Garam Patthar - NID Diploma film Document - Arunprasath.M by Arunprasath Manicks

DIPLOMA PROJECT GARAM PATHHAR A SHORT-FICTION FILM Sponsor : SELF

Volume : 1 of 1 STUDENT : ARUNPRASATH.M PROGRAMME : Graduate Diploma Programme GUIDE: Shilpa Das

2015 Faculty of Film and Video Communication (Visual Communication)

National Institute of Design Ahmedabad

The Evaluation Jury recommends for the

ARUNPRASATH.M Certificate of the National Institute of Design in VISUAL COMMUNICATION (FVC)

herewith, for the project titled

GARAM PATHHAR - A Short-Fiction Film on fulfilling the further requirements by*

Chairman Members :

*Subsequent remarks regarding fulfilling the requirements :

Registrar (Academics)

Copyrights 2014-2015 Student Document Publication, meant for Private Circulation only. All Rights Reserved. Graduate Diploma Programme in Design National Institute of Design, Ahmedabad-380007 Gujarat INDIA No part of this document will be reproduced or transmitted in any forms or by any means , electronically or mechanically, including photocopying, xerography, and videography recording without written permission from the publisher, Arunprasath.M and National Institute of Design, Ahmedabad.

Edited and Designed by ARUNPRASATH.M Printed at Photo Ornate, Ahmedabad

Originality Statement I, ARUNPRASATH.M, hereby declare that this submission is my own work and it contains no full or substantial copy of previously published material, or it does not even contain substantial propositions of material which have been accepted for the award of any other degree or diploma of any other educational institution, except where due acknowledgement is made in this diploma project. Moreover I also declare that none of the concepts are borrowed or copied without due acknowledgement. I further declare that the intellectual content of this Diploma Project is the product of my own work, except to the extent that assistance from others in the projectâ&#x20AC;&#x2122;s design and conception or in style, presentation and linguistic expression is acknowledged. This diploma project (or part of it) was not and will not be submitted as assessed work in any other academic course.

Copyright Statement I, ARUNPRASATH.M, hereby grant the National Institute of Design the right to archive and to make available my diploma project/thesis/dissertation in whole or in part in the instituteâ&#x20AC;&#x2122;s Knowledge Management Centre in all forms of media, now or hereafter known, subject to the provisions of the Copyright Act, I have either use no substantial portions of copyright material in my document or I have obtained permission to use copyright material.

Name Signature & Date

PREFACE

cument g. This may be the first do I’m not good with writin till the on from the beginning up d rke wo ely tir en ve I ha process m Patthar “ is about the end. This document “Gara a film. lom ne through in my dip of filmmaking I have go king as e early stage of filmma th at e us ca be is th ite wr I are of small mistakes; which a student, we make a lot ality tic ac pr e room can’t teach. Th those things that a class fro w m learning theories. So, ho of film is tougher than use my king of it, I managed to ma al tic ac pr e th till ry theo vered e problems is what is co learning to overcome th cause be document is important in this document. This ods tions, doubts and meth it covers the major ques main e th h ug I have gone thro involved in filmmaking. with ng alo e theory aspect of it), topics of filmmaking (th r he ot pe this document gives my personal journey. Ho line eo Communication discip Vid d an m Fil e th in s nt stude films. nce to get up and make in the future, the confide

I appreciate your kindness More than words can say; for me The very nice thing you did Really made my day! By Joanna Fuchs

T N E M G D E L W O N K C A my father and mene utmost gratitude to th s es pr ex to e lik a Das who gave I would as my Guide, Dr. Shilp ll we as m ga ha ac av aram Pattor, P.Manick this wonderful film (G do to y nit rtu po to op me the golden of research and I came lot a t ou rry ca me d I am really thankthar), which also helpe iques and processes. hn tec w ne ral ve se t ed my spirits know abou , who has always push ila arm Sh . M , ter sis y always has ful to them. M and low g lin fee s wa I whenever t. Thank you sister. cessary moral suppor ne e th me en giv unfailingly o. Pritesh but lucky Iâ&#x20AC;&#x2122;ve got tw t, ge y ma ny ma n has A jewel of a perso for all the support! He d an , fun e th all r fo , d no restriction. Maru, for all the push whom sharing has ha th wi es tim at r he ot br ve me, been like a the truths he ga r fo , ak ep De y vibrant enerI thank Swath ctive zeal, tin dis his d an t, or and ideas always his unflinching supp comments, reviews s Hi ty. ivi sit po his is journey gy, and out both of them th ith W e. tiv ec rsp pe w the end. gave me a ne m the beginning, till fro s wa it y wa e th wouldnâ&#x20AC;&#x2122;t have been

E THE FILM AR IN S R TE C A R ALL THE CHA

S U O I T I FICT

. D A E G OR D TO THE LIVIN IDENTAL. E C N LA B M OINC ANY RESE IS PURELY C

S L A ANIM

ED WERE HARM ILM. G OF THIS F IN K A M E DURING TH

Y DIRECTED B

ARUN

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Memories of NID. FVC department.

The concept / the fact behind the film.

The script to fictionalize the concept.

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Filming is a scheduled process in which all actions and their respective sounds are captured into footages.

Post-Production involves the elements of editing, colour-correction and sound mixing

Pg 14 - 19

Pg 64 - 75

Pg 20 - 29

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Pg 30 - 39

Pg 86 - 93

Sound is done to level the pitch and also to recreate the space in all possible audio details.

E N TS 1V

Crew is the core of making any film in which you handle a budget. A crew can contain â&#x20AC;&#x2DC;nâ&#x20AC;&#x2122; number of members.

Finding the location suitable for the script.

Choosing the device to record the actions, colors and sound.

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CGI the details and enhancements done with the help of 3d modeling.

Final film and few deliverables with Conclusion (Pack-up)

Bibliography

Pg 40 - 45

Pg 94 - 97

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INTR

Diploma Project | FVC | Arunprasath.M | 2015

GUIDE

SHILPA DAS Coordinator, Inter Disciplinary Design Studies.

Since 2004, Shilpa Das has been looking after Science and Liberal Arts Studies (SLA) at NID. She has cumulative work experience of 21 years in the education, publishing, and voluntary sectors. At NID, Shilpa teaches Comparative Aesthetics, Semiotics and Communication, Indian Art and Culture, Narrative Theory, Identity and Subjectivity, Cultural Studies and Craft Documentation. Besides SLA she takes courses in the Foundation Programme, and disciplines such as Film and Video Communication and Animation Film Design. At present, her research interest lies in Disability Studies. She has been involved in various outreach and consultancy projects, notably, a project on strategic behavior change with respect to persons with disabilities for Handicap International and Department of Health and Family Welfare for the Government of Gujarat, Ananya, a book on Indian women for the Ministry of Women and Child Development and Sanchar Shakti, a book on information communication technology and womenâ&#x20AC;&#x2122;s empowerment for the Department of Telecommunications, Government of India. 18

COORDINATOR

ARUN GUPTA Coordinator, Film and Video Communication Design.

Arun Gupta teaches in the Film and Video Communication discipline at NID. He holds a PG Diploma in Direction from the Film and Television Institute of India (FTII) and a BA in English Literature from the University of Delhi. He joined NID in 1996. He takes courses in the Foundation Programme; apart from taking courses in disciplines such as Film and Video Communication, Animation Design, and Graphic Design. He takes courses such as Scriptwriting, Direction, Film Language, and Film Appreciation. He has been the Chairperson of the NID Film Club and has also been the Founding Editor of Cut Here, the moving image print magazine. In 2005, he directed Another Journey, a documentary film showcasing NIDâ&#x20AC;&#x2122;s activities in the area of Indian crafts and textiles. He has coordinated several national-level meets at the institute, including Design for Entertainment Media (2001) and Niche Programming and the Future of Broadcast Television (1998). Arun has been associated with various film festivals. Diploma Project | FVC | Arunprasath.M | 2015

n April 7, 1958, the Eameses presented the India Report to the Government of India. The Eames Report defined the underlying spirit that would lead to the founding of NID and beginning of design education in India. The Report recommended a problem-solving design consciousness that linked learning with actual experience and suggested that the designer could be a bridge between tradition and modernity. The Report called upon future designers to re-examine the alternatives of growth available to the country at that time. Based on the recommendations made in the India Report, the Government of India with the assistance of the Ford Foundation and the Sarabhai family established the National Institute of Industrial Design, (as it was originally called) as an autonomous all-India body in September 1961 at Ahmedabad. Gautam Sarabhai and his sister Gira played a major role in the establishment and early years of NID. Gautam Sarabhai sidestepped the accepted wisdom and conventional method of education. 20

He revived the philosophy of the Bauhaus design movement, which was “learning by doing”. This unique curriculum and revolutionary educational philosophy has remained part of NID to the present day. Today, the National Institute of Design is internationally acclaimed as one of the finest educational and research institutions for Industrial, Communication, Textile and IT Integrated (Experiential) Design. It is an autonomous institution under the aegis of the Ministry of Commerce and Industry, Government of India. NID has been declared ‘Institution of National Importance’ by an Act of Parliament, by virtue of the National Institute of Design Act 2014. It is also recognized by the Department of Scientific and Industrial Research, Government of India, as a Scientific and Industrial Research Organization. The mandate for NID is to offer world-class design education and to promote design awareness and application towards raising the quality of life by and through.

