Color and more 02
•Download as PPTX, PDF•
0 likes•103 views
The document discusses color theory concepts for stage design and art direction, including additive vs subtractive color, hue and value relationships, warm vs cool colors, and different color schemes like monochrome, analogous, and complementary. It also covers color manipulation and color plots to control colors within compositions and across scenes/acts. Videos are linked to further explain topics like CMYK vs RGB, color sensation, and examples of color schemes in movies.
Report
Share
Report
Share
Recommended
Ideas for filming
This document provides conventions and examples for student thriller openings. It lists several YouTube links to openings that fit thriller genre conventions at different grade levels, from B to A. It also lists additional high quality thriller opening examples. The document suggests other editing effects to experiment with, such as black and white lighting. It outlines homework assignments which involve filming opening scenes, analyzing shot composition and editing techniques, and posting analyses to student blogs.
FLT 301 lecture 08 special effects
The document discusses techniques for special effects makeup used in film, television, and theater. It covers how to create effects like tears, sweat, blood, wounds, scars, and blisters using materials like commercial blood, food coloring, flour, glycerin, latex, and gelatin. It also introduces prosthetics and how accurate molds and impressions are used to create false pieces that can change the shape of the face or body.
Lecture 04 CREATING YOUR CHARACTER
This document summarizes a lecture on creating characters for scripts. It discusses that characters and structure are the two main building blocks of scripts. When creating characters, writers should choose meaningful names and develop characters with depth by exploring their actions, emotions, personalities, and backstories. Subplots are also important to include and can be used to reveal aspects of characters, delay the main story, or provide context. A cast should include a protagonist, antagonist, mirror characters, and romance characters. Characters are also categorized as main, secondary, or minor. The document provides a checklist of factors to consider when analyzing a character.
Lecture 03 FLT 402 technical script writing
This document discusses the three-act structure used in classic Hollywood film scripts. It begins with an overview of Act 1 which establishes the main characters, settings, conflicts and the protagonist's goal. Act 2 develops obstacles that impede the protagonist's goal and develops the characters. Act 3 contains the climax and resolution, where the goal is achieved and subplots are resolved. The document provides details on developing titles, backstories, subplots and considering the medium of TV, film or mini-series when writing scripts.
FLT 301 lecture 07 how we age
This document contains lecture notes from FLT 301: Costume & Makeup on aging and how the human face changes with age. It discusses key facial features at ages 20, 30, 40, 50, and 80. At age 20, the face is lean with a deeper nose bridge and less softness in the cheeks. By age 30, early wrinkles appear around the eyes and forehead and the jawline becomes fleshier. Wrinkles become more pronounced at 40 and the chin begins to sag. At 50, the front hairline thins and wrinkles deepen, and by 80 years, the skin is thin and fragile with considerable sagging and bone loss in the face.
FLT 402_Lecture 02 technical script writing
The document discusses various techniques for originating ideas for technical script writing, including pre-writing techniques like developing characters, structure, and scenes. It emphasizes that the more work done in pre-writing, the easier the exploratory draft will be. It encourages writers to focus on ideas they are passionate about. Various idea generation techniques are presented, such as using personal experiences, the experiences of others, lines of dialogue, newspapers, visualization, brainstorming, mind mapping, what-if scenarios, dreams, and intertextuality. Examples are provided for some techniques.
FLT 301_Lecture 06_Make Up Areas & Costume Consideration
The document discusses key points from Chapter 4 of the textbook "Make-Up, Hair and Costume for Film and Television" by Jan Musgrove. It outlines particularly difficult areas for makeup under the eyebrows, around the eyes, nose to mouth lines, hollow cheeks, and under the chin. It also notes that top lighting can create shadows under bone structures and hairlines. The text discusses costume considerations like the colors white and red being difficult for lighting, stripes creating a strobe effect, and the needed contrast between skin and costume tones.
FLT 301 Lecture 05 make up skills_face eye lip
This lecture discusses makeup skills for film and television. It focuses on understanding facial structures and shapes, including the skull, muscles and skin coloring. Different facial shapes are explored such as oval, round, square and heart-shaped. Eye shapes like even-set, wide-set and deep-set are also examined. Lip shapes like full and thin lips are covered. The document emphasizes identifying one's own facial features including shape, eyes, lips and hairstyle to better understand makeup application.
Recommended
Ideas for filming
This document provides conventions and examples for student thriller openings. It lists several YouTube links to openings that fit thriller genre conventions at different grade levels, from B to A. It also lists additional high quality thriller opening examples. The document suggests other editing effects to experiment with, such as black and white lighting. It outlines homework assignments which involve filming opening scenes, analyzing shot composition and editing techniques, and posting analyses to student blogs.
FLT 301 lecture 08 special effects
The document discusses techniques for special effects makeup used in film, television, and theater. It covers how to create effects like tears, sweat, blood, wounds, scars, and blisters using materials like commercial blood, food coloring, flour, glycerin, latex, and gelatin. It also introduces prosthetics and how accurate molds and impressions are used to create false pieces that can change the shape of the face or body.
