CIN 621 / 622: ADVANCED ART & CRAFT OF CINEMATOGRAPHY INSTRUCTOR: SANDRA VALDE

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1 AMERICAN FILM INSTITUTE AFI CONSERVATORY Term: Fall 2013 & Spring 2014 Course Number: Workshop & Dailies Course Title: Advanced Art & Craft of Cinematography Instructor: Office Hours: Sandra Valde Fridays 12pm-3pm and by appointment Curriculum Equipment Coordinator: Leslie Bumgarner (323) Class website: PASSWORD: f0cu$2ndy3ar Class meets: Tuesdays: 9AM 5PM Mole Richardson Stages or location dependent on guest 925 N. La Brea, Los Angeles, CA Fridays: 10 AM 12 PM (**note: unless otherwise scheduled) AFI Campus Warner Building Ted Ashley Screening Room PLEASE NOTE DUE TO GUEST AVAILABILITY THE SCHEDULE MAY VARY. INSTRUCTOR WILL DO HER VERY BEST TO INFORM SCHEDULING CHANGES WITHIN ONE WEEK OF CLASS TIME CHANGE. 1

2 COURSE GOALS AND CONTENT This class offers 2 nd year cinematography fellows a unique opportunity to engage one-on-one with master cinematographers, craftsman and technicians in a workshop environment. Discussion of their work will provide insight into how these artists think, the techniques and tools they use and how they approach specific shooting situations in pursuit of telling a story. Story is what dictates our technical and artistic choices. Many of the workshops will be guided by written scripts either provided by the guest or the instructor. Under the guidance of such master practitioners the principles of interior and exterior lighting, composition, lens selection, color theory, exposure practices, image control, blocking of action, creation of tone and color palettes, post production practices will be examined, analyzed and applied. Film and digital cameras will be utilized. A variety of negative and print stocks and photochemical and electronic processing will be employed. How film relates to digital will be examined. Proper and professional relationships with the Director and the crew will be discussed, as will the relationship with the labs, colorists, and DI timers. This class will prepare you for life after AFI, exploring topics such as career counseling, when is it time for an agent, interview techniques, joining the union and marketing yourself. Cinematographers tend to be life-long students. Shooting situations vary and/or require new skills. This workshop offers the chance to deepen our knowledge of cinematography as it is practiced and is evolving. Equipment and styles change. This workshop offers the opportunity to create alongside artists whose work has in fact led to some of those very changes. Past guests have included: Tom Stern, ASC, Tobi Datum, Michael Goi, ASC, David Armstrong, Paul Cameron, ASC, Curtis Clark, ASC Kees Van Oostrum, ASC, Robert Elswit, ASC, Jim Cressanthis, ASC, Daniel Pearl, ASC, Bill Bennett, ASC, Isidore Mankofsky, ASC, Richard Kline, ASC, Paul Ryan, ASC, Theo Van de Sande, ASC, Dave Perkal, ASC, John Hora, ASC, Ernest Holzman, ASC Emphasis will be placed on controlling your image through lighting, blocking and composition, exposure and communication with the lab and post-houses. Any workshop may focus on the following: Digital Cinematography Understanding Workflows One-Lighting Setup for One Scene Lighting for the Moving Camera Affect of Fill on the Mood of a Scene 2

3 Single Source Hard Light Large Single Source Soft Light Artificial Light to Match Available Light Shooting with very little but achieving a lot Special lighting techniques and equipment favored by our guests The Digital Printer Light System ** Car lighting Anamorphic vs. Spherical Comparing origination stocks, i.e., gamma, detail, color, dynamic range Photochemical processes Blocking: Mise-en-Scene vs. Accumulated shots vs. Master Coverage Criteria for Choosing Your Look 35mm vs. Super-16 Criteria for Choice of Lenses: From Creative to Testing Green Screen Motion-Control** Poor Man s Process Shooting Miniatures** Shooting in Rain Night Exteriors Mixing color temperatures in one scene Working with gaffer, key grip, production designer, costume designer Shooting with Multiple Cameras Documentary Interview Lighting Shooting Stunt Scenes How to create that natural look with artificial lighting Shooting commercials **Subject to Availability A number of photographic techniques, classic, current and cutting edge, will be considered, compared and implemented in various shooting situations. The guest is the lead cinematographer for the day and the fellows are his/her crew. The Instructor s s role is multiple: Director, Producer, A.D. and Production Manager. 3

