Detailed Curriculum Vitae – Harry Mathias Harry Mathias +1 805 379-9003 [email protected] 1060 South 3rd Street, Apt 216 San Jose, CA, 95112 USA Education San Francisco State University: Bachelor of Arts Degree in Radio, Television, Film. 1968 San Francisco State University: Masters of Arts Degree in Creative Arts Interdisciplinary Studies, 1968 to 1974, with a degree emphasis in: Film Production, Broadcast TV Production, Broadcast Engineering, Drama, and Computer Graphic Systems Design. San Francisco State University, Graduate Teaching Assistant for Dr. Richard Marsh, PhD in Communications Theory and Far Eastern Religions for 2 semesters. While a student at SFSU, I directed the first production of Samuel Beckett’s 1965 TV drama Eh Joe. Eh Joe, a piece for television, written by Samuel Beckett who was present at my video taping in 1966. The first English broadcast was broadcast eventually on BBC2 (4th July 1967) with Jack MacGowran, for whom the play was specifically written, playing Joe. Samuel Beckett is world famous for writing the play: Waiting for Godot and many other works. While a Graduate student, I received a grant from IBM to do advanced engineering research experiments that resulted in the first practical computer generated film production images. My research project resulted in a practical system for producing these images, and this was used to create commercially broadcast computer images for CBS and PBS Network Broadcasts. Various Other Classes: Numerous training courses and technical certification. Including, but not limited to: • Eastman Kodak’s Lab Manager Class (I was the only person, who was not a film laboratory manager, to ever graduate from this training program.) • DreamWeaver HTML and XTML code writing toolsets training. • Barco Digital Cinema Technology Training Certification (a class which I also subsequently taught.) • Xilinx and Altera FPGA Development Toolsets. • Patent Law and International IP Management courses Teaching San Jose State University, Tenure Track Professor (3rd year) in the Radio, Television, Film Department. Fall 2012 to Present. I teach the following classes which I designed: • Cinematography covers both film and digital cinema production mastery and lighting. I utilize a teaching methodology that I pioneered in my last and my current book, which uses the same image control techniques for film and digital cinema image control, exposure and lighting. 1 Detailed Curriculum Vitae – Harry Mathias • Advanced Cinematography using 35mm cameras, and digital cinema cameras. This course covers both film and digital cinema production mastery and lighting on a much more advanced level. The students work on advanced narrative projects shot on 35mm film and utilizing digital cinema cameras. This course also adds to the student’s creative work portfolio. I also teach these classes which I did not design: • Film As Art This course focuses on the critical study of cinema. It teaches students how to “read” the filmic medium, that is, how to analyze and interpret it. This requires that they understand cinema technically, terminologically, and structurally. This also requires thinking about the art of the cinema critically, theoretically, structurally, and culturally. • Intermediate Production teaches the modern techniques of film (single camera) and live television (multi- camera) production. This class consists of lectures, text readings, lab and crew production work. Students write, produce, and direct their own projects. They get experience working with talent, and editing their portfolio level exercises and productions. This course also adds to the student’s creative work portfolio. University fundraising: After a period of careful interaction and negotiations with the entire upper management team at Panavision Inc., I was able to secure the donation to the University of a large Panavision Panaflex 35mm film camera and lens package, including multiple lenses and accessories; and a complete Genesis digital cinema camera package at no charge to the University, so that we may use it for teaching purposes and for student film projects. This was made possible by Panavision’s management awareness of my books and teaching methodology. This has actually doubled the equipment available to the University for teaching high production value cinematography and production. The value of this equipment is 1.6 to 1.9 million dollars US. The value to our curriculum is priceless. It means that our graduating students are comfortable working with professional level cinema and digital cinema equipment, at no cost to the university, except for shipping the equipment. Santa Fe University of Art and Design, Chair of the Moving Image Arts department, and Full Professor of Cinematography. Fall 2010 to