FILM INSTITUTE AND STUDIOS THESIS BOOK

FILM INSTITUTE AND STUDIOS

DESIGN DESERTATION Name: SMARAN SHETTY ROLL NO: 2016-137

FILM INSTITUTE AND STUDIOS

LATE BHAUSAHEB HIRAY S.S. TRUST’S

DR. BALIRAM HIRAY COLLEGE OF ARCHITECTURE Affiliated to University of Mumbai

DISSERTATION ON

FILM INSTITUTE AND STUDIOS

SUBMITTED BY Mr. SMARAN SHETTY

UNDER THE GUIDANCE OF PROF. BAIJU BAXI

IN PARTIAL FULFILMENT OF BACHELOR OF ARCHITECTURE (2020-21)

CERTIFICATE

It is certified that the work content in the dissertation title FILM INSTITUTE AND STUDIOS by Mr. SMARAN SHETTY, has been carried out under my supervision and that this work has not been submitted elsewhere for a degree in fulfilment of requirement for Award of Bachelor of Architecture of University of Mumbai.

PROF. BAIJU BAXI (Thesis Guide) November 2020

AR. SUNIL MAGDUM (Principal) DR. BALIRAM HIRAY COLLEGE OF ARCHITECTURE, MUMBAI

DECLARATION

I, Mr. SMARAN SHETTY a bonafide student of Bachelor of Architecture in Dr.Baliram Hiray College Of Architecture , Affiliated to University of Mumbai would like to declare that the dissertation entitled FILM INSTITUTE AND STUDIOS submitted by me in partial fulfilment of the requirements for the award of the

DEGREE OF BACHELOR OF ARCHITECTURE

is my original work. Wherever I have used materials from other sources, due credit is given to them by citing the sources. This work is free from any plagiarism and I have not misrepresented, fabricated or falsified any idea/data/fact source in my submission. This work or any part of it, has not been previously submitted by me or any other person for assessment for this or any other course of study.

Place:

Date:

Signature of the candidate Mr. Smaran Shetty

FILM INSTITUTE AND STUDIOS

ACKNOWLEDGEMENT I sincerely acknowledge all the resources who helped me in completing my Design Dissertation Project Report.

I wish to express my sincere thanks to Prof. Ar. Baiju Baxi (Thesis guide) who provided his insight and expertise that greatly assisted this research and helped me in evolution of this project as well as our principal, Ar. Sunil Magdum for providing me with all the necessary facilities for the research.

I would also like to thanks all my professors from whom I have learnt different subjects throughout my course. This project is dedicated to all those who are interested in education & knowledge attained through libraries.

I would like to thank my college professors and colleagues who helped me in formulation and enunciation of this project, without whom this could have been not achieved for their comments that greatly improved my manuscript although any errors we my own and should not varnish the reputations of these revered persons.

I take this opportunity to express gratitude to all of the Department faculty members for their help and support I also thank my parents Sudesh Shetty and Smita Shetty for the unceasing encouragement, support and attention.

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FILM INSTITUTE AND STUDIOS

INDEX TITLE: FILM INSTITUTE AND STUDIOS CONTENTS:

CHAPTER 1: INTRODUCTION 1.1 Indian Culture and Movies …………………………….........04 1.2 Need of the Project

…………………………….……..05

1.3 Aims and Objective of the study ………………………........06 1.4 Scope and Limitations …………………………………........07 1.5 Methodology ………………………………………………08

CHAPTER 2: LITERATURE REVIEW 2.1 Film Education in India ……………………………………... 09 2.2 Analysis on Indian and Hollywood Film Industry …………...13 2.3 Problems and Reform Measures ……………………………. 15 2.4 Conclusions …………………………………………………..16 2.5 Background and History of Cinema ……………………….....17 2.6 Indian Cinema and Film Industry……………………………..20 2.7 Bollywood and its Evolution…………………………….........25 2.8 Media and its Types…………………………………………...30 2.9 Entertainment Industry…..…………………………………….34 2.10 Design Standards……………………………………………..37

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FILM INSTITUTE AND STUDIOS

CHAPTER 3: CASE STUDIES 3.1 Kantana Film Institute, Thailand ……………………………..47 3.2 The Film and Television Institute, Pune ……………………53 3.3 Whistling Wood International Institute, Goregaon …………..58 3.4 Comparitive Analysis……………………………………........65

CHAPTER 4: SITE SELECTION 4.1 Site Selection Criteria…………………………………………66 4.2 Site Justification……………………………………………….66 4.3 Site Location and Analysis……………………………………69

CHAPTER 5: ZONING AND SPECIFICATIONS ……….77

CHAPTER 6: BIBILOGRAPGHY…………………………...82

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FILM INSTITUTE AND STUDIOS

INTRODUCTION 1.1 . INDIAN CULTURE AND MOVIES: India is one of the earliest civilizations and the largest democracy in the world with the population of over 1.2 billion people. People here are segregated culturally by religion and these individual cultures unite through festivals and celebrations like Christmas, Diwali, Holi, Eid and so on. The culture and people are so diverse that more than the democratic government, the two things that unite the country are cricket and films.

A film can be best described as an art form which is a comprehensive and holistic composition of all other art forms like music, dance, drama, art and architecture set in its proper time and sequence. Since their inception in late 19th century, the motion pictures have been the most complete medium of transferring ideas, opinions and nation building beliefs to a variety of audiences. Cinematic modes and movements have always been a mirror of technological progress and vice versa. Cinematic world has realized the economic, cultural and social value of film making.

The techniques used and involved in film making are on constant improvement with the various new types that are coming up such as motion pictures, 3D movies,Animated movies etc.

Film is an optical and celluloid media. The process of film making is both an art and an industry. Films are cultural artifacts created by specific cultures. The visual basis of film gives it a universal power of communication. Films are of various types and genres, animated films, educational films, fiction films, documentary etc. India is one of the earliest civilizations and the largest democracy in the world with a population of over 1.2 billion people.

After the 1970's, the technological developments in the movie industry has been very rapid. With the introduction of visual effects, video cassettes, CDs, etc. the industry increased its popularity to a global level. Today the visual effects in the movies have reached a whole new level with animation movie industries using motion capture technology and other CAD programs.

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FILM INSTITUTE AND STUDIOS

1.2. NEED OF THE PROJECT: Filmmaking education in India provides diploma and certified courses in directing, cinematography, sound design, art direction and film editing and more recently, areas encompassing digital media. India now has a lot of film schools and other institutes/departments offering courses in film and video production.

Early film-school students learned about cinema and its history in broader terms than simply in relation to the cinema(s) of Mumbai, Chennai and Kolkata. Students were introduced to national cinemas from Europe and Asia among others, and to film movements and “auteurs” from around the world. This education had become a force for students to understand their significance in the prevalent filmmaking system. But there has been a decline in this notion of education and this has given rise to dichotomy between film education and film making. Market value guides education and this compromises with the artistic and ethical value of filmmaking.

If Indian cinema is to grow to adulthood, it has to come out of the cloying, cliché ridden commercial films. Hence it becomes crucial that film education not only evolves with the aspirations of the society but also creates a platform for growth of art and regional cinemas. The film schools must become a medium that encourages a culture of thinking, questioning and creating that harness the artistic and intellectual potential of each individual. The students need to become an active and empathetic member of society and the three years spent in college must respond to this need. The public also needs to become aware of India’s rich cinematic heritage.

A successful education system is necessary for a profession like the film Making.

Hence, it is important that the education system catches up with the 21st century advancements.

Improving the learning environments for students could enhance their creative skills.

Students need to be provided with more opportunities and easy networking options.

They also need to experience the actual film making process.

Architecture can help in this reform of education system by creating environments that would help in achieving the same. This could be done by combining film schools to Page | 5

FILM INSTITUTE AND STUDIOS

film production studios where there could be interactions with the actual professionals and experiential learning environments.

Spaces can be created to attract the public and the communities to visually experience films and its behind the scene process. This in turn could generate interest in them to participate and contribute to it as audience and as potential film makers of the future.

Practical

Film Maki ng

Film Education

learning

Fig. Merging Theory and Practice of Film making.

1.3. AIMS : To create better education platform for the filmmaking students.  To promote all aspects of films, video, audio, animation and performing arts.  To create awareness among the public about the importance of films and its making process.

 To create easier and equal employment opportunities for outsider talents.  To generate more interest in the local community about movies and its cultural value.

F i g 2 .

3 .

2 : M e r g i n g T h e o r y a n d p

1.4. OBJECTIVE: To encourage interest in and study of films as form of art and as medium of information and education.

 To create a space worthy to engage film enthusiasts.  To improve the learning environment of students so that they could enhance their creative skills.

 To create more opportunities and networking options to the students.  Learning through visual and aural skills which helps to foster the minds to think innovatively.

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FILM INSTITUTE AND STUDIOS

1.5. SCOPE: This field requires creativity compared to other fields. Professional Schools give their students intensively theoretical knowledge rather than practical knowledge.

So merging a classrooms and studios would create experiential way of learning film to the students.

 Can also be developed as a centre for recreation and education by merging the knowledge and fun part of Bollywood film and other Medias through activities and architecture.

 The structure can be designed as an artistic campus by enhancing the beauty of the site.

 Film institutes should have spaces where students can move around and interact with the professionals which are specialized in different fields of filmmaking.

 Changing the learning environments by making the classrooms more of an informal space where interaction can occur. This would create more interest about the films and its making process to the students.

 Institutions like films include admin blocks, classrooms, museums, amphitheatres, canteens, studios, workshops, hostels, recreation facilities.

1.6. 

LIMITATIONS :-

In film institutions, studio rooms would have latest technologies for production involved in making of film, videos, animation. Due to these facilities installed in the institutions for the students learning process, the fee structure might be expensive for taking admissions in this type of institute.



The main issue faced by the filmmakers and filmmaking students is India is the lack of practical knowledge and opportunities involved to get them in the film industry.



