FYP

Short Film

Submitted to:
Sheharyar Zahid

Submitted by:

Muhmmad mustaqeem F2019077057

Ata ul Mustafa F2019077044
Zahid Shahzad F2019077066
Athar abbas awan F2019077063
Arqam Rasheed F2019077013
( 2019-2023 )

SCHOOL OF MEDIA & COMMUNICATION STUDIES

UNIVERSITY OF MANAGEMENT & TECHNOLOGY
 School of Media and Communication Studies (UMT) LHR
Date: 12/07/23

B.S Media and Communication Final Year Project Viva-Voce Examination of

(Muhmmad mustaqeem F2019077057 Ata ul Mustafa F2019077044 Zahid
Shahzad F2019077066 Athar abbas awan F2019077063 Arqam Rasheed
F2019077013 ) Of B.S Degree question answer session was held. The student
gave answers of the questions asked bythe internal and external examiners. On
the basis of his satisfactory Presentation and defense of the then, We declared
the candidate for the award of B.S degree in

--------------------------

Mr. Sheharyar Zahid

Supervisor

External examiner

--------------------------
Prof. Dr. Anjum Zia Dean
School of Media and Communication Studies, (UMT)
 Certificate of Approval

The thesis of been accepted by The School of Media and Communication Studies, University of
Management and Technology, Lahore in partial fulfillment of the requirements for degree of BS Media
and Communication

Mr. Sheharyar Zahid Supervisor

External Examiner

Prof. Dr. Anjum Zia Dean

School of Media and Communication Studies, (UMT) LHR
 ACKNOWLEDGMENT

I would like to extend my heartfelt gratitude to all those who have contributed to the successful
completion of my Final Year Project (FYP) in the Department of Media and Communication, specializing
in Film Studies.First and foremost, I express my deepest appreciation to my project supervisor, Mr.
Shehrayar Zahid. His expertise, guidance, and unwavering support have been pivotal in shaping the
direction and quality of my research. I am truly grateful for his valuable insights and patience throughout
this project.I would also like to thank the faculty members of the Department of Media and
Communication for their dedication to education and their commitment to fostering an environment of
intellectual growth. Their lectures, discussions, and feedback have significantly contributed to the
development of my research and critical thinking skills.Furthermore, I am indebted to my friends and
classmates for their support and encouragement. Their constructive feedback and engaging discussions
have played a crucial role in refining the ideas presented in this project.
I am also grateful to the participants who generously offered their time and insights during the research
process. Their contributions have greatly enriched the depth and breadth of this study.Lastly, I would like
to express my profound appreciation to my family for their unwavering love, encouragement, and belief
in my abilities. Their constant support and understanding have been my source of strength and
motivation throughout this academic journey.In conclusion, I am profoundly thankful to all those who
have played a part, big or small, in the completion of my Final Year Project. Each of you has made a
significant impact on my academic and personal growth. Your support and encouragement will always be
cherished.

Thank you all.

 Introduction
In a new home, Ali and Fatima are unpacking their belongings. As Ali hands Fatima a box, they discuss
their new surroundings. They stumble upon a mirror in the living room, realizing it doesn't belong to
them. Curiosity piqued, Fatima gazes at her reflection, only to be startled by Usman, a mischievous
acquaintance. Usman shares tales of the mirror's rumored effect on the previous owner, leading Fatima to
feel unsettled. As the story unfolds, Ali ventures into the jungle, compelled to investigate further. Ali's
encounter with the mirror leads to unforeseen consequences, intensifying the suspense and deepening the
couple's connection as they navigate the strange occurrences in their new home.

Objective

In this mysterious and suspenseful tale, "AKKS," Ali and Fatima move into a new home,
unawareof the strange occurrences awaiting them. As they unpack their belongings, they
discover a mirror with a haunting history. The mirror's influence on Fatima becomes increasingly
apparent, leading to unsettling experiences and raising questions about its true nature. Ali
embarks on a journey to unravel the secrets behind the mirror, while their relationship is tested
by the supernatural events. "Akks" explores themes of curiosity, fear, and the power of
reflection, taking the audience on a thrilling ride into a world where reality and illusion
intertwine.
 Title: AKKS

Format: Short film

Genre: psychological thriller

Duration: 12-13 Minutes

Target Audience: Adult, teens

PRODUCTION SHEET: AKKS

Synopsis:
AKKS is a gripping psychological thriller that follows the story of Ali and Fatima, a couple who
move into a new home, only to discover a mirror with a haunted past. As Fatima becomes
increasingly influenced by the mirror, strange and unsettling events start to unfold, challenging
their sanity and relationship. Ali embarks on a journey to uncover the mirror's secrets, leading to
a thrilling exploration of psychology, fear, and the blurred lines between reality and illusion.

