Jump to content

Search the Community

Showing results for tags 'education'.

  • Search By Tags

    Type tags separated by commas.
  • Search By Author

Content Type


  • Cinematography Forums
    • General Discussion
    • Cine Marketplace
    • Cameras Systems and Formats
    • Lighting for Film & Video
    • Camera Operating & Gear
    • Camera Assistant / DIT & Gear
    • Grip & Rigging
    • Visual Effects Cinematography
    • Post Production
    • Students, New Filmmakers, Film Schools and Programs
    • Lenses & Lens Accessories
    • Film Stocks & Processing
    • Books for the Cinematographer
    • Cinematographers
    • Directors and Directing
    • In Production / Behind the Scenes
    • On Screen / Reviews & Observations
    • Business Practices & Producing
    • Camera & Lighting Equipment Resources
    • Jobs, Resumes, and Reels
    • Please Critique My Work
    • Cinematography News
    • Sound
    • Off Topic
    • Accessories (Deprecated SubForum)
    • Regional Cinematography Groups

Find results in...

Find results that contain...

Date Created

  • Start


Last Updated

  • Start


Filter by number of...


  • Start





My Gear


Found 12 results

  1. Having recently played games on the PS4 like Death Stranding and Detroit: Become Human that seem to rely heavily on the seamlessness between the in game cinematics and gameplay, I’m curious of the overall feeling toward video game cinematography and how the community feels about it’s future. I remember seeing an article in American Cinematographer about Detroit: Become Human, which first piqued my interest in the medium. Is this type of cinematography other DPs are keeping their eye on? Also, if anyone knows of any resources that are available for someone like me who is interested in the medium but comes from a traditional cinematography background; it would be greatly appreciated if you could point me in the right direction. Thanks, RC
  2. Good day forum, Is there any resources(e.g.case studies, videos, books, websites...etc) that demonstrate professional image acquisition workflow (from set to dailies), covering practice and equipment used in the process. I found the below so far: Capturing the Shot: Fundamentals, Tools, Techniques, and Workflows for Digital Cinematography The Filmmaker’s Guide to Digital Imaging: for Cinematographers, Digital Imaging Technicians, and Camera Assistants DITs and Data Management for Features, TV and Commercials
  3. Hello, Does anyone have experience taking the ASC Masterclass (http://www.theasc.com/site/asc-master-class/)? I am considering it in 2016 but all information on the website is pretty thin. Thanks in advance Sean Donnelly Director of Photography Corduroy Media www.corduroymedia.com
  4. Yesterday I came across a focus pulller operator workshop class which will be held here in Italy, starting next February. The class will have a duration of two (2) weekends, so I guess about 8 hours per day for two consecutive week ends, 4 days totally. I haven't had access to the detailed schedule yet but I assume, comparing to similar Labs they provide, that it won't be two full days: so may be the first day (say on saturday) you will get 8 hours and the second one maybe something less. It will be pretty much intense anyway, I guess. Now, I don't want to attach a link to this school because they didn't act very professionally so far, based on a e-mail exchange we had yesterday, so I don't want to provide any sort of publicity to what they do. But I was wondering: is a kind of class like this one really helpful? I mean, of course learning always is, and especially learning from working professionals and by the aid of professional gear, but how much can you really learn from a 4-days class? Especially assuming that you won't be doing focus pulling from the very beginning, but you will probably be introduced with the different kind of cameras and the kind of gear you will be using, during the first hours. And then take into account that you won't be alone: some other students will be there with you and you'll probably have to take turns to operate the camera, and so on. So I guess that by the end of the course you will have a basic operative knowledge of focus pulling, a few hours of field experience (if you're lucky), but I definitely guess you won't be absolutely "ready for work", not even for a small short with friends!! May be youl'll be able to recognise a real follow focus when you see one on the set: that's