B.A Second year direction of photography and ... - Bande à Part

bandeapart.org

B.A Second year direction of photography and ... - Bande à Part

www.bandeapart.org

París 143 - local. 08036 Barcelona

Tel: +34 93 444 76 78. Fax: +34 93 419 13 89

info@bandeapart.org

COURSE STARTS 2013/2014:

OCTOBER 2013

SCHEDULE:

• MORNING :

10:00 to 14:00 hours.

• AFTERNOON:

16:00 to 20:00 hours

FEES :

Choose from single monthly

payment and single payment:

• Total amount of the course

monthly Payment: 5800€.

REGISTER:1.840€ y 8 Fees of 495€

october to may.

• Total amount of the course

Single payment : 5100€.

This method of payment is a bonus of € 700

cost of the course.

• Places will be allocated in strict

order of registration.

• Check validation of students from

other schools.

OBJETIVES AND STRUCTURE

The Second Year of our Bachelor Degree

aims at preparing our students for professional

film shootings. You will widen your

technical and technological knowledge

and will apply it to the film exercises shot

in HD and Digital Cinema. You will be

trained to prepare a film project from its

inception to its finishing and learn a work

methodology that will allow you to thrive in

shootings involving organised crews. You

will learn the photography and camera

trade and be able to perform them fluently.

We will provide you with tools to make the

most of your talent.

The course has theoretical subject matter,

practical exercises using professional

equipment and tutored by expert

teachers, project proposals and free

projects.

DIRECCIÓN FOTOGRAFÍA

Y CÁMARA

MONTAJE ,

SONIDO Y

POSTPRODUCCIÓN.

2nd Photography and Camera

Direction Major.

B.A. IN CINEMATOGRAPHY

1.- TECHNOLOGY OF PHOTOGRAPHY: DOP.

1. The job of the DOP, a team leader work.

2. The relation DOP-Director, adding eorts for the movie.

3. The relation of the DOP with the others teams.

4. Pre-production. Locations, sets and light tests.

5. The previous work of the shooting, lights plane, and lighting decisions.

6. The shooting, coordination and control of the team.

7. The post-shooting work, previous colour correction and light correction.

8. Exposure related with the lighting atmosphere and with the sensitive support.

9. Evaluation with dierent type of exposure meter.

10. Latitude and contrast.

11. Measuring high and low lights, technical and practical development.

12. Over-exposure and under-exposure of the light in relation with sensitive support.

13. Dichotomy light-shade, values and use. Quality of the light.

14. Control of the colour temperature.

15. Filtering lights, ltering the camera.

16. Interior and exterior lighting. Adapting the space to the necessities of the script.

17. Types of light source and their characteristics.

18. Practice of the dierent types of light.

19. Internal and external movements of the light. Light eects.

20. The continuity of the light, the responsibility of controlling it.

21. Still photography with analogical reex (Leikas) and digital photography (Raw

format).

2.- TECHNOLOGY OF PHOTOGRAPHY: MACHINERY.

1. The job of the grip.

2. Parts of the camera dolly.

3. How do we assemble a camera dolly? Tools.

4. Camera grips.

5. Accessorize.

6. Alternatives.

3.- TECHNOLOGY OF PHOTOGRAPHY: HD CAMERA.

1. Basic concepts of the High Denition.

2. HD progressive and interlaced, the exploration of the Sensor (variation according to

the type).

3. Capture and record formats. Resolution, aspect ratio. Archive types, coding.

4. Format of the image.

5. Capture of the Sensor. Chromatic separator.

6. Signal processing (RAW versus Conventional).

7. Sampling.

8. Depth of colour. Latitude.

9. Comparing with 16mm, 35mm, SD and other HD cameras.

10. The dierent recording supports ad his postproduction.

4.- TECHNOLOGY OF PHOTOGRAPHY: ELECTRICITY, LIGHTING TECHNICIAN, AND

ELECTRICAL EQUIPMENT.

