Contents 1. INTRODUCTION ...................................................................................................................... 4 1.1 FILM ..................................................................................................................................... 4 1.2 FILM/TV INSTITUTE ......................................................................................................... 4 2. SYNOPSIS .................................................................................................................................. 5 2.1 AIM OF THE PROJECT: ..................................................................................................... 5 2.2 OBJECTIVES OF THE PROJECT: ..................................................................................... 5 2.3 PROJECT DESCRIPTION ................................................................................................... 5 2.3.1 THE MAIN FUNCTION OF THE INSTITUTE........................................................... 5 2.3.2 VARIOUS FIELDS ....................................................................................................... 5 2.4 LIMITATIONS ..................................................................................................................... 6 2.5 SIGNIFICANCE OF THE PROJECT .................................................................................. 6 2.5.1 SOCIAL ......................................................................................................................... 6 2.5.2 PERSONNEL ................................................................................................................ 6 2.6 METHODOLOGY ............................................................................................................... 7 3. LITERATURE STUDY.............................................................................................................. 8 3.1 FILM ..................................................................................................................................... 8 3.2 HISTORY ............................................................................................................................. 8 3.3 THEORY ............................................................................................................................ 10 3.4 INDUSTRY ........................................................................................................................ 10 3.5 PURPOSE OF FILM .......................................................................................................... 11 3.6 PRODUCTION OF FILM .................................................................................................. 11 3.7 ACTIVITY SPACE ANALYSIS ....................................................................................... 12 4. CASE STUDY .......................................................................................................................... 13 4.1 LONDON FILM SCHOOL ................................................................................................ 13 4.1.1 LOCATION ................................................................................................................. 13 4.1.2 HISTORY .................................................................................................................... 13 4.1.3 EXPERIENCE STUDYING IN LONDON FILM SCHOOL ..................................... 14 4.1.4 FACILITIES STATEMENT ....................................................................................... 14 4.1.5 PARTNERS LFA......................................................................................................... 16 4.1.6 COURSES.................................................................................................................... 17 4.1.7 SPACE CHATEGORIZATION .................................................................................. 18
4.1.8 ANALYSIS OF SPACES ............................................................................................ 19 4.2 WHISTLING WOODS INTERNATIONAL ..................................................................... 23 4.2.1 LOCATION ................................................................................................................. 24 4.2.2 SITE ANALYSIS ........................................................................................................ 24 4.2.3 SPACE ANALYSIS .................................................................................................... 25 4.2.4 OVERALL FUNCTIONAL DISTRIBUTION ........................................................... 29 4.2.5 BUILDING SERVICES .............................................................................................. 29 4.2.6 COURSES OFFERED ................................................................................................. 29 4.2.7 INFERENCES ............................................................................................................. 30 4.2.8 GALLERY WWI ......................................................................................................... 31 4.3 FILM AND TELEVISION INSTITUTE PUNE ................................................................ 32 4.3.1 LOCATION ................................................................................................................. 33 4.3.2 SITE ANALYSIS ........................................................................................................ 34 4.3.3 SPACE ANALYSIS .................................................................................................... 34 4.3.4 INFERENCES ............................................................................................................. 37 5. COMPARITIVE ANALYSIS .................................................................................................. 38 6 AREA CHART ......................................................................................................................... 39 7. SITE SELECTION ................................................................................................................... 44 7.1 LOCATION ........................................................................................................................ 44 7.2 SITE SALIENT FEATURES ............................................................................................. 44 7.3 SWOT ANALYSIS ............................................................................................................ 45 7.4 SITE DETAILS .................................................................................................................. 46 8. CLIMATE DATA OF SITE ..................................................................................................... 48 9. DESIGN PROPOSAL FTII ...................................................................................................... 49
I wanted to create a fantastical realm. A place where you may put your creativity and imagination to the test and express yourself. The Film City is also about corporatization, globalization, and generating enormous worldwide attention. It has the capacity to employ millions of people and is entirely committed to the entertainment industry. It integrates various types of entertainment, including as television, print, and events, to deliver healthy pleasure to consumers throughout the world. The Indian and other film industries have developed by leaps and bounds over the last century, and have witnessed incredible technical advances. To expedite this expansion, we need to build a ready-to-shoot, pollution-free infrastructure in Delhi, in northern India, to fuel our emotions. The outdated city studio sets need to be changed right now. Every year, the film complex generates billions of rupees in money, which may assist the state in generating cash via various methods, and the institute will train aspiring film makers in the film industry.
1. INTRODUCTION 1.1 FILM A film recognized as movie, is a visual art stimulating experiences through stories, perceptions and moving images. There are "two types of films- one that avails the sources of the theatre including actors, directions, photography, etc. and use the camera to recreate; the other that avails the sources including cinematography and use the camera to recreate" (Robert Bresson, Notes on the Cinematographer). Various environmental, technological, sociological, aesthetic, narrative and cosmetic factors lead to division of cinema timeline into varying periods which made an effective impact on the conventions and study of film making and image making. All these factors directly or indirectly improvised cinema and therefore, from past hundred years, films have become major entertainment source in the society. Every film is concept based, lucid dreaming plays a major role in building a film concept. Film in itself is a language, basically replication of life as dream (James Monaco, Andrei Tarkovsky). A film acts as a magnet that focus to the forehead of an artist and its audiences. Film is just not a series of moving images, but an art form, that impacts societal norms and a sturdy education and awareness source. It is one of the interactive sources, helping in exchange of cultures worldwide.