Film as a medium, is closest to reality, and mirrors every aspect of the human experience. Filmmaking is telling a story through moving images. India is rich in living traditions and stories, and provides a vast live laboratory for film-makers method of education. He revived the philosophy of the Bauhaus design movement, which was learning by doing. This unique curriculum and revolutionary educational philosophy remain part of NID to the present day. The first year of the Bachelorâ&#x20AC;&#x2122;s Programme at NID is the Foundation Programme. This rigorous programme ensures students are well-versed with all aspects of design, and their understanding of design basics is thorough. The Foundation Programme includes courses such as Colour, Form, Geometry, Design Concepts and Concerns, Environmental Perception, and many more inputs including field trips. After the Foundation Programme students join different disciplines based on their choice, aptitude, and Grade Point Average.

The NID trains film students in the classical filmmaking tradition and in short films. Filmmaking is at once at the centre of design, and at the periphery of it. Being in NID, the students grow to become design-informed filmmakers. Filmmaking is multidisciplinary in nature, involving costume, space, light, camera, graphic design, and furniture. Design as an activity comes together in cinema. The film course introduces communication and social theory, and the language and technology of film and video. Through projects students are exposed to all roles and responsibilities of the filmmaker. Films today in India are smarter, stories are better, and technique is on par with the best in the world. Indiaâ&#x20AC;&#x2122;s rich regional cinema lends diversity, and at the same time reinforces the Indian identity through film. NID graduates go on to create advertisement films, documentaries, feature films, and television content. Top: File photograph of National Institute of Design, Ahmedabad. Diploma Project | FVC | Arunprasath.M | 2015

PRE

Diploma Project | FVC | Arunprasath.M | 2015

PROJECT BRIEF: Working title: Fire-flies (later changed to Garam Patthar) Name: Arunprasath.M Batch: 2009 Discipline: FVC Duration: 11-13 minutes (tentative) Genre: Satire, Comedy Language: Hindi Imagine a break from our daily routine. Something so new, so fresh comes into our lives in the form of ideas, opportunities and events but sometimes we are so engrosses by the flow of our routine that we ignore/blindfolded to see the importance of the new. Similarly, in an Indian slum where people are so busy with their daily routines, and silly fights and issues, a new event happens. It is a meteor falling down a roof. Just because they are angry with the neighbours, the context of a meteor changes to heated up stones thrown by neighbours. The story revolves around two families with their daily problems and issues of space management. It elaborates on how they irresponsibly fight over it and how the people surrounding the neighbourhood perceive the fight. These fights are such that even the two familyâ&#x20AC;&#x2122;s children who may be friends won't notice but ignore. Deliverables: A film of 12 mins duration A trailer/promo of the film Posters Film document The deliverables are based on diploma guidelines and requirements. Duration of the film is approx. and it may vary based on script requirements.

Diploma Project | FVC | Arunprasath.M | 2015

THE RATIONALE OF THE FILM: It was summer. It was terribly hot in our rooms. We, including Maru, Swathy and I, had the habit of sleeping on the terrace. We talked on a lot of scenarios from zombie apocalypse to real life adventures. One night while sleeping, we were looking at the stars in the night sky and wondering about the scale of space. How in city areas and rural areas light pollution is less, favouring the stars in terms of their visibility. Upon gazing at the night sky, we also come across a few shooting stars. We shared a lot of memories from childhood till now of how fascinating the shooting stars were. As the discussions progressed, we started talking about the facts of our lives and stories we had heard. We also started talking about scenarios related to where these stars fall, do they fall and how big they are. We came across a situation where it falls on a slum area. The whole idea of such an event was becoming interesting. The idea was generated there and we discussed it threadbare and added upon it and made a valid idea. Later, that morning, when I started to reflect upon and write about it, some facts and information were needed. The questions that came across were - has it fallen before? What is its size when it falls? What would be the potential reaction of people in the slum? Such questions had to be answered. So a finite research had to be done. We started with watching Indian sci-fi films: from short films to feature films none covered a subject this simple. It was either superheroes or supernatural beings. There was a Tamil film, which had a similar topic called â&#x20AC;&#x153;Appuchi Gramam.â&#x20AC;? Its story was similar but the difference was that the space stuff was going to kill a village. I wanted the opposite of it. But the 26

facts and information given by the film was astounding. Apart from films some other research had to be done: collecting data on how to represent a slum, a meteor and what the story was going to be. A field observation of a slum had to be done. We packed our bags, went to Mumbai and stayed there for a week and observed Mumbai Central, Dharavi and a few other spots. A few basic points were noted and we also talked to a few families. With the collected data of an ideal slum, the story had taken a step towards positivity. Now data had to be collected about the shooting stars - dimensions, fall stories and related information.

Above: A few posters of the films referred.

Diploma Project | FVC | Arunprasath.M | 2015

METAPHOR UNDERLYING THE STORY I wanted the story to mean more than what it seems to be. I wanted to add more layers to the story. At the outset, it had to be funny and quirky. Since people like to watch films with lighter topics than deeper and technical dense topics, I wanted to add sarcasm. Taking ignorance among the audience as a criteria I wanted them to laugh at themselves. We all have our independent busy daily routines. We indulge ourselves in our daily activities based on that. How often do we recognize the new or different events that we ignore to indulge in? From a bird dropping to bumping into a new person. We always try to ignore our embarrassing or new situations and continue with a planned fixed usual routine. In other words, we talk to a lot of people. Itâ&#x20AC;&#x2122;s likely, we get an idea. We try to share that idea but the ignorance in the other prevents it from accepting or comprehending, eventually, losing the purpose of the idea and becoming a subject of humour or negligence. This was the idea for my film, which had to be metaphorized inside the story. Diploma Project | FVC | Arunprasath.M | 2015

“There is nothing more fascinating than seeing a shooting star in the sky. Ever wondered where does it fall from?”

Meteors’ falling through the sky is a common thing. We don’t see it as newsworthy. But this is material for an unusual story. A meteoroid is a piece of rock floating in space. It is mostly made up of carbons. When it reaches the earth’s atmosphere, it causes a streak of light due to friction and thereby, becomes a meteor. When a meteor falls on the surface of the earth it is called a meteorite. It may shatter your roof or sometimes even destroy cities. Such meteorites have a high value when sold in special markets. 30

Meteorites are rarer than gold, platinum, diamonds or emeralds. Owning one is the only way to touch the cosmos. Many have called them the “truest form of black gold,” and they often sell for $300.00 per gram or more - meaning a 1 pound meteorite can be worth a million dollars.

“BLACK-GOLD SOME METEORITES ARE”

Meteorite prices vary from one source to another but the numbers quoted here are typical of retail values in today’s marketplace. Unclassified stone chondrites picked up by nomads wandering in the Sahara Deserts are readily available for about $0.50/gram. Attractive stones from the Gao-Guenie witnessed fall (Burkina Faso, Africa, March 5, 1960) can be purchased for about $1.50/gram and a top quality one-kilogram specimen of the Campo del Cielo iron meteorite from Chaco Province, Argentina can be yours for about $400.

Above Left: Terminologies used in describing the process of a meteoroid till it becomes meteorite. Above Right: A meteorite in Rieskrater Museum, Germany. At the high end of the pricing scale are unusual types such as the Diogenite Tatahouine (fell June 27, 1931, Foum Tatahouine, Tunisia). A prime specimen will easily fetch $50/gram while rare examples of lunar and Martian meteorites may sell for $1,000/ gram or more — almost forty times the current price of gold! Diploma Project | FVC | Arunprasath.M | 2015

“FACTS”

Meteors are rocky bodies that enter the Earth’s atmosphere. Some are leftover debris out of which planets like Earth are formed, while others are the remnants of shattered comets and asteroids. As long as their orbit intersects the Earth’s orbit, these rocks can in principle impact the Earth. Actually, this happens all the time, although usually the impacts occur in unpopulated regions since most of Earth is uninhabited. In fact, most meteors fall into the ocean simply because water covers twothirds of the planet. 32

“specification” Left: Size comparison of meteoroids in reference with objects.

Size From the small size micrometeorites the size goes up to every other size you can think of. Examples are sizes such as of small pebbles, marbles, tennis balls, footballs, and even larger size pieces. The size range continues up to larger meteorites which weigh many tons, finally to the largest; the Hoba meteorite which weighs over 60 tons.

Surface Most meteorites have a smooth surface with no holes. However, some meteorites will exhibit thin flow lines or thumb print-like features called regmaglypts. Flow lines are cooled streaks of once-molten fusion crust. Regmaglypts are most likely caused by the severe melting and abrasion of the components of the meteorite as it enters the Earth’s atmosphere. Weight In general, meteorites are heavier than Earth rocks of the same size because they have a higher nickel-iron content. Naturally-occurring Earth rocks are usually poor in metals, particularly nickel, in comparison to meteorites. Colour The surface of a freshly fallen meteorite will appear black and shiny due to the presence of a “fusion crust,” the result of frictional heating and abrasion (or ablation) of the outer surface of the rock as it passes through the Earth’s atmosphere (see Pasamonte, below). The longer a meteorite has been on Earth, however, the more the fusion crust wears away, leaving the meteorite a rusty brown colour.