Another problem that many film institutions are facing are lack of space so as to equip the latest technologies for film production so as to carry the production task in one single roof.

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1.7.

METHODOLOGY :-

In order to achieve the objectives, there are few main methods to obtain the data, in which it tries to find out:  LITERATURE STUDY:

 Studying the kind of activities that would draw the communities in this development.

 Studying various steps and stages involved in filmmaking process.  Finding ways and techniques to mix spaces and to make them well suited to equip the latest technologies for the production.

 Designing space for specific programs like editing, sound in such a way that it should be helpful for the students that can physically and virtually experience all the process involved in filmmaking process.

 Zoning of activities on site according to the interfaces that it will create with surroundings.

 CASE STUDY:

 Identification of Case Studies of various prominent examples in India and Abroad.  Conducting Live Case Studies and Tabulate the Findings.  Identifying various functions and their working from the Case Study.  SITE STUDY:  Conducting site visit to the proposed site.  Collecting important data on site like the soil conditions, the climatic conditions, the temperature throughout the year, geology, and also the past and current usage of the site.

 Collecting important data of surrounding site and traffic movement and local connections etc.

 ZONING AND DESIGN DEVELOPMENT:

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FILM INSTITUTE AND STUDIOS

LITERATURE STUDY 2.1. 

FILM EDUCATION IN INDIA:

With a population of over 1.5 billion people, India has one of the largest educational systems in the world and is the highest contributor to the global workforce with the working age population surpassing 950 million. Over the last two decades, the higher education system in India has transformed dramatically having created an additional capacity for 40 million students. The number of institutions imparting higher education has grown at a CAGR of 11% and student enrolment at a CAGR of 6% over the last 10 years, leading to a student population of over 70 million.



However, despite the rapid growth, India’s higher education has not emerged as a global leader with less than 25 Indian universities in the top 200.Further, focus on vocational training has been low with limited number of specialised institutions for imparting high skills in specific domains.43 The film sector also faces a dearth of specialised institutes that impart training and formal education in film technologies, higher skills and creative thinking. Majority of the workforce in the sector has been trained on the job or self-trained, leading to a lack of standardisation in process and techniques across the sector. Further, this has hampered the entry of new film technologies into India and also stunted the growth of the special effects segment in moving up the value chain to higher end work.



Thus, with technology entering every aspect of the film value chain, it is imperative that technicians need to be well trained in new technologies especially at the high end of the spectrum for Indian films to move to the next level.



Currently a number of initiatives to increase vocational training in the film sector have been undertaken: • The Media and Entertainment Skills Council (MESC) is being promoted by the Federation of Indian Chambers of Commerce and Industry (FICCI) with financial support by National Skill Development Corporation (NSDC).

• The MESC has a mandate to create 1.2 million skilled workforce by 2022 in the media and entertainment sector across 74 job profiles.

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FILM INSTITUTE AND STUDIOS

`• Veteran actors and film makers are expected to collaborate with government institutions offering film courses by giving training lectures and holding workshops. MIB has received support offers from 120 actors, film makers, and technicians for this initiative, and is chalking out a plan to hold lectures every fortnight and workshops every semester. MIB also plans to use their consultation to improve the quality of government support offered to the Indian film industry.



The education system of Film making has taken a back seat giving students who have the potential to do well professionally with very free opportunities to get into the actual Film Making Process.



The system of the Film Making Industry in India works in a way in which only the people who have connections within the industry will be presented with opportunities to get involved in the actual film making process regardless of whether they are talented or even educated in making films.



Hence, it becomes very difficult for talented film students to get into the field.



They need to work their way up through networking more extensively than the ones with inside connections.



Making a more creative environment for teaching, giving them opportunities for more experiential way of learning film making and networking opportunities could be a way which could take the students a step closer to being successful and to contribute to the film Industry.



Looking at the education system of film making and other fields like Architecture, Product Designing, Fashion Designing etc it is observed that the students are lacking in practical knowledge which is required in field of studying. Sometimes they need to unlearn which was previously taught to them to adapt to the working style in their professional field and start all over again.

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FILM INSTITUTE AND STUDIOS



Hence the challenge would be to tackle this by finding ways to give the students the training they need beforehand which would involve finding ways to bring in professionals and get them involved with the students and vice-versa.



This collaboration of the professional practice with professional education by involving experienced professionals to work with the students could prove to be mutually beneficial to both the parties as they are able to get insights and inputs from one another.

PROCESS OF FILM MAKING Film making is the process of making Film from an initial story, idea or commision through script writing, shooting, editing, directing and distribution to an audience.

Typically it involves a large number of people and takes from a few months to several years to complete.  PRE PRODUCTION



Story in sequences , treatment , shooting script, dialogues, songs



Casting of characters



Art Directors



Scenario description



Set Designers, models, costumes



Selection of the Location



Music Directors- musical treatments



Songs, Music,Dance Rehersals

In short during Pre-production the arrangements are made which are necessary for a film to go on sets and start with actual process of Film Shooting.

 PRODUCTION 

The final shooting scripts, the building sets, studio work, sound recordings, negative developing, rush prints, trials.

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FILM INSTITUTE AND STUDIOS



Editing, post synchronizing, final copy, pre-release trial.

In short during production the actual process of film shooting takes place.

 POST PRODUCTION: It involves final work such as editing, processing, dubbing, mixing.

In short during Post Production, the final changes to the Film are given. Finally the mixing of visual and audible reels are done. The Final Print is known as “married print” as it has both sound and visual track in it. Later it ll goes to the marketing department.

 FILM INSTITUTE Educational Institution dedicated to the teaching aspect of Film Making including subjects such as: 

Film Production



Film Theory



Digital Media Production



Screen Writing

Film History Courses and hands-on technical training are usually incorporated into most Film Schools Curriculum.

Technical training may include: 

Instruction in the use and operation of cameras



Lightning equipment



Film or Video Editing Equipment and software



Other Relevant Equipments

Film Schools may also include courses and training in subjects such as 

Television Production



Broadcasting



Audio Engineering



Animation

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FILM INSTITUTE AND STUDIOS

2.2.

AN ANALYSIS ON INDIAN FILM INDUSTRY AND THE HOLLYWOOD FILM INDUSTRY:

Fig. Population vs Reach of Indian Film Industry 

India produces the largest number of films annually, the number of films made being 1500 per year on an average, which is almost three times as much as the number of films made in United States. Yet the reach of Film Industry is limited to a very small number.



According to Karan Johar, a renowned Filmmaker in Bollywood, “Of the 1.2 billion population of India, movies should reach out to atleast 300 million people (The size of India’s middle class). But currently our reach is limited to 45 million.

If we figure out how to cover this gap it will be a game-changer".



The Industry needs to reach out to more people and for this new talent need to get into the Industry. This could make new comers more optimistic about getting opportunities and contributing to Indian Cinema.



According to IBT news, “India does not really have that many cinemas for people to go to – less than 13000, versus 40,000 in the U.S (A country which has only one- fourth of India’s Population)”. There need to be more Cinema screens and a better drawing factor for more people to see the movies and also to contribute to this growing Industry.

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FILM INSTITUTE AND STUDIOS



The annual gross box revenues produced by all the Regional Film Industries in India comes to around 1.8 billion which is far less compared to its counter parts like Hollywood, with an Annual Gross Revenue of over 11 billion and Chinese Film Industries with over 3 billion. Also the quality of Films made in the country is questionable with its poor production qualities and its lack of technical knowledge



With the above numbers, the future looks bright, but one fact that can be concerning is that despite being the largest film industry in the world, and having the second largest footfall, we are still not earning as much as Hollywood does with its much smaller industry and population. The reason behind this discrepancy is the quality of content and the pricing of movie tickets in India. Maybe someday in the future, this biggest film industry will also be the biggest winner in terms of numbers and quality.

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FILM INSTITUTE AND STUDIOS

2.3.

PROBLEMS AND REFORM MEASURES:

Fig. Population vs No. of Movie screens 

India despite having diverse culture is united by cricket and movies. The Indian films play a major role in bringing people together by its content and narrative.



The film education system has taken a backseat giving students who have potential to do well professionally with very few opportunities to get into filmmaking process.



India produces the largest number of films annually but still it is lacking behind United States (Hollywood). The film Institute will help to reach out to more people and also it would create more optimistic about getting opportunities to newcomers to the Indian cinema.



The institute will have film school, film studios, workshops, theatres, library, open exhibition areas, musuems.



The project aims to bridge the gap between theory and practice of filmmaking and thereby improve the Indian film institute in terms of creative thinking and technical knowledge.

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FILM INSTITUTE AND STUDIOS

2.4.

CONCLUSIONS:

Film making is one of the most relevant and highly influential industries of the country.

The reach of the Indian Film Industry is very limited compared to its diverse population.

The quality of Indian films are questionable when compares it to its counterparts because the industry still follows the old fashioned techniques of film making. This is the main reason which is causing a barrier to entry form non film related talents who has the potential to bring the new techniques and innovations. For the film students, what is being taught at school is quite different from what is practiced in the real profession and adopting to these new ways, puts them in a vulnerable position. Whereas, somebody related to the film industry even if he or she has no professional qualification is able to adapt to the working style because of the exposure they get by virtually observing the films are shot.

The key issues are: 

Why are the students facing difficulties when they get into actual professional practice?



Why the new talents are not getting enough opportunities than the ones who are related to this field?



How can one architecturally create a way to achieve the same?



How can one draw and attract the public to this project to create more awareness about this field?

Analysis and observations of other case studies around the world resulted solutions that these problems can overcome by merging a film institute with film production studio. Here students can work closely and observe the real film making process. This is achieved by removing the physical barrier between the school and the production studios and creating spaces so that the students and professionals can interact. This will help the students to gain practical knowledge along with building connections with professionals so that they could get opportunity in this field.

Studies also suggested how the classrooms, outdoor spaces and film studios are related to each other and how the film making space can be made better architecturally.