1.2 FILM/TV INSTITUTE A film school is an educational art hub specializing students in the concerned subjects of film making like production of film, digital media production, theory of film, and screenwriting. Here, during professional training period students are made undergo series of projects giving them immense experience regarding use and action of lighting equipment, camera, film & video editing software’s. Like every similar professional course, this course has also been given epic importance i.e. professional training includes both theoretical course work and practical field work. This professional course gained educational limelight in the years following 1890s. In 1919, prestigious Moscow Film School was initiated with some endowed Russian film creators. In the initial times of cinema, it was majorly experimental based. But through the growth of commercial filmmaking in the 1920s, projects like Hollywood Studio System urged self-taught engineers and photographers to get hand on the skill from the basic level to the advance including its practical usage and trading. Various universities also started offering this course and University of Southern California was the first university to offer Bachelors of Arts degree in film.
2. SYNOPSIS 2.1 AIM OF THE PROJECT:
Enthusiastic approach towards creativity should spread across the campus. To provide a warm environment to the student architecturally as architecture plays a major role in students' lucid dreaming aiming at effective thought process and cinema study is all about varying expressions. To provide a skill developing ambience helping film students to get their hands better on practical work. To develop a multi-purpose campus area assuring varying spatial and visual exposure. For the purpose of movie shooting experience, ambience should be made aesthetically rich by making use of stone, glass, etc.
2.2 OBJECTIVES OF THE PROJECT:
Developing the concept and understanding the planning strategies that would result in efficient design. In depth study of sample designs and buildings of similar institutes. Comparing both horizontal and vertical circulation patterns and studying lifts, ramps and escalators. To design energy efficient building in order to minimize usage of conventional resources of energy. A prior knowledge regarding firm structural planning and handling various services. To build relations across varying areas of study resulting in common goal i.e. learning and creativity. Providing the interiors of classrooms and auditoriums with exterior view rich in ornamental landscape. Developing a sturdy buffer system design in order to avoid noise pollution from nearby sources such as road, public area, etc.
2.3 PROJECT DESCRIPTION 2.3.1 THE MAIN FUNCTION OF THE INSTITUTE To set forth practical and theoretical education covering every feature of film making & other associated programs. To honor outstanding trained students with certificates and university approved diplomas. Proper management of the activity centers for the efficient training of cinema students. 2.3.2 VARIOUS FIELDS Direction/Tele production Cinematography/Videography Sound recording and design Editing Production Acting
Audiography & TV engineering, etc. Special effects Electronic Cinematography Computer graphics/Animation Art direction Script writing Video editing Photography
2.4 LIMITATIONS
Thesis will be sufficient only in covering and understanding architectural details, not the technical engineering details. Residential Block will be not taken under consideration while designing.
2.5 SIGNIFICANCE OF THE PROJECT 2.5.1 SOCIAL Unlike other fields where a single individual’s effort helps in attaining success, here in film academics proper team i.e. group of students work together and make equal efforts to get trained in all corners. Also, there's a need of fully furnished and isolated activity centers so as to study more than 276 trades altogether in relation to each other. Understanding the need of formal training, as one must just not bear spark for the respective art which may lead them to become upcoming artists but also a proper course work guided by respective mentor should be made mandatory. The major role of such professional institutes is to make every student interested in film production to attain knowledge and get hands on various aspects like art direction, make-up, cinematography, editing, sound recording and engineering, film processing and set-design, etc. 2.5.2 PERSONNEL This project aims at attainment of both creative thinking and good service faculty. This field requires a better understanding of technical aspects impregnated with good imagination and reality. Therefore, this projects gives an opportunity to learn new creative subjects with respect to architecture. The only challenge while designing is to design for the future silver screen professionals.
2.6 METHODOLOGY THE PROJECT SCOPE OF DESIGN
SITE BRIEF
AIM & OBJECTIVES
REQUIREMENT BRIEF
DETAILS OF THE PROJECT
COLLECTION OF DATA CASE STUDIES
LIBRARY STUDIES ANALYSIS CONCLUSION & DESIGN GUIDELINES CONCEPT
PRECISE PRELIMINARY DESIGN
FINAL DESIGN
3. LITERATURE STUDY 3.1 FILM Film, also known as a motion picture, as it is an art of motion pictures involving complex and various other art aspects such as cinematography, photography, editing, sound recording and engineering, etc. Film represents psychology of emotions through series of moving images. Optics play a very important role in film presentation i.e. the optical phenomenon, also known as persistence of vision, helps in continuous and smooth motion. Films are the major contributors of societal dramas and emotions, form major vector of spreading awareness on sensitive issues. Help in growth of youth, making them aware of their actions towards the society and consequences. Films have been recognized as a mass form of entertainment as in theatres. The quality of the film image is justified by its intensity, intimacy and ubiquity. The power of holding the attention of the spectator defines the intensity of the film. In the film, spectators don't visualize what they want to, instead film-maker decides what the spectator will visualize resulting from aesthetics and various art components. Intimacy is defined by the ability of the camera to capture beyond the normal expectancy of eye vision.
