New York Film Academy
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New York Film Academy Associate of Fine Arts

Associate of Fine Art (AFA) in Filmmaking

Filming a scene AFA filmmaking students Associate of Fine Arts in filmmaking students shoot a scene AFA Filmmaking students on set NYFA students in the AFA Filmmaking program

Overview of the Filmmaking AFA

This two-year program is intensive and fast-paced, distilled to ensure that students advance in the shortest time possible. All classes and coursework is explicitly designed with concrete skill and production goals.

Hands-on experience from day one.
Write, shoot, direct, and edit 11 films of your own creation.
These become your portfolio and calling card.
Work on the crew of more than 40 of your classmates’ films and gain skills and experience in all facets of filmmaking.
“Learn by Doing” as you master the art and craft of directing,
cinematography, editing, writing, and producing.
Learn and train on state-of-the-art professional cameras, lights,
sound and editing equipment, including RED DRAGON digital and
Panavision 35mm motion picture cameras.

Instructors are award-winning professionals who bring working
knowledge of the industry to the classroom.
Classes are not abstract lessons in theory, but are applied, hands-on
studio workshops.


New York Film Academy Associate of Fine Arts degree programs are offered at our Los Angeles campus.

Qualified students have the option of completing course work at the New York Film Academy’s film school in New York City in a one-year non-degree program and then applying their course work to be accepted for advanced standing in the AFA filmmaking degree program.

This gives students the unique opportunity to learn their craft in both New York City, the heart of the independent film industry and international proving ground for actors, and in Los Angeles, amidst the great film studios in the worldwide entertainment capital.


Based on an academic year, the AFA filmmaking curriculum is divided into six semesters. During the first semester, AFA filmmaking students learn the art and technique of visual storytelling. Students will take courses such as Director's Craft, Hands-on Camera and Lighting, Writing, and Editing over the course of their first semester. Students will write, direct, and edit approximately 7 short films in their first semester working with both 16mm film camera systems as well as DSLR digital camera systems. All students will be trained to edit with AVID media composer software.

The second and third semester is divided into three phases. The first phase is devoted to intensive instruction, demonstration, group sync-sound directing exercises, individual consultations, and pre-production (including casting, rehearsal, and location scouting). During this phase, filmmaking school students have one-on-one consultations as they work with scenes from their scripts. In the second, or production phase, each student directs his/her own film and crews on his/her classmates' films. The third phase of the filmmaking AFA program is devoted to post-production. During this phase, students will edit, receive instruction, and screen rough-cuts of their films. Students receive instructor feedback and finish their films for a final group screening.

Students spend additional hours each week beyond class time on the production of their film projects and the projects of their classmates. Students should be aware that these hours vary from student to student. During the 5th and 13th weeks, and after the end of the 6th month, students work exclusively on film projects while consulting with instructors. Students are responsible for making their own film project schedule, which must be supervised and approved by an instructor. Students also need to collaborate with their fellow students as well as post-production supervisors to ensure that their projects are completed during the designated times.

The overall goal of the second year of the filmmaking AFA program is to challenge students to grow as artists by exposing them to skills, techniques, and approaches to filmmaking that are more specific and complex than those they learned in year one.

In the second year, students are expected to mature in terms of artistic ability. One way to ensure this is to give the students ample time to complete a Thesis Project by allocating most of class time to discussing and critiquing their on-going projects.

Toward the end of the filmmaking AFA program, students attend film school classes focusing on the entertainment business, where they meet guest speakers from the film industry. Lecturers discuss strategies for students interested in exploring filmmaking careers after completion of the program.


The educational objectives in the Associate of Fine Arts (AFA) in Filmmaking Degree program are to teach students the art and craft of filmmaking, and to instruct students through a strict regimen consisting of lectures, seminars, and total immersion workshops to excel in the creative art of filmmaking.

Filmmaking Associate’s of Fine Arts Production Goals

  • Write, direct, and edit 11 films of increasing complexity as well as a final thesis film.
    • Mise-en-scène In their first film, students are introduced to mise-en-scène, or directing a shot to visually tell a story. Once they create a dramatic moment, they concentrate on the dynamics of the shot that will best express it. This project teaches students how the visual relationship between the subject and the camera creates drama. Each student designs and shoots a scene that has a beginning, middle, and end. Students will learn to pay close attention to the choice of lenses, distances, and angles.

      Since the story will be told within one long shot, it must be staged to express as much as possible about the characters and their actions. Students should rehearse the shot for blocking of actors and camera until the scene works without needing to stop; only then should they roll film. Students each shoot one roll of black and white reversal film, then edit and screen their films for critique and discussion.
      • Allotted shooting time: three hours.
      • Editing time: one four-hour slot.
      • Screening time: 30 seconds to two minutes.
    • Continuity Continuity is one of the fundamental principles of modern filmmaking. By making a "continuity film," students learn to use cuts to advance the story while sustaining the reality of the scene. They learn the difference between "film time" and "real time." Students are challenged to make a film that maintains continuity in story, time, and space. The action in these films unfolds utilizing a variety of shots (10–15) in a continuous sequence (no jumps in time or action). In the continuity films, students must produce a clear, visual scene while maintaining the authenticity of the moment. It is essential that the audience believes in the reality of the scene. Students write, direct, shoot, edit, and screen a film of up to three minutes.

      Filmmaking AFA students must thoroughly pre-plan and complete the following pre-production elements:
      • Script.
      • Location scout.
      • Script breakdown.
      • Floor plan.
      • Storyboard.
      • Schedule of shots.
      Students shoot two rolls of film, then edit and screen their films for critique and discussion.

      • Allotted shooting time: four hours.
      • Editing time: two four-hour slots.
      • Screening time: one to three minutes.
    • Music & Montage Film The third project in the filmmaking AFA degree program introduces students to the relationship between sound and film, as well as to narrative tools like montage and jump cuts.

      In this project, students are encouraged to explore a more personal form of visual storytelling. Students choose a piece of music and, in the editing room, cut their images to work in concert with, or in counterpoint to, the music. Students should experiment with rhythm and pacing. Each student writes, directs, shoots, edits, and screens a film of up to four minutes. In addition to storyboards, students may use a still camera to plan their films. This assists them in their choice of locations, angles, and lighting.
      • Allotted shooting time: five hours.
      • Editing time: three four-hour slots.
      • Screening time: two to four minutes.
    • Chekhovian Text & Subtext This projects challenges students to explore the relationship between dialogue and dramatic action. It serves as the students’ first foray into directing a film with dialogue recorded on set. Students are provided with short dialogue-only scripts with no description of physical detail or action. The student director determines the "who, what, where, when, and why" of the story. Above all, each student director identifies the character objectives and dramatic beats of the scene.

      Students will find that these elements determine the meaning of the dialogue and should deepen their understanding of text versus subtext.

      When the finished projects are screened in class for critique, students will discover how different directorial interpretations of the same scene reveal the characters and the impact and meaning of the story.
      • Allotted Shooting Time: four hours.
      • Editing Time: two four-hour slots.
      • Screening Time: one to three minutes.
    • POV Each shot in a film expresses a point of view, and in narrative film the point of view changes often — sometimes with each new shot. For the most part, point of view (which is often called narrative stance) is largely invisible to the audience, though the accumulated effect of the changes profoundly affects the way the audience interprets any scene. Students will analyze different ways to create a point of view through visual means: POV shot construction, camera placement and the 180 degree rule, shot size, shot constructions (such as over the shoulder construction), in depth and linear staging and blocking, lens choice, sound design, and more.

      The POV project is designed for students to explore the various techniques directors use to create a character's point of view in a scene. Students create a short two minute scene, containing minimal dialogue and no more than two characters with conflicting objectives. The director will create two versions of the script and edit two distinct versions of the scene. Each should visually present the viewer with a clear and distinct point of view.
      • Allotted Shooting Time: five hours.
      • Editing Time: one four-hour slot.
      • Screening Time: up to two minutes.
    • Intermediate Film The first semester of the filmmaking associate degree program concludes with the Digital Dialogue Film project. The Digital Dialogue Film is a narrative digital film of up to 10 minutes. This film should build on the lessons and techniques students have learned in their Acting for Directors classes, production workshops, and the POV film. It should be a performance-driven film with no more than three characters and one or two locations. The "story time" of the film should be limited to minutes or hours — not days, weeks, or years. Students also have the option of producing a documentary film as a digital dialogue film.
      • Allotted shooting time: two days.
      • Editing time: 40-80 hours.
      • Screening time: up to 10 minutes.
    • Year One Film This project is the culmination of the year's work. Each student's goal is to produce a fully realized short film demonstrating artistic vision and point of view. Students work with larger crews and have more time allotted for pre-production, production, and post-production than in the previous projects. Students prepare for this project with the assistance of all classes in the second semester — including the producing class, which is specifically designed to guide students through the preproduction of this project. Students must prepare detailed production books and receive a "green light" from the faculty to check out equipment for their shoots. Each student can choose to shoot this film in one of three formats: high definition digital video, 16mm film, or 35mm film.
      • Allotted shooting time: five days.
      • Editing time: up to four weeks.
      • Screening time: up to 15 minutes.
    • Music Video Each student conceives, produces, directs, and edits a music video. This project is an opportunity for students in the second year to develop and demonstrate their visual style as filmmakers. It is intended to help students build their reels for possible professional work in the future. Students are encouraged to collaborate with a musical artist or band that incorporates performance and the use of playback.
      • Allotted shooting time: two days.
      • Editing time: up to 40 hours.
      • Screening time: one to five minutes.
    • Commercial Each filmmaking AFA student writes, directs, and edits a television commercial for an existing or invented product. This project challenges students to try their hands at this very influential form of filmmaking. This medium demands high production values and concise storytelling. It is another opportunity for students to showcase their talents for their reels.
      • Allotted shooting time: two days.
      • Editing time: up to 40 hours.
      • Screening time: 30 or 60 seconds.