Diploma Project | FVC | Arunprasath.M | 2015

A “fall” means the meteorite was witnessed by someone as it fell from the sky. A “find” means the meteorite was not witnessed and the meteorite was found after the fact. About 33% of the meteorites are witnessed falls. A very large number of meteoroids enter the Earth’s atmosphere each day amounting to more than a hundred tons of material. But they are almost all very small, just a few milligrams each. Only the largest ones ever reach the surface to become meteorites. The average meteoroid enters the atmosphere at between 10 and 70 km/sec. However, all but the very largest are quickly decelerated to a few hundred km/hour by atmospheric friction and hit the Earth’s surface with very little fanfare. Right: File image of an Indian slum at activities. Below: File image of a meteor struck village in Tamil Nadu.

Something that falls from space is always alien in nature and it is hard to be perceived as an object of observation and research. Only with education and such curiosity one will get to know its value. Otherwise it would be just another stone/rock. Such an event of a meteor falling into earth was the idea. But what happens if it falls into a most unfamiliar zone where people are so busy and boxed into a routine of their own? A slum where people are daily busy with their midday fights and events? What kind of a stone would a meteorite be for them? This was the idea for the film. Everyday something new enters our lives, in the form of ideas, opportunities or events. Some of them are shooting stars; some are just like any other rock. The Meteoritical Bulletin, No. 94 1569 Petrography: (A. Rubin, UCLA) Chondrule outlines are well defined; there has been little integration between chondrules and matrix. Some chondrules contain glassy mesostases. The rock has been shocked; olivine grains exhibit undulose extinction under crossed polarizers in the petrographic microscope; the olivine grains contain planar fractures in their crystal structure caused by shock. The rock is moderately weathered; between 20% and 60% of the metal grains have been at least somewhat oxidized. The rock is also a breccia. It contains a clast that has experienced more significant shock than the host; much of the metal and sulfide in the clast was melted and mobilized by shock. The boundary between the clast and the host is sharp. Mineral compositions and geochemistry: The rock is unequilibrated with a large range in olivine composition (Fa 12.8 –30.9 mol%, n = 13). The mean Fa content is 20.9 ± 4.7 mol% and it has a percent mean deviation (PMD for Fa) of 17.2. Classification: Ordinary chondrite (H3.5 breccia), S3, W2. Type specimens: A total sample mass of 30 g is on deposit at UCLA. The remaining mass of 472 g is in the possession of the finder. Table 3 lists all newly approved meteorites (and their data) from Americas. ANTARCTICA ANSMET Table 4 lists 806 meteorites recovered from Antarctica by ANSMET. These meteorites appear in Antarctic Meteorite Newsletters 30 no. 2 (2007) and 31 no. 1 (2008). For further information on these meteorites visit the Antarctic Meteorite Newsletter, NASA, webpage at http://curator.jsc.nasa.gov/ antmet/amn/amn.cfm. ASIA India Jodiya 22°40′48′′N 70°18′48′′E Jodiya, Jamnagar District, Gujarat, India Fall: 31 July 2006, 21:28 h. Indian Standard Time (IST) (UT+5 h) Ordinary chondrite (L5) History: A meteorite shower was witnessed on July 31, 2006, at 21:28 h. IST, in the regions of Jodiya, Jamnagar district, and Vandya, Kuchchh district, Gujarat. Many pieces fell in marshland and rain filled agricultural lands and could not be recovered. A search team from Geological Survey of India (GSI) has collected several fragments. Physical characteristics: The samples collected have fallen on rooftops of houses and/or courtyards. The largest sample collected is ~4 × 2 cm and is partly fusion crusted. An ~4 g

Above: A pictorial data on visible craters formed by meteorites and asteroids. Below: Vredefort Impact Crater, South Africa. 300 kms wide. 2 billion years old. Bottom: A collection of meteorites in size comparison to an one-inch nail.

sample, partly covered with fusion crust has been given to PRL, Ahmedabad, for analysis. Petrography: (Z. G. Ghevaria, GSI, Gandhinagar, Gujarat, India and S. V. S. Murty, PRL) The general texture of the Jodiya meteorite is brecciated with porphyritic chondrules of olivine and low Ca pyroxene and low amount of metal. Chondrule sizes range from 0.92 to 1.46 with an average of 1.23 mm. The average olivine composition is Fa25.1, low Ca pyroxene is Fs21.2 and compositions are uniform within 1 –2% suggesting that the metamorphic grade is 5 –6, but trapped noble gas amounts fall in the range of 4 –5. Thus, Jodiya is classified as L5. ∆17O is 1.16 ‰. Classification: Ordinary chondrite (L5) Type specimens: All collected fragments (~100 g) are in the possession of GSI, Calcutta. A thick section and a small, fusion crusted chip (~2 g) with FC are at PRL, Ahmedabad. Kaprada 20°20′20.96′′N, 73°13′23.86′′E Kaprada, Valsad, Gujarat, India Fall: 28 October 2004 and 16:30 (Indian Standard Time [UT+5 h]) Ordinary chondrite (L5/6) History: A stone fell in the farm of Kashiram Bhikabhai Diva in Nandgam village of Kaprada Taluka of Valsad district in South Gujarat, India at about 16:30 h. IST on 28th October, 2004. The meteorite was promptly brought to Physical Research Laboratory, Ahmedabad by Manoj Pai, an amateur astronomer of Ahmedabad. Physical characteristics: The single recovered stone weighed about 1.6 kg. The stone is mostly crusted and has an approximately conical shape, the convex face containing the apex having been smoothened due to ablation whereas the concave base appears rough. Petrography: (N. Bhandari, S. V. S. Murty, R. R. Mahajan, P. N. Shukla, A. D. Shukla, PRL; M. S. Sisodia, J. N. V. University, Jodhpur; G. Parthasarathy, PNGRI; an V. K. Rai; Department of Chemistry, University of California, San Diego, CA, USA [UCSD]) The major minerals in the meteorite are olivine, clino- and orthopyroxene, and metal and sulfide. Some glass is also present. The meteorite shows a melt crystallization texture and veins. A variety of chondrule types is present, the commonest being granular olivine and olivine-pyroxene and radiating fine-grained pyroxene. The chondrule margins are diffuse, tending to merge with the granular groundmass, which consists of olivine and pyroxene with minor sub equal amounts of nickel-iron and troilite. Mineral compositions and geochemistry: The olivine is Fa23.7 and pyroxene is Wo39.92En43.3Fs16.79. The chemical composition is Fe = 21.5%, Mg = 15.3%, Al = 1.2%, Ni = 1.27%, Ca = 1.33% by weight as determined by X-ray fluorescence. Classification: The meteorite is an ordinary chondrite, (L 5/6). Type specimens: The main mass is with Geological Survey of India at Calcutta. Thin sections are available at J. N. V.

Diploma Project | FVC | Arunprasath.M | 2015

MOODBOARD”

“

Diploma Project | FVC | Arunprasath.M | 2015

PLANâ&#x20AC;?

â&#x20AC;&#x153;

SPACE cointains lot of information.

METEOR is a smaller information of a bigger system. Size : 10 -30 cms Weight : 3 kg

SLUM is a chaotic, ignorant system. Cluttered with people and buildings. Common disputes and third world issues. Meteor falls into this space. An idea is being introduced to another system.

ROOF BREAKING Materials of roofing in slums differs from metal, asbestos, tiles, weaved coconut leaves , plastic sheets to fiber glass. The best possible material was fiber glass for its translucence and breakablity.

FAMILY is a fractle of a bigger system. To focus down inside a slum a family had to be choosen along which a story had to be done.

DISTRACTIONS Favourite pass time that gets people involved with it is the Television. This was a factor to be noted for the reason that during the fall if peopleâ&#x20AC;&#x2122;s routine had to be shown it would be better to go with a usual distration.

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THE SCRIPT

Diploma Project | FVC | Arunprasath.M | 2015

Screenplays are written in 12-point Courier, or a slight variation (Courier New or Courier Final Draft, for instance). This is because Courier is a fixed-pitch font, meaning each character or space is exactly the same width. Since standard screenplay format is designed so that one page approximately equals one minute of screen time, consistent character spacing is important.