3.2 HISTORY Film history began from 19th century and is still evolving every day. Ancient cinema was popular by its places, dances and elements such as sets, costume, actor’s etc. were common to the film. In the early years of film industry due to less techno friendly team’s films were devoid of colors and voice modulation effects which gave present day cinema the pleasure to be known as silver screen. From the years, following 1860s devices such as zoetrope, mute-scope and praxinoscope were exploited in order to produce two dimensional figures in mobile state. These all devices were on the basic phenomenon of optics i.e. persistence of vision and this phenomenon became the basis of present day film animas. These optical devices helped to run still images in continuous motion. Since, in those times still images were used, it became the major necessity to improvise their quality in order to bring out classic effect on them. For still photography celluloid film developed, which made it conceivable to seizure objects moving in actual time. English photographer Edward Muybridge perform an experiment in 1878, in United States by means of 24 cameras producing a sequence of stereoscopic image of a careering horse which was the first known "motion picture". The series of pictures were made to run on a varying speed of about 5 to 10 pictures per second. Developed versions of these machines were operated through coin. In 1888, Louis Le Prince produced first film (frame from Roundhay Garden Scene) captured using motion picture camera. The years following 1880s, were the years of "motion pictures shows". In this era, projectors came into big light and source of film projection to a huge mass. The first movie known to be projected, was projected in America at Kosterand Bial's Music Hall, New York on 23rd April 1896. In this era, film to be projected was in the form of reel which carried compiled series of still images.
Till 19th century, motion pictures were devoid of sound as W.K.L. Dickson's sound experiments (1894) were completely ignored for a while. These films were known to be Silent Films, and gradually gained a lot of huge mass attention. To avoid the filthy noise of projector, theatre owners used to hire musicians and bands, which actually became a good source of holding audiences together. In the early 1920s, to hold the audience connected separate music sheets were prepared for individual film. Later in 20th century, films were recorded in narrative manner to represent a film in the form of a story tale. A Trip To The Moon (1902), one of the narrative film of those times. WORLD WAR I ERA (1914-1918) Till the First World War, with the rise of Hollywood the United States' film industry flourished to its highest peak. The work of D.W. Griffith in The Birth of a Nation (1914) and Intolerance (1916) was very prominent. But somewhere, world war disturbed the growth graph of European film industry. POST WORLD WAR ERA In 1920s, European film-makers (Sergei Eisenstein, F.W. Murnau and Fritz Lang) again worked and raised the output level of film industry. In this era, with the help new technology film makers were able to introduce music, speech and sound effects synchronized with the actions in the film. Now the films were started to be known as "talking pictures", instead of silent films. But these "talking pictures" were devoid of colors. Addition of natural colors to the talking films lead to mass development of film industry. Now this achievement actually eclipsed the role of musicians and silent films. The greatest of all, introduction of three-strip version of the Technicolor process. This version was first introduced in short film production (1934). Becky Sharp (1935) was the first feature film comprising of colors and sounds. These films were really expensive to be produced on own but since it became mass favorite entertainment source, box-office receipts made the expenses justifiable. In the upcoming years, the rate of colored film production and release reached higher levels. From the years following 1950s, film industry started losing their mass due to black and white television but the introduction of new colored featured films lead to massive gain of audiences back and that too for the longer term. 1960s marked the end of black-and-white theme production of films in Hollywood. From mid 1950s the sale of color television began, but sales didn't took higher pace as initially the prices were very uneconomical and also very few broadcasts there in place. The price fall in 1960s finally lead high sales of color television. Since the public was overwhelmed by the color introduction, Hollywood made its all possible attempt in improvising its prominent works in color. But there were certain "star" directors (Peter Bogdanovich and Martin Scoresese) who stuck to their works in black-and-white films. 1960s also marked the end of the studio system. The upcoming years presented an obvious turn over in the production and style of films. 20th century marked the era of revolutions, developing
the city in many aspects. Movements like French New wave, Indian New wave, Japanese New wave and New Hollywood, lead to mass development of film industry within the masses. Throughout the 1990s and 2000s, 3D digital technology flooded and it continued since the early 2010s.
3.3 THEORY Film Theory is a SOP which includes all the FAQS related to the development and concept of the film to be produced that began from the 1920s. It provides the basis of all conceptual frameworks building relationships between real life tenures and art. During the last two decades, most serious cinema books have focused on theoretical topics, cinema history, or cinematic critiques, leaving production to the side. This text, which is ideal for film production classes, fills that hole by introducing relevant, argumentative ideas to the creative process and incorporating material from Heidegger, Merleau-Ponty, and Derrida, among others. Despite the fact that Geuens covers scripting, lighting, staging, and framing, among other aspects of filmmaking, he avoids the strictly vocational or "professional" approach to filmmaking that is currently used in most production courses.