more likely. Now of course I am a bit exaggerating here, but I really don't like this way of doing business, which is very common in the educational field here in Italy: aware of the huge appeal that some areas or activities may bear, some kind of people tend to give very little for a very high price, and usually to naif and passionate young girls and boys who would like to learn more or, in most cases, learn a profession for their futures. I am not saying there's a scam going on: of course you can always ask for information before applying for a class, and it is your duty indeed to do so, so that you know what you are paying for, but the information they provide is not always clear, not from the beginning at least. (the description they provide for the course on their internet page is very vague, and smells like the usual "resumé-upsizing kind of language") And, most importantly, what you pay for is definitely overpriced for the kind and quantity of training you get, in my opinion. Professional education and training is a very strong business here, and what you get is not always worth what you pay for, especially if you consider that, partly due to a peculiar job situation, partly to a typical italian mindset, the very same people who train you (which are usually working professionals), don't really care about being helpful to introduce you to the job, usually because this may conflict with their own interests. I guess it's not the same in United States, probably because that kind of harsh competition for work that we are experiencing now in the last five-ten years, you already had quite some years ago. Italy is a very cinical country at the present time. Some time ago I was listening to an interview to comedian Steve Kaplan for Film Courage (YT channel) and it struck me when, demanded to provide some advice to beginner writers, he finally said: ".. and then you can alway ask. I mean here in Los Angeles people are happy if they can help other people." WHAT???? That's completely impossible for Italy. There's a really strange approach to these matters in this country. A discussion board like this one for example, where trained and working professionals will answer your questions or curiosities, actually advancing your expertise and knowledge on the job, is quite inconceivable. And there is none in fact. Anyway, let me go back to the topic now. what I want to ask is: - except that I will be training on professional gear, - except that I will receive some kind of theoretical and technical background, will it really be helpful taking a short class like this one, if my ultimate goal is to actually learn to pull focus on the field, not just simply knowing how focus pulling works? I mean: let me say again I don't know the price of this specific course, but I can guess it will be between 500€ and 800€: can't I buy some decent gear for the same price and practice on my own? I know you can't buy a dslr AND a follow focus AND a good shoulder rig AND a good external display with that money, but a dear friend of mine already owns a good dslr camera and wants to learn shooting too. So I was thinking we could split the costs, buy some basic stuff on amazon and start practicing during week ends, taking turns alternatively: shooting and focus pulling. I know it's not the same as working with professional gear in a supervised milieu, where a teacher oversees your job and corrects your mistakes, but how much experience can you really get from a 4-day training? I guess focus pulling, as well as camera shooting, is mostly about experience, about practice. And by the way, I was reading some days ago a nice discussion on this board, which I cant find now, where an experienced assistant operator was explaining how the job is changing at the present time: how more and more you are asked to focus pull from the external monitor, sometimes disregarding or ignoring completely the marks you made for the actors, provided you had time to do that. And I can understand that: partly because, as he said, new directors don't even know these procedure and routines, partly because you don't always have much time, and partly because the nature of the shot may cause your marks to be completely useless (correct me if I am wrong). So this all tells me even more how much an extended practice is critical to this specific job.. What do you think, what's your opinion? thanks for reading