Spring 2012 I taught the following classes, all of which I designed. • Cinematography covers both film and digital cinema production mastery and lighting. I utilized a teaching methodology that I pioneered in my last and my current book, which uses the same image controlled techniques for film and digital cinema image control, exposure and lighting. • Advanced Cinematography using 16mm and 35mm cameras, and digital cinema cameras. This course covered both film and digital cinema production mastery and lighting on a much more advanced level. • Major Filmmakers, this was a critical studies class that screened and analyzed the 32 major films which "changed the world". Meaning that they had the greatest impact on the world's aesthetic and emotional shared human mass culture (zeitgeist). This was the most popular class in the Moving Image Arts curriculum, by far, and it also drew many students from the Performing Arts, Creative Writing, Contemporary Music, Fine Arts, and Graphic Design departments. Alternatively, I often taught my other unique classes: • Digital Cinema Technology, a theory and practicum class in digital cinema technology, production and postproduction workflow. • Production, this was a theory and practicum class in narrative dramatic, documentary and personal statement film production. This class covered all aspects of the production process, from script breakdown, planning, budgeting, production management, through to post production and distribution. My Santa Fe University committee service, and governance activities: University Leadership committee, University Curriculum and Academic Procedures committee (UCAP), University Assessment and Evaluation committee, 2 Detailed Curriculum Vitae – Harry Mathias Department Chairs committee, Chair of the Moving Image Arts Department Faculty committee, Chair of Film & Digital Production committee, Chair of Visiting Artists Committee, Chair Student Recruitment and Enrollment committee, Organizing Committee for Faculty Senate. UCLA 1979 - 1995 (16 years, part-time), I earned their Distinguished Teacher Award I created and taught all of my classes. I taught HDTV Production, Digital Cinema Technology, Cinematography, and Lighting. Two of my most popular classes at UCLA, were called Cinematography Criticism, and Painting with Light, although I taught many others. These classes were taught for all 16 years and always had a waiting list. Cinematography Criticism was a unique cinematography course of instruction in that it centered around Cinematography visual criticism. It included viewing and critiquing many important films for their visual, camera movement, and lighting styles. This type of class is often taught for directors and writers, but almost never taught for cinematographers. Painting with Light was a practical workshop in cultivating and using lighting skills to express emotion and abstract visual ideas through lighting. It also focused on using lighting effectively with moving actors naturalistically, especially on very difficult, practical on-set situations. American University, I created and taught a Seminar in Directing for Film and Television that culminated in student- produced projects. The American Film Institute, I taught several Directing, Cinematography, and Lighting Master classes part-time for 4 years. The Swedish Film Institute, Taught Directing, Cinematography, and Lighting Master classes in a workshop while Ingmar Bergman’s Legendary Cinematographer Sven Nykvist taught a companion Master workshop at the Swedish Film Institute. The Convergence Forum (sponsored by the Canadian Government) 1984 – 1986 An annual film TV and new media technology conference, I taught as long as this program was funded. I taught classes in New Media Technology and a Film and Television Directing Master Class. The Directors Guild of America's Forum for Continuing Education I created and taught classes for several in Film Scene Staging and Blocking for the Camera, Digital Production Techniques, Advanced Production and Post Production Technologies, Electronic Cinematography (what they used to call Digital Videography), and 3D Technology The Maine Photographic Workshop (3 years) Directing for Film and Television, Lighting for Film and Television, Camera Staging and Movement and Creative use and Operation of the Steadicam. USC, Directing, Cinematography, and Lighting Master classes, for 3 years, on a Guest Lecturer basis. Stanford University, I taught a Documentary Film Master Class 3 times. Currently, I often also teach classes in Digital Cinema Technology. These classes include: • Digital Camera Capture, Tapeless Workflow, and Post Production Workflow. • Lookup tables, LUT theory and Camera “Look” management. 3 Detailed Curriculum Vitae – Harry Mathias • Color