The latvian academy of culture

Theme

Week	Type of classes and hours
Human sight and the editor’s professional thinking.	1.,2.	L2;L2;L2;L2
Editing in applied arts and literature.	3.,4.	L2;L2;L2;L2
The origin of editing in cinematography at the beginning of the 20^th century.	5.,6.	L2;L2;L2;L2
The Kuleshov effect.	7.,8.	L2;L2;L2;L2
The founders of editing: Griffith and Eisenstein.	9.,10.	L2;L2;L2;L2
Dziga Vertov: a master of editing a documentary film.	11.,12.	L2;L2;L2;L2
The types and antithesis of editing: the narrative, the attractive, the intellectual, the distant, the semantic and the associative.	13.,14., 15.,16.	L2;L2;L2;L2 L2;L2;L2;L2
The creation of an editing phrase and the transformation of a frame.	17.,18.	L2;L2;L2;L2
The relations of a picture and a sound in creation of an editing phrase.	19.,20.	L2;L2;L2;L2
The grammar of editing in TV and video.	21.,22., 23.,24.	L2;L2;L2;L2 L2;L2;L2;L2
Practical tasks: the plan and scheme of editing.	25.,26., 27.,28.	P2;P2;P2;P2;P2;P2;P2;P2
The method of a basic shot and a triple shot.	29.,30., 31.,32.	P2;P2;P2;P2;P2;P2;P2;P2

Requirements for the Acquisition of Credit Points:

1. Participation at all seminars.

2. A passed test and an examination

Literature:

1. 
   Bordwell, D., Thompson, K. Film Art: an introduction.- NY, Knopf, 1985
   
2. 
   Orr, J. Contemporary cinema.- Edinburg Univ. Press, 1998
   
3. 
   Dick, B. F. Anathomy of Film.- NY, St. Martin’s Press, 1998
   
4. 
   Smith, D.L. Video Communication: Struchturing content for maximum programm effectiviness.- Belmont& Wordswort Publ. Co., 1991
   
5. 
   Сборник статей. Вопросы истории и теории кинo.- Москва, ВГИК
   
6. 
   Фемонов, М.Б. Монтаж как художественная форма.- Москва, 1966
   
7. 
   Рейсц, К. Техника киномонтажа.- Москва, 1960
   
8. 
   Сокаров – Дворников, А.Г. Монтаж в системе виразителъных средств кино.- Москва, 1991
   
9. 
   Конопчев, Б.Н. Основы филъмопроизводство.- Москва, 1988
   

The Name of the Course: Film Technology (Optics, Films, Film Processing and Sensitometry, Exposure Metering, Film Apparatus and Auxiliary Devices)

The Scope of the Course: 80 hours (72 lectures, 18 practical tasks).

5 credit points. Type of Assessment – a test and examinations.

The Author of the Course: Lecturer Jānis Milberts, Ass. Prof.

The Content of the Course: The course is one of the compulsory subjects in the professional training of cinema cameramen which provides knowledge to choose the optimal film and the regime of its exposure and processing, and introduces to the terminology, meaning and analysis of the specific parameters.

Optics is one of the most important compulsory subjects in the professional training of the cameramen of the cinema. The course makes it possible to acquire the technical and creative culture of the creation of a picture by introducing to the fundamentals of optics, analysing the works of the most famous cameramen and testing various possibilities of optics in practice by connecting them with practical tasks in “The Art of Cameramen”.

Preconditions for the Acquisition of the Course: To master the course at the Latvian Academy of Culture it is required to have preliminary knowledge in physics, algebra and geometry at the level of secondary school. Preliminary knowledge in the specific features of film technology is also desirable, as well as basic knowledge in photography, photochemistry and the processing of negatives.

