TRINITY INSTITUTE

OF
PROFESSIONAL STUDIES
Sector-9, Dwarka, New Delhi-110075
(Affiliated to Guru Gobind Singh Indraprastha University, Delhi & Approved by Bar Council of India, New Delhi)
“A+” Ranked Institution by SFRC, Govt. of NCT of Delhi
Recognized under section 2(f) of the UGC Act, 1956
Accredited “B++” by NAAC

LAB MANUAL
TV PRODUCTIO LAB
COURSE CODE:256

NAME....SUHANI KHANNA..................
ENROLLMENT NO..01324002422...
CLASS.......2022-2025..............

1
 Certificate

I, hereby, declare that the Assignment/Project for the subject TV Programming

and Production (BAJMC-256) is a record of an original work done by me under
the guidance of Dr. Divyshikha , Assistant Professor, Dept of Journalism and
Mass Communication, Trinity Institute of Professional Studies.

SUHANI KHANNA DR. DIVYASHIKA

Name of the student: Name of the faculty:

Signature of student: Signature of Faculty:

2
OBJECTIVE OF THIS COURSE:
On Completion of this course, the student should be able to
- demonstrate proficiency of skills to plan, produce a video programme

OBJECTIVE OF THIS MANUAL:

This Lab Manual is intended to be used by students of BA (JMC),
Semester IV for
TV Production.
The TV Production Lab Manual covers topics that are essential for the
students to strengthen their theoretical concepts. The purpose of this
manual is to give guidance and instructions to the students regarding this
subject.
Describe the concept & process of Video Production
describe Production Budgeting and Schedule
describe the process of Shooting Script and Story Boarding

HOW TO USE THIS MANUAL

Use of this manual is mandatory for the completion of practicals. It
provides the students with the firsthand knowledge of the practical
subjects. It also makes them learn a systematic approach to do their
task proficiently as per the needand requirement of the industry.

INSTRUCTION TO THE STUDENTS

1. Students are REQUIRED to carry this manual during the Lab Class.
2. Students are REQUIRED to read the topics mentioned before
coming to theLab Class.
3. Students are REQUIRED to follow the timeline for each assignment.

Refer to the Summary of Key Concepts and Sample(s) before attempting the
assignments. Type the assignments in the following format:

3
 Table of Contents

S.No TOPIC PAGE NO. SIGNATURE

1. Video brief
2. Video script
3. Shooting Script
4. Story Board
5. Production Schedule
6. Floor, light & audio plan
7. Finalize production crew
8. Budgeting

4
Topic-1

VIDEO BRIEF
A video brief tells the video production company how the video is
going to fit into your business and your marketing strategy. The
video production brief becomes the guide for everyone who is
involved, from pre-production to post-production. Our video
production process follows six basic steps, starting with identifying
your audience and ending with using video brief templates to guide
the projects.
Before you begin production of your video, you need a creative brief
for video that details the specifications regarding your needs, goals
and audience. The more specific your creative brief is, the more likely
you are to get exactly what you want in your video. It helps everyone
who works on your videography project to understand the focus of
the video.

Before you write your draft brief, begin with the following 7
steps; Step One: Identify the Audience for Your Video Project
Example: Our core demographic is men from the ages of 20 to 40. Our
demographic owns their own home, is handy, and is always interested
in new technology.
Every video production brief template asks you to identify your core
audience. This audience can be as narrow and as broad as you want it to
be. A narrow scope will be more impactful to the core audience that it
describes; whereas a broader scope might be less impactful but for a
larger audience. Your marketing team will help you drill down to the
most effective audiences.
It’s extremely important to describe and speak to a specific audience
when creating a video. Your video production company needs to
understand the core demographics and interests of your buyer persona.
From there, they can craft a video that is relevant to them.
Step Two: Describe the Goals of Your Video Project
Example: Our primary goal is to improve conversions, in addition to a
secondary goal of adding traffic to our website. What do you want your
video marketing project to achieve? Without a goal, your marketing
may be directionless. Your goal can be as broad as “brand awareness” or
as specific as attempting to increase sales of a single product or service.
Regardless, your entire video is going to need to be developed with the
express purpose of leading your audience towards this goal. Describing
5
your audience and your goals needs to happen early in the ideation

6
process, as it will inform your answers to the rest of your questions. The
entirety of your marketing must be tilted both towards your audience
and the ultimate action that you want them to take.

Step Three: Find Your Video’s Core Message

Example: Our core message is that our product can save our customers
time and money, by making their tasks easier.
Every video needs a core message that can be condensed into a single
sentence or a couple of sentences. This is the heart of what the video
needs to convey, and it must be directed to your audience and in service
of your goals. Your core message differs from your goal because it is
how you convince your audience to complete that action. If your desired
action is to sell a service, your message has to describe to your audience
why that service is useful for them. A core message is important enough
that you should spend some time testing and refining it. Your marketing
is going to be tilted towards displaying this single message as concisely
and powerfully as it can. While there can be secondary messages, there
shouldn’t be too many; it will obfuscate and confuse.

Step Four: Choose Your Video Content Type

Example: Our content will be a high quality commercial/infomercial,
geared at describing the product.
At this stage, you should be identifying the type of product that you’re
interested in creating. Explainer videos, branding videos, infomercials,
commercials — all of them are shot differently and with different goals.
However, the goal itself does not override the content type; you can
have a commercial that’s designed for brand awareness, for instance, or
you could have a branding video that’s designed to encourage sales.
The type of content you want to create is going to have a tremendous
impact later on. It will inform your budget, deadlines, and your
distribution centers. By deciding early on which type of content you’re
creating, you can quickly find the answers to many of these technical
questions.
Remember: you aren’t set on a specific content type. You can have a
commercial that has some “explainer” qualities or you can have a brand
awareness video that is like a commercial. You can talk to your video
production company about adjustments that you might want to make.

Step Five: Figure Out Distribution for Your Video

Example: Our video will be distributed on our site and on third-party
social media, such as YouTube.
A video production company will create a video that is tailored towards
your means of distribution. Keep in mind that different types of video
7
platform also lead naturally to different video formats. Special platforms,
such as YouTube, could also require some modifications, such as
needing a specific resolution or a call-to-action. Videos may be universal
to be distributed in multiple places while having a different “tag” on the
end for different media platforms.

Videos on owned media, such as the company’s own website, may not
need these adjustments. Either way, though, the video production
company will need to know to what specifications the video has to be
produced, such as resolution and image quality.

Step Six: Set a Deadline and a Budget for Your Video Production
Project
Example: We need our video shot within two months and we have a
budget of $10,000.
There’s an old saying: fast, cheap, and good — pick two. To create any
skilled, creative work, this is true. If your budget is high, you may be
able to get a video that is both fast and exceptional. If your budget is
low, you may need to settle for it being fast and cheap.
Different types of media will naturally have different budgets and
deadlines. A commercial will may have a fairly lengthy deadline but a
high budget. A company branding video might have a high budget but
require fairly fast turnaround. Meanwhile, regular content updates may
have lower budgets and faster turnaround times. It all depends on your
goals and the type of video that you’re producing.
The steps before this one will have led you to a better understanding of
the content that you’re creating, your audience, and the urgency at
which you need the content created. Setting a firm deadline and budget
will help you stay within the constraints of your current market
strategy, and will make it easier for you to judge your marketing success
later on.

Step Seven: Create a Video Production Plan Template

This final step is what’s going to make your process easier later on. Once
you’ve completed your first video production brief, use it as a video
brief template that you can use in the future. Your template doesn’t have
to be complex; it just needs to follow the major questions listed above.
When you need to make a video, you can follow this outline to quickly
create your content brief and get started on your video production. You
can also ask your video production company whether they have
suggestions or whether there may have been information that they were
missing the first time around.
Your template can also be used throughout the marketing department
8
for new marketing efforts, reducing administrative time and —
most

9
importantly — making your marketing more consistent and coherent. As
an example, you might include in your template three core types of
demographics that your marketing team is focusing on. From then on,
each new marketing effort will focus on one of these specific
demographics.

