term ends with an introduction to digital intermediate facilities; grading on the Hazeltine and the Lustre along with observing the execution of high-end special effects on software such as Maya.

SY D01 A- Feature Film Script This will include extensive inputs on feature film scriptwriting in combination with writing exercises. From tracing out a log line to fleshing out the three acts and finally typing out on a proper final draft format, the student will go through a typical journey from a simple idea to a detailed feature script.

SY D01 B - Study of Filmmakers and Genres All direction students must submit a thesis paper on a chosen director or genre. They need to undertake the study of at least five films of a particular director or ten films of any particular genre or period in cinema. Their analysis has to consider both text and context, stylistic shifts and generic mutations if any. Going beyond the literal meaning they must explore significant grids of intelligibility.

L.V.Prasad Film & TV Academy

Assessment are based on:

• • • •

The scope, relevance and depth of research.

Rigorous application of theoretical concepts Critical Insights Presentation

Term Project SY P1 Documentary: The production of a short documentary film 8- 10 minutes in duration on a subject or theme evincing human interest.

Assessment are based on:

• • • • • •

Concept Scope, relevance and depth of research Formal Structure Sound & Visual Design Technical Rigour Production Process

TRIMESTER 5 SY DO2 Direction After the documentary project, students will need to choose between doing a song picturization or an advertisement film. With the music video, students will work on extending the ideas of music composition & choreography towards achieving a good song picturization. They will have to score and write the lyrics for a song independently or with a semi-professional in the field.

Students can experiment with a variety of genres such as folk songs, abstract poems, semi - classical songs or even urban ‘gaana’. Those who opt for the advertisement film will work on a product or a public service message. Both options entail scripting and storyboarding, meetings with music directors/ musicians, choreographers and vocalists and on the production side they will learn the relevance of using voice-over and music tracks.

The students will also get an exposure to television studio production methodologies. An introduction to electronics and the evolution of the television camera will include various genres of TV programmers. On a theoretical side, they will go through more studies on communications and digital media, the prospects and implications of convergence between analog and digital worlds.

At the same time, final touches will be given to the completion of a feature film script which should be part of their portfolio when they leave the academy. The script writing sessions will be conducted by well known professionals from the industry. The last few weeks will be devoted to a detailed study of their final diplomas script in terms of its aesthetic appeal, the logistics involved in producing it and finally selecting the cast and locations to execute the project.

Each student will be assessed here on the way they take up their own films and also on how responsible they are in their roles as assistants and production executives to ensure the proper execution of their classmates’ projects.

L.V.Prasad Film & TV Academy

Term Project SY P2 Music Video/Ad film: Conceptualization, writing, recording, mixing, choreographing and filming a music video of 3-4 minute duration or a 1 min ad film.

Assessment will be based on:

• • • •

Concept Formal Structure/Visual Design Quality of Music & Lyrics or Jingle Composition Production Process

TRIMESTER 6 SY DO3 Direction Final Trimester All study streams will culminate in the most important exercise – their diploma film. Replicating the work style ofthe film industry, students will plan and execute the film in a professional manner. Students will be working with Red cameras with a variety of lights and grip equipment. In essence, this film will showcase the student’s creative talent coupled with professionalism. The 10-minute film is to be filmed within 4 days with actors and may combine synchronized sound with dubbing. From scripting to the final cut, from casting to publicity design, each group will design a unique final portfolio film.

Every project team will be supervised by mentors who will guide the students to bring out the best in them. All the hard work and the knowledge assimilated over the previous

trimesters will come to fruition as they complete this project.

By the end of the term the student is required to submit two written documents:

• •

A feature film script & A Term Paper

Term Project FY P3 Diploma Film: The student of Direction conceives, scripts, directs and produces a ten minute short film over four days of shooting and about 15 days of post production.

Assessments are based on:

• • •

Concept & Script Formal Structure/Visual Design Technical Rigour

L.V.Prasad Film & TV Academy

CINEMATOGRAPHY UNIT TRIMESTER 4 SY CO1 Cinematography In this trimester, students will be guided to achieve competence in lighting and handling High-end Digital Motion Picture Cameras with aesthetic and technical inputs that are necessary to tell a story photographically, They will be trained in the nuances of lighting up a typical film / television shooting floor that will provide practical knowledge of balancing lighting ratios from multiple points of view on a constructed set. The outdoor exercises will provide inputs on location lighting practices. Although they would have branched out to specialize in cinematography, the emphasis on the aesthetics of the narrative will continue to predominate.

In developing an understanding of how to control colour in this trimester, the students will learn the nuances of colour reproduction in both analog and digital environments. In the process they will become more familiar with image manipulation, color grading and post production facilities in the lab.

Along with the direction students, they will have additional theoretical & practical inputs on the Digital Imaging post production process. The principal project in this trimester is the photography of a documentary film ideated and developed by the assigned Direction student.In this the cinematogrpahy student is required to collaborate on the research, recce and scripting process to ensure the smooth completion of the project within the stipulated deadline.

Term Project SY P1 Documentary: The photography of a short documentary film 8-10 minutes in duration in collaboration with the assigned Direction student.

Assessment will be based on:

• • • •

Style Technical Rigour Collaboration Issues Production Process

TRIMESTER 5 SY CO2 Cinematography In this trimester the emphasis will be on building a creative and technical collaboration with Art director/Production Designer, Makeup Artiste, Hair Stylist, and the Costume Designer.

The students will be introduced to advanced lighting techniques, operation of complex grip equipment, High-End Digital Motion Picture Cameras such as Red MX/ Panavision Genesis and related exercises and projects to achieve professional competence in cinematography .

Assessments are based on:

• • •

Quality of the research Critical Insights Presentation

In order inculcate the best of learning in postproduction techniques the student will be introduced to the various processes involved in Digital Intermediate Technology. In this the student will learn how to use state-of-the-art digital software to correct and improve image rendition. Additional inputs will be given on special effects work in the traditional platform and in the new digital realm.

In this trimester, they will shoot an advertisement film or a music video, based on the choice made by their assigned Direction student.

Term Project: SY P2 Music Video/Ad film: The photography of a music video of 3-4 minute duration or a 1 min ad film in collaboration with the assigned direction student.

Assessments are based on:

• • •

Style Technical Rigour Production Process

TRIMESTER 6 SY CO3 Cinematography Final Trimester In this final trimester, the students will work out a detailed plan and cinematographic design for the diploma film in collaboration with the assigned direction student. The principle of team work will be put to genuine test as the student learns to absorb the form and content of the script in order to enhance it and deliver the best cinematographic effect.

From testing out the High-end Digital cameras, checking out the sensor and camera profile behaviour in the DI lab, from color correcting the edited outputm, this project demands concentration of a high order.