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FILM INSTITUTE AND STUDIOS

2.5.

BACKGROUND AND HISTORY OF CINEMA:

No one person invented cinema. However, in 1891 the Edison Company in the USA successfully demonstrated a prototype of the Kinetoscope, which enabled one person at a time to view moving pictures. The first to present projected moving pictures to a paying audience (i.e. cinema) were the Lumière brothers in December 1895 in Paris.

At first, films were very short, sometimes only a few minutes or less. They were shown at fairgrounds and music halls or anywhere a screen could be set up and a room darkened.

Subjects included local scenes and activities, views of foreign lands, short comedies and events considered newsworthy.

Fig. Image of Edison Kinetophone,c.1895

The films were accompanied by lecturers, music and a lot of audience participation— although they did not have synchronised dialogue, they were not ‘silent’ as they are sometimes described.

Fig. Edison Kinectoscope

Fig. Lumière brothers Cinematographe Page | 17

FILM INSTITUTE AND STUDIOS

THE RISE OF THE FILM INDUSTRY: By 1914, several national film industries were established. Europe, Russia and Scandinavia were as important as America. Films became longer, and storytelling, or narrative, became the dominant form.

As more people paid to see movies, the industry which grew around them was prepared to invest more money in their production, distribution and exhibition, so large studios were established and special cinemas built. The First World War greatly limited the film industry in Europe, and the American industry grew in relative importance.

The first 30 years of cinema were characterised by the growth and consolidation of an industrial base, the establishment of the narrative form, and refinement of technology.

ADDING COLOUR: Colour was first added to black-and-white movies through tinting, toning and stencilling.

By 1906, the principles of colour separation were used to produce so-called ‘natural colour’ moving images with the British Kinemacolor process, first presented to the public in 1909.

The early Technicolor processes from 1915 onwards were cumbersome and expensive, and colour was not used more widely until the introduction of its three-colour process in 1932.

Fig. Kinemacolor 35mm projector

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FILM INSTITUTE AND STUDIOS

ADDING SOUND: The first attempts to add synchronised sound to projected pictures used phonographic cylinders or discs.

The

first

feature-length

movie

incorporating

synchronised

dialogue, The

Jazz

Singer (USA, 1927), used the Warner Brothers’ Vitaphone system, which employed a separate record disc with each reel of film for the sound.

This system proved unreliable and was soon replaced by an optical, variable density soundtrack recorded photographically along the edge of the film.

CINEMA’S GOLDEN AGE: By the early 1930s, nearly all feature-length movies were presented with synchronised sound and, by the mid-1930s, some were in full colour too. The advent of sound secured the dominant role of the American industry and gave rise to the ‘Golden Age of Hollywood’.

During the 1930s and 1940s, cinema was the principal form of popular entertainment, with people often attending cinemas twice weekly. In Britain the highest attendances occurred in 1946, with over 31 million visits to the cinema each week.

THE ASPECT RATIO: Thomas Edison had used perforated 35mm film in the Kinetoscope, and in 1909 this was adopted as the industry standard. The picture had a height-to-width relationship—known as the aspect ratio—of 3:4 or 1:1.33.

With the advent of optical sound, the aspect ratio was adjusted to 1.37:1. Although there were many experiments with other formats, there were no major changes in screen ratios until the 1950s.

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FILM INSTITUTE AND STUDIOS

2.6.

INDIAN CINEMA & FILM INDUSTRY:



Indian Cinema history can be traced back to 1896.



It is when the famous Lumiere Brother’s of France demonstrated six soundless short films in Bombay.



Harishchandra Bhatvadekar made India’s first short film by 1899



The 30’s is the decade of social protest in the history of Indian Cinema.



The 30’s saw sweeping changes to the industry.



Three major film centres were devoloped in Bombay, Calcutta and Madras.



Bombay was known for making of films geared for National distribution.



Calcutta and Madras were known for their regional films.



1940’s – 1950’s



In this period, the films occurred with concentration on vibrant song and dance.



The emergence of ‘playback singing’ took place.



Music became as an important ingredient in Indian Cinema.



South Indian Cinema gained prominence throughout India with the release of S.S.Vasan’s

‘Chandralekha’.



The first full length Indian feature film ‘RAJA HARISHCHANDRA’



It is the silent Indian film directed and produced by Dadasaheb Phalke in 1913.



The film had an all-male starcast, as no woman was available for playing female lead in the film, so the men played all the roles, and was 3700 feet long.

Raja Harishchandra

Dada Saheb Phalke

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FILM INSTITUTE AND STUDIOS



Phalke made other films too- ‘Shri krishna Janma(1917)’,’Kaliya Mardan (1919)’.



Baburao

Painter

and

his

Maharashtra

film

Company

made‘kalyan

khajina(1924)’,’Shahala Shah(1925)’ and others. 

The silent era came to an end when Ardeshir Irani produced his first talkie ‘Alam Ara’ in 1931.



The first talkie film in Bengali was ‘Jamai Shasthi’, in Telegu ‘Bhakta Prahlad’ and in Tamil ‘Kalidas’.



Three big banners – ‘Prabhat’,‘Bombay Talkies’ and ‘New Theatres’ gave the lead in making serious but gripping and entertaining films.



A number of films making strong plea Against social injustice like



V.Santharam’s ‘Duniya Na Mane’,Franz Osten’s ‘AchutKanya



Apart from



singing skills, as music became a defining element in Indian cinema.



The year also marked the beginning of the Talkie

looks , actors needed a commandingvoice but also

era in South Indian films. The

first talkie films in Bengali ‘Jamai Shasthi’, Telegu ’ Bhakta Prahlad’ and Tamil ’Kalidas’ were also released in the same year. 

For the first time Ardeshir Irani attempted a colour picture in 1937 with ‘Kisan Kanya’.



The first talkie film in Gujrati (Narasinh Mehta – 1932), Kannad (Dhurvkumar – 1934), Oriya (SitaBibaha – 1934), Punjabi (Sheela – 1935)



In the middle of the Second World War in 1945, came ‘Kismat’ in 1943 starring

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FILM INSTITUTE AND STUDIOS

Ashok Kumar which became One of the biggest hits in the History of Indian Cinema. 

At this time film-makers like V. Shantaram (Dr. Kortis Ki‘Amar Kahani’), Raj Kapoor (‘Barsaat’ and ‘Aag’) and Mehboob Khan (‘Roti’) made their films



1940s to late 1950s was the Golden Era of music.



The duo Shankar Jaikishan (S-J),O.P. Nayyar, Madan Mohan,



C. Ramchandra,SalilChaudhury,

Naushad, S.D. Burman – all had their

distinctivestyle. 

Each vied with the other to produce some



50s and 60s were considered as a The Golden Age of Indian Cinema.



The first Indian film festival held in India in early 1952 at Bombay(Mumbai) had a

of the unforgettable music

great impact on Indian cinema. 

The big turning point came in 1955 with the arrival of Satyajit ray and his classic ‘Panther Panchali’ which opened up a new path leading Indain film to the International level



International recognition came to it with The Cannes award for best human document followed by an unprecedented crop of foreign and national awards.



The impact of neorealism was evident

in some distinguished films

Bimal

’Devdas’,’Madhumati

Roy’s

‘Do

Bigha

Zameen’,

like

‘;RajKapoor’s

‘BootPolish’,’Shri 420’,Mehboob’s ‘Mother India’;Gurudutt’s ‘Pyaasa’ and B R Chopra’s ‘Kanoon’. 

The sixties began with a bang with the release of K.Asif’s ‘Mughal-E-Azam’ which set a record at the box office.

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FILM INSTITUTE AND STUDIOS



It was followed by notable productions which include romantic , musicals and melodramas of a better quality. Raj kapoor’s ‘Jis Desh Mein Ganga Behti Hain ’ and ‘Sangam’,Dilip kumar’s ‘Ganga Jamuna’,Dev anand’s ‘Guide’, Bimal Roy’s ‘Nandini’, Sunil Dutt’s ‘Mujhe Jeene Do’ and experimental ‘yaadein’.



The 70s totally changed the way films were made,especially in hindi film industry.



Changing social norms and changing economies influenced and the companies that made them.



The popular kapoor’s

Hindi hits of the decade include Kamal Amrohi’s ‘Pakeeza’ , Raj ‘Bobby’ , Devar’s ‘Haathi Mere Saathi’ ,Ramesh Sippy’s

‘Sholay’,’Zanjeer’,Yash chopra’s‘Amar Akbar Anthony’,’Dharamveer’,’Muqaddar ka sikandar’ and many more. 

The new cinema movement continued with full spirit in the next decade(1980s).

Some

important Films with new style of

treatment include ‘Damul’, 36

Chowringhee Lane, Umrao Jaan, Andhi Gali, Ajka Robin Hood etc 

In the late eighties and early ninties a group of musical love stories like ‘Qayamat Se Qayamat Tak’,’Mr. India’ ‘Jo Jeeta Wohi Sikandar’, ‘Chandni’, ‘Maine Pyar Kiya’, ‘Baazigar’,‘Hum Apke Hai Kaun’ etc.



In 1990s stars like Sahrukh Khan, Rajnikanth, Salman Khan,Madhuri Dixit,Amir Khan, Juhi Chawla,Chiranjivi etc. enriched Indian Cinemwith romantic, thriller , action and comedy films.

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FILM INSTITUTE AND STUDIOS

GROWTH OF THE INDUSTRY: 

There have generally been six major influences that have shaped the conventions of Indian Popular Cinema.



The First was the ancient Indian Epics of Mahabharata and Ramayana.



The second influence was the impact of sanskrit drama.



The third influence was traditional folk theatre of India.



The Fourth Influence was Parsi, which blended realism and fantasy music and dance, narrative and earthy dialogue, and presentation.



The fifth was Hollywood where musicals were popular.



The final influence was western musical televison, particularly MTV which has had an increasing influence since 1990’s.

