It will be held in Munich Germany in the 13th and 14th of March at HFF Munich Film School
Teaching Cinematography is a conference promoted and organized by IMAGO in association with HFF (Hochschule für Fernsehen und Film München), BVK (German Society of Cinematographers), with the financial support from FFF Bayern (FilmFernsehFonds Bayern), Hubertus Altgelt Foundation, ARRI, SONY,P+S Technik and RED. Thanks to ASC (American Society of Cinematographers), AFI (American Film Institute) and GCI (Global Cinematography Institute)!
For the 3 day Hands on Workshops.
(includes lunch and coffe breaks 50% reduction for students)
2 DAYS: 75 € (+ 19% VAT)
1 DAY: 50 € (+ 19% VAT)
Registration & more Information, also about the
Teach & Learn Masterclasses March 15th-17th:
For more info contact:
Katrin Richthofer, HFF Munich,
How to get there from the Munich
Check GOOGLE MAP
From airport take the train (S-Bahn) either S-Bahn S1 or S8 to Karlsplatz station. This trip takes around 45m. At Karlsplatz Stachus Station you can take a tram, it is only two stops. You can take either Tram 27 heading towards Petuelring or Tram 28 towards Scheidplatz. You get off the Tram at the second stop at Karolinenplatz. It takes only about 5 minutes. The public transportation in Munich is very good. You never wait too long for transport.
Accommodation near by the School with special deals for the Conference:
Hotel Lex (600m from Filmschool) http://hotel-lex.de
Hotel Marienbad (600m from Filmschool) http://www.hotelmarienbad.de
Hotel am Sendlinger Tor (U2 3 stations, 1,8 km through town center) http://www.hotel-am-sendlinger-tor.de
Educating Cinematography is one of the IMAGO concerns. The changes that have occurred in the recent times clearly states that there is a need to study more in depth the results of those changes in a new era of teaching cinematography. Does the traditional methods still apply? In the analogue system the image could only be revealed once passed the laboratory chemicals. After the developing the negative and printed the positive copy or scanned into a digital file the image could be seen and evaluated. But with the digital system this process is overpassed which doesn’t impose any pressure to the cinematographer. The fact that the image can be seen and evaluated immediately can provoke «less responsibility» or lack of discipline which noticeably and recognized by every professional on set. So how to deal with this problem? It was identified too in previous reports as you can read here «The future of celluloid acquisition in Film Schools by Nicholas Oughton 2013». Students today arrive in the school with a background on image acquisition as never before. The advances of user friendly equipment makes the process of learning much faster than we probably think. The great number of tutorials online, no matter the quality, are a fantastic tool at the students disposal as never before. What new is there to teach in school? Should be there ways and methods to teach students new ways of image acquisition, how to use them creatively and with responsibility. The artist choices made are important for the future of cinema and future artists. Is still a question whether cinematography is an artistic activity or a mere technical. This difference should be distinguished clearly in the curriculum of cinematography studies. The big question was raised in the last conference in Brussels (READ BRUSSELS REPORT) and comes up in every report and to professionals is the authorship of the image. The lost of control of the image in post-production is a reality. The question was raised in several occasions, how to control the image? But it seems that the control and the technology is coming to favour the cinematographer. The free download of color management systems has pushed forward for a more control of the cinematographer. The students arrive at school knowing already the control of the tools. A better control of the workflow is possible and should be part of the curricula of the cinematographer and not for post-production. What has really affected the cinematography methods of teaching with the digital cameras? Certainly a lot. In particular with new trends like the 360 degrees image capture, Virtual Reality and others. In this conference we look forward to get some answers and have the desire to enter into a new era of teaching cinematography.
Why a Conference dedicated to cinematography? The recent changes in film technology with the advent of digital cinema has caused a dramatic and rapid change in cinema. Camera types and models arrive at a great pace causing changes in image capture procedures and methods. New Software - day after becoming more powerful - switch the image treatment from camera to the Post Production suit. The evolution of technology forces inevitably to get new approaches not only dealing with new techniques, but as well with new aesthetic and artistic options. This is the reason why it is necessary to call for an international conference to deal in group with these new challenges which dramatically affect the teaching procedures and as well the preparation of new professionals into the industry.