In this trimester the student, who has worked over the year on the body of work of a renowned cinematographer in terms of its cinematographic style, lighting techniques and the philosophy behind the creative and technical choices made, has to submit his/her study in the form of a thesis.

Assessments are based on:

• • •

Quality of Research Critical Insights Presentation

Term Project: SY 3 Diploma Film A short fiction film of 10 minute duration in collaboration with the Direction student. The studnets take son the DOP’s role in visual design, creative framing and composition that goes with the narrative style and treatment demanded by the genre.

The academy has professional links and contacts with other reputed film and television academies, both in India and abroad. The films made by our students will be promoted on the festival circuits all over the world to ensure that students gain maximum exposure. Student exchange programs are also being proposed with international universities. This vast

Student Film - Podhum Ponnu

network of co-operation will ensure a healthy interaction between the students and faculty members across geographical boundaries.

Editing & Sound Design Students will take the course at three levels:

• • •

Theory and practice of Film & TV production The importance of Editing and Sound Design in post-production Practical exercises

This one year course is divided into 3 trimesters. During each trimester, students will study the art of film and TV production and collaborate in the short films made by students with the primary objective of structuring narratives, both as fiction and as documentary. Each student will have a dedicated workstation to work on. One fully equipped sound studio is also available for classroom & project exercises. All courses will merge seamlessly in a climate of intensive immersion in the process of film production.

Trimester 1 During the first trimester, most of the practical exercises will be held in the same space as the classrooms. Ten hours each week will be devoted to intense reading of a range of study materials at the library, observing a variety of post production activities all over the Prasad campus while making first hand reports and working on some assignments and experiments required for submission as part of the course.

FY 111 Editing Techniques I Students are introduced to the fundamentals of editing including a review of the historical perspectives to documentaries, features, music videos and Ad films. From scripting in the pre-production stages to editing and sound mixing in the post production stages, every student will learn the importance of shaping the temporality of filmic material. The focus will be on the role of the editor on a non-linear platform.

There are several ways of assisting the filmmakers to re-direct the visuals and the sounds together in a coherent manner which preserves the inherent rhythm of the story and the emotional characteristics. In the technical sessions, they will be first introduced to the latest editing platforms and their respective systems of operation. In the audio world, they will learn the basics of a digital audio work station.

Editing is the aesthetics of creating time-space continuum. To understand this in practical ways, students will be assigned several exercises to demonstrate the usages of match cuts versus the jump cut, other transition effects and various ways of creating optical effects. Important films will be deconstructed to study their shot breakdown and to see what unifies a scene, a sequence and the whole film.

Assessment will be done during the sessions that will be conducted to study various landmark films in an uninterrupted manner from an editor’s point of view. Several exercises will also be given with a variety of images to edit with and without sound.

Instruction hours per week: 8

L.V.Prasad Film & TV Academy

FY 112 Sound Design Techniques I The focus in the academy is to make one realize the importance of sound in the way it shapes the final narrative on par with the visual world. To understand this better, students are given all the basics of the auditory world from sound and hearing to sound-pressure waves, from loudness levels to the capability of the ear and its limitations. In this, the process of auditory perception, the way a society has constructed its music and other oral traditions over the centuries will be highlighted.

At the technical level, students are introduced to the principles and processes of sound recording starting from the early days of analog recording to modern digital technology including the latest developments in recording and reproduction systems. Students will conduct several exercises in sound recording using traditional tape systems and modern digital equipments becoming more familiar in the process with recording equipments, microphones and sound mixers. Practical sessions on basic software and techniques for editing sound will also form a significant part of these exercises.

Classroom discussions will centre on analysis of classical films and their sound tracks to study the various components of sound ranging from the use of music to dialogues, from sound effects to special synthesized sounds. Whereas visuals are limited to what is available on-screen, sound enables the viewer to be transported off-screen to other areas in a variety of ways. Exercises will require students to make projects with on-screen and off-screen sounds in as many creative ways as possible. Techniques of sound recording in cinema, such as live recording of sounds on-location and dubbing processes will be taught. Inside controlled studio environments, students also get to record music and effects.

Assignments will require students to lay several tracks of dialogues, music and effects and arrive at a creative and balanced final mix to elevate the narrative. These exercises will culminate in one ‘actuality’ recording exercise where students will produce a virtual ‘soundscape’.

Instruction hours per week: 8

FY 113 Advanced Technological Developments I In this trimester, students will be introduced to a broad range of historical and current technologies available from the study of progression of signals in radio, TV and broadband broadcast. Inputs will also be provided on local networking systems, and video-conferencing. As part of understanding acoustic technology, students will be taught the basics of monitoring speaker systems and room acoustics. Additional inputs on speaker design/ polarity, crossover networks and modern amplifiers will be given.

Assignments will include readings of histories of technologies and developing a vocabulary of film production. Based on this, students will do a simple paper on the way they have analyzed the sound structure of an important film. Students will also be assessed on the discussion in the classrooms on the limits and potential of film technologies.

Instruction hours per week: 10

FY 114 Film & TV Technology and its Applications Available through all trimesters Every week a 90 minute long interaction with an expert in the field of film and broadcast technology will provide an update on the various developments that are shaping the world of digital imaging and recording systems.

Term Projects FYP 01 Three Instrument Recording and Mixing: Each student will be required to record three basic musical instruments in the academy studio and mix it. They will be assessed on how they have retained the tonal structures of these instruments and the reasons for their specific styles of leveling in different acoustic environments.

FYP 02 Sound Story Design: In this exercise, they need to devise a sound script of 5 minutes duration. The students will have to record various sounds and then layer them to create a mood and tell a story.

FYP 03 Live Sound Recording: Each student goes on location and learns the art of balancing visuals with sound levels and tone for a video camcorder. This exercise will be done in collaboration with Direction and Cinematography students.

FYP 04 Dialogue Editing: Students would be provided rushes of a dialogue sequence to be edited and incidental sounds to be posted and mixed within a given time frame.

FYP 05 Documentary Film: Each student will be assigned to do ‘live’ recording for the documentary film exercise of the IInd year Direction students. They also have to edit the same documentary and would be assessed for both.

TRIMESTER 2 FY 211 Editing Techniques II Editing students will get to understand the complex principles underlying the two basic approaches to Editing, namely the realist and formalist. These two seemingly radical schools merge seamlessly in modern dramatic films. This allows the student to study the various rhythmic systems involved as one works with playback exercises in a synchronous or nonsynchronous mode with the images.

This in turn becomes the starting point to work on the ideas of slipping and sliding images on the non-linear system. Slowly, each student learns the art of fine trimming and perfection from workshops conducted by reputed editors in the field of film and television.

Later, the emphasis switches to special effects, titling and alpha mattes. Studying concepts such as chroma, luma and import/export help the conventional film to move from traditional formats into newer file formats. Through the study of films, they also learn to deconstruct the methodologies that go behind the ways of devising such effects and their rationale. Experts at Prasad Group will participate in such classes to enrich the students with the state of the art technology in digital construction.

