Cinematographic laboratory
Cinematographic laboratory
Head of the laboratory: Alexander Burov

Alexander Burov - an outstanding Russian cinematographer. He has worked as director of photography for A. Sokurov, E. Yufit, P. Lungin, S. Proskurina, A. Kravchuk.

Courses and classes

Course duration and tuition fee

2 years (4 semesters)
110,000 rubles per semester
Classes start on October 1, 2020
Application deadline: information will be available in March 2020

Practice
1.

Alexander Burov breaks down,
what students are going to learn at his workshop:

  1. Make responsible, appropriate and irrevocable creative decisions both at pre-production and on set – taking artistic responsibility, that doesn’t rely on happenstances;
  2. Not simply capture an object with technical precision, but to refract the ordinary, to focus the viewer's attention, placing the right accents;
  3. To shoot a scene with precision - hitting the bullseye, not wasting bullets, hoarding the trash of endless takes and variations and re-runs of entire scenes that will overwhelm the editing;
  4. Only bring “the cream of the crop” into editing -- to provide solid saturated material, cutting off all that falls out of the author's vision of the film right on set;
  5. Do not rely solely on post-production – learn how to get the best possible results on the set: from the visual and optical effects to the clean-cut composition of the frame.
  6. No matter how unexpected this may sound, to master the choreography of the hand-held shooting, we will learn how to waltz, listening to the music and confidently leading a partner - first on the dance floor, then going round and stepping over obstacles, then with a hand-held camera, without losing the composition of the frame in motion;
  7. We will build compositions that are static in form, but rich in content, with internal dynamics and drama;
  8. We will only look through a lens finder, not settling for a tiny monitor;
  9. We will not overindulge in playback possibilities, avoiding the rush to immediately watch the just-shot scenes. Not to become deluded by a momentary impression of the shot, we need to learn to evaluate the frame while we film it;
  10. While working on assignments, we will shoot no more than 15-20 minutes of material every time, not to water it down;
  11. We will limit the variety of lenses, put the wide-angle lenses aside and learn how to shoot with a single 50mm lens (crop factor=1);
  12. We will work with a weighted camera so that we can "soar" over the set later on.
Training
2.

Образовательная программа построена
на соотношении теории и практики, необходимом
в современных условиях для овладения профессией.

The educational program is based on a precise ratio of theory and practice, crucial for learning the profession.

The program includes lectures, workshops, practical assignments and the hands-on production process itself.

From the first days of training, students are involved in a variety of practical work. The best masters and remarkable professionals of the Russian film industry are involved in teaching the craft of cinematography. Besides, students of the laboratory interact with directors, screenwriters, and editors. These collaborations allow them to successfully convey the most complex ideas, both conceptually and visually.

A good cinematographer has to be a skilled photographer as well since they are masters of drawing with light, artists of the XXI century. The photography course allows students to familiarize themselves with various techniques, secrets, and devices, learn to work with lighting equipment and other tools necessary to implement their most daring ideas and get the best results. Lectures about painting, photography, literature, and visual arts expand the future cinematographers’ horizons. It is impossible to develop a unique artistic vision without being broadly educated. General knowledge forms the ability to see, understand, and feel.

 

What are the key pillars of cinematography?

Light, Angle, Color.

Light, angle, and color can be "lively" or "dull". Well-Placed delicate lighting is not necessarily lively. On the contrary, doing it all right is often what makes shot inanimate. Just as there are lifeless well-built compositions and intricate angles. Each of those individual aspects can ruin the movie. There are operators-"murderers", there are artists-"murderers", there are directors- "murderers". At MNCS, we pay a lot of attention to all the elements and materials that make up the film. The school teaches to be aware of the light, color, angles, composition, to learn their secrets, laws, and alchemy.