General introduction to how motion pictures are made and the business of moviemaking. Chapter 1 describes how movies are put together and the important roles that producing, directing, acting, screenwriting, cinematography, music, sound, special effects and editing play. Exclusive video clips and useful tips from Norman Jewison, Lawrence Bender, Ron Bass, Gil Bellows, Mark Irwin, Anne V. Coates and many others.

A look at the birth of cinema, from early silent classics to the masterpieces of World Cinema, that have shaped the history of the movies.

A detailed look at how movies are written with emphasis on the craft of screenwriting. Topics include: three act structure, screenplay language, script formatting, finding an agent and marketing the script. Includes an exclusive video interview with Eric Roth, screenwriter of “The Insider”, “The Horse Whisperer” and “Forrest Gump”.

An introduction to the theory and aesthetics of visual storytelling. This chapter covers scenes, shots, camera angles, movement, screen continuity, lens selection, filters and composition.

This chapter consist of six topics covering the operation and technical theory of modern motion picture and video production equipment. Topics include: systems & formats, miniDV, Betacam, 16mm, lighting and sound.

A look at how film and video is edited, with emphasis on nonlinear computer editing. Chapter covers DV/FireWire editing with Adobe Premiere and Apple Final Cut Pro.

You Can Start Right Away

• Study the history of cinema in a condensed and concise format
• Learn screenwriting fundamentals
• Learn how to plan, budget and produce a film
• Learn what a director does and how to work with actors
• Get to know and understand the best foreign film directors
• Discover the most important shooting and lighting techniques and theories
• Learn the craft of post production by using software that turns your computer into an editing suite. Use our supplied professionally-produced video clips to experiment with editing
• Practice with your own camcorder using the numerous assignments and exercises provided
• Track your progress with special lesson and chapter tests
• Obtain lists of hundreds of recommended production books and movies (DVD, VHS) to read, view and study. Books and movies can be purchased online and delivered to your door!
• Also provided: demo software that will help you edit video and pictures, compose film music, and much more!

Award-winning Content

Written by filmmakers for filmmakers, content includes advice and tips from Hollywood producers, directors, screenwriters, editors and actors including:

Norman Jewsion (“Moonstruck”, “In the Heat of the Night”),
Lawrence Bender (“Good Will Hunting”, “Pulp Fiction”, “Reservoir Dogs”)
Ron Bass (“Snow Falling on Cedars”, “Rainman”),
Mark Irwin, ASC (“Scream”, “There’s Something About Mary”)
Anne Coates (“Erin Brokovich”, “Lawrence of Arabia”).

Reviews from Trade Publications. See what the pros think of this remarkable product ^[1]

One of the most beautiful films ever filmed is “Days of Heaven” (1978). Photographed by the legendary cinematographer Néstor Almendros, much of this movie was filmed during “magic hour” — a luminous time of day when the sun sets but there’s still enough light to expose the film. A believer in soft lighting and the special quality of shade, Alemendros made all the right dramatic, aesthetic and narrative choices in “Days of Heaven”.

When you view a work like “Days of Heaven”, it’s clear that filmmaking is dependent on one aspect of production more than any other –cinematography. Cinematography is about light, lens and picture making. It is the look — the aesthetic — that defines the visual quality of the picture.

Director of photography, Roy Wagner, created the look for popular TV drama series like “Party of Five”, “Quantum Leap” and “Beauty and the Beast”. Wagner tells Cyber Film School what it takes to be a cinematographer (from our special feature, Shooting a TV Show: “Get Real”).

The Cinematographer

The director of photography (DP) works closely with the director, coordinating the director’s desired presentation of the film story with the primary technical equipment of filmmaking: camera, lights and film stock. Collaborating with the director, the DP organizes the shots and shot sequences, determining the type of lighting needed and the creation of a visual mood. The DP must take into account the source and quality of the light, the colour of the set and costume, the skin tone and makeup of the performer. The DP chooses which lights and which placement of those lights will create the image desired: day, night, shadow, visual depth and scene focus.

Film is a practical art. The lights and cameras require a great deal of power. The DP coordinates closely with the gaffer (head electrician) and camera operator to meet the needs of the picture. Establishing a shot is a painstaking and time-consuming process. It requires a responsible approach to electrical engineering and safety.

Who was the First Great Cinematographer?

His name was George William Bitzer, a pioneer cameraman who shot most of D.W. Griffith’s movies including “Birth of a Nation” (1915) and “Intolerance” (1916). Bitzer’s career can be traced back to 1894 when he worked for a company developing WK Laurie Dickson’s Mutoscope. Bitzer designed new lenses, invented new shots and even developed techniques like the the slow “fade out”.

(Photo courtesy of”The Silents Majority” On-line Journal of Silent Film)

Recent Academy Award®-Winning Cinematographers

- Peter Pau, “Crouching Tiger, Hidden Dragon” (2000)

- Conrad Hall, “American Beauty” (1999)

- Janusz Kaminski, “Saving Private Ryan” (1998)

- Russell Carpenter, “Titanic” (1997)

- John Seale, “The English Patient” (1996)

- John Toll, “Braveheart” (1995)

- John Toll, “Legends of the Fall” (1994)