Objective of the Conference
The objective of the Conference is to interchange knowledge between teachers and industry experts. There is a need to follow the evolution which effects image capture for cinema in terms of skills, needs and professional training. The digital era has given a wide range of possibilities for image capture - from 3D to Visual reality and special effects. All these possibilities should be learned and acquired by teachers, later to be able to teach future professionals. The approach to these brand new technologies should be taken as a priority for future artistic and aesthetic choices. This approach should be done in widest number of people and schools participating, in order to get a good view of the actual situation and to prepare together the future of education.
Along with teachers, there are other industry companies from optical manufacturers, camera manufacturers and VR Companies who will present their new products. The two-day conference will be focused on teaching and research on image capture. This is a unique opportunity for cooperation between film schools, teachers and the industry, enabling an interchange of knowledge and expertly.
What is going to happen?
The IMAGO International Conference will be looking at Virtual Reality, Immersive video walls, VR, video panels in the street, streaming apps, film distribution via the internet, Computational Imaging HDR image capture, high frame rates, 360 degrees, visual effects, 3D and other topics.
Well known professors and professionals from different countries will take part in the conference to give their contribution. Stephen Lighthill (ASC, AFI) from the US will come to talk about the challenges of new technology for educating cinematography.From Global Cinematography Institute (Los Angeles) its Founding Partner and the inventor of the "Expanded Cinematography”® Program Yuri Neyman (ASC, GCI) and his team will talk about the new trend "Cinematography for Video Games - A New Workplace for DOPs?”; Ilse Schooneknaep, VUB Belgium, will talk about distribution and the new possibilities opening in the market just now «New distribution technologies: Immersive video walls, VR, video panels in the street, streaming apps, film distribution via the internet; Philippe Ros, from the IMAGO Committee of Creative Technologies, will show us how to be creative combining workflows and economic purposes; Computational lighting will be presented by Dr. Steurer (ARRI) «Lightfield photography» addressing the importance of good image capture on field instead of resting on the post-production suit;; Prof. Terry Flaxton from UK and Prof. Stefan Grandinetti, HDM, will address the problems of HDR image capture «The Real World Effects of the Development of Higher Dynamic Range and Higher Frame Rate Capture and Display Technologies»; An ARRI Presentation HFR/HDR screening with presentations of DOLBY ATMOS/DOLBY Cinema and HDR/ATMOS by Florian “Utsi” Martin and Daniel Vogl; Prof. Peter Slansky HFF will address the procedure of «Teaching Cinematography and Directing with new technologies» - the relationship of director and cinematographer with the new displays available on set; Marijke van Kets SBC from Belgium/Singapore will address the artistic concept of using the camera to create emotions in the narrative cinema «The emotions of a lens - the influence of cinematography on the film»; Prof. Ludger Pfanz will present «Virtual Reality, 360° Panorama, 360° 3D - new ways of storytelling »; The Canadian colour scientist Charles Poynton will address colour and LUT’s; Prof. Peter Zeitlinger (ASC, BVK, HFF) will address the results of working on the field in this digital era by asking Lost Magic? The conference will be closed with the conclusions from the round table discussions and with a BVK buffet followed by a conversion with cinematographers moderated by Axel Block BVK. The quality of the key speakers and the interchange of knowledge and field experience of these lecturers plus the themes that are going to be addressed is an absolute guarantee of success of this conference. Not to be missed.
The Round Table Discussions:
The round table discussions follow the same procedure as it was taken at the very first Conference in Brussels in 2014. The round table discussions put cinematographers and teachers talking together asking questions and finding answers for many of the problems facing the profession and of course the teaching methodology. This open discussion is open for the participation of cinematographers and teachers to discuss a particular topic. At the moment the organization has got 7 round tables to discuss 7 different topics.