Assessment will largely be based on the practical applications of their acquired knowledge in the various projects they will be assigned from time to time.

Instruction hours per week: 10

FY 212 Sound Design Techniques II Students study the works of several filmmakers who have successfully worked out an ideal amalgam between the editor and sound designer. Students will look at popular films to see how the entire process of sound design develops. Dubbing (ADR), track laying, Room Tone & Foley will be used in creative ways to create international tracks and multi language tracks.

A detailed study of digital consoles, surface controllers & digital workstation will help understand international standards such as those seen in: Synchronization: - MIDI, SMPTE standards; dubbing/music/song recording: - Stereo & 5.1, Dolby SR, Dolby Digital, DTS. Assessment will be based on a project report in which the student has detailed his/her observations and findings during these sessions.

Instruction hours per week: 10

FY 213 Advanced Technological Developments II Students will visit the facilities at Prasad EFX to see the transfer from video to film (reverse telecine). They will learn the various computational principles involved in it namely high definition, progressive frame rate leading to compositing/ complex graphic effects with the aid of workstations. They will have hands on practice in Maya 3D animation software to understands the nuances involved in creating a virtual 3D Object. Students will be assessed on how imaginatively they have employed the procedures involved in the creation of such a model and for its technical finesse. Students will also be assessed for their demo works done on green screen mattes and for the postproduction work done in terms of the final composite.

Film Production Practicum From the second trimester, students will work in the production of short films and TV programmers with specific requirements in consultation with the second year direction students. Emphasis is on group production, collaboration and team work.

All students will be immersed in the production exercises such as documentary and song picturization/ Ad films, integrating their coursework into their practice.In this trimester, emphasis will be on the importance of doing films with synchronous sounds on location in order to create a fluid sense of live sound. Assessments will be based on how students work along with senior recording engineers at Prasad Studios in the creative manipulation of various sounds in the sound mixing process.

L.V.Prasad Film & TV Academy

FYP 06 Actuality Exercise: Each student will design and record sound, voice over, music etc and edit a 5- 7 minute actuality film – a collaboration by academy students and visiting international students.

FYP 07 Music Video/Ad film: Students will record a song and mix it with voices and instrument using the required software. On location, they will have to ensure proper playback, continuity breakdown and follow-up with the assistant director on location logistics. And later, they will edit the same along with the senior Direction students and author it into a DVD. In the ad film, the student will record sound, create effects and voice over or record jingle and do the final edit in collaboration with assinged senior Direction student.

Approximate hours required per week: Ten or more depending on conditions of production.

TRIMESTER 3 FY 311 Editing Techniques III Finally, the students come to the advanced audio and media composing for the Avid and other systems. While they go about editing the final year diploma films of the senior direction students, they learn the art of media management which is essentially making sure that postproduction work flow has been optimized to provide all the time necessary for a creative output. Film cutting will be revisited through the study of its arts and mechanics in terms of key-codes, edge numbers using the film composers to generate a cut list for the final negative/ married print.

Assessment will take place after reviewing the meticulousness with which the student has maintained continuity records, shot registers and log sheet of location sounds. It will also include the way in which the student takes the film from the final print to a properly authored DVD with proper credits and subtitles.

Instruction hours per week: 10

FY 312 Sound Design Techniques III During this period, students will be working intensely on the sound track designing alongside in collaboration with final year direction students in the completion of their diploma projects. They will learn how to storyboard their scripts and devise a meaningful method from the sound point of view. They will have to keep in mind that they will be doing the all the necessary recording, track laying and final 5.1 Surround mixing.

Assessment will take place here to check the way they have learnt to execute the various processes from the mastering of digital sound to theatre reproduction & the use of processors.

Instruction hours per week: 10

FYP 07 Sequence-Shot: A challenging exercise where the student will design, record live sound for a single take short sequence working in collaboration with direction and cinematography students.

FYP 08 Diploma film: Each student will work in at least two diploma films. In one, they will work on sound recording and mixing, while on the other they will work on the edit of the 10 minute short film. The student will be working closely with their respective team in all stages of postproduction, from the rough cut to the final cut, to the creation of high quality sound design, to grading and colour correction and to the final 5.1 Surround Mix ensuring professional output.

Admission Procedures Entrance Test and Personal Interview The entrance examination is scheduled to be held on 6th June 2015 (Saturday) for Direction, Cinematography and Editing & Sound Design courses.

Hall tickets should be produced at the entrance exam centers (Bangalore, Bhubaneswar, Chennai, Coimbatore, Delhi, Hyderabad, Kolkata, Mumbai, Ernakulam and Thiruvananthapuram).

Short-listed candidates will be informed by 16th June 2015 (Tuesday) and the personal interview will be conducted at Chennai on the 13th & 14th July 2015 (Monday & Tuesday).

Candidates appearing for the interviews must deposit the advance installment of Rs.1,50,000/- (Rupees One Lakh Fifty Thousand only) prior to the interview through a demand draft drawn in favour of ‘L.V.Prasad Film & TV Academy’, payable at Chennai.

Cash payment will not be accepted. The final list of selected students will be informed soon after. For those not selected, the advance installment will be refunded immediately.

For the advanced course in Direction and Cinematography, graduates from any discipline may apply (including those awaiting their final year results) the course in Editing & Sound Design, students who have completed Higher Secondary/Senior secondary/Junior college may apply. Computer Literacy is an added advantage. While students from all over India form the majority of our applicants, the Academy will also accept applications from International students.

The application form may be downloaded from our website. The completed application along with a processing fee of Rs. 1,500/ - (through a demand draft drawn in favour of ‘L.V.Prasad Film & TV Academy’, payable at Chennai) should be submitted by post/in person/courier to L.V.Prasad Film & TV Academy on or before 30th May 2015.

Fee Details: For 2 years PG Diploma in Direction & Cinematography: First year: Rupees Four Lakhs only (Rs. 4,00,000) Upon admission: Rs. 1,50,000 and Rs.2,50,000 on or before 15th August 2015.

For 1 year Diploma in Editing & Sound Design: For the year: Three Lakhs Fifty Thousand only (Rs. 3,50,000) Upon admission: Rs.1,50,000 and Rs.2,00,000 on or before 15th August 2015

Second year: Rupees Four Lakhs only (Rs. 4,00,000)

Hostel Facility Chennai – AC Hostel accommodation is available on a first come-first served basis at Rs. 3000/- per person / month. Students who require accommodation in the hostel must pay in advance, Rs. 33,000/- towards 11 months’ rent on a twin / triple sharing basis. Electricity charges will be calculated as per the individual meter readings bi-monthly; but an advance amount of Rs. 5,000/- is to be paid by the student towards electricity charges, before occupying the room. In addition, the students must pay a refundable caution deposit of Rs. 5,000/- (refundable minus any liabilities, if any, upon completion of the course). Since no separate hostel facility is available for women students, the Academy will help by providing housing apartments with AC room facility.

