CNPR 376 INTERMEDIATE CINEMATOGRAPHY CLASS OVERVIEW & SCHEDULE

Fall 2009

Cinematography Faculty & SA’s:

Robert Ballo – Lab - 1-3:50pm Thursday, Z Center Stage 122 Dailies – Tuesday 6-9pm SCA 259 [email protected] 626-584-9515 SA: Elizabeth Yarwood [email protected] 917-861-3790

Rob Kositchek – Lab - 1-3:50pm Tuesday, Z Center Stage 122 Dailies – Tuesday 9am-12pm SCA 110 [email protected] 310-315-9465 SA: Mitsuyo Miyazaki [email protected] 213-321-0369

Angelo Pacifici – 9-11:50am Tuesday, Lloyd Stage Dailies - Tuesday 6-9pm SCA 204 [email protected] 310-313-3762 SA: Lior Chefetz [email protected] 323-770-3070

Fall 2009

CNPR 376 INTERMEDIATE CINEMATOGRAPHY COURSE OVERVIEW

Required Book: Visions and Voices, Mike Hurbis-Cherrier, Focal Press

Office Hours: Tuesday: 5:00pm – 6:00pm, 9-10pm Thursday: 12-1pm and 4-6:30pm By appointment

Course Description: Cinema-TV 376 is an intermediate perspective to the creative and technical challenges of cinematography and the ability to apply this knowledge to the process of making two complete motion pictures shot on 16mm color film and finished digitally. The content of the course will emphasize learning how to express ideas, mood, story and character using many photographic and lighting principals as well as some of the tools of the trade. The class is more about process than finished result, although your finished results inexplicably reflect your effort, understanding of the process and your ability to execute your ideas.

Course Objective: To learn not only how to operate camera and lighting equipment proficiently but to critically "see" light, manipulate it and to successfully record the images you want. You should be able to apply these technical and interpretive skills to the content of your scripts and be able to critique not only your own cinematography but that of others too.

What to expect from the course: The class will be geared to bring you up to speed as quickly as possible with the skills you will need to shoot your projects. BUT, there is no way possible for this class to give you everything you need to course IN ADVANCE of shooting your projects. Be patient and realize your greatest learning will come while applying what we discuss in class to shooting your films in the field. In class you will be exposed to a wide variety of cinematic problems that will challenge you to learn how to expose film, and manipulate the light, camera and content of your scripts into a meaningful, watchable presentation.

Class meetings will consist of a dialogue relating to your shooting experiences, viewing examples from various film clips, practical shooting exercises and a critical look at how to get from an idea to an image on film. The first few class meetings will be intense and will give you the basics to get you going. Subsequent meetings consist of shooting exercises in class and are tailored to meet the cinematic and stylistic needs of your projects while addressing various cinematic concepts universal to every production.

The course has been designed over many years with your best interest at heart. The schedule of test weekends and principal photography weekends is a format that is required of you to follow. The allocation of film for each weekend is not changeable unless under the most dire of circumstances. Unlike your 290 experiences, 310 require the input of all of your instructors, SA’s and your peers. Without dailies to watch at these scheduled times the major benefits of this class format are wasted. Additionally, there is an adverse effect on your grade.

What I expect from you:

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Participation. This is a hands-on workshop. What you give you will receive. There will be moments in this class process that will very intense and you will be required to make immediate and finite decisions that will affect the outcome of your films. This is a process – learn from it. I will do my best to uplift you during this process of learning about cinematography and possibly your entry into an exciting and challenging life long journey of visual creative expression. Please be patient of yourselves during the challenges this class always provides.

Promptness. Tardiness adversely effects your participation and being late shows a great discourtesy to fellow classmates and myself. In the working world of film production, repeated lateness means not being hired again. If you are going to miss a class, I expect a phone call to myself or to Elizabeth. This call does not constitute an unexcused absence; it is simply a professional courtesy. Our word is how we truly represent ourselves to others. Let’s try to live by it.

Safe Conduct. No shot is worth injury to you or equipment. Please see Student Safety Handbook on rules and regulations. Beside, if an injury occurs or equipment is damaged you might not be able to finish your project. Common sense will solve most problems in this area.

Equipment Center Relations. The PEC is the busiest rental house in Hollywood! Really! Having a good relation with your rental house is one of the most important a cinematographer can have. If you need help, ask them (or, of course myself or Elizabeth). Place additional rental orders in advance. Showing up at the last moment and expecting them to jump will not work. If damages occur, please see me. Do not attempt to return gear without identifying any damages. You may loose a valuable resource and possibly incur even greater consequences.

Demonstrations: Each class we will use equipment in various lighting situations.

