237/337 Chapman

CTPR 424, Practicum in Cinematography
Fall 2017
2 units
Pre-req: CTPR 310 or CTPR 327
Wednesdays 9am - 12:50pm
SCA Stage 3 Instructor: Judy Irola, ASC
jirola@cinema.usc.edu
H: 213.745.7215
C: 213.309.0303 SA: Gracie Corapi
corapi@usc.edu
865-898-0882 REQUIRED TEXTBOOK: "THE FILMMAKER'S EYE" GUSTAVO MERCADO NO LAPTOPS, TABLETS OR CELLS ALLOWED IN CLASS THIS CLASS MAY NOT BE AUDITED WITHOUT THE
PERMISSION OF THE INSTRUCTOR
COURSE OBJECTIVE:
The objective of this course is for the student to understand the
fundamentals of visual capture: composition, use of space, production
design, deep
focus, shallow focus, hard and soft light, available light, negative fill,
key, fill, backlight and exposure. We will spend two weeks using still
photography, four weeks with the16mm Arri SRII camera and three weeks using
the Sony F-5. This class is ultimately about collaboration and working on
a stage in traditional set roles incorporating production design,
composition, lighting and exposure. You will learn how to use a light
meter. STILLS:
In weeks 4 & 5 you will present three photos in class that best interpret
each stanza of the poem in this syllabus. Show your best work. Whether
it's the use of available light or cinema lights, every shot must be lit.
(Available light does NOT mean turning on an overhead light). Try to avoid
white walls. Mix color temperature. Production design and lighting are
very important. NO RAW DATA accepted. Select the three photos (for each stanza) before class (that's 6 total)
that you will want to show and present them to the SA in the proper format.
REQUIRED EQUIPMENT;
For the stills you will shoot in digital and need a non-automatic camera. LIGHTS FROM THE EQUIPMENT CENTER:
You will receive a 507 lighting package and a flex-fill from the EC for the
still exercises. You must reserve this equipment Wednesday afternoon to
pick up on Friday. Only weekend rentals. IN-CLASS ASSIGNMENTS:
Once we start the in-class exercises you will rotate crew positions each
week. We will conduct these classes as if we were a professional crew.
This means complete focus on the work and misbehaving will NOT be
tolerated. Attached is a schedule of classes. If you don't have a photograph in mind
for the in-class work I will present the crew with one the week before we
shoot on the stage. It will be the team's job to make this photograph come
to life by designing a scene around it. On the week that you are the DP,
production designer or director, you will need to arrive on the stage at
9:45 am with a written plan of how you are going to cover the assignment.
The following week we will watch the dailies from this exercise and the
crew will answer the following questions: 1) Did you get what you wanted?
2) How would you do it differently? 3) Does it REALLY work?
NOTE: Directors MUST bring actors for the in-class exercises. FINAL ASSIGNMENT:
You can shoot on the HDEX1 from the CEC or an HD camera of your choice.
This final project MUST be lit - ABSOLUTELY NO DAY EXTERIORS. There must
be a complete story here. A COMPLETE PROJECT PRESENTED ON 3-5 MINUTES OF
HD, with any audio you like. You MAY HAVE ANYTHING YOU LIKE FROM THE PEC
WEEK 14...please make your reservations the week before. You MAY NOT
screen something you have shot in another class. This must be an original
project. You must use actors and production design for the project. GRADING:
Stills projects 20% (please be prepared to give feedback)
In-Class participation 60% (how well you worked in your assigned
crew position and interfaced with
other
students each week)
Final Cinematography Exercise 20% (camera placement, lighting and
original
story. NO DAY EXTERIORS PERMITTED)
NO PROJECT FROM ANOTHER CLASS WILL BE ACCEPTED YOU MAY NOT MISS CLASS
You must discuss all absences from class with me. This is a workshop. If
you miss a class you drop a full letter in your grade. Being late will not
be tolerated and each lateness your grade goes down by half. Academic Conduct Plagiarism - presenting someone else's ideas as your own, either verbatim
or recast in your own words - is a serious academic offense with serious
consequences. Please familiarize yourself with the discussion of
plagiarism in SCampus in Section 11, Behavior Violating University
Standards
https://scampus.usc.edu/1100-behavior-violating-university-standards-and-
appropriate-sanctions/. Other forms of academic dishonesty are equally
unacceptable. See additional information in SCampus and university policies
on scientific misconduct, http://policy.usc.edu/scientific-misconduct/. Descrimination, sexual assault and harassment are not tolerated by the
university. You are encouraged to report any incidents to the Office of
Equity and Diversity http://equity.usc.edu/ or to the Department of Public
Safety
http://capsnet.usc.edu/department/department-public-safety/online-
forms/contact-us. This is important for the safety of the whole USC community. Another
member of the university community - such as a friend, classmate, advisor,
or faculty member - can help initiate the report, or can initiate the
report on behalf of another person. The Center for Women and Men
http://www.usc.edu/student-affairs/cwm/ provides 24/7 confidential support,
and the sexual assault resource center webpage sarc@usc.edu describes
reporting options and other resources. Support Systems
A number of USC's schools provide support for students who need help with
scholarly writing. Check with your advisor or program staff to find out
more. Students whose primary language is not English should check with the
American Language Institute http://dornsife.usc.edu/ali, which sponsors
courses and workshops specifically for international graduate students. The
Office of Disability Services and Programs
http://sait.usc.edu/academicsupport/centerprograms/dsp/home_index.html
provides certification for students with disabilities and helps arrange the
relevant accommodations. If an officially declared emergency makes travel
to campus infeasible, USC Emergency Information http://emergency.usc.edu/
will provide safety and other updates, including ways in which instruction
will be continued by means of blackboard, teleconferencing, and other
technology.