Thiruvananthapuram - Hostel facilities can be made available for students if required

Academic Caution Deposit: Refundable Caution Deposit which will be returned less deduction for liabilities if any at the end of the course: Direction and Cinematography – Rs.35,000 Editing & Sound Design – Rs.25,000 The caution deposit must be made within one week of admission. Any delay in the scheduled payment of fees or caution deposit would result in the seat being allotted to the next candidate on the waiting list. Please note that fees once paid will not be refunded under any circumstance.

Please Note : Taxes if applicable will be payable extra as per applicable rates on all above mentioned Fees.

Faculty Head of Departments Department of Direction Mr.Venkatesh Chakravarthy, Regional Director & HOD – Direction. Chakravarthy started his teaching career in filmmaking way back in 1982 at the Film & Television Institute of Tamil Nadu. In 1989 he played a major role in designing the first Bachelor’s Degree in Visual Communication which was launched by Loyola College, Chennai. With considerable production experience he has had in the film industries of Bombay and Madras, he has directed and edited 90 hours of television programming in the 1990s that includes a megaseries in Tamil for UTV, Bombay. From 1999 - 2002, he taught the first Screen Studies course in Malaysia at Universiti Sains Malaysia, Penang. Since 2004, in the capacity of a film theorist/critic with several articles, academic essays, book chapters and co-authorship of books on the French New Wave and the New Iranian Cinema to his credit, he is a Visiting Professor of film studies at the Tata Institute of Social Sciences, Mumbai. It is with his well researched curriculum design that the Ramanaidu Film School was founded by Suresh Productions at Hyderabad in 2008. Prof. Venkatesh Chakravarthy served as its Dean since its inception until 2014 when he as the Regional Director of L.V. Prasad Film & TV Academy, Chennai.

Mr. Shivakumar, a graduate from the Madras University, is a diploma holder in Film Direction and Script writing from Film and Television Institute of Tamilnadu. He has done over 150 films and videos that include corporate videos, NGO Films, Science films, TV Commercials and Documentaries. He has worked in a couple of French Feature films as second unit director. He was invited to Japan for a film study tour by the government of Japan. His Documentaries were screened in Tokyo, Mumbai and International film festivals. He has authored over a dozen books in Tamil including four books on Cinema.

His book “Cinema, Oru Arputha Mozhi” (Cinema is a wonderful language) and “Cinemavin Irandam Nootrandu” (Cinema’s Second Century) are well known among film buffs of Tamil Nadu.

Chennai Campus Dr. Uma Vangal, is a Fulbright teaching fellow, she taught a course on Indian Cinema at Kenyon College, Ohio. She has been teaching here in the Direction Department since 2004. After assisting Rajiv Menon in Ad films, she was on the scripting team of Kanavu MeippadaVendum, a feature film with award winning film director Janaki Vishvanathan.

She has made several documentaries on women’s issues. From 1996 – 2009, she taught at the Department of Visual Communication, Loyola College, Chennai. With a Ph.D in Film Studies from the University of Madras, she has authored several research articles and a chapter in a book “Channeling Cultures: Television Studies in India” in 2014. She has produced and directed several Corporate films, co-ordinated TV Serials for Vijay TV and several documentation films for INGO’s such as Oxfam and the Ford Foundation.

Department of Cinematography Mr.Sujith Panickar, HOD - Cinematography. A Graduate of Cinematography from the Film and Television Institute of Tamil Nadu, he has worked in several feature films in Malayalam and Tamil. As an associate of Barun Mukherjee and Madhu Ambat he has worked in numerous film and advertising projects. His television experience includes live coverage of IPL cricket matches and ATP tennis tournaments. As a consultant in several Visual Communication colleges at Chennai, he has taught photography and television production.

Mr. M.A. Mathiazhagan, a graduate from the Film & Television Institute, Tamil Nadu, he has taught at FTII, Pune and ICAT, Chennai. He was an associate cameraman on feature films including Anjaneya, Aaha, Adhu and Paying Guest. He has filmed several documentaries and corporate films and was the official cameraman for the South Zone Cultural Center from ‘91 to ’95. He continues to be on Multi-camera crews for International sporting events such as F2 Racing and Chennai Open Tennis tournaments. His short film “With Little Rhyme And No Reason” was screened at film festivals in Oberhausen, Freiburg, Mumbai and Bangalore and Documentary film on IM Vijayan, at the Hyderabad Film Festival.

Mr. RajhaMohan a graduate of the Film & Television Institute of Tamil Nadu, has

Prasad Studios. He has been associated with over 800 films in Dubbing, Sound Recording

considerable experience in the world of commercial television and cinema. He has

and Final Mixing with acclaimed music directors such as Ilayaraja, Vidya Sagar and

worked in numerous Tamil movies and has wide experience in the television industry,

Yuvan Shankar Raja.

as an operative cameraman and lighting director. He has worked with Moving Pictures Company, Delhi as a cameraman, and was a faculty at SAE Institute, Chennai.

Department of Editing and Sound Design

Mr. V. Srinivasa Murthy is a graduate of Sound Recording and Sound Engineering from the Film & Television Institute of Tamil Nadu with over three decades of experience in the field. He has worked in several Indian language films with eminent directors such as Satyajit Ray, K.Balachander, K.Vishvanath and Mani Rathnam in films including Roja,

Mr. Arun Bose, HOD - Editing & Sound Design. A graduate of the Film & Television Institute

Indian, Vazhvae Mayam, Kaala Pani and Vanaprastham. He is a recipient of the National

of India, Pune, also heads the Prasad Group’s Audio Division. He holds the distinction of

Award for the Best Audiographer for the Tamil feature film, Kadhalan.

introducing 70mm stereophonic mixing systems in India. As Sound Mixer and Engineer for over 400 films, he has won several awards for excellence in Sound Recording including

Mr.S.Vinayagam is a graduate of Sound Recording and Sound Engineering from the MGR

the Nandi Award for the film Mayuri from the Government of Andhra Pradesh in the year

Film & TV Institute, Tamil Nadu. He has worked as Assistant Sound Recordist in Bharani

1985; for Yodha from the Government of Kerala in 1992; for Ponthan Mada in 1993; and the

and Nivetha studios for two years before joining LVPA.

Sri Lanka State Film Award for the film Sihina Desayen in 1997.

