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New York Film Academy
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New York Film Academy Bachelor of Fine Arts
BFA film student setting up a camera BFA film students use a camera A BFA film student adjusts a camera at NYFA BFA film student looking through a video camera NYFA BFA film student adjusts camera on set

Overview of our BFA in Filmmaking

Our three-year Bachelor's in film is for highly motivated students who would like to enter an intensive, hands-on course of study. By completing the Bachelor's degree in three years, students:
  • Save one year of expenses.
  • Enter the field of their choice a year early.
The Academy makes this accelerated schedule possible by creating an extended academic year, allowing students to complete three full-length semesters in each calendar year. Students may also choose to complete the program in a traditional four-year time frame.

New York Film Academy filmmaking BFA degree programs are offered at our Los Angeles and South Beach Campuses.

Qualified students have the option of completing course work at the New York Film Academy 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 BFA Filmmaking degree program.

This Bachelor of Fine Arts Degree Program in Filmmaking employs a total immersion approach to the subject, where students develop a powerful arsenal of skills in directing, screenwriting, cinematography, editing, and producing. Students work in all formats from 16mm and HD to 35mm and RED Dragon as they write, direct, shoot, and edit their own films. A strong grounding in the liberal arts and sciences serves to inform students' work and give them a well-rounded undergraduate education.

NYFA BFA student shooting a scene The New York Film Academy's Bachelor of Fine Arts in Filmmaking is unlike any other film school; it is an accelerated intensive degree program that can be completed in three years. One benefit of this is that students may begin internships or professional work a year earlier than they would in a standard bachelor's program, and of course save a year of tuition and expenses. It requires a rigorous schedule; students are in class or production for eleven months of the year. There are short breaks between each each of the three years, and a two week winter break during the holiday season.

A Bachelor of Fine Arts degree (BFA) is distinguished from a standard Bachelor of Arts (BA) degree by its in-depth study of and professional training in the arts. In the BFA, two thirds of the degree is devoted to study and practice in fine arts and one third to general liberal arts and sciences (that ratio would be reversed for an art major in a traditional BA program). The BFA student has opportunity for deep exploration and mastery of their art.

BFA film student using a digital video camera Our BFA in Filmmaking offers a well-rounded collegiate education in the Arts and Humanities and Social and Natural Sciences, with a comprehensive study of — and practice in — the art and craft of filmmaking. During the three years of study, each student will write, shoot, direct, and edit 12 film projects of increasing complexity. In addition, students will work in key crew positions on their classmates' films.

BFA Filmmaking graduates will complete the program with a solid academic foundation in the arts and sciences, and an in-depth understanding of film production. They will enter the field with critical thinking and research skills developed in their academic classes as well as essential knowledge from the study of literature, art history, psychology, and philosophy. This specialized degree will prepare them to pursue their own paths in film and related fields as creative professionals.

FILMMAKING BFA PROGRAM OVERVIEW

The Filmmaking curriculum described below runs concurrently with general studies requirements as well as related courses in art and design.

BACHELOR’S OF FINE ARTS IN FILMMAKING: SEMESTERS 1-4

During the first year, students will learn the foundations of the art and technique of visual storytelling, including the requisite skills to write, direct, film, and edit four short films. This accelerated pace of study develops students' basic narrative and visual literacy, two skills that will be central to their success in the filmmaking BFA program. Students will also enter specialized liberal arts and sciences courses, designed to provide a foundation for a well-rounded education while also informing the artistic coursework to be completed throughout the remainder of the degree program.

NYFA BFA film students shooting with a video camera First year students will focus on mastering the fundamentals of cinema production. Students will film an additional three short films incorporating new tools of dialogue, challenging them to increase their skills in directing actors, writing, editing, and visual style. Liberal arts and sciences courses accompany the filmmaking courses, creating a balanced course load that emphasizes critical thinking and develops college-level writing skills.

First year students improve their production and aesthetic skills. Intensive instruction, demonstration, and group sync-sound directing exercises increase students' comprehension of cinematography, producing, directorial style, editing, and collaborative and leadership skills. These skills will prepare students to direct their intermediate film in the fifth semester.

BACHELORS OF FINE ARTS IN FILMMAKING: SEMESTERS 5-6

Year two of the BFA in filmmaking will culminate in the production of the intermediate film. These productions can be up to 15 minutes in length, produced on double system high definition video or color negative film. This project represents an implementation of all the knowledge learned in the first year of filmmaking school.

Bachelor’s candidates are expected to spend an additional 20-40 hours a week beyond class time on the production of their film projects. Production or practicum hours are considered separate from lab and lecture hours; however, they are still necessary to successfully complete the program. The Academy recognizes, as should the students, that these hours will vary on a case-by-case basis.

NYFA BFA film student learning to operate a digital camera Year two students split their time between post-production on their intermediate films and advanced cinematography, screenwriting, and liberal arts classes in foundation studies and natural sciences. Completed projects should show artistic maturity compared with the work of the previous year. Advanced equipment — such as the Red camera — is introduced, increasing capabilities for future projects. A course in critical film studies provides a context for student filmmakers to draw upon as they complete their first feature scripts.

Year two students will be asked to undertake projects of increasing complexity in an on-set mentoring class, where students bring craft and theory together in production exercises. Students will film a spec commercial, and prep work begins on the scripts for students' thesis films.

BACHELOR’S OF FINE ARTS IN FILMMAKING: SEMESTERS 7-9

The overall goal of the third year of the filmmaking BFA program is to challenge students to grow as film artists and help prepare them for thesis film production in semester eight. The production of a music video will broaden students' cinematic abilities as they complete the final draft of their thesis scripts. The advanced directing project will further develop student filmmakers’ ability to create dynamic and realistic performances on set.

