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Friday, June 6, 2008
Tuesday, June 3, 2008
Salman Khan’s Veer is a copy of Hollywood hit Taras Bulba (1962) starring Yul Brynner and Tony Curtis which is originally based on a short story by Nikolai Gogol. Though producer Vijay Galani says that Sallu has written the script of the film, director Anil Sharma says that other writers were involved in the project.
Says an industry insider, “Adapting the story to a Bollywood context is Salman’s only contribution to the script. The screenplay has been jointly penned by Shaktimaan and Anil Sharma.”
Shaktimaan who has previously worked with Anil Sharma in Gadar - A Love Story has written the dialogues of Veer. Anil Sharma says, “The story idea is Salman’s but several writers contributed to the script including Shaktiman.”
When asked if the film is inspired by J Lee Thompson’s Taras Bulba, Sharma maintained that the story idea was Salman’s. It is left to us to see whether Salman shares his father’s genes but as far as his earlier efforts at writing go, they haven’t garnered great reviews. His film for Somy Ali, which was to be directed by him was inspired by Hollywood film Blind Fury while his film Chandramukhi co-starring Sridevi was a copy of Tom Hank’s Big.
Taras Bulba, often termed as the Romeo Juliet story of the 16th century, is the story of the Cossacks of Eastern Europe who join the Poles to drive out the Turks from the Steps of Europe. In return for their help, the Poles agree to give control of the Steps to the Cossacks. After the battle however, the Poles do not keep their word and force the Cossacks into the hills. Taras Bulba, a Cossack Colonel, raises his son Andrei Bulba to learn the ways of the Poles so he can defeat them in battle. During his learning process, Andrei falls in love with the daughter of a Polish nobleman and he has to choose between the love for his community and the love of a woman while Taras Bulba has to choose between his son and the Cossacks.
Friday, May 30, 2008
The Collaborative Art of Storytelling in Film By Emma Rogers
Watching a film is an investment. Each time we go to the cinema we part with our fifteen dollars, sit in a darkened space and engage in a personal relationship with the screen. In the space of two hours we open up and allow ourselves to laugh, cry, even scream. We invest in a film in the hope that it will engage us from beginning to end, taking us on a journey. Whether a film saddens, excites or angers, it is the intention of the filmmaker to affect the audience by spinning a tale, determining that journey. Filmmakers are modern-day storytellers. When they weave their stories well they flow effortlessly and seamlessly from the moment the lights dim to when the credits roll. The art of storytelling in film is the deliberate layering of complimentary elements designed to mask the craft of filmmaking and give supremacy to character and story.
Screenwriting: Constructing a Story
Every story starts with an idea. At the heart of every great film you will find that idea. Whether it be ‘"love conquers all" or ‘"evil never dies", the characters and events encapsulate that idea and express it in a unique way. This is no coincidence. Each action, character trait and line of dialogue has been carefully selected by the screenwriter and woven into the story.
While there is no definitive structure for a successful film, many mainstream films follow a three-act structure. The first act sets the scene, introduces the characters and relevant backstories, and provides the audience with the information required to not only understand the story, but also identify with the main character (protagonist). The first act culminates in an ‘"inciting incident" which Robert McKee describes as an event that “"radically upsets the balance of forces in the protagonist's life” (p.189). The inciting incident becomes the catalyst for the events of the film. The second act follows the protagonist's attempts to restore balance in their newly imbalanced world. In the second act the protagonist experiences ups and downs, overcoming obstacle after obstacle until the point of crisis –- the ultimate obstacle and climax of the film. The final act resolves the story and restores balance to the protagonist's life.
Great films have interesting protagonists, usually with emotional depth. While actors contribute to the development of the characters they portray, each character usually has 3-5 basic traits incorporated into the script by the screenwriter. Each action and line of dialogue is then tailored to illustrate one or more of the character's traits. When a character is written well, each line of dialogue is revealing –- not only by what the character says, but what they choose not to say.
Direction: Telling The Story
The director takes a well-developed story, interprets it and organises its realisation through the production design, score and performances. Directing entails overseeing the layering of elements, such as casting, locations, and the use of color, and combines these elements to best tell the story. It is a collaborative process involving numerous departments and people. Together they create the film's mise-en-scene.