Lecture 04 CREATING YOUR CHARACTER
This document summarizes a lecture on creating characters for scripts. It discusses that characters and structure are the two main building blocks of scripts. When creating characters, writers should choose meaningful names and develop characters with depth by exploring their actions, emotions, personalities, and backstories. Subplots are also important to include and can be used to reveal aspects of characters, delay the main story, or provide context. A cast should include a protagonist, antagonist, mirror characters, and romance characters. Characters are also categorized as main, secondary, or minor. The document provides a checklist of factors to consider when analyzing a character.
Lecture 03 FLT 402 technical script writing
This document discusses the three-act structure used in classic Hollywood film scripts. It begins with an overview of Act 1 which establishes the main characters, settings, conflicts and the protagonist's goal. Act 2 develops obstacles that impede the protagonist's goal and develops the characters. Act 3 contains the climax and resolution, where the goal is achieved and subplots are resolved. The document provides details on developing titles, backstories, subplots and considering the medium of TV, film or mini-series when writing scripts.
FLT 301 lecture 07 how we age
This document contains lecture notes from FLT 301: Costume & Makeup on aging and how the human face changes with age. It discusses key facial features at ages 20, 30, 40, 50, and 80. At age 20, the face is lean with a deeper nose bridge and less softness in the cheeks. By age 30, early wrinkles appear around the eyes and forehead and the jawline becomes fleshier. Wrinkles become more pronounced at 40 and the chin begins to sag. At 50, the front hairline thins and wrinkles deepen, and by 80 years, the skin is thin and fragile with considerable sagging and bone loss in the face.
FLT 402_Lecture 02 technical script writing
The document discusses various techniques for originating ideas for technical script writing, including pre-writing techniques like developing characters, structure, and scenes. It emphasizes that the more work done in pre-writing, the easier the exploratory draft will be. It encourages writers to focus on ideas they are passionate about. Various idea generation techniques are presented, such as using personal experiences, the experiences of others, lines of dialogue, newspapers, visualization, brainstorming, mind mapping, what-if scenarios, dreams, and intertextuality. Examples are provided for some techniques.
FLT 301_Lecture 06_Make Up Areas & Costume Consideration
The document discusses key points from Chapter 4 of the textbook "Make-Up, Hair and Costume for Film and Television" by Jan Musgrove. It outlines particularly difficult areas for makeup under the eyebrows, around the eyes, nose to mouth lines, hollow cheeks, and under the chin. It also notes that top lighting can create shadows under bone structures and hairlines. The text discusses costume considerations like the colors white and red being difficult for lighting, stripes creating a strobe effect, and the needed contrast between skin and costume tones.
FLT 301 Lecture 05 make up skills_face eye lip
This lecture discusses makeup skills for film and television. It focuses on understanding facial structures and shapes, including the skull, muscles and skin coloring. Different facial shapes are explored such as oval, round, square and heart-shaped. Eye shapes like even-set, wide-set and deep-set are also examined. Lip shapes like full and thin lips are covered. The document emphasizes identifying one's own facial features including shape, eyes, lips and hairstyle to better understand makeup application.
FLT 301 lecture 03 aspects of media work that may require make-up
This document discusses different aspects of media work that may require makeup and wardrobe facilities, including feature films, television production, advertising, photography, and theater. It notes some key differences in makeup requirements between television and film production. Television makeup is often simpler while film makeup may require more intensity. Theater traditionally does not employ dedicated makeup staff but more productions now require special costume and makeup design. Photography related to portraits, advertising, catalogs, and fashion shows also commonly utilizes makeup artists.
FLT 301 Lecture 02 why have make-up, hair and costume staff
The document discusses the textbook for the course FLT 301 Costume & Makeup. It summarizes the key reasons for having makeup, hair, and costume staff on film and television productions. Makeup artists apply makeup to make corrections due to lighting effects, balance skin tones, and create character makeup. Costume staff advise on clothing adjustments for lighting, provide costumes for production needs, create character and period costumes, and provide sufficient clothing for long productions and stunt doubles.
FLT 301 lecture 04 job opportunities
The document discusses job opportunities in the makeup, hair, costume, and wig departments for film and television. It defines the roles of makeup artist, makeup assistant, makeup designer, hairstylist, assistant hairdresser, head of department, costume assistant, costume supervisor, costume designer, wig fitter, wigmaker, and wig dresser. The roles vary based on level of experience and responsibilities within each department.
FLT 301_Lecture 01_Books,Films
This document outlines the lecture notes for the course FLT 301: Costume & Makeup. It lists the required textbooks which cover topics like makeup, hair, costumes for film and television. It also provides details of award-winning costumes and makeup in films from various award ceremonies like the Academy Awards, Filmfare Awards, IIFA Awards, and Bangladesh National Film Awards. The lecture notes provide references to textbooks and award-winning films to help students learn about costume and makeup design for films.
FLT 214 06.the process of music in film
The process of creating film music involves collaboration between many roles such as the composer, music editor, sound engineers, director, and producer. The composer typically works from the final edited film and a "spotting session" is held to discuss the nature and placement of music cues. Temporary "temp" music may be added initially to help picture editing. The music editor takes notes and creates cue sheets to guide the composer, who then composes the score cue by cue. The music is recorded, edited, and mixed with other audio before the final print. While the score is the entire musical recording, the soundtrack highlights significant cues chosen by the composer.
