THE SYLLABUS
This is a sample syllabus, a template we use as a starting point in designing a personalized film training or video training program. The coursework generally begins with cinematography and visual story telling, then branches off from there into prep and post production, visual theory, working with actors, etc.
Unlike film school or film workshops, we customize each syllabus. For clients who walk in with an existing script or project, we will tailor the program to the specifics of that project.
UNIT ONE - THE OVERALL LOOK
Reading - ASC MANUAL (8th ed.) pp 478-488, 1-69
Getting an overall look
Starting with b&w
Formats
Flat, anamorphic, super-35, regular and super-16
Tape and digital
Film stocks
Color balance, grain, sharpness, contrast
Print and intermediate stocks
Screening
Kodak film demo
Homework
Primary color still exercises
UNIT TWO - CAMERAS AND LENSES
Reading
- ASC Manual, pp 121-128, 151-192
Screening
Color exercises
Cameras and movements
Sync/non-sync, high-speed
Specialty film cameras
Tape and digital
Lenses and optics
Wide/tele
Specialty lenses
Depth of Field
Lenses, aperture, distance
Choosing depth of field first
Exposure
Over/under
Emulsion testing
Light meters
TESTING
Shoot exposure test
Screening
Exposure tests (Kodak Look Mgt. System)
Field Trip
Camera rental house
Homework
Tone and contrast still exercises
UNIT THREE - COLOR, TONE, LIGHTING, AND DOLLIES
Reading
- ASC Manual, pp 193-251
Screening
Tone and contrast still photo exercises
Color Temperature
Kelvin scale
Daylight/Tungsten
HMI, fluorescent, etc.
Contrast
By lighting
By film stock and lab
By art department
Filters
Conversion, LB, Compensating
Diffusion, Contrast, Polarizer
Lighting
Why we light
Electric equipment
Grip equipment
Basic set procedures
Camera movement
Cranes, dollies, jibs, etc.
Hand held
Steadicam
Field trip
Grip/Electric rental house
Homework
Lighting exercises on stills
UNIT FOUR - LABS, POST PRODUCTION, AND VISUAL EFFECTS
Reading
- ASC pp 450-477, various Cinefex articles
Editing and post production workflow
Shoot film finish on film
Shoot film finish on video
Shoot video finish on video
Shoot video finish on film
Dailies, timing, printing, opticals
Digital Intermediates
Visual Effects
Opticals, Digital FX
VFX workflow
Blue and green screen
Motion control, Roto
Field Trip
Lab tour and visual effects house
Homework
Introduction to Final Cut Pro and After Effects
UNIT FIVE - DEFINING THE VISUALS
Reading
- Masters of Light
Visual analysis
Reference material
Visual breakdown of a script
Writing the visual analysis
Field Trip
Art museum
Homework
Storyboard project
UNIT SIX - BLOCKING AND SCENE DESIGN
Reading
- Five C’s of Cinematography
Scene design
Breaking it down
Set procedures
The full crew and their responsibilities
Scene blocking with actors
Homework
Schematic and shot list project
UNIT SEVEN - ACTORS
Reading
- Directing Actors by Judith Weston
Directing actors for the camera
Casting, Rehearsing
Blocking, Shooting
Taking care of the actors
Working with the AD
Homework
Scene analysis
UNIT EIGHT - DIRECTING TECHNIQUES
Reading/screening
- Find six favorite scenes and analyze them
Directing a scene
Prep
- From 3-5 script pages do a visual analysis, location stills, story boards, shot lists, schematics; camera, crew and equipment lists
Shoot and direct
the scene on DV, edit
UNIT NINE - PRODUCTION
Reading
- SAG, DGA, WGA, and IA contracts
Budgeting, producing, and paperwork
Building a production team
The director-producer relationship
Developing a budget
Insurance and bond companies
Unions
Case study - script to screen with a short film
Homework
Budget a short film or commercial
UNIT TEN - PREP
Reading
- Art of War, by Sun Tzu
Complete prep procedures for a feature film
Getting organized
Building a notebook
Location scouting
Sets and stages
Art department
Camera department
Costume department
Creating (and sticking to) a prep schedule