Grading: See sheet on grading.

CLASS SCHEDULE

Week 1 Philosophy of course, safety, facilities, camera reports, slates, light meter, other general 8/27 practices and administrative. Lab: General Practices. Reading V&V: Ch. 1: From Idea to Cinematic Stories, pgs. 8-13 Ch. 5: From Screenplay to Visual Plan, pgs. 85-100 Ch. 6: Preparing for Production, All Ch. 7: The Cast and Crew, pgs. 119-127 Ch. 8: The Film System, All SA: Lighting Package

Week 2 Preparation for the shoot. 9/03 Lab: Prepare for test shoot. Complete in class check out of all equipment: Camera package, lighting package, light meters. Choosing a lens, filmstock, T-stops. Focusing and lens selection. Reading V&V: Ch. 10: The Lens, All Ch. 11: Camera Support, All Ch. 12: Basics of Exposure, All SA: Arri S Package, dummy loads, slate, color chart, tripod, light meter, camera reports

Week 3 9/10 View Dailies Test Weekend #1

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9/10 Lab: In Class Exercise #1 – Interior Lighting - Contrast Reading V&V: Ch. 13: Basic Lighting for Film and DV, pgs. 235-255 Ch. 14: Lighting and Exposure Beyond the Basics, pgs. 271-282 SA: Film stock – assign students to bring Arri S Packages and light meters

Week 4 9/15 View Dailies Shoot #1 9/17 Lab: In Class Exercise #2 – Interior Lighting Reading V&V: Ch. 3: Visual Language and Aesthetics of Cinema, All Ch. 4: Organizing Cinematic Time and Space, pgs. 55 - 63 SA: Film stock – assign students to bring Arri S Packages and light meters Review: Project dailies for Exercise #1

Week 5 9/22 View Dailies Shoot #2 9/24 Lab: In Class Exercise #3 – Night Interior Lighting Reading V&V: Ch. 18: On Set!, pgs 331-338 SA: Film stock – assign students to bring Arri S Packages and light meters Review: Project dailies for Exercise #2

Week 6 9/29 View Dailies Shoot #3 10/01 Lab: In Class Exercise #4 - Exterior Lighting Reading V&V: Ch. 12 Basics of Exposure, All SA: Film stock – assign students to bring Arri S Packages and light meters Review: Project dailies for Exercise #3

Week 7 10/09 Lab: In Class Exercise #5 – Interior Lighting and Camera Operation, Graded as Mid-term Reading V&V: Ch. 24 – Finishing, Mastering and Distribution, pgs. 459-464 SA: Film stock – assign students to bring Arri S Packages and light meters Review: Project dailies for Exercise #4

Week 8 10/15 Lab: Visual Instruction for 2nd Project, In class Quiz Go over test shoot for Project Two Mid Term Evaluations Review: Project dailies for Exercise #5

Week 9 10/22 No class. Sound Edit. Mix. 10/24 Weekend Shoot Film Test for Project Two

SCREENING PROJECT ONE: SUNDAY, October 25 7-8:30pm

Week 10 10/27 View Dailies Test Weekend #2 10/29 Lab: Advanced Cinematic Concepts: Dollies

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SA: Film stock – Students to bring Arri S and light meters

Week 11 11/03 View Dailies Shoot #1 11/05 Lab: A & B Camera, Int. to Ext. Transitions SA: Film stock - assign students to bring one Arri S Packages and light meters Review: Project dailies for Advanced Cinematic Concepts Exercise

Week 12 11/10 View Dailies Shoot #2 11/12 Field Trip#1 – Camera Rental, Telecine or Lab/Post Facility Reading V&V: Ch. 1: From Idea to Cinematic Stories, pgs. 3-8

Week 13 11/17 View Dailies Shoot #3 11/19 Field Trip #2– Camera Rental, Telecine or Lab/Post Facility

Week 14 11/26 No Class. THANKSGIVING

Week 15 12/03 Open

Week 16 12/10 No Class. Mix

SCREENING PROJECT TWO: Saturday December 12, 6:30 – 8:00pm

376 GRADING Quiz or Practical Shooting Exam 10% Based on Readings and Lectures Class Participation 10% Weekly In Class Exercises 30% Weekly Project Dailies & Final Film 50 % Dailies & Finished Project Attendance 2 unexcused absences (to dailies & lab) lowers grade one half-letter grade. (B- to C+). 3 unexcused absences (to dailies & lab) lowers grade one full letter grade. (B- to C-). Tardiness 2 unexcused tardies (to dailies & lab) lowers grade two full notches (B to C+).

Description of graded elements: Quiz. In class. Individual.