ROUGH DRAFT

Diploma Project | FVC | Arunprasath.M | 2015

Ext.SPACE Silent. With Jupiter on the left and Saturn on the far right we can see the stars and distant galaxies, silently and slowly floating. Mars, the big red giant is slowly revolving towards left as tiny object from far right emerges. slowly drifts towards till this football-sized meteoroid glides almost toughing the left. Over our majestic calm blue planet with painted clouds, the meteoroid glides past the left. Briefly entering into the orbit and begins to smoke and makes a fiery debris. CUT ALONG WITH PARTICLES AND SMOKE EXT.CITY SIDE SLUM-HOT SUNNY AFTERNOON Traffic noise. Crowd voices. The lonely sun is blazing and blinding on the cloudless sky. The sun is at its peak as the other events are. Concrete maze and chaotic crowd. CHAWL. Traffic pours through the narrow lanes buzzing with activity, dodging pedestrians and other miscellaneous obstacles. Along the road rim a pile of garbage is burning with its smoke filling air. Women sit in front of their houses washing dishes. They are all looking in one direction. The soapy water from the dishes makes its way down cracks and rifts in the road to a drain nearby into which a child is already urinating. Just above, in one of the houses, a man is standing at his window brushing his teeth vigorously. He spits outside and something on the street catches draws his attention. The manâ&#x20AC;&#x2122;s spit lands on the street, right next to a pile of human feces being eyed greedily by a swarm of flies. A whiplash of dripping wet cloth disperses the cloud of flies â&#x20AC;&#x201C; a woman in the adjacent house is putting clothes out to dry, while her attention is, clearly, focused across the street. A man carelessly crossing the road while on his phone, is narrowly missed by an auto-wallah, who menacingly yells and honks his displeasure. Cycle guy looses balance and lands into a puddle of drainage water. Behind it is this lazy old man lighting his bedi slowly as he is looking away and laughing.

While all this, are more people peeking through window and looking left and laughing. Through the windows, in the balcony, on the terrace, people looking at this event. The event of two neighborhoods families fighting. FAMILY1 -how many times I have told not to throw garbage out… still you guys do and see it falls into our house only… FAMILY2 -what garbage!!! Your kids pee just in front of our house…we are going to catch and hit him… FAMILY1 -hit huh hit..!? ill cut ur tongue and throw it to crows… -as if ur kids are all princes coming to our house and stealing thing… A passer by dodges through this mess and walks along. Kids running in the middle through the adults who are busy fighting. People still looking and smiling at it doing whatever they are doing. Chai in the near by stall is boiling. Guy spitting and clearing his nose behind the stall, just near a house wall. v.o. of the fight still being heard while the noise from the traffic tries to makes its presence. Chaotic puzzle telephone pole wires. Fight cont. Screams and shouts turn a little physical. Catching collars. Pushing. A pressure cooker whistles full and drops. Like a wrestling bell break, the two families comes to a displeased rest. they warn each other about the next time. Index finger pointing and snapping to every face. Frowning faces and spitting mouths. INT.HOUSE1-MID DAY AFTERNOON Faded exterior sounds and voices. Still interior filled with sudden silence. Slowly the family enters house with mom murmurs. Dad sits on a squeaking chair. newspaper. Puts toothbrush hastily into his hand on his baniyan covered stomach rumbles.

continuing Spreads a his mouth. Places and rubs. Stomach

Diploma Project | FVC | Arunprasath.M | 2015

Water droplets making an uneasy sound as it falls from the old tap to the plastic mug along the greasy walls. While, mom is busy peeking through the window gazing and murmuring about the neighbors, two small kids run around picking plastic ball and running out of the house. Dust speckles lingering through the light rays escaping through the opening of the house. A creaking table fan so slow not better than still trying to provide a breeze to this lazy youth busy wondering lying lazy on the rugged pile of cloths over the cot along the very corner, why in the world that his profile picture is not getting likes. His eyes looks at it as if its been trapped. Dad peeks out through the window near by where he was sitting and through the window bars he sees the same traffic. Kids still pee along the corner. Neighborâ&#x20AC;&#x2122;s garbage still gets into his territory. Mom from next room enters into the main front room, placing her plate full of onions and knife on the floor, goes and turns the TV on. Dad starts to walk around. Mom sits taking the knife holding the onion in place to cut. Stares into the TV screen. Footsteps of hasty restless dad walking up and down. In contrast to the stillness in moms eyes staring at the tv screen, as if she is drowning slowly in it. Knife over the onion dropping murderously slow, spilling the juice. T.v noise increasing gradually. Footsteps continues to a restless tense pressure like the dadâ&#x20AC;&#x2122;s stomach. Meanwhile, Something from the sky drops making its way through the asbestos roof by poking a small hole and lunges for the ground just besides where mom was sitting. Impact rattles the dust making it hard to see. Birds along the area startles. Flapping their wings making their fluttering escape. As people of the house mark their presence by their cough and clearing the air dust, starts to settle. Table fan slightly takes support of the wall near just as a support but still squeaking. Wondering what made all the mess, this bunh of family come together and takes a peek by gathering around it. Because mom was the closest she examines it suspiciously asking MOM -who threw this thing? 46

KID

Off-frame -saw it coming from the neighborhoodâ&#x20AC;Ś its hot. Quite warm for a hand that had just killed the onions. She drops it panicking. By now she is convinced that it is a stone thrown by the neighbors. Joblessly heated up. Like How It Steams When Water Splashed On heated iron box, She runs out picking up broom from the corner of the room. Her scream resembles to her going on caveman hunt. The routine again sets to the daily fights. Traffic honking still seems to be at the peak. Children playing along the near distance still continues. Garbage along the corner is still smoking. Meteorite in the in remains silent and lonely.

Diploma Project | FVC | Arunprasath.M | 2015

FINAL DRAFT

Diploma Project | FVC | Arunprasath.M | 2015

EXT.

SPACE

The gigantic mesmerizing colorful vast universe. Millions of stars

filling in as oceans, with distant galaxies, star dusts and space clouds. Through all this beauty is spinning the gigantic white as

milk galaxy spiraling amuse. Zooming into this beauty is all but an increasing marvel of more and more stars and its scape. Still

as the time froze they are like painting for the eye. Along one distance is a dead planet being lit by a nearby star. Such bright white light. Alone the distance come crawling a meteorite, spinning

and dashing through the emptiness, swishes past in a hurry making an aliened sound. INT.

HOUSE

DAY

Mid-winter afternoon. While the TV telecast of the IPL is going

on boy PAKU, around age 12 is trying to read his textbook. Dad is sitting by the side watching TV. He seems to be in trouble with his stomach. Mom comes from outside and hands Paku few coins and

tells him to go get medicine for his dad. Paku makes use of this

opportunity and asks for little bit more money for his candy. Mom smiles and gives him his 2rs. He leaves happily. Mom advises dad to quit smoking and pan masala. EXT.

STREET

DAY

Paku walks down the street, which is just outside his house,

happily. With song whistling over his mouth he walks towards the shop. While on the way he meets his neighborhood friend who is a girl MEENU around 11, walking from the shop. Paku stops her. PAKU

Chal, chal mere saath. MEENU 50

Nahi, papa daanteghi muje. PAKU

Arre, tere papa tho sojatha hai din bhar.

as, MEENU agrees to walk along with him, she inquires about their doings,

MEENU

Ooh pooch ka kya hua? Mere papa doond ne lagi. PAKU

Arre tere papa ko chod yaar. MEENU

tho bhaas bhi aarihai…kya karu… PAKU

Mere paas ek idea hai, aaj Ooh pooch nikaal dhenge! MEENU

kuthi abhi kidar gaya hoga? PAKU

Oh tho gaye! bas abhi wapas nahi aayeghi, saali kitne parishan. Raju kho pata chalege ab se… EXT.

STREET

DAY

As they talk and walk back towards home, they see the sight of their Diploma Project | FVC | Arunprasath.M | 2015

parents fighting outside. They don't mind it being a scene, as it has become a routine now. They both return to their respective

houses. As the fight is going about how the neighbors throw dust and garbage to the others home, and the congested space in which

one other neighbor hood is trying to occupy more, kids take their bat and ball and come outside to start playing cricket.

Mom says about how the neighbors throw dust into their compound and gets annoyed. While the neighbor makes a stir about mom as

otherwise she is a queen living in palace. Dad gets involved. As

everyone starts to fight starting from the dust thrown to the dead rat smell from the others house, kids on the side who is playing

cricket, hits the ball into the grandpa's house which is by the

side. GRANDPA, who is around 65-70 years, is sleeping cozily in his bed. Kids go in a hidden manner. Meenu get inside the house

while Paku waits outside. Meenu comes out after picking up the ball.

Comes out and gives a sly smile to Paku. Now both are smiling at each other. They both get back to playing cricket.

While the fight is still going on. They are now fighting about how

the neighbors are occupying more space and infiltrating into others area. How manner less and bad their language is. As the kid's ball comes and falls into the fight, dad picks it up and starts to say

how their daughter Meenu has spoilt his son Paku. Parents try to stop the kids from playing, but kids evade and look for the ball instead. INT.

GRANDPAâ&#x20AC;&#x2122;S HOUSE

DAY

Meanwhile, as the sleeping grandpa gets up to wear his tooth set,

he finds something strange inside. It seems red. And it smells bad. Its long and brown. He screams finding it to be a dog's tail. He knew the kids were unto something.

EXT.

STREET

DAY

Grandpa gets out slowly. He walks towards the fighting scene.

Starts to shout at their both parents. As the scene is funny to

all the other neighbors. It has become a routine. Passersby are

laughing at this. Slowly dad pulls grandpa together and drops him towards his house.