Round Table - Panel Discussions:
1• Cinema and Authorship – Marijke van Kets (SBC, NTUADM)
2• Documentary Cinematography - new technologies, new role of the DOP? - Philippe Cordey (BVK, SCS, ERACOM)
3• Shooting, post production & the proper balance for creation in cinematography – Jean Paul Jarry
4• Educating the eye – Mag. Gabriella Reisinger (AAC), Prof. Mag. Kurt Brazda (AAC)
5• Cinematographer and Director: How do we initiate the teamwork? – Ella van den Hove (SBC, INSAS, HELB )
6• “Expanded Cinematography”® Programs as a Method of Education of Modern Cinematographers - Yuri Neyman (ASC, Global Cinematography Institute)
7• Colour Grading - a Must-learn for future DOPs? - Birgit Gudjonsdottir, Dirk Meier
In which Panel would you like to be part of ? CLICK HERE TO REGISTER
Presentation of the Panels
1. Cinema and Authorship
Moderator: Marijke Van Kets (SBC, NTU-ADM)
Traditionally, the director has been given the role of the author and thus is the sole author of the film. Consigning the cinematographer's role to that of a technician, naming him/her the executor of the director's will and vision has an implication beyond the cinematographer's role; it has academic repercussions too.
a) How do we teach and research the impact of cinematography in its historical context and focus on the attributions cinematographers make to the creation of a fiction film?
b) Can the experiential knowledge of the cinematographer's practice be crystalized and documented?
2• Documentary Cinematography - new technologies, new role of the DOP?
Moderator: Philippe Cordey (BVK, SCS, ERACOM)
" In a steadily changing film environment where new trends and sophisticated equipment are emerging, do we, documentary filmmakers, have to adopt new technological advances to do "better looking" films in order to gain more audience?
Between content and medium, is there something to gain from new technologies to support the intangible facts of our craft: giving voice to those who can't express themselves or share their opinions? "
3• Shooting, post production & the proper balance for creation in cinematography –
Moderator - Jean Paul Jarry
"Shooting or not shooting" or: shooting and/or post production… To be a cinematographer, is to manage a camera and lighting in the perspective of "telling a story" with frames recreating reality. This creation of the original frames happens (or happened?) at shooting. Not only for cinematography, but also, for all the departments on a stage: sets design, sound, wardrobe, make-up, props… and direction and acting. We all know this. Now post production grew in importance. The original frame is not any more created at the shooting level. So, where is it? A cameraman and a cinematographer lost a great part of control of "their" frame. In consequence, a part of their creation. We shall not change what happens in the industry. But, is there a limit to find, to preserve the right balance between shooting and post production? This question has not got yet a real answer. Our answer, in our teaching, is asking the question: Which is the proper limit between shooting and post production we must develop in the curricula of our schools? For our students to be aware enough to keep the maximum of control of their images, whatever new technology appears from now on.
4• Educating the eye
Moderators: Gabriella Reisinger (AAC) and Kurt Brazda (AAC)
As lecturers of cinematography, we have to make our students aware of their creative and social responsibility. Furthermore – regardless of digital challenges –„educating the eye“ means that aspiring cinematographers should keep their focus on their visual art work from prep to DCP. How to sharpen the students view of cinematography with artistic and visual attitude in mind (collaboration with art department)? How to learn from Fine Arts Painters the magic of the image in the sense of light, shadow, color and composition? How to create the right images with sense dedicated to the story (visual storytelling)?
5. Cinematographer and Director: How do we initiate the teamwork?
Moderator – Ella van den Hove (SBC, INSAS, HELB )
We all know that we need a good artistic teamwork between cinematographers and directors. But how do we manage to communicate about picture? How do we initiate the team working in a scholar context? With tools do we suggest you our students? When do we intervene in the production process? In this panel we will share our pedagogical or professional method about this rich parts of our job.
6• “Expanded Cinematography”® Programs as a Method of Education of Modern Cinematographers -
Moderator - Yuri Neyman (ASC, GCI Global Cinematography Institute)
"What is “Expanded Cinematography”®? At Global Cinematography Institute, we combine teaching the aesthetics of cinematography with the latest developments in craft and technology to create our unique and world-known Expanded Cinematography® Courses. During the panel the topic of “Expanded Cinematography® Programs as a Method of Education of Modern Cinematographer”, the Global Cinematography Institute Team will visually present and elaborate on the paradigm shifts and new production workflows that are a result of the progress and influence of the latest imaging technologies on the cinematographer’s profession. These new, developing technologies include Video Game Cinematography, Pre-Visualization, Virtual Cinematography, Virtual Lighting, and others. Most importantly, the topic of how the creative and artistic process of the cinematographer is affected and how GCI teaches new cinematographers will be thoroughly addressed."