Participation. In class. Individual. Participation in the class is essential. This portion of the grade will be evaluated on my observation of each individual throughout the semester. Participation is: 1. An active contribution when critiquing dailies; not only of your own projects but that of your peers. 2. Having a light meter per partnership at class every class. 3. Coming prepared as assigned Cinematographer or provider of camera package.

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4. Active involvement during the photography of exercises in class including set-up and strike of equipment. 5. A positive attitude and a willingness to learn and ask questions. 6. Conversational knowledge of the terms and concepts used in motion picture photography. 7. A net result from shooting exercises which provides images of superior quality and which demonstrates growth throughout the semester.

In Class Exercises and Project Dailies This will be graded on criteria set forth in the “dailies evaluation” sheet. Filmmaking is a craft that demands a final result people can look at, hear and appreciate. Not everyone in this class will go on to become cinematographers, but there must be growth during the class and a portion of your experience must be represented in the images recorded. Your cinematography must be able to demonstrate the execution of usable images that propel and clearly tell the story. Individuals who need additional support from me will wholeheartedly be received it. Please speak up. If at any time you are wondering how you are progressing, it is your responsibility to consult the instructor.

Dailies Evaluation 1. Uniqueness and creative interpretation of lighting as suggested in the scenario. 2. Appropriate exposure for each shot. Is there consistency between shots? 3. Appropriate focus for each shot. Is there consistency between shots? 4. Appropriate uniqueness of composition and framing of any and all subjects in the shot. 5. Ability of shots to cut together editorially. Does not need to be shot in order.

Camera: Points: 1-5 Composition______( ) Image Size/Framing______( ) Lens Selection/Focal length______( ) Angle/Position______( ) Exposure______( ) Depth of Field Control______( ) Camera Movement______( ) Operating______( ) Technical Problems______( )

Lighting: Type - Hard, Soft, Combo, Existing______( ) Sources______( ) Modeling______( ) Contrast Ratio______( ) Background/Window Control______( ) Mood/Effects______( ) Absences and Tardies This is a workshop course so attendance is of critical importance. Providing a courtesy phone call for not being in class does not constitute an excused absence! Written medical explanations are required for excused absences.

To earn an “A” grade I must see excellence in all of the above criteria. Excellence: Possession of eminently good qualities; great merit, virtue or goodness. A superior trait. Having good qualities in a high degree, superior in worth or value.

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Safety: The personal safety of yourselves, your cast and crewmembers is a vital consideration as you plan and shoot your projects. Please check with your instructors before shooting if you have any questions or concerns. Read the Safety Handbook and understand the contents. Footage shot in unsafe conditions will be withheld from the final project; students’ privileges may be suspended; your grades may be lowered, including the possibility of failing. All students are expected to understand and abide by the USC School of Cinematic Arts guidelines. Violation of any safety guidelines may result in disciplinary action from confiscation of footage to expulsion from the University. Be sure to discuss all hazardous shooting conditions listed in the USC Handbooks with your instructors. Both partners are equally responsible for production safety. The use of any special equipment (i.e. dollies with jib arms, steadicams, scissor lifts, condors, cranes, helicopters, camera cars, car mounts and generators – with the exception of putt-putts) is PROHIBITED.

Faculty Sign-Off sheets are required for all Hazardous-shooting conditions prior to production. Use of any equipment for which the School of Cinematic Arts has not provided instruction is prohibited.

Camera Faculty Sign-Off is required for any changes to the allocation of film for all shooting weekends. (One test roll, three rolls first weekend, four rolls second weekend, four rolls third weekend.

Project Length: Projects are a maximum of 5 minutes and 30 seconds, plus 30 seconds of end credits not over picture. All rendered effects must in by picture lock including credits. If you want to use voice-over recording for your film, ALL FACULTY MUST APPROVE it.

Students with Disabilities: Any student requesting academic accommodations based on a disability is required to register with the Disability Services and Programs (DSP) each semester. A letter of verification for approved accommodations can be obtained from DSP. Please be sure this letter is delivered to me as early in the semester as possible. DSP is located in STU 301 and is open from 8:30am – 5:00pm Monday through Friday. The phone number for DSP is 213.740.0776

Academic Integrity: The School of Cinematic Arts expects the highest standards of academic excellence and ethical performance from USC students. It is particularly important that you are aware of and avoid plagiarism, cheating on exams, submitting a paper or exercise to more than one instructor, or submitting an assignment authored by anyone than yourself. Violation of this policy will result in a failing grade and be reported to the Office of Student Judicial Affairs. If you have any doubts or questions about these policies, consult SCAMPUS and/or confer with instructor or TA.

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