FLT 214 05.a word about leitmotif
This document discusses the use of leitmotifs in film scoring. It begins by defining leitmotifs as musical themes or ideas associated with people, places, objects, or concepts within a film. Leitmotifs provide continuity, familiarity, and help clarify a film's narrative. The document then explores how leitmotifs operate as a semiotic system and discusses Richard Wagner as pioneering their use in opera. It provides examples of how leitmotifs can be used mono-thematically or in composite scores incorporating pop songs. The document stresses the importance of integrating music appropriately with the visuals and story of a film.
FLT 214 04.audio sound pickup
This document discusses different types of microphones and how they work. It covers dynamics microphones, condenser microphones, and ribbon microphones. It describes different polar patterns like omnidirectional, unidirectional, and cardioid. It discusses operational characteristics of mobile microphones like lavaliere and stationary microphones like desk and hanging microphones. It also covers how microphones work in terms of impedance, frequency response, balanced and unbalanced microphones, cables, and audio connectors.
FLT 214 03.dimensions of sound
The document discusses key dimensions of film sound including rhythm, fidelity, space, time, and the distinction between diegetic and nondiegetic sound. It addresses topics such as synchronous versus asynchronous sound, simultaneous versus non-simultaneous sound, external versus internal diegetic sound, and how filmmakers can manipulate sound to impact the narrative, emotion, and perspective of a scene. Examples are provided to illustrate concepts like dialogue overlap in editing and using non-linear sound to represent events occurring at different times than what is shown on screen.
FLT 214 02.sound in the cinema (8th chapter)
This document discusses the perceptual properties of sound that are important for film, including loudness, pitch, and timbre. Loudness refers to the volume or amplitude of vibrations, with louder sounds perceived as closer. Pitch is the highness or lowness of a sound which can distinguish objects and serve specific purposes. Timbre is the harmonic components or "color" of a sound, such as a voice or instrument being described as nasal or mellow. These properties shape the experience of a film's sound track and how it directs attention and interprets visual elements.
FLT 214 01.roles of music in film
The document discusses the many roles that music plays in films. It identifies three main roles of film music: identification, mood, and commentary. It then examines eight specific roles that musical cues can serve: 1) establishing time, place and ethnic implications, 2) establishing tone or mood, 3) revealing psychological states of mind, 4) revealing unseen or impending drama, 5) providing source music, 6) providing transitions, 7) providing intros or outros, and 8) supplying musical sound effects. Examples are provided for each role to illustrate how music can support the story and visuals in a film.
Color correction
The document discusses color correction techniques in lighting and stage design. It describes how lighting designers manipulate color through various methods, including colored lighting gels, dichroic filters, gelstrings, and automated color changers. These color correction tools allow designers to modify the perceived color of surfaces and create desired moods through lighting effects. The document also discusses how colored filters, diffusers, and roundels are used to spread, soften, and mix light for stage and photography applications.
Lighting basics 01
The document discusses the fundamentals and goals of good lighting in filmmaking. It notes that there is no single correct way to light a scene, but some goals of good lighting include creating images with a full tonal range, color control and balance, shape and dimension of subjects, separation of subjects from the background, depth, texture, and conveying mood. Proper lighting is important for revealing details, shaping subjects, and separating elements to make scenes more three-dimensional and visually engaging.
Film noir lighting_03
Film noir was a genre of American crime films popular in the 1940s and 1950s that were typically shot in black and white. Originating in Europe after WWII, film noir featured dark themes of moral ambiguity and uncertainty reflected the postwar era. Key characteristics included low-key lighting that created high-contrast shadows, location filming at night in urban settings, and protagonists torn between good and evil. Technical innovations during WWII like improved film stocks and mobile cameras enabled this dark, shadowy visual style that conveyed the mystery and danger of city life after dark.
Visual storytelling 02
The document discusses the Greek myth of Adonis and Aphrodite. It provides links to two YouTube videos that summarize parts of the myth, including Adonis and Aphrodite's relationship and Adonis's time spent in the underworld. It also lists the director and cinematographer for the 1984 film The Natural.
FLT211_Visual storytelling 01
This document discusses visual metaphor in filmmaking and provides examples from several famous directors. It analyzes Caravaggio's painting "The Calling of Saint Matthew" as an example of using visual elements to tell a story without words or subtitles. The painting employs symbolism and lighting to convey meaning and the divine presence. It also briefly introduces the Baroque period of art and mentions Caravaggio and Rubens as important Baroque artists.
Lecture 12 exploring international print media 02
The document provides information on 10 major international newspapers from different countries. It includes brief descriptions of each newspaper including when it was founded, its format, ownership, circulation numbers, and other key details. The newspapers summarized are The Washington Post (USA), China Daily (China), The Times of India (India), The Sydney Morning Herald (Australia), The Asahi Shimbun (Japan), Dawn (Pakistan), Zaman (Turkey).
Lecture 12 exploring international print media 01
The document summarizes information about three top international newspapers:
1. The Guardian (UK), founded in 1821 by non-conformist businessmen and formerly known as The Manchester Guardian. It currently has a female editor-in-chief.
2. The Wall Street Journal (USA), founded in 1882 and focused on business and economic news.
3. The New York Times (USA), launched in 1851 with the motto "All the News That’s Fit to Print" and committed to quality news around the world.