Production Details:
Title: AKKS
Genre: Psychological Thriller
Target Audience: Adult, teens
Estimated Duration: 12 minutes

Production Needs:
1. Location: A house that serves as the main setting for the story.
2. Set Design: Requires a living room, bedroom, painting room, and outdoor jungle setting.
3. Props: Mirror, boxes, furniture, painting supplies, clothing items, and various practical objects.
4. Wardrobe: Costumes suitable for the characters and their emotional journey.
5. Makeup and Hair: Makeup artists and hairstylists to create desired looks.
6. Lighting and Grip: Equipment for achieving appropriate lighting and camera movements.
7. Sound Equipment: High-quality microphones, boom poles, and sound recording devices.
8. Post-production: Access to editing software, visual effects, and sound mixing facilities.
9. Music: Original score and licensed music for key scenes.
 BUDGET SHEET

Props budget
Petrol and transport 16000
Rehersal 1000
Food 12500
Lights 22000
Makeup 2500
Cells and batteries 2000
Canvas stand 1050
Coals 200
Mirror rent 5000
Parafine 300
RGB light 850
Comb 110
Flour and Vaseline 311
Celephene paper 275
Camera rent 6k per day
Mic 2k per day
Paintings rent 2000
TOTAL 80,150
 CHACRACTERISATION
CHACRA CHAA A PICTURES
CTER CTERI ge
NAME
SATIO
N

Ali (Lead Description: Ali is a caring and 24

Male) determined individual. He is
supportive of Fatima and
becomes the driving force in
unraveling the mysteries
surrounding the mirror. As the
story progresses, Ali's bravery
and determination are tested, and
he must confront his own fears to
protect Fatima.
Fatima Description: Fatima is a curious 23
(Lead and empathetic woman. Initially
Female) drawn to the mirror's allure, she
becomes increasingly affected by
its influence. As the story
unfolds, Fatima's emotions
fluctuate between fascination and
fear, making her journey one of
self-discovery and resilience.

Usman Description: Usman is a 25

(Supportin mischievous and unpredictable
g Male) character. He often injects humor
into tense situations but also adds
an element of mystery. Usman's
playful demeanor serves as a
contrasting foil to the dark events
surrounding the mirror
 Pre-Production Sheet

1. Script Development:
- Screenwriter finalizes the script.
- Script revisions and feedback from the director and producers.
- Script breakdown to identify key scenes, locations, and production requirements.

2. Budgeting and Financing:

- Determine the overall budget for the production.
- Seek financing through investors, production companies, or grants.
- Create a detailed budget breakdown, including production expenses and contingency funds.

3. Crew Hiring:
- Director selects key crew members, such as the cinematographer, production designer,
costume designer, sound designer, editor, and music composer.
- Conduct interviews and auditions for crew positions.
- Negotiate contracts and secure commitments from key crew members.

4. Casting:
- Casting director conducts auditions to select actors for each role.
- Hold casting sessions and callbacks.
- Finalize casting decisions and negotiate contracts with the selected actors.

5. Location Scouting and Permits:

- Identify suitable locations for the film, including the main house, painting room, bedroom,
and jungle setting.
- Obtain necessary permits and permissions for filming at chosen locations.
 - Conduct location visits and determine logistical requirements for each location.

6. Production Design:
- Production designer develops the visual style and overall look of the film.
- Create concept art, mood boards, and set designs.
- Coordinate with the art department to procure or construct necessary props, furniture, and set
pieces.

7. Costume and Makeup:

- Costume designer creates the wardrobe for each character based on their personalities and the
film's visual tone.
- Coordinate with the makeup and hair team to design and execute appropriate looks for the
characters.