1. Set Lighting Technicians, their importance.

2. Being fast executing works.

3. Alliance with DOP: the Gaer.

4. The Chief Lighting Technician from the pre-shooting until the post-shooting.

5. Best boy?

6. Dierent types of starting mechanism.

7. Structure, tools and technique.

8. How localize, be localized on set.

9. The training continues. Progress on the equipments.

10. Fundamental norms for security on electrical work.

-1-


www.bandeapart.org

París 143 - local. 08036 Barcelona

Tel: +34 93 444 76 78. Fax: +34 93 419 13 89

info@bandeapart.org

REGISTER NOW

1. Download the registration form in

www.bandeapart.org.

2. Fill in all pages and select the

course and payment form (single or

monthly).

3. Sing all pages of the application

form and, once you have paid, send

them toghether with the payment

proof and a photocopy of your identity

card or passport to our administration

departament

By e-mail:

administracion@bandeapart.org

By fax:

Nº de Fax: +34 934191389

By post:

Bande a Part Escuela de Cine

c/ París, 143 · Local

08036 Barcelona · España

4. Once all documents have been

receibed,you will receive confirmation

of your place.

If you have any queries, please

address them to our department of

student assistance and information

Monday to Friday

from 10:00 am to 9:00 pm

Tel.:+34 934447678

Skype: bandeapartbcn

Email

info@bandeapart.org

Visit us at:

Bande a Part Escuela de Cine

c/ París, 143 · Local

08036 Barcelona · España

www.bandeapart.org

DIRECCIÓN FOTOGRAFÍA

Y CÁMARA

MONTAJE ,

SONIDO Y

POSTPRODUCCIÓN.

2nd Photography and Camera

Direction Major.

B.A. IN CINEMATOGRAPHY

5.- TECHNOLOGY OF PHOTOGRAPHY: STEADY CAM AND HANDHELD CAMERA.

1. Technology applied to handheld camera.

2. Steady Cam, the Easy Ring and the camera stabilizers.

3. How do we assemble a Steady Cam?

4. Postural practice.

5. Handheld camera. Shoulder, rig, supports, stabilizer.

6. Alternatives to the handheld camera.

6.- TECHNOLOGY OF PHOTOGRAPHY: RED ONE DIGITAL CINEMA CAMERA .

1. Studying the body of the Red One Digital Camera. Types of Cameras.

2. Internal mechanism of the cameras.

3. Formats. Type of grounds.

4. Focus systems. Types of lens.

5. Construction and shutter speeds.

6. The camera speed.

7. Auxiliary elements of the body of HD and Red One Cameras.

8. Camera lters. Types and qualities.

9. Dierent types of tripods and camera supports.

10. Batteries: handling charge and control.

7.- TECHNOLOGY OF PHOTOGRAPHY: THE JOB OF THE CAMERA OPERATOR.

1. The job of the Camera Operator.

2. Relations with his team.

3. Control of the support.

4. Camara test.

5. Checking the format.

6. Shooting tests.

7. Focus tests.

8. Focal shooting.

9. Types of camera screen.

10. Speed of shooting.

11. Exercises of synchronizing images on the screen during the shooting.

12. Shutter speed.

13. The Camera Operator and the Director. The position of the camera, the election of the

lens and the format according to the petitions of the Direction.

14. The Camera Operator and the Director. Presenting the shoot and the composition of

the elements.

15. Control of the still and dynamic shoots. Following the action. Instruction to the actors.

16. Practising panoramic and tracking shot.

17. Shoot limits. Instruction to Photography and Sound departments.

18. The Camera Operator and the DOP. Entries of lights and the control of the diaphragm.

19. Relationship with the Script. Axis, looks and continuity.

20. Working with the grips. Locating and xing the camera. Speeds.

21. The second unit.

-2-


www.bandeapart.org

París 143 - local. 08036 Barcelona

Tel: +34 93 444 76 78. Fax: +34 93 419 13 89

info@bandeapart.org

2nd Photography and Camera

Direction Major.