4 CLASS STRUCTURE **NOTE** because this class is guest dependent the structure of the class may vary pending the goals of the workshop. TYPICAL CLASS DAY TIME 9-11am 11am-1pm 1pm-2pm 2pm-4pm 4pm-4:30pm 4:30-5:30pm Friday Screenings EVENT Discussion with guest about his/her work and the goals of the class. Move to Soundstage or Location 1) discuss as a class how we are going to approach the scene from both camera and lighting 2) break into crewing positions for practical workshop One hour lunch break on your own Continue with Workshop Entire class will wrap all equipment Discuss and Q&A with guest about what was learned and achieved during the workshop Class will screen the footage with instructor and guest (if available) and discuss the goals of the workshop based on the notes and diagrams created by notetakers. SCRIPTS FOR CLASS WORKSHOP Most of the workshops will be based on how to visually tell the story via the techniques or equipment used by the guest cinematographer. All fellows are required to turn in, during group meetings on August 22nd, one page of their thesis script that they would like to see workshopped. When deciding on that one page: 1) It should not involve crowds of people - 4 actors at maximum. 2) It can be interior or exterior - the script may need to be modified to fit the parameters of the space. 3) Find a scene that can be accomplished with the parameters of the class. Some examples of scenes that CAN NOT be done in class: Car Crashes, Underwater, major stunts or special effects, etc. 4

5 CLASS CREWING Guests will be the cinematographer for the day and the class will be his/her crew. If class has a technician as a guest, a fellow will be chosen as the cinematographer. The Instructor will assign crewing positions a week prior to the class. It is imperative that the thesis crewing schedule** is up to date, because positions will be determined via that schedule. **Thesis Crewing Schedule will be created and implemented by the teaching assistant. The Thesis Crewing Schedule will indicate who is shooting their thesis when and who his/her crew is. Over the period of both the semesters, each fellow will be required to perform, at least once, each of the following assignments: Camera Operator 1 st Assistant Camera 2 nd Assistant Camera Loader Gaffer Best Boy Electric Key Grip Best Boy Grip Dolly Grip Techical Notetaker and Set Photographer of Set and Lighting Guest Notetaker CAMERA DEPT: CAMERA OPERATOR, 1st AC, 2nd AC and LOADER The camera department is responsible to prep the camera prior to the class. Prep will take place either at AFI CCD or rental house (equipment dependent) the Monday before class at a time designated by CCD or rental house. CREW POSITION: THE TECHNICAL NOTETAKER/SET PHOTOGRAPHER The technical notetaker/set photographer is responsible for taking stills and documenting all technical aspects of the workshop. The technical notetaker/set photographer must have their own 35mm DSLR camera and be responsible for bringing it to class on their assigned day. The technical notetaker/set photographer must to the Instructor their lighting plan/stills no later then 11pm the Wednesday after the class. This way the Instructor can provide feedback to the notetaker in order that changes can be made in time for an approved version to be distributed to all the fellows during that Friday s dailies screening workshop. 5

6 Shooting stills: Shoot digital stills documenting the work done and the equipment used as well as images of the guest, fellows, actors and director at work. Lighting Plan: to include the following: Class name Purpose of exercise (Title) Guest Cinematographer Instructor/Director Crew names and assignments Actor s names Special equipment used Set Plan Diagram Lights & Light Modifiers (grip) Incident and Reflected readings Key and Fill Color Temperature Camera Moves Film or Digital - Stock(s) Camera Lens Information Photos similar to camera angles with respective light meter readings Set Photos GUEST NOTETAKER The Guest notetaker will be responsible for notating any insights, instructions or advice as said by the guests. From their notes, the notetaker must write an essay that shall be turned in no later then 11pm the Wednesday after the class. This way the Instructor can provide feedback to the notetaker in order that changes can be made in time for an approved version to be distributed to all the fellows during that Friday s dailies screening workshop. The Essay should include an explanation of the exercise: the information our guest conveyed information instructor conveyed relevant questions and observations made by the other fellows a description of the scene shot an evaluation/report of what was accomplished during the day your own observations on the work Following the screening of the dailies, a follow-up essay is required by the essayist, which describes the observations and comments made by the guest, fellows and instructor/director during the screening of the dailies. This will be ed to the Instructor the Monday after the screening class. 6

