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ONE-YEAR ADVANCED EVENING
FILMMAKING PROGRAM |
19 COLLEGE CREDITS |
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| NEW YORK CITY • UNIVERSAL STUDIOS, LOS ANGELES |
TUITION:
$17,000 (USD)
€12,653 (EURO) |
START DATES:
• Sep 14, 09 • Jan 7, 10
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Pre-requisite: One-Year Evening Filmmaking |
| Overview• Objectives• Classes |
OVERVIEW
This program challenges students to develop their film craft artistically and technically, and to progress beyond their earlier experiments with the medium. It is designed to enable students to create a fully conceived and executed short film thesis, shot in 16mm using the Arriflex SR, in 35mm using a Panavision Panaflex, or on 24p digital video, depending on the student. Each student comes to the program with a script for his/her thesis film project. These projects are the primary focus of the program. They are used in all the classes as a basis for learning.
The program is divided into four distinct phases. The first is devoted to intensive hands-on instruction, demonstration, group sync-sound directing exercises (using students' thesis scripts), individual consultations, and pre-production (including casting, rehearsal, and location scouting).The second phase of the program is the production period during which each film school student directs his/her own film, and crews on his/her classmates' films. The third part of the program is devoted to post-production. During this phase students edit digitally, receive instruction and critique, screen rough-cuts of the films, receive feedback and then finish their films for a final group screening.
In the fourth phase of the program, students will have the opportunity to create a reel showcasing all the films they have directed in the year program. During this period they attend classes called "Life after the New York Film Academy," where they develop strategies for pursuing filmmaking after the end of the program. Each student who completes this program will leave with his/her own thesis film, a reel, and hundreds of hours of production experience.
The course meets three evenings a week (Monday, Tuesday, Thursday) from 6:30 - 9:00pm in New York City and from 7:15 - 9:45pm in Los Angeles. Films are shot on the weekends.
OBJECTIVES |
PRODUCTION GOALS
- Direct and edit a sync-sound narrative film of up to 15 minutes. (16mm, 35mm, digital or high definition)
- Participate as a crew member on fellow students' films and group projects
- Shoot and edit scenes on 35mm film using Panavision cameras
- Create director's reel to showcase all your work from the entire program
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LEARNING GOALS
- Advanced filmmaking craft including directing, casting, producing, sync-sound production, color cinematography, editing and sound design.
- Learn fundamentals of 35mm
- Develop strategy for pursuing filmmaking after the end of the program.
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CLASSES |
ADVANCED DIRECTING
This class further explores the aesthetic elements of mise-en-scene: shot choice, composition, setting, point-of-view, action of the picture plane, and movement of the camera. Students learn how to cover a dialogue scene with a series of shots as well as more sophisticated approaches to coverage including the use of dollies. Students practice different approaches to coverage by breaking down scenes from their own scripts. They create floor plans and shot lists, and then discuss their choices with the instructor. |
CASTING
This class builds on the tools our film school students gained in the Directing Actors program. Students break down their own scripts by identifying the dramatic beats of their scenes and translating this into effective feedback for actors. Students learn to adjust character objectives through rehearsal. This results in specific and believable performances. By "workshopping" scenes from their own scripts, the class demonstrates the effectiveness of the method and maximizes individual attention. Actors are brought in to class to perform from the students' scripts and give them feedback and in-class directing experience. |
PRODUCING
To ensure an organized shoot, students must take their films through a comprehensive pre-production period. The producing class leads them through the entire process of pre-production, including scouting and securing of locations, permits, and casting. The producing instructor and the students design production schedule for the entire class. The instructor encourages students to form realistic plans for successfully making their films. |
ADVANCED HANDS ON CAMERA
Students are trained to operate the Arriflex 16SR camera and accessories. Through hands-on practice they learn:
• Loading film magazine
• Attaching magazine to camera
• Proper care and cleaning of all camera equipment
• Use of battery and charger
• Use of tripod
• Testing & preventing problems
• How camera maintains sync
• Slating
• Camera reports
• Functions of all moving parts
• Eye-piece and zoom lens
• Marking focus pulls and zooms
• Labeling magazine and film can
• Review of focal lengths, filters, and apertures
• Use of Elemack Spyder dolly and track |
CINEMATOGRAPHY AND GUERILLA LIGHTING