Lecture 11 exploring national print media
The document provides information on the top 10 newspapers in Bangladesh by exploring their profiles. It discusses the founding date, editors, publishers, circulation numbers, and ownership for newspapers like The Daily Prothom Alo, The Daily Kaler Kontho, The Daily Star, The Daily Bangladesh Pratidin, The Daily Jugantor, The Daily Janakantha, The Daily Ittefaq, The New Age, The Daily Samakal, and The Daily Naya Diganta. Key details are given for each newspaper in bullet points with images of some editors and publishers.
Lecture 09 explring international electronic media 02
MSNBC is an American cable news channel owned by NBCUniversal, a subsidiary of Comcast. It was launched in 1996 and is headquartered in New York City. MSNBC provides news coverage and political commentary with a progressive perspective.
Al Arabiya is a Saudi-owned pan-Arab television news channel based in Dubai. Launched in 2003, it is owned by Middle East Broadcasting Center and broadcasts in Arabic across the Middle East and North Africa. The channel aims to provide balanced coverage of financial, political and social issues in the region.
Al Jazeera is a Qatari state-owned news channel headquartered in Doha, Qatar. Launched in 1996, it has gained widespread
❼❷⓿❺❻❷❽❷❼❽ Dpboss Kalyan Satta Matka Guessing Matka Result Main Bazar chart
❼❷⓿❺❻❷❽❷❼❽ Dpboss Kalyan Satta Matka Guessing Matka Result Main Bazar chart❼❷⓿❺❻❷❽❷❼❽ Dpboss Kalyan Satta Matka Guessing Matka Result Main Bazar chart
❼❷⓿❺❻❷❽❷❼❽ Dpboss Kalyan Satta Matka Guessing Matka Result Main Bazar chart Final Matka Satta Matta Matka 143 Kalyan Chart Satta fix Jodi Kalyan Final ank Matka Boss Satta 143 Matka 420 Golden Matka Final Satta Kalyan Penal Chart Dpboss 143 Guessing Kalyan Night Chart ➒➌➎➏➑➐➋➑➐➐ Dpboss Matka Guessing Satta Matka Kalyan panel Chart Indian Matka ...
➒➌➎➏➑➐➋➑➐➐ Dpboss Matka Guessing Satta Matka Kalyan panel Chart Indian Matka ...➒➌➎➏➑➐➋➑➐➐Dpboss Matka Guessing Satta Matka Kalyan Chart Indian Matka
KALYAN MATKA | MATKA RESULT | KALYAN MATKA TIPS | SATTA MATKA | MATKA.COM | MATKA PANA JODI TODAY | BATTA SATKA | MATKA PATTI JODI NUMBER | MATKA RESULTS | MATKA CHART | MATKA JODI | SATTA COM | FULL RATE GAME | MATKA GAME | MATKA WAPKA | ALL MATKA RESULT LIVE ONLINE | MATKA RESULT | KALYAN MATKA RESULT | DPBOSS MATKA 143 | MAIN MATKAMore Related Content
More from University of Dhaka
FLT 301 lecture 03 aspects of media work that may require make-up
This document discusses different aspects of media work that may require makeup and wardrobe facilities, including feature films, television production, advertising, photography, and theater. It notes some key differences in makeup requirements between television and film production. Television makeup is often simpler while film makeup may require more intensity. Theater traditionally does not employ dedicated makeup staff but more productions now require special costume and makeup design. Photography related to portraits, advertising, catalogs, and fashion shows also commonly utilizes makeup artists.
FLT 301 Lecture 02 why have make-up, hair and costume staff
The document discusses the textbook for the course FLT 301 Costume & Makeup. It summarizes the key reasons for having makeup, hair, and costume staff on film and television productions. Makeup artists apply makeup to make corrections due to lighting effects, balance skin tones, and create character makeup. Costume staff advise on clothing adjustments for lighting, provide costumes for production needs, create character and period costumes, and provide sufficient clothing for long productions and stunt doubles.
FLT 301 lecture 04 job opportunities
The document discusses job opportunities in the makeup, hair, costume, and wig departments for film and television. It defines the roles of makeup artist, makeup assistant, makeup designer, hairstylist, assistant hairdresser, head of department, costume assistant, costume supervisor, costume designer, wig fitter, wigmaker, and wig dresser. The roles vary based on level of experience and responsibilities within each department.
FLT 301_Lecture 01_Books,Films
This document outlines the lecture notes for the course FLT 301: Costume & Makeup. It lists the required textbooks which cover topics like makeup, hair, costumes for film and television. It also provides details of award-winning costumes and makeup in films from various award ceremonies like the Academy Awards, Filmfare Awards, IIFA Awards, and Bangladesh National Film Awards. The lecture notes provide references to textbooks and award-winning films to help students learn about costume and makeup design for films.
FLT 214 06.the process of music in film
The process of creating film music involves collaboration between many roles such as the composer, music editor, sound engineers, director, and producer. The composer typically works from the final edited film and a "spotting session" is held to discuss the nature and placement of music cues. Temporary "temp" music may be added initially to help picture editing. The music editor takes notes and creates cue sheets to guide the composer, who then composes the score cue by cue. The music is recorded, edited, and mixed with other audio before the final print. While the score is the entire musical recording, the soundtrack highlights significant cues chosen by the composer.