7.Colour Grading - A Must-learn for future DOPs?
Moderators - Birgit Gudjonsdottir BVK, IKS, Dirk Meier, colourist.
The possibilities of digital colour grading have been widely recognized and film schools all over Europe (and beyond) have embraced technology that became more and more affordable to set up grading suites. And from the necessity to "finish" every student film professionally, some schools have developed the idea to teach grading. But how should it be implemented in the curricula? Should external colourists grade with students or should students learn to grade by themselves? What are the benefits of different approaches and where are the downsides? What is to gain for cinematography students from learning yet another “technical skill”?
Monday March 13th 2017
09:00 - Registration & Coffee
09:30 - Welcome Notes
Fr. Prof. Reitz (HFF), Paul René Roestad/Tony Costa (IMAGO), Dr. Michael Neubauer(BVK)
10:00 to 11:30 Round Table - Panel Discussions:
11:30 - Educational Challenges of new Technologies
Stephen Lighthill (ASC, AFI)
13:30 - New distribution technologies: Immersive video walls, VR, video panels in the street, streaming apps, film distribution via the internet - Ilse Schooneknaep (VUB)
14:30 - New Recording formats every day - how to evaluate and integrate them into workflows Philippe Ros AFC Co-chairman IMAGO CCTC
16:00 - Computational Imaging - Lightfield photography Dr. Steurer (ARRI)
17:00 - The Real World Effects of the Development of HDR and HFR Capture and Display Technologies Prof. Terry Flaxton (UWE/ RWA) / Prof. Stefan Grandinetti (BVK, HDM)
18:00 - Group commutes to ARRI @ Bavaria Film, Bavariafilmplatz 7, 82031 Grünwald
18:45 - Presentation ARRI@Bavaria: HFR / HDR screening with presentations of DOLBY ATMOS / DOLBY Cinema and HDR / ATMOS Homecinema Florian Utsi Martin / Daniel Vogl
20:15 - Dinner at “Tafelgold”, Bavariafilmplatz
Tuesday March 14th 2017
09:00 - Cinematography for Video Games - a new Workplace for DOPs? Yuri Neyman, ASC, Global Cinematography Institute
10:00 - Teaching Cinematography and Directing with new Technologies Prof. Dr. Peter C. Slansky (HFF)
11:30 - The emotions of a lens - the influence of cinematography on the film experience Marijke van Kets (SBC, NTU-ADM)
14:00 - VR, 360° Panorama, 360° 3D - new ways of storytelling Prof. Ludger Pfanz (HfG/ZKM)
15:00 - Colour/WCG/ LUTs Charles Poynton
16:30 - Digital Cinematography - lost Magic? Prof. Peter Zeitlinger (BVK/ ASC/ HFF)
17:30 - Conclusions of the Panel Discussions/ Jean Paul Jarry/ Tony Costa
19:30 - BVK invites to Bavarian Buffet at HFF
21:00 – Camera forum with one of the participating DOPs interviewed by Axel Block (HFF)
Hands on international
HFF Munich 15.-17.3.2017
for Camerapeolpe & Camerastudents
- Charles Poynton: Colour/WCG/ LUT/HDR and ACES
- Yuri Neyman ASC: Video Games Cinematography
- Jan Fröhlich, Florian Rettich, Prof. Axel Block: HDR Lab - Lighting,
- Measuring, Filming, Grading HDR
- Philippe Ros & Dirk Meier: Camera, Workflow & Creativity
- Mikkel Nymand & NN: Sound & Camera 360°
- Martin Faltermeier Phantom Highspeed
- Stephen Lighthill: What should be done in-camera
- and what is best left for post?"
- NN Light, Cameras & Lenses
Grants for Mediastudents
Regular price for 3 days Hands on Workshops in small groups with international
lecturers is 750,-€.
Supported by the Hubertus-Altgelt-Foundation, 20 Camera
Students can get a grant for the attendance fee.
a short letter of motivation (½ page)
3-6 self shot photos or stills from own movies
Program and Application Forms: www.filmtechnologie.de