8. Equipment and Technical Requirements:

- Determine the camera and lighting equipment needed for the production.
- Coordinate with the cinematographer and gaffer to procure necessary equipment.
- Ensure availability of sound recording equipment and post-production facilities.

9. Production Schedule:
- Develop a detailed shooting schedule based on locations, availability of actors, and crew.
- Allocate sufficient time for pre-production, principal photography, and post-production
phases.
- Plan for contingency days and allow for flexibility in the schedule.

10. Insurance and Legal Considerations:

- Obtain necessary production insurance coverage.
- Address legal requirements, including contracts, release forms, and intellectual property
rights.
11. Safety and Risk Management:
- Conduct risk assessments for all production activities.
- Implement safety protocols and procedures to ensure a safe working environment.
- Provide training on safety measures and emergency protocols to the cast and crew.

12. Production Meetings and Communication:

- Schedule regular production meetings with key crew members to discuss progress, updates,
and any concerns.
- Establish effective communication channels to ensure efficient information flow among the
team.

Note: The pre-production sheet serves as a general guideline and can be further customized
based on the specific requirements and needs of the production. It is essential to consult with
industry professionals and consider local regulations and industry standards during the pre-
production process.
 EQUIPMENT SHEET:

Camera and Accessories:

- Camera: SONY A6300
- Lenses: 35mm
- Tripods
Gimble Ronin SC

Lighting and Grip:

- Lighting Kits LED set ,
standardstudio lights
HMI 1.2
diffusers
- Light Stands
- Light Modifiers: Reflectors, Umbrellas, and Softboxes
- Color Filters

Sound Recording:
- Microphone: boya wireless m2, collar
Zoom device

Costumes and Makeup:

- Wardrobe: Local clothing stores and costume rental services
- Makeup Kits: Local makeup brands or international brands available in Pakistan
- Prosthetics and Special Effects: Local special effects suppliers or DIY techniques
- Wardrobe Racks: Portable Clothing Racks from local home stores
Post-Production:
- editing software: adobe liner pro
- Visual Effects: Adobe After Effects or Blender
- Color Grading: adobe
- Sound Editing and Mixing: Adobe Audition
 COLOR PALETTE

1. Tan: Use a warm, earthy tan shade as a primary color to create a sense of groundedness and
stability. It can be used for key elements such as walls, furniture, or prominent props.

2. White: Incorporate crisp white tones to represent purity and innocence. White can be used for
clean, minimalistic spaces, emphasizing the stark contrast between light and dark.

3. Black: Utilize deep black to convey mystery, darkness, and suspense. It can be employed for
shadows, darker corners, or to create a sense of depth and tension.

4. Grey: Utilize various shades of grey, ranging from light to dark, to add depth and nuance to
the color palette. Grey can be used for backgrounds, textures, or elements that bridge the gap
between black and white.

5. Pink: Introduce a subtle touch of pink to evoke a sense of femininity, vulnerability, or

psychological turmoil. It can be used sparingly for delicate details, soft lighting, or symbolic
objects.

Combining these colors, the overall color palette for "AKKS" will have a harmonious blend of
warm earth tones, contrasting with the starkness of black and white, while incorporating subtle
touches of pink for emotional impact and depth.
 PROPS SHEET:

 Mirror
 Distorted Paintings
 Memento Box.
 books
 Vintage Furniture.
 Painter's Easel and Brushes
 Personal Belongings.
 PRODUCTION SCHEDULE:

 Idea Generation : 25th March, 2023.

 Research work: 17th April, 2023.

 Concept paper development: 20th april 2023.

 Production booklet: 19th May, 2023.

 Final Script: in progress

 Recce of the Location: 113-May-2023

 Shooting: 30TH,31ST (May)

 Preview of the footage: 11th June, 2023

 Post production: 14th June, 2023.

 1st preview: 19th June, 2023.

 Submission: 21th June, 2023.

 Submission of project: 23th June, 2023

Shooting schedule:

DAY 1

 12pm: Team Gathering.

 1 pm : Characters arrival.

 2:pm : Set Arrangement/ Character’s Makeup.

 3:pm : Starting the shoot.

 5 am Ending
DAY 2

 12pm: Team Gathering.

