Built on a popular lecture series and refined over years at top film schools such as the AFI Conservatory and Columbia University, this workshop teaches filmmakers the key skills needed to create powerful images.
The Language of Cinematography workshop adapts easily to various fields, including cinematography, directing, screenwriting, and editing. It has been delivered to a wide range of participants, from undergraduate students at the City College of New York to professional directors and producers through the Sundance Institute learning platform. This workshop complements the forthcoming book The Language of Cinematography.
Whether a single session or a full-semester course, in-person or online, The Language of Cinematography workshop adapts to participants’ needs, drawing from these key topics:
Each scene has an emotional core which the director must identify, based on their own interpretation. This is the subtext which is used to create impactful images. We analyze scenes, from the iconic to the unassuming, to demonstrate the existence of a visual story and a director's interpretation. Then, practical techniques are suggested to apply to participant's own material.
Lighting is not about placing lamps—good lighting starts with observation. We define the basic qualities of light and learn how to identify them in everyday situations. We then this language to look at scenes and discover the most basic objectives of lighting, as well as its motivation between realism and storytelling.
Every filmmaker knows that shots are never executed as planned—the reality on set, under pressure, is always a surprise. The visual strategy is the glue between a director's breakdown and the shots—it is used to signify meaning through visual repetition or create drama with emphasis. With a visual strategy, it is easy to adapt shots on set, since we know what to look for.
The camera is a window through which the audience observes the story. It can be placed within an intimate moment, or far away. Its placement conveys one of the most important visual tools: narrative perspective. With its origins in literature, we learn the difference between first person and third person in movies, and how narrative perspective shapes the visual story told.
Lenses are chosen to interpret a scene, not to cover it. We learn to identify the visual qualities of lenses that are used for storytelling, and how a director can lead this conversation without advanced knowledge in optics. From focal length to focus, flare, sharpness and much more.
Bringing the language of lighting to the knowledge attained in breaking down a story and placing a camera, we begin the process of designing lighting—on paper. Quickly it is revealed that the exercise has little to do with lamps, and much more about blocking, camera placement, and creating a fictional reality that tells the story, and gives the right excuse for expressive lighting.
Movies are part of a chain that began with cave paintings and continued throughout visual art history. We learn how visual elements such as line, depth, color and movement are used to tell stories in art, and how this knowledge can be applied to making cinematic images.
What should the camera move, and when should it keep still? We examine both options to determine the objectives of camera movement, and how controlling its speed and quality affects the viewer.
Independent films never have full control, creating the need to discover opportunities rather than designing world from scratch. We learn how to apply visual strategies to locations so that control is maintained, even with few resources.
A director's confidence does not stem from their knowledge in cameras or lighting, but in their ability to communicate their vision. We discuss working with experienced professionals and drawing from the story and the visual strategy to lead a creative team.
Cinematic Impact workshops are offered to educational institutions, companies and organizations of all types. Individuals are welcome to reach out too!