After You’ve Written Your Creative Brief

Once your creative brief has been written, you can turn it over to your
video production company and your video production company will do
their best to follow it. Your company may also be able to give you some
advice regarding your creative brief, and may help you improve it.
A creative brief may need to have some adjustments made if the creative
media doesn’t come out the way that it was expected. As an example,
you might find that your core message was too complex, or that your
audience demographics were too broad (or too restrictive). Your creative
brief can be adjusted on-the-fly; what’s most important is that it exists as
a baseline for the project.
A video production creative brief may sound complex, but it’s an
important part of the process. Your creative brief doesn’t necessarily
need to be lengthy, but it does need to be detailed. It’s worth it to take
some time to go over each step and consult with your marketing
department.
A creative brief will further make it easier to split test your marketing
efforts, determining which different demographics are more effective
and which marketing messages appear to be most useful and
memorable. Over time, you’ll be able to improve upon your creative
briefs to the point where they’re simple, fast, and easy to achieve.

10
 Assignment 1

Prepare a video brief: idea, target audience, synopsis, treatment,

duration, and format.

RESEARCH FOR THE SHORT FILM

Creating a short film on selfless caring involves a multi-step research process to ensure authenticity,
depth, and emotional resonance.

1. Understanding the Theme: We Researched the concept of selfless caring and its
significance in society and Explored psychological studies or articles that delve into altruism and
compassion.

2. Character Development: Our entire team studied the behaviours and characteristics of both
the man that did not help the beggar and the man who did and Looked into societal factors that
might influence their actions, such as upbringing, socioeconomic status, and personal values.

3. Setting and Context: Researched the environment where the story takes place, considering
factors like urban or rural settings, time period, and cultural background and We looked into the
portrayal of poverty and wealth in the chosen setting.

4. Begging and Poverty: We tried to gain insights into the realities of poverty and
homelessness, including causes, demographics, and challenges. Considered researching local
charities or organisations working with the homeless population for firsthand accounts or
interviews.

5. Wealth Disparity: We Investigated wealth inequality and its implications on society and also
looked into case studies or news articles highlighting instances of conspicuous consumption
versus acts of charity.

6. Impact of Small Gestures: Exploring stories or anecdotes that illustrate the profound impact
of small acts of kindness, was imperative. We Looked for research on the psychology of giving
and the ripple effects of generosity.

7. Cultural and Social Perspectives: Our team examined how different cultures and societies
view and prioritise acts of caring and altruism and did the Research for cultural norms
surrounding charity and community support.

8. Narrative and Storytelling: We studied narrative structures and storytelling techniques to

effectively convey the message of the film and Analysed existing short films or narratives with
similar themes for inspiration and insights into effective storytelling.

9. Visual and Cinematic Elements: We also Researched cinematography techniques, visual

symbolism, and lighting strategies that can enhance the emotional impact of the film. Looked into
films or visual art pieces that effectively portray themes of empathy and compassion.
11
 10. Ethical Considerations: We considered the ethical implications of the story you're telling,
particularly in how you depict poverty and wealth. Researched ethical storytelling practices and
representation guidelines.

By thoroughly researching each aspect of your short film, we tried to create a compelling and
authentic narrative that resonates with audiences and effectively communicates the message of
selfless caring and love.

PROPOSAL
12
Title: 'BAY GHARZ : A TALE OF SELFLESSNESS'

“Bay gharz : a tale of selfishness " aims to engage audiences with its compelling narrative and
thought-provoking themes. Through its visual storytelling and emotive performances, the film seeks
to inspire reflection and empathy, encouraging viewers to contemplate their capacity for compassion
in a world often characterised by inequality and apathy.
With its universal themes and relatable characters, "Bay gharz: a tale of selfishness" has the
potential to resonate with audiences across diverse demographics. By exploring the complexities of
human nature and the transformative power of empathy, the film aspires to spark meaningful
conversations and foster a greater sense of community and solidarity.

Target Audience:
The target audience for " Bay gharz : a tale of selfishness " includes viewers who appreciate thought-
provoking narratives and themes of social relevance. With its universal message of compassion and
empathy, the film appeals to a wide range of demographics, including young adults, urban dwellers,
and those interested in social issues.

Visual Style:
The visual style of " Bay gharz : a tale of selfishness " will reflect the gritty realism of urban life,
juxtaposed with moments of beauty and humanity. Cinematography will capture the vibrant energy of
the city streets while also conveying the emotional depth of the characters' journeys. Lighting and
colour palettes will be used to evoke mood and atmosphere, enhancing the storytelling experience.

Conclusion:
With its compelling storyline, relatable characters, and powerful themes, " Bay gharz : a tale of
selfishness " promises to captivate audiences and provoke meaningful reflection. Through its
exploration of wealth disparity and the transformative power of selfless caring, the film seeks to
inspire empathy, compassion, and positive social change.

RESEARCH AND PROPOSAL FOR THE DOCUMENTARY

13
Creating a documentary on the topic of mothers as unpaid employees is a powerful endeavor that
can shed light on the unrecognized and often undervalued labor that mothers contribute to families
and societies. Here are some research materials that provided valuable insights and information for
our documentary:

1. Books:
 "The Second Shift" by Arlie Hochschild: This book explores the concept of the "second shift,"
where women work a full day in the labour force and then come home to a "second shift" of
housework and childcare.
 "Lean Out: The Struggle for Gender Equality in Tech and Start-Up Culture" edited by
Elissa Shevinsky: Though focused on the tech industry, this book contains essays
that discuss the broader issue of unpaid labour, particularly in the context of
caregiving and domestic work.
2. Academic Journals:
 Journal of Marriage and Family: This journal often publishes research on gender
roles, family dynamics, and unpaid labour within households.
 Gender & Society: Explore articles in this journal for research on the intersection of
gender and unpaid labour, including how societal expectations shape women's roles
in caregiving.
3. Documentaries and Films:
 "Raising Ms. President" (2012): While not directly focused on unpaid labour, this
documentary explores the challenges women face in balancing political aspirations
with family responsibilities, shedding light on the broader issue of women's unpaid
labour.
 "Zero Weeks" (2017): This documentary delves into the lack of paid family leave in
the United States and its impact on families, highlighting the economic burden placed
on caregivers, many of whom are mothers.
4. Statistical Reports and Data:
 Reports from organisations such as the International Labour Organization (ILO) or the
World Bank often contain data on unpaid care work, including its prevalence,
distribution, and economic implications.
 Government reports, such as those from the U.S. The Bureau of Labor Statistics or
the UK Office for National Statistics, provided us country-specific data on time use
surveys and unpaid labour.
5. Interviews and Personal Stories:
 We conducted interviews with mothers from diverse backgrounds to capture their
experiences and perspectives on unpaid labour, including the challenges they face
and the societal expectations they navigate.
 Seeked out personal stories shared through blogs, social media, or community
organisations to add depth and authenticity to your documentary.
6. Historical Context:
 We also researched historical perspectives on gender roles and unpaid labour to
understand how these dynamics have evolved over time and been shaped by
cultural, economic, and political factors.

7. Policy Analysis:

14
  Examined existing policies related to labour rights, family support, and gender
equality to assess their effectiveness in addressing the issue of unpaid labour and
supporting mothers in balancing work and caregiving responsibilities.

By drawing from a variety of sources, including academic research, personal stories, and

policy analysis, we created a comprehensive and compelling documentary that explores the

complex realities of mothers as unpaid employees.

PROPOSAL

TITLE: MOTHER: AN UNPAID EMPLOYEE

Overview:
"Mother: an unpaid employee" is a documentary that aims to shine a light on the often-

overlooked work of mothers as unpaid employees within households and societies

worldwide. Despite the immense value of their contributions, the labor of mothers in caring

for their families, maintaining households, and supporting communities often goes

unrecognized and undervalued. Through personal stories, expert interviews, and in-depth

analysis, this documentary will explore the economic, social, and cultural implications of

mothers' unpaid labor and advocate for greater recognition, support, and policy changes to

address this systemic issue.

Key Themes and Objectives:

1. Uncovering the Invisible Work: We will delve into the daily routines and
responsibilities of mothers, revealing the multitude of tasks they undertake, from
childcare and household chores to emotional labor and community support.
2. Impact on Women's Economic Empowerment: By examining the economic
consequences of unpaid labor, we will highlight how mothers' lack of financial
compensation and career opportunities perpetuates gender inequality and limits women's
economic independence.
3. Societal Expectations and Gender Roles: Through interviews with sociologists,
psychologists, and gender experts, we will explore how societal norms and expectations
shape perceptions of motherhood and contribute to the devaluation of women's unpaid
labor.