B.A. IN CINEMATOGRAPHY

8.- TECHNOLOGY OF PHOTOGRAPHY: FIRST AND SECOND ASSISTANT CAMERA.

1. The job of the rst assistant camera.

2. Specicities and dierences between lm and video. The focus.

3. Camera tests.

4. The job of the second assistant camera.

5. Functions: arranging the equipment, loading and unloading the magazine.

6. Camera sheet, labelling the equipment, and relation with the Script.

9.- TECHNOLOGY OF PHOTOGRAPHY: SENSITOMETRY.

1. The object. Luminous intensity: exposure.

2. Transparency, opacity, and density.

3. The sensitometric curve: characteristics and his lecture.

4. Reciprocity failure.

5. Densitometries: types.

6. Factor de contraste o gamma. Latitud de exposición.

10.- PHOTOGRAPHY AND POSTPRODUCTION IN DIGITAL VIDEO

1. Basic concepts of Digital Video.

2. Pixel Value (Archive types and Compressions.)

3. Possibilities of the Digital postproduction.

4. Can we resolve everything in postproduction?

5. Technology serving the project not the other way round.

6. The importance of touching up.

11.- THE DIFFERENTS STYLE OF LIGHTS WHO HAVE MARKED THE HISTORY OF CINEMA.

1. Creating from nothing: Billy Bitzer.

2. The light takes the power: Expressionism: Arno Wagner, Homan, Freund…

3. The 30’s: from baroque to classicism: Glennon, Garmes, Schutan, Bachelet, Milner,

Walker…

4. The era of the giants: Toland, Musuraca, Miller, August, Cortez…

5. The incomparable stylization of the 45-60 period: Metty, Matras, Krasner, Alton,

Shamroy, Figueroa, Miyagawa, Atsuta…

6. The light of the new cinemas: Coutard, Almendros, Vierny, Delli Colli, Ruban, Rotunno,

Nykvist…

7. The 70’-80’ decades: Willis, Chapman, Müller, Storaro, Lubtchansky, Champetier,

Escoer…

8. From the 90’s to the present: Kaminski, Pollock, Hirsch, Doyle, Elmes, Sekula, Prieto.

9. The form of lightening typical of certain genders.

10. Interpretation of the lights plane.

12. - MULTIDISCIPLINARY PRACTICE OF SHOOTING II (DIGITAL CINEMA).

1. How to prepare a lm shooting: the pre-production.

2. Script breakdown, shooting Schedule, production planning.

3. Shooting script, story board and lights plane.

4. Searching and checking the locations.

5. Material lists for a lm shooting.

6. Technical team and artistic team.

7. Decoration and pre-light.

8. Call sheets and the organization of the shooting.

9. Mechanic of the lm shooting.

10. Camera sheet, sound sheet, continuity sheet and production sheet.

-3


www.bandeapart.org

París 143 - local. 08036 Barcelona

Tel: +34 93 444 76 78. Fax: +34 93 419 13 89

info@bandeapart.org

2nd Photography and Camera

Direction Major.

B.A. IN CINEMATOGRAPHY

13.- PROJECT IN DIGITAL CINEMA

1. Preparation shortlms on Digital Cinema Red One using dierent types of lighting.

2. How to make equipment list for a intensive shooting on Red One Digital Cinema.

3. Dierent type of camara test.

4. Shooting, passing trough dierent functions into the photography department.

5. Function in shooting of the DOP secretary.

6. Tutoring and correction of the Project.

14.- CAMARA AND LIGHTING FOR 35MM FILM.

1. Study of the body 35mm camara. Type of cameras.

2. The profession of the assistant and second assistant.

3. Camera Sheet, Chassis and developing material.

4. Photometer and color mesuring. Mesuring.

5. Emulsions.

6. Filters and colors.

15.- FILM LANGUAGE. SPACE.

