Camera Techniques Seminar 2
Subject is not scheduled Not scheduled
Name of lecturer(s)
Learning outcomes of the course unit
Students attend practical and theoretical classes. Students practice with various film or digital camera. They also receive a theoretical basis for work with the camera as a tool for film language.
Mode of study
Workshops and theory classes.
Prerequisites and co-requisites
Previous experience with camera technique and technology
Theoretical and practical acquaintance with 35mm, 16mm and electronic camera technology. Students visit either Cinematography Department at FAMU or professional rental services and familiarize themselves (under the tutor leading) with its cameras and optical-mechanical-electronic equipment. Part of the course is also professional practice.
Part of the course has theoretical lectures about theory of camera tools and film language principles.
- Movement as the main principle. Introduction. Historical review. Movement like basic means of film expression. Movement in the shot. Movement with camera. Movement of subjects in front of camera. Movement for subjective look. Movement of lights. Movement of linear perspective. Movement of colors. Rhytmic movement. Movement as actor and storyteller. Movement as composer.
- Framing theory. Function of human memory. Memory as collection of experiences. Frame as window. Picture inside the screen frame, picture outside the screen frame. Creative work of imagination versus spectator s interest about visible picture. Function of darkness in cinema. System of question marks and role of content of picture versus acting of actors. Andrej Tarkovskij as master of framing.
- Narrator - POV. Analysis of Czech Film Marketa Lazarova. POV of character. Narration by narrator. Narration by camera. Narration by author and narration by spectator. Strategic plan how to set up narration of a film.
- Composition and the golden ratio. Basic law of the universe. Basic rules of composition. Horizontal movement with camera. Using planes. Closed and open compositions. Composition styles in painting. Composition as a director s tool. Composition as a tool for director of photography. Review of historical styles in visual art. Why we need to think about the center of the picture and center of the universe? Golden number and golden ratio. Fibonacci s numbers. Mason s way to build balanced houses. Mason s numbers. Perfectionism versus beauty.
- Shot sizes and resolution. CU and LS shot sizes. Language syntax. Information versus emotions. Camera s eye viewing angles. Parameters of shooting locations. Theory of backgrounds. Use of other shot sizes. Why 35mm was established as world s film standard. Why DC4K?
- Depth of field, perspective, lens=eye, basics of optical laws. Depth of field as illusion. 2D look, 3D look. Hyper focal distance for producer s budget. Telephoto lenses versus wide lenses. Introduction to basic work with film lenses.
Recommended or required reading
Steven D. Katz: Shot by Shot
Assessment methods and criteria
No schedule has been prepared for this course
The subject is a part of the following study plans
- Cinematography_1920 (required subject)