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Name of lecturer(s)
Learning outcomes of the course unit
Practical experience with studio lighting
Mode of study
Prerequisites and co-requisites
Basic experience as cinematographers, ability to handle essential filmmaking tasks. Successful completion of Shots in Studio.
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.
The story of a night opens with a darkened room illuminated by street light.
The atmosphere is suddenly disturbed by an unknown person entering. The figure moves around the room with distinctive uncertainty and finds out the pieces of furnishing in the light of a torch (pocket light). The stranger’s expression reveals a certain degree of concentration and curiosity. He walks through the spaces when, suddenly, he is interrupted by light turned on in the hallway next door by a girl coming in. The stranger hides quickly. The girl takes off her coat; she is distressed and suspects she is not alone there. She enters a room and turns the ceiling light on, looks around but finds nothing suspicious.
She goes back to the hallway and turns the light out. She also turns off the light in the room, walks over to her vanity table, carrying her handbag; there, she turns on a table lamp and removes her make up. Her actions are constantly observed by the stranger. Once she has finished with her face, she turns the lamp off, walks over to the bedside table where she turns on a bedside lamp. She takes her clothes off. The stranger’s attention intensifies. The girl puts on a nightie and lies down. The stranger quietly approaches the girl and turns the bedside lamp off. The girl freezes, turns over towards the source of noise and then quickly curls up in the corner of the sofa. She can see the silhouette of a figure against the window, coming closer. In a flash, the stranger turns on the torch (pocket light) which pours sharp light on her helpless, scared face. The stranger mercilessly walks closer and closer. The girl has been overcome by fear. His other hand is holding the glinting blade of an enormous knife. The girl has no more strength; she collapses and falls down unconscious. A vigorous move of the knife not aimed to hurt the victim, the girl.
•480m eastman double-x negative film 5222
•Final length max. 120m
•Number of shots: min. 15, max. 25
•Floor plan, set remains identical for everyone
- beginning: - “FAMU presents exercise ANTICORRO”
- End: - year, © studio famu
Based on the given literary script, the student creates a technical script / shooting board (15- 25 shots). The scripts, shooting plan, lighting plan, production plan and budget, art department need to be approved prior to shooting.
-technical script/ shooting board: 1 months before shooting
-art department: month before shooting
-production plan and budget: (studio famu) 1 month before shooting
-shooting plan, floor plan, lighting plan: 2 weeks before shooting
Obligatory light changes: (WS = wide shot, MS = medium shot, CU = close up)
- “film night” - light accent through the window from outside: WS
- “film night” with effect of electric torch: WS, MS, CU
- “film night” with silhouette against the night window with torch effect: MS
- switching on and off of a light in the other room: MS
- switching on and off of ceiling light: MS
- switching on and off of practical lights
- at least one shot with a metal surface reflecting in the light during a movement. (hence the name: “stainless steel knife”)
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.
Light effects like police alarm lights and similar are possible but are not considered light changes
- developing of negative 480m in film lab
- grading of dailies in film lab according to grey chart/onelight with presence of student
- film print, 480m - “dailies” according to grey chart with screening
- editing of film print on classical analog editing table with editor from editing dpt: no sound; “creative edit”
- creative edit screening for mentor for approval prior to handing the print to the film lab
- cutting of negative in CT lab according to “creative edit” = serviska
- grading in film lab with presence of student
- film print; silent; maximum 120m screening for mentor
- final year exams (klauzury ) KK 2nd year, CINKK 1st year
- scan of negative max. 120m
- analysis with teacher
- grading of digi intermediate
- sound postproduction with supervisor’s approval
- screening for mentor: compoarison film print vs digi print
- 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
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
Assessment methods and criteria
a)end of 1st year: screening of silent film print
b)part of the final set of work (DCP)
All screenings with classified grade from commission (klauzura)
1)Exercise has one common script - without exceptions
2)Exercise will have one common art director for all the class – SF will address doc. Nekvasil from DAMU (possibility to keep one art director for all or divide into kk and cinkk)
3)Exercise will have one common set – possibility of loose changes of props (change of paintings, vases, textiles…)
4)SF will take care of the production of the exercise
5)budget remains the same - approved by SF production
6)name of assistant (focus puller) will be added to white book
7)construction - during shooting there will be 1 person from SF who will help with minor changes of props, etc
• Mon + Tue - liquidation without the participation of student DP (provided by SF)
• Wed - ½ day of prep, ½ day of lighting (participation of student DP necessary)
• Thu + Fri - shooting (12-hour days)
9)this exercise is a field exercise of the cinematography department, therefore the presence of students from other departments is voluntary - only the student of the cinematography department is responsible for the exercise
10)presence in lessons on Mon + Tue + Wed is obligatory during shooting - this does not apply to students DP
11)it is necessary to respect the working hours of SF during shooting
12)No sync sound shooting, silent movie
13)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
14)Camera moves: pan, tilt, travelling. NO jib. NO crane. NO steadycam. NO gimbals etc.
16)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.
• NO background projection
• Smoke, haze, fog etc. strongly NOT recommended (only if permitted by teacher).
No schedule has been prepared for this course