BIRTH OF A NEW ERA: Basically the birth of modern Indian Film industry took place around 1947. The period witnessed a remarkable and outstanding transformation of the film industry. Notable filmmakers like Satyajit Ray, and Bimal Roy made movies which focused on the survival and daily miseries of the lower class. These films were based on themes such as prostitution, dowry, polygamy and other malpractices which were prevalent in our society.

In the 1960s new directors like Ritwik Ghatak, Mrinal Sen, and others focused on the real problems of the common man. The 1950s and 1960s are considered to be the golden age in the history of the Indian cinema and saw the rise of some memorable actors like Guru Dutt, Raj Kapoor, Dilip Kumar, Meena Kumari, Madhubala, Nargis, Nutan, Dev Anand, Waheeda Rehman, among others.

This article will be incomplete if the contribution of music in Indian cinema is not mentioned. Songs are an integral part of Indian movies. Presence of songs has given Indian films a distinctive look as compared to international films. The Indian film industry has produced many talented lyricists, music directors and artists.

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FILM INSTITUTE AND STUDIOS

2.7.

BOLLYWOOD AND ITS EVOLUTION:

The 1970s saw the advent of Masala movies in Bollywood. The audiences were captivated and mesmerised by the aura of actors like Rajesh Khanna, Dharmendra, Sanjeev Kumar, Hema Malini, and many others.

The most prominent and successful director, Manmohan Desai was considered by several people as the father of Masala movies. According to Manmohan Desai, “I want people to forget their misery. I want to take them into a dream world where there is no poverty, where there are no beggars, where fate is kind and god is busy looking after its flock.”

Sholay, the groundbreaking film directed by Ramesh Sippy, not only got international accolades

but

also

made

Amitabh

Bachchan

a

‘Superstar’.

Several women directors like Meera Nair, Aparna Sen and others showcased their talents in the 1980s. How can we forget the extraordinary and splendid performance of Rekha in the film Umrao Jaan in 1981?

The 1990s saw a whole new batch of actors like Shah Rukh Khan, Salman Khan, Madhuri Dixit, Aamir Khan, Juhi Chawla, Chiranjivi, and many more. This new genre of actors used new techniques to enhance their performances which further elevated and upgraded the Indian Film Industry. 2008 was a notable year for the Indian film industry as A.R. Rahman received two academy awards for best soundtrack for Slumdog Millionaire.

Indian cinema is no longer restricted to India and is now being well appreciated by international audiences. The contribution of the overseas market in Bollywood box office collections is quite remarkable. Around 30 film production companies were listed in National Stock Exchange of India in 2013. The multiplexes too have boomed in India due to tax incentives.

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FILM INSTITUTE AND STUDIOS

Indian cinema has become a part and parcel of our daily life whether it is a regional or a Bollywood movie. It has a major role to play in our society. Though entertainment is the key word of Indian cinema it has far more responsibility as it impacts the mind of the audiences.

The Indian film industry is expected to grow at 11.5% year-on-year, reaching total gross realisation of Rs23,800 crore ($3.7 billion) by 2020, according to a report by industry lobby PHD Chamber and bed & breakfast accommodations aggregator BnBNation.

At present, the film industry grosses a total revenue of Rs 13,800 crore ($2.1 billion), and it has grown at a CAGR (compound annual growth rate) of over 10% in the last couple of years.

The film industry faces multiple challenges on the regulatory front, the report said, citing, about 70 approvals and licenses a filmmaker is supposed to take from as many as 30 authorities for shooting a film in India.

It said India is gaining traction as a film-shooting destination and after the success of India-based movies, such as Slumdog Millionaire, several international studios are increasingly considering shooting a large portion of their films in India.

The gross realisation of Indian film industry at $2.1billion is minuscule compared to the gross realisation of film industries in the US and Canada, which is at $11 billion even though they produce only 700 films annually.

Fig no. Graph Chart of Growth of Indian Film Industry

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FILM INSTITUTE AND STUDIOS

India’s film industry is set to grow at 11.5% year-on-year against the 10% CAGR in the last couple of years with revenues expected to touch $3.7 billion by 2020, according to a study by PHD Chamber of Commerce and Industry and its knowledge partner BnBNation, which also highlighted the growth impediments faced by the industry.

While the Indian film industry is the largest in the world in terms of number of films produced, the revenues are nowhere comparable to the countries such as U.S. and Canada.

Fig no. Indian Film Industry Size and its info

Indian film industry does rake in some really big numbers every year. With over 10001500 films produced every year, Indian film industry is the biggest exporter of its culture worldwide. But despite being the world’s largest film industry, it has the second highest footfall into its cinemas (after China). Right now, the Indian film industry has an annual revenue of around INR 138 Billion (13,800 Crores) that is predicted to grow at a rate of 11.5% per year, reaching INR 238 Billion (23,800 Crores) in the year 2020.

The Indian film industry is divided into many regional film industries that contribute big and little to those big numbers. Let’s have a look at the Top 5 Film Industries of India and their numbers.

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FILM INSTITUTE AND STUDIOS

TELEVISION INDUSTRY: Different experiments by various people in the field of electricity and radios led to the development of technologies and Ideas that laid the foundation for the invention of Television. Television is another such media which can be used for various purposes such as public awareness, broadcasting news, entertainment etc.

The television serials or the television programmes as it is called can be explained as a segment of content broadcasted on Television. It may be one of the broadcast or part of periodically reoccurring. The Indian Media and Entertainment (M&E) sector is expected to cross the $40 billion mark by 2021 growing at compounded annual growth rate (CAGR) in excess of 10 per cent. M&E industry has started to witness transformation with growing importance on the digital media.

Industry will continue to grow at a CAGR exceeding 13%. Rapid advance in technology is expected and this will further stimulate growth as high-end content transmission will follow. Even though the growth of the traditional media is increasing, changes in preferences, due to urbanization, may be a factor that would hamper the growth in a long run. These include consuming ‘television on the go.’

The appetite of the viewers is increasing and nowadays people are not satisfied with the conventional broadcasting only. Broadcasters need to provide their content on all possible carriage ways. New media including IPTV, mobile TV, YouTube, complements traditional broadcasting.

Fig. Growth Of Television Film Industry Page | 28

FILM INSTITUTE AND STUDIOS

WEB SERIES: Television is a medium which has entertained us for decades. But with the evolution of internet and growing social media’s existence, we’ve seen a thing called Web-Series emerging, creating its place and taking over the digital space by storm, in a short span of time. There may be factual as in documentaries, news, reality shows, or fictional as in comedy or drama. It may be topical as in case of news and some made for television movies, or historical as in the case of many documentaries of fictional series.

The lack of good and relatable content on television has pushed the envelope for few budding filmmaker’s to explore the episodic form called Web-Series and create content which is fresh, relatable and remarkable. “Youth” is one such specific TG (Target audience) which the entertainment industry is trying to capture and television has miserably failed in that sector. From setting posh apartments occupied with bean bags, funky costumes and unnecessary dialect, television tried real hard to interpret youth and their lifestyle.

The concern was more about what they wear, how they eat, whom they meet, what they watch and less about how they feel. Web-Series is a breakthrough in many ways. It strikes the right chord and opens up the conversation which the youth would like to take part in and relate them to the characters they might associate with. Foreign companies like NETFLIX, AMAZON PRIME, VIU investing in Indian cinema and web series. And some domestic companies like ALTBALAJI, &TV, ZEE5, HOTSTAR, EROS NOW also tries to catch the market of web series.

Fig no. List of Web Series

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FILM INSTITUTE AND STUDIOS

2.8.

MEDIA AND ITS TYPES :

Media in general, refers to various means of communication. For example, television, radio, newspapers and magazines considered as media. In the computer world, “media” is also used as a collective noun, but refers to different types of data storage options. With the improvement of technology computers become an essential part of communication and involved a lot in media production which led us to new terms known as Digital Media and Multimedia.

Fig. Types of Media Digital Media is a form of electronic media where data is stored in digital form. It can refer also to the technical aspect of storage and transmission of Information like hard disk drives, or computer networking. Also Digital Media refers to audio, video, and photo content that have been encoded (digitally compressed). Encoding content involves converting audio and video input into a digital media file such as a windows media file.

After digital media file is encoded it can be manipulated, distributed and rendered (played) by computers, and easily transmitted over networks.

Fig. Digital media’s representation

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FILM INSTITUTE AND STUDIOS

Multimedia is media and content that uses a combination of different content forms. The term can be used as a medium with multiple content forms. The term is used in contrast to media which use only computer display such as text-only or traditional forms of printed or hand produced material. Multimedia includes a combination of texts, audio, still images, video, animation, or interactivity content forms. Multimedia is usually recorded and played, displayed or accessed by information content processing devices, such as computerized and electronic devices, but can also be a part of a live performance. By combining media and content, those interested in multimedia can take on and work with variety of media forms to get content across

Fig. Multi-media’s representation

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FILM INSTITUTE AND STUDIOS

IMPORTANCE OF MULTIMEDIA: In today‘s world, technology has its utmost importance. The application of technological tools and systems has significant values in the contemporary world. Multimedia is one of the primary creations of technological advancements. The usage of Multimedia is enormous in business, academic, healthcare, communication, and many other fields.

Multimedia is a combination of media such as the internet, text, graphics, videos, animation, and sound in an integrated way. Until 90‘s, the application of multimedia was limited due to lack of resources and limited availability of the expensive resources.

However, with the initiation of powerful computers hardware, software, and the internet multimedia started flourishing in details.

Multimedia finds its application in various areas including, advertisements, art, education, entertainment, engineering, medicine, mathematics, business, scientific research and spatial temporal applications.

Researchers and scientists are continuously putting their efforts for the improvements of human life. Problem findings and resolution is a circular process. After an issue is solved, it triggers other circumstances which need to be considered. For instance, before the internet arrived, managing paper documents was a huge task. With the arrival of the internet, direct and in person discussion was primarily being considered as a medium of communication. However, by using the internet, any person can talk to any other person at any time from any place. Educators are also using this technology to share their knowledge. Video recordings are considered as a documentation of tacit and explicit knowledge.