Now, the medicine dad had for his stomach problem has started

working. His stomach is rumbling. While mom is busy fighting, since it isn't over, he slowly pulled her aside. Mom is busy shouting at the neighbors. They all slowly disperse keeping some topics pending for the next time. INT.

HOUSE

DAY

Dad pulls mom and leaves her inside home, picks up the bucket and

rushes to the washroom. Agitated mom is still not over the trauma of the fight. Cursing and abusing, she calls out for her son Paku.

Since Paku is outside playing she goes out and pulls him in. She makes him sit and study. Switching on the TV she starts to watch

her serial. She starts to cut vegetable for afternoon lunch. Slowly watching television she cuts them. By the side she sees Paku playing and distracted. She hit him and makes him study. Picks his cricket ball and keeps it to her side. She slowly gets engrossed in her

serial. Dad is in washroom struggling battling over his stomach. Sudden twist in the serial. Mom is shocked. She cuts the cricket ball, which was on the side by mistake. Paku is shocked.

Meteor enters the atmosphere. Burning fire of ball flies down

towards the ground. Things slowly starts to slow down in the house

with mom watching television, Paku is sitting nearby and looking at the ball. So still and silent the house is.

Diploma Project | FVC | Arunprasath.M | 2015

Sudden bang and bursting dust. Breaking the roof, tearing it down, something falls making the dust rise filling the entire house. Dad is washroom is relived. He walks inside the house hearing this noise

and finds a dust filed room. Everybody is confused to know what happened. They gather around this thing, which has fallen. Looks up at the hole in the roof, looks down at this thing. It seems to be a hot stone without realizing its a meteoroid.

He asks slowly so as to who threw it. Suspecting the neighbor, he

runs outside shouting that they are heating up stones and throwing

it now. And the fight begins as usual. Their routine starts and

the day is made. While this stone, this meteoroid is lying lonely in the center of the house.

Diploma Project | FVC | Arunprasath.M | 2015

TREATMENT The film opens with the cosmic activities. We get a sense of the scale of the planets and asteroid objects. The scene ends with a meteor approaching. Set in the current time is a slum. The story opens in a lower class house where a family lives in a lazy routine. The mother amidst her cooking tells her son to get some medicine. While the son goes out to get medicine, he meets his friend and the journey is shown. When the children return they find that their parents are quarrelling. Ignoring the fact the children start with their game of cricket. Parents are fighting on their daily issues as to how the dust falls, how one’s toilet stinks, how clothes fall into one’s neighbourhood. We see how picky and interfering they are. As the fight continues no body seems to pay attention. Making it seem like a daily routine. The fight interferes with the children’s sport making them stop the game. As the fight reaches its peak one of the man’s bowel system starts to act making him rush into his home and breaking the quarrel. As the family gets inside the house, the mother starts to cook while watching an on going serial on television. There is a parallel cutting to the inbound meteor reaching the earth’s atmosphere and its descent towards the surface eventually falling into the house. The impact breaks the roof and causes the dust in the house to rise. As the family gathers to investigate what has fallen into their domain they find out it is a hot rock. They assume from the previous fight with their neighbours, that their neighbours threw it. So the fight resumes with the family exiting their house and starting a fight. The meteorite lies alone in the house. The film ends with the lone meteorite. 56

WHY NOT STORY BOARDING? Storyboarding is a set of images drawn in a series to represent the progression of a story in a comic pattern. This segment of pre-production involves making the acts of the story structured from shot to shot. I chose not to do a storyboarding because of the treatment. The treatment I was looking for was that of a documentary. Event is progressing on the actorsâ&#x20AC;&#x2122; freedom. Unplanned and life like actions and dialogues were more needed. Realism is broken and transformed into fiction mainly through this process of pre-production. I was trying to keep the realism as much intact as possible, which led me to take the decision of not doing a storyboard.

Diploma Project | FVC | Arunprasath.M | 2015

WORKING ON DIALOGUES Dialogues were not decided. Dialogues were not written. But the topic of the dialogues were written. Because the story follows a fight scene between characters, if the dialogues were written and strictly followed, characters might get conscious of the dialogue to be followed rather than concentrating on the scene. It might lead to more takes eventually increasing the cost of the scene and raising the budget. Situation topics were created based on which the flow of the dialogues were decided. The reason why the dialogues were not written was that if they were written it would compel the actors to force it; hence breaking their natural way of delivering dialogues. Actors with more professionalism were difficult to afford with the given budget, so the rules of writing the dialogues were modified to bring upon realism at its level best. The structure of the dialogue flow was decided and was strictly followed. 58

CASTING

VIVEK V. RAM Though I knew Vivek from the beginning, I chose him for the character for a few reasons. He is dedicated. He is a quick learner and his visual appearance is strong. The capacity at which he acted, competing with the professional actors was at par with their level. He adapted and even mingled with the actors during breaks and got acting inputs, which then helped him to enhance his dialogue delivery. PARINDA I knew Parinda not for long. I met her as a friendâ&#x20AC;&#x2122;s friend at Natarani. She was calm and composed. She could get the character and could manage to give what was needed. But since she is not a professional, catching up with others, was a problem for her. Though she created some issues during shoot and tantrums during breaks other actors convinced her to do as told. AMIT MISHRA He was chosen from the many for the reason that he is punctual and also enthusiastic about film making. He is an amateur in acting and hasnâ&#x20AC;&#x2122;t acted in many films but the cooperation he gives is extensive and he sometimes gets involved in helping the production and location maintenance. His expressions and dialogue delivery is quite strong. He has a dominating appearance, which was necessary for the character. NIHARIKA DAVE: Niharika is quite an actress who can adapt and morph into any role given. She has an extensive acting career including acting in a few feature length films in both regional and national language. She was cast for the fact that she could grasp the character quickly and inspire the rest of the actors in terms of dialogue delivery. Her calm and relaxed nature helped sometimes in extending the schedule beyond the shift she usually works.

Diploma Project | FVC | Arunprasath.M | 2015

SCENE DIVISION

SL. NO

Scene Name

Description

Duration

Space

Establishment of cosmic activities. Focusing on a meteor’s movement in space.

1 min

House

Establishment of a family. son is reading. dad is having stomach problems. mom tells son to get some medicine.

1 min

sons’ walk

Son gets out of 1 min house. walks in street. Meets his friend. Starts to walk with her. They have a conversation about their recent activities.

Fight

children return after going to shop to see their parents fighting about their daily problems. Ignoring them children start to play.

Grandfather’s entrance

with the children ½ min disturbing the sleeping grandfather, he comes to the fight scene. Fight. Dad takes grandfather inside. Dad’s bowel movement starts.

3 min

Fight ends

Dad gets stomach pressure. Tries to stop the fight. Takes mom inside. Rushes to toilet.

1 min

Inside house

Things cool down a little. Mom starts to cook. watches television. Indulges. twist in the tv serial. Cuts cricket ball instead of potato.

3 min

Toilet

Dad is struggling in toilet to get his stomach cleared. it seems he is in war.

intercut with scene 7

Garam patthar

Mom on tv. Dad in 1 ½ min washroom. meteor is making its ascend. falls breaking through the roof dust arises. settles. Family shocked. Investigate what has fallen. Sees a hot stone. Suspects neighbours. Starts fighting with neighbours.

Diploma Project | FVC | Arunprasath.M | 2015

THE CREW

Diploma Project | FVC | Arunprasath.M | 2015

Cast

DEBUT

Amit Mishra

Vivek V Ram

Niharika Dave

Parinda

Meenu 11

Paku 11

36 Lead actor. Expressive. Understanding. Supportive, Punctual.

27 Lead actor.

27 Lead actor, Enthusiastic, Expressive, Mold-able, Understanding, Punctual.

Talent.

32 Lead actor, Enthusiastic, Expressive, Mold-able, Understanding, Punctual Experience in Feature-Films.

Talent.

Cinematography

Swathy Deepak

23 DOP Hard-worker, Supportive, Manager, Spontaneous, Experienced.

Athul.S.N.

Sandeep Raj

Vishnu

Abhilekh Nagar

22 1st Camera Assistant Hard-worker, Listener, Focused, Calm.

21 2nd Camera Assistant Beginner, Co-operative, Energetic, Quick.

Art Direction

Pritesh Jaisingh Maru 25 Art Director Hard-worker, Supportive, Manager, Spontaneous, One-Man army, Experienced.

22 Assistant Production Hard-worker, Supportive.

Diploma Project | FVC | Arunprasath.M | 2015

Directorial

Tanumoye Bose

26 1st Assistant Director Hard-worker.

Location Manager

Sneha Mundari

22 Assistant Director Hard-worker, Supportive.

Bannu Kishore

24 Assistant Director Hard-worker, Surprising.

Sandeep Kumar

22 Assistant Director Hard-worker, Supportive.

Special Mention

Ribin Raj

23 Focus Puller Hard-worker, Supportive.

Gursharan Bhamra

25 Talent, Musician, Hard-worker, Supportive.

Sreenihal Poulka

23 Enthusiastic, Talent, Hard-working, Quick.

Swapnil Desai

22 Hard-worker, Supportive, Cheerful.

Pratyush Das 23

Supportive, Enthusiastic, Skilled.

