557 Advanced Cinematography



557 Advanced Cinematography

Mondays, 1-5pm, SCA Stage 3

Instructor: Angelo Pacifici

310 591 7564 c

310 313 3762 h

angelodp@ca.

Office Hours – By appointment

SA: TBD

The Risk-Taker is the Creator:

The importance of Reaching.

This class is designed to encourage experimentation and discovery. Students will push their personal limits in all aspects of cinematography. Topics will include camera and lighting techniques as well as methods for working constructively with other creative talents involved in filmmaking.

The focus is on creating spectacular results by reaching beyond the conventional. Experimentation is a crucial part of this, and will be stressed throughout the semester. Not only will you expand what you know, but also you will come to understand the importance of testing in achieving exceptional results. You will get in the habit of always considering how you could do something better, and always making the effort to achieve that result.

Composition, movement, and camera placement will be discussed in detail. Lens choice, blocking, exposure and filtration will be explored both in class and independently. In essence, you are given the chance to study all of these factors in controlled conditions, and to understand how they can be used to affect the story.

Various film stocks will be available to experiment with. You are encouraged to test exposure, latitude, color handling, and other aspects that guide your selection for a stock. This is a unique opportunity to compare products under carefully controlled conditions and should give you an excellent working knowledge of what is available to you. Sometimes we will even receive a new stock before it is released on the general market.

Developing a working relationship with the lab will be stressed, as will an understanding of the capabilities they have in regards to processing and printing of your work. Each student is encouraged to create still

Photographs as they light and shoot their 35mm exercise. You will be able to send a select number of

JPEG’s to a site ( TBD ) that will allow the colorist to make adjustments to your work.

The importance of maintaining communication between the creative elements of the film production will be explained. Additionally, the DP reel, networking, and crew management will be considered.

Class Structure:

Each of you will have the opportunity to shoot both an in-class exercise and an out-of-class final project. In class projects are normally shot on 35mm film. At the instructor’s discretion, you may request special processing on your film (only Push/pull is available at this time). To make sure you get your film, please request your stock at least a week in advance of your shoot dates.

In-class exercise: You will serve as the director/cinematographer on a scene of your own design to be shot on Stage A during class time, with the rest of the class filling out the grip/electric and camera crew on a rotating basis. The cinematographer is responsible for providing the actors, set dressing, etc. Be creative: the prop room on Stage 1 has some interesting—and free—options. We will screen and discuss the results the following week. Please note that you must “pitch” your in-class exercise to Angelo at the end of class the week before you are scheduled to lead. Towards the end of the semester, there will be one or two exercises that will be shot on the Arri Alexa. More information will be provided regarding which projects on which dates. We will conduct a common pitch class where all students will present their topic of exploration for the 35mm shoots. This session will be week 4, 9/15. At that time all students will make a visual and verbal presentation and indicate what testing methods you plan to employ for the session. It is vital that your work is not simply a series of takes of the same scene over and over again, but rather that you create a method to explore possibilities with regard to exposure levels, dynamic, range, contrast ratios and lens selection.

Out of Class projects: we will be taking delivery of an Alexa package for use during the last month of class.

This will include a presentation and hands on session with the technicians for Arri (possible filed trip or on Stage 3 TBD). The class will form into groups of three students. You are encouraged to find your own groupings with fellow students in the class. Each group will have access to the Alexa camera package for both an on stage shoot during the regularly scheduled class time on Mondays as well as an entire weekend on Stage 3 Fri, Sat, Sun, which will allow each team a slot to create their final project.

1. Each team will have a total of 4 days to use the Alexa.

2. Each team will create their own crewing situation. You may work as Dir., DP, 1st AC, Gaffer, Operator. A select number of additional students from the class will serve as crewmembers for the shoot.

3. Each team may elect to bring in an additional student, not in the class, to direct the project idea. They must be a USC graduate level student that has either done thesis work or higher-level production.

4. Each team will meet with Angelo to go over their plans for this project idea. You may consider, a Public service, spot, a Spec Commercial, a short narrative (5:30 max) or other experimental format.