Fig. Multi-Media’s and its uses

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FILM INSTITUTE AND STUDIOS

In Education, multimedia is used to produce training courses and reference books like encyclopedia and almanacs. A CBT lets the user go through a series of presentations, text about a particular topic, and associated illustrations in various information formats.

Edutinment is an informal term used to describe combining education with entertainment, especially multimedia entertainment. Learning theory in the past decade has expanded dramatically because of the introduction of multimedia. Several lines of research have evolved. The possibilities for learning and instruction are nearly endless. The idea of media convergence is also becoming a major factor in education, particularly higher education. Definied as separate technologies such as voice ( and telephone features), data ( and productivity applications), and video that now share resources and interact with each other, synergistically creating new efficiencies, media convergence is rapidly changing the curriculum in universities all over the world. Likewise, it is changing the availability, or lack thereof, of jobs requiring the savvy technological skill.

Fig. Multimedia in Education Software Engineers may use multimedia in computer for anything from entertainment to training such as military or industrial training. Multimedia for software interfaces are often done as collaboration between creative professionals and software engineers.

In the Industrial sector, multimedia is used as a way to help present information to shareholders, superiors and co-workers. Multimedia is also helpful for providing employee training, advertising and selling products all over the world via virtually unlimited webbased technology.

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FILM INSTITUTE AND STUDIOS

2.9.

ENTERTAINMENT INDUSTRY:

Multimedia is heavily used in the entertainment industry, especially to develop special effects in movies and animations. Multimedia games are a popular pastime and are software programs available either as CD-ROMS or online. Some video games also use multimedia features. Multimedia applications that allow users to actively participate instead of just sitting by as a passive recipient of information are called Interactive Multimedia. In Arts and Entertainment there are multimedia artists, whose minds are able to blend techniques using different media that in some way incorporates interaction with the viewer. One of the most relevant could be Peter Greenaway who is melding Cinema with Opera and all sorts of digital media. Another approach entails the creation of multimedia, although display material may be volatile, the survavility of the content is as strong as any traditional media.

It encompasses of Audio, video dispensation, Virtual reality and 3-D imaging, Virtual reality and 3-D imaging, Multimedia and Artificial Intelligence.

Multimedia Applications is the conception of exciting and innovative multimedia systems that connect information modified to the user in a non-linear communicating format.

Multimedia conference deliberates the basic and novel features of multimedia document handling, programming, security, human computer interfaces, and multimedia application facilities.

Fig. Video Editing

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FILM INSTITUTE AND STUDIOS

AUDIO SOUND: The combination of audio sound into a multimedia application can offer the user with information not likely finished any other technique of announcement .Some types of information can't be taken efficiently without using sound. It is closely impossible, for instance, to provide a precise word-based explanation of the bear of a heart or the sound of the ocean.

Audio sound can also strengthen the users considerate of information

obtainable in another type of media. For example, a description might define what is being seen in an animation clip. This can enhance the understanding of what the application is all about and lead to better comprehension. Experts in learning have found that presenting information using more than one sense aids in later retaining of the information.

Most importantly, it can also make the information more interesting to the user.

Audio sound is available in several different formats. Today, maybe the greatest collective type of audio is red book audio. This is the normal prerequisite used to mention to customer audio compacted discs. It is an worldwide standard and is formally recognized as IEC 908.This description is called red book audio meanwhile of the colour of the cover of the publication that defines its formats. Red book audio sound can also be used in multimedia applications, and it forms the basis of the highest quality sound available.

Another audio sound format is the Windows wave file, which can be played only on PCs running the Windows operating environment.

A wave file contains the actual digital data used to play back the sound as well as a header that provides supplementary information about the determination and playback rate. Wave files can store any sort of sound that can be verified by a microphone. The last type of audio sound that may be used is known as the Musical Instrument Digital Interface or MIDI for short. The MIDI format is actually a specification invented by musical instrument manufacturers. Rather than being a digitized form of the sound, the MIDI specification is actually a set of messages that describes what musical note is being played. The MIDI requirement cannot accumulation whatever but in the form of musical notes. MIDI music can be shaped with a sequencer.

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FILM INSTITUTE AND STUDIOS

ANIMATION: Animation mention to moving graphics images. The happening of somebody giving CPR makes it much easier to learn internal organ revitalization, rather than just screening a static picture. Just as a static graphics image is all-powerful form of human action, such is the case with animation.

Fig no. 3D Animation with visual effects Animation is particularly useful for enlarge concepts that affect movement. Such thought as playing a guitar or hitting a golf ball are hard to exemplify using a single photograph, or even a ordination of photographs ,and equal more difficult to explicate using text.

Animation form it easier to portray these characteristic of your multimedia

FULL-MOTION VIDEO: Full-motion video, such as the images depicted in a television, can add even more than to a multimedia application.

Although full-motion video may sound similar an perfect way to add a powerful message application, it is

to a multimedia nowhere near

the

quality you would anticipate after watching television. Full-motion video is still in its occurrence stages on PCs, and it is constricted in resolution and size. Even

with

precocious methods of data compression, full-motion video can suck up hard disk space faster than waterfalls when poured out of a bucket.

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FILM INSTITUTE AND STUDIOS

2.10. DESIGN STANDARDS: While going through the phases of film making i.e. from development phase to the distribution phase different facilities are needed like office space for establishing production office, indoor and outdoor shooting area, green studios etc. so that film can be completed in effective way. Following are the facilities needed for the completion of any motion picture and are arranged according to the phases of making motion picture.

1. Pre-production facilities 

Office space

2. Production facilities 

. Workshops



Dressing room



Animation studio



Equipment rental



Backlot



Sound stage

3. Post production facilities 

Post production studio



Photography studio



Film development lab



Other facilities



Screening room

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FILM INSTITUTE AND STUDIOS

OFFICE SPACE: During pre-production phase of making motion pictures, cast and crews are hired, location for shooting the movie is finalized, permission for the location is taken, sets are built for indoor shooting etc. To control all of these activities during the pre-production phase and during all other phase an office space is required. From here producers and other members of crew controls the movie making process. For work room the minimum area of 8.00 sqm should be allowed and free circulation space should be of minimum 1.5 sqm per employee and width of the corridor should be such that tow person can pass each other easily.

Computers and screens should not be placed directly opposite to the window in work room because die to this a shadow of window is casted on the screen which will disturb our work.

RECORD AREA: In this area of office all records are stored and should be placed centrally. As this space contains such important documents it should safe from water, bacteria and other thing that can harm the records. For the record area rooms in attics and basement are not suitable.

Generally records like files, drawings, microfilm, document reproduction etc are stored.

WORKSHOPS: Workshops like metal workshop, wood workshop and painting and plastering workshop are very essential for film studio. Here sets for indoor and outdoor shooting are prepared according to the design of art director. In the case of film studio it will be economic to have compact and courtyard planning of workshops as it will be easy to make the sets sequentially.

DRESSING ROOM: Dressing room is used in a film studio for changing the dress and for hair and makeup by actors. This facility is available for actor in sound stage of film studio and for location shooting vanity van is provided for actors for changing and makeup. Dressing room specially consists of wardrobe, changing area, makeup room.

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FILM INSTITUTE AND STUDIOS

Fig. Dressing room adjoining sound stage

ANIMATION STUDIO: Workstations in animation studio consist of a powerful desk top and one-two Monitors.

Windows and other artificial light sources should be placed such that they will not produce glare on screen. Generally workstations in animation studio include 3Dmodeling unit, story board and development unit, art and design unit. It consists of a sever room where the distribution of internet, networking and central storage of a studio is controlled. It can be said that this room controls all the technology running in the studio. The size of this room depends upon the storage units used and the networking devices used. This room should be air tight and use of double door with lobby in between is practiced to keep away the dust and other harmful things which can damage the storage device and other devices in the server room.

BACKLOT: A backlot is an area behind or adjoining a movie studio, containing permanent exterior buildings for outdoor scenes in film making or television production or space for temporary set construction”. The buildings on backlot are usually constructed with three sides and a roof, often missing the back wall and one of the side walls. All the sets on a studio backlot are built so that what looks large or as if it covers miles of ground on the big or small screen in reality only takes up a few acres of the backlot. There is no such specific requirement for backlot but it should be enough to hold sets for outdoor shooting along with camera and all the equipment.

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FILM INSTITUTE AND STUDIOS

SOUND STAGE: 

Sound stage is a building or portion of a building usually insulated from outside noise and natural light for use by the entertainment industry for the purpose of motion picture, television and commercial production. Area of small soundstage should be 400 sqm, medium should be 820 sqm, large should be 1400sqm and extra large should be 1800 sqm.



Clear height for these categories should be proportional to diagonal length and should not be less than 0.23D



For super stages span should be 38m to 48m and length should be 54m to 72m.



Height should be up to 25m



Soundproofing should be done to keep away outside noise



A powerful and noiseless air conditioning system should be provided

Fig. Sound Stage

SOUND EDITING AND RECORDING: Sound editing is another part of the post production process. For this a recording studio is used. Recording studios can be used to record musicians, voice over artist, dubbing, etc.

Recording studios can be classified into three types according to music intended to be recorded as follows 

Home or project studio



Separate studio and control room



Scoring stage and control room

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FILM INSTITUTE AND STUDIOS



 



Studio should be designed around the principles of room acoustics and should be light proof i.e. no light should enter the spaces in the recording so that best quality of sound and visual can be delivered.



Minimum ceiling height should be 19’



For visual connection between control room and recording room observation window with glass should be provided and should be of size 6’ x 9’



The glass panel of size 8mm thick and 12mm thick with air gap of 30cm separating them.



All doors in the studio contain double glass with gap between them as mention in above point with glass wool inside.