Department of Administration and Production

Ms.Valarmathy Priya, a graduate of the MGR Film Institute, Chennai, has been teaching Editing & Sound at many institutions at the graduate level. Her work in the program

Mr R N Subramanian heads the Administration of the Academy. He has more than 30

“LIVING ON THE EDGE has been awarded the International Environmental Award, PANDA,

years of experience in a variety of activities in film making from dialogue writing to being

in 1999. As a freelance editor she has edited numerous episodes for Star Plus, BBC, TV-18

executive producer. He has worked with film companies such as The Bioscope, Radaan

CNBC, SAB, Channel-V and other regional channels. She was the editor on the National

Media Corporation, JayaTV, Hansa Vision and Metro Film Corporation as Production

Award winning ‘Thalaimuraigal’ in 2014. Apart from publishing papers in international

Designer. He has immense teaching experience in the subject of Production Management.

journals, she is currently pursuing a Ph.D. in Digital Cinema.

Among his various achievements are serials such as ‘MaaleManivanna’ and the Tamil version of the “Ramayana’.

J A Mathivathanan, a graduate in computer science, started his editing career at Captain TV. He was an assistant to editor T.S.Suresh in 12 Tamil films. As a freelance editor, he has worked on several ads and documentaries in Chennai.

Mr. N. Nagesh, is an ISC Diploma holder from Raja Gopal Radio Institute, Chennai. As a freelance editor for more than a decade he has been associated with various commercials, corporate videos, TV Serials & documentaries. He has been with the LVPA since its beginning.

Mr. P. T. Arasu, a graduate in Sound Recording and Sound Engineering from the Film & Television Institute of Tamil Nadu, he has three decades of experience in the field at the

Faculty Bina Paul, Regional Director, A graduate from FTII Pune, Bina Paul started her career as editor for the ground breaking Malayalam feature film AMMA ARIYAN. She has worked in more than 50 films and won the National Film Awards for Best Editing twice for MITR MY FRIEND and UNNI, and State Film Awards for SAYAHNAM, MARGAM and MEGHMALHAR. She has also won State Television Awards many times. Since starting her tenure in C-Dit as Deputy Director, she has been involved in film teaching and training. She was involved in the conception of International Film Festival of Kerala, and being the Artistic Director for 13 years she was instrumental in making it one of the top film festivals in the World.

She has also served in the juries of many international film festivals including those of Berlin, Locarno, Durban etc. Bina has been into film education for more than two decades now.

Thiruvananthapuram Campus Department of Cinematography K G Jayan, HOD. Since his graduation in Cinematography from FTII, he has been working in feature films and documentaries in Malayalam and other languages. He has won the National Film Award for Best Cinematography for the documentary 18th ELEPHANT and State Film Awards for DANI and SOOFI PARANJA KATHA. He has also won State Television Award for his works. He has been working in C-Dit as Deputy Director since 1990, and teaching visual media in and outside Kerala. He was involved in various television programs like ENTE KERALAM, SASTHRA KAUTHUKAM etc. He has served in various film award committees and other positions which either judged the visual sensibility or set up institutions towards a better visual literacy.

Head of Departments

Department of Editing and Sound Design

Department of Direction

Baiju Kurup, Associate Professor – Editing. He did his MA in Art History from MS University, Baroda, before doing PG Diploma in Editing from FTII, Pune. He was the editor for many

Ani Thomas, Asst. Professor – Direction. With a Diploma in Film Direction from FTII

feature films including the award winning THAKARACHENDA and KALIYORUKKAM in

and a Master’s Degree in Communication Studies from University of Pune, he has been

Malayalam, WAITING ROOM and AAZAN in Hindi and AZEEL in Arabic. He has worked

a freelance screenwriter, consultant and director. He has made a number of ad films for

in more than 50 documentaries and 30 short films as editor, many of which have won

Advertising Agencies like O&M, Bates, Ambience and corporate videos for ITC, IPOL etc.

laurels at various international film festivals. He has worked for more than 50 ad films

He has written various screenplays, which include feature scripts for CHOR CHOR SUPER

and spots for national and international agencies. He has also extensively contributed as

CHOR (2013), URBAN MOON (pre-production), which was an official selection for the

Creative Consultant for concepts and storyboards. He was the writer-director of a number

producer’s lab at International Film Festival of Rotterdam and directed and edited the

of documentaries and music videos. Ever since his Post graduation he has been teaching

feature-length documentary MEMORIES AND FORGETFULNESS for PSBT, written and

visual media, and conducting workshops for filmmaking, editing, visual appreciation etc.

directed a number of short fiction and experimental films. He has worked as the Creative Head for Feature Films at Katson Motion Pictures Pvt Ltd, Mumbai.

Guest Faculty Louis Mathew, Assistant Professor - Film Aesthetics. With an MA in English and a PG diploma in Tourism Management, he was teaching English and Tourism before joining Kerala State Chalachithra Academy as the Program Manager. There he became involved in various academic activities, and was a key organizer of International Film Festival of Kerala. He was the Film Acquisition Consultant of Little Films India Ltd, Mumbai.

He has worked in Malayalam film industry with Jayaraj, Anjali Menon, Arun Kumar Aravind and others as Assistant Director, Marketing Manager, Production Manager and Liason Officer. He is the Chief co-ordinator of ViBGYOR International Film Festival, Thrissur since 2011. He is an Associate of ‘School Cinema’, and conducted various children’s programs like ‘Mampazhakkalam’, organized by the Cultural Department. He has been teaching film appreciation since 2007.

Kumar Sahani

Madhu Neelakandan

E. John

Barun Mukherjee

Anand Krishnamoorthy

Anil Mehta

Elango

C.K. Muralidharan

Manoj Paramahamsa

Mahesh Anaey

‘Kavithalaya’ Kandaswamy

Mahesh Limaye

Madurai G.S.Mani

Dorothy Eichelberg

Praveen Kl and Sreekath Nb

Augustine Paul

Balakrishnan

G.S. Mani

Amit Kumar

Prathap Pothen

Thiagarajan Kumararaja

Prabhu Solomon

Baskar

C.K. Das

Rajiv Ravi

Chetan Shah

Naga

R.V. Ramani

Prasanna Vithanage

Shyama Prasad

M.S. Prabhu

Student Film - Matsyavatar

Alumni Spread their wings Department of Direction International Olena Shatokhina- Working as Choreographer & Dance Teacher in Ukraine

Tamil Film Industry 2005 - 2007 S.Divyanathan - Worked as Associate Director with Director Myskin in the films “Nandalala” and “Yudham Sei” and Kiruthiga Udayanidhi in her first feature film “Vanakkam Chennai” R.Sai Gokul Sundar - Assisted Director K.V.Anand in the films “Ayan” and “Ko”. Directed his first feature film “Shivani” for Saxena pictures and now all set to direct his second film M.Venkatesan - Directed a documentary on Tamil Actor Gemini Ganesan and runs his own production house. Currently working on a documentary film on M.K.Thiyagaraja Bhagavathar with film star Nasser.