3.4 INDUSTRY Almost as soon as the method was created, the producing and showing of motion pictures became a source of wealth. After seeing how well their new innovations and wares were received in their own France, the Lumieres set out to tour the continent, showing the first films both privately to royalty and publicly to the general people. They would generally add new, local scenes to their inventory in each country and, quickly enough, find local entrepreneurs in various European countries to buy their equipment and commercially photograph, export, import, and screen extra stuff. The Oberammergau Passion Play, which premiered in 1898, was the world's first commercial motion picture. Other films followed, and motion pictures emerged as a distinct business that eclipsed the vaudeville space realm. Motion picture actors became great celebrities, commanding big amounts for their performances, and dedicated theatres and corporations arose solely to create and distribute films. By 1917, Charlie Chaplin had signed a contract for a one-million-dollar annual wage. Until the arrival of video tape recorders in 1956, film was the only picture storage and playback system for television programming from 1931 to 1956. Much of the film industry in the United States nowadays is centered on Hollywood. Other regional centers, such as Mumbai-based Bollywood, the Indian film industry's Hindi cinema, which produces the most films in the world, exist in many places of the world. The question of whether the Valley pornographic film industry's ten thousand-plus feature-length films made each year qualify for this designation is up for discussion. Despite the fact that the high cost of making movies has pushed independent filmmaking to the fore, new improvements in low-cost filmmaking technology have allowed independent filmmaking to thrive. Due to the costly and dangerous nature of filmmaking, many films have major cost overruns, with Kevin Costner's Wasteland being a well-known example. The Academy Awards (commonly
known as "the Oscars") are the most prestigious film awards in the United States, honoring films each year ostensibly for their artistic merits. In addition to lectures and textbooks, there is a thriving business for educational and instructional films.
3.5 PURPOSE OF FILM When the music accompanies a quiet movie, for example, it can be paired with performance and still be regarded or known as a "picture." One example is audience participation films, like the Rocky Horror Picture Show's Midnight films in which the crowd dresses up in film costume and noisily reenacts like karaoke alongside the movie. Performance art in which film is included as a component does not generally call it a film, while a film that is independent yet accompanied by a performance may always be termed a film. The action of creating a film itself may, like in the films of Werner Herzog, be seen as a work of art, at a distinct level than the film itself. Same as the play of a film, as in the intricacies of Tarkovsky's film may be considered within the sphere of political protest art. A "road film" might be described as a film made from a lengthy journey or a holiday. For teaching and propaganda, film is employed. When the aim is mainly educational, a movie is referred to as an "educational film." For example, a video based on classic novels records lectures and experiments. Film propaganda may be, in whole or in part, such as Leni Riefenstahl films created in Nazi Germany, the US war movie trailers released during the Second World War or Eisenstein's artistic flicks created under Stalin. It may also be works of political protest, such as Wajda's films or Andrei Tarkovsky's movies, with more subtle.
3.6 PRODUCTION OF FILM The techniques of creating a film depend at its core on the material that the filmmaker wants to present and the display apparatus: the zoetrope requires a set of pictures on a sheet of paper. Film production may therefore require as little as one person to a camera (or without it, as Stan Brakhage's 1963 Mothlight movie) for a live-action, feature-long epic, or thousands of performers, extras, and crew people. The stages necessary for nearly every film may be reduced to design, planning, implementation, overhaul and distribution. The more the manufacturing involves, the more important are the steps. These key stages are characterized as in the normal Hollywood production cycle of a film: 1. Development 2. Pre-production 3. Production 4. Post-production 5. Distribution It normally takes three years for that production cycle. Development is ongoing throughout the first year. Pre-production and production are part of the second year. Post production and distribution for the third year.
The larger the production, the more resources it needs and the greater the funding; most films are not only creative works, but profit-making companies.
