Reading Assignments

Cinematography

by Kris Malkiewicz & M. David Mullen

The Essential Guide to the Cameraman’s Craft

Since its initial publication in 1973, Cinematography has become the guidebook for filmmakers. Based on their combined fifty years in the film and television industry, authors Kris Malkiewicz and M. David Mullen lay clear and concise groundwork for basic film techniques, focusing squarely on the cameraman’s craft. Readers will then learn step-by-step how to master more advanced techniques in postproduction, digital editing, and overall film production.

This completely revised third edition, with more than 200 new illustrations, will provide a detailed look at:

• How expert camera operation can produce consistent, high-quality results
• How to choose film stocks for the appearance and style of the finished film
• How to measure light in studio and location shooting for the desired appearance
• How to coordinate visual and audio elements to produce high-quality sound tracks

Whether the final product is a major motion picture, an independent film, or simply a home video, Cinematographycan help any filmmaker translate his or her vision into a quality film.

SESSION

09/01 TOOLS AND TECHNIQUES

Read Handouts

09/08 EXPOSURE METERS

09/15 CAMERA ASSEMBLY

09/22 ARRIFLEX SR CAMERA (Hands-on practice)

EXERCISE: Zone Test shoot
ASSIGNMENT: Read Chapters 1 and 2

09/29 NO CLASS / ROSH HASHANAH HOLIDAY

10/06 FILMING EXTERIORS

10/13 LIGHTING THEORY

EXERCISE: Rack and follow focus (hands on)
ASSIGNMENT: Read Chapter 3

10/20 LIGHTING DEMO

EXERCISE: Formula lighting patterns
ASSIGNMENT: Read Chapter 4

10/27 WORKING PRINCIPLES

EXERCISE: Dolly move (hands on)
ASSIGNMENT: Read Chapter 6

11/03 SET LIGHTING, CREW RESPONSIBILITIES (Film analysis for cinematography and lighting Paper Due)

EXERCISE: Motivated lighting (hands-on).
ASSIGNMENT: Read Chapter 7

11/10 LIGHTING CONTINUITY AND LIGHTING DESIGN

EXERCISE: Set lighting for color and contrast control (hands-on).View a feature film for lighting and cinematography
ASSIGNMENT: Read Chapter 8

11/17 SET LIGHTING FOR SEQUENCE AND MOVEMENT

EXERCISE: Lighting for basic sequence (hands-on).
ASSIGNMENT: Read Chapter 9

11/22 ADVANTAGES OF LOW-LIGHT CINEMATOGRAPHY and VIDEOGRAPHY (Note this is a Tuesday Class)

EXERCISE: Ambient and simulated low-light cinematography (hands on).
ASSIGNMENT: Read Chapter 10

11/24 NO CLASS / THANKSGIVING HOLIDAY

12/01 REVIEW OF PRINCIPLES (2nd Film analysis for cinematography and lighting Paper Due)

12/08 EXAM

12/15 ADVANCED PRINCIPLES: OPTICAL AND PHOTOMETRIC SCIENCES

EXERCISE: Pre-plan vertical and horizontal fields of view and foot-candle luminance. Prove with camera and lighting placements.

REQUIRED TEXT:

Malkiewicz, Kris, CINEMATOGRAPHY, Prentice Hall Press

SUGGESTED READINGS:

AMERICAN CINEMATOGRAPHER MANUAL, ASC Press

Carlson, Verne and Sylvia, PROFESSIONAL CAMERAMAN‘S HANDBOOK, Focal Press

Malkiewicz, Kris, FILM LIGHTING, Fireside Books (Simon & Shuster)

ADDITIONAL REQUIREMENTS

Credit students: Two films analyzed for cinematography and lighting (due dates 11/03 and 12/01)

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Suggestions for Cinematography & Lighting Papers (Week 1 Handout)

1. Keep the paper to a maximun of six (6) pages and a minimum of four (4) pages double spaced.
2. Check papers for spelling and grammer errors. Presentations will be a factor in the grading process.
3. You may choose any films you wish. You may reference articles in industry and trade publications, academic journals, books, reviews etc. You may, alternatively, present your best guesses about how the visual atmospheres were created.
4. Present a one-paragraph plot summary as an Introduction. The remainder of the paper should deal with the cinematographer and lighting aspects.
5. Treat the idea of how the cinematographer used composition, camera movement, lens choices (wide-angle, normal, telephoto), lighting techniques, diffusion, color correction, or, perhaps, color enhancement to create various visual atmospheres.In this regard, explain any particular challenges that required unusually imaginative solutions. Include the use of gels, diffusion materials, mixed lighting sources, etc. Consider the physical set-ups and do your best to describe them.
6. Describe the resultant visual “look” of the atmospheres created in #5 above. Consider the elements of softness or hardness, the interplay of light and shadow, the ways in which the image, as a consequence of lighting applications, is shaped or sculpted…how camera movement or lack thereof complements the timing of the plot. The physical look of the results is important here.
7. Lastly, give your personal impressions of the emotional and psychological impact that results directly from how these visual atmospheres complement the content of the story. How does it affect you, the viewer, on an emotional level. How does it feel, personally.

Suggestions for Papers//

Week 1 | Blackboard Assignment

Purchase a fairly recent edition of the required text (CINEMATOGRAPHY by Kris Malkiewicz).

Please review the handouts provided for this week until you are sure you understand them.  Pay particular attention to Visual Storytelling Methods and Light and Exposure.

Contribute to a discussion (click Discussions in upper left window) about the handout entitled Visual Storytelling Methods.  How are the visual storytelling methods different?  In what ways are they vaguely similar?  Which of them do you think is usually the most difficult to create?  Which the easiest?  Why?

Try to familiarize yourself with the handout entitled Light and Exposure.  We will be discussing it next week.

Please note that if you are graduate or undergraduate level student, you are required to write two papers as described in the handout (provided during the first week).  If you are a certificate student, you are required to write only one paper.  The Syllabus indicates the specific dates your papers are due.  Please check it and submit your papers on time, as that will partially affect your grade.  If you are a non-credit student, no paper is required.

Although the papers are not due for some time, you will surely find it to your advantage if you begin to think now about which films you would like to cover.