Mise-en-scene is everything that you see when you watch a film. Make no mistake, in film every object and colour has been deliberately placed to amplify the power of storytelling. A certificate on a wall illustrates education. One chair at a table indicates loneliness and isolation. The predominant use of the color red incites passion. As an audience, we absorb this information, more often than not, subconsciously. We cannot help but feel comfortable in a warmly lit kitchen or scared in a dimly lit alley. Mise-en-scene, used effectively, enhances the storytelling by manipulating emotions and results in a more fulfilling journey for the audience.
The director can also control the audience's emotional involvement with the film by shot selection. Steven Katz notes that “"[w]e can be made to feel detachment or an emotional involvement with events and subjects on the screen largely through the manipulation of space with the lens of the camera"”.
...
• Close-Up: Used to communicate the intricacies of emotion expressed by the human face. Usually, the higher the level of emotion in a scene, the closer the close-up.
• Mid-Shot: Often used as an alternative to the wide-shot, the mid-shot can convey movement while remaining close enough to communicate emotion.
• Wide-Shot: Used to establish scenes and indicate movement, the wide-shot has been used less frequently in recent years because emotion is more difficult to convey from a distance.
In general terms, the closer the shot, the greater the level of emotion communicated to the audience. A wide-shot of a girl crying may incite reserved feelings of sympathy. An extreme close-up of the same scene forces the audience into an intimate relationship with the girl and is therefore more likely to incite feelings of sadness, perhaps even empathetic tears. The human face is powerfully suggestive. A close-up, like a still picture, is worth a thousand words.
Editing: Re-Telling The Story
The editor takes the director's footage and the screenwriter's original script and combining them, re-tells the story to best communicate the idea of the film and give the audience the most rewarding journey. Shots are carefully selected to increase tension, to enhance emotion, to evoke laughter, tears or screams, or to make the audience squirm in their seats.
Poor editing can jolt the audience, jar the storytelling and interrupt the journey the audience takes. Disruptive editing can prevent emotional involvement in the story and leave the audience dissatisfied. Great editing seamlessly communicates the story and enhances the audience's journey through subtle rhythm.
Conclusion
Storytelling in film is a collaborative process that begins with the screenwriter and ends when we as an audience respond to the story. How we respond to a film is largely determined by how well a film is crafted. When the story of a film is crafted well, the elements combine to successfully spin a tale, taking the audience on an emotional journey.
Screenwriting: Constructing a Story
Every story starts with an idea. At the heart of every great film you will find that idea. Whether it be ‘"love conquers all" or ‘"evil never dies", the characters and events encapsulate that idea and express it in a unique way. This is no coincidence. Each action, character trait and line of dialogue has been carefully selected by the screenwriter and woven into the story.
While there is no definitive structure for a successful film, many mainstream films follow a three-act structure. The first act sets the scene, introduces the characters and relevant backstories, and provides the audience with the information required to not only understand the story, but also identify with the main character (protagonist). The first act culminates in an ‘"inciting incident" which Robert McKee describes as an event that “"radically upsets the balance of forces in the protagonist's life” (p.189). The inciting incident becomes the catalyst for the events of the film. The second act follows the protagonist's attempts to restore balance in their newly imbalanced world. In the second act the protagonist experiences ups and downs, overcoming obstacle after obstacle until the point of crisis –- the ultimate obstacle and climax of the film. The final act resolves the story and restores balance to the protagonist's life.
Great films have interesting protagonists, usually with emotional depth. While actors contribute to the development of the characters they portray, each character usually has 3-5 basic traits incorporated into the script by the screenwriter. Each action and line of dialogue is then tailored to illustrate one or more of the character's traits. When a character is written well, each line of dialogue is revealing –- not only by what the character says, but what they choose not to say.
Direction: Telling The Story
The director takes a well-developed story, interprets it and organises its realisation through the production design, score and performances. Directing entails overseeing the layering of elements, such as casting, locations, and the use of color, and combines these elements to best tell the story. It is a collaborative process involving numerous departments and people. Together they create the film's mise-en-scene.
Mise-en-scene is everything that you see when you watch a film. Make no mistake, in film every object and colour has been deliberately placed to amplify the power of storytelling. A certificate on a wall illustrates education. One chair at a table indicates loneliness and isolation. The predominant use of the color red incites passion. As an audience, we absorb this information, more often than not, subconsciously. We cannot help but feel comfortable in a warmly lit kitchen or scared in a dimly lit alley. Mise-en-scene, used effectively, enhances the storytelling by manipulating emotions and results in a more fulfilling journey for the audience.