5. We are looking into a possible collaboration with Professor Bruce Block’s production design class. This might work out as having a partnership with a student from that class in helping to build and form the production design for your project.

6. Each team is responsible for procuring actors, props, set design and any additional elements needed to create your project idea.

7. We will screen final projects on week 16. Final formats for screening will be discussed.

8. The Alexa package must stay on Stage 3 on within the SCA complex and will require approval from Angelo if you plan to be off stage (but within the SCA complex).

Again, be creative, experiment, and make something visually interesting for your reel (creativity and performance will be taken into account in the grading process).

Course Goals:

Students entering the course are expected to have photographed a 480/546 or completed 537 or 424. This class will address the technical and aesthetic concerns of cinematography with an emphasis on developing techniques and operating methods that the student can successfully use in a professional working environment. There will be opportunities to explore topics of personal interest, and extensive experimentation is encouraged. A thorough understanding of the following topics will be pursued with the goal of being able to apply them consistently, effectively, and artistically. You are working towards being able to make informed, accurate, and appropriate decisions concerning any visual aspects of a film.

1. Breaking down a script visually in terms of mood, shooting style, and pace.

1. Being familiar with available film stocks and the look and latitude that each is capable of rendering.

1. Understanding the way different lenses affect the look and feel of a shot. Whether to use a wide, medium, or long lens.

1. Manipulating depth-of-field through lens choice and lighting for practical and creative control.

1. Placing the camera creatively, making use of different angles to enhance the narrative and mood.

1. Choosing an appropriately sized shot and composition for the aspect ratio. Knowing when to go close or to let the action play out wide, and who or what to emphasize in the frame. Learning to frame for 1.85 or wider.

1. Being able to discuss blocking with the director and knowing how to move actors for interesting master shots.

1. Understanding screen direction and eye lines.

1. Moving the camera effectively, and knowing the difference between a dolly, zoom, and steadicam, including when each is most appropriate.

1. Knowing the use of the incident and spot meter for setting exposure and ratios. Understanding the intentional use of over- and under-exposure, and their effects on the looks of a scene.

1. Lighting to match the mood and tone of a piece. Also maintaining a lighting continuity to each scene.

1. Techniques specific to indoor and outdoor lighting and special-effect lighting such as fire or lightning.

1. Controlling color temperature on a practical and artistic level. Knowing how it can be used to augment the emotional values in a scene.

1. Using filters for color control and creative reasons. Familiarity with diffusion, graduated and polarizing filters.

1. Being familiar with the equipment that is available, both grip and lighting, to achieve the desired effect.

1. Familiarity with appropriate safety procedures and responsible behavior/decision-making.

1. Managing set resources such as time, film, and manpower. Being able to communicate with the director and gaffer equally well. Delegating authority.

1. Working with the lab, and knowing how and in what ways they can help you. This includes special processing, color correction, optical, and sensitometer.

Recommended Books:

American Society of Cinematographers Manual, 10th Edition

Kodak Cinematographers Field Guide

Recommended Videos:

Kodak Cinematography Master Class Series

Six tapes of instructional video as well as interviews with world-class directors of photography

Grading:

50%: Final Project as Screened in Class.

25%: Class Participation (In-class Exercises and Screenings)

25%: 35mm on Stage project

** Attendance (see below)

Attendance:

Due to the hands-on “workshop” structure to this class, attendance is an absolute must. Engaging in every crew position and learning the unique assignments and duties of each is an integral part of a cinematographer’s formal training. By learning the “ins and outs” of each crew position, a cinematographer can better understand the overall functionality of the set and the crew at large, which he/she is ultimately at the head of. Therefore, class attendance is crucial, as each week you will be rotating from one crew position to the next. STUDENTS ARE ALLOWED ONLY ONE EXCUSED ABSENCE. Any absences beyond that will result in the reduction of half a letter grade from the student’s OVERALL FINAL GRADE at the end of the term. An absence is deemed as excused only if you have notified Angelo or the TA prior to the start of class, and has a validated reason for missing (i.e., a doctor’s notice etc.).