15
 4. Intersectionality and Marginalized Communities: We will examine how factors
such as race, class, and immigration status intersect with gender to exacerbate
disparities in access to resources, support, and recognition for mothers' unpaid labor.
5. Policy Solutions and Social Change: The documentary will highlight innovative
policy initiatives, grassroots movements, and advocacy efforts aimed at challenging the
status quo and promoting greater equity and support for mothers in their dual roles as
caregivers and workers.

Target Audience:
The documentary is intended for a broad audience, including policymakers, activists,

academics, families, and the general public. By raising awareness and fostering dialogue

around the issue of mothers' unpaid labor, we hope to inspire individuals and communities to

take action and advocate for change.

Production Approach:
Our production team will employ a mix of storytelling techniques, including intimate

interviews, observational footage, archival materials, and data visualization, to create a

compelling and informative narrative. We will prioritize diverse representation and inclusion,

ensuring that the voices and experiences of mothers from various backgrounds and

perspectives are authentically captured and respectfully portrayed.

Conclusion:
"Mother: An Unpaid Employee" seeks to challenge societal perceptions and ignite a

conversation about the value of mothers' unpaid labor. By amplifying their voices and

advocating for recognition, support, and policy reform, we aim to contribute to a more just

and equitable society where all caregivers are valued, respected, and empowered.

16
Topic 2

Video Script
A video script serves as the foundation and blueprint for your digital video.
It's a list in chronological order of the scenes, action, and dialogue you want
to include in your video.

Why write a video script?

There are a number of reasons why creating a video script is important:

It allows you to plan your messaging

Creating a video is an exciting process, and we know you have a LOT to say!
Writing a script is a fantastic starting point – a first step that allows you to
whittle down thousands of competing ideas into one coherent structure.
You can start to plan exactly what you want to say in your video – and how
you want to say it.

It lets you estimate (and manage) video length

We work to the rule that a well-paced professional voiceover is read at
around 130 words per minute. 130 words of voiceover generally equates to
a minute-long voiceover track. When you know this, it gives you a great
way to manage the breadth of the content you want to cover, while
considering the length of the video and how that will resonate with your
audience.

It saves (sometimes MASSIVE amounts of) time

Another important aspect of writing a video script is the ability to make
changes quickly and smoothly. The problems you will encounter trying to
change any footage while the video is in post-production can be timely and
expensive. However, any mistakes you make in the script, or scenes you’d
like to change, can be actioned within seconds using the trusty backspace
key.

It facilitates collaboration
When making a video for your business, a lot of different people may want
to have their input. By writing a script – and inviting feedback on it through
a collaborative tool like Google Docs – everyone can chip in and have their
say on what to include and cut from the script. This allows you to get buy-in
across the organisation and harness the power of different voices and
17
 perspectives.

How to write a video script

let’s talk about how to write one. Here’s a step-by-step guide:
1. Plan your script
As with anything creative, it’s imperative that you have a basic idea of what
you are hoping to create. Failing to plan at the script stage could lead to
unexpected costs further down the line.
If you come across any problems at the script stage, you can easily tweak
and change and even start again. However, if those changes need to be
made once the video has been recorded, illustrated, animated or recorded
by the voiceover artist, then you could incur further costs.
By defining the right information at the brief stage, the script process
becomes a structural exercise where it’s just a case of laying out the points
you’ve identified in the most impactful way possible.
Your brief or plan document should cover:
 What the video is about.
 Who the audience is.
 Where the video will be used.
 What are the key messages to get across?
 What sort of visual style the video should follow (this will help you visualise
the action-on-screen.)
 What sort of storytelling style the video should use (this will help define
the tone and linguistics of your voiceover)?
Based on this information, you should have enough to put together a first
draft of the script.

The Script Writing Formula

If you’re really struggling to know where to start, this simple formula might
be helpful. Of course, no two videos are exactly the same, but this classic
formula for an introductory explainer video helps us get started time after
time.

1. Audience/Problem – Start by defining the pain point your product or

service has been introduced to overcome. Massage and elaborate on this
problem; what does it mean? How is it manifesting itself in your target
audience’s life? How is it holding them back?

2. Solution – Introduce your product or service and explain briefly how it

solves this problem.

18
3. Benefits & USPs – Run through 3-4 of your main benefits and USPs that
differentiate your product or service from the competition.

4. Call to Action (CTA) – It’s impossible to get across everything about your
product or service in 60 seconds, so at the end of the video, you really need
to give your viewers a ‘signpost’ to nudge them along to the next step in
your sales journey. Make sure to include contact numbers, website
addresses, email addresses and anything else you think might be relevant
to ensure the viewer takes further action.

5. Keep it short- We all know that, when we’re passionate about

something, talking about it is easy. And not just that – we’ll talk about the
things we’re interested in at length and in great detail.
That isn’t always a good thing when it comes to writing a video script! You’ll
quickly find yourself fighting a natural instinct to include every single
benefit of your product or service.

19
 Assignment 2

Write a video script (2-5 minutes) for Social Relevance

BAY GHARZ: A Tale of Selflessness

VIDEO SCRIPT:

SCENE VIDEO AUDIO

1. B-Roll: Soft background noise
Beggar looking at hands trembling
B-roll: Beggar says: “kuch khane ko dedo bhaiya
People pass while beggar begs and pleads for kuch nahi khaya” repeatedly
food. Camera focuses on beggar
2. Close up of actors: Boys conversing amongst themselves
Robin and Kabir pass
through the beggar whilst smoking
One of them speaks on an iPhone Soft background noise
Beggar gathers all his Beggar repeats “kuch khane ko dedo bhaiya
strength and gets up to ask for food whilst kuch nahi khaya”
trembling
Beggar approaches the two boys Soft background noise
3. Camera shift to one of the boys the beggar Boy yelling at beggar “ bola na kuch nahi hai”
approaches. The boy shouts at the beggar and
pushes him har enough to make him fall

Far shot shows the beggar falling and the boys Soft background noise
laughing at him

Camera turns towards the boys : Soft background noise

The boys are laughing at the beggar. They then move to a
cigarette stall.

Shot of money being given to the stall owner . instant switch Soft background noise
to the face of beggar looking is disbelief.

Long shot of all four Soft background noise

4. Camera shifts to a man walking out of the metro station Soft background noise

Close up shot of the man walking and looking at the beggar Soft background noise

Camera shifts to beggar: Shot of the beggar crying and Beggar repeats, “kuch khane ko dedo
gesturing for food bhaiya kuch nahi khaya”
Close up of the man and long shot of the scene Soft background noise
The man asks the beggar to wait Man says “aap thodi der ruko bhaiya
mein abhi aaya”
Long shot of them both in the frame and the man then walks Soft background noise
20
 away
5. The man comes back with food Soft background noise
6. Flashback: Man says, “sabko samajh aaya na?”
The man is teacher who at the time did not have Students exclaim, “yes sir”
money to give to the beggar
He taught his students and collected his fee and then went Man says, “jo bhi aaj fees laye hain
and bought food for the beggar. mujhe dedo”
Shuffling students and handling of
money

Students hand the man his fee Soft background noise

7. Beggar folds his hand in greatfulness Beggar exclaims “bhaiya hume
laga aap aaoge he nahi”
tearfully
8. Shot changes to the words: "In a world driven by Soft background music
greed, selfless service shines as a beacon of hope, reminding
us that true fulfilment comes not from what we amass, but from
what we give without
expectation."

9. Credits of the film Soft background music

MOTHER: AN UNPAID EMPLOYEE

VIDEO SCRIPT:

21
SCENE VIDEO AUDIO
1. B- roll: LIGHT MUSIC

FADE INTO A COZY LIVING ROOM WITH WARM SUNLIGHT VO:[SHEEN]

STREAMING THROUGH THE WINDOWS. THE ROOM IS
ADORNED WITH FAMILY PHOTOS
B- roll: V.O CONT”D[ SHEEN]

Soft piano plays

FADE TO HANDS COOKING FOOD AND SMOKE COMING
OUT OF IT.

