Peter Badel - Frank Barbian - Leo Borchard - Professor Jolanta Dylewska - Hans Fromm - Kay Gauditz - Martin Gressmann - Birgit Gudjonsdottir - Klaus Merkel - Thomas Merker
Roland Mönch, Program Coordinator
Zoé Williams, Department Assistant
“You cannot take a script composed of a bunch of words and simply film it. It doesn’t have any life, it doesn't have drama. You have to bring it to life, translate it into images.”
Laszlo Kovacs
Film credits always list someone as the “Director of Photography.” In spite of this title, the job these men and women do is commonly misunderstood as involving placing the camera where the director wants it and panning or moving it at the set when required, thus, somehow handling it. In fact, the general public does not know a great deal about the art of film photography. Most attempts to define it that do credit to what this profession actually entails do not really capture the passion and joy experienced by those responsible for the construction of images in the process of filmmaking. Cinematography is a creative and interpretive process, and its technical and artistic results, which are a key element of the authorship of a cinematic work, do not consist solely in the photographic recording of a physical event.
The responsibilities of the cinematographer extend from the conceptualization and preparation of filming to postproduction and the presentation of a finished work. Photography itself is only one of a range of organizational, directorial, interpretive and compositional techniques made use of by cinematographers to create a cinematic work based on their artistic vision, imagination and technical skills in collaboration with other artists.
“Cinematography involves more than merely making pretty pictures.”
Mario Tosi
Since the international title of Director of Photography, Directeur de la Photographie, or Direttore della Fotografia does not really have an equivalent in the German language, the title “Bildgestalter” (meaning image composer) seems appropriate and delivers an adequate description of the working field.
In a photographic process, film cameras or electronic cameras register all parameters that need to be determined during preparations and filming for the desired outcome. Lighting, color definition, filter effects, perspectives, image composition, detail, movement, etc., are all tools of the image composer that help her or him translate a script into images. In the filming process, everything is brought together: script, set design and construction, costumes and makeup and the staging of the scenes. The interaction of these components combined with editing, music and sound mixing creates an audio-visual work of art which leaves the audience not just with a moment of elusive entertainment, but with an emotional experience. The audience experience the performers’ joy and suffering, they can feel their heartbeats wildly rush or calm, they gain inspiration and new insights. Unlike with other artistic disciplines like painting, fine arts or literature, the film is the result of the collaborative work and creativity of several individuals.
Our teaching concept focuses on sensitizing students and enhancing their analytic perceptions: Is this hard or soft lighting? Which kind of mood is created by it? Where is the source of the light? Through which technical means can lighting be simulated or existing light be amplified? Which picture detail should be highlighted to convey the intended message? Which kind of lens would be suitable for this and how does the focal length influence the dramatic effect? What is the effect on the perspective and how can I alter it to convey the intended message? Which types of camera movement can be used and what are their effects? How will fast motion or slow motion change the message?
The students should start getting a feel for the different recording media at hand from the very beginning. After only a short time, they create a 16 mm film on a topic of their choice. In the process, the lecturers show them how creating a concept starts with an idea in one’s mind and not with testing images on a video screen.
“The director directs the actors, the cinematographer the audience.”
Conrad Hall
The two-year introductory phase of studies, in which future cinematographers, authors, directors and animators are taught together in different disciplines, is followed by the project phase, which covers the students’ third and fourth years at the academy. Whereas instruction in camera operation in the introductory phase focuses more on technical aspects, the advanced project phase emphasizes the artistic and organizational aspects of camerawork in relation to the specific requirements of a range of projects. The practical tasks given to students involve intensive and interdisciplinary collaboration with the departments of Fiction Film, Advertising Film, Series Formats, Animation, Education and Science Film, and Production. The foundation of this work consists in formulating visual concepts and forms of artistic expression on the basis of script material. Students are supported by individual consultation with qualified teaching staff and work independently on different projects with their colleagues. In seminars and workshops, film professionals and outstanding directors of photography use their own work and a range of exercises to provide students with ideas and guidance on the practical aspects of filmmaking, emphasizing the everyday practices involved in film production. Lecturers provide continual updates on the latest technology and ensure students have access to it. The program also focuses on interdisciplinary workshops with the Film Acting, Production Design, and Animation/Visual Effects departments.
The discussions generated in this process and the cinematic examples that are employed lead us to re-evaluate our claims and teaching concepts, to expand our intellectual framework on filming and to find ways to forge new paths between students’ initial steps and their mastery of their future profession.
by Professor Wolfgang Treu, Leo Borchard, Peter Badel, Thomas Merker, Roland Mönch