    • Short Form Thesis Film Associate degree candidates must direct and shepherd a short-form thesis film through post-production. Projects may be up to 30 minutes in length and must be delivered prior to graduation. Students may choose from all media formats studied over the course of the program to film their thesis films.
  • Students perform key crew positions on their classmates' films, including: cinematographer, gaffer, sound recordist, assistant director, and assistant camera.
  • Students write a feature length script of 90-120 pages.


Skills learned as a result of successful completion of this program include:
  • The ability to work independently and collaboratively in a high-pressure creative environment.
  • An in-depth knowledge of 16mm and digital video cameras and motion picture production.
  • A working knowledge of 35mm cameras and 35mm film production.
  • The ability to write and pre-visualize a screenplay.
  • In-depth experience working as a director, producer, assistant director, director of photography, assistant camera person, gaffer, and grip on student productions.
  • Mastery of digital editing software.
  • Knowledge of film history and film studies.
  • Knowledge of aesthetic film theory and experience with practical application of the same.


Skills learned as a result of successful completion of this program include:
  • Growth as artists by finding new and effective ways to visually express stories.
  • Honing group problem solving skills through collaboration on increasingly complex film projects.
  • Complete shot exercises assigned by instructors, which are designed to challenge their status quo as artists.
  • Examining filmmaking from a business perspective.
  • Directing a Thesis Project.

Course Descriptions

Semester One
Director’s Craft I
Camera & Lighting I
Digital Editing I
Production Workshop
Acting for Directors
Screenwriting I
Semester Two
Director’s Craft II
Camera & Lighting II
Collaboration Workshop
Digital Editing II
Screenwriting II
Producing the Short Film I
Introduction to Film
Semester Three
Intermediate Film Production
Intermediate Film Post-Production
Elements of Feature Screenwriting
Sound Design
Marketing the Short Film
Visual Effects
Semester Four
Director’s Craft III
Camera & Lighting III
Producing Commercials & Music Videos
Feature Screenplay I
Screenwriting III
Advanced Production Workshop
Semester Five
Thesis Film Directing
Thesis Film Prep
Screenwriting IV: Short Thesis Screenwriting
Digital Editing III
Production Design
Thesis Film Production I
Semester Six
Thesis Film Production II
Thesis Film Post-Production
Entertainment Industry Seminar
Feature Screenplay II


Director’s Craft I

The core of the first semester, this course introduces students to all major aspects of filmmaking. Students will learn concepts to help achieve maximum psychological impact by studying the director’s decisions in camera placement, blocking, staging, and visual image design. Students will take part in several in-class workshops and will be challenged to think comprehensively about their film projects in terms of the economic realities of low budget student production. Using their own film projects as prototypes, students will learn to break down their film scripts in terms of story and emotional beats, shot selection and composition, and budgeting and scheduling. This course will be the forum for preparing, screening, and critiquing four short films.
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Camera & Lighting I

In the first week of the course, students are trained to use the 16mm Arriflex-S motion picture camera and its accessories. Within the first week, they perform test shoots to learn about the latitude of the film stock, how to get a correct exposure, the effect of different lenses, focus pulling, and in-camera effects. In lighting class, they learn fundamental lighting techniques through shooting tests on film. As students transition to dialogue projects on the Canon 5D, they are taught the principals of shooting and lighting high definition video. The semester one Digital Dialogue project will be shot on this format.
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Digital Editing I

In Digital Editing, students study the fundamental theories and technical aspects of nonlinear editing. Each student edits his or her own films. Classes are supplemented with individual consultations at the computer.
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Production Workshop

Production workshop is a hands-on class in which students stage and shoot exercises under the supervision of their instructors. Through this in-class practice, students incorporate the rules and tools of framing and continuity learned in other classes. As a supplement to this course, filmmaking students will also study acting and act in these production workshops, preparing themselves to not only communicate and collaborate with their actors, but to draw out the best emotional outcome of a scene.
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Acting for Directors

This course adheres to the philosophy that, in order to direct actors, one must understand and experience acting as art and methodology. Directing students will become actors. Students learn how to identify a screenplay’s emotional “beats” and “character objectives” in order to improve their actors’ performances. Students are prepared to not only communicate and collaborate with their actors, but to actualize the best emotional outcome of a scene.
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Screenwriting I

This course introduces students to the foundations of screenwriting, as students workshop ideas, write loglines, treatments, rough drafts, and shooting scripts. Instruction focuses on the essentials of visual storytelling, dramatic structure, and character development. In-class discussion provides students with constructive analysis and support, as students learn to tell their stories visually, rather than through dialogue. The scripts they write become the basis of all class work in the first semester.
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Director’s Craft II

Starting where the first semester directing class left off, students learn how to cover scenes with a series of shots as well as the fundamental uses of moving cameras. Students practice different approaches to coverage by breaking down scenes from their own scripts. As they prepare for their Year One Intermediate Film, they create floor plans and shot lists, and then discuss their choices with the instructor. This class also introduces the students to the casting process, as they learn the delicate craft of working with actors.
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Camera & Lighting II

Continuing where Camera and Lighting I left off, students work with sync sound 16mm cameras before tackling the full capabilities of the RED Scarlet. All of the fundamental creative skills and concepts students learn working with 16mm film and HD video carry over to the 35mm filmmaking component, which offers students the opportunity to learn the foundations of 35mm cinematography.
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Collaboration Workshop

A course designed to further expand upon the etiquette of the film set, students explore the importance of the actor/director relationship required for a successful and professional film shoot. Filmmaking and Acting students come together for a series of audition technique, rehearsal, and screening classes, in addition to a series of full-fledged production exercises.

Students film these production exercise scenes on 16mm film and HD with the guidance and critique of their instructors. These practice scenes are fully pre-produced (storyboarded, cast, scouted, rehearsed and pre-lighted) and planned during elaborate crew meetings prior to the start of each production. Filling all of the necessary crew roles, students spend a full day shooting scenes with a more advanced grip and electric equipment package.
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Digital Editing II

Students learn to sync and edit with dialogue, and work with post-production sound techniques. This experience provides students with further hands-on technical training they need to edit their own projects. With practice in sync-sound editing, students go into production on their own films with a full understanding of the challenge that awaits them after the shoot. Students also learn how to fully color correct their films for continuity.
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Screenwriting II

Students develop, write, and workshop scripts for their Year One Intermediate Films. Students conduct live readings of their screenplays and engage in instructor led, roundtable discussions of the works, preparing the stories for the Semester 3 production.
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Producing the Short Film I

Producing the Short Film leads students through pre-production, introducing them to the essential processes of location scouting, permitting, and actor releases. The producing instructor and the students design a production schedule for the entire class, and the instructor encourages students to form realistic budgeting and scheduling plans as they undertake the production of their Year One Intermediate Film productions.
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Introduction to Film

Through screenings and discussion, this class charts the 120-year history of the medium, from early silent shorts, through various international movements, the rise and fall of the Hollywood Golden Age, to the birth of the modern cinema. In the process, students discover where their own work fits in the history of the art form.
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Intermediate Film Production

Each student receives six shooting days to produce a script of 15 pages. Students work on their classmates' films in the principal crew roles. They 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 week during the production period, students come together with their Directing and Producing instructors to debrief on the most recently completed production and greenlight the next production. The greenlight process requires students to present a production notebook to their instructors, who will determine that the student is fully prepared creatively and logistically.
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Intermediate Film Post-Production

After the production period, students build their films in the editing room. They screen rough-cuts of their films for their directing and editing instructors and receive feedback from their peers before presenting their finished films to an invited audience at the end of the semester.
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Elements of Feature Screenwriting

This course introduces students to the craft of feature screenwriting through script-to-screen examinations of classic features. In the process, students also develop and workshop their own feature film script ideas, which will be the basis of further writing in the second year of the AFA program.
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Sound Design

Students receive instruction in fundamental post-production sound techniques such as Sound Effects and Sound Mixing. In the process, they learn the significance of sound design in improving the look of their Intermediate films.
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Marketing the Short Film

Students learn the various outlets for exhibiting their short films. As they learn about film festivals and markets, students develop a portfolio, including a website and press kit, intended to market their completed films most effectively.
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Visual Effects

Students learn the fundamentals of visual effects, including using green screen, animation, and other effects in the visual representation on screen.
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Director’s Craft III

A continuation of Director’s Craft II, students will increase their comprehension of visual expression and directorial style through a series of in class exercises, assignments, and lectures. These skills will help prepare students for Advanced Production Workshop, which runs concurrently as the students produce commercial spots as crews. Preparation of a director’s journal will assist students in defining their style and vision for projects in later semesters.