The director can also control the audience's emotional involvement with the film by shot selection. Steven Katz notes that “"[w]e can be made to feel detachment or an emotional involvement with events and subjects on the screen largely through the manipulation of space with the lens of the camera"”.
...
• Close-Up: Used to communicate the intricacies of emotion expressed by the human face. Usually, the higher the level of emotion in a scene, the closer the close-up.
• Mid-Shot: Often used as an alternative to the wide-shot, the mid-shot can convey movement while remaining close enough to communicate emotion.
• Wide-Shot: Used to establish scenes and indicate movement, the wide-shot has been used less frequently in recent years because emotion is more difficult to convey from a distance.
In general terms, the closer the shot, the greater the level of emotion communicated to the audience. A wide-shot of a girl crying may incite reserved feelings of sympathy. An extreme close-up of the same scene forces the audience into an intimate relationship with the girl and is therefore more likely to incite feelings of sadness, perhaps even empathetic tears. The human face is powerfully suggestive. A close-up, like a still picture, is worth a thousand words.
Editing: Re-Telling The Story
The editor takes the director's footage and the screenwriter's original script and combining them, re-tells the story to best communicate the idea of the film and give the audience the most rewarding journey. Shots are carefully selected to increase tension, to enhance emotion, to evoke laughter, tears or screams, or to make the audience squirm in their seats.
Poor editing can jolt the audience, jar the storytelling and interrupt the journey the audience takes. Disruptive editing can prevent emotional involvement in the story and leave the audience dissatisfied. Great editing seamlessly communicates the story and enhances the audience's journey through subtle rhythm.
Conclusion
Storytelling in film is a collaborative process that begins with the screenwriter and ends when we as an audience respond to the story. How we respond to a film is largely determined by how well a film is crafted. When the story of a film is crafted well, the elements combine to successfully spin a tale, taking the audience on an emotional journey.
Canon-XL-H1 Series Camcorder
Canon has announced the launch of two new high-definition camcorders at NAB 2008. The XLH1S and XL H1A HD camcorders feature Genuine Canon XL interchangeable lens system, three 1/3 inch, 1.67 megapixel CCD Image Sensors, an external LCD Monitorl and the company’s proprietary DIGIC DVII HD Image Processor along with a durable six-pin IEEE 1394 terminal for robust connection to external hardware.
Incorporated with Canon 20x HD Video lens, both the camcorders come with three independent manual adjustment rings such as focus, zoom and iris. Users can access manual focus and zoom control. An expanded array of controls enables personalized image, display and operation.
Both the XL line-up of camcorders are compatible with HD tapes to meet the requirements of long-form production applications like wedding and event videography, digital filmmaking, documentary production and media education. They also support HD-SDI (SMPTE 299M)/SD-SDI (SMPTE272M) output with embedded audio and time code, providing a raw, uncompressed 1.485 Gbps signal for demanding live production environments, SMPTE Time Code input and output terminals and a Genlock output terminal for multi-camera shooting situations.
Consumers can switch in all frame rates between 1080-line 16:9 aspect ratio HD video and 480-line 4:3 aspect ratio SD video (or 576 lines in 50i or 25F mode). The XL H1S and XL H1A feature 23 custom presets for image-quality adjustment, ranging from +/-9 to +/-50 steps. They are compliant with an onboard SD/SDHC Memory Card.
The latest XL H1S and XL H1A HD camcorders include two-channel audio performance, two built-in XLR terminals with separate audio-input sensitivity settings, line output level switching, an audio (manual) limiter, a new metal headphone jack for reliable connectivity. You have the freedom to record sound from an external microphone and the supplied internal microphones at one go.
Canon will roll out XL H1S HD camcorder in early June for $8,999 (approx. Rs. 359,960), whereas the XL H1A will be available for $5,999 (approx. Rs. 239,960) in mid-July.
Incorporated with Canon 20x HD Video lens, both the camcorders come with three independent manual adjustment rings such as focus, zoom and iris. Users can access manual focus and zoom control. An expanded array of controls enables personalized image, display and operation.
Both the XL line-up of camcorders are compatible with HD tapes to meet the requirements of long-form production applications like wedding and event videography, digital filmmaking, documentary production and media education. They also support HD-SDI (SMPTE 299M)/SD-SDI (SMPTE272M) output with embedded audio and time code, providing a raw, uncompressed 1.485 Gbps signal for demanding live production environments, SMPTE Time Code input and output terminals and a Genlock output terminal for multi-camera shooting situations.