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FILM INSTITUTE AND STUDIOS

FILM PROCESSING LAB: 

After all the above processes film is released in cinema halls and CDs and DVDs are produced.



Processing Lab should be dust proof.



Processing labs should have adequate lights for the nights.



Room should be of minimum 10’ x 12’ and ceiling height should be of minimum 9’

OTHER FACILITIES: A typical large music facility for an institution of higher education will require a wide variety of rooms and work areas.

1. Instructional areas  Rehearsal halls  Practice rooms  Regular classrooms  Listening facilities  Studios 2. Auxiliary areas  Storage areas  Music library  Work rooms Regular academic classrooms are used by many schools for classes in music history, appreciation, theory, composition, arranging, and other music education classes. College studios will vary in size with the instructor's specialty. The size of the studio may also be determined by other duties of the faculty member.

Fig. Auditorium Plan

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FILM INSTITUTE AND STUDIOS

DANCE FACILITIES: Sprung dance floor with dance matting with full height mirrors, changing rooms Male + Female with showers, Projector + Ceiling mounted projector screen.

Size: 

Room size – 14.4m x 9.8m



Door size (set) – 2.6m H, 1.8m W



Room height – 5.78m



Sound system- CD player



3.5mm mini jack input - for I pods and MP3 players.

ACTING FACILITIES: The acting classroom provides a flexible space for whole class use, with accommodation for seated pupils, and a clear floor space for drama activities. The associated green room/dressing room provides accommodation for costume storage, dressing and make-up application. While an act can take place in classrooms that are cleared for the purpose, dedicated spaces enhance learning and reduce disruption to learning programs. Walls should be free of protrusions and sharp corners. The flooring should be ‘sprung’. Sound proofing should be provided sufficient to permit very noisy and very quiet activities to be performed without disruption. Indoor space provided with blackout facilities.

Size:



classroom 90 m2



Green room/dressing room 30 m2



Set, prop & costume store 20 m2



Sound system CDs, DVDs and mp3



Storage for costumes, props, make-up, art materials.

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FILM INSTITUTE AND STUDIOS

AUDITORIUM: Primary importance are good hearing and good sightlines to every part of the performance areas. The auditorium must be completely protected from any external sound, and internal sound from rehearsal rooms or the studio. Two row vision involves staggered seating and permit an unobstructed view between the two seats in front of the patron.

Acoustical characteristics: 

Liveness



Intimacy



Fullness



Clarity



Warmth



Brilliance



Texture



Blend



Ensemble

The requirements are that for each level, two separate exits are provided for the first 500 seats, and an additional one for each 250 thereafter. All doors should open in the direction of escape from the auditorium. Each exit must lead, via a fire resistant enclosure, to a place of safety.

Back stage area_ Facilities possibly needed in the immediate backstage area include: 

Dressing rooms



Staff rooms



Kitchen and lounge area where staff and performers can gather



Scenery and properties storage area



Wardrobe storage area.

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FILM INSTITUTE AND STUDIOS

TECHNICAL INFORMATION: The most important common design aspect for arts education facilities is sound management. Primary considerations are: Sound isolation: sound is confined within desired spaces and to allow to interfere with instruction in other areas.

Acoustical design: Provision is made for the quality and control of sound.

SOUND ISOLATION: Good sound isolation is a result of effectively blocking the transmission of sound from one room to another. It is one of the surest and cost efficient method of maximizing the investment in an arts education facility. The following basic principles should be adhered to. 

Use full height, sound insulating walls with airtight seals to the building structures at both floor and roof decking.



Keep doors and windows to minimum to reduce sound leakage.



Specify doors and windows with acoustical rating equal to the wall construction.



Buffer zones, such as corridors and storage rooms, are better sound isolators than single walls.



Wall seams are a common source of sound leakage. Sealed construction should be specified.



Walls seams should be checked at roof deck, floor, electrical outlets, and ventilation ducts.



Spaces that allow air to move from room to room also allow sound to move from room to room. An entire sound isolated wall can be rendered ineffective by something as seemingly insignificant as a room to room electrical box or a gap as small as one square inch.



Ventilation system often serve to transfer sound between rooms. The most effective solution is to route acoustically linked take off branches into each room from a supply source placed outside the rooms.

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FILM INSTITUTE AND STUDIOS

CEILING FINISHES: The ceiling is the largest unencumbered square footage area available for acoustical treatment. Suspended ceiling treatment create air space needed to trap low frequency sounds. Suspended fiberglass panels provide the broad range frequency absorption required for the typical band room and are twice as effective as typical mineral board ceiling; diffuser panels can be hung from the suspended ceiling grid.

NOTE: Ceiling height should always be measured from floor to suspended ceiling.

WALL FINISHES: 

Wall must be treated with a combination of absorber and diffuser panels.



Absorption panels on the lower wall behind the percussion and lower brass sections will significantly reduce loudness.



The thicker the fiberglass treatment, the lower the frequency it can absorb.



Three inch fiberglass is a good minimum thickness for effective, wide range absorption of musical frequencies.



Reflective diffusers are available in a variety of shapes and sizes.

SCREENING ROOM: 

Screening room is a room in which films are shown on a large screen for a small private audience.



The maximum viewing distance should not be greater than twice the width of the widest picture to be projected.



The viewing angle from the first row of the seats to the center of the picture screen should not exceed 30 degrees.

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FILM INSTITUTE AND STUDIOS

CASE STUDIES: 

KANTANA FILM INSTITUTE, THAILAND.



THE FILM AND TELEVISION INSTITUTE, PUNE.



WHISTLING WOODS INTERNATIONAL INSTITUTE FOR FILM, COMMUNICATION CREATIVE FILM CITY, GOREGAON. .

3.1. KANTANA FILM INSTITUTE, THAILAND.

Fig. LOCATION MAP

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FILM INSTITUTE AND STUDIOS

ARCHITECT: BANGKOK PROJECT STUDIO AREA: 2000 SQM YEAR: 2001



Kantana Institute is a Film and Animation school of undergraduates. The Institute is dedicated to the master of drama in Thailand – Pradit Kaljareuk.



It is located in Kantana Movie Town in Kakhonprathom province. It is a one story building which combines perfectly with the beautiful natural environment that surrounds it.



There are five different areas within the establishment: An administration office, a lecture room, a workshop, a library and a canteen.



These areas are all linked by an Inserted forest in the shape of a log pathway. The pathway is made out of grey stone and to walls are made from bricks.



The 8 meters high wall is a background of the sun, a tree, and a man when they are connected by each other’s shadows.



The administration office is a multi-function space containing a chairperson’s office, program office and a general office. They are connected to the courtyard.

The sunlight makes this a very pleasant area.



The lecture room is a quiet area surrounded with a brick wall and “an Inhabit wall”.

This the ideal space to relax and unwind in between or after lectures. It is a free standing wall without borderline.



A brick is an everyday material for common cultural heritage of Thai society. The simplified from of the brick is transformed into a universal geometric space.



It goes beyond both light and wind which is simple aesthetics sense. It is an easy to understand building where the brick wall does not give the sense of solidity but is gives the surface homogeneous of sunlight.

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FILM INSTITUTE AND STUDIOS

Fig. FLOOR PLAN

Fig. ROOF PLAN

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Fig. SECTIONS

Fig. SECTIONS

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Library

Classroom

Outdoor spaces

Open spaces for Classrooms

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Fig. Seating spaces

Conclusion: 

This project is relevant to the study because it has the kind of spaces which gives the students an open environment to learn. This is achieved by making the classrooms, cafes, etc open to the outside.



These outside spaces are defined by creating an earth wall made of bricks with openings in it for students to use it as seating and for natural light and ventilation.



The architectural elements like the brick wall, the central corridor which divides the school into 4 sections, cross ventilation, natural lighting etc. makes the learning atmosphere more relaxing.



Their planning is divided by spine in middle which creates feeling of interest to visitor but again it separates the function in two different sections which creates problem while administrating it.



Planning is not cohesive and designs are simple and scattered.

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3.2. FILM AND TELEVISION INSTITUTE OF INDIA, PUNE

LOCATION: IN THE PREMISES OF PRABHAT STUDIOS, PUNE AREA: PRESENTLY 22 ACRES IN USE AND 34 ACRES FOR FUTURE EXPANSION DATE OF COMMENCEMENT: 1961 CLIENT: MINISTER OF INFORMATION BROADCASTING

COURSES: 1. Direction & Screenplay

2. Cinematography 3. Acting 4. Sound Design 5. Editing 6. Art Direction 7 .Writing

CAPACITY: 250 students

8. TV Direction 9. Electronic Cinematography 10. Video Editing

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The Film and Television Institute of India (FTII) was set up by the Government of India in 1960, in the premises of the erstwhile Prabhat Studios in Pune.

The FTII Campus currently stands on the grounds of the erstwhile Prabhat Studio.

Prabhat Studio was a pioneer in the business of filmmaking and shifted to Pune from Kolhapur in 1933. The archaic studios of the time, which were the production grounds for the films of Prabhat are still present and are being used at FTII. The old Studios of Prabhat are now heritage structures and FTII students continue to work at the world's oldest functioning film shooting studios

ZONES OF FTII: The Site is divided along the lateral axis and forms 3 zones.

The zone at the extreme end consists of Residential Building and the huge Open Spaces in the front. The remaining zone which forms the centre , consist of the Administration and Academic Departments, this is the main Institutional Area of the campus.

The Residential Buildings have the maximum advantage of the Open Spaces.

Since , the Institutional Buildings are a part of the same zone, the movement during working hours gets convinient , all the vehicular access cut through the pedestraian zones, the pedestraian movement gets disturbed , thus making it uncomfortable. The Institutional Zone is further divided into: •

FILM WING

•

TELEVISION WING

The Film Wing is on the Northern part of the campus, while the T.V Wing is on the Southern part.