2006 - 2008 R.S.Prasanna - Directed his first feature in Tamil “Kalyana Samaiyal Sadham” S.Palaniappa Kailasam - Worked as an Associate Director in two Tamil films “Kadhalil Sodappuvathu Eppadi”and “Maari” with Director Balaji Mohan.

Jathin Sanker Raj - Worked as an Assistant Director in Mirchi movies “Kadhal to Kalyanam”, Gemini films “Drohi”, Om Productions “Chunnu Munnu “ and now he is a Founder/Creative Director - Technical at Candlelight Production

2007 - 2009 Ganesh Karthik - Assisted Unni in “Lessons in Forgetting”, Assisted Chakri Toleti in “Billa 2”, Assisted Gokul Krishna on “Aaha Kalyanam” for Yashraj Films

L.V.Prasad Film & TV Academy

2008 - 2010 Manjunathan.S - Assisting Director M.Raja in his feature film

2009 - 2011 Ramya Ananthe.K - Assisted Director Balaji Mohan in “Kathalil Sodhappuvathu Eppadi”. Assisted Gokul Krishna on “Aaha Kalyaanam” for Yashraj Films.

Vinayak Ram - Freelance Assistant Director, Line producer for feature on “Ramanujam”, TV programmes and Documentaries. Also working on documentary film about film director Singeetham Sreenivasan.

2011 - 2013 Ananya Kasaravalli and Aravind Kuplikar – Assisted Prakash Raj in Trilingual film Kannada Version “Oggarane” Xavier Peria and Priyanka Pal - Assisted Prakash Raj in Trilingual film Tamil Version “Un Samayal Arayil” Triloknath A - Assisted Prakash Raj in Trilingual film Telugu version “Ulavacharu Biriyani”.

Hindi Film Industry 2005 - 2007 Swaroop Sreenivas - Worked as Assistant Director in “Don” , “White Elephant” (NDTV NFDC Production), “Michael” (Anurag Kashyap Production) 2009 - 2011 Manuja Tyagi - Assisted Amit Kumar in “Monsoon Shootout”, Assisted Bijoy Nambiar in “David”, Co-Director of “24” for Colors TV

Malayalam Film Industry 2006-08 Varun.G.Paniker - Assisted Director Priyadarshan, Directed Short film “Abdu” & Co-directed “Naghangal”

2007-09 Parthan Mohan - Directed many AD films, Directed first feature “ONE” Arjun Das.P.M - Assisted Director Blessy on “Pranayam”. Now assisting Director Sundar Das Sujeeth.Y - Producer and Director of short films. Released his first feature film titled “Run Raja Run”-a box office hit last year in Telugu Film Industry.

2010-12 Bharat Varma.S.N - Made a short film “Premakosam 10 Nimishaalu” & now assisting Bhavanna on a Tamil feature

Kannada Film Industry 2010-12 Subbaiah.K.G - Producer Corporate Videos, Assiting Director Priya Beliappa on a Kannada feature “Ring Road Shubha”

TV INDUSTRY /ADVERTISING INDUSTRY/MANAGEMENT Mumbai Anil.K.Jain (2005-07) - Assisting in TV serials and AD films in Mumbai Chennai K.R.Imran Ahmedh (2005-07) - Directing Animation, Corporate AV, TVCs

L.V.Prasad Film & TV Academy

Nishant (2006-08) - Founder/ Creative Director Candlelight Productions Raghavendran.K.K (2010-12) - Producer at “Puthiya Thalaimurai” TV Channel. Working in Sun Music channel as producer.

Ashwath Nair (2009-11) - Narrative Game Designer at Zinga Games, India and Music Video Producer

New Delhi Tegveer Singh (2008-10) - Creative Director RPSB Animation Studios

2012 – 2014 Ajay Arjun K - Independently working on corporate films, AD films and documentaries Isha Pungaliya - Won the best emerging Woman Director Award Jithin Nambiar - Working on a script Nitin Raj - Independently working on corporate films, AD films and documentaries Vishnu Vardhan Rao K - Working on a script

Cinematography 2005-2007 Anirban Lahiri - Working as Cinematographer in Mumbai & Teaching Cinematography at Digital Film Academy, Mumbai Devdarshi Nayak - Worked as Assistant Cinematographer for 4- 5 years in Mumbai. Currently working as faculty (Cinematography) in KIIT – Bhubaneshwar R.Premnath - Currently directing a Tamil feature film “Production No-1”. Also working as Asst.Director in a Tamil film “ Kavalai Vendaam “with Director DeeKay. S.Ramesh Kumar - Worked with Cinematographer Aravind Krishna and now shooting for Premnath’s debut film H.Yugaraj - Worked with well known Cinematographers Sunny Joseph, Prem Kumar, Bharani, Shammi as an Associate. Currently finished shooting a Tamil feature film “Oru Modhal, Oru Kadhal” by Kirti Kumar

2006-2008 Abhyuday Khaitan - Worked with Cinematographer Ranjan Palit. Independently directed a National Award winning short film “The shop that sold everything” which received International Acclaim.

Ankit Trivedi - Worked with Cinematographers Sunny Joseph, Binod Pradhan & Gargeyi on feature films. Currently working on independent music videos, promos, documentaries etc in Mumbai.

Krishnan Vasant - DOP, Worked on Tamil Feature films “Kalyana Samayal Saadham”, “Darling” and “Roopam”. Expert with 3D Camera Rigs. Worked in Corporate and Ad films.

B.Deepak - Worked as associate with well known DOP’s like Siddharth and Fowziya. Shot an independent feature “Aachariyangal”. Shot the ad series for “Mustafa Gold”, “SD Homes”

2007-2009 R.Abhinandhan - Diploma Film “Postman” received National Award for Best Student film. DOP for blockbuster Malayalam Feature “Amen”. Shot a couple of Feature Films earlier and worked with Manoj Paramhansa & Bejoy Nambiar on MTV Promos. Currently shooting Malayalam film at Goa. Sivaram Kumar.V - Assistant Cinematographer with Cinematographer Thiru. Also shooting ads and Corporate Videos Tanveer Mohi-ud-din - Diploma Film was at the competitive section at the Camerimage festival in Poland.

Assisting Cinematographer P.C.Sreeram.

Rakesh Ramakrishnan - Associate with eminent Cinematographer Venu

2008 – 2010 Arun Gopalan - Worked with Cinematographer C.K Muraleedharan . Currently working on Independent projects shooting Documentaries and Corporate Videos in Pune Karm Chawla - Student Diploma Film “Kal” which was selected for Cannes Film Festival. Worked with eminent Cinematographer Bobby Singh for a couple of years. Currently shooting a Kannada feature film.