This class immerses students in the technical and creative demands of cinematography. Color film stocks are tested to help students make the best choice for their films. The use of color correcting filters and gels is practiced through shooting tests. Lighting and contrast ratios are reviewed. In addition, students learn the most economical ways to light a scene. By shooting set-ups from students' own storyboards. The Guerrilla Lighting aspect of the class provides our film school students with a practical approach to getting the most out of their resources. |
ADVANCED PRODUCTION WORKSHOP
In a series of sync-sound production exercises, students shoot scenes on 16mm film from their own scripts with the guidance and critique of the instructor. One of the many benefits is that they are able to determine what adjustments to make to their scripts and shooting plans before their films go into production. These practice scenes are fully pre-produced (storyboarded, cast, scouted, rehearsed and pre-lighted) and treated as actual productions. Students gain experience working together and fill all the key crew positions (Director, Director of Photography, Sound Recordist, Gaffer, Grip, and Boom Operator).They spend a full production day shooting each scene with the same lighting, sound, and camera support they will use on their own films. They work with a grip equipment package (flags, nets, gels, stands, and clamps) and practice how to control light. Students come out of a series of production workshop shoots with practical producing, directing, lighting, shooting, and sync-sound recording experience. |
DIALOGUE RECORDING
This hands-on class teaches students how to record sync-sound for their projects. Location recording, sound mixing and boom operation are practiced using scenes from the students' scripts. Sound will be recorded using DAT recorders shotgun microphones and wireless lavalier microphones. |
SYNC-SOUND EDITING
Dailies from the Advanced Production Workshop exercises are transferred to digital video so that students learn to sync and edit with dialogue. This gives students the hands-on technical training they need to edit their own projects. An even greater benefit is the creative discoveries students make when they compare the very different versions that are edited from the same material. With this hands-on practice in sync-sound editing, students will go into production on their own films with a full understanding of the challenge that awaits them after the shoot. |
SOUND DESIGN
This class details both the practical sound editing choices and the aesthetic decisions students will need to make on their own films. It is given during the post-production period after students return from their final film shoots. It covers the following subjects:
• Working with dialogue
• Equalization
• Sampling and looping
• Using multiple audio tracks on Final Cut Pro
• Rubberbanding (digital audio manipulation)
• Building FX ambience and music tracks
• Preparing for a mix
• Overlapping sound
• Subliminal sound
• Location sound, foleys, and ADR
• Introduction to ProTools and other software
• Visual sound cues
• Working with a composer
SPECIAL LECTURES
Life After the New York Film Academy
There is no single path or formula for creating a career in filmmaking. New York Film Academy graduates have gone on to win awards at film festivals, start production companies, become cinematographers, film editors, screenwriters, directors, and even actors. During the last weeks of the One-Year Program, students will explore the many different possible roads to a life in film. Guest filmmakers will share their experiences with students and mentors will work individually with students to discuss the next step in their careers. The following subjects will be covered in the seminar:
• Your reel
• Writing a feature
• Film festivals
• The studio system and alternatives
• Getting an agent
• The Internet and web television
• Contracts
• Documentaries
• Grants
• Commercials/music videos
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PRE-PRODUCTION, PRODUCTION AND POST-PRODUCTION OF THE FILM
Film school students start with a finished script of up to 15 pages. They will continue to improve these scripts in one-on-one consultations with their mentors and as they work with scenes from their scripts in their other classes. During the instruction period they will begin to find locations, cast, and design their shoots. They will work exclusively on pre-production. They will continue to meet with instructors in one-on-one advisement sessions to get feedback on their shooting script, casting, storyboards, floor plans, schedules and budgets.
Each of our film school students receives five shooting days, according to the schedule designed in Producing class. Students work on their classmates' films in the principal crew roles. Schedules are designed to allow for days off between productions and for last-minute preparations for the subsequent shoot. The production period is six to eight weeks and is as intense and demanding as a professional feature film shoot.
After the production period, students begin editing their films. They screen rough-cuts of their films for the directing instructor and their mentors and receive feedback before presenting their finished films to an invited audience at the end of the course. Throughout the post-production period, the editing instructor is available for consultation. Students will have up to 300 hours of individual editing time. They finish their films with a digital sound mix on the computer. Some students may choose to do more elaborate sound work and take their films to a professional sound mix. |
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