Thematic Planning:

THEMES	Week	Type of classes and hours
1.Sizes and proportions of frames, the principal structure of the camera.	1	L2
2.The types of the camera: hand (reporters’) cameras cameras with an adjustable shooting speed sound (stationary) cameras rapid and deceleration cameras, multi cameras, “BIPACK”	2	L2
3.Distance, management, video control (a helicopter, a decelerator)	3	L2
4.Tripods, cranes, camera rails, dollies, wire cables, arms.	4	L2
5.Steadycam, synchronisation with TV (25 k/sec), underwater shooting.	5	L2
6.Compendiums, holders of filters, diopter attachment lenses.	6	L2
7.Loading of magazines, prophylaxis and transportation of equipment.	7	L2
8.Safety rules during shooting.	8	L2
9.The film, the assessment of its features.	9	L2
10.The types of films and their application.	10	L2
11.The projection of an image on the film.	11	L2
12.Laboratory processing of films: negative films (b/w or colour) positive films (b/w or colour) optical sound tracks processing of exposuregrams and sensitograms	12,13	L2; P2
13.The parameters of control (fog, density, etc.)	14	L2
14.The editing of the negative of films after their developing and preparation for copying.	15	L2
15.Intensifying and reduction of the image, speed-up development.	16	L2
16.The control and peculiarities of film developing: content of water, identifying of PH dosage and quality of chemicals the significance of temperature	17,18	L2; P2
17.The control of bleaching and fixing.	19	L2
18.The control of the processed film.	20	L2
19.The main elements of lighting in the shooting.	21	L2
20.The choice of the lighting equipment. Filters.	22	L2
21.The regime of exposure and measuring instruments.	23	L2
22.The spectral content of lighting and measuring instruments.	24	L2
23.The nature of light and the fundamentals of geometric optics.	25	L2
24.Optical systems with flat surfaces: prisms plane-parallel plates	26	L2
25.Lenses and spherical optics: positive and negative lenses optical characteristics and calculation formulas	27	L2
26.Complex optical systems: afocal (telescopic) systems systems with an adjustable focal length	28	L2
27.Aberration of optical systems: spherical, coma, astigmatic and the image curve distortion and chromatic aberration	29	L2
28.Focal lengths and scales of the picture: the main specific features of various focuses calculations of the focal length based on the scale of the picture	30	L2
29.Angles and areas of the image: field angles of the picture of the most popular lenses the classification of lenses by focal length	31	L2
30.Perspective: the graphic method of the perspective of the picture dependence on the depth of the object and distortions	32, 33	L2; P2
31.Lighting of optical picture: an aperture of the lenses, lens speed and a diaphragm coating, fall of the light within the borderlines of the frame calculations of compensations when focussing on close distances	34	L2
32.The depth of field of the depicted space, calculations.	35	L2
33.Characteristics of lenses and photo-metric control.	36	L2
34.The assessment of the optical picture, resolution.	37	L2
35.A test device for distance scales and the control of optics.	38	L2
36.“Soft” pictures, special lenses, their features and characteristics. “soft” optics and diffusion filters special filters cylindrical optics (anamorphics)	39, 40	L2; P2

*P – practical tasks
Preconditions for the Acquisition of the Credit Points:

To a test and the examinations.

Literature:

1. 
   American Cinematographer Manual. VII - The ASC Press, Hollywood, California, 1993.
   
2. 
   Carlson S. Professional Cameraman’s Handbook. - Focal Press Boston – London, 1994
   
3. 
   Справочик кинооператора. – М. Исскуство. 1979
   
4. 
   Советксaя киносемическая аппаратура. - М. Исскуство. 1972
   
5. 
   Комбинирование киносёмки. - М. Исскуство. 1966
   
6. 
   Иофис Е.А. Кинопёнки и их обработка. - М. Исскуство. 1964
   
7. 
   Гороховский Ю.И.Общая сеистометрия. - М. Исскуство. 1963
   
8. 
   Золотийский Д.М. Контоль процессов обработки кинопёнки. - М. Исскуство. 1967
   
9. 
   Born M., Wolf E. Principles of Optics. - Pergamon Press, 1968.
   
10. 
    Киносемическая оптика., Ф.С. Новик; П.А. Ногик – М. Исскуство, 1968
    
11. 
    ABC der Optik. - Vergal Dausien, Leipzig, 1972
    
12. 
    Hirschfeld G. Image Control. – Focal Press Boston – London, 1993