V.S.Rajesh - Worked on a feature film with Cinematographer Sunny Joseph. Currently working with Cinematographer Satya on other feature films Sudip Pathak - Shooting TV Programmes in Kolkata. Also teaching Cinematography at Media Institutes, Kolkata V.Vignesh - Working with Aravind Krishna on Feature films and on Star TV Series “Dharmayuddham”. Also independently shooting Ads, & Corporate Videos

Student Film - Naaigal Jaagirathai

2009 – 2011 Advaitha .G - Diploma Film “Indiyam” won the Fuji Indradhanush competition and screening at Camerimage Film Festival in Poland. Worked with Madhu Ambat on various films.

Went to LA for a 3D workshop sponsored by Panasonic. Currently an independent Cinematographer shooting short films, Ads & Corporate Videos Lenzyel Antao - Working in Goa as an independent Cinematographer for documentaries & corporate videos. His 3D student film was adjudged the best student film in 3D sponsored

by Panasonic Santosh Bhoopalan - Worked as assistant Cinematographer with Ayanakh Bose . Currently working as Associate Cinematographer in a Tamil film Tamal Kanti Paul - Student film “ Nirgun” won a top award at Dakino Festival Romania. Assistant to Barun Mukherjee, Satya, Shanu Verghese & Binendra Menon.

Yethi Premchand - Working as Associate Cinematographer with Sehnad Jelal, Pratapan & Jomon in Malayalam Film Industry

2010- 2012 Sakthivel.M - His film “Nayigal Jaghirdhai” was selected at Camerimage film festival, Poland. Worked with Cinematographer Richard Nathan of “KO” Fame. Currently working with Gopi Amarnath Sooraj.S - Assistant Cinematographer with Cinematographer Rajan, worked on two feature films recently.

Karthik.M - Gold Medalist from Prasad Academy. Won the best cinematography award for his Diploma film “Skylab is Falling” at National Student”s film festival held at FTII 2013.

Worked with Santosh Sivan, assisted Preeta on a feature film.

Jemin Jom - Independently shot a malayalam feature “ Yakshi -Faithfully Yours”. Currently shooting a Tamil Feature “ Kathai Solla Porom “

2012 – 2014 Aditya Kumar Javvadi - Working on his first independent feature film Juhi Sharma - Wedding filming with Kairos films Meera Mariam Yesudasan - Assistant to PC Sreeram Pavel N.N. - Independently working on corporate films, AD films and documentaries, worked in the feature film ‘Bangalore Days’ Pradeep Kumar R - DOP for a short film ‘Catalist’ Shivaram P.K. - Independently working on corporate films, AD films and documentaries

L.V.Prasad Film & TV Academy

EDITING & SOUND DESIGN 2007 - 2008 S.Bhuvanasundar - Worked as a Senior Associate Editor to Cinematographer Sreekar Prasad in “Kadal”, Matru Ki Bijlee Ka Mandola”, “David” Ariya Nambi, OK Kanmani G.K.Prasanna Venkatesh - Worked as a Senior Associate Editor to Cinematographer Sreekar Prasad in “Kadal”, Matru Ki Bijlee Ka Mandola”, “David” Santosh Kumar Nanda - Working as a Freelance Music Director for Oriya films & Television in Bhubaneswar T.N.Srinivasan - Pursuing studies in Sound Accoustics in Sydney University S.Rakesh - Worked as a Freelance Sound Designer for the Malayalam Film “Chattakkari”

2008-09 Loaeswaran Mahalingam - Working as an Editor and Heads a Post studio in Malaysia Sathyaraj.N - Freelance Editor worked in Tamil Feature Films “Kalyana Samayal Saadam”, “Shivani”, “Oru Modhal Oru Kaadal”, “Vidiyum Munn” “Vaaliba Raaja”, “Andaavai Kaanom”

2009-10 Ninad Suresh Khanolkar - Worked as an Associate Editor in Mumbai to Hemal Kothari, Pooja Ladha Surti in Hindi Films “Aatma”, “Ramaiya Vastavaiya”, “Raanjhana”, “2 States”, “Ragini MBBS”, “Agent Vinod”.

Arvindh Manoharan - Working as an Audio/visual head in Infosys, Bangalore for doing Corporate Film & Documentaries Bhuvaneswar Varun.V - Worked as a Sound Designer in Chakri Toleti’s Tamil Film “Billa 2”

2010-11 Aalaap Pundalik Majgavkar - Working as an Editor & Sound Designer in Vishal Bharadwaj Productions, Mumbai and contributed for Hindi films: “Matru Ki Bijlee Ka Mandola”, “Ek Thi Fayan”, “Dedh Ishkiyan” Akruti Rao Kandikonda - Working as a Freelance Editor in Chennai & Bangalore doing Documentaries & Short Films.

Ankit Pushkarna - Worked as an Associate Editor to Namrata Rao in the Film “Kahaani” Arnav Das - Worked as an Associate Editor to Antara Lahari, Mumbai in the film “Mere Dad Ki Maruti” Arunima Saxena - Worked as an Associate Editor to Arif Sheikh, Mumbai Karthik Jogesh - Worked as an Associate Editor to Sreekar Prasad in the Films “Kadal”, “David” Smrithi.S - Working as an Assistant Editor to Sathyaraj.N in Tamil Feature Films “Kalyana Samayal Saadam”, “Shivani” , “Oru Modhal Oru Kaadal”, “Vidiyum Munn”

2011-12 C.R.Anish - Working as Associate Editor to Mahesh Narayanan in Malayalam films “Mumbai Police”, “Sound Thoma” Dorai Prakash.S.A - Working as an Assistant Editor to Raja Mohammed, Chennai in Tamil films “Yaasakan”, “Gnanakirukkan” & Malayalam films “Issac Newton - S/O Philippose, “Abhiyum Njaanum” George Varghese Modathara - Worked as an Assistant Editor to Amit Kumar, Mumbai in the Hindi film “Monsoon Shootout” Shishira.K.V. - Working as a Freelance Director /Actor in Bangalore

2012-13 Abhishek Mallappan - Working as an Asst. Editor to Bhuvan Srinivasan Sreeram R - Working as an Assistant Editor to Praveen K.L, Srikanth N.B. Raghavendra Arasu - Working as an Asst. Editor to Bhuvan Srinivasan Gridharan MKP - Working as an Asst. Editor to Satyaraj Natarajan Manu Kathiresan - Worked as an Asst. Editor to Karthik Jogesh and now working as an Editor in a Tamil Film

L.V.Prasad Film & TV Academy

Impressions P. C. Sreeram - Director of Cinematography Like professionals in the field of medicine, engineering and information technology, cinematographers too need formal education and training in a University / Academic Institution for a strong foundation and to scale new heights in their chosen field. LV Prasad Film & TV Academy is one such Center of Excellence where young aspirants can benefit.