3.7 ACTIVITY SPACE ANALYSIS A feature film is frequently exhibited at a movie theatre or cinema when it is first released. Tally's Electric Theatre in Los Angeles, which opened in 1902, and Pittsburgh's Nickelodeon, which opened in 1905, are two possibilities for the first theatre built expressly for movies. Within a few years, thousands of similar theatres were erected or converted from existing buildings. Because entrance to these cinemas was often a nickel in the United States, they were dubbed nickelodeons (five cents). In general, one film is the presentation featured (or feature film). There were "double characteristics" before the 1970ies; often high-quality "A picture" rented for a flat payment by an independent theatre, and lower-quality "B picture" rented out for a proportion of total profits. Today, much of the advertising displayed before the feature picture includes previews for forthcoming films and sponsored publicity (also known as trailers or "The Twenty") All mass marketing long-lasting films have historically been presented in cinema theatres. TV has developed, often because the movie is no longer exhibited in cinemas, to transmit to transmit films to broader audiences. Video cassettes of films were made accessible to consumers in their house in 1967. The technology of recordings has subsequently made it possible for customers to rent and/or purchase VHS or DVD films, and Internet downloads might be available and have begun to become sources of return for the movie corporations. Some movies are now specially developed for those other locations and published as a TV movie or direct-to-video. Various films' production values are typically seen as of less than the theatre releases in similar genres, and even some of the films rejected by their own film studios when finalized are released throughout these markets. The cinema pays, on average, around 50-55% of its film studio ticket sales as film leases. The current proportion begins with more than one figure and drops with the duration of a movie as an incentive for cinemas to keep films in the theatre longer. Today's deluge of highly-traded films means that most films will be displayed for fewer than 8 weeks in first-time theatres. Each year, few films violate this norm, frequently only films that start in a few theatres and actually extend their theatre count with fine word-of-mouth and reviews.
4. CASE STUDY 4.1 LONDON FILM SCHOOL The school is located close to the Covent Garden and within walking distance of western theatres and cinemas, the Royal Opera House, the National Gallery, the British Museum, BFI Southbank, the Tate Modern and, closer, Wardour Street in Soho, British Film Industry's nerve Centre.
4.1.1 LOCATION
London Film School is located at 24 Shelton Street in London, United Kingdom 4.1.2 HISTORY The school was established as the 'London School of Film Technique' in Brixton after precarious early years. The idea was that a properly designed formal training for people who join the industry,
then run on a traditional training basis, might promote the future health of filmmaking in the UK. Since official action on these plans was little evident, a group of enthusiasts decided to follow the classic British approach and to form such a school. A shaky visitor from "The Cabinet of Doctor Caligari" likened the approach of the old school through the gauntlet through a winding staircase to a handful of rooms over the shops of Electric Avenue in Brixton. The school moved to Charlotte Street, West End in the early 1960s. A similarly dramatic, individual character retains the 18th century warehouse in Covent Garden, in which the school has lived since the mid-1960s. In 1974, LIFS, London International Film School, was renamed to be a school. The remaining LIFS constitution is very unusual. The School is a non-profit organization, registered charity, limited by guarantee. All students become members of the Association and elect a Governing Board on whom they are representatives together with the other members. The Governing Board is responsible for the School's administration in general. The present president is Mike Leigh, internationally renowned director and LFS graduate. After the course's validation by London Metropolitan University, the school has always been completely independent. 4.1.3 EXPERIENCE STUDYING IN LONDON FILM SCHOOL
One of the world's most innovative and exciting film capitals. The cinemas, theatres, concert halls, venues, opera houses, galleries and museums of London are renowned across the world. Visitors can enrich and enhance their overall cultural experiences without exception. The doors of our entryway are open to students. LFA is located on the West side of Central London's London Borough of Hammersmith & Fulham, which is a brief subway journey both from Heathrow and the West End. It is a cosmopolitan village with more than 200,000 people, a multitude of nations, including the newly constructed films of warner village, and other independent cinemas, shopping malls and street markets on Fulham and King's Road, ranging from the North End Road Market to the sophistication of the Kings Road with its ancient shops and galleries. The Thames River is the scene of the internationally recognized Oxford and Cambridge Boat Race with its picturesque river parks and historical taverns. There is a rich history in the district and many attractions include the Fulham Palace (home to London Bishops for centuries, now houses a museum with history and an umbrella garden of the 18th century) and Kelmscott House, home of William Morris, the famous English poet and artist of the 19th century.