1. Space nature.

2. Space and his characteristics.

3. Space and sets.

4. A unimaginable protagonist of cinema.

5. The space and his three functions.

6. The low of space-action.

7. Real space and lmic space.

8. Thematic structuring of space.

9. Backgrounds.

10. Games with the space.

11. The space as element of denition, inuence and projection.

12. What is it? How is it? How has to be lmed?

13. Space is the protagonist!!!

14. Spatial relations.

15. Spatial transguration: external, intermediate, interne.

16. Spatial organization.

17. Determinants of visual space.

18. Double space and multiple spaces.

19. The o-screen.

20. Empty space.

21. Avant-garde.

16.- CINEMA HISTORY: GRIFFITH.

1. Origins and inuences.

2. Creation of lm language.

3. An enormous creator.

4. Essential contributions.

5. Short-lms.

6. First features.

7. The Birth of a Nation.

8. Intolerance.

9. The master pieces.

10. A sad ending.

-4


www.bandeapart.org

París 143 - local. 08036 Barcelona

Tel: +34 93 444 76 78. Fax: +34 93 419 13 89

info@bandeapart.org

2nd Photography and Camera

Direction Major.

B.A. IN CINEMATOGRAPHY

17.- CINEMA HISTORY: GERMAN EXPRESSIONISM.

1. A cinema born of war.

2. Caligari.

3. The best movies production company in the world: UFA.

4. The fabulous Carl Mayer.

5. Sets and nightmares.

6. A miracle called Murnau.

7. The camera is free. The light get the power: Arno Wagner, Freund, Homan.

8. Kammerspiellm: Lupu-Pick.

9. New Objectivity: Grüne, Pabst, May.

10. The testament of Doctor Lang.

18.- CINEMA HISTORY: SOVIETS.

1. Antecedents: Bauer, Protazanov.

2. A revolutionary cinema for the Revolution.

3. The factory of the eccentric actor: The Kuleshov eect.

4. The experimentation as a system.

5. The life of the unexpected: Vertov.

6. Editing!!!

7. The soviet cinema shocks the world: Pudovkin, Eisenstein.

8. The modern guerrilla: Dovjenko.

9. The human comedy: Barnet.

10. The crisis of the soviet cinema.

19.- CINEMA HISTORY: THE SPLENDOR OF HOLLYWOOD.

1. Ince and the Grith’s heirs.

2. Grandeur and epic: De Mille.

3. Realism and cruelty. Conventions are dynamited: Stroheim.

4. Birth and splendour of the indirect style: Lubitsch.

5. The construction of the classical narrative: Walsh.

6. Sunrise!!!

7. The street angel arrives to the seventh even: Borzage.

8. Social cinema is baroque: Sternberg.

9. The maximum ceiling of silent cinema: Vidor.

10. Ford and the followers of Murnau.

20.- CINEMA HISTORY: DOCUMENTARY I.

1. The origin of Cinema is documentary: Lumière.

2. Reconstructions.

3. The giant appears: Flaerthy.

4. Cinema-eye. The cinematographic drama is people opium: Vertov.

5. Avant-garde. Urban poems: Vertov, Shub, Ruttmann, Cavalcanti, Strand, Steiner.

6. The errand Holland: Ivens.

7. F(r)ictions.

8. The English school: Grierson, Wright, Watt, Jennings, Rotha.

9. Frontier lms: Strand, Pare Lorentz, Steiner.

10. Documents from the third Reich: Reifensthal.

-5


www.bandeapart.org

París 143 - local. 08036 Barcelona

Tel: +34 93 444 76 78. Fax: +34 93 419 13 89

info@bandeapart.org

2nd Photography and Camera

Direction Major.

B.A. IN CINEMATOGRAPHY

21.- CINEMA HISTORY: APPEAR THE SOUND.