7 Eventually the Essay/Lighting Plan/Stills will be uploaded to the class website ( It becomes an invaluable resource for members of the class to refer to when planning and executing their thesis and/or MOS projects. COURSE REQUIREMENTS in which FELLOW EVALUATIONS WILL BE DETERMINED 1. ATTENDANCE - no unexcused absences (See specific class policy). 2. TARDINESS - These workshops will be treated as a set with a cinematographer and their crew. As you are not expected to be late to a set, you must NOT be late to class. 3. PARTICIPATION - Provide instructor one page of your thesis script that you would like to see workshopped. Turn in one page during the class group meeting on August 22nd. Reading material about the guests, equipment or techniques discussed will be given prior to the class. Its your responsibility to read all the material and come prepared with at LEAST THREE QUESTIONS for the guests or workshop. If the guest will be conducting a workshop around a script, you must read the script prior to the class and come with a lighting diagram and shot list for how you would light the scene within parameters of the workshop. You will share your ideas with the guests to determine how the the workshop will be conducted. As crew, it is your responsibility to carry out the role of that particular crew member as done on a professional film set. If you are not familiar with the roles of the particular crew member, please make sure to speak with the Instructor about this prior to the class. The Instructor will be observing and advising your crewing role throughout the workshop. Safety on the set will be emphasized. Gloves are mandatory when handling lights. Fellows are required to bring their camera/grip/electric utility kits to every workshop. 4. COMPLETION OF ASSIGNMENT There are no specific assignments in this class; however, you will perform the duty of both the Technical Notetaker and Guest Notetaker one time throughout both semesters. You will be evaluated on your completion of the lighting diagram and essay. 7

8 SPECIFIC CLASS POLICY 1.Please note: these policies are specific to this class and are in addition to the AFI policies as described in the AFI fellow handbook. 2.Official class start time is when the workshop actually begins. At this time all fellows must be present. Fellow who is not present when workshop begins is considered late. 3.Failure to arrive on time more than twice may result in an automatic notification to the department head and issuing of a progress report. 4.Attendance is mandatory to all workshops and accompanying screenings. Barring unforeseen emergencies, crewing on thesis films is the only acceptable excuse for missing class. Shooting or prepping MOS projects is not an acceptable excuse for missing the Tuesday workshops. Neither are meetings with thesis teams, scouts, mentors, etc. permissible unless occurring within 2 weeks of the scheduled thesis shoot. Outside work as an excuse for missing class is not permitted unless approved by Stephen Lighthill, ASC, (Senior Filmmaker In Residence: Cinematography) several weeks in advance. 5.After one unexcused absence the fellow will be reminded of possible consequences. After two unexcused absences the fellow will be issued a progress report. After three unexcused absences will be grounds for suspension. 6.The Instructor will check the Thesis Crewing Schedule to see who is excused from attendance. To facilitate this, fellows are expected to make sure the Thesis Crewing Schedule is up-to-date by visiting the schedule or making sure the teaching assistant is aware of any changes. Any request to be excused from a workshop must be received no later than 24 hours prior to the class. 7.The use of phones for any purpose is prohibited during class time. 8.The use of communication software on any device is prohibited during class time. 9.All fellows are expected to be professional and respectful to all guests, vendors, and locations. 10.Please make sure to clean up after the completion of workshop. All trash must be thrown away. All gear must be properly put away under the direction of the stage manager. At the Mole Stage, the stage manager is Eric Salgado phone: molestage@mole.com 11.It is advised that you pay attention to your s on a daily basis. Circumstances for the class may change at a moment s notice -- i.e., possibly related to a guest cinematographer s sudden unavailability. 8

9 12.As a general rule, anything can be approved with prior request. Failure to communicate will be a determining factor in evaluating an offense. A fundamental assumption underlying all work at the AFI Conservatory is the emphasis on professional-level performance in all areas. The Conservatory seeks to replicate the actual demands and requirements of the professional Cinematographer s art and craft. Fellows will be expected to pay attention during the workshop, leave cell phones off, leave laptops at home and attend all classes unless officially excused. Professional on-set protocols and practices will be encouraged. The class is designed to encourage fellows to raise the bar toward the pursuit and achievement of good work, to apply to their thesis projects what they learn and to develop valuable life skills toward their future work in the industry. Important Numbers to Know: NAME TITLE CONTACT Sandra Valde Instructor CIN sandra@sandravalde.com Leslie Bumgarner Stephen Lighthill Larry Parker Eric Salgado Robert Myrtle James West Denise Brassard Curriculum Equipment Coordinator Senior-Filmmaker-In- Residence: Cinematography Mole-Richardson Soundstage Stage Manager Mole Richardson Soundstage Head of Production Equipment Services Techical Operations, Conservatory Camera Department (CCD) Administrative Coordinator, Production Equipment lesliebumgarner@yahoo.com slights@pacbell.net larryp@molestage.com molestage@mole.com rmyrtle@afi.com jwest@afi.com dbrassard@afi.com 9

10 The instructor will be communicating to the class via these outlets: Class Website PASSWORD: f0cu$2ndy3ar Google Drive Google Calendar Fellows must check both and class website daily. Although most information will be communicated via and website, it is highly suggested fellows subscribe to Google Drive and Google Calendar. 10