2 MRS. KHANNA INTERVIEW V.O.: narrator asking question

Soft backgroundmusic
CLOSE-UP SHOT OF FACE WHILE LOOKING AROUND, THE
VOICE-OVER GETS OVER AND THE INTERVIEW STARTS

TEXT: Mrs. Reema Khanna

OBSERVATIONAL: CLOSE-UP SHOT OF FACE WHILE

LOOKING AROUND, THE VOICE-OVER GETS OVER AND
THE INTERVIEW STARTS

B- roll: BACKGROUND MUSIC

FADE INTO DOCUMENTS OF WOMEN: HER DEGREE AND

OFFER LETTER.INT.BACKGROUND MUSIC
B- roll:

ENDING THIS SCENE BY FADING IN WITH A WOMAN

COOKING AND FADING OUT TO A WOMAN SITTING IN AN
INTERVIEW
3 B- roll: V.O.[CONT’D]GAURAV

SOFT BACKGROUND MUSIC

THE SUNLIGHT IS ON MOTHERS, HOLDING HANDS WITH
THEIR CHILDREN ON THE ROAD OR PLAYING IN THE PARK
B- roll:

VO; DEVIKA:
THE SUNLIGHT IS ON MOTHERS, HOLDING HANDS WITH
THEIR CHILDREN ON THE ROAD OR PLAYING IN THE PARK

4 Mrs. choudhary interview NARRATOR/MRINAL

TEXT: Mrs. Pallavi choudhary

SOFT BACKGROUND MUSIC
OBSERVATIONAL:
OFFICE ENVIRONMENT.CHAOTIC BACKGROUND
CHATTERS.DAY V.O.[CONT’D]SUHANI

22
 B- roll:

MOTHER PREPARING FOOD AND SERVING EVERYONE.

CHATTERS IN BACKGROUND. SERVING EVERYONE AND
SITS AT THE END OF AFTER SERVING EVERYONE.

5 B- roll: V.O STARTS WITH LIGHT

MUSIC/ GAURAV
COLLEGE CAMPUS/HOUSEKEEPING CLEANING FLOOR

OBSERVATIONAL:FADE OUT TO HOUSEKEEPING SITTING

ON CHAIR MEDIUM SHOT FOR INTERVIEW
6 INTERVIEW OF AYI DI 1:
A CANDID INTERVIEW WITH
BACKGROUND MUSIC
TEXT: NAME OF AYA DI 1

OBSERVATIONAL: SOFT BACKGROUND MUSIC

FADING A CLOSE-UP SHOT OF THE INTERVIEWEE’S FACE

B- roll:
STATIC SHOT OF HOUSEKEEPING SITTING

7 CANTEEN AUNTY INTERVIEW:

VO[CONT’D]/DEVIKA
B- roll:GIVING FOOD AND RECEIVING MONEY
SHOW HER WORKING WITH HER SON AS WELL AND
LAUGHING SOFT BACKGROUND MUSIC

TEXT: NAME OF CANTEEN AUNTY VO/SUHANI

8 INTERVIEW OF AYI DI 2:
VO/ Mrinal
B- roll:
FADING IN ON THE HOUSEKEEPING LADIES WORKING IN SOFT BACKGROUND MUSIC
THE COLLEGE. DOING DIFFERENT CHORES
TEXT: NAME OF AYA DI 2
VO: [ sheen, Suhani, mrinal,
OBSERVATIONAL: devika, Gaurav.]
Fading out on a park and nature, shots of sun and clouds moving

9 ANSWER TO BE CUT AND ADDED IN CLIP IN THE

Fading in on interviews
FOLLOWING ORDER
Suhani asks a question

1. Mrs khanna
FAST-PACED BACKGROUND
2. Mrs Chowdhury
MUSIC
3. Aya di
4. Canteen aunty
Aya di

23
10 ADD CLIPS:
FAST-PACED BACKGROUND
MUSIC
VERDICT GIVEN BY THE SUPREME COURT ABOUT
MOTHERS BEING AN UNPAID EMPLOYEE

ENDING IT WITH A QUOTE:

SOFT BACKGROUND MUSIC
“If you are a mom, you are a superhero. Period.” –Rosie
Pope

24
 Topic-3

Shooting Script

A shooting script is a version of a screenplay that is used during the

production of a film or television show. Shooting scripts are not the
same as spec screenplays. They include scene numbers and adhere to a
set of procedures that outline how screenplay revisions are
implemented and distributed to cast and crew. The shooting script is
usually created by the director and cinematographer. But on smaller
productions or television shows the screenwriter might be involved as
well, especially if they are generating new pages during production.
The director and cinematographer sit with this document and discuss
their ideas and shot plan desired for the movie. They line these scripts
so that they know what kinds of camera angles and movement they
want in each scene. The shooting script is then broken into shots,
featuring cinematography jargon such as close-ups, medium shots, and
wide shots.

Shooting script template

Here are some things your shooting script should include:

1. Scene numbers
2. Camera angles/directions
3. Detailed special effects
4. Detailed stunt work/action sequences
5. Specific information on sets, costumes, lighting
6. Special notations regarding acting

Sample

Image Source - https://nofilmschool.com/shooting-script-example

25
 ASSIGNMENT 3

Prepare a shooting Script for Social Relevance.

SCRIPT FOR DOCUMENTARY:

THE UNPAID EMPLOYEE: MOTHER

[ INT. LIVING ROOM. DAY. BACKGROUND SOFT MUSIC]

FADE INTO A COZY LIVING ROOM WITH WARM SUNLIGHT STREAMING THROUGH THE WINDOWS.
THE ROOM IS ADORNED WITH FAMILY PHOTOS.

[NARRATOR. V.O.INT.SHEEN] Meet the unsung heroes of our homes, the pillars of strength, the architects of
our dreams – our Indian mothers. They are the heartbeat of our households, tirelessly working day in and day
out, wearing multiple hats with grace. These incredible women are our unpaid employees, managing a myriad
of roles with no salary but an abundance of love. [THE V.O. AND ABOVE SHOT GOES TOGETHER]

[SOFT MUSIC]
V.O.[CONT’D]
From chef to nurse, teacher to counselor, they excel in every position without a job description. Here are a few
of the wonderful mothers who have graced us with their presence today.

FADE TO HANDS COOKING FOOD AND SMOKE COMING OUT OF IT.

[EXT.NARRATOR.V.O.- SUHANI. BALCONY ARERA]

THE FOCUS SHIFTS TO HANDS PUTTING CLOTHES ON A ROPE WITH WATER DROPLETS IN FOCUS
THAT DRIP OFF THE WET CLOTHES.

VOICEOVER: SUHANI- Despite her arts degree, Mrs. Khanna worked as an assistant bank manager. She did
her bachelor's and master's in political science and as an assistant bank manager, she used to stay up till 3 in
the morning to work and learn everything about banking life. Just when she was about to get promoted to
Deputy bank manager, she had to resign.

[ INT. DROOLS CAFÉ. INTERVIEW COUCH.]

STATIC SHOT OF INTERVIEW COUCH, AND WOMAN WALKING UP TO COUCH AND SITTING ON IT.
V.O.[CONT’D]DEVIKA: Her resignation was due to many reasons, one of them being the birth of her daughter
and the death of her mother-in-law.

CLOSE-UP SHOT OF FACE WHILE LOOKING AROUND, THE VOICE-OVER GETS OVER AND THE
INTERVIEW STARTS

[ QUESTION ASKED BY NARRATOR, WHILE A LONG SHOT OF THE SUBJECT]

26
[QUESTION: NARRATOR: V.O.]
QUESTION/SUHANI: WE WOULD LIKE TO START THE INTERVIEW BY KNOWING MORE ABOUT YOU,
HUME APNE ASPIRATIONS, GOALS, AND LIFE BEFORE MARRIAGE BATAIYE, AND DO YOU FEEL THAT
THE SACRIFICES YOU'VE MADE FOR YOUR FAMILY WERE WORTH IT? WHY OR WHY NOT?

[CLOSE-UP SHOT OF WOMAN WHILE SHE ANSWERS THE QUESTION. SOFT BACKGROUND MUSIC]

INTERVIEWEE: CANDID ANSWER

.
.
[FADE INTO DOCUMENTS OF WOMEN: HER DEGREE AND OFFER LETTER.INT.BACKGROUND MUSIC]
[FADE IN TO THE INTERVIEW AGAIN.BACKGROUND MUSIC]
.
.
[ENDING THIS SCENE BY FADING IN WITH A WOMAN COOKING AND FADING OUT TO A WOMAN
SITTING IN AN INTERVIEW]
.
.
[GIVING A STATIC SHOT OF WOMAN LOOKING HERE OR THERE AND HAVING SOME FOOD/WATER
WHILST SOFT MUSIC IN BACKGROUND]
V.O.[CONT’D]GAURAV: Just like so many mothers had given up their careers to handle their house chores,
Mrs. Khanna was one of them. Just to avoid the inconvenience to her family, she gave up her employed life
and her happiness just to protect her family's happiness.
.
.
[EXT.DAY.ROAD/PARK]
THE SUNLIGHT IS ON MOTHERS, HOLDING HANDS WITH THEIR CHILDREN ON THE ROAD OR
PLAYING IN THE PARK

VO; DEVIKA: These remarkable women juggle the demands of their professional lives with the responsibilities
of motherhood, often without recognition or compensation. Their stories are a testament to resilience, sacrifice,
and unwavering dedication.