 1 pm : Characters arrival.

 1 30 :pm : Set Arrangement/ Character’s Makeup.

 2 pm : Starting the shoot.

 2 am Ending

Reece report:

Reece date:10-May-2023

Topic:akks

Producer: Zahid shahzad

Location:Lahore

Continuity Sheet/Preview Visual Logging:

● Mid Shot
● Long shots
● Close up shots
● Cinematic shots
● Over the shoulder Shot
● Extreme close up shot
Research Material:

MOvies

ThE Others

Black Swan

Production Problems:

● Budget
● Time
● Schedule
● Weather
● Ending credits

● Thanks to SMCS

● Dean: Dr. Anjum Zia (SMCS UMT)

● • Supervisor: shehrayar Zahid

● • Director: Athar abbas awan

● • Producer: Muhmmad mustaqeem Ata ul Mustafa Zahid Shahzad Athar abbas awan Arqam
Rasheed

● • Research Work: Ata ul Mustafa

● • Script writers: Ata ul Mustafa

● • DOP: Muhmmad mustaqeem

● • Post Production: Muhmmad mustaqeem Zahid Shahzad

● Production manger , Zahid Shahzad

● • Location selections: Zahid Shahzad

● • Audio Man: arqam Rasheed

● • Assistant Crew: duaa zehra amina

● • Transportation : Private Car (muhmmad mustaqeem )

● • Production coordinator: Muhmmad mustaqeem Ata ul Mustafa Zahid Shahzad Athar abbas
awan A

● • Production Facilities: Muhmmad mustaqeem Ata ul Mustafa Zahid Shahzad Athar abbas
awan

● Make up artist Dua zehra

● Prosthetic makeup dua zehraa

● Editing arqam Rasheed

● • Produced for: University of Management and Technology, Lahore.
5/24/23, 12:51 AM Celtx - Script

FADE IN INT.NEW HOME - DAY

Ali aur fatima –apne naye ghar mein apna samaan khol rahay
hain. Ali aik box pakar kar fatima ka paas araha hai

ALI
yeh lo tumahra box .

FATIMA
oh haan mein usko hai dhoond rahi thi.
lao usko mein hamaraykamray mein rakh
deti ho. tum baqi samaan le karao. .

Ali samaan le kar aata hai. fatima sofay par lagey aaiine ki
taraf ishara karte hue .Ali yeh aaina hamara to nahi hai .

Ali

nahi, yeh hamara nahi hai. shayad

pehlay jo yahan rehtay thay yeh unkaa
reh gaya hai .

fatima aaiine mein khud ko dekhatii hai. apne baloon mein hath
pairhny lagti hai, aur is mein magan ho jati hai.achanak usmaan
namodaar hota hai aur fatima ko darata hai .

fatima( ghusse se )

usmaan mujhe aisay mat daraoo !

Ali( usmaan ko )

yaar to phir shuru hogaya .

2.

FATIMA( USMAAN KO )
yeh to hai hai duffer .

USMAAN( FATIMA KO )
arrey yaar mein to mazaaq kar raha tha

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5/24/23, 12:51 AM Celtx - Script

ALI( USMAAN KO )
arrey chhor yeh dekh lagta hai purana
maalik hamaray liye koi tohfa chhor
gaya. .

USMAN
aaiine mein ghhor se dekhnay ke baad

USMAAN
is aaiine ke baray mein bohat si
kahaniyan hain .

FATIMA ( HERAT MEIN )

kahaniyan what do you mean ?

USMAAN
mein ne suna hai ke is ne is ghar ke
puranay maalik ko pagal kar diya tha
aur is waqt wo pagal khanaay mein hai .

usmaan ki baat sun kar fatima ghabra gayi .

ALI( USMAAN KO )
yaar to phir se darana shuru ho gaya
3.

USMAAN
just kidding

ALI( USMAAN KO )
chal aja unn packing mein meri help
karwa .

dono pack kholtey hain aur fatima aaiine ki taraf dekhne lag
jaati hai. . .