FLT 214 05.a word about leitmotif
This document discusses the use of leitmotifs in film scoring. It begins by defining leitmotifs as musical themes or ideas associated with people, places, objects, or concepts within a film. Leitmotifs provide continuity, familiarity, and help clarify a film's narrative. The document then explores how leitmotifs operate as a semiotic system and discusses Richard Wagner as pioneering their use in opera. It provides examples of how leitmotifs can be used mono-thematically or in composite scores incorporating pop songs. The document stresses the importance of integrating music appropriately with the visuals and story of a film.
FLT 214 04.audio sound pickup
This document discusses different types of microphones and how they work. It covers dynamics microphones, condenser microphones, and ribbon microphones. It describes different polar patterns like omnidirectional, unidirectional, and cardioid. It discusses operational characteristics of mobile microphones like lavaliere and stationary microphones like desk and hanging microphones. It also covers how microphones work in terms of impedance, frequency response, balanced and unbalanced microphones, cables, and audio connectors.
FLT 214 03.dimensions of sound
The document discusses key dimensions of film sound including rhythm, fidelity, space, time, and the distinction between diegetic and nondiegetic sound. It addresses topics such as synchronous versus asynchronous sound, simultaneous versus non-simultaneous sound, external versus internal diegetic sound, and how filmmakers can manipulate sound to impact the narrative, emotion, and perspective of a scene. Examples are provided to illustrate concepts like dialogue overlap in editing and using non-linear sound to represent events occurring at different times than what is shown on screen.
FLT 214 02.sound in the cinema (8th chapter)
This document discusses the perceptual properties of sound that are important for film, including loudness, pitch, and timbre. Loudness refers to the volume or amplitude of vibrations, with louder sounds perceived as closer. Pitch is the highness or lowness of a sound which can distinguish objects and serve specific purposes. Timbre is the harmonic components or "color" of a sound, such as a voice or instrument being described as nasal or mellow. These properties shape the experience of a film's sound track and how it directs attention and interprets visual elements.
FLT 214 01.roles of music in film
The document discusses the many roles that music plays in films. It identifies three main roles of film music: identification, mood, and commentary. It then examines eight specific roles that musical cues can serve: 1) establishing time, place and ethnic implications, 2) establishing tone or mood, 3) revealing psychological states of mind, 4) revealing unseen or impending drama, 5) providing source music, 6) providing transitions, 7) providing intros or outros, and 8) supplying musical sound effects. Examples are provided for each role to illustrate how music can support the story and visuals in a film.
Color correction
The document discusses color correction techniques in lighting and stage design. It describes how lighting designers manipulate color through various methods, including colored lighting gels, dichroic filters, gelstrings, and automated color changers. These color correction tools allow designers to modify the perceived color of surfaces and create desired moods through lighting effects. The document also discusses how colored filters, diffusers, and roundels are used to spread, soften, and mix light for stage and photography applications.
Lighting basics 01
The document discusses the fundamentals and goals of good lighting in filmmaking. It notes that there is no single correct way to light a scene, but some goals of good lighting include creating images with a full tonal range, color control and balance, shape and dimension of subjects, separation of subjects from the background, depth, texture, and conveying mood. Proper lighting is important for revealing details, shaping subjects, and separating elements to make scenes more three-dimensional and visually engaging.
Film noir lighting_03
Film noir was a genre of American crime films popular in the 1940s and 1950s that were typically shot in black and white. Originating in Europe after WWII, film noir featured dark themes of moral ambiguity and uncertainty reflected the postwar era. Key characteristics included low-key lighting that created high-contrast shadows, location filming at night in urban settings, and protagonists torn between good and evil. Technical innovations during WWII like improved film stocks and mobile cameras enabled this dark, shadowy visual style that conveyed the mystery and danger of city life after dark.
Visual storytelling 02
The document discusses the Greek myth of Adonis and Aphrodite. It provides links to two YouTube videos that summarize parts of the myth, including Adonis and Aphrodite's relationship and Adonis's time spent in the underworld. It also lists the director and cinematographer for the 1984 film The Natural.
FLT211_Visual storytelling 01
This document discusses visual metaphor in filmmaking and provides examples from several famous directors. It analyzes Caravaggio's painting "The Calling of Saint Matthew" as an example of using visual elements to tell a story without words or subtitles. The painting employs symbolism and lighting to convey meaning and the divine presence. It also briefly introduces the Baroque period of art and mentions Caravaggio and Rubens as important Baroque artists.
Lecture 12 exploring international print media 02
The document provides information on 10 major international newspapers from different countries. It includes brief descriptions of each newspaper including when it was founded, its format, ownership, circulation numbers, and other key details. The newspapers summarized are The Washington Post (USA), China Daily (China), The Times of India (India), The Sydney Morning Herald (Australia), The Asahi Shimbun (Japan), Dawn (Pakistan), Zaman (Turkey).
Lecture 12 exploring international print media 01
The document summarizes information about three top international newspapers:
1. The Guardian (UK), founded in 1821 by non-conformist businessmen and formerly known as The Manchester Guardian. It currently has a female editor-in-chief.
2. The Wall Street Journal (USA), founded in 1882 and focused on business and economic news.
3. The New York Times (USA), launched in 1851 with the motto "All the News That’s Fit to Print" and committed to quality news around the world.