Bibhu C. Behera

22 Hard-worker, Supportive.

Diploma Project | FVC | Arunprasath.M | 2015

LOCATION

Diploma Project | FVC | Arunprasath.M | 2015

Locations were found based on how the budget was fitting. When considering the location important factors were the distance, amount of production that is required to be done, crowd control, shooting space, and power supply. Our choice of location was finally locked on to the slum area next to NID. We looked at a lot of slum areas even till Dharavi, Mumbai. The only need for a slum is to establish a class and a standard of living, which could be perfectly done with this slum next to NID. With people being co-operative it was helpful to organize and assemble production too.

Diploma Project | FVC | Arunprasath.M | 2015

Creating a slum ambiance needs some basic knowledge such as the fact that a slum that lacks education doesn’t necessarily live in junk. The inhabitants of a slum are minimal in utilizing space and try to keep their living a clean one. But their care for surroundings seems very meagre. Their efficiency in organising their space in their own way in terms of anthropometrics seems congested to an outsider. Since their space is already cluttered with materials, they need to project some kind of aesthetics to it. That’s when one sees every house has a colour of its own. Colours are everywhere that sets them up in an “any-time-festivemood”.

Diploma Project | FVC | Arunprasath.M | 2015

LIGHTS CAMERA

Diploma Project | FVC | Arunprasath.M | 2015

THE POWER OF 4K IN THE PALM OF YOUR HAND Choosing Canon for this shoot was the idea to no compromise on the quality. Its super 35 sensor allows to capture the best colours possible and since the colours are planned to be vibrant, we decided to go with the cinema series 1DC. Luckily, our budget also allowed it. Quality was needed because when a bigger screens demands a crisper and a high resolution image, it is mandatory to present them. Chances of a low resolution image being pixelated is more than an a high resolution image. The EOS-1D C is the first Canon DSLR specifically designed for video. Itâ&#x20AC;&#x2122;s ready for a wide range of applications, from hand-held indie productions to Hollywood blockbusters. The EOS-1D C is capable of on-board 4K motion imaging or alternatively HD motion imaging capture on CF cards. The EOS-1D C works with the full range of Canon EF-mount lenses.

Diploma Project | FVC | Arunprasath.M | 2015

Whether youâ&#x20AC;&#x2122;re shooting a commercial where exquisite colour rendition and high contrast is important, or a tense, dramatic sequence in low light situations for a feature film, Compact Prime CP.2 Super Speed lenses offer the performance one needs to get the scene right. Choosing CP.2 super speeds was by choice to cut down the cost of lighting budget since its aperture. Combination of that and a full frame camera gives a higher result in terms of quality. The care that a CP.2 lens needs is much high. Dust and rain even in a smaller amount can make its entire system malfunction, rather than a canon lens. In a lens, the priority is the crispness it could get along the focused edges, and for that CP.2 super speeds are the best. Superspeeds in the name suggests that this lens can be used in a camera with a higher frame rate (slow motion) and still the edges are crystal crisp.

Diploma Project | FVC | Arunprasath.M | 2015

Some people don’t like the term “full frame” because it isn’t specific. For the sake of simplicity, when said “full frame” means a sensor that’s roughly 24mm x 36mm. A full frame DSLR will have a shallower depth of field than a crop sensor DSLR, which can be a beneficial aesthetic. When shooting at the same EFFECTIVE focal length, using the same aperture settings and shooting from the exact same angle/distance to the subject, the full frame camera will have a shallower depth of field (more bokeh) than the crop sensor camera. A larger sensor can record more information (it has more photosites), giving you the potential for a better photo, especially when compared at high ISO settings. (But, this isn’t always the case- the technical quality of a photo depends on many factors!) A smaller sensor can limit a photographer in some cases, especially in low light. The sensor size’s other major effect is how much of the scene can be viewed and photographed by the camera from a certain focal length and certain distance to the subject. Left Top: Comparison between a 5d Mark III and 1DC’s noise under high ISO is shown after crop. Left Bottom: ISO range noise of 1 DC with camera lens cap on. Below: Sizes of a film frame which are the sensor scales for digital camera.

LIGHTS: When ordering lights for a shoot a major thing to be kept in mind is its luminance. Sometimes one can see a flicker while shooting digitally using filament lights. This happens when the shutter speed of the camera and the frequency pulses of the light doesn’t match. Although light appears to be continuous, many illuminate using high frequency light pulses. Also other factors such as key lights and fill lights should be identified. Depending upon key fill there will be sometimes a reflector too. A properly lit footage is when there is no noise (less ISO such as ISO 100-200) with crisp details.

Right: Light frequency and shutter speed graph. First one shows the matching graph where as the second one below shows the unmatched graph which causes flicker in the output. After all the research was done, a final lighting and camera listings was made. The whole budget was noted and maintained so that some could be saved for post-production too. Since few of the equipment weren’t available at Ahmedabad, they had to be outsourced from Mumbai.

LIGHTS

CAMERA

2kW LIGHTS BABY 4 kW HMI FRESHNAL FLICKER FREE 4 FEET * 8 BANK DAY / NIGHT TUBES 4 FEET * 4 BANK DAY / NIGHT TUBES 2 FEET * 4 BANK DAY / NIGHT TUBES 2 FEET * 2 BANK DAY / NIGHT TUBES 4X4 REFLECTORS SILVER REFLECTOR STANDS CRANE STRAIGHT AND CIRCULAR TRACK+TROLLEY EXTENSIONS ND-FILTERS

1DC CANON C-SERIES 16-35 L USM 70-200 L IS USM 18mm T3.6 (Vignettes with Canon 5d) 25mm T2.1 35mm T2.1 50mm T2.1 85mmT2.1 MANFROTTO TRIPOD SLIDER

Diploma Project | FVC | Arunprasath.M | 2015

Above: The final colour palette of the film. 86

PRODUCTION DESIGN Production design was done by Pritesh Maru, a batchmate from Exhibition Design. He has a keen eye to look into the details. I decided to involve him because he is not only fast but also perfect. He brings upon a crew and makes them achieve the desired look and feel on location. My film needed a lot of colours enriching every frame. His choice of colours along with the cinematographer, Swathy Deepak was up to the mark. His major work was to recreate the slum look for the frame of the camera. His idea and sense of a frame has evolved in time that now he doesnâ&#x20AC;&#x2122;t even have to look at a frame but the position of the camera gives him the idea of what is necessary and what is not. He even had to colour a few of the props on location to balance the look and feel. One entire day he was painting the walls of the house and arranging the properties of the location. His skills in negotiating is an added attribute when it comes to not only convince the location owners but also coaxing them on on-location help. The fact that we had to break the roof of one house was slowly and convincingly told to the house owners, after a dayâ&#x20AC;&#x2122;s shoot, and after showing them the result of it, so that they would agree to it. Eventually they agreed. A basic colour board was decided based on which every frame was painted. From deciding a costume to the colour of the wall this colour board helped. Diploma Project | FVC | Arunprasath.M | 2015

V11

FILMING

Diploma Project | FVC | Arunprasath.M | 2015

FILMING FILMING: Filming was happening according to how the cinematographer and the director had planned it during shot breakdown. Reviewing and scope for improvisation was noted and the assistants were sent to execute. At mid day, under harsh sunlight, the whole of the team was putting their efforts and pushing the shoot without proper rest. Filming/Shooting is the third process of making a film. Filming comes once after the production is done. This process involves capturing the audio/visual elements in the location affiliated to the story. Lighting is done to develop the mood of the scene. Mostly daylight is used as the key light. In some cases where continuity of light has to be maintained, more powerful and heavy lights are used to replace the sun. Such lights are costly and also more power consuming. It may sound counter intuitive that detailed planning would lead to creative freedom. However, consider this: if one has to deal with unexpected and mundane details during production, it robs the time and cripples the ability to create. Time is a luxury and we do not want to waste it, especially when all those resources and talent had gathered together to realize the creative vision. One will make good use of that time if they prepare. Give yourself the best chance possible by preparing.

Diploma Project | FVC | Arunprasath.M | 2015

Day 1 First day of shoot always has its drawbacks. The team left for the location which is near Kochrab, to shoot the walking scene of the kids. Lighting of the sun was perfect and as visualized to show a clean morning day. This scene was scheduled for the first day because it was easy and the preparation needed for it was the least. Children were called for and rehearsal was done the night before. Costumes, makeup and breakfast was done. Shooting was in progress but the emotions of the kids were not up to the mark. The director had to take a call on improvising. AD’s were sent forward to rectify it. On the camera side we had an equipment called DJI Ronin, a character follow gimble. It was handled by Mr. Pranav Daure. The team had no previous experience with this young man, hence involving a new crew member might have its disadvantages. First problem that was faced was the working style. When the whole team was focused and dedicated on how to get the output as close as possible, this man, was casual about it. Opinions were different. So we decided to get the gimbal from him and try to operate but within minutes, the DOP told that he could manage the same shots without that specific equipment also. Hence the first day had its deluge of problems with the children’s chemistry striking in as lighting (it wasn’t working). The Director planned to wrap up the shoot with minimal shots that were taken because the budget was seeing a drop. He collected the entire team and discussed if the schedule of the first day could be managed to fit into the next day schedule. After long hours of discussion about schedule and budget and equipment costs it was decided that the first day meets its pack-up.

