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One-Year Cinematography Program

CLASSES: SEMESTER 1 | SEMESTER 2

SEMESTER ONE OVERVIEW

Cinematographers use light to paint a Director's vision on film. During Semester One, students are introduced to the aesthetics of cinematography and begin shooting black and white film on 16mm Arriflex-S and color film stocks on the Arriflex SR and Panavision 35mm cameras.


PRODUCTION GOALS
• Photograph a series of genre-inspired scenes.
• Shoot a one-minute interior mise-en-scene project on 16mm film.
• Shoot a one-minute interior mise-en-scene project on 35mm film.
• Shoot an exterior one-minute project on 35mm film.
• Shoot a two-minute exterior continuity project on 16mm film.
• Shoot a music-inspired project on 16mm or 35mm film.



LEARNING GOALS
• Learn foundation aesthetics of photography and cinematography.
• Learn the fundamentals of 16mm & 35mm film production.
• Explore the benefits and limitations of 16mm & 35mm film production.
• Learn the fundamentals of interior and exterior lighting for 16mm & 35mm film.
• Expand the aesthetic and creative application of cinematography skills.
• Develop understanding of the Cinematographer and Director collaboration.

SEMESTER ONE COURSES

HANDS-ON PHOTOGRAPHY
CINEMATOGRAPHY: FORM AND FUNCTION
HANDS-ON 16MM & 35MM CINEMATOGRAPHY
INTERIOR LIGHTING
EDITING
LOCATION LIGHTING
ASSISTANT CAMERA WORKSHOP
HANDS-ON STEADICAM

SEMESTER TWO OVERVIEW

The second semester progresses into shooting digitally. High-definition video is used in many productions, from low budget independent features to blockbuster studio films. Students shoot a number of projects on high-definition video exploring the benefits and limitations of the medium. A range of cameras are used with lighting workshops focused on achieving optimum outcomes with this format.

Through practice & experimentation, students develop their own style and vision. They will further their growth as they collaborate with directors in the One-Year Filmmaking program to shoot their final semester projects.


PRODUCTION GOALS
• Shoot a two-minute interior mise-en-scene project on high-definition.
• Shoot a three-minute 'genre' project.
• Shoot a One-Year Filmmaking final-semester project: HD, 16mm, or 35mm.
• Color grade HD,16mm, and 35mm.




LEARNING GOALS
• Learn the fundamentals of high-definition video production.
• Explore the benefits and limitations of the highdefinition format.
• Learn the fundamentals of lighting for high-definition video.
• Learn how the Cinematographer and Director collaborate.
• Understand the fundamentals of screen grammar necessary for the role of Cinematographer.
• Learn to analyze a screenplay in relation to the cinematographer's art.
• Learn the postproduction process of HD, 16mm, and 35mm film.

SEMESTER TWO COURSES

VISUAL STORYTELLING
HANDS-ON DIGITAL CINEMATOGRAPHY
FEATURE FILM LIGHTING
TELEVISION LIGHTING
DIRECTING THE LENS

INFORMATION

ONE-YEAR
CINEMATOGRAPHY

Start Dates:
For New York City:
Sep 14, 2012
Jan 11, 2013
Sep 13, 2013
For Universal Studios:
Sep 14, 2012
Jan 11, 2013
Sep 13, 2013

Program Requirements:
High School Diploma, GED

Tuition:
$19,000* (USD)/Semester
€13,083 (EURO)/Semester

You Gradue With:
Diploma/Certificate

/>Equipment Fee: $2,000 Per Semester*Students will also incur additional expenses on their own productions. This varies depending on how much film they shoot and scale of the projects.

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Any college credit or degree earned is awarded solely by the New York Film Academy's academic headquarters in California.
All camps are solely owned and operated by the New York Film Academy and are not affiliated with Universal Studios, Harvard University, or Disney Studios.