Prakash Raj - Actor, Director & Producer I am impressed that L V Prasad Film & TV Academy has successfully completed 7 years. I am sure this batch of filmmakers will make films with sensitivity which is the need of the hour in Indian Cinema.

Padmashree Kamal Hassan - Actor, Director & Producer Don’t lose your innocence, your naivetÊ and always watch and make films with passion.I envy you for this opportunity you have, to learn and earn a certificate in 2 years, while it took me 20 long years to achieve it on my own.

Mani Ratnam - Director & Producer I sometimes wish I could have also gone to a film school like all you fortunate ones.

Vishal Bhardwaj - Filmmaker Since I never had the opportunity to educate myself in a formal manner in film making, I envy you! So please make sure that you keep the flag flying high with your films.

L.V.Prasad Film & TV Academy

Krishnan Vasant - Alumni - 2006-2008, Cinematography I joined LV Prasad Film & TV Academy in its second year (06 -08), when the famed Red One camera was seen only in a brochure and our education was on film stock. Growing up as a filmmaker in Prasad’s fertile campus, I was offered technical strength and aesthetic flair. Stalwarts like Mr. Balu Mahendra, Mr. Sivaraman and Mr. Sunny Joseph had influenced and mentored me, and I owe a lot of my confidence in my field of specialization to them. One of the best film schools in India to learn cinematography as it is set in a thriving post production facility. So, understanding current techniques and processes like Color timing and Compositing is just a walk away.

Akruti Rao - Alumni - 2010-2011, Editing & Sound Design I’ve been working as a freelance editor for the past four years. Recently L.V.Prasad Film & TV Academy gave me an opportunity to teach film editing and sound design to students of graphic design at the Fashion and Design Institute, Mauritius. I taught them the basics of film editing, basics of sound design, the aesthetics of editing and other nuances, along with Adobe Premiere Pro and Adobe Audition. I also helped the institute in setting up editing suites which will further enable the students to practice and learn the editing software. It was a wonderful experience which opened up new career possibilities for me.

I loved teaching and would like to continue teaching whenever I get an opportunity. Currently I am working on a few corporate films, wedding films and a show reel of a cinematographer.

Ramesh Kumar - Alumni - 2005-2007, Cinematography Right from day 1, I knew that my career has got the right launch pad to rocket me into this world of glitz. Live shooting experiences, interactions with the best in the industry and importantly networking with contemporaries, I can name a million intellectual gifts my institution has offered. Besides learning the nuances of cinematography the institution gave me new friends who I will cherish for the rest of my life. Thanks L.V.Prasad Film and TV academy.

L.V.Prasad Film & TV Academy

Awards & Recognition Film Festival

Country

Year

ViBGYOR

India

2015

Kaleidoscope

Aravind V.K

National Student Film Festival

India

2015

Kalakootam Pacha Mannu

Swaroop Elamon Vinayak Prakash

Don Bosco Institute of Communication Arts Film Festival

India

2014

Shadow Twice Upon a time Podhum Ponnu

Nithin Raj Jithin Nambiar Manjunathan

Pune International Film Festival (Student Section)

India

2014

Devil in the Black Stone Amoortha

Ananya Kasaravalli Aravindh Kuplikar

Mumbai International Film Festival (National Section)

India

2014

Naaigal Jaagirathai Devil in the Black Stone

Mugil Chandran Ananya Kasaravalli

ViBGYOR Documentary & Short Film Festival

India

2014

Devil in the Black Stone

Ananya Kasaravalli

CUT.in Film Festival

India

2014

Devil in the Black Stone Mazhai Pallavi Matsyavatharam

Ananya Kasaravalli Abhishek Mallappan Venugopal Shyam Sunder

Devil in the Black Stone Naaigal Jaagirathai Skylab is falling

Ananya Kasaravalli Mugil Chandran Manoj Jahson

Devil in the Black Stone

Ananya Kasaravalli

Kadhai Kelu

Ganesh Karthik

Dhisai Maarum Uravugal Amoortha

Krishna Priya Aravindh Kuplikar

Clapstick International Student Film Festival (SRFTI)

India

2014

MISE-EN-SCENE Student Film Festival

India

2014

24th International Student Film Festival

Cergy Pontoise, France

2014

International Short Film Festival

India

2014

Awards

Best Film Best Director

Best Editing

Best Long Fiction Film

Best Film - 1st Place Best Film - 3rd Place

Film Name

National Student Film Awards

India

2014

Best Production Design

Colombo International Student Film Festival

Srilanka

2014

Best Film Best Editing Best film, Best camera, Best Editing, Best Sound & Best Film (Experimental)

Devil in the Black Stone Amoortha Mazhai Dhisai Maarum Uravugal Manadhil Oru Ranam Matsyavatharam Naylah ICU Shishya

Ananya Kasaravalli Aravindh Kuplikar Pallavi Venugopal Krishna Priya Xavier Peria Shyam Sunder & Ankit Mahatre Ajay Arjun Tejaswi Sri Nitin Raj

Naaigal Jaagirathai Naaigal Jaagirathai Skylab is falling

Mugil Chandran Sharanya Rao Manoj Jahson

Amoortha Devil in the Black Stone Matsyavatharam In the wake of the Hill Unread Nirgun The Untitled- a Travelogue

Aravindh Kuplikar Ananya Kasaravalli Shyam Sunder Isha Pungaliya Triloknath Arivelu Parthib Datta Jithin Nambiar

Barcelona Human Rights Film Festival

Spain

2014

Devil in the Black Stone Amoortha Manadhil Oru Ranam Beyond Binary Naaigal Jaagirathai

Ananya Kasaravalli Aravindh Kuplikar Xavier Peria Ananya Kasaravalli Mugil Chandran

Kalamaharishi Short Film Competition

India

2014

Vasiyastnama Devil in the Black Stone Mazhai Matsyavatharam Beyond Binary Rangavalli Valakannikal

Ananya Kasaravalli Ananya Kasaravalli Pallavi Venugopal Shyam Sunder Ananya Kasaravalli Aravindh Kuplikar Krishna Priya

Minneapolis St.Paul International Film Festival

India

2014

Twice Upon a time Dwaraka Dwaraka Veela Thaaralu

Jithin Nambiyar Isha Pungaliya Pradeep Padma Kumar Visvek Khende Rao

Best Student Film Jury Award Best Emeging Women Film Director Best Cinematography Best Music Video

Chennai Prasad Studios Campus, 28, Arunachalam Road, Saligramam, Chennai - 600 093 Phone: +91 44 65257476 - 78

Email: info@prasadacademy.com

Thiruvananthapuram KINFRA Film & Video Park, Kazhakuttom, Thiruvananthapuram - 695 585 Phone: +91 471 2414117 Email: info.tvd@prasadacademy.com

www.prasadacademy.com