Diploma Project | FVC | Arunprasath.M | 2015

Day 2 With the kids’ expressions still inside the whole team’s head, they insisted on changing the child actors. Then just in one night, a whole new set of kids were found for the scene. They were set in for the rehearsal, and costume fits. Even though the first day had its problems and was postponed, the team went for the second schedule prepared to manage. Location was set up from the colour theme to propping up. Hopes were at a high while courage to face any sort of problem was wide spread. All the actors were called in. As per rehearsal, their chemistry was at good levels. Shooting was in progress at a good pace. In order to maintain the pace, throughout, lunches were given without taking a scheduled break making it a running lunch. Localities were so helpful in the case of arranging props and placing them at every level possible in the location. An Art director usually has to manage a lot of things, and with the meagre help available he acted as the man of the match. He had to prop up the interior for the next day schedule while the shoot of the exteriors was going on that time. Any shoot is about how good its pre-production is. But it is also about how well one can manage within the shooting hours taking consideration of the team’s mentality, budget and the shoot pace. On the second day the shoot met its destined pack up with all the necessary shots with some extras and close-ups required by the edit. Kids, no issues. Actors, comfortable. Crew remained a crew. It was, well, a rather beautiful day.

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Day 3 Third day. Like the climax, the crew was tired and at the same time excited. Pushing to the limit was the schedule. The first dayâ&#x20AC;&#x2122;s problems had to be fitted into this day. Actors were ready and excited to be on location. Since most of the shots for this day were happening in interiors, problems expected were minimal. The Art Director arranged all the necessary safety measures needed to break the roof and show that the meteor is falling inside. Dust was arranged. Managing the smoke dense room without irritating the actorâ&#x20AC;&#x2122;s eyes were taken care of. Missing shots were taken whenever a break could be caught. Choosing the locations near to each other helped a lot in terms of travel time to one another at necessary times. Lunches were missed here and there. Even though the tiredness was dominating, every crew member had a smile on their face making it a promising and encouraging experience even till the end. All the shots were done and the schedule list met its end. Nothing more to be captured in terms of actions necessary to communicate the story without compromising at any level. Pack up was called as the shoot days got over. The aftermath and shock that it was over was still sinking in. The crew was joyous and happy. A group picture was taken. Goodbyes were said.

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C STING

LIGHTS CAMERA COSTING - Sheet1

LIGHTS CAMERA LIST Sl. No.

Item

1 1000w lights

Quantity

2 HMI

1000

15,000

1000

250

5 Tripod

6 Lens(zeuss) 7 Crane

8 2k Lights

9 Kinoflo(2ft,4bank)

10 Kinoflo(4ft,4bank)

11 Track trolly

12 Slider

13 Assistants

14 Light boys

200

3 Reflectors 4 1DC

Rent / Day

No. of days Cost 2

2000

60,000

16,000

2000

100

150

5000

450

5000

1000

1400

1000

4000

1500

2000

1000 500

800

700

3000

8000

TOTAL

1200

8000

113850

LIGHTS CAMERA COSTING - Sheet1 ACTORS LIST Sl. No.

Name

Charecter

No. of days Fee / Day

1 Parinda

Neighbor

500

1500

2 Niharika

Mom

1000

4000

3 Children

Paku, Meenu

200

800

4 Grandfather

As himself

500

TOTAL

Cost

6800

LIGHTS CAMERA COSTING - Sheet1 PRODUCTION LIST Sl. No

Item

Quantity

Cost

1 Father's Costume

300

2 Mother's Costume

400

3 Son's Costume

350

4 Neighbor's Costume

500

5 Shaving set

700

6 Roof

4000

7 Pegions with cage

500

8 Isabgol

9 Ball Bat

120

10 Misc.

2000 TOTAL

8920

The entire budget, till shooting, came to 1,29,570/- rupees. Saving some thousands for post production, the budget was on the safer side. Post- production would not cost much other than the dubbing part since it was going to be done inside the crew. Dubbing needed to be done within 3-4 days after the shoot to keep the actors in the flow. Also the edit would go accordingly. Dubbing was allocated 10,000/- rupees as per the budget in advance.

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POST

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EDITING It is where the footages are being arranged into sequences according to script. This is a crucial part of the filmmaking process because all the ideas develop and the result of filming comes to life on the edit table. When writing the script we imagine some scenes and while shooting somehow they differ in few percentage resulting in some emotions to be not the way we had imagined. So experimenting with scene placements also happens at edit table. PACING: Pacing refers to the emotion graph of the film. There are few edit patterns following which few emotions can be achieved. Duration of a shot is important in evoking particular emotion. PATTERN: Editing a montage and editing a chase scene has a difference. The different patterns are match-cut, jump-cut, reaction shot, eyeline match, cut away, inserts, special effects, parallel edit, 180 degree rule cuts and shot/ reverse shot etc. I used majority of the edit patterns in my film. I had a good time editing the rushes. Since we used single camera setup the possibility of match cut was less. But the usage of a single shot for a long time was possible. The usage of a single shot for a long time might prolong the duration of a shot and I might lose the desired emotion from the audience. Hence following a few edit patterns helped me a lot in achieving it. For example, the usage of jumpcuts in the particular shot, where the grandfather is shouting at the quarrelling group, is making the scene more funny than a single shot which would have made it more serious. Diploma Project | FVC | Arunprasath.M | 2015

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TOOL PANEL

FOOTAGE BIN

I N T E R FACE OF PREMIERE PRO CS6 EXPLAINED

EFFECT PANEL 104

EDIT MONITOR

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Interface of Premiere Pro Cs6 with the footage of Garam Pathhar while the edit is on progress

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VECTORSCOPE: One of the most complicated looking things in colour-correction software is the Vectorscope. It uses a colour space different than RGB. Vectorscope is a scope monitor for measuring the broadcast colours. These are the colours that are going to be broad-casted according to the SMPTE data. A waveform scope represents hue saturation and luma (HSL) while the vector-scope represents the colour gamut. It plots the HSL data in a polar format with angular coordinates. Saturation is measured from the centre of the chart outward. Saturated, vivid colours produce a pattern some distance from the centre of the chart, while a black-and-white image produces only a dot at the centre of the chart.. Below: Sample vectorscope which plots the colour range data from the SMPTE bars of the video.

Colour correction refers to the process where every individual clip of a video footage is altered to match colour temperature of multiple shots to a consistent technical standard of appearance. Itâ&#x20AC;&#x2122;s about balancing out the colours, making the whites actually appear white, and the blacks actually appear black, and that everything in between is nice and even. There is a myth that shooting video to begin with removes the necessity for colour-correction; scene matching and style are still needed. It is true that electronic capture has an inherent dynamic range thatâ&#x20AC;&#x2122;s closer to video, but the downside is that this dynamic range is insufficient to capture exteriors and many available light situations. As a result, the colourist must optimize clipped whites (or at least diminished white detail), crushed blacks and the flatter linear contrast of video originated material. This type of colour correction is different from that required to address the technical concerns of film transfer, yet it is a similar and still necessary process. Primary colour correction is done across the entire image, utilizing controls over the intensities of the red, blue, green, gamma (mid tones), shadows (blacks) and highlights (whites) of the entire picture. Usually, altering the intensity of one colour can completely change the look of the image. Secondary colour correction is based on the same idea behind chroma keying, where the saturation, luminance and hue of only the yellows, magentas, cyans, blues, greens and reds are altered; and other colours in the spectrum are minimally affected. Right page: Difference between a Raw clip and a Colour-graded clip. This was done to enhance the colours to match a bright energetic mood.

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Interface of Magic Bullets Looks a plug-in for After Effects. It is renowned for its entry level colour-correction possiblities.

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Above: A few posters for title reference. 112

TITLE DESIGN The title of the film is inspired from old retro Bollywood tiles. It was designed to give an Indian feel. Title of the film “garam patthar” has an unusual ring to it. It means a hot stone. It indicates to the meteor appearing in the film. Hence, the title appearing on screen (refered as “in”) had to be that of a meteorite falling on a surface. Its animation was decided in this manner. The colour of the title was not finalised. There was a confusion. Whether it had to be in retro colours or like that of the previous film titles. Upon brainstorming, I decided that if it had the colours of the colour palette, the title would blend more making the film look more branded. The time at which the title appears on screen also has an impact. In my film’s case, since the title reveals a few important aspects of the climax, I preferred that if the film’s title also appears at the last it would make much better sense.

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SOUND

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Soundscape is generally fifty percentage in a film or sometimes more. It is a zone where the audience connects with the visuals taking the sound to be granted. If done wrong they would identify the sound immediately but wonâ&#x20AC;&#x2122;t be able to tell any difference. Sound quality decides the output quality in total. Here in this film, since the exact location of the slum was not established whether it was in Dharavi or in Ahmedabad, instead it was shown to be just a slum, it had its liberty to have any kind of audio language. Since many slums are generally placed near train stations or a busy road, it had to be manipulated to create a general environment which interests the audio language of chaos.