Consumers can switch in all frame rates between 1080-line 16:9 aspect ratio HD video and 480-line 4:3 aspect ratio SD video (or 576 lines in 50i or 25F mode). The XL H1S and XL H1A feature 23 custom presets for image-quality adjustment, ranging from +/-9 to +/-50 steps. They are compliant with an onboard SD/SDHC Memory Card.
The latest XL H1S and XL H1A HD camcorders include two-channel audio performance, two built-in XLR terminals with separate audio-input sensitivity settings, line output level switching, an audio (manual) limiter, a new metal headphone jack for reliable connectivity. You have the freedom to record sound from an external microphone and the supplied internal microphones at one go.
Canon will roll out XL H1S HD camcorder in early June for $8,999 (approx. Rs. 359,960), whereas the XL H1A will be available for $5,999 (approx. Rs. 239,960) in mid-July.
Thursday, May 29, 2008
Srk & Kajol Again
If all goes as per schedule, Shah Rukh Khan and Kajol will feature in Karan Johar’s next film that follows the travails of an Indian couple post 9/11.
Kajol and Shah Rukh Khan first starred together in the romantic family drama ‘Dilwale Dulhania Le Jayenge’, a film that was so successful it continues to run uninterrupted till date in a theater in Bombay! Their last film together ‘Kabhi Khushi Kabhi Gam’, produced and directed by Karan Johar, was a huge success too.
Kajol is currently working on ‘U, Me Aur Hum’ in which she is paired opposite her husband Ajay Devgan, who is also the director. In addition she has signed up for Raj Kumar Santoshi’s ‘Ramayan’.
According to an industry source, the dusky 31-year-old found it hard to turn down Karan Johar with whom she enjoys an excellent professional rapport. Besides, Kajol feels, while taking on more work may keep her away from her daughter Nysa it will allow her to spend more time with her husband Ajay Devgan.
Interestingly, ‘Kabhi Khushi Kabhi Gam’ featured Amitabh Bachchan, another close friend of Karan Johar besides Kajol and Shah Rukh Khan. However, in view of a simmering professional rivalry between Shah Rukh Khan and Amitabh Bachchan it is moot if he or any of the Bachchans will feature in the new film.
Kajol and Shah Rukh Khan first starred together in the romantic family drama ‘Dilwale Dulhania Le Jayenge’, a film that was so successful it continues to run uninterrupted till date in a theater in Bombay! Their last film together ‘Kabhi Khushi Kabhi Gam’, produced and directed by Karan Johar, was a huge success too.
Kajol is currently working on ‘U, Me Aur Hum’ in which she is paired opposite her husband Ajay Devgan, who is also the director. In addition she has signed up for Raj Kumar Santoshi’s ‘Ramayan’.
According to an industry source, the dusky 31-year-old found it hard to turn down Karan Johar with whom she enjoys an excellent professional rapport. Besides, Kajol feels, while taking on more work may keep her away from her daughter Nysa it will allow her to spend more time with her husband Ajay Devgan.
Interestingly, ‘Kabhi Khushi Kabhi Gam’ featured Amitabh Bachchan, another close friend of Karan Johar besides Kajol and Shah Rukh Khan. However, in view of a simmering professional rivalry between Shah Rukh Khan and Amitabh Bachchan it is moot if he or any of the Bachchans will feature in the new film.
Rab Ne Bana Di Jodi
On day one of filming we spotted King Khan with light brown highlight in his hair and we wondered what it was for. Now we know. Shah Rukh Khan will be seen in numerous looks in Aditya Chopra’s Rab Ne Bana Di Jodi. From a serious looking to a geek to a romantic lover, SRK will be seen in various get ups.“Shah Rukh has already shot for in two of the get ups. There is one scene where he plays a geek and his hair is all plastered down. He also sports a small moustache a la Charlie Chaplin with half pants and everything,” says a source from the set, “Similarly for another look his clothes are all flashy and over the top. Then in another look he plays the NRI who is visiting India.”
The source tells us that the various looks of the actor are a part of the script. “It’s all been done very well. They aren’t taking the mickey out of anyone else in the industry like the current trend in other films. When Shah Rukh heard about it he was all game but he was quite clear he wanted it done tastefully as he didn’t want to rake any controversy.”