  5. MZed Announces 33-City Tour with Tron's Sound Editor Frank Serafine Hearing is our most prominent sense. Unlike the visual, sound is a 360-degree omnipresent experience that surrounds us constantly. On The Sound Advice with Frank Serafine you will be exposed to a comprehensive overview of every role sound plays in a film, web, or broadcast production. Designed for filmmakers, editors, and aspiring sound engineers, this all-day workshop will cover techniques and tools that will expand your skills and give you a solid foundation for the effective use of studio in all your projects. Dates & Cities Sunday, April 26, 2015 CHARLESTON Wednesday, April 29, 2015 PHILLY Friday, May 01, 2015 PITTSBURG Sunday, May 03, 2015 DETROIT Tuesday, May 05, 2015 COLUMBUS Thursday, May 07, 2015 CHICAGO Saturday, May 09, 2015 MINNEAPOLIS Tuesday, May 12, 2015 DENVER Thursday, May 14, 2015 SALT LAKE CITY Saturday, May 16, 2015 SAN JOSE Sunday, May 17, 2015 SAN FRANCISCO Tuesday, May 19, 2015 SACRAMENTO Thursday, May 21, 2015 PORTLAND Monday, May 25, 2015 VANCOUVER Wednesday, May 27, 2015 SEATTLE Saturday, May 30, 2015 IRVINE Sunday, May 31, 2015 LOS ANGELES Tuesday, June 02, 2015 SAN DIEGO Thursday, June 04, 2015 PHOENIX Sunday, June 07, 2015 DALLAS Monday, June 8, 2015 AUSTIN Wednesday, June 10, 2015 HOUSTON Friday, June 12, 2015 NEW ORLEANS Sunday, June 14, 2015 ORLANDO Tuesday, June 16, 2015 FT LAUDERDALE Thursday, June 18, 2015 ATLANTA Saturday, June 20, 2015 CHARLOTTE Monday, June 22, 2015 NASHVILLE Wednesday, June 24, 2015 WASHINGTON DC Friday, June 26, 2015 TORONTO Sunday, June 28, 2015 NEW YORK CITY Tuesday, June 30, 2015 NEWARK Thursday, July 02, 2015 BOSTON For more information on the workshop visit: http://soundadvice.mzed.com/?utm_source=ForumDiscussion%20&utm_medium=All&utm_campaign=Cinematography.com
  6. The Chicago International Film Festival’s 11th annual CineYouth Festival is now accepting short films (10 minutes or less) from filmmakers 21 years old and younger from around the world. Held in Chicago May 7-9, 2015, CineYouth strives to encourage the talent of young artists and to provide them with opportunities to tell their stories, network with their peers and be recognized for their creativity. Entries must be postmarked by March 23, 2015 to be considered. Award winning films are shown at the Chicago International Film Festival and winning filmmakers are awarded cash prizes! For details and guidelines, visit: http://www.chicagofilmfestival.com/year-round/cineyouth/entries/ Submit! We look forward to watching your films!
  7. LOS ANGELES - Kodak and the University Film and Video Foundation (UFVF) have announced the recipients of the 2014 KODAK Student Scholarship Awards and KODAK Student Cinematography Scholarship Awards. The presentation was made Saturday night during the annual banquet and awards ceremony at the University Film and Video Association (UFVA) Conference, which was held last week at Montana State University. Kodak's annual global competition is designed to recognize emerging talent that demonstrates superior filmmaking skills and creativity. Selected by a panel of judges led by award-winning cinematographer John Bailey, ASC, this year's winners represent film schools in Hungary, Russia, Singapore, and the United States. The KODAK Student Scholarship Program Award winners are: Gold Award ($5,000 tuition scholarship award and $5,000 KODAK Motion Picture product grant) - Timothy Yeung from New York University's (NYU) Tisch School of the Arts Asia in Singapore for his film 90 Days. Yeung wrote, directed and produced the drama. Silver Award ($4,000 tuition scholarship award and $4,000 KODAK Motion Picture product grant) - Dustin Brown from Santa Monica College in California for Solidarity. Brown was writer, director, producer and editor of his narrative. Bronze Award ($3,000 tuition scholarship award and $3,000 KODAK Motion Picture product grant) - Anton Moiseenko from the Russian State University of Cinematography (VGIK) in Russia for his piece Experience of the Celestial Bodies. Moiseenko wrote and directed the documentary. The KODAK Student Cinematography Scholarship Award winners are: First Place ($4,000 tuition scholarship award and $5,000 KODAK Motion Picture product grant) - Balaji Manohar, also from Tisch Asia, for his cinematography on Little Master. Honorable Mention ($1,000 tuition scholarship award and $3,000 KODAK Motion Picture product grant) - Balász István Balász from the University of Theatre and Film Arts in Hungary for his visuals on House. Kodak