Alter the way you look at film. Learn the cinematic language of shot design, composition, camera placement, and movement.

Camera position and movement, lens selection, and scene coverage are critical to all forms of narrative storytelling. This one-week workshop is for cinematographers and emerging filmmakers who want to focus on the use of camera in cinematic storytelling. Students learn the cinematic language of shot design, composition, camera placement and movement. The subtle differences in camera operating styles and their effects on the viewer are addressed through exercises and screenings.

Classroom lectures cover film dynamics, screen direction, and the role of the camera in visual storytelling. Students work with scripts as they break down scenes, plan scene coverage, and prepare storyboards and shot lists. Working as a professional camera crew, the class blocks and shoots dramatic and action sequences with actors. Dailies are assembled in editing to help the students discover what is and is not working with their coverage and planning. All work is reviewed and critiqued each day by the faculty. Students leave with a working knowledge of scene design and an understanding of the role the camera plays in the filmmaking process.

Testimonials:

"My experience here has reawakened my creativity and passion to make my movie."
- JC Chandler, Maryland Heights, MO

"The Workshops is a unique and wonderful place, the experience of learning here feels so natural you don't even know its happening."
- Ed Ballinger, Allentown, PA

"You won't regret your investment in this great class. This is the class that will teach you the grammar of film."
- Wei Zhou, Mountain View, CA

"It was the best workshop I attended this summer. It alters the way you look at films."
- Shirsha Thakurta, Mumbai, India

Instructors

Tom Richmond, ASC

Tom Richmond made it through the first 23 years of his life without ever touching a motion picture camera. He stumbled upon photography during college at Harvard, and then began exploring architecture, which lead to a few years in Houston, Texas in the mid 70s, working with some crazy geniuses called The Ant Farm. Their work attracted a video group called TVTV (Top Value Television) down to Texas, and that’s when Tom got infected by motion camera work. 

Goodbye architecture, hello UCLA Film School. Hello Alex Cox (Repo Man), Michael Miner (Robocop writer) and Ramon Menendez (Stand and Deliver). Post grad in LA at that time automatically meant joining the Roger Corman film factory, where Tom paid his early dues, shooting Hardbodies, Hardbodies II and Chopping Mall, among other B classics, along with some no-budget videos for some obscure LA beginners called The Red Hot Chili Peppers. A few TV horror movies later, Alex Cox rescued him to join in the photography of Repo Man, then followed by the insane spaghetti western punk rock classic Straight to Hell. From Camera Management to Cinematography! 

That was about 42 feature films ago. During that time, he received several Sundance nominations and one award for Best Cinematography, other IFC nominations, and two films, Little Odessa and Stand & Deliver, received Academy Award best actor/ actress nominations. 

Films he is most proud of include Little Odessa, Nick & Norah’s Infinite Playlist, Slums of Beverly Hills, A Midnight Clear, Killing Zoe, Stand & Deliver, Palindromes, Right at Your Door, and House of 1000 Corpses(!). Also very proud of the pilot for the TV series Cold Case, directed by Mark Pellington. There’s a few others too, for anyone interested.... 

Music videos include Jeremy-Pearl Jam, and videos for Foo Fighters, Neil Young, Chili Peppers, New Order, Mad Cobra, Iris De Ment, Jimmy Fallon, Lisa Loeb, and Emmy Lou Harris.
Commercials have included spots for Nike, Verizon, Holiday Inn, and Jet Blue, among others. 

His most recent film, Little Boxes, starring Melanie Lynskey, was bought by Netflix at the 2016 Tribeca Film Festival, and should be available in theatres soon. 

For the past 3 years, Tom has taught cinematography, part-time, as an Adjunct Professor at NYU Tisch Film School. He is also a proud member of the ASC and the Academy of Motion Picture Arts and Sciences, and a working member of Camera Local 600. 

Website:

Steven Fierberg, ASC

A native of Detroit, Steven Fierberg escaped to Stanford University as a National Merit Scholar. He spent his senior year in England in an Oxford program studying British drama (his thesis was on Harold Pinter), film and photography.
 
He then plunged into the New York underworld of graffiti art and ‘Punk Noir’ films. He worked with Andy Warhol’s director Paul Morrissey, Scott and Beth B, and Paul Bartel. At the same time, he apprenticed for Los Angeles cinematographers Adam Greenberg and Dean Cundey, beginning a pattern of working on both coasts that continues to this day.
 
He eventually abandoned his dank New York apartment and lives in Hollywood with plenty of sunlight, except when he’s back filming his favorite streets of New York. He just completed 5 months there, shooting Showtime’s new dramatic series The Affair, which premieres the same weekend as George C. Wolfe’s You’re Not You - a wrenching tale of Hillary Swank suffering from Lou Gehrig’s disease.
 
Earlier this year, he shot (on film) the Warner Brothers production of Entourage, based on the hit television show. Steve shot the first 25 episodes of that show, as well as directorial projects of Entourage alumni Mark Mylod (Once Upon a Time and The Affair pilots), Julian Farino, Adrian Grenier (Teenage Paparazzo), and Kevin Connolly.
 
His dramatic cinematography has ranged from studio movies like Ed Zwick’s Love and Other Drugs, featuring Anne Hathaway and Jake Gyllenhaal, to micro budget indy films such as Alex
Cox’s Repo Chick and Sally Potter’s Rage. His favorite work includes Joel Schumacher’s poignant Twelve, Steven Shainberg's provocative Secretary, which won a special jury prize from the
Sundance Festival for originality, and working with Baz Luhrmann on additional photography for Moulin Rouge!
 
In addition to Entourage and The Affair, his extensive television work includes How to Make It inAmerica (pilot), the breakthrough Mexican drug trade classic Kingpin, and pilots for directors
Jason Moore and Bryan Singer. His work on the epic mini-series Attila, starring Gerard Butler, won him the ASC Award for Outstanding Achievement in Cinematography.
 
Steven also delves into the commercial and music world, working with Dr. Dre, Kid Cudi, Queen Latifah, Tim McGraw and Snoop Dogg. He won the Latin Grammy for Best Music Video of the
Year for Robi 'Draco' Rosa's Mas Y Mas.
 
He has been an officer in the American Society of Cinematographers, and a member of the Motion Picture Academy. In between projects, he teaches Camera & Visual Storytelling at the
Maine Media Workshops, as well as classes at NYU, USC and AFI.
 

Brief Interviews with ASC Members:

http://www.theasc.com/ac_magazine/July2006/ASCClose-Up/page1.php

Website:

Course Dates

Jul 10 to Jul 16
Sep 4 to Sep 10

Levels

Tuition

$1595

Class Size

16