2.3. Reading activity:

1. Who are your favorite Russian cinematographers and why?

2. Who are your favorite cinematographers abroad and why?

3. How does director of film and cinematographer divide their responsibility in film production?

4. Make a speech about your favorite cinematographer

Unit 3

3.1. Translate definitions of words:

advent - /`ædvent/ - the introduction of a new product, idea, custom etc

coherent - /kəʊˈhɪərənt/ - speaking in a way that is sensible and that people can understand

advancement - /əd`vɑːnsmənt/ - progress in society, science, human knowledge etc, the process of helping something to develop successfully

advance - /əd`vɑːns/ - progress or an instance of progress in science, technology, human knowledge etc

gauge - /ɡeɪdʒ/ - a piece of equipment that measures the amount of something

amateur - /`æmətʃʊə(r)/ - someone who does something because he enjoys it instead of as a job and who does not do something very well

high definition – / haɪ ,defə`nɪʃ(ə)n/ providing images that show a lot of detail very clearly (высокое разрешение)

saturation - /,sætʃə`reɪʃ(ə)n/ - a situation in which something is so full of a particular type of thing that nothing more can be added (насыщение)

adjustment - /ə`dʒʌs(t)mənt/ - a change in something that makes it better, more accurate, or more effective

duration - /djʊˈreɪʃ(ə)n/ - the period of time during which something continues to happen or exist

sensitivity - /,sensə`tɪvəti/ - the quality of understanding someone or something

exposure - /ɪk`spəʊʒə(r)/ - the amount of time that you allow light to reach the film in a camera when taking a photograph

development - /dɪˈveləpmənt/- проявка

3.2. Discuss in class the following questions:

Close

1. What do you know about film stock?

2. What film stock do you use?

3. What kind of film stock do you know?

4. Do you think if film stock important for film production?

3.3 Read and translate the text:

Aspects

Numerous aspects contribute to the art of cinematography. They are:

Film stock

Cinematography can begin with rolls of film or a digital image sensor. Advancements in film emulsion and grain structure provided a wide range of available film stocks. The selection of a film stock was one of the first decisions made in preparing a typical 20th century film production.

Aside from the film gauge selection — 8 mm (amateur), 16 mm (semi-professional), 35 mm (professional) and 65 mm (epic photography, rarely used except in special event venues) — the cinematographer has a selection of stocks in reversal (which, when developed, create a positive image) and negative formats along with a wide range of film speeds (varying sensitivity to light) from ISO 50 (slow, least sensitive to light) to 800 (very fast, extremely sensitive to light) and differing response to color (low saturation, high saturation) and contrast (varying levels between pure black (no exposure) and pure white (complete overexposure).

Advancements and adjustments to nearly all gauges of film created the "super" formats wherein the area of the film used to capture a single frame of an image is expanded, although the physical gauge of the film remains the same. Super 8 mm, Super 16 mm and Super 35 mm all utilize more of the overall film area for the image than their "regular" non-super counterparts.

The larger the film gauge, the higher the overall image resolution clarity and technical quality.

The techniques used by the film laboratory to process the film stock can also offer a considerable variance in the image produced. By controlling the temperature and varying the duration in which the film is soaked in the development chemicals and by skipping certain chemical processes (or partially skipping all of them), cinematographers can achieve very different looks from a single film stock in the laboratory. Some techniques that can be used are push processing, bleach bypass and cross processing.

21st century work mostly uses digital cinematography and has no film stocks, but the cameras themselves can be adjusted in ways that go far beyond the abilities of one particular film stock. They can provide varying degrees of color sensitivity, image contrast, light sensitivity and so on. One camera can achieve all the various looks of different emulsions, although it is heavily argued as to which method of capturing an image is the "best" method. Digital image adjustments (ISO, contrast etc.) are executed by estimating the same adjustments that would take place if actual film were in use, and are thus vulnerable to the cameras sensor designers perceptions of various film stocks and image adjustment parameters.