ADVANCED CINEMATOGRAPHY by Affonso Beato ASC ABC abeatoartcenter

0. 0 Program & Objectives

0. 0 objectives 0. 0 Understanding the wishes and needs of the students on Advanced Cinematography Class 1. 0 Understanding the workflows and the processes to capture and reproduce images 2. 0 Understanding the differences in perception between the human vision and the cinematographic systems 3. 0 Dealing with the elements of a cinematographic image 4. 0 Understanding the needs on a cinematographer’s career 5. 0 Contacts with the industry > state of the art 6. 0 Stage work 7. 0 Film screennings > image criticism

0. 0 objectives 0. 0 Understanding the wishes and needs of the students on Advanced Cinematography Class • • evaluation with questionary résumé work samples or demo reel individual file

0. 0 objectives 1. 0 Understanding the workflows and their processes to capture and reproduce images on: • • 1. 1 Light, Color and Human Vision 1. 2 Photo-chemical systems 1. 3 Photo-electronic systems 1. 4 Hybrid systems

0. 0 objectives 2. 0 Understanding the differences in perception between the human vision and the cinematographic systems • • 2. 0 Light, Color and Human Vision 2. 1 Human vision x Film x Digital

0. 0 objectives 3. 0 Understanding the needs on a cinematographer’s career • • self made DP oral history learning academic formation The balance between technological and artistic information The resumè The demo reel - DVD The job interview

0. 0 objectives 4. 0 Dealing with the elements of a cinematographic image • • • • Design x Style Creating a Look Lighting Contrast Color Exposure Camera formats Camera lenses Filters Frame Composition Angles Movement Color correcting images - software systems Digital Intermediate

initial terminology • Light + object = Lit object • Lit object = real image > on Human Vision • Real image x Captured image > on a graphic process • Real image = Captured image > technical reproduction • Real image ≠ Captured image > error or ART • Real image ≠ Captured image + Look > ART • You have a LOOK when you interfere in one of the elements and/or stages of the cinematographic workflow • You have ART when you sum your technological knowledge with your culture on visual arts • Look x Style • Technological and Cultural knowledge balance – importance on the cinematographer’s career

image workflows 1. Human perception light > object > eye > lens + iris + retina ( sensor/film ) > brain cognition ( human monitor) > captured image 2. Photo-chemical systems light > object > lens + iris + shutter > > exposure > sensor/film > captured image neg/pos process > projection ( monitor ) 3. Photo-electronic systems light > object > lens + iris + shutter > exposure > sensor > captured image electronic process > monitor 4. Hybrid systems light > object > lens + iris + shutter > > exposure > sensor/film > captured image neg/pos process > projection ( monitor ) > DI neg/pos digital process > IN > release prints

Reference Titles • • • BLADE RUNNER (1982) – Jordan Cronenweth, ASC LAST EMPEROR (1987) – Vittorio Storaro, ASC, AIC SEVEN (1995) – Darius Khondji, ASC, AIC DAYS OF HEAVEN (1978) - Néstor Almendros APOCALIPSE NOW (1979) - Vitorio Storaro, ASC, AIC GIRL WITH A PEARL EARRING (2003) - Eduardo Serra, ASC CRIES AND WHISPERS (1972) – Sven Nyqvist THE MAN WHO WASN‘T THERE (2001) – Roger Deakins, ASC, BSC THE GODFATHER (1972) – Gordon Willis, ASC LIMITE (1931) – Edgar Brasil (1931) DARK WATER (2004) – Affonso Beato, ASC , ABC