Lecture 11 exploring national print media
The document provides information on the top 10 newspapers in Bangladesh by exploring their profiles. It discusses the founding date, editors, publishers, circulation numbers, and ownership for newspapers like The Daily Prothom Alo, The Daily Kaler Kontho, The Daily Star, The Daily Bangladesh Pratidin, The Daily Jugantor, The Daily Janakantha, The Daily Ittefaq, The New Age, The Daily Samakal, and The Daily Naya Diganta. Key details are given for each newspaper in bullet points with images of some editors and publishers.
Lecture 09 explring international electronic media 02
MSNBC is an American cable news channel owned by NBCUniversal, a subsidiary of Comcast. It was launched in 1996 and is headquartered in New York City. MSNBC provides news coverage and political commentary with a progressive perspective.
Al Arabiya is a Saudi-owned pan-Arab television news channel based in Dubai. Launched in 2003, it is owned by Middle East Broadcasting Center and broadcasts in Arabic across the Middle East and North Africa. The channel aims to provide balanced coverage of financial, political and social issues in the region.
Al Jazeera is a Qatari state-owned news channel headquartered in Doha, Qatar. Launched in 1996, it has gained widespread
More from University of Dhaka (20)
FLT 301 lecture 03 aspects of media work that may require make-up
FLT 301 lecture 03 aspects of media work that may require make-up
FLT 301 Lecture 02 why have make-up, hair and costume staff
FLT 301 Lecture 02 why have make-up, hair and costume staff
Lecture 09 explring international electronic media 02
Lecture 09 explring international electronic media 02
Recently uploaded
❼❷⓿❺❻❷❽❷❼❽ Dpboss Kalyan Satta Matka Guessing Matka Result Main Bazar chart
❼❷⓿❺❻❷❽❷❼❽ Dpboss Kalyan Satta Matka Guessing Matka Result Main Bazar chart❼❷⓿❺❻❷❽❷❼❽ Dpboss Kalyan Satta Matka Guessing Matka Result Main Bazar chart
❼❷⓿❺❻❷❽❷❼❽ Dpboss Kalyan Satta Matka Guessing Matka Result Main Bazar chart Final Matka Satta Matta Matka 143 Kalyan Chart Satta fix Jodi Kalyan Final ank Matka Boss Satta 143 Matka 420 Golden Matka Final Satta Kalyan Penal Chart Dpboss 143 Guessing Kalyan Night Chart ➒➌➎➏➑➐➋➑➐➐ Dpboss Matka Guessing Satta Matka Kalyan panel Chart Indian Matka ...
➒➌➎➏➑➐➋➑➐➐ Dpboss Matka Guessing Satta Matka Kalyan panel Chart Indian Matka ...➒➌➎➏➑➐➋➑➐➐Dpboss Matka Guessing Satta Matka Kalyan Chart Indian Matka
KALYAN MATKA | MATKA RESULT | KALYAN MATKA TIPS | SATTA MATKA | MATKA.COM | MATKA PANA JODI TODAY | BATTA SATKA | MATKA PATTI JODI NUMBER | MATKA RESULTS | MATKA CHART | MATKA JODI | SATTA COM | FULL RATE GAME | MATKA GAME | MATKA WAPKA | ALL MATKA RESULT LIVE ONLINE | MATKA RESULT | KALYAN MATKA RESULT | DPBOSS MATKA 143 | MAIN MATKAHeart Touching Romantic Love Shayari In English with Images
Explore our beautiful collection of Romantic Love Shayari in English to express your love. These heartfelt shayaris are perfect for sharing with your loved one. Get the best words to show your love and care.
Tanjore Painting: Rich Heritage and Intricate Craftsmanship | Cottage9
Explore the exquisite art of Tanjore Painting, known for its vibrant colors, gold foil work, and traditional themes. Discover its cultural significance today!
Ealing London Independent Photography meeting - June 2024
Photographs from trip to American Deep South
➒➌➎➏➑➐➋➑➐➐ Kalyan Matka Satta Matka Dpboss Matka Guessing Indian Matka
➒➌➎➏➑➐➋➑➐➐ Kalyan Matka Satta Matka Dpboss Matka Guessing Indian Matka➒➌➎➏➑➐➋➑➐➐Dpboss Matka Guessing Satta Matka Kalyan Chart Indian Matka
➒➌➎➏➑➐➋➑➐➐KALYAN MATKA | MATKA RESULT | KALYAN MATKA TIPS | SATTA MATKA | MATKA.COM | MATKA PANA JODI TODAY | BATTA SATKA | MATKA PATTI JODI NUMBER | MATKA RESULTS | MATKA CHART | MATKA JODI | SATTA COM | FULL RATE GAME | MATKA GAME | MATKA WAPKA | ALL MATKA RESULT LIVE ONLINE | MATKA RESULT | KALYAN MATKA RESULT | DPBOSS MATKA 143 | MAIN MATKA哪里购买美国乔治城大学毕业证硕士学位证书原版一模一样
原版一模一样【微信：741003700 】【美国乔治城大学毕业证硕士学位证书】【微信：741003700 】学位证，留信认证（真实可查，永久存档）offer、雅思、外壳等材料/诚信可靠,可直接看成品样本，帮您解决无法毕业带来的各种难题！外壳，原版制作，诚信可靠，可直接看成品样本。行业标杆！精益求精，诚心合作，真诚制作！多年品质 ,按需精细制作，24小时接单,全套进口原装设备。十五年致力于帮助留学生解决难题，包您满意。
本公司拥有海外各大学样板无数，能完美还原海外各大学 Bachelor Diploma degree, Master Degree Diploma
1:1完美还原海外各大学毕业材料上的工艺：水印，阴影底纹，钢印LOGO烫金烫银，LOGO烫金烫银复合重叠。文字图案浮雕、激光镭射、紫外荧光、温感、复印防伪等防伪工艺。材料咨询办理、认证咨询办理请加学历顾问Q/微741003700
留信网认证的作用:
1:该专业认证可证明留学生真实身份
2:同时对留学生所学专业登记给予评定
3:国家专业人才认证中心颁发入库证书
4:这个认证书并且可以归档倒地方
5:凡事获得留信网入网的信息将会逐步更新到个人身份内，将在公安局网内查询个人身份证信息后，同步读取人才网入库信息
6:个人职称评审加20分
7:个人信誉贷款加10分
8:在国家人才网主办的国家网络招聘大会中纳入资料，供国家高端企业选择人才
Dpboss Matka Guessing Satta Matta Matka Kalyan panel Chart Indian Matka Dpbos...
