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One Year Cinematography
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The One-Year Cinematography program gives students an intensive hands-on learning experience as a Director of Photography. Students will develop there skills throughout the year using digital, 16mm, 35mm, HD, and RED Cameras.
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| Cinematographers capture the image of the film, using light to paint a Director’s vision. During Semester One, students will be introduced to the aesthetics of cinematography and begin shooting black and white on 16mm Arriflex-S black and moving through to color film stocks on the Arriflex 16SR and Panavision 35MM cameras. Students will focus on the role of collaborating with the Director.
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• 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 project continuity project on 16mm film.
• Shoot a music-inspired project on 16mm or 35mm film.
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• 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.
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| HANDS-ON PHOTOGRAPHY |
CINEMATOGRAPHY: FORM AND FUNCTION |
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The cinematographer’s working unit is the image and light within the frame. This subject studies the foundation skills of photography and the use of light and composition within the frame. Students use stills cameras to develop their understanding of photographic elements and how to pain with light. | Shot composition, light, lenses and camera movement are central to the cinmatographer’s role. This course explores the aesthetic understanding of the cinematographer’s work. Analysis of classic and contemporary cinematographers’ work will complement the understanding of universal design principles
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| HANDS-ON 16MM & 35MM CINEMATOGRAPHY |
LOCATION LIGHTING |
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In this class, students will learn how to operate 16mm & 35mm cameras, using a range of lenses and film stocks. Students will begin with the Arriflex-S 16mm camera and move to the Arriflex SR and Panavision 35mm. Students will compare formats and explore the benefits and limitations of each. The course focuses on training the student to operate 16mm & 35mm cameras at a highly proficient level.
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Students will develop their lighting skills using 16mm and 35mm film. Equipped with a range of cameras, students will test various daylight film stocks and exterior lighting scenarios to understand the benefits and limitations of shooting outdoors.
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| INTERIOR LIGHTING |
ASSISTANT CAMERA WORKSHOP |
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In this course, fundamental skills in lighting for tungsten stock and interior lighting scenarios are experienced. Students will use a range of tungsten film stock, exploring the possibilities of shooting interiors with a selection of different lighting set-ups.
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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 via the Assistant Camera role. This course explores essential skills and procedures that every camera assistant must know to progress their career.
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| EDITING |
HANDS-ON STEADICAM |
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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 will learn how 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 will be taught the fundamental concepts of film editing, both practical and aesthetic including color grading. Classes consist of lectures and tutorials that combine technical information and demonstration.
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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.
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The second semester progresses into shooting digital. High-definition video is used by many productions, from low budget independent features to blockbuster studio films. Students will shoot a number of projects on high-definition video exploring the benefits and limitations of the medium. A range of cameras will be used with lighting workshops focused on achieving optimum outcomes from the format.
Progressing aesthetically, students will develop their own style and vision. The course culminates with cinematography students shooting a final project for a Director in the One-Year Filmmaking program.
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• Learn the fundamentals of high-definition video production.
• Explore the benefits and limitations of the high-definition 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 cinematographers art.
• Learn the postproduction process of HD, 16mm, & 35mm film.
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• 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.
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| VISUAL STORYTELLING |
HANDS-ON DIGITAL CINEMATOGRAPHY |
| 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 brought the content of the screenplays to the screen. |
Students are trained to operate high-definition cameras including the Panasonic P2 and RED. 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 hands-on exploration of the cameras with students learning to become proficient with the high-definition format. Incorporating lessons from the previous semester, students will explore framing and camera movement. |
| FEATURE FILM LIGHTING |
TELEVISION LIGHTING |
| The cinematographer’s art lay 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 be explored. |
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 will participate in hands-on classes lighting a range of different genres and formats. |
| DIRECTING THE LENS |
CINEMATOGRAPHY POST PRODUCTION |
| 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 explores the aesthetic elements of mise-en-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 practice different approaches by breaking down scenes from selected screenplays. |
Once the footage has been exposed, there is an intense process the footage must go through for the post production process. In this subject, students learn the process of film stock development, color grading, telecine and neg cutting. Students will use their own footage to learn the process of post production. |
| THESIS PROJECT |
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Working with Directors from the One-Year Filmmaking program, Cinematography students will as Director of Photography on a graduating Director’s thesis film. Here they will draw upon and implement the skills, theory and experience garnered throughout the cinematography program. |
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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.
100 East 17th Street New York, New York 10003 United States Tel. +1 (212) 674-4300 Fax. +1 (212) 477-1414
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