Weekend "On-Air Specials" Sponsored shows, TV Productions
Television & Web Feature Programming: Media solutions (show/series/campaign) capturing the clients communication objective. Glimpse into some of the 19 mins shows during 2008-09 (costs about min 3 lakhs to max10 lakhs). The commercial ad breaks is 6 to 3 mins.
Professional broadcast equipments
|
|
I think a good rule of thumb would be an average of 60-70 scenes (10 – 15 sequences) per Act (around 90,000 to 100,000 words), so between 5 – 7 scenes per sequence.
Visual hierarchy (guiding the eyes): Humans have 240 degree vision but only 1.7 degree sharpness. An image lasts in the mind of the viewer for 1/10 secs before it degrades. The viewer's personal bias unconsciously interferes in shaping his/her experience of it.
On the Sets of "God's Bow in Relationships" (Ramdhenu), 35mm
https://www.youtube.com/watch?v=xfkyICtSA7A
Budget: The regional film took 44 days to be completed & had a budget of around 35-40 lakhs. (Indie national level digital shoots requires 10x more budget; around 11.5-12.5 lakhs per day)
Theme: Like a "rainbow", humans too have different shades of colour within us. Only after the dark clouds break apart, and when the hard drops of rain hit the bright light from the burning sun, that we see the magnificent rainbow magically in the bright blue sky. So, its important that we choose to free our hearts from the bondage of sadness, frustration and life's other problems; and allow the good, colourful light to shine through.
Director & Scriptwriter: National award-winner ("Rajat Kamal" aka Silver Lotus Award) Munin Baruah. He won the award for the film 'Dinabandhu' which is based on the famous short story 'Zowtuk' (meaning 'dowry') by Dr Bhabendra Nath Saikia.
Producer: The film, produced under the banner of the entertainment channel Rang Production, News Live and Alliance Group (Rang's chief managing director- Riniki Bhuyan Sarma & chief operating officer- Caushiq Bezboruah).
Music: Jatin Sarma (Maina) & Singers: Shreya Ghosal, Zubeen Garg, Angarag Mahanta, Dikshu and Jublee/Jubli
Cast:
Senior: Jatin Bora, Bishnu Khargaria, Tapan Das, Prastuti Parashar
Young upcoming stars: Nishita Goswami (chit-lee) and Utpal Das
The rest includes Kulada Kumar Bhattacharyya, Bidyut Chakraborty, Jayanta Das, Rajesh Bhuyan, Parthosarathi Mahanta, Pakija Begum, Joly Lahkar and Mitali Sarma.
Cinematography: Suman Duarah
Screens: This film is going to be released in 20 theatres, each having 200 seating capacity, and will be shown for 2 weeks with 1 or 2 shows per day at the popular time slots. Though it is mandatory for every cinema theatre to screen Assamese films for 100 days in a year, the majority of the theatre owners do not pay heed to this Government norm. Most film theatres have closed down or have turned sick. Only a handful regional films get released every decade and unions are lobbying for 10 regional films should be made every year with government financing.
Year: October 1, 2011.
Technicians:
Equipment:
(Diva-Lite lamps, LED lights & power-lights - none;
no Angenieux HR zoom lens)
Learnings: Old master directors do the very difficult job of mapping-out exactly, each emotional beats, for every scene. However, these emotions translated by the actors, into actions that we get to see, have become tired old acts that are now clichés and not authentic. It is also the director's responsibility to get the actors to translate the right quality of action. Even if the storytelling is good, audiences won't find it interesting if they see it a familiar edit, of familiar characters, doing very familiar actions.
Theme: Like a "rainbow", humans too have different shades of colour within us. Only after the dark clouds break apart, and when the hard drops of rain hit the bright light from the burning sun, that we see the magnificent rainbow magically in the bright blue sky. So, its important that we choose to free our hearts from the bondage of sadness, frustration and life's other problems; and allow the good, colourful light to shine through.
Director & Scriptwriter: National award-winner ("Rajat Kamal" aka Silver Lotus Award) Munin Baruah. He won the award for the film 'Dinabandhu' which is based on the famous short story 'Zowtuk' (meaning 'dowry') by Dr Bhabendra Nath Saikia.
