Archive of laboratories
Laboratory of cinematography
of Vladimir Klimov
Master of the laboratory

Vladimir Mikhailovich Klimov is Soviet and Russian cinematographer, Honored Artist of the RSFSR (1989), People's Artist of the Russian Federation (2004).

Subjects and courses

Terms and conditions

2 years (4 semesters)
270 000 rubles per year
Start of studying on October 1, 2016
Set is complete

Educational program

The educational program is based on the correlation between theory and practice, which is necessary
in modern conditions for mastering the profession.

The program includes lectures, courses, practical exercises and the process of film production itself.

From the first days of training students are involved in a variety types of practical work. The best technicians and the key figures of the Russian film industry are involved in the training
of craftsmanship. Practical classes in CineLab and Manga Company allow students to learn how to work with the latest technical innovations in motion picture equipment. In addition, the students
of Cameraman's laboratory are in constant interaction with the directors, scriptwriters, ediitors. This kind of cooperation allows the most complete implementation of even the most complex idea
in a conceptual and visual sense.

The cameraman must have the skills of a photographer. Both the cameraman and the photographer are masters of drawing by light, artists of the XXI century. The photo course allows students to familiarize themselves with the with a variety of shooting techniques, secrets and techniques, with lighting equipment and other tools necessary to implement the most daring designs and obtain a quality result. Lectures on the history of painting and photography, literature and art expand the horizon of the future cinematographer. Without the necessary intellectual base it is impossible to work out your own author's style of shooting. General erudition forms the ability to «see, understand, feel». What counterpoints exist in camera skills?

Light - Angle - Color

Light, angle and color can be «alive» or «dead». A well-placed main light isn't necessarily live.
On the contrary, most often the «right» turns out to be «lifeless». Also, as there are «lifeless» well-built compositions and intricate foreshortenings, all these separate components can ruin the film. There are cameramen, who are «killers»; there are artists, who are «killers»; there are directors, who are «killers». In the MSNC much attention is paid to the components and to the materials from which the film is consistently created. The school teaches to be attentive to the life of light, color, angle and composition, it teaches to know the secrets of these matters, to know their chemistry and alchemy.


Great attention is paid to languages ​​and styles of shooting. The manner of shooting is like a brushstroke in painting. Through the shooting you can catch secret meanings, which isn't lying on the surface.
It can't be transmitted by any content: actor's play, light or color. The shooting itself, regardless
of the content and acting, can carry within itself particles of anxiety or idleness, panic or love frenzy.