[V.O. BEGINS WITH THE ABOVE-MENTIONED SCENE. BACKGROUND MUSIC.NARRATOR/MRINAL]

.
.
VOICEOVER: Mrs. Chowdhury, is working as a manager at HDFC Bank, she handles the disbursement of
personal loans. She's been working in this field for the last 15 years. She has dedicated her entire life to being
perfect in doing what she does.

[INT.OFFICE ENVIRONMENT.CHAOTIC BACKGROUND CHATTERS.DAY]

FADING INTO OFFICE WORK. CLOSE UP FILES AND RECEIVING.CALLS. ATTENDING MEETINGS.
[V.O./ INT. FAMILY DINNER – NIGHT]
27
V.O.[CONT’D]SUHANI: She handles her house and work simultaneously. She has bought 2 houses and a car
on her own and her son not only adores the hard work she does daily but also looks up to her with love and
respect.

MOTHER PREPARING FOOD AND SERVING EVERYONE. CHATTERS IN BACKGROUND. SERVING

EVERYONE AND SITS AT THE END OF AFTER SERVING EVERYONE.
[V.O. ENDS AND CLOSE-UP SHOT OF ANOTHER WOMAN SITTING ON THE SAME COACH FOR
INTERVIEW]
.
.
INTERVIEWER/MRINAL: CAN YOU PLEASE TELL US ABOUT YOU, HUME APNE'S ASPIRATIONS,
GOALS, AND LIFE BEFORE MARRIAGE WHAT DO YOU HOPE YOUR CHILDREN WILL LEARN FROM
OBSERVING THE CHOICES AND SACRIFICES YOU'VE MADE AS A MOTHER?

[ LONG SHOT OF INTERVIEWEE ANSWERING]

[FADING IN OFFICE WORK, CLOSE UP ON TYPING ON KEYBOARD]

[FADING OUT TO SUBJECT ANSWERING. BACKGROUND MUSIC]
[FADING INTO FAMILY PICTURES. PAN SHOT]
[FADING OUT TO SUBJECT ANSWERING. BACKGROUND MUSIC]

[THE ANSWER ENDS WITH SUBJECT GETTING UP AND COMING OUT OF THE CAFÉ]

[INT. A BEDROOM ROOM – NIGHT]

A MOTHER SITS BY HER CHILD’S BEDSIDE, HOLDING THEIR HAND AND WHISPERING WORDS OF
LOVE AND ENCOURAGEMENT AS THEY BATTLE ILLNESS.

[V.O STARTS WITH LIGHT MUSIC/ GAURAV]

VOICEOVER: despite these obstacles, unpaid employee mothers persevere with unwavering determination
and resilience.
[INT/COLLEGE CAMPUS/HOUSEKEEPING CLEANING FLOOR]
.V.O.[ CONT’D]SHEEN: They harness their innate multitasking abilities to navigate the intricate maze of work-
life balance, leveraging every opportunity to excel in their chosen fields while nurturing their families with love
and dedication.

.
[FADING INTO INT/CLEANING/RADIO LAB]
V.O. ENDS
[FADE OUT TO HOUSEKEEPING SITTING ON CHAIR MEDIUM SHOT FOR INTERVIEW]

INTERVIEWER/GAURAV: AAP PLEASE APNE AARE MEI BATAIYE KI AAPNE KAAM KARNA KYU START
KIYA AUR AAPKO AAPK BAACHO SE KYA AASHAYEIN AS A MAA.

A CANDID INTERVIEW WITH SOFT BACKGROUND MUSIC

28
[EXT/CARRYING FOOD FROM NESCAFE TO TEACHERS.DAY]

[FADING A CLOSE-UP SHOT OF THE INTERVIEWEE’S FACE]

[STATIC SHOT OF HOUSEKEEPING AS SHE FINISHES HER ANSWER]

[BACKGROUND MUSIC ENTERS WITH STATIC SHOT OF HOUSEKEEPING SITTING]

.
.
SOFT BACKGROUND MUSIC

[ EXT. SLUM AREA/DAY/SOFT MUSIC]

VO/SUHANI: As we honor mothers, let us also recognize the diversity of motherhood. Motherhood transcends
biology, encompassing all those who nurture, mentor and love unconditionally. Whether biological, adoptive, or
chosen, mothers play a vital role in shaping the next generation.
[EXT. OUTSIDE A SCHOOL MOTHERS WAITING TO PICK UP THEIR CHILDREN]
VO[CONT’D]/DEVIKA:
In a world that often values achievement over empathy, mothers remind us of the power of love, the
importance of connection, and the beauty of the human spirit. They teach us that strength lies not in the
absence of vulnerability but in the courage to embrace it wholeheartedly.

[INT/CANTEEN/LUNCH TIME]
VO ABOUT CANTEEN AUNTY:
SHOT OF CANTEEN AUNTY WORKING
GIVING FOOD AND RECEIVING MONEY
SHOW HER WORKING WITH HER SON AS WELL AND LAUGHING

FADING INTO HER SITTING ON CHAIR:

INTERVIEWER/SHEEN: aapne kaam karna kyu shuru kiya aur aap k liye kya bahar ka aur ghar ka kaam
sambhal na mushkil hota hai yaa apko ghar se help milti hai?

ANSWERING:
[SHOTS OF HER WORKING IN THE CANTEEN] CONTINUING ANSWERING

ENDING THE SHOT WITH A SMILE ON HER FACE LOOKING DIRECTLY AT THE CAMERA.
VO/ DEVIKA: Mrs. Pal, here, is the only working woman in her family. Her husband due to some
personal reasons doesn’t work, making mrs. pal solely responsible for her family of 7 people, out of
which she has 5 children. She's been working as a maintenance staff in a college. Before this job, she
used to work in a bus pick up and drop service. Feeding a family of 7 members is definitely not an easy
task but the task doesn't scare mrs. pal because her family is her top priority and her staying strong is
truly an example.

29
 FADING IN ON THE HOUSEKEEPING LADIES WORKING IN THE COLLEGE. DOING DIFFERENT
CHORES
TAKE 3 SHOTS OF DIFFERENT ACTIVITIES i.e. sweeping, cooking, bringing food, etc. [SOFT
BACKGROUND MUSIC]

VO/ Mrinal: A mother stands as an unpaid employee, tirelessly tending to the myriad tasks that keep
our household running smoothly. From dawn till dusk, she orchestrates the daily rhythm, a maestro of
love and dedication. Her hands, though unpaid, craft warmth into every meal, stitch comfort into every
embrace, and weave patience into the fabric of our existence.

[INT. DAY. COLLEGE CAMPUS]

FADING IN ON AYA DI SITTING ON A MEDIUM CLOSE-UP SHOT:

Interviewer: aapka apni family k liye sabse bada sacrifice kya raha and kya aapko kabhi uss sacrifice
ka pachtawa hota hai?

[Aya di answering.]

Shot of her working in college

[ ending the shot on her closeup sitting in the interview]

Fading out on a park and nature, shots of sun and clouds moving

VO: [ Arpita ] With unwavering commitment, she pours her heart into the role of nurturer, never
seeking recognition or compensation, but finding fulfillment in the smiles she brings and the love she
bestows. she is not just a mother, but an unsung hero, an unpaid employee of boundless worth

Fading in on interviews Suhani asks a question [ cut made from each interview to be added at the end
of the documentary]
Below mentioned answering one by one by one

QUESTION: KYA AAPKO LGTA HAI KI HOUSEWIVES/MOTHERSKO BE UNK KAAM K LIYE PAY KARNA
CHAIYE JAISE CORPORATE EMPLOYEE PAID HOTA HAI. AND KYA ISS WAJHA SE BOHOT SAARI
LADIES KO FINANCIAL STABILITY K LIYE BHAR JAA KAR KAAM NHI KARNA PADEGA?
ANSWER TO BE CUT AND ADDED IN CLIP IN THE FOLLOWING ORDER [FAST-PACED BACKGROUND
MUSIC]
1. Mrs khanna
2. Mrs Chowdhury
3. Aya di
4. Canteen aunty
5. Aya di

SHOWING THE VERDICT GIVEN BY THE SUPREME COURT ABOUT MOTHERS BEING AN UNPAID
EMPLOYEE.
30
MAKE A COLLAGE OF CERTIFIED MAGES BY SUPREME COURT AT THE END:

[SOFT BACKGROUND MUSIC] ENDING IT WITH A QUOTE:

“If you are a mom, you are a superhero. Period.”