CUT

SCENE 2 INT.BEDROOM-NIGHT

fatima aik aawaz se bedaar hui aur usay pyaas lagi. woh pani
peenay ke liye jati hai aur usay kisi ki aawaz sunai deti hai.
woh aaiine ke paas jati hai aur apni khoubsurti ki tareef

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5/24/23, 12:51 AM Celtx - Script

karte hue khud ko dekhatii hai .achanak aske baal haawa se

utartay hain. wo peechay murr kar dekhatii hai to koi nahi
hota. phir sheeshay mein dekhnay laga jati hai. koi aske
kandhay par haath rakhtaa hai. fatima cheekh marti hai

ALI
fatima yeh mein hon.tum yahan par kya
kar rahi ho. ... .

FATIMA( SUKOON )
aayi thought. .. .. .. .. .. .. .. ..
.. nahi nahi kuch nahi chalo sotay hain
.

woh wapas so jatay hain.hug karte hain

4.

CUT

SCENE 3 INT.LIVINGROOM -MORNING

Ali wash room se bahar aata hai aur fatima ko chala kar puchta
hai ke is ki shirt kahan hai. woh apni jali hui kameez ko istri
ke stand par daikhta hai aur fatima ko dhoondata hai fatima
aaiine ke samnay –apne baal sanwaar rahi hoti hai Ali fatima se
puchta hai ke kya ?

ALI( DHEEMAY GHUSSE MEIN )

fatima tumhe pehli difaa koi kaam kha
hai. aur dekho tum nemeri shirt jala
di.

FATIMA( HERAT SE )
oh shit, mein bhool gayi. mein tumhare
liye aik nai shirt istri kar deti hai .

ALI( GHUSSE MEIN )

nahi ab rehne do. .. .. . .

darwazay par dastak hoti hai aur Ali ne fatima se poocha key
kon hai? dekho zara

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FATIMA. .( USMAAN SE )
tum phir aagaye

USMAN( FATIMA KO )
aaiine ne tumhe ko abhi tak pagal nahi
kya? hahaha

ALI
arrey tum. .

5.

CUT

SCENE 4 INT. PAINTING ROOM - DAY

ALI AUR USMAAN ALI KE PAINTING ROOM MEIN JATAY HAIN.

ALIPAINTING SHURU KAR DETA HAI USMAAN ALI KO PUCHTA HAI AUR
SAB ACHA JA RAHA HAI

ALI( USMAAN KO )
waisay to sab kuch theek ho hai lekin
mujhe lagta hai fatima ne tairay mazaaq
ko ziyada serious le liya hai. har waqt
hi sheeshay ke samnay khari rehti hai .

USMAN
aaiine hi problem hai to mujhe day
day. . mein laa jata ho iss mein
pareshan honay wali kya baat hai

ALI
mujhe lagta hai to mujh aur museebat
mein daaley ga fatima ko pasand hai
sheesha .

usmaan hahahha mein zara pani pi kar aaya. . .

6.

USMAAN NEECHAY AATA HAI AUR AAINA CHORI KARNE KE BARAY

MEINSOCHTA HAI, USMAAN AAIINE KO UTRNEY KE KOSHISH KARTA HAI
LEKIN FATIMA NE USAYPAKAR LIYA AUR ZABANI LARAI BARH JATI HAI .

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FATIMA
tum yeh kya kere rahay hain .

USMAAN
mein to waisay hi check kar raha tha

FATIMA( GHUSSE MEIN )

mujhe pata hai tum kya karne ki
koshish kar rahay ho. .

USMAAN
tum mujhe chor samjhti hon. . .

FATIMA tum
ho hai cheepoo

USMAAN
agar aisa hai to aj mein yeh sath hai
le kar jao ga. .

fatima agay barhti hai aur dono mein chenna jhpti shuru
hojati hai

CUT.

SCENE 5 INT PINTING ROOM -DAY

Ali painting kar raha hai. Ali ko feel hota hai usmaan abhitak
neechay se nahi aaya. Ali usmaan ko? baar aawaz deta hai. Ali
neechay aatahai. usmaan ko dhoonda hai lekin koi neechay nahi
hota

CUT
7.

SCENE 6 INT LIVINGROOM- DAY

ali seeshy ko daikhta hai sheesha tircha hota hai ali

sheeshay ko seedha karta hai aur sheeshay mein gum hojata
hai. peechay se fatima aati hai. .

