|Adaptive Challenge - The Theory Behind the Practice
|Adaptive Challenge - The gap between the values people thrive for and their current lack of capacity to realize those values.
(Harvard Business Press)
It is our ambition and purpose to make contribution to student's sense of eloquence in Cinematic Expression. ( LX)
constitutes of greater, cohesive entity. Musical Arrangement and Tempo determine closeness of the interpretation to the
Theme. Similarities between Creative Processes in Film and Music are obvious.
In the process of creative cinematography, instruments at our disposal are the Elements of Cinematic Expression. The
design of Cinematic Sequence needs to be of Organic nature if it is to relate to visual narrative of the scene. This can be
only achieved when directorial and cinematography Choices are psychologically motivated and homogeneous in nature...
One wrong element causes effect similar to that of false tune in music. To play in tune means Director's and
Cinematographer's choices need to serve common purpose in how they relate to the quality to be described.
For most artists, beginning of artistic processes starts with identifying of a gap existing between the concept and its
materialization. Since the time of Renaissance, artists would engage in workshops to learn technique and method of the
process that would allow them to expand into the realm of subjective expression.
Light Extreme addresses the issue of "gap" existing between the abstract of the concept of and its materialization in the
form of cinematic narrative.
Program seeks relationship between abstract of the concept and the artistic/technical Choices for it's expression.
It emphasizes relevance of the Choice, paying attention to the balance between Aesthetics and Meaning. As prerogative
element of the process - Visual Eloquence - demands the Choice to be subservient to the Idea.
In order to relate to visual concept in a material way Light Extreme draws on History of Art, Psychology of Perception,
Symbolism, Composition, Mood, Meaning of Color
Program puts great deal of emphasize on "psychological attributes" of tools of cinematography:
Lens, Camera Movement, Quality of Light, Lighting Style. In its practical application program deals with the Logistics of
Creative Process (technical aspect) where it explores organic nature of the process - Aesthetic Validity of Choices as an
imperative element of the method regardless of the encountered situation.
At the core of the method is Dancing with Light Technique which enables Cinematographer to materialize on film or video
the exact reflection of mind image with accuracy that limits post-correction to general tweaks of color and density.
Main concern of the Workshop is to enable student to light from previsualization rather than improvising from video monitor.
Special emphasis is put on the Narrative Relevance of Choices made by Director and Cinematographer and application of
tools of cinematography in executing of those Choices.
Oftentimes, inadequacy in addressing the issue of logistics in the process of lighting by cinematography instructors in Film
Schools causes great number of students experiencing mind block on the film set. This is a result of mistreatment of Lighting
in not addressing of its Organic Nature which always consists of the same building blocks regardless of the situation and /
or location. If understood as such, lighting becomes straightforward, logical and simple.
Michelangelo described the nature of Creative Process in most eloquent way: "It's in this stone, I just need to bring it out".
In addition, students are given demonstrations of number of specialized Lighting Techniques including:
Dramatic Chiaroscuro, Commercial Product Lighting (Glass, Metal, White on White, Black on Black), Special Effects Lighting
(Candle and Night Table Light), Interview and Exterior / Natural Light Control.
Workshops are for Film and Video Directors and Cinematographers aspiring to cross over the mundane and into the Realm
of Artistic and Eloquent Visual Interpretation.