partners with the University Film and Video Foundation to make this program possible. The UFVF is a not-for-profit organization that engages in and promotes worldwide education, research, innovation, and charitable activities in the arts and sciences of moving images and aural communication. Accredited film schools around the world nominated up to two students for consideration for the KODAK Student Scholarship, and one cinematography student for the KODAK Student Cinematography Scholarship. The cinematography student nominee could also be nominated for the KODAK Student Scholarship Award. They were judged on a combination of past work, faculty recommendations, and academic achievement. Judging took place in July. In addition to Bailey, the entries were judged by Melinda Levin, a professor at the University of North Texas and president of the UFVF, and Kodak's Lorette Bayle, who is also an award-winning filmmaker. Kodak introduced its worldwide film school program in 1991. Through the years, the program has grown to include a wide range of initiatives to help both students and educators enrich the development of their skills in the art and craft of filmmaking. For more information, visit www.kodak.com/go/education.
  8. HOLLYWOOD – The American Society of Cinematographers (ASC) has chosen 12 student filmmakers from 10 U.S. film schools as nominees in the 2014 ASC Linwood Dunn Student Heritage Awards. The awards are designed to showcase the artistic abilities of the next generation of filmmakers, with a focus on their cinematography skills. Winners will be announced June 14. The nominees are (listed alphabetically): In the Undergraduate category: Freddy Domini Alcantara of City College of New York for HARVARD ON HUDSON Harper Alexander of University of North Carolina School of the Arts for STARLIGHT Jackson Eagan of Ithaca College, Roy H. Park School of Communications for DOOR TO DOOR Jeanpaul Isaacs of Rutgers University for ACROSS DYSTOPIA Mike Reyes of Art Center College of Design for HERO SANDWICH Arden Tse of Loyola Marymount University for THE IMPERFECT METHOD In the Graduate category: Matthew Edwards of University of Southern California for VICIOUS Wesley Hunt of American University for AMONG THE LOST Guy Pooles of the American Film Institute for DIRTY LAUNDRY Doug Potts of Chapman University for ANDRE FOSTER And in the Documentary category: Matthew Blake of Chapman University for FOREST KEEPERS Benjamin Mullinkosson of Chapman University with THE PINK HELMET POSSE The ASC Student Heritage Awards were established to inspire the next generation of cinematographers and to help them pursue their dreams. It is re-named annually in celebration and memory of an extraordinary ASC member. This year's Heritage Award is dedicated to the memory Linwood Dunn, ASC. Twice elected ASC president, Dunn was also a governor of the Academy of Motion Picture Arts and Sciences in two different branches, and was instrumental in the formation of the Academy's Visual Effects branch. His many accolades include an Oscar® for visual effects in 1949 for the original Mighty Joe Young, the Academy's prestigious Gordon E. Sawyer Award, and the ASC Presidents Award. Always keenly interested in technology, Dunn was an inventor at heart and a true filmmaking pioneer; his innovations include the first zoom lens and the first optical printer. At age 93, he was involved in the development of digital projection. The Linwood Dunn Theater in Hollywood was named for his contributions to the motion picture industry. To reach this stage, eligible students must be in undergraduate or graduate school or have graduated within the past year. A dedicated jury of ASC cinematographers carefully views all entries and their voting determines the nominees. For additional information about the ASC, visit www.theasc.com, or join them on Facebook.
  9. Hi guys I graduated last week andnow I'm looking for a master in europe. Unfortunately tuition fees for an MA in cinematography are really expensive more than 10 thousand euros. Instead fees for Brighton Film School and Baltic Film and Media School are affordable. Anyone knows something about them? would you recommend them? Do you know other schools which provide a good education? Thanks in advance
  10. Hello! I'm currently in my final year of my Bachelors in Mass Media. I would like to know if there are any Cinematography specific courses anywhere in the world for that matter which are 2 years or maybe even 3 years. I've looked at the NYFA so far because they've been advertising like a boss but I still have my doubts about them. Please do reply , really appreciate it!