4.1.4 FACILITIES STATEMENT The London Film School, which used to be a warehouse, now offers an attractive, if not sumptuous, backdrop for a challenging workshop. On Thursday afternoons, we conduct guided tours around the school, which include a screening of student films. The following items are included in the LFS facilities:
Studios Two lighting-installed studios and a rehearsal studio which is also used for theatre and workspaces are given for the 35mm training. Cinema Two theatres have conjecture capabilities. Magnetic sound with Dolby Stereo SR sound analogue are included in the 35 mm projection. Most formats are supported by 2K digital video projection. Department of camera For the first year, 8 Aatons with prime or zoom lenses The equipment includes 16mm workouts and 35mm cameras for the second year, including Panavision Gold and 2 Movie Cam Super America, geared heads, and Fisher dollies. For graduation films, Super 16 cameras are also available. DV Cam for documentary exercises and research, HD cameras hired in as needed for the third term, and RED1 and 24P training for the sixth term are among the digital formats available. Tungsten open face, Fresnel, and HMI lights, as well as Kinoflos, dedo kits, and lite pads, are among the lighting equipment used. Light meters for incident and spot light are available. Photography The Kodak Look Manager system is equipped for student use with a silent, wet photographic darkroom. Personal 35mm and digital still cameras are strongly advised. Studio of Design The studio with drawing panels, model creating capabilities, a visual reference library and a material library as well as a design computer suite is fully equipped. Editing 24 nonlinear editorial systems are available at the school. 8 suites, 15 Intel, iMac computers, running Avid media composer, Final Cut Pro, and Avid Symphony online, are offered for the Mac Pro Avid Media Creator. There is a well-furnished 35mm analogue editing room and the digital hard disc recorders capture the sound of one l6mm Steinbeck Sounds. Modern microphones, counting micron radio mics besides stereo mics, are all accessible. Pro tools also include 24 sound recording preparation workstations. Production Office There are computers, facsimiles, and telephone with internet connectivity in the production office. The students can see, download and print technical manuals, curricula, descriptions of the course, forms, laws, school law, and other materials via the Extranet system. The school is equipped with Wi-Fi. Library LFS productions and DVD copies and digital masters are kept and documented at the School Library. LFS exhibits its work every year at more than 150 film festivals worldwide and promotes
film sales to broadcasters. The library also contains a large selection of videos and a limited number of key books for loans. Students can use the BFI Reference Library in ten minutes of walk by arrangement with United Kingdom Film Institute. Coffee Bar On the bottom level of the school there is a private coffee bar. Clubs and Societies Students Union is associated with the NUS and LFS students have the right to extra NUS cards with a variety of advantages. The LFS Film Society and the LFS football team, who organize matches against other movie schools, belong to our clubs and societies. LFS Students are free to participate in many of BFI Southbank's film programs. LFS is a full member of CILECT, (Centre International de Liaison des Ecoles de Cinema ET de Television), the International Film School Confederation, and NAHEMI, the British Film School National Association. 4.1.5 PARTNERS LFA LFA works in collaboration to broad link of associates including film festivals, industry and education like:
Sight & Sound Goldsmiths, University of London BFM Media Kodak Fuji Film The Cinemas Curzon Producer's New Alliance SoHo Lab Films British Council Press Wallflower MO Film Movie Tech Genesis Plus Arrii Apple Avid London Films Cannes, Film Corner Riverside Studios Club Panico @LFA Graduate Support
It is famously tough to find work in the film and television industries. You need real, practical expertise and professional relationships while working in a competitive business.
Film employment is seldom advertised – work is filled through word of mouth - a network of connections and abilities is worth expanding. Our courses provide you with a solid basis on which to learn, learn and experience to get jobs in the business or to make your own movies. After leaving the training through our specialized support service - Club Panico@LFA, we will assist you also get your first break. Panico Club@LFA is an emerging film club and is an LFA-subsidized aftercare programs. It helps graduates to obtain job, to broaden their relationships and to finance their projects. All of our students get free membership of the club, enable them to meet other filmmakers at our central London club evenings, to attend free seminars and discussions with filmmakers and to access a tailored employment list.
Club Panico@LFA membership benefits: • You may meet moviemakers on regular occasions, discuss your projects and seek staff for your movies • Free monthly conferences, seminars and screenings with specialists • Discounted and subsidized rent and processing of equipment by Club Panico@LFA, insurance, post production, movie stocks, and processing • Assistance for Panico@LFA production contracts and agreements • Access to targeted job lists on our website, including news about the movie business, employment, upcoming events, contests, festivals and Freebies • Up to £100 off specialist seminars and short courses that can help you improve your abilities in crucial areas 4.1.6 COURSES Diploma Courses • Filmmaking Certificate (1 year, full-time) • Screenwriting Certificate (1 year, full-time) • Shorts 2 Features Writer-Director Diploma (6 months) Certificate Courses • Certificate of Documentation (6 weeks) • Certificate in Filmmaking (4 weeks, full-time) Foundation Courses • Foundation for Documentary Studies (5 days) • The Foundation for English for Filmmakers (2 weeks, full-time) • The Filmmaking Foundation's Fortnight of Filmmaking (10 days, 2 weeks)
• Weekend of Filmmaking Foundation (10 days over 6 weekends) • Creating a Foundation (10 days) • Putting on the Foundation Weekend (10 days over 6 weekends) • The Foundation for Screenwriting (2 weeks) Specialized Courses (Short Takes) • Performing for Directors (6 weeks, Thurs evenings) • Cinematography: Film and Digital Shooting and Lighting (2-day weekend) • Music in Film Composition (2 days) •The Filmmaker's Toolkit: Directing (1 day) •The Filmmaker's Toolkit: Documentary (2 days) • AVID Media Composer for editing (2-day weekend) • Final cut pro for editing (2 days) • Weekend of Filmmaking Foundation (10 days over 6 weekends) • Film Production Risk Assessment: Health and Safety (1 day) • Airbrush Makeup for Film, TV, and HD (2 days or private tuition) • Putting on the Foundation Weekend (10 days over 6 weekends) • EP Budgeting & Scheduling: Producing (4 days, 2 weekends) • Producing a film: legal, financial, and distribution considerations (4 weekday evenings) • Producing: On-location production management in the Algarve, Portugal (1 day) • Producing: The Film Industry's Business (1 day) • Writing: A Day in the Life of a Screenplay (1 day)
4.1.7 SPACE CHATEGORIZATION • PUBLIC SPACES Common areas, a café, and a lobby are all available. • SEMI-PUBLIC SPACES Offices and workshops are available • PRIVATE AREAS Studios, labs, workshops, and theatres are all examples of creative spaces
4.1.8 ANALYSIS OF SPACES
FIRST FLOOR PLAN
SECOND FLOOR PLAN
THIRD FLOOR PLAN
FOURTH FLOOR PLAN
4.2 WHISTLING WOODS INTERNATIONAL “Whistling Woods International” is an institution established by the well-known director “Subhash Ghai in 2005”. The Institute provides the essential practical training as well as theoretical instruction. The Institute is located in the movie town and is established alongside the cinema town. The Institute is located next to the color-designing laboratories. The institute therefore has no own movie workshop, but the films are handed to the advertising laboratories. Since the establishment, the institute has been flourishing. Many well-known film professionals attend seminars here. It also has a greatest advantage in terms of places and infrastructure for filming the film city campus, but also the experts that visit it.