Producer: The film, produced under the banner of the entertainment channel Rang Production, News Live and Alliance Group (Rang's chief managing director- Riniki Bhuyan Sarma & chief operating officer- Caushiq Bezboruah).
Music: Jatin Sarma (Maina) & Singers: Shreya Ghosal, Zubeen Garg, Angarag Mahanta, Dikshu and Jublee/Jubli
Cast:
Senior: Jatin Bora, Bishnu Khargaria, Tapan Das, Prastuti Parashar
Young upcoming stars: Nishita Goswami (chit-lee) and Utpal Das
The rest includes Kulada Kumar Bhattacharyya, Bidyut Chakraborty, Jayanta Das, Rajesh Bhuyan, Parthosarathi Mahanta, Pakija Begum, Joly Lahkar and Mitali Sarma.
Cinematography: Suman Duarah
Screens: This film is going to be released in 20 theatres, each having 200 seating capacity, and will be shown for 2 weeks with 1 or 2 shows per day at the popular time slots. Though it is mandatory for every cinema theatre to screen Assamese films for 100 days in a year, the majority of the theatre owners do not pay heed to this Government norm. Most film theatres have closed down or have turned sick. Only a handful regional films get released every decade and unions are lobbying for 10 regional films should be made every year with government financing.
Year: October 1, 2011.
Technicians:
- 1st AD (script continuity)
- 2nd AD (recce manager)
- Sound recordist
- Camera operator
- Key grip and Grips ('light-men') + (when required, gang of leadman /swings)
- Electrical technicians
- Boom operator
- Production assistant (also Transportation captain)
- Chief makeup artist & make-up artist's assistant
- Camera assistant 1: Video record-display;
- Camera assistant 2: Film roll loader
- Set continuity supervisor (also carpenter)
- Go-fer
- Spot boy (also caterer)
- Head chef & Catering crew
- Accounts record keeper
- Production manager & controller
- Production designer
- Bus driver
Equipment:
- ARRI 435 ES (ES stands for electronic shutter & also has a FEM which stands for Functional Expansion Module). It drawback, like all film cameras, is that it has no sync sound
- Arriflex 35III (cinemascope but Not Super 35) with PL mount
- ARRI Master Prime Set (there is also the Ultra set). Master Primes are known to be good for low-light filming but it has no fast lens (e.g. Zeiss Super speed lens set).
(18mm, 25mm, 'real house' 35mm; 55mm; 85mm; 100mm, 150mm; 35-150mm zoom lens; and an 250mm zoom that became 500mm when bracketed with the separate 1x motor adapter (for the sole purpose of turning it into an anamorphic lens needed for cinemascope). - 4K HMI daylight
- 2k and 5k tungsten fresnels
- True match kino-flo compact CFL (fluorescent) lamps.
- Classic dolly
- Filters & (Classic Soft) Polarizer
- Film stock: 400ft film stocks for 35mm (no D film usage); 100t (normal) film stock; 500t (high-speed) film stock
(Diva-Lite lamps, LED lights & power-lights - none;
no Angenieux HR zoom lens)
Learnings: Old master directors do the very difficult job of mapping-out exactly, each emotional beats, for every scene. However, these emotions translated by the actors, into actions that we get to see, have become tired old acts that are now clichés and not authentic. It is also the director's responsibility to get the actors to translate the right quality of action. Even if the storytelling is good, audiences won't find it interesting if they see it a familiar edit, of familiar characters, doing very familiar actions.
- No director of Lighting
- ARRI 435 ES major drawback - has no sync sound
- Incomplete breakdown sheets
- No deep research by the cinematographer to form a look-book (photos of mood lighting and locations)
- No test shots done
- Archaic composition of blocking shots; with no room for any flexibility to react to the real moment and place (the organic kind we have been exposed to through the modern films we see on the internet)
- No logging of cam shot details like f-stops used, which comes handy during re-shoots
- No call-sheets
- Poor - daily production strip-boards (each day's scheduling and the corresponding requirements)
- Failure - Production manager to get the locations etc as required lead to additional stress on the Director.
- Production manager's key responsibility is also publicity.
- No professional costume designer/stylist
“Ultimately, photography is subversive, not when it frightens, repels or even stigmatises, but when it is pensive, when it thinks.” Roland Barthes in 1980.