The second half of the course provides students with the foundation required to direct a more technically advanced music video using a larger equipment package. Each student will direct their own advanced music video in addition to collaborating as crew on their classmates’ projects.
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Camera & Lighting III

This hands-on course continues to explore the capabilities of the RED Camera and a range of more professional lighting and grip equipment. In a hands-on environment, students will work with dollies, flats, and green screens on a professional sound stage, replicating shots from their favorite films.
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Producing Commercials & Music Videos

Students will learn the fundamentals of commercials and music videos in order to expand their production knowledge and apply these lessons to producing their own Thesis Project. This job continues to examine the role of the producer by matching tasks and challenges with ways of approaching them. As students produce their own projects, the challenges will become clear, and some class time will be devoted to specific production “hurdles.” Students will hone group problem-solving skills, as well as learn through sharing real-world examples.
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Feature Screenplay I

The goal of this workshop is to fully immerse each student in the foundations of feature screenwriting, providing a solid structure for of an overall idea and scripted setup. Students work with instructors and peers to write a feature film treatment and first act.
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Screenwriting III

Students develop, outline, and write treatments and a first draft of their thesis scripts. As these young filmmakers develop a unique directing style, their writing instructors encourage them to "write it in" to these scripts, giving them a unique and specific vision.
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Advanced Production Workshop

Putting into practice the skills learned in Director’s Craft III and Camera and Lighting III, students film spec commercials using the advanced equipment package. This experience gives students an arsenal of techniques and practical tools that they can use to successfully complete their Thesis Project.
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Thesis Film Directing

This class helps students define a visual style and approach to their thesis projects. Working alongside their peers, and under the guidance of a directing instructor, students prepare a presentation that details their directorial choices with regards to character, color, production design, locations, music, and tone.
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Thesis Film Prep

As their thesis scripts are polished and completed, students will apply their knowledge of production management to their projects in an intensive environment. Under the guidance of their producing instructors, students will thoroughly prepare their scripts for production, and perform all of the necessary logistical measures: obtaining permits, securing location releases, hiring crew, and creating budgets and schedules.
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Screenwriting IV: Short Thesis Screenwriting

Good writing is rewriting, and students finalize their thesis scripts in this class. Under the guidance of screenwriting instructors, students workshop their scripts with their peers, lead table reads, and lock their scripts.
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Digital Editing III

This course seeks to increase students’ proficiency as editors and increases their knowledge of complex post-production elements such as color correction, sound mixing, and both electronic and traditional film finishing. Students edit their advanced music video with consultations from their directing and editing instructors.
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Production Design

This workshop helps students prepare for the design requirements of their thesis film projects. Topics covered in this hands-on workshop include the collaboration between cinematography and design, set construction, creating the visual language of the film, costume design, and prop choices.
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Thesis Film Production I

The final six weeks of Semester 5 begin the Thesis production window. A single project of up to thirty minutes in length, the Thesis project is filmed using the entire advanced equipment package—including Red Epic cameras, professional lighting, and industry standard advanced dollies. Each project is greenlit by the student’s directing and producing instructors, who evaluate the student’s creative and business choices as they are presented in each student’s production notebook. Every two weeks during the production period, students reconvene with their directing and producing instructors to discuss each production, and prepare for the upcoming projects.
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Thesis Film Production II

The first eight weeks of semester six complete the fourteen-week thesis production window. Every two weeks during the production period, students reconvene with their directing and producing instructors to discuss each production, and prepare for the upcoming projects.
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Thesis Film Post-Production

The ability to receive creative notes during post-production is an essential skill for all filmmakers. Ultimately this process helps students create more concise and powerful short films, as well as preparing them to enter the editorial process on future films where they will receive extensive, and at times contradictory notes from producers, cast, financiers, and other creatives.
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Entertainment Industry Seminar

There is no single path or formula for creating a career in filmmaking. During the last weeks of the AFA Program, students explore the many different possible roads to a life in film. Guest filmmakers and industry professionals share their experiences with students; and mentors work individually with students to discuss the next step in their careers.
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Feature Screenplay II

Students workshop and complete the feature script developed in Semester 4. Students will also learn the essentials and marketing and selling a feature screenplay.
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Dates & Tuition

Fees Per Semester

Tuition: $12,666 (USD) +
Equipment Fee: $1,334 (USD)

Students will also incur additional expenses on their own productions. This varies depending on how much film they shoot and scale of the projects.

Location & Available Dates

For Los Angeles:
January 2017 - January 2019
May 2017 - May 2019
September 2017 - September 2019
January 2018 - January 2020
May 2018 - May 2020
September 2018 - September 2020


Ed Timpe Ed Timpe
Chair of Filmmaking

MFA in Production with a concentration in Cinematography, Chapman University; BS in Kinesiology, Indiana University. Timpe has had his graduate thesis film screened in festivals around the world.

Rick​ Curnutt​ Rick​ Curnutt​
Associate Chair of Filmmaking

MFA in Film Directing, Chapman University; BA in Cultural Anthropology, Boston University. Joined Trench Film Group (Beijing) in 1998, and continued on as a cinematographer, editor, and director of various award-winning independent documentaries, films, and music videos over the next seven years in China. His film, Run China won the honor of "Top 10 Documentaries of the Year" at the Chinese National Documentary Society Film Festival in Guangzhou, 2005; and has aired on over 20 Chinese television networks. Directed short films Potty Talk, Alarm, and Free Lunch, which all went on to screen and garner awards at select film festivals around the globe. Free Lunch was also picked up by Franco-German TV Network "Arte" after screening in competition at the Clermont-Ferrand International Short Film Festival in France.

David Newman David Newman
Associate Chair of Filmmaking

BS, Broadcasting/Film, Boston University. Entertainment professional with over a decade of experience writing, producing, and directing television series. Over fifteen years of experience as assistant director. Feature film writer.

Ashley Bank Ashley Bank

Ashley Bank has been working in the entertainment industry for virtually her entire life. She's worked as an actress, stand-up comedian, producer, and writer. As an actress Ashley has appeared in over 40 commercials, and has guest stared on TV shows like Family Ties, My Two Dads, Frasier, and The Fresh Prince of Bel-Air. She's also appeared in numerous TV Movies, working with greats like Henry Winkler, Dolly Parton, and Raquel Welch, as well as the feature film The Monster Squad. She also worked as a producer for CBS News/48 Hours, and later for CBS News' documentary department, working on documentaries for The History Channel, The Food Network, A&E, Discovery, and ESPN. She is a graduate of New York University, with a BA in Film, Journalism, & Political Science. She is also a graduate of The Second City Conservatory.

Carl Bartels Carl Bartels

A working cinematographer since 1996, Carl is credited with dozens of feature films and several award-winning documentaries. Originally from Massachusetts, Carl is now based in Los Angeles. He has shot numerous shows for Discovery and A&E, and directed several episodes. His most recent credits include Greedy, Lying Bastards, a documentary produced by Daryl Hannah, and Taken 3 starring Liam Neeson and Forrest Whittaker, on which he shot “A” Camera (he is credited on the entire Taken series of films).

Sanora Bartels Sanora Bartels

Producer for several feature documentaries including Michael & Me and Taking the Hill: A Warrior’s Journey, a documentary about PTSD. Most recently, she was the Field Producer for the documentary Greedy, Lying Bastards, executive produced by Daryl Hannah. She has worked as an Assistant Director on shows for Discovery and NatGeo Channel.

Leslie Bates Leslie Bates

Leslie Bates has an undergraduate degree in Marketing and English Literature from San Diego State University, and a JD from Lincoln Law School. After a stint in Turkey as a contracts attorney, Leslie returned to America to complete an MFA in Screenwriting at the American Film Institute. She has written and produced the dramatic feature, Broken Angel and the documentary, Cesar Chavez, as well as producing countless short films, commercials and live theater. Her other credits include producer of the Istanbul National Ballet production, Agir Roman (East Side Story), at the Ford Amphitheatre in Hollywood.

Edward Beckford Edward Beckford

Started career as child actor in such shows as PBS's television show, Vegetable Soup - “A Boy and His Boa Nigel.” Other TV shows include, West Wing, Homicide: Life on the Street, The Hack, The District, and The Corner. Films include Enemy of the State, The Replacements, Dick, Rocky and Bullwinkle, and Tom Clancy’s NetForce. In addition: 20 plus years of technical and creative experience as a 1st Assistant Director and 2nd Unit Director. Worked with Producer - Roger Corman, Cinematographer - Tak Fujimoto and Director - Bill Duke to name a few.

Joseph Bonier Joseph Bonier

An active Sound Mixer and Sound Designer, Joseph graduated with a BA from the University of Maryland. Joseph also has a degree for Recording Engineering from the Recording Connection. He has worked as Boom Operator and Sound Mixer for numerous features, TV shows and shorts. He also worked as an Engineer at Avalon studios in Washington DC and Matrax productions in Philadelphia, PA.

