Cinematography
Learn to craft stunning visuals, understand camera movement, and utilize lens choices to tell compelling stories. From lighting techniques to composition fundamentals, gain the skills to create a professional cinematic look for any project.
Master Cinematic Storytelling in 8 Weeks!
If you have interest in film then this course is for you. This is also for anyone who want to shoot better with their camera or make money by shooting videos. It is also for those who want to enhance their video production skills. In this course, students will develop skills and knowledge in cinematography which explores the art of visual storytelling and provides a firm overview of the technical foundation on how to effectively use the camera, lighting, and other tools to convey your message.
Course Outline
Week 1: Exposure & The Digital Sensor
Topic A: The Exposure Triangle (Advanced)
- Aperture (f-stop): Depth of Field as a storytelling tool (Isolation vs. Environment).
- Shutter Angle: Why cinema uses 180° (1/50th shutter) vs. the “Video Look.”
- ISO & Dynamic Range: Native ISO, dual-native ISOs, and protecting highlights.
Topic B: White Balance & Colour Science
- Kelvin Scale: Setting the mood in-camera (3200K Tungsten vs. 5600K Daylight).
- Picture Profiles: Shooting Flat (Log) vs. Standard profiles for dynamic range.
Topic C: Focus Pulling
- Manual Focus: Using Focus Peaking and Magnification.
- The Focus Puller: Techniques for rack focusing between subjects.
Week 2: Composition & Visual Language
Topic A: Framing & Ratios
- Aspect Ratios: 16:9 (TV), 2.35:1 (Cinema), 9:16 (Social). Framing for the delivery format.
- Rule of Thirds & Golden Ratio: Balancing the frame.
- Headroom & Looking Room: Psychological effects of “Short Sighting” a character.
Topic B: Lens Choice
- Focal Lengths: How a 24mm expands space (Comedic/Action) vs. how an 85mm compresses space (Intimate/Portrait).
- Lens Distortion: Why you don’t shoot close-ups with a wide-angle lens.
Topic C: Camera Angles
- Power Dynamics: High Angle (Weakness) vs. Low Angle (Power).
- The Dutch Angle: Creating unease or disorientation.
Week 3: Camera Movement & Support
Topic A: The Tripod (Sticks)
- The Locked-Off Shot: The power of stillness.
- Pan & Tilt: Fluid head mechanics and smoothing out starts/stops.
Topic B: Handheld & Shoulder Rig
- Cinema Verité: Adding energy and realism. “Operating from the hips.”
- Stabilisation: Warp Stabiliser limitations (Post) vs. IBIS (In-Body Stabilisation).
Topic C: Gimbals & Sliders
- The Parallax Effect: Creating depth by moving the camera past foreground objects.
- Gimbal Walk: The “Ninja Walk” technique for smooth footage.
Week 4: Lighting Fundamentals (Quality & Direction)
Topic A: Quality of Light
- Hard Light: Creating drama, shadows, and texture (Film Noir).
- Soft Light: Flattering faces using diffusion (Softboxes, Silks, Clouds).
- The Size/Distance Rule: The larger the source, the softer the light.
Topic B: The 3-Point Setup
- Key Light: Motivating the source (Window, Lamp).
- Fill Light: Controlling the Contrast Ratio (High Key vs. Low Key).
- Back Light (Rim/Kicker): Separating the subject from the background.
Topic C: Shaping Light
- Flags & Cutters: Using “Negative Fill” to deepen shadows.
- Barn Doors & Grids: Controlling light spill.
Week 5: Colour Theory & Atmosphere
Topic A: Colour Contrast
- Colour Temperature: Mixing Tungsten (3200K) practicals with Daylight (5600K) windows.
- Complementary Colours: The “Teal and Orange” look (Skin tones vs. Backgrounds).
Topic B: Atmosphere & Haze
- Volumetric Light: Using haze/fog to show beams of light.
- Texture: Breaking up light with “Cookies” (Cucoloris) or window blinds.
Topic C: Practical Lighting
- Practicals: Using lamps, phones, and TV screens in the shot as light sources.
Week 6: The DIT Workflow (Data Wrangling)
Topic A: Data Management
- Offloading: The “3-2-1 Backup Rule” (3 copies, 2 media types, 1 offsite).
- Checksums: Using software (like TeraCopy) to verify files were copied exactly.
Topic B: Proxies
- The Concept: Why we don’t edit 4K RAW. Creating low-res files for the editor.
- Ingest Settings: Setting up Premiere Pro to create Proxies automatically on import.
Topic C: Organisation
- Bin Structure: Organising by Scene, Shot, and Take. Labelling “Good Takes.”
Week 7: Colour Correction & Grading
Topic A: Reading Scopes
- Waveform: Judging exposure (0 to 100 IRE).
- Vectorscope: Judging skin tone and saturation.
Topic B: Primary Correction
- Balancing: Fixing White Balance and Exposure issues from the shoot.
- Shot Matching: Making Scene A look like Scene B.
Topic C: Creative Grading (The Look)
- LUTs: How to apply Look Up Tables correctly (Input LUT vs. Creative LUT).
- Lumetri Colour: Creating a “Look” for the project (e.g., Desaturated War/Vibrant Commercial).
Week 8: AI Workflow & Final Sprint
Topic A: Innovative AI Workflow (Using Gemini)
- The Virtual Gaffer: Using Gemini to suggest lighting setups.
- Prompt Example: “Diagram a lighting setup for a moody interrogation scene using only 2 lights.”
- Shot Listing: generating a technical shot list (Lens, Angle, Movement) from a concept.
- Mood Boards: Describing visual styles to Gemini to get reference film titles.
Topic B: Final Polish
- Exporting Dailies: Rendering a “Viewing Copy” for a director with Timecode burned in.
- Showreel Assembly: Selecting the best shots (not stories) for a Cinematography reel.