SOUND

refers to everything one hears in a movie - words, sound effects, and music. Sound is used in film to heighten a mood, provide us with information about the location of a scene, advance the plot, and tell us about the characters in the story. There are two categories of sound in film: Diegetic and Non-diegetic. Diegetic Sound refers to all those audio elements that come from sources inside the world one sees on the screen, including dialogue, doors slamming, footsteps, etc. Non-Diegetic Sound refers to all those audio elements that come from outside of the fictional world one sees on screen. Sound is arguably on par with video as the most important element to be able to manipulate and control during production and post-production. Too often filmmakers focus all of their attention on video footage and ignore the quality of their sound. Interestingly enough, audiences seem to be more annoyed by poor sound quality than by poor cinematography.

In terms of dialogue, sync sound was hardly possible at the location because of the given ambient sounds, chitter chatter and the impossibility of having the location to be silent. So the dialogues were planned to be dubbed in a studio. A reference audio was recorded since it was a fight scene and verbal continuity was difficult to be followed also it would break any kind of flow in a character at times of improvisations. Hence leaving the character to be intact we created themes along with the story of the fight follows. Leaving the dialogue out of any sort, which also gave the actors a lot of freedom. With the help of Mr. Rahul Patel, sound faculty, the dubbing took place in the most easy and comfortable manner. He also helped in many places where after footage is recorded how a lip synced dialogue can be manipulated to fit in on some other words. Cubase-5 software was used. Hence, the sound was done with different layers of dialogue, ambiance, sound effects and the background music. It all together took the film to another level of experience. Diploma Project | FVC | Arunprasath.M | 2015

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Cubase condenses almost three decades of Steinberg expertise into the most cutting-edge digital audio workstation anywhere. The users of our flagship DAW are among the most successful artists on the globe — from engineers recording and mixing rock albums to dance DJs, hip hop producers, songwriters creating pop hits or film composers scoring for Hollywood blockbusters. Cubase combines industry-leading sound quality, intuitive handling and a range of advanced audio and MIDI tools for composition, recording, editing and mixing. Spatious orchestral arrangements, experimental indie pop, floor-filling electronic music or enthralling metal — Cubase offers dedicated tools for all of these musical genres and many more. The world’s most popular DAW lets you record, edit and mix your songs like a musician, while providing you a professional, studio-grade audio quality at all stages of the creative process. From Hollywood blockbusters to popular TV series — Cubase is the favorite DAW of many of today’s most successful composers. With a separate video track, a scalable video window and a score editor featuring 100+ notation symbols, there’s everything on board to create professional scores. And thanks to Steinberg’s pioneering VST Expression technology you can create breathtakingly natural orchestral scores with full expression control on single-note level.

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Voice: Cutting the voice of the old man helped a lot to create a funny side to the scene. When everybody is busy fighting how an old man would lose his voice to the scene importance. Cutting down voice also creates a space to play with tonal modulations.

Music: Sweetness for the scene with the children to the fighting scene of the parents had a lot of difference. Music creates the mood, and mood has to be followed. The flow of emotions following a character is made through choice of music.

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Exterior: Creating chaos with visual reference in sound is complex. Every component has to be clear in existence and still has to be overlapped with others, making it noisy. When people are fighting how surroundings are supporting the scene to make it more chaotic is an interesting thing to note.

Built-up: Just before the meteorite falls through the house, the build up towards it had to be noisy. The TV concentrated mom with her expressions, the dad in the washroom seeming to be a war zone and the kidâ&#x20AC;&#x2122;s expression made it to be a possible build-up.

Silence: Just after the meteor falls, the silence in the house with just minimal focus on the debris falling and the coughing of the mom created an impact more than any sound outside. Focus of a subject shifting from the characters in the house to something that has newly entered, works more effectively.

Washroom scene: Exaggerating the fatherâ&#x20AC;&#x2122;s realistic tone inside the washroom to a war-zone, and thus capturing the emotions he has inside his mind creates a funny feel, making it a more comical and out of the world scene.

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CGI

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OUTPUT

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During this project, learning happened at many levels: right from pre-production level to the level of the output file. Camera used was for the first time. Renting it from Mumbai was for the first time. Managing 7 actors in the same scene happened for the first time. Writing the script which involves a verbal fight scene was for the first time. Doing it in Hindi was for the first time. Like these there were more firsts. But learning in terms of execution rather than technical aspects were more. Crew members importance: Choose people who are good at their work. Choose people who are good at their work. Itâ&#x20AC;&#x2122;s not a typo. But just that, that had to be said twice. Itâ&#x20AC;&#x2122;s not important whether you are friends are not, but its very important that one must get the right people to get it done. They save a lot of budgetary funds. And they fuel the engine of the making of the film.

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Choice of location: Making a recce-trip can be very important. After having written the script for every sceneâ&#x20AC;&#x2122;s location one must do a recce. These range from the check of lighting at different times of the day to making sure the locations selected are within travel distance to each other so that the schedule and budget are accordingly managed. People around the location and their convenience has to be sorted-out before the days of schedule. Shooting process: Shooting is where the most of a director may be torn apart at an early stage in his career, but patience is a virtue. Trying to stay calm really helps. One has to take part in the discussions with the cinematographer for the kind of shots, framing and lighting check and also take part with the production designer and manage the background and the foreground elements.

PACK___uP Lighting a scene: If one is a non-compromising type, then this is where the most of the budget will be spent. But it depends on oneâ&#x20AC;&#x2122;s choice of camera considering the locationâ&#x20AC;&#x2122;s lighting. There is always a difference between a well lit scene and scene shot with high ISO on the camera. If that is the treatment one perceives then plan accordingly. Sound-scape: This area was always something I usually get done by paying people money. But this time, I had to do it by myself. The reason for it was the budget constraint and the learning I had from my previous film making projects. I took some advice and help in generating ideas but had to do it all by myself. Doing the sound effects to generate a space and its attributes away from its visual attributes to create a sense of interest was an educative experience.

CG incorporation: The work left for CG is always dicey. Sometimes one can do otherwise not. After knowing about the resources that was with me, taking the decision for doing CG in large areas was a very good learning. For example, if the TV scene would have been shot in real than CG the amount of jitter, time spent on continuity of the program on the channel and the electric wires on screen and the expenditure on it would have rocketed my budget. Hence doing CG for specific purpose can be necessary. Colour-correcting: As one can see the difference between a colour corrected and raw footage, colour correction is an important process. With meagre equipments, doing it lossless would be difficult. Managing to pull out all the colours within the lossless area was a good learning. The vectorscope and its uses were an important part of learning. Having multiple options for the scene colour, choosing the one with the perfect feel and mood for the film was learnt. Overall, it was a truly enriching experience which entailed a great deal of learning.

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BIBLIOGRAPHY

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Image courtesy:

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http://www.nhm-wien.ac.at/jart/prj3/nhm/images/img-db/1353291734033.jpg https://en.wikipedia.org/wiki/Dharavi

http://www.meteorite-recon.com/en/meteorite%20fall_1.htm http://www.planetbrey.com/PBMeteoriteInformation.htm

http://www.scienceclarified.com/landforms/Faults-to-Mountains/Meteorite-Crater.html http://www.meteorite.com/the-shape-and-size-of-meteorites/

http://www.sheknows.com/steal-the-look/home/chalkboard-wall http://www.fonts2u.com/vps-courier.font http://imgarcade.com/1/steampunk-png/

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http://logos.wikia.com/wiki/File:Canon_logo.png http://imagefriend.com/zeiss-mft.shtm

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https://www.motionvfx.com/mblog/how_the_canon_5d_mark_iii_raw_compares_to_the_ canon_1dc_and_other_cameras,p2496.html http://i.ytimg.com/vi/kep_jH2A-_I/maxresdefault.jpg

http://www.red.com/learn/red-101/flicker-free-video-tutorial http://www.estiasis.com/totalid/lens/zeiss/distagon-t-225 https://color.adobe.com/

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https://s-media-cache-ak0.pinimg.com/originals/ff/40/7c/ff407cb59b8d281aa893b1023dfc1b52.jpg http://www.indiasutra.co.nz/wp-content/uploads/2012/01/Kumkum.jpg http://i.ytimg.com/vi/PDpPVKroc8w/maxresdefault.jpg

http://mcpactions.com/2014/05/07/crop-sensor-vs-full-frame-one-need/ http://www.iihr.uiowa.edu/igs/files/2014/08/ALVORD_395pix.jpg

http://news.sciencemag.org/sites/default/files/styles/thumb_article_l/public/article_images/2002110711. jpg?itok=DsVtamEj http://www.actionsports.de/media/image/thumbnail/image_LA.RF.0001_1_720x600.jpg

Documents Referred:

Websites Referred:

http://www.motionelements.com/blog/articles /understanding-color-correction-vs-color-grading-for-post-production

http://digital-photography-school.com/full-frame-sensor-vs-crop-sensor-which-is-right-for-you/

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