John Briscoe John Briscoe

Editor of multiple commercials broadcast both in Western Pennsylvania as well as Los Angeles. Worked as a freelance contractor on various independent films, webisodes and commercials. Editor of an 8-episode “war time” style documentary independently and aired locally in Los Angeles. Director, Producer and Editor of various segments airing on Pennsylvania television including a commercial for Hyundai, as well as various local food establishments and businesses.

Leslie Bumgarner Leslie Bumgarner

MFA in Cinematography, The American Film Institute Conservatory; BS in Radio/TV/FILM, The University of Texas at Austin. Leslie began working as a cinematographer in Houston for CBS shooting featured documentaries, commercials, and other television programming. Her short film "Surprise" screened at Outfest 2014 and competed at the Iris Prize in Cardiff, Wales. The film has screened in over 8 countries at the largest LGBT festivals in the world. Her domestic network credits include: CBS, MTV, DISC, HIS, and PBS.

Joe Burke Joe Burke

Joe Burke’s debut feature film, Four Dogs, world premiered to great reviews at the Los Angeles Film Festival in 2013. He’s directed such shows as Newsreaders on Adult Swim and FOX Digital’s half-hour comedy, Bad Samaritans, along with having written/directed several award-winning short films. Joe has spent plenty of time on the other side of the camera as well, acting on screen in movies, commercials, and television, including the critically acclaimed Showtime show, Ray Donovan. Joe earned his MFA in Directing from the American Film Institute, and his BA in Film/Minor in Theater from Columbia College Chicago. He is a member of both the DGA and SAG-AFTRA.

Denise Carlson Denise Carlson

Denise Carlson is a producer and development executive with twenty years of experience in the entertainment industry. She was at Disney Channel for 9 years as the Director of Original Movies, responsible for overseeing the development and production of 47 television movies, including the megahit High School Musical, as well as other highly successful films such as Wendy Wu and The Cheetah Girls movies. She is on the board of the LA Femme film festival, which is dedicated to presenting films that are made by and about women. She has a BFA from Rollins College and a Master's Degree in Counseling Psychology from Ryokan College.

Neil Casey Neil Casey

Los Angeles based cinematographer whose body of work includes feature films, short films, and documentaries.

Lydia Cedrone Lydia Cedrone

MBA, New York University Stern School of Business; BA in Economics, Boston College. Oversaw company operations for Michael Mann, and production operations for Ali. At The Walt Disney Co., Trimark Pictures, and Savoy Pictures, managed production spending on over two-dozen studio films. Developed and produced two feature films, including the 2009 MGM film The Betrayed.

Susana Casares LA Filmmaking Faculty Susana Cesares

MFA in Film Directing and Production, University of California Los Angeles; BA in Fine Arts, University of Barcelona. Winner of the Academy of Television Arts and Sciences' prestigious College Television Award in Drama, her narrative and documentary work has been shown in festivals such as Berlinale and the New York Film Festival at the Lincoln Center. Susana has received the support of the Tribeca Film Institute, Film Independent, and the Hollywood Foreign Press Association. She was showcased in Variety's 2013 Cannes edition as one of the 10 Spanish talents to watch.

Nathan Chitayat Nathan Chitayat

Wrote and directed short films earning two Motion Picture Association of America Awards, the Edie and Lew Wasserman Filmmaker’s Fellowship, and the Joseph W. Drown Award for Motion Picture Production. Short film, "Old Grace", was selected by more than 20 festivals, nationwide, as well as winning various awards. "Subbing 4 Julia", won Best Script at UCLA’s annual festival and was selected for a special program by a Blue Ribbon Panel including such names as Alexander Payne (Sideways), Catherine Hardwicke (Twilight), and producer Mark London (The Visitor). Writes, edits, and directs webisodes. Writes and teaches all facets of film at the undergraduate and graduate level at UCLA, New York Film Academy, and the American Musical and Dramatic Academy.

Jay Cipriani Jay Cipriani

MFA in Film Production, USC School of Cinematic Arts; BA in English, Creative Writing, West Virginia University; NYU Tisch School of the Arts, Film Production. Jay started his career in story development for Barry Levinson, Paula Weinstein, and Len Amato, then with writer/director Ted Griffin. He sold a story to Lions Gate, wrote A Golden Christmas and its subsequent sequels for ION TV and worked on HBO’s Curb Your Enthusiasm, as well as a number of other features.

James Coburn James Coburn

James H. Coburn IV, C.A.S., has been working professionally in Production Sound for over twenty years, mixing such independent features as Free Enterprise (1998) with Eric McCormack and William Shatner, All’s Faire in Love (2009) with Christina Ricci and Ann Margret, and most recently The Bronx Bull (2013) with William Forsythe and Joe Mantegna. His television work includes the series Black Scorpion produced by Roger Corman, and the reality show Guru2Go or Discovery Networks channel Health TV. He served on the Board of the Cinema Audio Society for seven years, and was instrumental in creating the CAS Technical Achievement Awards honoring innovation in the equipment and software used by production and post-production sound mixers. Before moving to NYFA, from 2008-2015 James shared his enthusiasm for sound with students at LAFS. He teaches the fundamentals of production audio—utility sound, booming, recording & mixing—emphasizing capturing performance, and the importance of production sound in enhancing and supporting the Director’s artistic vision. James lives in Los Angeles with his wife and daughter.

Glenn Cote Glenn Cote

BA and MFA in Film & Video Production, USC School of Cinematic Arts. Cote began his career in the feature post-production department at Warner Bros. He has been active in recent years as an editor, producer, and VFX supervisor/producer on numerous major studio and indie feature films—including Orphan (2009), The Losers (2010), Green Lantern (2011), and Bullet to the Head (2012). He is a member of the Motion Picture Editor's Guild (MPEG), Visual Effects Society (VES), and the Producer's Guild of America (PGA).

Rick Dahl Rick Dahl

BA in English, Rutgers College. First feature screenplay Red Rock West was nominated for an Independent Spirit Award. Has written for both TV and feature film for John Woo, Andy Tennant and George Tillman.

Beth DeAraujo Beth DeAraujo

Beth DeAraujo has an MFA from The American Film Institute in Screenwriting and a BFA from UC Berkeley in Sociology. She has been published in Gawker Magazine and uses asthma as her excuse for not exercising.

Kim Delgado Kim Delgado

Equity theater apprentice and at age 16 went on tour with Trinity Sq. Repertory's award-winning play Brother to Dragons. Acted in PBS special, "Great Performances: Brother to Dragons" (1975), directed by Adrian Hall. Starred with Lee Strasberg in the feature film Boardwalk (1979). Honed his craft working in off-Broadway productions in New York City at the Round About Theater, Circle in the Square, and Joseph Papp's theater in Central Park. Worked on hit show, Hunting Cockroaches, starring with Malcolm McDowell and Swoosie Kurtz. Other feature work includes, Life As A House, Kindergarten Cop, Patriot Games, Eddie, Good Burger, Arizona Seaside, Hard Four, 2:13, Die Hard: With A Vengeance and The Rune Stone. 200 Guest and Co-star roles in episodic, mini-series and MOW’S. Landed a series regular role, playing a good-natured overbearing father, in the iconic FOX television series Big Bad Beetleborgs. Other work includes: Soul Man, Anger Management, Southland, The Millers, The Fosters, Eli Stone, Friends, CSI, Brothers and Sisters, Rules Of Engagement, iCarly, 90210, Desperate House Wives, Grays Anatomy, Dexter, NYPD Blue, and Boston Legal. Also worked as a casting team member for commercials, writer and producer for Radio and Television commercials as well as screen and television scripts. Sold screen project Taken in Broad Day Light to Lifetime which became an international hit becoming “the third highest rated movie in Lifetime Network History and was sold to over 100 hundred countries internationally”. Writer, producer and director of the reality pilot Battling Garages/RAW, and the horror short “Purgatory.” Currently has two pilots and five features, either optioned, in production or in development with production starting in 2016 on Ramp Rats, based on the 1989 true story of the close of Eastern Airlines and arrest of 63 airline employees. Recently hired to write the pilot reboot for the new Streets of San Francisco. Studied with Sandra Seacat, Ernie Martin, John Lithgow, and Lee Strasberg.

Michael DeMeritt Michael DeMeritt

Michael DeMeritt has produced, written and served as Assistant Director (DGA) on every form of production. His AD Credits include long runs in episodic television (Star Trek: Voyager, Star Trek: Enterprise, Close to Home, Make It or Break It), New Media (Sin City Saints) and Commercials. His Producing Writer efforts include many award winning regional and National Commercials (Life is Beautiful Campaign, Copperfit Campaign), reality series (Gen’s Guiltless Gourmet, The Real Trophy Wives), feature and short films (“The Moneymaker”) and New Media series (Biffle & Shooster).

William Dickerson William Dickerson
Director's Craft

MFA in Directing, American Film Institute; BA in English, College of the Holy Cross. William is an award-winning filmmaker and author. His debut feature film Detour, which he wrote and directed, was released Theatrically and On Demand through Gravitas Ventures and Warner Brothers Digital Distribution. His metafictional satire, The Mirror, opened YoFi Fest's inaugural film festival in 2013, and he recently completed his third feature film, Don't Look Back, for MarVista Entertainment. His award-winning films have been recognized by film festivals across the country. His AFI Thesis Film, "Shadowbox," won Best Short at the Shockfest Film Festival in Hollywood. He just completed his 2nd book, an insider's guide to directing microbudget films called, "DETOUR: Hollywood - How To Direct a Microbudget Film (or any film, for that matter)."