–Rosie Pope

****************************************************************

31
 SCRIPT FOR SHORT FILM:

BAY GHARZ: A TALE OF SELFLESSNESS

SCENE 1:

[DAY, OUTSIDE, WIDE]

BEGGAR LOOKS AT HIS HANDS AND THEY START TO SHAKE. HE IS FILTHY AND DIRTY. HIS HAIR IS
MESSED UP AND ANTS ARE CRAWLING WHERE HE SITS.
LONG LOOK AT HIM FROM FAR. WHILE CARS PASS AND HE WATCHES THEM AS THEY PASS.

SOON CHARACTER A PASSES: HE BEGS TO HIM FOR FOOD.

FOCUS ON BEGGAR
NOTHING IS GIVEN

SO DOES CHARACTER B: HE BEGS HIM FOR FOOD.

FOCUS ON BEGGAR
NOTHING IS GIVEN

SCENE 2:
[DAY, OUTSIDE,CLOSE UP]
ROBIN, AND KABIR PASS THROUGH HIM: SMOKING AND VAPING ,WITH HANDS IN THEIR POCKETS.
BEGGAR LOOKS AT THEM, A LONG LOOK.
CLOSE UP ON RICH KIDS AND THE SMOKE
ONE OF THEM PULLED OUT AN IPHONE AND STARTED TALKING MEDIUM CLOSE UP.

AS SOON AS THEY REACH BEGGAR, HE GATHERS ALL HIS STRENGTH AND STANDS UP
BEGGAR’S LEGS WERE TREMBLING…………. MED CLOSE-UP.
HANDS TREMBLING MED CLOSE-UP.
AND FACE SHOWS HIS STRENGTH TO GET UP.

HE APPROACHES THE KIDS WITH THOSE TREMBLING LEGS.

MED CLOSE-UP OVER THE SHOULDER OF ONE OF THE RICH KIDS.

THE KID STANDING IN BETWEEN SAW THE BEGGAR COMING TOWARDS THEM , LONG TAKE FROM
FAR OVER THE SHOULDER OF BEGGAR.

BEGGAR MAKES THE GESTURE OF BEGGING----- TWICE-------------- AND THE KID IN THE MIDDLE
AVOIDED THE EYE CONTACT.

THE BEGGAR KEEPS APPROACHING AND FINALLY REACHES----------- [FAR SHOT]--------------

COVERING ALL FOUR.
32
-----------------------[LONG SHOT]---------------CARS PASSING IN BETWEEN THE FRAME.

THE KID WHO IS IN THE MIDDLE MAKES A FACE IN DISGUST……... [CLOSE UP]

THE OTHER TWO ON EACH SIDE ARE LAUGHING AND VAPING---------------------ONE OF THEM
GESTURES OF CHASING HIM AWAY.

BUT HE CONTINUES TO BEG…………………… ONE OF THE KIDS GETS ANGRY AND

SHOUTS(GESTURE)………………. THE BEGGAR GETS SCARED BUT TELLS HIM THAT HE IS HUNGRY
(IN GESTURES)

THE KID IN THE MIDDLE IS SO DISGUSTED THAT HE ENDS UP SHOUTING ON HIM …………. [LONG
SHOT] ON THE MIDDLE KID……... [MED SHOT] ON THE BEGGAR WHO FALLS

HE IS ACHING IN PAIN………… THE FAR SHOT SHOWS HIM ENTIRELY……………...

ONE OF THEM LAUGHED AT HIM……… THE MIDDLE KID HAD PEACE ON HIS FACE…CLOSE UP..… HE
MOVED TO A CIGARETTE STALL……….

CLOSE SHOT OF MONEY THAT THE MIDDLE KID GIVE TO CIGARETTE SELLER……. THEN INSTANT
SHOT OF THE BEGGAR……………[CLOSE SHOT]……………. THEN CLOSE SHOT OF
CIGARETTE………… AND THEN THE BEGGAR AGAIN………. CLOSE SHOT………

FAR SHOT………………. FROM THE OTHER SIDE OF THE ROAD……...VEHICLES PASSING BY………
COVERAGE ON ALL FOUR……...LONG SHOT.

SCENE 4:
[DAY, OUTSIDE, WIDE]
SHIFT OF CAMERA TO ARHAAN COMING OUT OF METRO STATION……………… LONG SHOT OF HIM
WALKING………... AND CLOSE UP ON HIS FACE
HIS EYES CATCH THE BEGGAR………………………. LONG SHOT OF THE BEGGAR CRYING SINCE HE
WAS PUSHED………

BEGGAR CRYING AND GESTURES AT HIM FOR FOOD

ARHAAN BREATHES HEAVILY ………………... LONG SHORT AT ARHAAN……………... MEDIUM CLOSE
UP…………….

2 SIMULTANEOUSLY SHORTS AT BOTH BEGGAR AND ARHAAN

CLOSE SHORT…… QUICK SHORTS…... NOT LONG.

ARHAAN GESTURES AT HIM TO WAIT…… AND KEEPS A HAND ON HIS POCKET (NOT HIGHLIGHTED
NOW BUT WILL BE SHOWN LATER IN THE FILM) ………… AGAIN GESTURE IS MADE AND HE
LEAVES…… BOTH ARE COVERED IN FRAM FROM OPPOSITE SIDES OF THE ROAD………...AS
ARHAAN LEAVES HE HOLDS TIGHTLY TO HIS BAG………………. CLOSE UP SHORT OF HIM GRIPPING
ON BAG…

33
SCENE 5:
[2 HOURS LATER, EXT., DAYLIGHT]

ARHAAN CAME BACK WITH FOOD AFTER 2 HOURS, THE BEGGAR ASKED HIM WHAT TOOK HIM SO
LONG

SCENE 6:

[INT.,FLASHBACK, LONG SHOT]

ARHAAN IS A TUTOR AND HE DIDN’T HAD MONEY WHEN THE BEGGAR ASKED FOR FFOD SO HE
ASKED HIM TO WAIT HE WENT TO TEACH TUTIONS AND RECEIVED MONEY AS IT WAS HIS STIPEND
DAY.
HE CAME BACK WITH FOOD!

SCENE 7:

[EXT.,CLOSE UP , FADING OUT, DAY]

THE BEGGAR FOLDED HIS HANDS IN GRATEFULNESS!

FADE OUT TO :
"In a world driven by greed, selfless service shines as a beacon of hope, reminding us that true
fulfilment comes not from what we amass, but from what we give without expectation."
FOLLOWED BY:
CREDITS
********************************

34
 Topic 4

Story Board

Story Board is a sequence of drawings, typically with some directions

and dialogue, representing the shots planned for a film or television
production.
A storyboard is a visual representation of a filmmaker's vision. It
specifies how you want the finished piece to flow - whether it's a
feature film, a novel, a presentation, a short film, or a marketing video -
and simplifies the entire creative process. Storyboarding does more
than just summarise the most important details of your plot. It is a
process that provides you and your team members with a tangible,
visual flow of a project when it comes time to collaborate and make key
creative decisions during the pre-production process. Although creating
a storyboard takes time, it will save you time (and money) in the long
run.

How to make a storyboard in 4 steps

1. Make a storyboard template online using storyboarding software. Or,
you can even start with a piece of paper.
2. Draw your storyboard frames, but keep it rough, simple and leave out
intricate visual details.
3. Edit your storyboard to flesh out your film's most important visual cues
such as time of day for a scene, lighting, composition, and layering.
4. Note camera movements for shots such as zooms, pans, tilts, dollies,
trucks, and pedestals.