Name: Whistling Woods International Location: Film city, Goregaon east, Mumbai. Area: Presently 4 acres in use and 20 acres for future expansion
4.2.1 LOCATION The institution lies in Goregaon East, in the film city town.
Film town's to Goregaon Train Station is around 10 km distant.
4.2.2 SITE ANALYSIS Access to the site is from the north and entrance to the structure from the south. The location is on a steep location, and from north to south it descends upwards. The slope path is around 1:8 m away. Thus the building's entrance is on the first floor, while the north entrance is on ground floor for rear entrance at 00 Around the structure there are many trees and hills that provide places to film outside. The film processing facility is situated near the ad laboratories and the indoor filming studios are also located on the Film City property It is not just a campus building, but stands as an entire structure
The structure is divided in 4 blocks namely: A. Administration B. Auditorium and multi-purpose hall C. Academic D. Technical
4.2.3 SPACE ANALYSIS OPEN SPACES Every building overlooks a courtyard accessible from the bottom floor. This central opening area was not just used for outside shooting but also as a recreational area.
PARKING
The greatest disadvantage is that there is no parking available. The vehicles are sun parked and there is no shade. On the west side, next to the building, the two wheelers are parked. In front of the building on the South Road, visitor's automobiles are parked. On the open area in south side of the property are parks for service vehicles, vans, buses, etc.
ADMINISTRATION BLOCK (BLOCK A)
The G+4 structure constitutes the administration block The block is constructed circular with a central atrium and all levels with atrium corridors The entrance is located in the first floor and includes the reception area, the waiting room and the pantry The second level has an internet café, a faculty lounge and meeting spaces
The level third comprises of the president and faculty rooms. And Subhash Ghai and Megha Ghai's cabins are on the fourth level. In the first level, the entrance, accounting and marketing departments, mailrooms and the waiting lounge open into the court.
AUDITORIUM AND MULTI-PURPOSE HALL (BLOCK B)
The auditorium can accommodate 250 persons The hall features a large entrance hall and is easily accessible from outside This floor has two multifunctional halls. The hall is 6x9m in size and 6m in height
ACADEMIC BLOCK (BLOCK C)
The academic building consists of 2 story’s and each has 13 classrooms The Institute has about 450 students This block has the following functions: Editing Laboratory Level-1 Sound recording laboratory level-1. Laboratory of pre-production Audio Visual Rooms Music Room Halls for Lecture
The classrooms are set along an individually filled hallway with a view to the courtyard The floor also includes sound recording, montage, performance workshop and foundation hall at Level 2 and 3. (A. V room) The courtyard of this block room is accessible from the bottom floor Music mixing and sound recording rooms together with the control room are soundproof The rooms are furnished with computer tables for 15 pupils. There is no huge screen for watching the sound recording chambers and the size is around 4x4m.
RECREATIONAL BLOCK (BLOCK D)
On the first floor level, the D and A blocks are joined through a bridge. In the center of the building, the first level is quite brightly illuminated. In this center area together with the student lounge, a tennis table is held. Other leisure activities include a coffee shop, a gymnasium and an ATM facility. The ground level has a movie studio, a television studio and vestibules. The studios are 12x12x12m in size. The second floor is the Department of Animation. It has 1 lab, 2 studios and 2 rooms with light tables. For 35 kids, each room is provided. The ground level comprises of the AHU service area, maintenance room, shop, machine room central.
4.2.4 OVERALL FUNCTIONAL DISTRIBUTION
4.2.5 BUILDING SERVICES Double glass doors are offered in the rooms which have to be fully soundproof. While the walls are covered with thick foam panels, the wooden panels are perforated on them. In block-D are accommodated all other service rooms. The entire construction is centralized and AHU unit is located in block-D. The entire building has the system. 4.2.6 COURSES OFFERED
4.2.7 INFERENCES Whistling Woods International is significantly more updated with the contemporary technologies Space required for each student is roughly 4 sq. m. The areas given are ample and there is no wasting of space. Also there is a scope for future improvement One of the good characteristics of this institute is its integrated layout and the inter linking of all the components Covered and non-covered linkages are taken care of considering the climate of Mumbai In the design, the separation of all functions is really nicely done. The problem, however, is parking and the division of service and cars for staff/visitors Although the rooms are wedge shaped, they function properly.