Kevin DiNovis Kevin DiNovis

Kevin DiNovis studied dramatic craft with Pulitzer Prize winning absurdist playwright Edward Albee. His first feature film, Surrender Dorothy (1998), won multiple awards, including the Grand Jury prize for Best Feature at the Slamdance, Chicago Underground, and New York Underground Film Festivals. Hand-picked by critic Roger Ebert as one of only ten films to inaugurate his Overlooked Film Festival, Surrender Dorothy is currently distributed by TLA Releasing; the DVD version was praised as one of the "Best Releases of 2000" by the Internet Movie Data Base.

Tyrone Dixon Tyrone Dixon

Tyrone Dixon (filmmaker, media psychologist, educator) is presently a PhD candidate in Media Psychology and continues to develop and produce documentary and feature films. After completing undergraduate work at Texas Southern University, Tyrone was accepted at the American Film Institute in Los Angeles California. In his spare time he also managed to garner work on Hollywood studio projects like How Stella Got Her Groove Back, Players Club, and Boogie Nights working in production, art direction and financial management. Tyrone’s debut films, the documentary 8 Wheels and Some Soul Brotha Music, were the inspiration for the Fox feature film ROLL BOUNCE, starring Bow-Wow and Nick Cannon. 8 Wheels went on to win multiple film festival awards prior to its release in 2005.

Jeannie Donohoe Jeannie Donohoe

Writer, Director, Editor of short films, "Lambing Season", "Bienvenue", "Public" (Winner of Palm Springs International Shortfest; L.A. Outfest); Producer at Strategic Productions and of various award winning shorts.

Bill Duke Bill Duke

Bill Duke's acting and directing credits are extensive. His feature credits include Deep Cover, Predator, Menace II Society, Hoodlum, Sister Act 2: Back in the Habit, Get Rich or Die Trying, ​and Not Easily Broken​, to name a few. His television work includes such ground-breaking series as Falcon Crest, Fame, Hill Street Blues, Knots Landing, Dallas, and New York Undercover​. He has recently completed production on Blexicans​, a new television pilot that takes a comedic look at a mixed race family. His documentaries, Dark Girls and Light Girls, both NAACP Image Award nominees​, aired on OWN and were two of the most successful documentaries on the network.

Bill Duke's invaluable contributions to the industry have been recognized by both his peers and the entertainment community. Bill was appointed by former President Bill Clinton to the National Endowment for the Humanities​, and to the Board of the California State Film Commission ​by former Governor Arnold Schwarzenegger. He has been honored by the Directors Guild of America ​with a Lifetime Achievement Tribute​.

Duke Media Entertainment​ is dedicated to bringing quality edutainment to audiences around the globe. Duke Media has successfully produced critically acclaimed film and television content for more than 30 years​. Additionally, Duke Media is in process of expanding the brand to involve itself in the development of new media technologies​, i.e. cellphone apps, games, and virtual world experiences.

Bill's humanitarian efforts are equally important. He devotes his time to charity and not-for-profit organizations that enhance our human experience. He is on the Board of Directors of Educating Young Minds ​and recently established the Duke Media Foundation​, which has joined forces with the New York Film Academy, to teach media arts and financial literacy to underserved youth.

Gareth Dunnet Gareth Dunnet

Gareth was born in Queretaro, Mexico. He holds an MFA in Directing from the American Film Institute. He has directed commercials and short films, and his work has been shown at the Tribeca Film Festival as well as other festivals around the world.

Joshua Eiserike Joshua Eiserike

Josh is a writer/cartoonist who has written for the HUB animated series G.I. Joe: Renegades and MAD Magazine. Coming from the indie comics world, Josh’s first comic book Class of ‘99 won an Ignatz award (the Independent Spirit Award of comics) and his subsequent graphic novel Anyone But Virginia is currently distributed by Alterna Comics. Josh holds an MA in journalism from the University of Missouri and an MFA in film production from USC.

Sean Fau-Burnitz Sean Fau-Burnitz
Camera & Sound

Sean Fau-Burrnitz has been working with film and video for over 20 years, shooting, editing, writing, and directing, narrative, documentary, reality, and live events. Former CEO of video production company, specializing in live multi-cam sporting events recording and DVD distribution. Sean is currently a Hollywood-based freelance Cinematographer and Sound Mixer, and teaches both cinematography and on set sound recording in multiple departments at New York Film Academy.

Adam Finer Adam Finer
Marketing and Entrepneurship, New Media, Emerging Formats

BS, University of Phoenix. Served as Director of Market Research at Universal Pictures. Co-founder of Arpil Entertainment, a literary management and production company. Consults individuals in career planning, as well as working with content creators, writers, directors, producers, and studio executives to design marketing plans, and business and branding strategies.

Lance Fisher Lance Fisher

Lance Fisher started in the camera departments of the major studios as a 2nd Camera Assistant, and has worked on countless feature and TV productions ever since. The tremendous paradigm shift into digital cameras has been swift and sometimes unpredictable, and Lance has surfed the wave. He was operating camera on the TV series The Dead Zone when they made the transition from 35mm film to 2/3" Digital Capture, state-of-the-art at the time; one of the first episodic productions to commit to this new technology. While teaching at NYFA, Lance embraces these new methods, while delivering what he terms 'a film-ethic' that is vital to a student's professional growth. A fun highlight of Lance's broad career is that Lance had the privilege of operating what might be the very last complete project filmed in the original Cinema 3-Panel Process, In the Picture, 2012. Lance is a member of the International Cinematographers Guild in the US and Canada and also The Society of Camera Operators. He operates on many shows and is also a DP. When he is not at NYFA, look up in the sky, because Lance is also a commercial helicopter pilot.

Nina Franoszek Nina Franoszek
Acting for Directors

Nina Franoszek is an award-winning actor and accomplished film and theater director. She performed in over 100 feature films and television shows, including Roman Polanski's "The Pianist" and the Emmy Award winning show "Mad Men". She co-starred with Tilda Swinton in "The Party: Nature Morte" and Donald Sutherland and Geraldine Chaplin in "Buster's Bedroom". Currently she can be seen on HBO's show "The Brink" opposite Tim Robbins and Jack Black. Her awards include a Grimme Prize for best leading actress in a TV series and a German Screen Actors Award for best Ensemble in 2014.

Franoszek is also a motion capture performer and voice talent and plays the antagonist Frau Engel in the Inglourious Basterds-esque Game of "Wolfenstein: The New Order". She is a member of SAG-AFTRA, Germany's Academy of Motion Pictures Arts and Sciences, Germany's Directors Guild (2007-2013) and served as a juror for the international Emmy Awards (2007 -2015). She received an MFA in Performing Arts from the University of Theater Music and Media Hannover, Germany, and continued training for more than 15 years at the Actors Studio West (under the artistic direction of Mark Rydell and Martin Landau).

Richard Friedman Richard Friedman

Richard Friedman is a director, writer, and producer of motion pictures, television movies, episodic TV, network specials, and music videos. He has over 25 years experience in directing and producing film and TV, including Independent Feature Films, Television movies, Episodic Television Series, Reality TV, and Music Videos.

As a television Director, Richard has helmed numerous movies for TV and is a veteran of over 35 episodes of network and syndicated TV series, having directed Warner Bros.’ Lois and Clark: The New Adventures of Superman, Baywatch Nights, Silk Stalkings, and Friday the 13th. As an Instructor, Richard has taught for the last 14 years at the Directing Certificate Program at UCLA Extension and was the recipient of the UCLA Extension Department of the Arts Instructor of the Year Award.

Kelly Gardner Kelly Gardner

Kelly Gardner is a filmmaker with a background in theater, television, and film. After obtaining a B.A. in Dramatic Art from the University of North Carolina Chapel Hill in 1999, Kelly moved to Washington D.C. where he enjoyed a successful career as a stage actor while simultaneously directing educational outreach programs for the The Arena Stage, The United States Library of Congress, The Smithsonian Institute, and countless schools and non-profit organizations. In 2006 he decided to pursue an MFA degree in film directing from the California Institute of Art. In 2009 his cinematography on the film "The Seawall" was honored with acceptance into the acclaimed Cannes film festival. He is currently serving as the Director of Community Outreach for the New York Film Academy in Los Angeles.

Lee Gordon Lee Gordon

Award-winning screenwriter and development consultant. Numerous credits including field producer on the Oscar winning documentary, "Undefeated".

Rick Greenwood Rick Greenwood

Richard Greenwood Jr. is a cinematographer and producer, known for Hunger Games: Tribute Johanna (2013), Hinnon Valley (2010) and 4 Dead Girls: The Soul Taker (2012).

Yoojung Han Yoojung Han

Yoojung Han is a Korean-born Production Designer in Hollywood and President of Bontte, Inc. She has worked on over 50 movies, TV shows and commercials in Hollywood as a Production Designer and Art Director. In 2010, she debuted as an author with her book Run Before Dreams, Confidence Before Challenges. In 2012, Yoojung’s designed the facilities and orchestrated content for the new Hallyu Center in Los Angeles in the heart of Hollywood. Her next book was released in Spring 2014 and draws upon her life’s experiences and that of other Hollywood veterans with the goal of helping young Koreans to communicate with a deep understanding of the entertainment industry.