1) 8/23 - Intro students, Intro syllabus, instructor goes over syl &
students' digital cameras, order film stock 400' 7219,
extra
cans and bags, set up for transfer, discussion on
what is an aperture (iris, diaphragm)? What is an ISO (ASA,
EI?. How do your choices effect DOF (depth of field)?
Arrange partners for production numbers. DISUSS STILLS. Class
list. TEXTBOOK ASSIGNMENT: Pages 1-19 2) 8/30 - Discuss DOF from reading. 4-507 light kits & flex-fills,
color
correction gels and gloves for electricity, circuit
tester, basic
electricity. Discuss cameras they will use for stills. 3) 9/6 - Art of Cinematography presentation. TEXTBOOK ASSIGNMENT: Pages 21-69 4) 9/13 - 1st & 2nd stanzas of poem 5) 9/20- 3rd & 4th stanzas of poem REQUIRED READING: Crew descriptions in syllabus 6) 9/27 - (1) Arri SRII camera in class, stage check-out & use of light meters, ASA 320 (DP & Gaffer use)
Order red box (for dolly) + changing tent 7) 10/4 - (1) Arri SRII camera, light meters, ASA 320 TEXTBOOK ASSIGNMENT: PAGES 70-123 8) 10/11 - (1) Arri SRII camera, light meters, ASA 320 9) 10/18 - (1) Arri SRII camera, light meters, ASA 320 10) 10/25- (1) Sony F5 cameras, light meters, ASA 800
Tether to HD monitor, Blue Box ON TEXTBOOK ASSIGNMENT: Pages 124-141 11) 11/1 - (1) Sony HD F5 cameras, light meters, ASA 800
12) 11/8 - (1) Sony F5 cameras in class, light meters, ASA 800 13) 11/15 - Visit Panavision Hollywood
Discuss final exercise (DESCRIPTION IN SYLLABUS) TEXTBOOK ASSIGNMENT: PAGES 142-177 14) 11/22 THANKSGIVING - NO CLASS 15) 11/29 - Production for Cinematography Exercise 16) 12/6 - Final Cinematography Exercises Screen
NO PROJECTS FROM OTHER CLASSES
YOU WILL NEED TO WEAR LONG PANTS AND RUBBER SOLED ATHLETIC SHOES WHEN WE
WORK ON THE STAGE. NO BOOTS OR SANDALS.
424 Poem "Don't Go Far Off"
by Pablo Neruda Don't go far off, not even for a day, because -
SUNSET EXTERIOR
Because - I don't know how to say it: a day is long 9/13
And I will be waiting for you, as in an empty station
When the trains are parked off somewhere else, asleep.
Don't leave me, even for an hour, because DAY INTERIOR
Then the little drops of anguish will all run together, 9/13
The smoke that roams looking for a home will drift mix color temp
Into me, choking my lost heart.
Oh, may your silhouette never dissolve on the beach; NIGHT
INTERIOR
May your eyelids never flutter into the empty distance. 9/20
Don't leave me for a second, my dearest, mix color temp
Because in that moment you'll have gone so far NIGHT EXTERIOR
I'll wander over all the earth, asking, 9/20
Will you come back? Will you leave me here, dying? mix color temp ALL SHOTS MUST BE HORIZONTAL IN FORMAT
NO RAW DATA ACCEPTED SELECT THREE Photos from EACH stanza TO SCREEN IN