Cinematography at UV New School

CEBU, Philippines - Summer workshops at the University of the Visayas New School of Art and Design kicked off with a Cinematography lecture last May 10 and 11 mentored by Don Gerardo Frasco, a filmmaker trained in the art of “visual storytelling” and craft of “motion-picture photography.”

The Liloan native, currently the marketing director of Titay’s Rosquillos, met nine students for the said workshop, majors in cinema and cinematography in other schools with two young professionals wanting to enhance their photography skills.

Don shared that his film education is a graduation gift from his parents. “I took up Accountancy at the University of San Carlos for five years, but when I finished school, I pursued my passion for filmmaking at the International Academy of Film and Television because that was what I really wanted,” he shared. The skills he derived are from his initial education as a still photographer at the IAFT in 2006 and as a director at the New York Film Academy in 2009.

He opened the lecture with a definition of cinematography as the “artistry and craftsmanship of motion-picture photography” which entails creative skills to be necessary coupled with the technicalities of camera and lights.

“As cinematographers, we are visual storytellers. One of our concerns is asa ibutang ang camera; we have to work on many shots, placing them to coherent pieces,” he explained. “Lights can be both technical and creative. Lights help amplify feelings. After all, cinema is about conveying emotions.”

When asked on the practicality of studying cinematography in Cebu where film culture is back to its infancy, Don pointed out that Cebu has a very good future in cinema because it is a major city. And like most major cities, art and entertainment must flourish. “We know art is excessive but it is necessary. Most major cities prosper because of their robust art scene,” he noted.

Don further stressed that it is necessary to hone a new crop of cinematographers here who would also start creating a contemporary filmmaking culture that’s unique or one that would define its own identity and make it sustainable. “We can all master the art, but mo-differ lang sa taste,” he articulated.

When asked why there is a separate person to do the editing job when the Director of Photography can do it so himself consummately, Don has this to say: “Just like writing, cinematography is shooting for editorial.  The editor is one who is not supposedly married to the process of filming the scenes. Else, the DOP would insist scenes to always be there just because these were shot tediously, when the truth is it would do the film more good if these were left out.”

Camera techniques used in the 2009 Quentin Tarantino war film “Inglourious Basterds” became the case study on the first day of the lecture. Don showed how to get by the 180-degree rule for continuity editing by illustrating how a single camera can present around 30 various shots for a scene with only two people talking across a dining table. This is an imaginary line connecting two opposing sides of an action or subject. “But as I’ve said, this is only a guideline and is not absolute,” he related. This is so because prominent directors Stanley Kubrick and Wong Kar-wai have defied conventions, and the French New Wave also broke this rule.

He went on to show how shoots in “Inglourious Basterds” get tighter as the tension between a Frenchman and a Nazi officer builds up. Don explained that this makes good use of the principle of contrast and affinity, because cinematographers have to emphasize through their lens that something has to change in the angles.

“Shots allow us to judge characters. Wider shots ease tension. Close ups pushing in very slowly increase tension and hint confrontation. Emphasizing facial movements makes our involvement with the character pretty personal and we, as the audience, get to see, for example, the devastation,” he noted.

Don will be working with local thespian Baron Geisler and Polish-American actor Ilona Struzik for his first full-length film entitled “Waves” – a romantic love story to be shot in exotic locations in Palawan (Mangueguey Island) and Oslob (southeast of Cebu). “I’m looking at a 15-20 shooting days in June and you can check updates on waverlypictures.com.”