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HANDS-ON PHOTOGRAPHY

The cinematographer's working units are image and light within the frame. This course explores the foundation skills of photography including the use of light and composition. Students use stills cameras to develop their understanding of photographic elements and how to paint with light.

CINEMATOGRAPHY: FORM AND FUNCTION

Shot composition, light, lenses and camera movement are central to the cinematographer's role. This course explores the aesthetic understanding of the cinematographer's work. Analysis of classic and contemporary cinematographers' work complements the understanding of universal photographic design principles.

HANDS-ON 16MM & 35MM CINEMATOGRAPHY

In this class, students learn to operate 16mm & 35mm cameras, using a range of lenses and film stocks. Students begin with the Arriflex-S 16mm camera and move to the Arriflex SR and Panavision 35mm. Students compare formats and explore the benefits and limitations of each. The students train to operate 16mm & 35mm cameras at a highly proficient level.

INTERIOR LIGHTING

In this course, fundamental skills in lighting for tungsten stock and interior lighting scenarios are taught. Students use a range of tungsten film stock, exploring the possibilities of shooting interiors with a selection of different lighting set-ups.

EDITING

Editing is an art unto itself. Regardless of the editing system a filmmaker uses, it is the editor's ability to work with the shots and tell a story that makes all the difference. Students learn to use the digital editing system, Final Cut Pro. Each student edits his or her own films, and can supplement classes with individual consultations at the editing station. Students are taught the concepts of film editing, both practical and aesthetic including color grading. Classes consist of lectures and tutorials that combine technical information and demonstration.

LOCATION LIGHTING

Students develop their lighting skills using 16mm and 35mm film. Equipped with a range of cameras, students test various daylight film stocks and exterior lighting scenarios to understand the benefits and limitations of shooting outdoors.

ASSISTANT CAMERA WORKSHOP

The Director of Photography is dependent upon a great camera crew to bring the Director's vision to life. One of the entry positions into the camera crew is the Assistant Camera role. This course explores essential skills and procedures that every camera assistant must know to progress in his or her career.

HANDS-ON STEADICAM

A major advancement in cinema took place when the camera could move freely through a location. The Steadicam has become a permanent fixture on contemporary films sets. This course enables students to explore the practical application of the Steadicam and its functions.

VISUAL STORYTELLING

The screenplay is the architectural blueprint for a movie. The cinematographer should understand thematic concerns of the screenplay to bring the subtext and drama to life. In this subject, cinematographers study a range of screenplays and explore how professional cinematographers visually bring the content of the screenplays to the screen.

HANDS-ON DIGITAL CINEMATOGRAPHY

Students are trained to operate high-definition cameras including the Panasonic HD and RED cameras. Students learn the roles of the camera crew, the benefits and limitations of each camera, formats, lenses, shutter speeds, focal lengths, and more. Each class is taught using handson exploration of the cameras with students learning to become proficient with the high-definition format. Incorporating lessons from the previous semester, students explore framing and camera movement.

FEATURE FILM LIGHTING

The cinematographer's art lies in the creation of an image that captures the mood and emotion of a scene. In this subject, students explore a range of lighting techniques for the high-definition format. Students use the tools to light feature films. Lighting techniques incorporate the creation of mood based on theme, emotion and tone in a screenplay. Areas such as image systems and metaphors are explored.

TELEVISION LIGHTING

Lighting for television can require different skills than feature films. This course explores the range of lighting techniques for television including; dramas, sitcoms, gameshows, and news programs. Students participate in hands-on classes and light a range of different genres and formats.

DIRECTING THE LENS

This course introduces cinematography students to the language and craft of directing. From screenplay analysis to shot composition, students learn how Directors and Cinematographers collaborate to achieve a complete vision. Students explore the aesthetic elements of miseen- scene, shot choice, composition, setting, point of view, action of the picture plane, movement of the camera, how to cover a dialogue scene with a series of shots, as well as more sophisticated approaches to coverage including the use of dollies. Students break down scenes from selected screenplays to practice a variety of approaches.