35
SAMPLE 1:

Image 1 Source: How to Storyboard: Step-by-Step Storyboarding Guide

(2022 Edition) | Boords

Image 2 Source: stroy borad step by step - Bing images

Image 3 Source stroy borad step by step - Bing images

36
ASSIGNMENT: 4
Create a Story Board through Paper or Online based any script

STORYBOARD FOR SHORT FILM: BAY GHARZ: A TALE OF SELFLESSNESS

37
38
39
THE END

###

40
Topic-5

Production schedule

When we produce a ‘live-action video’, a video that predominantly

involves footage filmed with a camera, we like to know what it is that
we’re filming before we actually show up at the shoot locations. This
prevents us from wasting time on the day of the shoot and allows us to
focus purely on getting the best content to make the best video
production. To make sure that we avoid any issues, the team all agree
on and work from, a document called a production schedule, which
contains all the details of the project to leave no confusion or room for
error.Production schedules vary widely according to a variety of factors,
including but not limited to like Genre, shooting style, Location, Budget,
Cast & staff. Etc.

There are a number of elements in the document that, if not taken into
account, can quickly consume a large portion of time on a shoot, resulting
in a very poor use of time and budget. The production schedule is a list
of simple, straightforward things that you can use to iron out details.
Every location is unique, but the example schedule below gives you an
idea of the kinds of things we take into account:

Parking – this may seem like a silly thing to mention, but we have a lot
of equipment that needs to be unloaded and eventually reloaded. It has
a significant impact on the timings if there is no place to park or even
pull over to drop off. We may need to be assigned a space, given a pass,
or use a staff entrance, but knowing all of this ahead of time is far
preferable to figuring it out on the day.

Security – bringing a group of people with large bags is a sure way to

get the
attention of the security team, and not in a good way! We like to have
the main contact name and all security passes and credentials ready for
when we arrive so that the security team can wave us through and we
can get to work

Prohibited Footage – there are occasions where we may need permits

to film in
certain areas. These must be sorted before the day of the shoot. There
are also a number of locations where we need to be mindful of not
capturing certain things on camera, such as new products, equipment,
customer details, personnel or names of suppliers. Knowing what we
can and can’t film before we film it is always helpful!

41
Key Contacts – with any shoot, we may need to liaise with a single
person, or we may need to liaise with several people. Whoever these
people are to avoid any awkward delays at reception trying to find the
right person to open the door we need contact names and details at
hand.

Equipment Security – you can imagine that as a professional video

production team we have quite a bit of kit. From cameras and lights to
body-mounted steadicams and aerial drones. We don’t have the
manpower to carry everything around all day, so we need a space that
we can securely store all the equipment we’re not using. By sorting this
out prior to the day, we can just show up and head straight to that
space, saving valuable time and effort.

Interviewees / models / actors – when we will be filming people, we

like them to know that they are being filmed, and if they are talking to
camera, that they also know what they are going to say, which has been
pre-approved. One of the biggest time-sinks on a location shoot is
getting people in the right place at the right time. We try and avoid this
at all costs.

Clothing and Jewellery – referring to the point above, there is a

genuine consideration that needs to be taken into account with
clothing, jewellery and make-up. When filming at 25 frames per second
(fps) certain clothing behaves in a particular way- the best way to
explain this is to show the video below. Because of this we suggest that
people being featured in the video should wear clothes with a plain
thread, or bring a change with them in case there are issues with a
camera test

42
 ASSIGNMENT 5:
Prepare a production schedule

PRODUCTION SCHEDULE FOR DOCUMENTARY

DATE TASK AND LOCATION TIME

SHOOTING FOR SUHANI’S

th
1. 9 APRIL, MOTHER, COLLECTING 12 PM – 3 PM
2024 DATA AT THE TRINITY
INSTITUTE OF
PROFESSIONAL STUDIES

SHOOTING FOR
2. 11 APRIL, MRINAL’S MOTHER, AYA 12 PM – 3 PM
th

2024 DI INTERVIEW AT TRINITY

INSTITUTE OF
PROFESSIONAL STUDIES

DESCRIPTION FOR SHOOTING

COSTUME: house helper di-in-institute uniforms, Tray for coffee shots.
Daytime shooting.
Degree, laptop, and food for props

43
 PRODUCTION SCHEDULE FOR SHORT FIM

DATE TASK AND LOCATION TIME

DWARKA SECTOR 10
th
1. 5 MAY, METRO STATION, 12 PM – 3 PM
2024 SHOOTING FOR GOOD
BOY, TUITION SCENE

th
DWARKA SECTOR 10 10 AM- 12 PM
2. 6 MAY, METRO STATION,
2024 SHOOTING FOR BEGGAR
SCENE

DESCRIPTION FOR SHOOTING

COSTUME: TORN SHIRT AND BOXERS FOR BEGGAR.
Daytime shooting.
Cigarettes, Royal Enfield, and a bowl for beggar

44
Topic – 6
Floor plan, Light and Audio Plan

The floor plan allows you to sketch the approximate locations of sets,
props, cameras, talent, etc. This overhead view makes it easy to
consider distance, angles and other factors that may be crucial to
setting up your production. At a TV station some of the studio may be
occupied by semi- permanent sets that remain in place for extended
periods of time. The floor. Plan is an outline or a plan of the studio floor.
It shows the main featwes of the studio - its walls, the cyclorama, the
entrance doors and the position of the lighting grid all drawn to scale. In
common usage, the floor plan means a diagram of the scenery or the
set to be erected along with the placement of props and furniture on
the studio floor. In fact, the floor plan provides Production of Television
essential guidelines for studio use, how to set up scenery and props,
arrange lights, place microphones, plan various shots, angles, positions
and movements of cameras and indicate the action and movements of
performers and actors on the studio floor. It provides a full picture of
how the studio or the scene would look at the time of final recording. A
floor plan is, therefore, of utmost importance for the set designer, the
set erectors, the floor manager, the lighting technician, the audio
engineer, the producer, the director and the talent. The set designer
usually designs the floor plan after discussions with the producer. The
set in which different lighting patterns are used to give the symbolic
representation of the mood of the programmes are called lighting set,
and different colours of lights are used in it.

45
 ASSIGNMENT 6
Prepare a floor, light and audio plan

This plan ensures the scene is well-lit, visually appealing, and effective in conveying the desired mood
and atmosphere. Here’s a detailed outline for this process:

1. Scene Description
- Setting: Exterior of a court building adjacent to a metro station.
- Time of Day: Afternoon at noon.
- Weather: Clear skies (for simplicity in lighting).
- Key Actions: Characters exiting the court, meeting, or interacting near the metro entrance.

2. Floor Plan Layout

- Court Building: Indicate the main entrance
- Metro Station Entrance: Location relative to the court, exit of metro
- Street Elements: Lamp posts, benches, trash cans, trees, parked cars.
- Camera Positions: Mark positions for wide shots, medium shots, and close-ups.

3. Lighting Plan
Natural Light
- Sun Position: Given its afternoon, the sun is very bright.
- Ambient Light: Utilize natural light for general illumination.

4. Floor Plan and Light Plan Diagram

- Label all key elements: Court entrance, metro entrance, street elements, camera positions, and light
sources.

LOCATION LIST

1.DWARKA SECTOR 10 METRO STATION [GATE NUMBER 2]

2.PARKING OPPOSITE TO DWARKA DISTRICT COURT

EQUIPMENT LIST

1.VIDEO CAMERA
2.MICROPHONE
3.TRIPOD

Conclusion
This plan provides a comprehensive layout and lighting strategy for the exterior scene, ensuring the
short film captures the desired mood and visual quality. Always adjust according to actual location
specifics and available resources.

46
Topic– 7

Finalise production crew

Filmmaking or television production is, at its core, a highly collaborative

process. A professional film crew includes directors, producers, writers,
cinematographers, camera operators, carpenters, electricians, and a
diverse range of designers.
While some crew positions may already be attached or recommended
for a project, and others, such as your writer and storyboard artist, may
be hired very early in the process—you should work to complete the
entire team before preproduction begins. After all, these are the men
and women who will be performing many of these tasks, and the earlier
they are included in the creative process, the more valuable their input
will be. Not just the shooting, but the entire process of making a film is
a collaborative effort!

Producer
In television programme production, the head of the production who is
called a
producer is in charge of the entire production. The producer manages
the budget and coordinates with the advertising agencies, actors and
writers. The producer is also responsible for all the people working on
the production front and for coordinating technical and non technical
production elements.
Director
Who is a Director? In a television production, the Director is in-charge
of directing the actors and technical operations. The Director is
ultimately responsible for transforming a script into effective audio and
video messages. Where the camera will be placed, what type of visuals
need to be taken, where the actors will stand, all these are controlled
by the director.