4.2.8 GALLERY WWI
4.3 FILM AND TELEVISION INSTITUTE PUNE Film & Television Institute (FTI) is situated in Central Pune, on the road to Law College. The site area comprises of 21 hectare. It started at the year 1960 for the client Information & Broadcasting Ministry, Indian Government. Components: Wing Film Studios [Editing, Sound, Design and Carpentry] TV wing Components: Administration Building: Reception, Administration and Office, Store. Editing & Direction Building: Administrative and general offices, Room of editing, Development department, Film processing laboratory, Dark Room, Technical shop, Film valve, Air handling unit. Recording Theatre: Controlling Rooms, Projection Room, Recording Studios, Mixing Studios, and Machine Rooms, Store, AHU, office, lounge, recording, recording, theatre and folly theatre.
4.3.1 LOCATION
Location: Central Pune, beside the Law College Road Area: 21 acres Date of commencement: Year 1960 Client: Ministry of Information and Broadcasting, Govt. of India Access: 8m wide road at the front of the Institution.
4.3.2 SITE ANALYSIS
4.3.3 SPACE ANALYSIS FILM ZONE The FTII film wing covers all areas of film production including technical instruction. Different structures that exist in this field are: • Studio shooting, sound recording • Editorial and Film Laboratories • Art Director's Department & Production Design • Workshops. Studio No. Size
Heights (mts)
Proportion
1
52.5m x 34m
12
2:3
2
34m X 25m
10
3:4
TYPOLOGY OF CONSTRUCTION
The studio walls are rubble masonry and the A.C. bedsheet roof.
The studio's main door is huge and the service of the whole truck may be eased when fully open. Catwalks hanging from the truss using innovative light adjusting mechanisms. Adjoining rooms of studios are: • Making facilities • Costume storage • Sound recording cabin • Store equipment Floor area: 960 sq.m Shape rectangular Height: 6M (false ceilings for cubicles) Ventilation: air conditioned Sound control: highly sophisticated and good acoustical treatment was provided. Other services: fire alarm system
TELEVISION STUDIOS
TV studio is used for TV production. There are two regions in a TV studio: Operational Production Center (Control Room) & Floor studio (Where production takes place) The floors of the Studio are equipped with cameras, lights, microphones, equipment and performers. Check a room where the general manufacturing section is developed. From the control room also operates the Director, Deputy Director, Technical Director, Video Engineer, Manufacturer and Production Assistant. Monitors are positioned in the control room to showcase the whole process that takes place in the studios. Form: Rectangular Shape: (10x15hall) Height: 6m (false ceiling for cubicles) Air Conditioning Ventilation Sound Control: floors and walls of mastic rubber are walls of cavities. Service Alarms for fire
Various registration department areas are: • Studio recording • Electronic Laboratory • Sound control or monitoring room • Studio dubbing • Screening Room
MAIN THEATER
Location: Near Studio 1 Used for previewing films, lectures and seminars Theater size: SQMT 325 Capacity for seating: 240 Wallpaper: 5m x 7m Size of stage: 3m X 7m Facilities in the backstage: two cabinets & 2 make-up. Sound control: properly handled with wooden panels & garments acoustically Size of the space projector: 3.5m × 3.5m
ADMINISTRATIVE DEPARTMENT
An administrative department controls second wing of the L-shaped structure. It lies in the center of the property and can be reached straight from the main entrance. The building block includes: Chairperson's cabin •Visitor's room • Tutorial •Facilitator Information • Budget & Account section • Chief accounts officer (CAO) cabin • Create section, contains dean's offices (film & TV wing) •Xerox room and toilet section (Male and Female)
LIBRARY
Located on TV wing's third level The library has 25,000 books and journals Library seat capacity: 50 chairs • Size: 10 x 15 library lobby • 3.5x3.5 cabin for librarians • Shape: rectangular • Height: 6 m • Ventilation naturally ventilated
4.3.4 INFERENCES Intakes of the student: • Wing of the movie: 94 • Wing television: 32 Campus no. of student’s total: 252 Total Number of faculties: 50 Additional staff: 200 Annual Visitors: 500 Positive aspects: in FTII
The campus gives a perfect atmosphere for institutions All activity in different areas was split Each department was fitted out
Negative aspect: In FTII
Major part mostly runs in an old building (Prabhat studio, built in1920) Coordinated area planning of zones in campus is lacking Today's studios are far bigger than required
5. COMPARITIVE ANALYSIS
6 AREA CHART
7. SITE SELECTION 7.1 LOCATION
7.2 SITE SALIENT FEATURES
7.3 SWOT ANALYSIS
7.4 SITE DETAILS
8. CLIMATE DATA OF SITE
9. DESIGN PROPOSAL FTII