Dpboss Matka Guessing Satta Matta Matka Kalyan panel Chart Indian Matka Dpbos...➒➌➎➏➑➐➋➑➐➐Dpboss Matka Guessing Satta Matka Kalyan Chart Indian Matka
Sattamatka.satta.matka.satta matka.kalyan weekly chart.kalyan chart.kalyan jodi chart.kalyan penal chart.kalyan today.kalyan open.fix satta.fix fix fix Satta matka nambar➒➌➎➏➑➐➋➑➐➐ Dpboss Matka Guessing Satta Matka Kalyan panel Chart Indian Matka ...
➒➌➎➏➑➐➋➑➐➐ Dpboss Matka Guessing Satta Matka Kalyan panel Chart Indian Matka ...➒➌➎➏➑➐➋➑➐➐Dpboss Matka Guessing Satta Matka Kalyan Chart Indian Matka
KALYAN MATKA | MATKA RESULT | KALYAN MATKA TIPS | SATTA MATKA | MATKA.COM | MATKA PANA JODI TODAY | BATTA SATKA | MATKA PATTI JODI NUMBER | MATKA RESULTS | MATKA CHART | MATKA JODI | SATTA COM | FULL RATE GAME | MATKA GAME | MATKA WAPKA | ALL MATKA RESULT LIVE ONLINE | MATKA RESULT | KALYAN MATKA RESULT | DPBOSS MATKA 143 | MAIN MATKAARNAUVALERY RECORD STORE SCAVENGER HUNT.
This is my presentation for the Record Store Scavenger Hunt.
➒➌➎➏➑➐➋➑➐➐ Dpboss Satta Matka Matka Guessing Kalyan Chart Indian Matka Satta ...
➒➌➎➏➑➐➋➑➐➐ Dpboss Satta Matka Matka Guessing Kalyan Chart Indian Matka Satta ...➒➌➎➏➑➐➋➑➐➐Dpboss Matka Guessing Satta Matka Kalyan Chart Indian Matka
➒➌➎➏➑➐➋➑➐➐ Dpboss Satta Matta Matka Kalyan Chart Indian Matka Dpboss Matka Kalyan panel Chart Matka Guessing Satta Matka ➒➌➎➏➑➐➋➑➐➐ Kalyan Matka Satta Matka Dpboss Matka Guessing Indian Matka
➒➌➎➏➑➐➋➑➐➐ Kalyan Matka Satta Matka Dpboss Matka Guessing Indian Matka➒➌➎➏➑➐➋➑➐➐Dpboss Matka Guessing Satta Matka Kalyan Chart Indian Matka
➒➌➎➏➑➐➋➑➐➐ Kalyan Matka Satta Matka Dpboss Matka Guessing Indian Matka哪里购买(ucr毕业证书)美国加州大学河滨分校毕业证研究生文凭证书原版一模一样
原版定制【微信:bwp0011】《(ucr毕业证书)美国加州大学河滨分校毕业证研究生文凭证书》【微信:bwp0011】成绩单 、雅思、外壳、留信学历认证永久存档查询，采用学校原版纸张、特殊工艺完全按照原版一比一制作（包括：隐形水印，阴影底纹，钢印LOGO烫金烫银，LOGO烫金烫银复合重叠，文字图案浮雕，激光镭射，紫外荧光，温感，复印防伪）行业标杆！精益求精，诚心合作，真诚制作！多年品质 ,按需精细制作，24小时接单,全套进口原装设备，十五年致力于帮助留学生解决难题，业务范围有加拿大、英国、澳洲、韩国、美国、新加坡，新西兰等学历材料，包您满意。
【业务选择办理准则】
一、工作未确定，回国需先给父母、亲戚朋友看下文凭的情况，办理一份就读学校的毕业证【微信bwp0011】文凭即可
二、回国进私企、外企、自己做生意的情况，这些单位是不查询毕业证真伪的，而且国内没有渠道去查询国外文凭的真假，也不需要提供真实教育部认证。鉴于此，办理一份毕业证【微信bwp0011】即可
三、进国企，银行，事业单位，考公务员等等，这些单位是必需要提供真实教育部认证的，办理教育部认证所需资料众多且烦琐，所有材料您都必须提供原件，我们凭借丰富的经验，快捷的绿色通道帮您快速整合材料，让您少走弯路。
留信网认证的作用:
1:该专业认证可证明留学生真实身份
2:同时对留学生所学专业登记给予评定
3:国家专业人才认证中心颁发入库证书
4:这个认证书并且可以归档倒地方
5:凡事获得留信网入网的信息将会逐步更新到个人身份内，将在公安局网内查询个人身份证信息后，同步读取人才网入库信息
6:个人职称评审加20分
7:个人信誉贷款加10分
8:在国家人才网主办的国家网络招聘大会中纳入资料，供国家高端企业选择人才
【关于价格问题（保证一手价格）】
我们所定的价格是非常合理的，而且我们现在做得单子大多数都是代理和回头客户介绍的所以一般现在有新的单子 我给客户的都是第一手的代理价格，因为我想坦诚对待大家 不想跟大家在价格方面浪费时间
对于老客户或者被老客户介绍过来的朋友，我们都会适当给一些优惠。
Recently uploaded (20)
❼❷⓿❺❻❷❽❷❼❽ Dpboss Kalyan Satta Matka Guessing Matka Result Main Bazar chart
❼❷⓿❺❻❷❽❷❼❽ Dpboss Kalyan Satta Matka Guessing Matka Result Main Bazar chart
➒➌➎➏➑➐➋➑➐➐ Dpboss Matka Guessing Satta Matka Kalyan panel Chart Indian Matka ...