Sharri Hefner Sharri Hefner
BFA Screenwriting Short Thesis, Thesis Writing Workshop

Award-winning Southern California-based writer, producer, and story consultant.  Received her MFA from NYU's Tisch School of the Arts and graduated summa cum laude from California State University, Long Beach.

Abe Heisler Abraham Heisler

Abraham Heisler is an award-winning filmmaker whose work has developed an international following. He has directed several short film projects with progressive thought leaders such as Marianne Williamson, Alice Walker, Dr. Bruce Lipton, Noam Chomsky, and Paul Hawken.

Travis John Hoffman Travis John Hoffman
Cinematography, Photography

Travis attended the MFA program in Photographic Theory at the Brooks Institute of Photography. Since then Travis has had the opportunity to lens such artist as Jennifer Lopez, Neyo, Snoop Dogg, Katy Perry, David Guetta, Bret Michaels, Ice Cube, Diana Krull, Katrina Bowden, and Malcolm Goodwin. His client list includes NBC, NIKE, A&E, History Channel, EMI Music, and Universal Music Group.

David Jackson David Jackson

Masters Program, Film Production, USC School of Cinematic Arts; President’s Fellow, Film Production, Rhode Island School of Design; BA, General Studies, University of Kentucky. Director of over 100 prime time episodic television shows including CSI:NY, Supernatural, and Vampire Diaries. In addition, David has directed 20+ TV movies and independent features. He is a member of the DGA and WGA, having won the Mystery Writers of America Edgar Award for best TV drama (The Equalizer), and a DGA nomination for best Children’s Program (Buffalo Dreams) for Disney Channel.

Kenneth Johnson Kenneth Johnson
Special Lectures

Writer, Director, Producer. Creator of V, The Incredible Hulk, Alien Nation, The Bionic Woman, and other Emmy Award-winning shows. Director of numerous TV movies and feature films, including Short Circuit 2 and Steel. Winner of the prestigious Viewers for Quality Television Award, multiple Saturn Awards, and The Sci-Fi Universe Life Achievement Award.

Matt Kohnen Matt Kohnen
Digital Camera & Lighting, Directing for Cinematographers, 16mm Cinematography

MFA in Film Production, USC; BA in Theatre/Playwriting, University of California, Irvine. Director and writer of feature film Wasting Away, winner of awards at 6 festivals worldwide. Director of multiple short films with Academy Award-winning producer Rob Fried.

Igor Kovacevich Igor Kovacevich
MFA Producing 1 & 2

MFA in Film Directing/Producing, Ohio University School of Film. Produced Downloading Nancy, starring Maria Bello and Jason Patric, which premiered at Sundance. Bello was nominated for Best Female Lead at the Independent Spirit Awards in March 2010. Worked at Focus Features/Universal in feature acquisitions and development.

Jeff Kushner Jeff Kushner

Jeff Kushner was the overseeing supervisor of Post-Production for the independent New York film company The Shooting Gallery, where he supervised and facilitated the Post-Production needs for all their films from 1994 through 1998. He supervised sound and/or edited picture on several of their features, most notably Billy Bob Thornton’s Oscar winning Sling Blade, Amos Poe’s Frogs For Snakes, and Dee Snider’s Strangeland. His career continued after his move to Hollywood with credits that include Drowning Mona, Harold and Kumar Go To White Castle, I Hope They Serve Beer In Hell, Unfaithful, Mystery Men, High Crimes, Behind Enemy Lines, Cats and Dogs, Agent Cody Banks, and extended television work including House MD, and various Law & Order series.

Paz Leon New York Film Academy LA Filmmaking Faculty Paz Leon
Acting, Directing

MFA in Directing from the American Film Institute. BFA in Film Studies and Modern Literature from Université Louis Loumiere, Lyon, France.

Mark Lester Mark Lester

Director, writer, and producer Mark L. Lester has created high-action films throughout his career, including some of the world's biggest box office draws. His directorial expertise has garnered praise for such films as Arnold Schwarzenegger's box-office mega-hit Commando (1985), Stephen King's supernatural thriller Firestarter (1984) with Drew Barrymore and Martin Sheen, Showdown in Little Tokyo (1991) starring Dolph Lundgren and the late Brandon Lee in his first major role, and two frighteningly prophetic films about the state of society: Class of 1984 (1982) with Michael J. Fox in his first film role and the sequel, Class of 1999 (1989). In addition to receiving international critical acclaim, Lester's films are box-office hits. Commando was an international success story, grossing over $120 million, and Class of 1984 was a #1 U.S. box-office draw and became the top-grossing film in many major markets around the world. For more than 20 years, Mark L. Lester has overseen the development and distribution of over 100 films at American World Pictures. He founded Titan Global Entertainment in 2012 to continue producing and directing quality features for many years to come.

Rebecca Louisell Rebecca Louisell

Rebecca Louisell graduated from Carleton College with a B.A. in Studio Art (photography, mixed media) and an M.F.A. in Production from the University of Southern California's School of Cinematic Arts (USC). While at USC, she was awarded several scholarships and a College Television Award for her producing and directing work. Moving between indie narrative, documentary and new media projects, Louisell has served as Associate Producer on Limited Partnership: a documentary about love, marriage and deportation which was awarded the IDA Humanitarias Documentary Award 2014 and showed on PBS' Independent Lens, and You See Me, which screened at Dances With Films and Docutah Film Festivals. She is Producer-Director on an upcoming web series, LA Picker.

Alison Marek Alison Marek

2013 Gold Aurora for "An Ordinary Day" PSA for Santa Monica OEM; Director for "An Ordinary Day" and "I Want to Be."

Heather Mathews Heather Mathews

Worked with such Hollywood notables as David Fincher, Tony Scott, Wong Kar-wai, Alejandro Gonzales Iñárritu and John Frankenheimer in various aspects of the Hollywood machine. Edited and produced the award winning short "Miss This At Your Peril" and edited the Sundance premiere "Spoonful." Edited countless narrative and documentary short films and a number of music videos and commercials. Currently in the final stages of editing the feature length documentary Forbidden: Undocumented and Queer in Rural America, already on the festival circuit.

Greg Marcks Greg Marcks

Film Director of the acclaimed indie film 11:14 released by New Line Cinema and Roxie Releasing, starring Hilary Swank & Patrick Swayze. President of Ideology Pictures, writer for Summit Entertainment and Sony Pictures Television, also writer for DreamWorks Pictures and Lions Gate Films. Most recently directed Echelon Conspiracy, with a budget of $12 million and released by Paramount.

Shane McCarthy Shane McCarthy

MFA in Film Directing, Chapman University; BA in Finance, Sacred Heart University. Award-winning writer/director with work in short films, feature films and commercials.

Gil McDonald Gil McDonald
Feature Screenwriting

MFA in Screenwriting, American Film Institute; BA in Radio/TV/Film Production, Minor in Psychology, Howard University. Award-winning writer, producer, and director on "Motel Paradise," a short film selected and screened at the prestigious AFI Theatre.

Suki Mendecevic Suki Medencevic

MFA in Cinematography, National Film School, Prague: BA, National Film School for Dramatic Arts, Belgrade. He has shot 15 feature length films and television projects, and numerous commercials and documentaries. In 2010, Suki became a member of American Cinematographers Society.

Thomas Mignone Thomas Mignone

BSEE Rensselaer Polytechnic Institute. Directed and wrote narrative feature film On The Doll selected to screen at Cinequest Film Festival, Austin Film Festival, Avignon Film Festival, Ft. Lauderdale Film Festival and Oldenburg International Film Festival; Director credits include winning first ever MTV M2 Video Music Award for Sony Entertainment Recording Artist Mudvayne's "Dig"; Kerrang's Video Of The Year Award for Sepultura’s "Roots"; Grammy Nomination for Slipknot's "Wait & Bleed"; Museum Of Technology and Innovation Award Advertising and Branding Campaign Award recipient. Spotlight Award recipient for The American Red Cross marketing campaign.

Michel Moon Michel Moon

BFA in Theatre Studies from York University; graduated best producer of his year at the Toronto Film School. Over ten years production experience in almost every department. Directed, acted in, produced, and photographed award-winning films in a half dozen countries.

Robert Moreland Robert Moreland

Producer, development exec, and screenwriter. Part of the small team that optioned Bill Steig's kids' book Shrek, developed it, and sold the project to DreamWorks. Sold his original comedy Pink Slip to DreamWorks and adapted Tony DiTerlizzi's book Ted for Nickelodeon/Paramount. Co-created the pilot Thunderpig for Nick as well. Wrote several animated features including Space Chimps (Fox) and Happily Never After (Lions Gate). Also a writer on the upcoming animated series "Muertoons" for WV Entertainment; two animated features in production, one from the producer of "Shrek", and the other being directed by Academy Award nominee Mike Johnson. Wrote the ABC TV movie "Ground Control" starring Keifer Sutherland, and he won a Gold Hugo at the Chicago International Film Festival for his work as an Associate Producer on the nationally-aired American Playhouse TV special "Imagining America". Teamed with best-selling kids book author Keith Graves to form their own animation studio, which successfully kick started its first series, "The Beef Sumo Show", featuring a dream team of animation talent. Worked with "Shrek" producer John H. Williams as a development exec, producer, and screenwriter for over 20 years.

