Learn how to use framing, lenses, and lighting as tools to convey the emotions and psychology of a story
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For cinematographers, directors and other filmmakers who want to understand the aesthetics and techniques of how to use cinematography in the service of telling a story. Students are introduced to concepts through lectures, case studies, demonstrations and exercises.
The class will examine how different choices in framing and lens choices can impact the power of a scene. Special attention will be paid to how framing, lenses and lighting can be used to illuminate a character’s emotional and psychological state. Students will weigh how traditional scene coverage versus an unconventional approach can enormously alter how the audience experiences a dramatic moment.
The group will work in teams to analyze approaches, design shots and shoot short scenes. They practice framing and composition, and look deeply at how the camera’s angle, movement, and perspective create compelling shots to serve a narrative.
The class will also touch on evolving considerations relating to screen size and formats (theatrical vs. television, streaming vs. network, etc.).
Each student will leave with a new grasp of how to employ cinematography to fully serve the story and character, and how to further the development of their creative voice as a filmmaker.
Instructor: Patrick Cady, ASC, DGA
Patrick Cady is an Emmy-nominated cinematographer who has also become a busy director. Most recently he directed half the episodes for season seven of Amazon’s hit show Bosch, including the series finale. His other directing credits include the highly regarded Sundance Channel series Rectify and the Paramount+ series Interrogation. With his background in both cinematography and directing, Patrick brings a unique perspective to the dynamics of directing actors for the camera. His cinematography credits span both features and television and include Bosch, Rectify, The Code, The Stepfather, Insecure, XX, Fear The Walking Dead, Franklin & Bash, Betrayal, Body of Proof, Rizzoli & Isles, Suits, In Treatment, Lottery Ticket, Cold Case, Day of the Dead, Sunshine State, Marie and Bruce, and the Sundance and Cannes award-winning feature Girlfight. Patrick “got hooked” working on set as the camera intern for Roger Deakins ASC, BSC on the John Sayles film Passion Fish in 1991. A mere ten years later he was the Director of Photography on Sayles' Sunshine State. He spent a large portion of those ten years working first as an Electrician and then as a Gaffer while attaining his Master’s degree at NYU's Tisch School of the Arts before getting noticed for his work on the indie classic Girlfight. Patrick is a member of the ASC, DGA, IATSE 600, AMPAS, & The Television Academy.