Course ID: | EMST 6042. 3 hours. |
Course Title: | Camera and Lighting II |
Course Description: | Builds on Camera and Lighting I, focusing on broadening the understanding and execution of the aesthetic and technical practices of motion picture cinematography. The cinematographer as the leader of the camera department and grip and electric departments is also examined. |
Oasis Title: | Camera and Lighting II |
Prerequisite: | EMST 6041 |
Pre or Corequisite: | EMST 6040 |
Semester Course Offered: | Offered spring semester every year. |
Grading System: | A-F (Traditional) |
|
Course Objectives: | This course is built upon an integrated approach to understanding
and applying advanced camera and lighting concepts through praxis.
Students will apply the principles of lighting and camera taught
in Camera and Lighting I through class exercises and short films
outside of class in preparation for the MFA Thesis film. |
Topical Outline: | I. Grip and Electricity: An exploration of light controls, flags
and cutters, diffusers and holding clamps, as well as electrical
supply systems, power sources, distribution equipment, and
electrical safety.
II. Painting with Light: An examination of mood, full range of
tones, color control and color balance, as well as quality of
light and relative size of radiating sources and lenses.
III. Understanding Lenses: A survey of focal length, field of
view, lens speed, depth of field and the impact these have on
image, light, and the perspective of the viewer. Special
emphasis on the relationship between lens choice and story.
IV. Light Meters and Gray Scale: An analysis of foot candles,
sensors, f and t stops, and how the use of a gray card impacts
color balance and exposure during production and post-production.
V. Filtration and Gels: An examination of color balance and
color temperature and its impact on image, mood, and story.
Correcting light balance will also be discussed and practiced
through in-class shooting and testing.
VI. Dollies and Tracking: An analysis of how the physical
movement of the camera with a constant focal length changes the
perspective of composition and audience emotion. As well,
motivated camera movement will be practiced through exercises
where the camera follows alongside, in front of, and behind
subjects.
VII. The Team and Set Operations: An exploration of how the
director of photography leads the camera and grip and electric
departments while seamlessly working with other departments in
pre-production and production. The process of blocking,
rehearsing, lighting, and shooting will also be explored. |