FATIMA( MUKHATIB KARTE HUE )

Ali . .. .. .. .. . .

Ali peechay murta hai .

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FATIMA
kaha khoye hue ho. . kya ho gaya hai

ALI
nahi kuch nahi usmaan kaha hai? dekha
tum ne

FATIMA
shayad jaldi mein tha abhi nikla hai. .

ALI ( PARESHANI MEIN )

acha mein usay cal kar laita ho. .

Ali yeh kh kar jane lagta hai

8.

FATIMA
Ali mujhe aisa kyun lag raha hai ke
tum mujhe ignore kar rahay ho .

ALI
nahi aisa kuch nahi hai tum ziyada
soch rahi ho .

FATIMA( GHUSSE MEIN )

Ali mein koi bachi nahi ho. jo. tum
mujhe ignoor kar rahayho. mujhe samajh
nahi aata kya. at least mujhe batao to
si.hwa kya hai .

ALI( DHEEMAY GHUSSE MEIN )

fatima tum kya chahti ho. kya batao
mein tumhe. hum baat karte bhi hain.
jab se iss ghar mein shift hue hain.
tum pata nahi kahan gum ho. mein ne
socha tha hum sath rahay ge to." we
will be more happier.par hamari to
baat hi mushkil se hoti hai .

FATIMA
tum yeh sab soch rahay thay. mujhe
andaza nahi tha. aur tum yeh kh rahay
ho ke mein ziyada soch rahi ho .

ALI( GHUSSE MEIN )

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5/24/23, 12:51 AM Celtx - Script

ab yeh bhi meri ghalti hai." lets just

nat talk about at"

FATIMA
aisay behas karne se koi hal nahi niklay
ga. tumhe pata hai nah mein tum se kitna
pyar karti ho .

ALI
i know . and i hope ke sab theek ho
jaye ga. .
9.

dono gilaay mlitay hain. aur aik dosray ka haath pakar tehain
to to fatima Ali se sawal karta hai. . .

FATIMA
are v ok now. . .

ALI
haan, ,, ,, yeh kaisay phataa. .

FATIMA
kuch nahi kaam karte hue phatt gaya. . .

Ali abhi bhi soch raha hai. jabkay fatima ko lag raha haisab
theek ho gaya hai. .. .

CUT

SCENE 7 INT BEDROOM. NIGHT

Ali bedroom sa uthtaa ha

CUT

SCENE 8 INT.LIVINGROOM-NIGHT

ali uth kar sheeshay ke samnay khara hota hai. feeling like
sheesha is se baat kar raha hai. yakdam aske kandhay par
haath aata hai parpechay koi nahi hota. .usko lagta hai yeh
sheesha hi masla hai. woh sheesha uthata hai aur khta ha

ALI(INNER SELF)
aaj to mein isko toar hi do ga

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5/24/23, 12:51 AM Celtx - Script

ya kehta shwa bahar nikal jata hai

10.

CUT

SCENE 9 EXT.JUNGLE - NIGHT

Ali ghar se bahar veraney ilaqay mein chalta sun-hwa ja

rahahai .

CUT

SCENE 10 BEDROOM-NIGHT

fatima achanak bedaar hoti hai. seerioon se neechay aati hai

aur dekhatii hai nah Ali hai nah seesha

CUT

. .

SCENE 11 EXT JUNGLE-NIGHT

Ali taizi se jungle mein chalta hai. achanak kisi cheez se

takraaa kar girta hai. jo ke usmaan ki laash hoti hai. ..
herat se laash ki taraf daikhta hai. . aur usmaan ke haath
mein fatima ki kameez ka phataa -hwa tukda pata hai. . aur
ghusse mein sheeshay ko tornay ki koshish karta hai. .sheeshay
mein peechay fatima nazar aati hai. woh jaisay hai murta hai
peechay se fatima aik pathar zor se aske sir par marti hai. .
aur woh neechay gir jatahai. .. aur zor zor se pathar se aske
sir par zarb lagti ha Ali ka haath se sheesha toot jata hai .
11.

CUT

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SCENE 12 INT LIVING ROOM- NIGHT

fatima –apne aaiine ke samnay khari –apne baal sanwaar

rahihai

FADEOUT

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