Steven Morrison Steven Morrison

MFA in Screenwriting, Chapman University; BA in Geography, Minor in Ethnomusicology, UC Santa Barbara. Dodge College Fellow. Multiple produced shorts and award winning screenwriter. Currently co-writing/producing the feature, Nothing Like the Sun. California state teaching credential; taught primary and secondary grades.

Steve Morris Steve Morris
Directing, Editing

In addition to writing the independent feature Stonebrook, Steve worked on the set, learning his way around each department from cameras and sound. In 2000, Steve began production on one of the world’s first online web series, Siren. Siren was viewed by hundred’s of thousands of fans and inspired an interactive sequel, Operation: Siren, which premiered at the 2003 Sundance Film Festival. His partnership with Mike Hoover, resulted in the 2006 CBS documentary Shark: Mind of a Demon starring Fabien Cousteau as well as the ambitious, 2011 documentary Great White Shark: Beyond the Cage of Fear for the National Geographic Chanel which Steve Wrote, Directed, Edited and Narrated. In 2008, Steve began producing, writing, directing and editing The Assistants, a Hollywood caper movie starring Joe Mantegna, Jane Seymour, and Stacy Keach. The Assistants won the Audience Award for best feature at the Vail Film Festival and was released theatrically in 2010. Steve has a BA from UC Berkley with degrees in both Political Science and Theater as well as an MFA from USC’s school of Cinema and Television.

Adam Nimoy Adam Nimoy
Thesis Film Post Production, Advanced Approaches to Directing

JD, Loyola Law School; BS, UC Berkeley. Director of one-hour single camera television, including The Practice, Ally McBeal, NYPD Blue, and Gilmore Girls.

Matteo Nurizo Matteo Nurizo

Master of Science in Industrial Design and Fashion Management at the Politecnico di Milano, Italy. Director and Editor of Style In Frames. Client: Comune di Milano. Founder of King Milano, a Graphic-Video-Audio company. Worked at Lillisimone as a graphic and video artist. Clients: Alfa Romeo, Lancia, Tissot, Panerai, Opel. As freelance videographer and editor, clients: BM Factory, Banque PSA Finance, Castiglioni. Editor for various short indie films. Avid Certified Instructor since 2013.

Jules Nurrish Jules Nurrish

British-born filmmaker Jules Nurrish is a screenwriter and film director based in Los Angeles. A graduate of the Masters program in Directing at the UCLA School of Theater, Film & Television, she has directed several short films and music videos, including her short film “Bend It”, an official selection of the 2008 Sundance Film Festival.. A twice recipient of the BAFTA Los Angeles Peter Henton Memorial Award, Jules earned the Jack Nicholson Distinguished Director Award, the George Burns & Gracie Allen Fellowship in Comedy, the BAFTA Los Angeles Fellowship and the Lynn Weston Fellowship in Film during her tenure at UCLA. In 2011, she was selected as a Fellow for the Outfest Screenwriters Lab with her comedy feature script, Headliners, and is currently in development on several feature films.

Kim Ogletree Kim Ogletree

Kimberly joined the BET family as Supervising Producer for Development and Special Projects where she produced several syndicated television shows and specials, BET’s 15th Anniversary and “The Walk of Fame” featuring Michael Jackson, Whitney Houston and Babyface among others. Her other producing credits include the BET Arabesque films, Rendevous, A Private Affair, Midnight Blue, and Rhapsody starring LisaRaye; Hair Show starring Oscar Recipient, Monique; Playas Ball starring Allen Payne of Tyler Perry’s House of Payne; CuJn’ Da Mustard starring Brandon T. Jackson which won the 2007 Pan African Film Festival. Choice Award; the MTV Original Movie, Love Song, directed by Julie Dash; Ashes which won the 2010 Best Horror Film at Shriekfest; and Hellraiser: Revelations for Dimension Films. Most recently, Kimberly produced the faith-based film A Beautiful Soul.

Nick Ozeki Nick Ozeki

MFA in Filmmaking, Chapman University; BA in English, Amherst College. Wrote and directed an award-winning feature film out of graduate school that was nominated for an Independent Spirit Award. He is also a part of the prestigious Fox Writer's Initiative, aimed at developing and writing original content for their networks.

Jim Pasternak Jim Pasternak

Jim Pasternak is a directing instructor with over 40 years of teaching experience. He has designed programs and taught at some of the best film schools in the U.S. He travels the world empowering people to produce and direct movies. Two of his directors have won Oscars. Jim’s directing, producing, and writing credits include features, shorts, theater, and television. A directing fellow at the Sundance Institute, Jim began his career as assistant to Otto Preminger and as a producer on the Emmy-Award winning ABC documentary series, The Saga Of Western Man. He holds a Masters Degree in Film from UCLA.

Huch Platt Huch Platt

Avid Pro Tools HD Certified Instructor, Owner Majestic Sound Studios, Foley Mixer, Dialog Editor Flags for Our Fathers, Dialog Editor Black Dawn and Stranger by Me. Huch has dedicated his life to teaching the art and craft of Film Sound and helping new filmmakers achieve amazing Sound Design.

David Radcliff David Radcliff

MFA in Screenwriting, UCLA; BA in English, USC. Winner of the Austin Film Festival, ScriptapaloozaTV, the George Burns Comedy Writing Fellowship, and the Jack Nicholson Screenwriting Prize; Finalist for the Disney Writing Program; Member of the Committee for Writers with Disabilities at the Writers Guild of America, West. Clients have included Amazon Studios, Nickelodeon, The Walt Disney Company, Netflix, Radley Studios, and IMDB.

Kevin Richey Kevin Richey
Cinematography, Sync Sound Workshop

MFA in Radio/TV/Film, Northwestern University; BA in Critical Studies of Film and Television, University of Alabama. Taught at Northwestern University and Chicago's DePaul University before moving to Los Angeles. He currently works as a commercial cinematographer in the U.S. and abroad for clients such as Ford, Bank of America, and McDonald's.

Charlie Rose Charlie Rose

AIC, cinematographer who has received numerous international awards (Cannes, Venice, New York, Tokyo Film Festivals) for his work in feature films, commercials, documentaries, and music videos.

Andres Rosende Andres Rosende

MFA in screenwriting and directing from Columbia University. His films have played at festivals around the globe including Cannes, Sitges, Cleveland and South by Southwest. His short “Mr. Bear,” a dark comedy of mistaken identity, has played at more than 150 festivals and has received over 40 international awards.

Craig Ross, Jr. Craig Ross, Jr.

Craig has gone on to direct a number of high profile television shows, helming such prime time hits as Number, Bones, Prison Break, and NCIS for CBS. Capitalizing on the lost art of Noir filmmaking, all of ASI’s endeavors mark the continuing flow of Craig Ross, Jr.’s ascent as one of the premiere filmmakers in Hollywood.

David Ross David Ross

Writer and director of the feature film The Babysitters, starring John Leguizamo, Katherine Waterston, and Cynthia Nixon. The film premiered at the 2007 Toronto International Film Festival and was subsequently purchased and released by Peace Arch Entertainment. He is also the writer of the independent supernatural thriller The Rift (post-production) and The Woods, produced by MGM/United Artists. David has been commissioned to adapt novels and rewrite existing screenplays. He is currently preparing his second directorial effort. He has an MFA in screenwriting from the American Film Institute and earned his undergraduate degree from the University of Detroit, Mercy, where he studied acting.

James Rowe James Rowe
Advanced Approaches to Directing, Feature Script Development

BA in Communications, University of North Carolina, Chapel Hill. Writing and directing credits in television, feature and short films. Festival selections at LA Film Festival, Austin Film Festival, Cleveland International Film Festival. Writer/Director of feature film Blue Ridge Fall, starring Amy Irving, Chris Isaak, and Peter Facinelli.

Crickett Rumley Crickett Rumley

MFA in Film, Columbia University; BA in Latin American Studies, Rhodes College. Developed and/or pitched projects with Anonymous Content, Disney, Fox Searchlight, Imagine Entertainment, Universal Studios, and many more. Author of Never Sit Down in a Hoopskirt. Former Director of Development with Scriptstar Pictures.

Leander Sales Leander Sales
Digital Editing

Member of the Motion Pictures Editors Guild. Has worked with Spike Lee on nine of his feature films in the editing department. Associate editor on Clockers and Girl 6, then as editor on Get on the Bus. As a director, Leander won first place at the Black Filmmakers Hall of Fame Film Festival of Oakland, California for his debut feature film Don’t Let Your Meat Loaf. The Life I Meant to Live is Leander's second feature film.

Michael Sandoval Michael Sandoval
Directing, Writing

MFA, New York University, Tisch School of the Arts; MFA, University of Michigan, Writing Program; BA, Brown University.

