Anticorro

Subject is not scheduled Not scheduled

Code Completion Credits Range Language Instruction Semester
304ANCZ Z 3 72 hours (45 min) of instruction per semester, 21 to 36 hours of self-study English summer

Subject guarantor

Name of lecturer(s)

Learning outcomes of the course unit

Practical experience with studio lighting

Mode of study

practical exercise

Prerequisites and co-requisites

advanced experience as cinematographers, ability to handle more advanced filmmaking tasks

Successful completion of lighting seminar 1-4 and workshop shots in studio 1 and 2.film camera (arri3) provided by studio famu film set (3wall room with big window and door, small room as kitchen, bathroom or extra room TBD; backdrop) provided by studio famu

Course contents

Detailed specification of exercise - Anticorro

b/w, 35mm, 480m eastman double-x negative film 5222, final length maximum cca 4min

short fiction depicting various light atmospheres; light changes in the shot; use of practical lights; dramaturgic use of light; correct exposure according to the intended atmosphere.

being the final, main project of 2nd year’s studies, this shortfilm should creatively apply acquired knowledges and skills during first two years of studies.

if the cinematography student is working with a director, he or she has to bear in mind that Anticorro is a cinematography/ lighting exercise, which only the cinematography student is responsible for. a director can come in to help out, but definitely not take over.

based on a synopsis, the student creates a literary script, after approval a technical script/ shooting board (15- 25 shots). scripts, shooting plan, floor plan, lighting plan, production plan and budget, art department need to be approved prior to shooting.

timing for approvals:

synopsis: till end of january

literary script: till end of february

technical script/ shooting board: 1 month before shooting

art department: (Petra Lebduskova) 1 month before shooting

production plan and budget: (Marek Jindra) 1 month before shooting

shooting plan, floor plan, lighting plan: 1 week before shooting

light changes must be executed during the shot, without changing the T-stop.

the size and angle of the shots must be chosen in a way, that these light changes are intelligible and expressive.

obligatory light changes and shots: WS = wide shot, MS = medium shot)

  1. window in the shot: balance between outside (with visible details) and inside: WS
  2. “film night” - light through the window from outside: WS
  3. “film night” with electric torch pointing towards camera with and without silhuette against night window
  4. effect of electric torch on some object: MS
  5. switching on and off of a light in the other room; light coming in through a door: WS
  6. switching on and off of ceiling light: WS
  7. switching on and off of practical lights: MS
  8. at least one shot with a e.g. metal surface reflecting in the light during a movement. (hence the name: “stainless steel knife”)

genre: drama, horror, tension, mystery, comedy, gag…

light effects like police alarm lights, cars passing and similar are possible but are considered as light effects and not as light changes

no sync sound shooting, silent.

school equipmet only:

camera: arri 3 or moviecam with standard settings: 4perf; shutter 180 degrees @ 25fps;

aspect ratio 1:1.85;

spherical lenses: set of Zeiss superspeeds

no zoom

camera moves: pan, tilt, travelling. NO jib. NO crane. NO steadycam. NO gimbals etc

NO VFX

SFX: NO rain or snow. drops on windows possible. wind possible.

NO OPEN FIRE like torches, fireplaces etc. NO explosions.

cigarettes with reserve only, definitely NO throwing on the floor

smoke, haze, fog etc strongly NOT recommended.

if somebody plans to have some kind of light version of special effects or sophisticated props, he or she must count double to triple time to rehearse and shoot it. so he or she must plan accordingly less shots overall.

set will be built to meet the requirements of this exercise (after consultation with film architect) and WILL BASICALLY STAY THE SAME FOR ALL STUDENTS (floorplan, window, doors, wall colours, kitchen bathroom etc). each student choses/ finds own props, furniture etc

workflow:

  1. shooting
  2. developing of negative 480m in CT lab
  3. grading of dailies in CT lab according to grey chart
  4. film print, 480m - “dailies”
  5. editing of film print on classical analog editing table with editor from editing dpt: no sound; “creative edit” = serviska
  6. cutting of negative in CT lab according to “creative edit” = serviska
  7. grading in CT lab with presence of student
  8. film print; silent; maximum cca 100m: final year exams (klauzury ) KK 2.r. a cinkk1
  9. scan of negative cca 100m

10.grading of digi intermediate

  1. sound postproduction
  2. digiprint with sound: DCP @ bachelor exam for KK and graduation set for CINKK (+ export to ProRes 422): final year exams (klauzury ) KK 3.r. a cinkk2

Recommended or required reading

american cinematographer’s manual

John Alton, “Painting with Light”

Sven Nykvist, “Reverence for the light” 1997

D. Schaefer and L. Salvato, “Masters of light” 1984

F. Truffaut, “le cinema selon Hitchcock” 1966

K. Malkiewicz, “film lighting” 1986

D. Samuelson, “motion picture, camera and lighting equipment” 1980

Studio´s FAMU equipment

The White book – Production list

Assessment methods and criteria

all students must be present all the time - helping each other out

screening - with classified grade from commission (klauzura)

Note

No sync sound shooting, silent.

Studio FAMU equipment only:

camera: arri 3 with standard settings (see White Book)

no zoom

4perf; shutter 180 degrees @ 25fps

aspect ratio 1:1.85

Camera moves: pan, tilt, travelling. NO jib. NO crane. NO steadycam. NO gimbals etc.

NO VFX

SFX: NO rain or snow. Drops on windows possible. Wind possible. NO OPEN FIRE like torches, fireplaces, flame cutters etc.

NO explosions or gunshots.

Cigarettes with reserve, if permitted by supervisor.

Smoke, haze, fog etc. strongly NOT recommended (only if permitted by supervisor).

The set will be built to meet the requirements of this exercise (after consultation with film architect) and WILL STAY THE SAME FOR ALL STUDENTS (floorplan, window, doors, wall colours). Changes to the floorplan in the set and wall colours cannot be accepted. Each student choses/ finds own props, furniture etc. upon consultation with supervisor and Studio FAMU person in charge.

Each student has 1/2 day prep, 2 days shooting, 1/2 day liquidation

During shooting the studio working hours have to be respected

Workflow:

  1. shooting
  2. developing of negative 480m in film lab
  3. grading of dailies in film lab according to grey chart/onelight with presence of student
  4. film print, 480m - “dailies” according to grey chart with screening
  5. editing of film print on classical analog editing table with editor from editing dpt: no sound; “creative edit”
  6. creative edit screening for mentor for approval prior to handing the print to the film lab
  7. cutting of negative in CT lab according to “creative edit” = serviska
  8. grading in film lab with presence of student
  9. film print; silent; maximum 120m screening for mentor
  10. final year exams (klauzury ) KK 2nd year, CINKK 1st year
  11. scan of negative max. 120m
  12. analysis with teacher
  13. grading of digi intermediate
  14. sound postproduction with supervisor’s approval
  15. screening for mentor: compoarison film print vs digi print
  16. digiprint with sound: DCP made by Studio FAMU, screening at bachelor exam for KK and graduation set for CINKK (+ export to ProRes 422)

steps 11-16 are part of the seminar “colour grading workshop 1” and take place in the following semester

Further information

No schedule has been prepared for this course

The subject is a part of the following study plans