Late Paperwork: All project documents and paperwork are due on time. This means that any requests for film stock, additional gear ( PEC ) and presentations for 35mm projects and Outside project meetings, must adhere to the established calendars. We will be share our upgraded calendars with the class and expect that all students will check in to see any changes as they come through. We will give you a heads up.

Academic Conduct

Plagiarism – presenting someone else’s ideas as your own, either verbatim or recast in your own words – is a serious academic offense with serious consequences.  Please familiarize yourself with the discussion of plagiarism in SCampus in Section 11, Behavior Violating University Standards

. Other forms of academic dishonesty are equally unacceptable. See additional information in SCampus and university policies on scientific misconduct, .

Descrimination, sexual assault and harassment are not tolerated by the university. You are encouraged to report any incidents to the Office of Equity and Diversity or to the Department of Public Safety

. 

This is important for the safety of the whole USC community.  Another member of the university community – such as a friend, classmate, advisor, or faculty member – can help initiate the report, or can initiate the report on behalf of another person.  The Center for Women and Men provides 24/7 confidential support, and the sexual assault resource center webpage sarc@usc.edu describes reporting options and other resources.

Support Systems

A number of USC’s schools provide support for students who need help with scholarly writing. Check with your advisor or program staff to find out more.  Students whose primary language is not English should check with the American Language Institute , which sponsors courses and workshops specifically for international graduate students. The Office of Disability Services and Programs

provides certification for students with disabilities and helps arrange the relevant accommodations.  If an officially declared emergency makes travel to campus infeasible, USC Emergency Information

will provide safety and other updates, including ways in which instruction will be continued by means of blackboard, teleconferencing, and other technology.

Class Schedule

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Week 1

Monday, January 12, 1pm – 5pm

Stage 3 Course Intro

Week 1 – Friday makeup TBD

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Week 2 HOLIDAY NO CLASS

Monday, January 19

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Week 3

Monday, January 26, 1pm – 5pm

Panavision Gold 2 Demo Session

Advanced Boot Camp

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Week 4

Monday, Feb 2, 1pm – 5pm

Project Pitching Session

Team Assigning.

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Week 5

Monday, Feb 9, 11am – 5pm

35mm In-class Exercise

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Week 6 HOLIDAY

Monday, Feb 16, 11am – 5pm

35mm In-class Exercise

Shift to FRIDAY Feb 20th TBD

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Week 7

Monday, Feb 23 , 11am – 5pm

35mm In-class Exercise

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Week 8

Monday, March 2 , 11am – 5pm

35mm In-class Exercise

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Week 9

Monday, March 9 , 11am – 5pm

35mm In-class Exercise

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Week 10

Monday, March 23 , 11am – 5pm

35mm In-class Exercise

Friday, March 27

Alexa Team A Filming Paperwork Due

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Week 11

Monday, March 30 , 1pm – 5pm

Alexa Demo Session at Arriflex

Tuesday, March 31, 12:15pm – 2pm

Team A Consult Session

Friday, April 3

Alexa Team B Filming Paperwork Due

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Week 12

Monday, April 6, 11am – 5pm

Team A Alexa In-class Exercise

Tuesday, April 7, 12:15pm – 2pm

Team B Consult Session

Friday, April 10

Alexa Team C Filming Paperwork Due

Friday, April 10 Friday – Sunday, April 12

Alexa Team A Final Project

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Week 13

Monday, April 13, 11am – 5pm

Team B Alexa In-class Exercise

Tuesday, April 14, 12:15pm – 2pm

Team C Consult Session

Friday, April 17

Alexa Team D Filming Paperwork Due

Friday, April 17 – Sunday, April 19

Alexa Team B Final Project

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Week 14

Monday, April 20, 11am – 5pm

Team C Alexa In-class Exercise

Tuesday, April 21, 12:15pm – 2pm

Team D Consult Session

Friday, April 24 – Sunday, April 26

Alexa Team C Final Project

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Week 15

Monday, April 27, 11am – 5pm

Team D Alexa In-class Exercise

Friday, May 1 – Sunday, May 3

Alexa Team D Final Project

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Week 16

Wed, May 6th, 1pm – 5pm

Alexa Final Project Screening

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