Films have appeared in Berlin Film Festival, Palm Springs, Slamdance, Toronto Short Film Festival, Margaret Meade Doc Festival, and more. Director of The Good Son (competition screening, Berlin); Ariana (Audience Award, San Luis Obispo Film Festival). Cinematographer/producing consultant for numerous film/TV productions, including feature documentary, Horizontes sin Dueño and “The Encounter” (Best Short, Las Palmas). Awarded Ang Lee Fellowship. Published fiction/non-fiction. Residency Grants include Ucross Foundation, the Santa Fe Art Institute.

Mark Sawicki Mark Sawicki
Production Design & Special Visual Effects

Mark is a veteran visual effects cameraman with a large body of work, including The Terminator, X-Men and The Dark Knight Rises. In addition to having taught for many years, Mark is the author of Animating with Stop Motion Pro and Filming the Fantastic first and second edition, both published by Focal Press.

Ryan Schwartz Ryan Schwartz
Director's Craft, Sync Sound Workshop

MFA in Film Production, USC; BA in International Relations, UC Berkeley. Production credits for Scott Free, MJZ, Bedford Falls, Tool, Propaganda. Co-founder of The Incite Group. Producer on The Jenkins Orphanage Project and Making Love.

Tony Schwartz Tony Schwartz
Producing, Thesis Film Prep, Intermediate Film Prep

Over 20 years of experience as an assistant director for television and feature films of varying budgets. His credits include Land of the Lost, Firefly, Freaks and Geeks, Kung Pow: Enter the Fist, and CSI: New York.

Rae Shaw Rae Shaw

A poet who also became a filmmaker. Rae is an award-winning director-producer. She is the recipient of the Woodrow Wilson National Fellowship Foundation, Mellon Mays Undergraduate Fellowship, Francis E. Williams Artist Fellowship, and Marvin Miller and Guy Hanks Screenwriting Fellowship among others.

Rae began her journey to filmmaking writing poetry at the University of Chicago. Inspired by the work of noted Chicago film critic Jonathan Rosenbaum, she pursued connections between poetry and film. After receiving her MFA from University of Miami, Rae began working her way up in the industry at The Firm, One Race Films, and Lions Gate, forging contacts within management, production and business affairs. Working for industry veterans in television and feature film production, Rae broadened her skills to grow into a resourceful and business minded producer. Simultaneously Rae studied directing under noted author and instructor Judith Weston. Directing productions in both theater and film expanded her experience working with actors and recognizing talent. Currently Rae is packaging the feature thriller-drama The Repass, shooting a Shakespearean sonnet, and is attached to direct a short documentary on rainbow children.

Rae is a member of IFP, University of Chicago Alumni Club of Los Angeles, ACLU, Mellon Mays Fellows Professional Network Mentoring Program, Organization of Black Screenwriters, LACMA, the Library Foundation of Los Angeles, and Reel Ladies.

Gilbert Shilton New York Film Academy LA Filmmaking Faculty Gilbert Shilton

Gilbert Shilton has worked in the film and television industry for over 35 years. Early in his career, he gained professional experience as he moved through the many different departments on set, working as everything from assistant director, to actor, to camera operator. He began his freelance directing career in 1979, going on to direct numerous high-profile feature films, network television shows, pilots, and mini-series. In addition to his work as a director, Gil has written and sold successful scripts for features, pilots, and episodic television, while working as a producer on several television series. His work has garnered numerous award nominations, while his directing credits feature a diverse array of major prime-time shows including "Law & Order", "MacGyver", "Beverly Hills 90210", "Quantum Leap", "The A-Team", "La Femme Nikita", "The Twilight Zone", "Magnum P.I.", and "Knight Rider".

John Sisti John Sisti

Recording engineer at A&M records working with such artist as Captain and Tennille ("Love Will Keep Us Together" Grammy award-winning Record of the Year), Carol King, George Harrison, Barbara Streisand, Hoyt Axton, and others. Designed several rooms for Merv Adelson, then CEO of Lorimar. Began teaching music production and engineering at Berklee School of Music, where he became involved, through Merv Adelson, with Doug Grindstaff, researching the integration of digital technology for post-production leading to the development of the CyborFrame/WaveFrame editorial platform. Worked with Grindstaff on the implementation of the systems at Pacific Sound Services. Joined Sony Pictures' digital sound department as a sound editor and soon became a sound supervisor for shows such as Mad About You (which won two Emmys for best sound), Laurie Hill, Ellen, Under Suspicion, and others. Was assigned by Sony to work with AVID on the AudioVision, their first efforts for a sound editorial platform. Features include: Cable Guy, Bottle Rockets, and Frances Ford Coppola's Bram Stoker's Dracula, which won an Oscar for best sound. Worked with Sound Dogs and his own company “Granite Sound.” Member of the SCAD sound design department.

Nick Sivakumaran Nick Sivakumaran

MFA in Film Production, USC School of Cinema/TV; BA in Biology and Psychology, University of Rochester. Writer/Director of award-winning short film, "Diwali." Screened at over 30 international film festivals, a recipient of a Director's Guild of America Student Film Award and invited to the 2002 Cannes Film Festival as part of the Kodak Emerging Filmmaker Showcase. Also won commercial contests for clients, Chevrolet and Lifestyles Condoms and recently wrote a stage musical that had a six-week run in Hollywood.

Jack Daniel Stanley Jack Daniel Stanley
Acting for Directors

MFA in Directing, University of Washington; BFA in Acting, UT Austin. Extensive theater background directing world premieres and classics in New York, regionally, and abroad. Award-winning genre shorts screened at Tribeca, SXSW, Slamdance, Toronto After Dark, and on PBS's On Story, Delta Airlines, and Sundance Channel online. Has written and produced content for the Syfy Channel and Chiller TV.

Zack Stoff Zack Stoff
Digital Editing

BFA in Film and Television, University of Westminster, London. Directed and edited numerous music documentaries and videos for award-winning artists. Assistant Editor on Gus, Che Part One, and Che Part Two. Lead editor on Benicio Del Toro's Seven Days in Havana.

Shawn Sullivan Shawn Sullivan

Shawn received a Bachelor of Arts Degree in Screenwriting from California State University Northridge knowing he wanted to work in Post-Production. The emphasis was getting strong storytelling skills to bring to film editing. He has worked as an Editor on short film, commercials, marketing videos, and feature films. His clients include Redken, Keller Williams, Exit Realty, Caldwell Banker and Disney. Shawn has been the Post Production Supervisor for the New York Film Academy's New York and Los Angeles campus. He is the Director of the NYFA summer workshop at Walt Disney World. In 2014 Disney presented Shawn with a Mousecar (Disney's version of an Oscar) for 10 years of working with Disney Youth Program and New York film Academy. Shawn previously worked for Apple teaching the Final Cut Pro film editing software. He is Final Cut Pro Certified by Apple. He is also an Avid Certified Instructor with the Media Composer film editing software.

Yukiko Suura Yukiko Suura

Worked on numerous types of projects, both across the country and internationally, ranging from shorts, web-series, features, music videos, and reality TV shows.

Graham Tallman Graham Tallman
Screenwriting, Directing

Graham received his BA in Film at the University of British Columbia and his Masters in Film Directing at the American Film Institute. His two short films “Lollipops” and “Codename: Simon” have enjoyed success at such prestigious festivals as the Toronto International Film Festival, garnered numerous international awards, and played regularly on the IFC, CBC, and WTN TV networks. In 2004 Graham adapted the comic book Courtney Crumin and the Night Things for Fox 2000 and New Regency.

Nils Taylor Nils Taylor
Screenwriting, Directing

Nils graduated with an MFA in film production with an emphasis in directing from Chapman University. Nils has traveled the film festival circuit where his previous short films attracted national and international acclaim, including the short-film “The Fighting Kind,” which won the Hatchfest Groundbreaker Award in 2010.

Igor Torgeson Igor Torgeson
Digital Editing, Advanced Final Cut Pro, Advanced Post-Production

MFA Film, Boston University; BA Journalism, George Washington University. Freelance editor and actor in Los Angeles. Has edited for clients including the Gameshow Network, National Lampoon, McGraw-Hill Publications, Southern California Gas Company, and Cessna Aircraft. Commercial credits include campaigns for Citibank and Brighthouse Networks.

Todd Walker Todd Walker
Director's Craft, Sync Sound Production

MFA in Film, Columbia University. Director/writer of prize-winning short film, "Passengers." Screened at over 30 film festivals, including Sundance, Telluride, and AFI. His documentary short, "Oldertimes,” won the Special Jury Prize at the San Francisco Int'l Film Festival and aired on PBS. Recently adapted Kevin Canty's first novel, Into the Great Wide Open, for Tiny Dancer Films, and Joey Pantoliano's best-selling memoir Who's Sorry Now for Holedigger Films.

Marc Wiltshire Marc Wiltshire

Marc Wiltshire is a Film & TV Editor and Assistant Editor based in Los Angeles. He received his MFA in Film at New York University's Tisch Asia, in Singapore. Passionate about visual storytelling, Marc has written, directed, and edited over a dozen short films that have been featured at international festivals around the world. He has worked in Editorial on Feature Films and Television series for Discovery Channel, History Channel, and Spike TV. His latest short film “Bullshit” will hit the festival circuit in 2016.

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