Cameraman Ondrej Belica about studying at FAMU and the work of cinematographer Added:22.8. 2011
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Cameraman Ondrej Belica about studying at FAMU and the work of cinematographer

Ondrej Belica has had on their age varied career – for example, participated in the series comeback and foul or document Rene. In the following interview tells about his work and while studying at FAMU.

  • Ondrej Belica (* 1982) is born in Prague. After high school he spent two years in the sand at the then college, where due to his fondness for photography eventually chose the focus of the sound – editing – camera. Next steps led the study at FAMU, where after the first unsuccessful attempt passed the entrance examination to a bachelor's field of photography. He is currently studying related master's degree at the same place and just enter the last year. His creative traces left on films such as CT or document Rene Children 50th years, also worked on the film Václav series Comeback, airport or foul, or clips for various musical groups .*

** Why did you decided to study in film, in your case for the camera? **

There it was probably due to the fact that I always enjoyed the film and especially photographs, taking pictures I was little.

** Have you had any experience with shooting before you were ever reported in the Sand? **

A deeper experience I had, like most people based on the high school, where after all the film technique gets around anybody. But one must demonstrate a certain talent and technical and practical knowledge to the school's got.

** Once you have decided to study at FAMU. Why? It did not occur in the sand you study enough? **

I did not go right at FAMU, meanwhile I worked for two years. At FAMU, I got up on the second attempt in the next year. In short, I felt that I need to have complete knowledge.

[* DSC-0078.jpg. (Belica III) <]

** You said that tests have passed from the second time. They were difficult do you think? **

They were difficult, particularly in terms of time and stress. I'd almost say that they were all over the studio's most demanding. As regards the theoretical part, the most to me just does not pass someone without a deeper knowledge of the field. In this regard, the study has helped me a lot in the sand. But everything can be for me to learn even without any previous human studies at the industry had to attend school.

** And what did the tests at all? **

In the first round, we should first send four photo files, of which two had a short story about a fifteen shots, the third theme was Christmas and the last was conceived as a loose formation, show such a file, say.

** So when přijímačkách neprověřovala not work with the camera? **

No, because they know a good cameraman for some short film is hard, a lot depends on various factors, scenarios, production conditions etc. Photographs of the talent of the future will say about photography a lot more.

[* Img-0388.jpg. (Belica) <]

** And what was the content of the second round of tests? **

The theoretical part is mainly focused on technical skills, physics, photochemistry, etc. also examined the general culture, knowledge of industry literature and media dealing with just photos and film. In the practical part, we then got a job within two hours to create a file photo. Recent tests formed part of the interview, which revolved around just submitted photo files and examined with interest the study and discipline.

** Did you ever FAMU some added value, new findings over the school in the sand? **

Yes, for me it was an incomparable experience. Now maybe in the sand much has changed, but back then it was still a two-year study, we were all very young and absolutely no experience, it was a very first introduction to the film itself. FAMU his students more prepared for professional practice. In addition, there have greater opportunity to meet with famous people, professionals in their field, which is a big inspiration for me.

** Now here you continue to follow-up study in the same field. You feel here a marked change from bachelor's stu­dies? **

I think so. Postgraduate study deepens the knowledge acquired in the Bachelor. The theoretical courses deal with more non-standard kameramanskými situations, such as underwater filming, IR spectrum, etc. In addition, the Master in my focus was more on the practice, which will be used just the theoretical knowledge acquired in previous studies. Another difference I see is that teachers take us more like colleagues, while we were taking bachelors rather „only“ as students.

[* DSC-0040.jpg. (Belica II) <]

** How does the camera is studying at FAMU, what subjects are there for example, students can meet? **

There are many practical objects, such as cameraman of Seminar, Color Cinematography, Widescreen cinema or as a seminar entitled Dance etude, which is all about dance in film and takes place mostly in the studio. Just this object was created in cooperation with the Academy of Music and Dance Department and its students must take a completely different approach to the picture than what I used, which is a refreshment. Otherwise, most practical subjects is based on consultations and discussions with teachers. The school has a number of experienced cameramen, should professors Macák, Šofr, Jicha, sad, a Pole, Brabec and many others, and they give us practical experience and tips on how to form an image. An important part of the study are ongoing individual consultation, which will help students a lot. A large part of the study but is also a common form of practical training with students of other disciplines.

** When you get this close and also artistically oriented study reported at the thought of you, whether in the future prosadíte? How did you perceive the possibility of careers among graduates? **

People in power even eighteen do not think about whether to enforce in the future or not. Simply select whichever he likes. But in general I think everyone FAMU graduates are usually prevails, they find a job. Although it is not always easy, it's a lot of luck and contacts.

** It helps you somehow FAMU also in the actual implementation and subsequent promotion to your films? **

Definitely. Everyone is obviously entitled to submit their films for himself, but under the auspices of FAMU it is in my opinion more weight. As students, we easily come by such a variety of permits to shoot than the professionals. FAMU also provides us better access to technology, like cameras and the like, which is equipment that would otherwise cost hundreds of thousands, and not everyone would be able to afford it.

** Do you think it is important to have the movie title? There are some noticeable differences in approach as in some other areas? **

The title of our profession is certainly not the main thing. But it is true that most people around me are from FAMU, or from another university. These are people who know each other well, and although it seems that our great Republic, are among them was a kind of community.

[* Zoop1.jpg. (Shooting) <]

** While still a student, your name can already be seen among the co-creator of several film and television projects. How did you get such a document the headlines 50th Child years or film director René Helena Třeštíková? **

50th Child years arose from the beginning in cooperation with Czech Television, FAMU, because its creators approached students who were interested in cooperation. And as far as film, Rene, Mrs. Třeštíková teaches at FAMU and once came to us with the fact that some of us need dotáčky, our shots she liked in his film is selected. The theme of our work will be involved „theft in the city.“

** What is your biggest dream? **

My dream is definitely one to make a feature film, which is now virtually impossible during the study.

** What about photos that you actually brought to the field, do not miss you after? **

After all these years, as I move the camera, I must admit that I already satisfies more film, the moving pictures, and unfortunately so many nefotím.

Photo: archive Andrew Belic

Author: Černá, Lucie

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