➒➌➎➏➑➐➋➑➐➐ Dpboss Matka Guessing Satta Matka Kalyan panel Chart Indian Matka ...
Heart Touching Romantic Love Shayari In English with Images
Heart Touching Romantic Love Shayari In English with Images
Tanjore Painting: Rich Heritage and Intricate Craftsmanship | Cottage9
Tanjore Painting: Rich Heritage and Intricate Craftsmanship | Cottage9
Ealing London Independent Photography meeting - June 2024
Ealing London Independent Photography meeting - June 2024
➒➌➎➏➑➐➋➑➐➐ Kalyan Matka Satta Matka Dpboss Matka Guessing Indian Matka
➒➌➎➏➑➐➋➑➐➐ Kalyan Matka Satta Matka Dpboss Matka Guessing Indian Matka
Dpboss Matka Guessing Satta Matta Matka Kalyan panel Chart Indian Matka Dpbos...
Dpboss Matka Guessing Satta Matta Matka Kalyan panel Chart Indian Matka Dpbos...
➒➌➎➏➑➐➋➑➐➐ Dpboss Matka Guessing Satta Matka Kalyan panel Chart Indian Matka ...
➒➌➎➏➑➐➋➑➐➐ Dpboss Matka Guessing Satta Matka Kalyan panel Chart Indian Matka ...
storyboard: Victor and Verlin discussing about top hat
storyboard: Victor and Verlin discussing about top hat
➒➌➎➏➑➐➋➑➐➐ Dpboss Satta Matka Matka Guessing Kalyan Chart Indian Matka Satta ...
➒➌➎➏➑➐➋➑➐➐ Dpboss Satta Matka Matka Guessing Kalyan Chart Indian Matka Satta ...
➒➌➎➏➑➐➋➑➐➐ Kalyan Matka Satta Matka Dpboss Matka Guessing Indian Matka
➒➌➎➏➑➐➋➑➐➐ Kalyan Matka Satta Matka Dpboss Matka Guessing Indian Matka
Color and more 02
- 1. Shaolin Shaon Source: SCENE DESIGN AND STAGE LIGHTING,TENTH EDITION R. CRAIG WOLF San Diego State University DICk BLOCk Carnegie Mellon University CREATING THE DESIGN:Color in the Design_02
- 2. 4/24/2020Art Direction 2The Language of Color
- 3. The Language of Color Additive vs. Subtractive Light.mp4.mp4 https://www.youtube.com/watch? v=Er7CM_RNFZ4 Color Theory Lesson - CMYK vs RGB.mp4 https://www.youtube.com/watch ?v=YtH9eXWuf3Y 4/24/2020FLT213:Art Direction 3
- 4. Color Sensation and Subjective Response Hue and Value Relationship https://www.youtube.com/watch?v=7T_pYOVMcGE Warm and Cool Relationship https://www.youtube.com/watch?v=LhtJ6Eeqm90 https://www.youtube.com/watch?v=_trxlHwGT8A 4/24/2020FLT213:Art Direction 4
- 5. Color Manipulation • Monochromic • Analogous • Complementary • Black and White The Color Scheme 4/24/2020FLT213:Art Direction 5
- 6. Color Manipulation The Color Scheme Kashmir Main Tu Kanyakumari Chennai Express Full Video Song _ Shahrukh Khan, Dee.mp4 https://www.youtube.com/watch?v=dodDteh- m3Q 4/24/2020FLT213:Art Direction 6
- 7. Color Manipulation The Color Scheme 4/24/2020FLT213:Art Direction 7 Rajvari Odhni_Kalangk.mp4.
- 8. Color Manipulation The Color Plot • The control of color within a composition • establishes the progression of colors from scene to scene and act to act. Tumhi Dekho Naa Full Video - KANK_Shahrukh Khan, Rani Mukherjee_Sonu Nigam, Alka.mp4 https://www.youtube.com/watch?v=DULDIS2qlCU 4/24/2020FLT213:Art Direction 8