The source tells us that the various looks of the actor are a part of the script. “It’s all been done very well. They aren’t taking the mickey out of anyone else in the industry like the current trend in other films. When Shah Rukh heard about it he was all game but he was quite clear he wanted it done tastefully as he didn’t want to rake any controversy.”
Kerala Motor Vehicles department
http://keralamvd.gov.in/
Motor Vehicles Department: The Motor Vehicles Department is regulated by the Government of Kerala in terms of policy formulation and its implementation. The Department is administered by the Transport Commissioner who is the Head of Department.
Services
The main functions of the Department are
(i) Enforcement of the Motor Vehicles Act and Rules
(ii) Registration of vehicles
(iii) Collection of taxes and fees
(iv) Rendering services like grant of driving licences, issue of certificate of fitness, grant of permits to vehicles, etc. Apart from this more importance is also given to Road Safety measures and to the Control of Automobile Pollution.
Motor Vehicles Department is one of the significant revenue earning departments of the Government. Government have taken several measures to make the functioning of Regional Transport Offices more people friendly and efficient.
Agents and touts have been removed from the Regional Transport Offices. It has not only helped to smoothen the functioning but also eradicated the evils of corrupt practices in offices. The common man is emboldened to approach the offices for legitimate service without aid and support of agents and touts.
An effective and efficient any service any counter system has been introduced in all offices to render various services to public.
The policy of accepting only one application form from a person has been introduced.
The system of issuing computer generated acknowledgment slip for application and records has been introduced.
The date of test and venue of the driving test are informed to the applicant on the day of passing of learner's test.
The procedures are accepting motor vehicle tax and fees are simplified in order to avoid long queues and crowding in front of the Regional Transport Offices.
Introducing one time tax system has restricted the frequent visits of the vehicle owners to the Regional Transport Offices for the payment of tax.
One time tax upto 15 years, in respect of newly registered motor cars, motor cycles, scooters, three wheelers, etc. has been introduced with effect from 1st April, 1998.
The owners of two wheelers below 95 cc have been given the facility to pay vehicle tax in lump for 5 years or 10 years or 15 years at their choice.
The facility of payment of vehicle tax in respect of private vehicles and fees, through FRIENDS Citizens Integrated Service Centre at Thiruvananthapuram and all district head quarters has been introduced.
Physically handicapped persons, including the blind and the deaf, with more than 40% disability are exempted from payment of motor vehicles tax for their motor vehicles for their own use.
A Public Grievance Redressal Cell is functioning in all offices of the Department.Introduction of Smart Card
As part of Modernisation it is proposed to introduce the Smart Card and Smart Optical Card technology in the issuance of driving licences and issuance of Certificates of Registration respectively. The Smart Card has an embedded microchip enabling it to process and store information. The electronic data stored in the micro chip of the Smart Card is capable of being read and written using terminals and devices.
Control of Automobile Pollution
The emission of smoke from automobile is now posing a serious threat to human health. Government is giving more important to control vehicular pollution. In this regard, smoke testing equipments has been provided to all Regional Transport Offices with a view to conduct check of automobile pollution. In addition licences have been issued to start automobile pollution testing centers in private sector. 105 such centers were licenced in private sector. Carrying of pollution under control certificate(PUCC), in vehicles, is made mandatory.
Road Safety
Steps have been taken during recent times to improve road safety. In this regard, a High Level Committee had been constituted under the chairmanship of the Additional Chief Secretary to Government, in May 1997. The following measures have been implemented on the recommendations of the above committee.
Driving test has been made strict and rigorous.
Standards has been fixed for the driving test.
Driving Licence test conducted by a team of 2 officers of different ranks.
Super checking on driving test is introduced.
The number of candidates to be tested on a day is fixed at 40.
Driving licences are issued on the same day and dispatch by post.
An objective type written test is introduced for obtaining learner's driving licences.
The procedures for the grant of International Driving Permit has been simplified to the extent that the applicant need not produced either VISA or Air Travel Ticket and also need not undergo the test of proficiency in driving.
The procedure for the grant of driving licences to non-resident Keralites who hold a valid foreign licence are simplified to the extent that they do not undergo the driving test.
The procedures in the issue of Certificate of Fitness to vehicles has been revamped. The Certificate of Fitness test is made more efficient and transparent.
Super Checking is introduced in Fitness Tests.
The Certificate of Fitness is issued on the same day.