Assistant Director
On location-based programs, an assistant director acts as somewhat of
an intermediary between the director and the cast and crew - this role
is somewhat optional, and may depend on the scale of the production.
For live television productions (and with regards to SYN TV‟s live
shows), the Assistant Director may also keep time to make sure all
segments are running to the appropriate duration. The AD also counts
adbreaks in and out.

Assistant producer
47
As its name suggests, this role is the right-hand person to the producer,
and often the first line of delegation - perhaps tasked with delegating to
others in the crew, yet again. This role may occasionally serve as the
producer‟s representative on shooting days, ensuring the shooting goes
to plan. A good assistant producer communicates well with the
producer and is self-motivated to carry out the tasks requested of
them.

Production Assistant
The Production Assistant facilitates all that is required for the smooth
execution of the television production. Both the producer and director
are assisted by the production assistant.

Script Writer
One of the basic requirements of television production is the script. The
script gives all the details of the programme such as the dialogues, the
list of actors, details of the costumes, the mood required to be created
for each scene and their respective locations. A script writer is the
person who writes the script for the programme. In smaller
productions, this task is generally done by the director and script
writers are hired, if required.

Actors
Actors are the personnel who perform different roles according to the
requirement of the script.

Anchor
An anchor is a person who presents a programme formally on television.
For
example, news anchors present news on television while there are also
anchors who present reality shows like Sa re Ga Ma Pa and Indian Idol.

Cameraperson
Camerapersons operate the cameras. They often do the lighting also for
smaller
productions. They are also called videographers.

Art Director
The Art Director is the in charge of the creative design aspects, which
includes set design, location and graphics of the show.

Property Manager
The property manager maintains and manages the use of various set
and properties. It is found in large productions only, otherwise the
props are managed by the floor
manager only.

48
Floor Manager

49
A Floor Manager is in charge of all the activities on the studio floor. He
coordinates talents, conveys the director‟s instructions and supervises
floor personnel. He is also called floor director or stage manager.

Costume Designer
The costume designer designs and sometimes even constructs various
costumes for dramas, dance numbers and children‟s shows.

Editor
On programs which do not go live-to-air, in post-production an editor
will work
alongside the director (and possibly the producer) to edit the footage
that has been
shot to create the final product. An editor‟s role is largely one of cutting
together and juxtaposing shots and audio to the requirements of the
director/producer. In some productions however, an editor‟s abilities
may influence the creative output

Sound Mixer (Sound Recordist)

The production sound mixer is head of the sound department on set,
responsible for recording all sound during filming. This involves the
choice of microphones,
operation of a sound recording device, and sometimes the mixing of
audio signals in real time.

50
 ASSIGNMENT -7
Design a production crew list and distribute of work.

1.ARPITA RAO: CINEMATOGRAPHER AND SCREENPLAY WRITER

DUTIES ALLOCATED: In a short film, the cinematographer is responsible for capturing the visual
essence of the story, working closely with the director to create the desired look and feel through camera
angles, lighting, and shot composition. They ensure each scene visually supports the narrative and evokes
the intended emotions. Meanwhile, the screenplay writer crafts the script, developing the plot, dialogue,
and character arcs. They shape the narrative structure, ensuring it is engaging and coherent within the
limited runtime of a short film. Both roles are pivotal in bringing the director’s vision to life, with the writer
laying the story's foundation and the cinematographer visually interpreting it.

2.GAURAV PRAJAPATI: CAMERA MAN AND ACTOR

DUTIES ALLOCATED: In a short film, the cameraman is responsible for setting up and operating the camera,
capturing the director's vision through precise framing, focus, and camera movements. They ensure proper
lighting, adjust settings for optimal image quality, and collaborate closely with the director and other crew
members to achieve the desired visual style. Conversely, the actor brings the characters to life by interpreting
the script, delivering lines with the intended emotion, and performing actions as directed. They work with the
director to develop their character and ensure their performance aligns with the story's overall tone and
narrative.

3.SUHANI KHANNA: DIRECTOR AND SCRIPT WRITER

DUTIES ALLOCATED: In a short film, the director and scriptwriter play crucial roles in bringing the story
to life. The director is responsible for the overall vision of the film, guiding the creative and technical aspects
from pre-production through post-production. This includes interpreting the script, directing actors, coordinating
with the crew, and making critical decisions on lighting, camera angles, and sound to ensure the film's artistic
coherence. The scriptwriter, on the other hand, crafts the narrative, dialogue, and structure of the film. They
develop the characters, plot, and setting, ensuring that the story is compelling and engaging. Both roles require
close collaboration to maintain the film's vision and ensure a cohesive final product.

4.MRINAL CHOWDHURY: ACTOR AND STORYBOARD ARTIST

DUTIES ALLOCATED: In a short film, an actor's duties include interpreting the script, developing a character,
and delivering lines and actions convincingly to convey the story and emotions effectively. They collaborate
with the director to understand the vision and bring authenticity to their performance. A storyboard artist's
duties involve creating visual representations of the script through a series of sketches or illustrations. They
work closely with the director to plan each scene's composition, camera angles, and transitions, ensuring the
film's visual narrative flows seamlessly and aligns with the overall creative vision.

5.DEVIKA DUGGAL: ASSISTANT DIRECTOR AND CREW HEAD.

DUTIES ALLOCATED: In a short film, the Assistant Director (AD) and Crew Head play pivotal roles in
ensuring the production runs smoothly. The AD is responsible for managing the shooting schedule,
coordinating between the director and various departments, and overseeing on-set logistics to ensure the
timely completion of scenes. They handle communication with the cast and crew, manage time, and
troubleshoot any issues that arise during filming. The Crew Head, on the other hand, supervises the technical
crew, ensuring that equipment is correctly set up and maintained and that all technical aspects of the
production, such as lighting, sound, and camera operations, are executed according to the director's vision.
Together, they maintain the workflow, uphold the production schedule, and ensure the director's creative vision
is realized efficiently and effectively.

51
 6.GUNPREET KAUR: PRODUCTION DESIGNER

DUTIES ALLOCATED: In a short film, a Production Designer is responsible for conceptualizing and creating
the visual style and aesthetic of the film. This includes designing sets, selecting locations, coordinating with the
art department on props and set dressings, and collaborating with the director and cinematographer to ensure
that the visual elements support the narrative and mood of the story. They oversee the construction and
decoration of sets, manage the art department budget, and ensure that all visual components are cohesive and
enhance the overall storytelling experience. Their work is pivotal in bringing the director's vision to life and
creating an immersive world for the audience.

52
Topic – 8
Production Budgeting

Budgeting will generally occur before a production is commissioned or

during the commissioning process. The process requires a considerable
amount of expertise and the importance of an accurate budget cannot
be underestimated. An under-budgeted production is in trouble from day
one! In television, the budget is usually prepared by the Producer, the
Line Producer/PM or someone with the relevant expertise. Feature
films are sometimes budgeted by the Production Accountant.
Two of the primary goals of the TV commercial production budget
template are to have a basis upon which you can plan both your
budgeting and your scheduling, in a single document. The concept is
simple: Before production can be executed, budgeting and planning must
take place. The entire process requires advanced thought processes and
an accurate understanding of how to project budgets for TV production.

Bespoke TV/Film specific software is available for budgeting but a

spreadsheet is also an effective budgeting tool.

53
SAMPLE

54
 ASSIGNMENT 8
Creating a Budget and Schedule for any TV Program or Commercial

SHORT FILM PRODUCTION BUDGET

REQUIRED ITEMS PRICE

1. VIDEO CAMERA Rs. 300,000/

2. TRIPOD Rs. 15000/

3. CIGARETTES [ 2 EACH] Rs. 50

4. TRANSPORTATION Rs. 100

5. MICROPHONE Rs. 70,000

TOTAL Rs.3,85,150/

This is the production budget for our short film which was planned for 2 days of shoot for the film.

DOCUMENTARY PRODUCTION BUDGET

55
 REQUIRED ITEMS PRICE

a. FRIES Rs. 60

b. VIDEO CAMERA Rs. 300,000/

c. TRIPOD Rs. 15000/

d. TRANSPORTATION Rs. 100

e. MICROPHONE Rs. 70,000

TOTAL Rs.3,85,160/

This is the production budget for our short film which was planned for 5 days of shooting for the documentary.

56