1. Historical and genetic contextualization of the sound.

2. The birth of the talking movies. Success and depression.

3. Detractors.

4. Aleluya!: sound is converted in language .

5. Asynchrony, unication, disintegrations and sonorous magmas.

6. A new structure of image and sound.

7. A dramatic sound and the re-discover of silence.

8. All forms of dialogue.

9. First musical concepts: the structure of the drama.

10. The sonorous systems and the world without sound limits.

22.- FILM LANGUAGE: THE SOUND.

1. Sounds and noise.

2. Nature of the sound.

3. The expression of the inner world.

4. Sound to be listening while we are watching images.

5. Audiovisual balance and imbalance.

6. Sound of space. Sounds of the character.

7. The point of view and the sound.

8. Sonorous tones.

9. Sonorous cartography.

10. Structures of sound.

11. The concept of the adjoining sounds: deepening on sonorous systems.

12. Sounds relations with others sonorous elements.

13. French Revolutions.

14. Comic’s rebellion.

15. The world sounds.

16. Suciency of the sounds.

17. Is necessary to convert noise in sound.

18. Cacophonies.

19. Wasted technologies.

20. Talkies are reinventing themselves.

21. The sound go into avant-garde.

23.- FILM LANGUAGE: DIALOGUES.

1. Counterpoints.

2. The noise-dialogue.

3. Rhythmic methods.

4. Connections.

5. Progressive dialogue.

6. Repetition.

7. Word island.

8. Thematic dialogue. Tonal dialogue.

9. Modal exuberance.

10. Voice o: big mistakes, big possibilities.

-6


www.bandeapart.org

París 143 - local. 08036 Barcelona

Tel: +34 93 444 76 78. Fax: +34 93 419 13 89

info@bandeapart.org

2nd Photography and Camera

Direction Major.

B.A. IN CINEMATOGRAPHY

24. - FILM LANGUAGE: EDITING II.

1. The concept of structure.

2. The sense of structural designs.

3. Metric constructions.

4. Static-kinetic structures.

5. Rhythmic constructions.

6. The relation between time, number and type.

7. Variants and repetitions.

8. Alternate editing and parallel editing. His sense.

9. Filmic time. Real time.

10. Sonorous editing.

25. - FILM LANGUAGE: MUSIC.

1. Brief history of music.

2. Basic musical concepts.

3. Essence of the cinematographic music.

4. Musical frontiers.

5. Musical tones and cinematographic tones.

6. Impulses in the movies.

7. How to get out of the titles?

8. Diegetic music. Non-diegetic music.

9. The leitmotiv.

10. Modes.

11. Steps.

12. Intermediate diegesis.

13. Characterizations.

14. Relations.

15. Expansions.

16. The song.

17. Music and drama.

18. A true musical cinema.

19. Composed music. Selected music.

20. Times and spaces of the music.

21. Big ruptures of the cinematographic music.

26.- THE STUDENT AND THE SCHOOL.

1. 12 shortlms on Red One Digital Cinema photographed by the students during the

2nd course.

2. HD (Panasonic P2 and Sony EX1) Short-lms photographed by the students on each

subject of cinematographic language.

3. Preparation of HD individual exercises edited in Camera to practice Axis, Continuity

and Rhythm.

4. Corrections of each audiovisual practice.

5. Custom Photography Tutorials and advice on projects. Monitoring for the develop

ment of photography and camera memory for lm projects.

6. Written exercise every 2 weeks.

7. Visits to the equipment companies and knowledge of the other auxiliary companies.

8. Guide view of 52 basic movies of the Cinema History (second third).

9. End-of-term individual examination on the theoretical and practical acquired

knowledge. Delivery of a student record when nalizing the course.

10. Selection of photography and camera team of 6 shortlms in Red One Digital

Cinema to be lmed by the students in 3rd course.

-7

More magazines by this user
Similar magazines