This document covers basic points and approximate idea about how to establish an eCommerce store with its relevant issues including the pricing idea. It may vary according to your need and planning.
University Admission Test Prepration- General Knowledge- ভূ-প্রকৃতি, অর্থকরী ...Mehenaj Binte Amin
I prepared this slide to take a class on the mentioned topic in IDL BD as an Instructor of GK- Bangladesh Affairs. I think, this slides can be beneficial as short notes to get ready for exams at a glance.
Feel free to join the class at IDL BD to learn the tactics to remember these tables.
সোর্সিং সিদ্ধান্ত এবং থার্ড পার্টি সাপ্লাই চেইন ম্যানেজমেন্ট সেবা প্রদানকারী(...Muhammad Sayeed
This is a Bengali version article of the original article in English by same author .The Bengali version article is " সোর্সিং সিদ্ধান্ত এবং থার্ড পার্টি সাপ্লাই চেইন ম্যানেজমেন্ট সেবা প্রদানকারী". English version url is mentioned below:
schain24.blogspot.com/2013/07/sourcing-decisions-and-third-party.html
AN OPEN QUIZ FOR THE STUDENTS OF BOARD EXAMINE ES (CLASSES X & XII) / BERHAMPORE ZONE
DATE - APRIL 07, 2019
PLACE - BERHAMPORE J.N. ACADEMY, BERHAMPORE, MURSHIDABAD
QM - SASWATA CHAKRABORTY
This document covers basic points and approximate idea about how to establish an eCommerce store with its relevant issues including the pricing idea. It may vary according to your need and planning.
University Admission Test Prepration- General Knowledge- ভূ-প্রকৃতি, অর্থকরী ...Mehenaj Binte Amin
I prepared this slide to take a class on the mentioned topic in IDL BD as an Instructor of GK- Bangladesh Affairs. I think, this slides can be beneficial as short notes to get ready for exams at a glance.
Feel free to join the class at IDL BD to learn the tactics to remember these tables.
সোর্সিং সিদ্ধান্ত এবং থার্ড পার্টি সাপ্লাই চেইন ম্যানেজমেন্ট সেবা প্রদানকারী(...Muhammad Sayeed
This is a Bengali version article of the original article in English by same author .The Bengali version article is " সোর্সিং সিদ্ধান্ত এবং থার্ড পার্টি সাপ্লাই চেইন ম্যানেজমেন্ট সেবা প্রদানকারী". English version url is mentioned below:
schain24.blogspot.com/2013/07/sourcing-decisions-and-third-party.html
AN OPEN QUIZ FOR THE STUDENTS OF BOARD EXAMINE ES (CLASSES X & XII) / BERHAMPORE ZONE
DATE - APRIL 07, 2019
PLACE - BERHAMPORE J.N. ACADEMY, BERHAMPORE, MURSHIDABAD
QM - SASWATA CHAKRABORTY
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.
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.
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.
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.
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.
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.
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-upUniversity of Dhaka
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 staffUniversity of Dhaka
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
2. গ্রন্থপঞ্জি
The History of The Copyright System: From Analogue To Digital To Commons, Document prepared by
the International Bureau of WIPO, dated October 29, 2009; Coppinger And Skone James, On
Copyright, Sweet and Maxwell, London, 1980; তম োতসু হ োজুঞ্জ , এঞ্জিযোন কঞ্জপরোইট যোন্ডবুক, এঞ্জিযো/পযোঞ্জসঞ্জিক কোলচোরোল
হসন্টোর ির ইউমনমকো ও কঞ্জপরোইট অঞ্জিস, ঢোকো, বোাংলোমেি, প্রথ বোাংলো সাংকরণ, হিব্রুযোঞ্জর ২০০৮।
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কপিরাইট আইন: আিপন পক লঙ্ঘন করছেন?সাছ়েদুল ইসলাম,পিপিপস িাাংলা, ঢাকা
https://www.bbc.com/bengali/news-48025160
আইন অপিকার, কপিরাইট পকছস ও কীভাছি
https://www.prothomalo.com/life-style/article/1081395
4/23/2020 FLT 402: TECHNICAL SCRIPT WRITING 2
18. Quasi-judicial
1
having a partly judicial character
by possession of the right to hold
hearings on and conduct
investigations into disputed claims
and alleged infractions of rules and
regulations and to make decisions in
the general manner of courts
2
essentially judicial in character
but not within the judicial
power or function especially as
constitutionally defined
4/23/2020 FLT 402: TECHNICAL SCRIPT WRITING 18