  11. Award-Winning DPs to Teach Inaugural Session in October LOS ANGELES - The American Society of Cinematographers (ASC) announced today that it will be hosting a new series of Master Classes that will teach all aspects of the art and craft of cinematography. Each Master Class will be held over a five-day period and will convene four times a year. The first will run October 21 through October 25, 2013 and will be limited to 20 students. Registration is on a first-come, first served basis. The syllabus - along with tuition and registration information - may be viewed on the ASC Web site. "The ASC Master Class offers an unprecedented opportunity to get direct, hands-on instruction from the best cinematographers in the world," notes ASC President Richard Crudo. "Classes will be based at our historic Clubhouse in Hollywood, and will be augmented by field trips to nearby state-of-the-art facilities. No one else can give such access to the range of knowledge and experience that resides under our roof. It represents a truly comprehensive, one-of-a-kind experience." The ASC Master Class Program Advisor is Oscar®-nominee Stephen Burum, ASC. Different cinematographers will lead the classes each quarter. Among the participating faculty for the inaugural session will be the world's foremost shooter of car spots and other commercials, Bill Bennett. Additional instructors will include ASC greats Dion Beebe, Russell Carpenter, Dean Cundey, Caleb Deschanel, Richard Edlund, Robert Elswit, Matthew Libatique, Dean Semler, Dante Spinotti and John Toll. Each of whom has been Oscar® nominated on at least one occasion, while Beebe, Carpenter, Elswit, Edlund (three), Semler and Toll (two) are Oscar® winners. In addition, Deschanel, Semler and Spinotti are also ASC Lifetime Achievement Award recipients, and Edlund has received the ASC Presidents Award. (All participants subject to availability) At the conclusion of the week participants will receive a certificate of completion at a celebratory dinner with ASC members. ASC was founded in 1919. There are 350 active members today who have national roots in some 20 countries. There are also 150 associate members from ancillary segments of the industry. For additional information about the ASC, visit www.theasc.com, or join ASC on Facebook at http://www.facebook.com/the.ASC and American Cinematographer magazine fan page at http://www.facebook.com/AmericanCinematographer. # # # Media Contacts: ignite strategic communications Lisa Muldowney - 760.212.4130 / lisa@ignite.bz Sally Christgau - 415.238.2254/ sally@ignite.bz
  12. Hi all, I tried to browse the forums and search for an extensive cinematography curriculum which I could use as basis for patching any 'holes' in my knowledge of cinematography. Unfortunately I couldn't really find one and I was wondering if we could compile together such a thing? Its great that these days getting hold of a decent camera and shooting is a possibility for most people, but to get the best results, you need to know a bit more than just where the record button is located. There is a huge demand for cinematography courses and even though it would be utterly impossible to replicate that experience (time given, great tutors, certificate, connections you make, kit, studio, props, crew, productions, etc. to name just a few benefits), it would be great to have a good, solid curriculum, compiled by people who know what you should know and filled with articles, videos & book/film recommendations. This would help many, especially those who have some knowledge of cinematography already, but might have 'holes' in their knowledge as they might have never attended a decent course or the information they received is outdated. What do you guys think? If anyone knows of such a 'curriculum' already online, please share, I'd be keen to know! Just to point out, I personally am interested in Cinematography, especially, not about 'filmmaking' in general. A good place to start from I guess would be to look at the 'Responsibilities of a Cinematographer' at the BSC website and then convert those to a curriculum: http://www.bscine.com/information/training/the-responsibilities-of-the-cinematographer/ If there is interest, I/we/someone could even set up a wiki to keep things organised. Please chime in. Cheers, PJ
  • Create New...