The Regional Transport Officer and Joint Regional Transport Officer will inspect vehicles over 20 years of age.
Speed checking of vehicles is introduced with the help of latest Intersepter Vehicles during 2007
Motor Vehicles Department: The Motor Vehicles Department is regulated by the Government of Kerala in terms of policy formulation and its implementation. The Department is administered by the Transport Commissioner who is the Head of Department.
Services
The main functions of the Department are
(i) Enforcement of the Motor Vehicles Act and Rules
(ii) Registration of vehicles
(iii) Collection of taxes and fees
(iv) Rendering services like grant of driving licences, issue of certificate of fitness, grant of permits to vehicles, etc. Apart from this more importance is also given to Road Safety measures and to the Control of Automobile Pollution.
Motor Vehicles Department is one of the significant revenue earning departments of the Government. Government have taken several measures to make the functioning of Regional Transport Offices more people friendly and efficient.
Agents and touts have been removed from the Regional Transport Offices. It has not only helped to smoothen the functioning but also eradicated the evils of corrupt practices in offices. The common man is emboldened to approach the offices for legitimate service without aid and support of agents and touts.
An effective and efficient any service any counter system has been introduced in all offices to render various services to public.
The policy of accepting only one application form from a person has been introduced.
The system of issuing computer generated acknowledgment slip for application and records has been introduced.
The date of test and venue of the driving test are informed to the applicant on the day of passing of learner's test.
The procedures are accepting motor vehicle tax and fees are simplified in order to avoid long queues and crowding in front of the Regional Transport Offices.
Introducing one time tax system has restricted the frequent visits of the vehicle owners to the Regional Transport Offices for the payment of tax.
One time tax upto 15 years, in respect of newly registered motor cars, motor cycles, scooters, three wheelers, etc. has been introduced with effect from 1st April, 1998.
The owners of two wheelers below 95 cc have been given the facility to pay vehicle tax in lump for 5 years or 10 years or 15 years at their choice.
The facility of payment of vehicle tax in respect of private vehicles and fees, through FRIENDS Citizens Integrated Service Centre at Thiruvananthapuram and all district head quarters has been introduced.
Physically handicapped persons, including the blind and the deaf, with more than 40% disability are exempted from payment of motor vehicles tax for their motor vehicles for their own use.
A Public Grievance Redressal Cell is functioning in all offices of the Department.Introduction of Smart Card
As part of Modernisation it is proposed to introduce the Smart Card and Smart Optical Card technology in the issuance of driving licences and issuance of Certificates of Registration respectively. The Smart Card has an embedded microchip enabling it to process and store information. The electronic data stored in the micro chip of the Smart Card is capable of being read and written using terminals and devices.
Control of Automobile Pollution
The emission of smoke from automobile is now posing a serious threat to human health. Government is giving more important to control vehicular pollution. In this regard, smoke testing equipments has been provided to all Regional Transport Offices with a view to conduct check of automobile pollution. In addition licences have been issued to start automobile pollution testing centers in private sector. 105 such centers were licenced in private sector. Carrying of pollution under control certificate(PUCC), in vehicles, is made mandatory.
Road Safety
Steps have been taken during recent times to improve road safety. In this regard, a High Level Committee had been constituted under the chairmanship of the Additional Chief Secretary to Government, in May 1997. The following measures have been implemented on the recommendations of the above committee.
Driving test has been made strict and rigorous.
Standards has been fixed for the driving test.
Driving Licence test conducted by a team of 2 officers of different ranks.
Super checking on driving test is introduced.
The number of candidates to be tested on a day is fixed at 40.
Driving licences are issued on the same day and dispatch by post.
An objective type written test is introduced for obtaining learner's driving licences.
The procedures for the grant of International Driving Permit has been simplified to the extent that the applicant need not produced either VISA or Air Travel Ticket and also need not undergo the test of proficiency in driving.
The procedure for the grant of driving licences to non-resident Keralites who hold a valid foreign licence are simplified to the extent that they do not undergo the driving test.
The procedures in the issue of Certificate of Fitness to vehicles has been revamped. The Certificate of Fitness test is made more efficient and transparent.
Super Checking is introduced in Fitness Tests.
The Certificate of Fitness is issued on the same day.
The Regional Transport Officer and Joint Regional Transport Officer will inspect vehicles over 20 years of age.
Speed checking of vehicles is introduced with the help of latest Intersepter Vehicles during 2007
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