Learn fundamental techniques and aesthetic possibilities for cinema-style production using digital motion picture cameras.

The June session is SOLD OUT.  Email registrar@mainemedia.edu to be placed on a waiting list......

As more productions go digital, cinematographers, DPs and videographers use digital cameras to achieve aesthetic results previously only available by shooting film. This course for emerging cinematographers and videographers highlights the advantages of using digital technology, and addresses the challenges and limitations of various digital formats.

The class discusses aesthetic possibilities of shooting with DSLRs and digital cinema cameras, how to achieve a filmic look and when visual style is appropriate to the story as well as how to set up cameras, use on-board menus to maximize image quality and achieve different looks. Students learn the characteristics of different sensor sizes and how depth-of-field is affected, CCD versus CMOS sensors and the advantages and challenges of working with each.

Through demonstrations and exercises in lighting narrative scenes, the class covers the special requirements of lighting for digital cameras, using light meters to achieve correct exposure, working with the camera’s dynamic range, balancing and correcting mixed lighting sources, and calibrating video monitors to accurately display images. The course also provides an introduction to the digital workflow and post-production process, and output options for the finished video.


"This course was a great follow up to Basic Cinematography. I can't wait to get shooting again back home"
- Luke Hudgins, Halifax, Nova Scotia

"Maine Media Workshops really created an atmosphere that's extremely conducive to learning many new skill sets for this industry"
- Joel Evens, Franklin, TN

"This course really opened my eyes to the world of cinematography and production lighting"
- Jason Norris, Hampton, VA


Mark Raker


MARK RAKER is a cinematographer and commercial director who has been creating award-winning film and television programs, and national television spots since the 1980’s, including Peabody Award winning Emmy Award winning “Moment of Impact”, and Rose d'Or winning “Michael Moore’s The Awful Truth”. “A Letter to Elia” directed by Martin Scorsese and Kent Jones, Red Envelope’s “An Unreasonable Man”, Emmy Award winning “Moment of Impact”, and Rose d'Or winning “Michael Moore’s The Awful Truth”.

His network clients include ABC, CBS, NBC, PBS, IFC, TNT, ESPN, BBC, Discovery Channel, History Channel, National Geographic TV, Bravo, Sesame Workshops, The Weather Cannel, and Sundance Channel.

In addition to his automotive expertise with a client list that includes Buick, Cadillac, Chevrolet, GMC, Mercedes-Benz, Nissan, Saturn and Subaru, Mark’s work with beauty and people has been in demand on many campaigns for Kodak, Victoria’s Secret, Splenda, J. Crew, Hello Kitty, Hanky Panky, Avon, Pepsi, Aetna, Bank Of America, Johnson & Johnson, Downy, and dozens more.

Mark currently has films exhibited in museums in New York, Chicago, Minnesota and Seattle. He has served as a judge for film festivals and for the Emmy Awards. He has been featured in the magazine InCamera, and has been a featured speaker for the Film Society of Lincoln Center.

Since 1986 he has been leading cinematography workshops at the New York University School of Professional Studies where he received the NYU Award for Teaching Excellence and the NYU Award for Outstanding Service. Since 2006 he has also served on the faculty of the Maine Media Workshops in Rockport, Maine.

“I have watched movies with love ever since I saw ‘Mary Poppins’ as a kid. I would sneak downstairs after my parents were asleep and watch movies on PBS. It was like being in another world. I began my career as a Lighting Designer for theater but an accident with a drunk driver forced me to take a break. During this timeout I watched every single movie at the rental store, at least once, and when I was ready to work, I was ready for the movies. What a joy to be able to express ourselves through images. A picture needs to communicate the character’s emotion to the audience even if the mute button is on, or they’re from another culture, or if they’re watching a hundred years from now. I love solving these visual problems with the director.” 

Course Dates

Aug 20 to Aug 26



Class Size