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FILM INSTITUTE AND STUDIOS

Fig. Plan of FTII

TELEVISION WING: Qzshb Upper Floors have been renovated to house the News Studios which have latest and most modern equipments used for the post production procedures.

The Building has Chairman's cabins, Purchase section, Ac counts section, Hindi Section, Xerox Printing Store, and Telephone Section.

MAIN BUILDING: The main building on the Sourthern side of the Campus, it is an L- Shaped building of which one arm consist of the administration and academic department.

ACADEMIC DEPARTMENT: • • • • • • • • •

T.V STUDIO- 2.Nos. CONTROL ROOMS: 2. Nos. MASTER CONTROL ROOM : 2. Nos. MAKEUP ROOM: 2 Nos. COSTUME & PROP: 1 No. PREVIEW THEATRE: 1 No. VIDEO LIBRARY: 1 No. CONFERENCE ROOM: 1 No. ( 40 capacity) VIDEO EDITING CLASSROOMS: 3 Nos.

The other departments in the building are animation visitor's Lounge, Library, Acting Department, Directing Department, Screenplay and Writing

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CAMPUS

OPEN THEATRE AREA

AUDITORIUM

Conclusion: 

FTII is built in 1960 and television academy in 1971 hence design is not attractive.



Their planning is divided by spine in middle which creates feeling of interest to visitor but again it separates the function in two different sections which creates problem while administrating it.



Planning is not cohesive and designs are simple and scattered.

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FILM INSTITUTE AND STUDIOS PRABHAT MUSEUM, PUNE:



Located inside the massive campus of FTII (Film and Television Institute of India), a few years ago the studio turned half of its property into a museum that is divided into five sections and is a mecca for film students in and outside the campus. The first two sections showcase memorabilia and artefacts while the other three take you down memory lane with photos and archives from different movies and actors .

Fig. Views of Prabhat Museum

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3.3. Whistling Woods International Institute for Film, Communication & Creative Arts Film City, Goregaon.

Fig no. Whistling Woods Institute Whistling woods International is a film, communication and media arts Institute located in Mumbai, India. The Institute is promoted by Indian Filmmaker Subhash Ghai, Mukta Arts Limited and Film City, Mumbai.

SiteApproach: 13.5 Km from Goregaon Station 18m and 12m wide Road

Courses: Filmmaking, Animation, Acting, Media& Communication, Fashion, Music, Short Course Unit, Virtual Academy.

Capacity: 750 students.

Fig. LOCATION MAP

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The infrastructure has been designed and developed considering every aspect of filmmaking. Besides the acres of greenery spread around the campus provide a perfect ambience to nurture creative talent. The major advantage of locating this institution in Film City, is that students can constantly interact with people in the business. Another major advantage is that the whole educational institute is under one complex. Students don’t have to walk large distances. There is ample of natural light in the complex without having a glaring effect. The complex is completely wired and it has centralized air conditioning, though many common areas have an option of natural ventilation. All the classrooms are oriented towards north, which is good for taking in north light

Fig. Site View The Structure can be divided into 4 Blocks: BLOCK A- ADMINISTRATION BLOCK B- MULTIPURPOSE HALL & AUDITORIUM BLOCK C- ACADEMIC BLOCK D- RECREATIONAL FACILITIES

Fig. Views of Whistling Woods

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BLOCK A- ADMINISTRATION BLOCK (Administration and Essential Services) Total No. Of Floors: 5 Floors This block has been planned around the Central Atrium, soaring through a shelter skylight allowing natural light into Lounge and Reception Area.

It has administrative offices, faculty, secretarial offices, supply and maintenance, security and house-keeping department, pantry, cafeteria and general store.

As it contains the main core functions of control, this main unit has been given emphasis in terms of height. Mostly this provides a noticeable presence in terms of visibility from adjoining roads and buildings that form the part of the sloping site

• • •

• • • •

The admin block is a G+4 structure.

Circular building with a central atrium and all the floor having corridors which look into the atrium.

GROUND FLOOR: opens out to the central courtyard and consists of Admission Department, Account Department, Marketing Department, Mail Room and Waiting Area.

FIRST FLOOR: Reception, Waiting Lounge, Meeting Room.

SECOND FLOOR: Cyber café, Faculty Lounge, and Conference Halls.

THIRD FLOOR: Faculty Room, Library and the Presidents"s Room.

FOURTH FLOOR: Subhash Ghai"s & Meghna Ghai"s Cabin.

Fig. Block A Plan

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• •

•

•

Fig. Block B Plan

This part of the institutional building is a G+2 structure GROUND FLOOR : There is a cafeteria with a large seating area and it has a BMS Room, and Toilets.

FIRST FLOOR: The auditorium can be accessed directly from outside. The capacity of the Auditorium is 250 seats. The first Floor has two Multipurpose Halls.

SECOND FLOOR: It has Animation Department having two studios with lightable rooms, and a server room, resstroom in between the studios.

BLOCK C- ACADEMIC BLOCK •

• • •

•

Fig. Block C Plan

The Stilt of this block is empty to hold small functions, with AHU at the western side.

The C Block, is a G+2 structure.

It has 8 classrooms on each floor.

The other functions accomodated are the Computer Lab, Video Lab, Animation Studios.

The classrooms are placed across a singly loaded corridor.

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BLOCK D – WORKSHOP AND TECHNICAL FACILITIES

•

The Block D is connected to block A, through a bridge on the first floor level.

•

GROUND FLOOR: There is a Film and Television Studio on the ground floor along with changing rooms. It also consists of services such as an AHU unit, maintenance rooms, stores and central machine room.

•

FIRST FLOOR: It has Recreational Activities such as coffee shops, Gymnasium, and also ATM machine has been provided for students. A table tennis board is kept in this central space along with the students lounge.

•

SECOND FLOOR: The second floor has the Animation Department, it has a Computer, 2 light tables at the rooms. The building has a cut out at the centre which keeps the First Floor lit very well.

•

The bulk of these requirements, dictate a voluminous built form with controlled environment, for most of the uses. Accordingly, it is situated at the farther end of the conch shaped plan whereby the wider side of the courtyard becomes defined by the presence of this building mass editing labs.

•

Carpet floors, colour scheme is white and black and grey. Bulletin boards hung into the wall at regular intervals.

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Conclusion:     

As compared to FTII, Whistling Woods is much more updated with modern technology.

Space provided is adequate and there is no wastage of space.

One good planning aspect of institute is integrated planning and inter connection of all blocks.

Segregation of all functions is achieved very well in the design.

Very limited outdoor recreation space provide for the students which is used parking.

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3.4. COMPARITIVE ANALYSIS:

Buildings

Whistling Woods International Film and television institute of India Location

Mumbai

Typology

Institutional

Architect

IAG Consultants

-

Site Area

5.5 acres

22 acres

13935sq.m

20000sq.m

2006

1960

Built-up area Completion year Type of planning

Curvilinear Planning

Program Institute, Rental Studios, Post Production lab,

Justification For Selection Type of study Material used Zoning type

Response to climate

To visualize film education in a single complex

Primary Rcc and Glass Private, Semi-Private zoning

North south orientation of the structure captures the wind inside the building and well Spreaded through the courtyard between the structure. Natural Light is available.

Pune Institutional/Meuseum

Linear planning Institute, dormitory, film museum, film archive, performance area, ground, canteen, tv studios, post production lab To understand learning in a campus, with different sectors and equipments and archives used in Films.

Primary Rcc and brick Private, Semiprivate, Public zoning East west orientation allows wind to flow directly from entrance gate to exit of the site from the back area

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SITE ANALYSIS 4.1 . SITE SELECTION CRITERIA: When analyzing the site, we also have to consider the impact of the structure on the surrounding environment, where site selection criteria plays and important role. There are some points need to be taken into consideration while selecting the site.

4.2 . SITE JUSTIFICATION: Pune is the cultural and educational capital of Maharashtra also known as “The Oxford of the East”. It is not just the proximity to the industrial, commercial and financial capital of India, Mumbai but it prides itself in being close to the richness of the culture of the country. Located in the Sahyadri Hills, near the west coast of India, in Maharashtra, Pune is a fascinating city with good climate that suits everybody all year round. Referred to as 'Queen of Deccan', Pune is located 170 km south of Mumbai. 

Pune is a city abounding with history, tradition and yet buzzing with a newfound energy.



Pune has at ways been known for its educational facilities and prosperity Not just that, it has a growing industrial hinterland, with information technology, engineering and automotive companies sprouting



The city is known for cultural activities like classical music, spirituality, theatre, sports, and literature. These activities and job opportunities attract students from all over India and abroad, which makes for a city of many communities and cultures.



Marathi is the official language of Maharashtra Marathi and Hindi are the two main languages that are spoken in Pune. The largely cosmopolitan population also speak English and Gujarati, and other Indian languages.

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Its weather, richly influenced by the Western Ghats is conducive to creativity, its history, littered around every corner, inspires thoughts and kindles a spirit to do. There is enough and more to do for residents of Pune — be it recreation, rejuvenation or just to reach out to the past or the future. 

Pune has been able to create one of the strongest human capital and economic growth engines among Indian cities.



This has resulted in more than 30% graduate workforce, which has triggered the IT revolution in the city.



Almost all of the top IT companies in the country have their presence here, making it the 2nd biggest software hub in the country.



The growing 1T / Commercial office market which absorbs over 3 million sq.ft per annum attracts young professionals from across the country to work in Pune.



Due to the lack of Mass Rapid Transit system, the use of private vehicles has increased in leaps and bounds leading to congestion and pollution in the city.

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DEVELOPMENT ASPIRATIONS OF PUNE given in Pune Reality Growth Analysis, Jan 2018 Pune aspires to create a model neighbourhood of live ability and sustainability matching global standards in the selected local area by fully deploying all 24 smart city features in a “future ready" manner. Future ready is critical because as the area develops, it will undergo a 4x population growth by 2030 (from 40,000 to 160,000). Some examples of planned initiatives are

Taking public transportation percentage from current 18% to 50% through 100 e- buses, 26 km BR T route, 54 bus stop overhaul and 100 e-rickshaws; take NMT to 8% from 1% through 27 km bicycle tracks, 60 km footpath redesign and place making.



