Course Syllabus

Introduction

No prior knowledge is required and we teach all the mathematics necessary for cinematography, including trigonometry and digital theory (ie indices and binary etc).

The Principles of Photography and Advanced Cinematography

The Magic of Light
The amazing relationship between light, electricity and magnetism fascinated Einstein so much, and all three are used in film to create picture and sound, thus capturing a moment in time.  Perhaps this is the answer to Einstein's problem...

So that you have a full understanding of the art of "Painting with Light", we teach all about the Electromagnetic Spectrum, Rectilinear Propagation, Specular, Diffuse and Total Internal Reflection, Refraction and Absorption, Wavelength and Colour Temperature.

The Human Eye
You will learn all about this wonderful camera with auto focus and auto exposure, including its Morphology, Rods & Cones, Acuity, Persistence of Vision, the Synaptic Gap, the Parallax created by the Inter-Ocular Distance and the resultant illusion of Perspective.

This leads to an understanding of the Circle of Confusion which is the criteria for calculating Depth of Field in photography.

The Eye's way of creating an image with a matrix of dots via rods and cones then leads to an understanding of DIGITAL which was developed by NASA at the Jet Propulsion Lab in Pasadena in the 70s, so we make sure that you have a full understanding of digital systems which are now making important inroads into the film industry in acquisition, editing and D Cinema.

Film Stock and Processing

Whilst digital systems are making inroads into the industry, traditional celluloid is still being used substantially, and both Kodak and Fuji are investing more into developing new stocks, both faster and offering a wider stop range.  Nearly all cinemas are still projecting prints, and at the time of writing, whilst D-Cinema is on the move, there are major arguments over the question of "Who pays? - Distributor or Exhibitor?"  Also, some countries, eg India (making 600+ features a year) and China (who has just purchased a large number of new cameras from Arri), prefer film, whilst Africa, not having any labs, has to use digital.

This means that for the forseeable future we will still continue to teach all you need to know about film stock, so you will learn all about the Photochemical Spectrum, Structure and Anti-Halation, Speed and Exposure, Processing, Densitometry, Sensitometry, Contrast Control, Gamma and Teleciné to Digital. 

Image Acquisition - The Camera

As most feature films and many documentaries, TV dramas and commercials are still shot on celluloid for top quality, we continue to place importance on teaching 16mm and 35mm cinematography alongside digital systems, so you will learn all about:

Film Cameras: Basic Structure, the Drive, Film Transport, the Gate, Lenses, Back Focus, Collimation, Claw and Registration Pins, and - how to load magazines in the dark...

Digital Cameras: Chip sizes and associated Depth of Field problems, Resolution, Pixels, Bit Depth, HD, HDV and SD.  Important new developments such as Joe Dunton's brilliant Viper/Arri SR hybrid and Arri's D20 with its 25mm CMOS chip.

Our cameras include a S35mm Mitchell BNCR, complete with a Worrall head on an Oxberry Dolly, Techniscope (2 perf) Caméflex, 16mm Arriflex 16BL (kindly donated by Arri GB) with a Moy Head (thanks to Panavision), 16mm Arri M and Arri ST, a dual gauge Eclair Caméflex CM3 35mm/S16mm, a CP 16R and several Bolex R16 and H16 Cameras with Timelapse.  We also have a mix of HDV, miniDV, Hi8 and C-VHS cameras and a baby Camera Stabiliser.

 
Lenses

Regardless of what's behind the lens - film or chip -  all cameras need the lens, so you will be taught all about: 
Geometry, Structure and Types, Primes and Variable Focus, Depth of Field, Hyperfocal Distance, Perspective, Viewing Angles, Field of View, f and T Stop calibration and coatings.  Also, from the creative point of view, how the director chooses the focal length.

 
Lighting
In this visual art we "Paint with Light", using all the colours to create our picture.  Thus we need to have a full understanding of light and how it behaves.  So we teach Reflection, Refraction and Absorption, Photometry, Measurement of Incident and Reflected Light, Colour Temperature/White Balance, Reflectance, Foot Candles, Foot Lamberts, Lux, Candela per Square Metre,  Brightness and Contrast Ratios, Reciprocity Law, Exposure Control and the Inverse Square Law.

The Moving Camera

All part of the dynamics of film making.  You will learn how and why the camera moves, or not, as required.  Learning all about the equipment which makes this possible, and how to use it in our own studio.
Panning and Tracking, Dolly Shots, Cranes, the Steadicam and Hovercam.  The viewfinder and video tap.  Choosing Wide Screen systems and other Aspect Ratios and understanding Safe Action Areas.

For the ultimate in learning about camera movements, visit Hollywood Camera Work which we screen in full as part of the One Year Course.

The Screenplay
TV Commercials, Documentaries and Features.  From Treatment to Screenplay to Shooting Script.  Character and Plot development etc.  

Software taught includes Final Draft 7.1 and Screenwriter 2000.

FILM ANALYSIS – Genre - Authorship - Psychoanalysis

These modules will start with a short lecture, viewing of a feature film, and followed by a group discussion. The aim of the sessions is to analyse and find common motives. These sessions are conducted in an informal atmosphere.

Directing
The rôle of the Director - Converting the Screenplay into a Shooting Script - Storyboarding - Choosing the Lens - Blocking the Camera and the Actors.  Why does a director choose a 32mm lens... or a 75mm one?  How does that decision effect perspective?  How does the director - effectively - position the audience by choosing the camera position?  How does that involve body language?  How understanding Film Grammar (Jump Cuts, Overlapping Action, Crossing the Line etc) help the director to "Shoot with the edit in mind"?  Use of Mise en Scène and Storyboarding from Classical Eisenstein to Ridley Scott, and whilst we teach StoryBoard Quick 4 and Shotmaster software, Hollywoodworks and Antics 3D remain the ultimate tools.

Drama - and especially the all-important discipline of improvisation - is focussed upon in a way not dealt with by many other film schools, and is considered to provide vital grounding for both the director and screenwriter, which is why "Acting for the Director" is included in the One Year Course and is tutored by both experienced actors and directors.

 
Stagecraft
Set Design and Construction, Special Effects, Wardrobe, Film Makeup including Prosthetics, Props, Stunt Work.

Film Editing and the Laboratory
Equipment, Logging, Splicing, Rushes, Assembly, Rough Cut, Fine Cut, A & B Rolls.  Shooting with Editing in Mind and Editing as Directing for the 3rd time:  Cutting on Action, Jump Cuts, Rhyming etc.  Hardware includes a 6-plate Super 16mm and 35mm Steenbecks, 35mm Moviola,  35mm and 16mm Compeditors, plus Sony Beta SP and JVC miniDV recorders for digital work.
Software taught includes Avid Xpress HD Pro.

 Sound Recording and Post Production
Mikes and Recorders, Zonal Stripe, Laying Sound Tracks, Special FX, Dubbing, Dialogue Equalisation, Band Pass, Band Stop, Voice Overs.  Hardware includes Nagra 4.2 Xstal and Nagra Ares BB Digital recorders and Sennheiser 416T and Radio microphones.  Full technical specifications may be found via Studio Equipment

 The Laboratory - Grading, Release Prints etc
Opticals, Cinex Test, Step and Liquid Gate Printing, Interneg, Interpos, Neg Cutting, Technicolor Dye Transfers and Separation Masters, Answer Print, Cue Sheets.

 Special FX
CGI, Time Slice, Time Warping, Mask Off, Animatronics, Motion Capture, Digital Fur, Cloth and Fluid, Replication, Radiosity. NB Any Moving Image Society technical events are included in the One Year Course.