Increase in open public space from 4% to 10% of total city area through 13 parks and 3.4 km riverfront development.

Mumbai and Pune are the 2 major cities in the country where the movies get the highest revenue. Mumbai with a population of 12 million has 6 million students and 30 institutions dedicated only to teaching films. Due to its density people started migrating to Pune for jobs and studies and now Pune is considered to have the biggest growth in the country within a span of 20 years.

In Pune, there are only 2 major film institutions currently. The film and Television Institute of India is located here which is one of the most reputed film schools in the country.

Pune is expected to turn out to be another major city like Mumbai in the next 10 years and the project will have huge impact there as there are lots of students and people are migrating from Mumbai.

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4.3 . SITE LOCATION AND ANYLISIS: City : Yerwada, Pune Area : 34,200 sqm Present land use at site : land is vacant.

Train : Pune Railway Station (3Kms) Airport : Pune International Airport (9 Kms) Road : 1) Dr.Ambedkar Path Road. 2) Sangamwadi Road Dp plan : available.

Fig. Indication of Pune City

Fig. Yerawada District in Pune

Yerawada is a neighbourhood of the city of Pune in the state of Maharashtra, India.

Yerwada one of the most densely populated areas in Pune. It is located at the beginning of Ahmednagar highway and also on the way to old Pune Airport at Lohegaon. This place can be reached after crossing Mula-Mutha River through Yerwada Bridge from Bund Garden. Yermada Central Jail is the largest jail in the State of Maharashtra. Yerawada is a part of Pune Municipal Corporation (PMC).

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LOCATION: This particular site was selected with a motive to provide a nurturing environment to the visitors by pushing the barriers of traditional education.

Based on the visit to Pune, the public spaces for knowledge and recreation were lacking, which could possibly benefit students and cooperate people, hence site near colleges and commercial hubs was one of the most important criteria.

DISTANCE FROM NEARBY CITIES: Should be nearby to Commercial Hubs, schools and colleges Close proximity to the Transport Hub. Well connected to the main cities, where demand for markets is high.

(Mumbai, Hyderabad, Nagpur, Bengaluru)

ACCESSIBILITY: The site should be easily accessible through public transports.

E D UCATION HUB, COMMERCIAL AND IT INDUSTRY: The site region should have majority of educational institutes and should be near a residential and commercialized locality.

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Fig. Development Plan (DP) of Sector V, Pune

Fig. Site in Yerawada

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Fig. Google Map of Site (Site area- 34,200 sq.m)

Fig. Panoramic View of Site



It‘s in the campus near to Deccan College and surrounded by 12 m wide roads on two sides Adjacent Roads to the site are Dr.Ambedkar Path and Sangamwadi Rd.



A Bus Transit system (BRTS) is about 300 m from the site (i.e just next to the site) which creates an easy source of accessibility of all.



Its boundaries touch the internal primary roadway connecting Pune-Nashik highway which is 12 m wide.



There are 30% residential blocks and 70% commercial blocks which are around the site.



The River-Mula is perennial in nature which is boon to the area of Yerawada.

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

Nearby places to Yerawada are Koregoan Park, Magarpatta City, and Shivaji Nagar, which are areas of Mixed-use Development.



Another advantage of site being close to the highway is, it can have easy access towards the places like Mumbai.



As the project concentrates on education, employment opportunities increase as people start to become literate in all perspectives through such knowledge gaining platforms.



This site is chosen under the assumption of any future expansion which could happen, like, along with the library formation of a cultural hub or introducing a new institute in the same vicinity.

Fig. Commercial IT Park

Fig. Deccan College

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CLIMATOLOGY: The climate of Pune is characterized by dry atmosphere except during monsoon. The summer is moderately high and temperature varies from 36-46 degrees.

The average annual rainfall is 905 mm. The rainfall pattern varies between 5080 mm on the western hilly region to 457 mm on the eastern plateau progressively declining eastwards. Pune district forms a part of the tropical monsoon land and therefore shows a significant seasonal variation in temperature as well as rainfall conditions. Climate of the western region of Pune is cool whereas the eastern part is hot and dry. Pune district is divided into four AgroClimatic Zones as described below.

Western Ghats Zone, Sub-Mountain Zone - Transition Zone-l with red to reddish brown soils, Western Maharashtra Plain Zone — Transition Zone-II with Greyish Black Soils, Scarcity Zone- With Sharif - cum Rabi Cropping.

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FILM INSTITUTE AND STUDIOS

Average temperatures and precipitation

Data Analysis- The "mean daily maximum" (solid red line) shows the maximum temperature of an average day for every month for Pune. Likewise," mean daily minimum" (solid blue line) shows the average minim um temperature. Hot days and cold nights (dashed red and blue lines) show the average of the hottest day and coldest night of each month of the current years. The precipitation chart is useful to plan for seasonal effects such as monsoon climate in India. Monthly precipitations above l50mm are mostly wet, below 30mm mostly dry.

Data Analysis- the wind rose for Pune shows how many hours per year the wind blows from the indicated direction. Example SW: Wind is blowing from South-West (SW) to North East (NE). Cape Horn, the southernmost land point of South America, has a characteristic strong westwind, which makes crossings from East to West very difficult especially for sailing boats.

Fig. Wind Rose of Pune

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Fig. Wind Speed of Pune

Data Analysis-This diagram for Pune shows the days per month, during which the wind reaches a certain speed. Here in Pune, there are steady strong winds from December to April, and calm winds from June to October.

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DESIGN PROGRAMME AND SPECIFICATIONS: Zones: There are three 3 important zones in which can complete the whole development which follows a translation of one space to another along the site.

The site is divided into 3 zones: 

Film school



Film Production Studios



Hostel for Boys and Girls

Zone 1: Film School • • •

Film School Admin Office.

Playgrounds

Zone 2: Film Production Studios • • •

Studio rooms Workshops Indoor shooting spaces

Zone 3: Hostel for Boys and Girls • •

Boys dormitory zone Girls dormitory zone

FILM SCHOOL

HOSTEL ZONE

PLAYGROUND S FILM STUDIOS

OPEN SPACES

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FILM SCHOOL: AREA

AREA REQUIRED (SQ.M)

RECEPTION

20sqm

ADMINIST. OFFICE

60sqm

STAFF ROOM

30sqm

PRINCIPAL CABIN

30sqm

SUPERITENDENT CABIN

20sqm

ACCOUNTS OFFICE

40sqm

CONFERENCE

60sqm

COMPUTER LAB

100sqm

CLASSROOMS

70sqm

LIBRARY

120sqm

LECTURE THEATRE

190sqm

ANIMATION COURSE STUDIO

380sqm

MEDIA COURSE ROOM

280sqm

AMPHITHEATRES CANTEEN

200sqm

TOILETS

60sqm

STORAGE AREA

60sqm

PLAYGROUNDS

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FILM INSTITUTE AND STUDIOS

FILM PRODUCTION STUDIOS: It involves 3 stages: 1. PRE PRODUCTION 2. PRODUCTION 3. POST PRODUCTION

1. PRE PRODUCTION: AREA

AREA REQUIRED (SQ.MT)

ADMINISTRATION

70sqm

OFFICES RECEPTION

20sqm

DIRECTORS ROOM

20sqm

ASSISTANT DIRECTORS

40sqm

ROOM PRODUCERS ROOM

40sqm

MEETING ROOM STORY BOARDING

150sqm

ACCOUNTS OFFICES

40sqm

MARKETING OFFICE

40sqm

DRESS DESIGNER ROOM

40sqm

COSTUME STORE

20sqm

TOILETS

60sqm

STORAGE AREA

60sqm

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2. PRODUCTION: AREA

AREA REQUIRED (SQM)

SOUND STORAGE ROOM SCANNER ROOMS

1450sqm 90sqm

INDOOR SHOOTING AREA WORKSHOPS

150sqm

MOTION CAPTURE

120sqm

STUDIOS MAKE UP ROOM

120sqm

DRESSING ROOM

120sqm

MEDIA EQUIPMENT

150sqm

STORAGE LOUNGE

120sqm

3. POST PRODUCTION: AREA

AREA REQUIRED (SQM)

POST PRODUCTION

30sqm

STUDIO LIVE ROOM

20sqm

CONTROL ROOM

30sqm

VIDEO EDITING ROOM

20sqm

MASTERING ROOM

10sqm

COLOUR GRADING

20sqm

ROOM

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HOSTEL: AREA:

AREA REQUIRED (SQ.M)

SINGLE ROOMS DOUBLE ROOMS OFFICE ROOMS TV ROOMS STORE ROOMS TABLE TENNIS ROOM COMMON TOILETS AND BATHROOM

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BIBILOGRAPHY: https://www.slideshare.net/tanzilfaraz/film-institute-and-film-studious https://www.archdaily.com/230041/kantana-institute-bangkok-project-company https://www.scienceandmediamuseum.org.uk/objects-and-stories/very-short-history-of-cinema https://www.scienceandmediamuseum.org.uk/objects-and-stories/very-short-history-of-cinema https://www.gkduniya.com/indian-movie-timeline https://prezi.com/k4jmsb7-nw8-/timeline-of-the-bollywood-films/ https://www.liveabout.com/what-is-bollywood-3549901 https://www.mapsofindia.com/my-india/history/history-of-indian-cinema https://www.dtnext.in/News/Opinion/2017/04/22132711/1031943/Importance-of-film-education-in-moviemaking.vpf#:~:text=Exposure%20to%20world%20cinema%3A%20Good,contests%20and%20enhance%20their %20knowledge https://www.slideshare.net/chait123/whistling-woods-international-institute-of-film-communication-media-arts https://www.slideshare.net/sumansaurabh38/case-study-of-sacube

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