Semester eight of the filmmaking BFA program is dedicated to the production of student thesis films. These thesis films are the capstone project of the BFA program, putting into practice the skills acquired throughout the previous seven semesters.

This final semester provides an opportunity for students to complete post-production on their thesis films and expand their knowledge of the entertainment industry. They will also receive instruction on how to produce their own projects outside of a film school environment.



Course Descriptions

Semester One
Director’s Craft IA
Cinematography I
Digital Editing I
Screenwriting I
Semester Two
Screenwriting II
Director’s Craft IB
Digital Production Workshop
Digital Editing II
Acting for Directors
Producing I
Semester Three
Director’s Craft II
Cinematography II
Collaboration Workshop
Screenwriting III
Semester Four
Short Film Directing I
Intermediate Film Prep
Intermediate Film Production
Intermediate Film Crew Participation
Semester Five
Feature Screenplay I
Intermediate Film Post-Production
Cinematography III
Semester Six
Feature Screenplay II
Director’s Craft IIIA
Screenwriting Short Thesis A
Producing Commercials & Music Videos
Sync Sound Commercial Workshop
Semester Seven
Director’s Craft IIIB
Screenwriting Short Thesis B
Production Design
Sound Design
Semester Eight
Short Film Directing II
Thesis Film: Prep
Thesis Film: Production
Thesis Film: Crew Participation
Semester Nine
Thesis Film: Post-Production
Entertainment Industry Seminar
Semester Nine Electives
Marketing & Professional Development
New Media

SEMESTER ONE

Director’s Craft IA

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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Cinematography I

In this course, students undergo intensive training in the use of the 16mm non-sync motion picture and video cameras and their accessories. Through hands-on workshops and film tests, they will also learn fundamental lighting techniques. As they progress through the workshop, they learn how to support the mood of the story with lighting choices and they experiment with expressive lighting styles.
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Digital Editing I

This course presents students with multiple aesthetic approaches to editing film and video. Students will learn how to apply concepts such as temporal continuity and spatial continuity, as well as less traditional discontinuous editing techniques to their work. The course will also discuss the psychological and emotional effects of editing on the overall story. Additionally, students will learn to operate nonlinear editing software, which they will use to edit their own films. Classes are supplemented with individual consultations at the computer.
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Screenwriting I

This course introduces the established tools and language used in writing a film project. Students will take a story from initial idea, treatment, and outline to a rough draft and finally a shooting script. Instruction focuses on the fundamentals of visual storytelling. The intersection of story structure, theme, character, tension, and conflict is examined through detailed scene analysis. In-class discussion provides students with constructive analysis and support. Students are encouraged to tell their stories visually, rather than relying on dialogue.
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SEMESTER TWO

Screenwriting II

In addition to providing an in-depth study and exploration of dialogue in film, Screenwriting II focuses on the writing, rewriting, and polishing of the Digital Dialogue Film scripts. Students will conduct live readings of their screenplays and engage in instructor-led discussions of the work. The goal of this semester is to increase the writer’s mastery of those aspects of screenwriting as outlined in Screenwriting I.
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Director’s Craft IB

This course is a continuation of Director’s Craft IA in the first semester. Students expand upon lessons from semester one by using dialogue as an additional storytelling tool. Through production workshops and the completion of three short film projects, students are exposed to proper set etiquette and the implementation of the basic aspects of cinematic storytelling.
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Digital Production Workshop

Students stage and shoot complex dramatic exercises under the guidance of the instructor. They design shots to heighten the emotion of a sequence, then shoot the sequence on digital video in a supervised environment. The relationship between text and subtext is explored in depth through classroom sessions, screenings, and critiques, and in the field production exercises.
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Digital Editing II

This course teaches students to edit their sync-sound projects. Students are encouraged to expand upon previously mastered techniques to establish a consistent editing design, dialogue rhythm, and sense of pacing and continuity that compliments the story as a whole.
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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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Producing I

This course leads students through the entire process of pre-production, including scouting and securing of locations, permits, and casting. The producing instructor and students design a production schedule for the entire class. The instructor encourages students to form realistic plans for successfully making their films. Using script breakdowns, students learn how to plan and keep to a schedule and budget for their productions. They use their own finished scripts in class as they learn how to take advantage of budgeting and scheduling forms and methods.
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SEMESTER THREE

Director’s Craft II

Building upon knowledge and skills acquired in Director’s Craft I A&B, this course is a concentrated examination and analysis of the aesthetic elements of the director’s toolkit as it applies to shot choice, composition, setting, point of view, character, and camera movement. Students learn how to cover complex dialogue scenes with a series of shots and practice different approaches to coverage by breaking down scenes from their own scripts. Students are encouraged to develop their own directorial style, drawing from the elements presented in this class.
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Cinematography II

This class immerses students in the technical and creative demands of cinematography. They will learn to go beyond simply “getting an image” and focus on the nuances of visual storytelling. Topics include: Arriflex 16SR camera and accessories, High Definition Camera, Use of Color and Light, and 35mm cameras. In addition to being trained to operate advanced camera equipment, students study basic color theory and learn to control the color palette of their projects. Special attention is given to the emotional attributes that can be assigned to an image by changing the hue, saturation, and contrast of any given image. Students learn to incorporate these theories into their projects, and gain a greater understanding of aesthetic image control.
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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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Screenwriting III

A further exploration of the narrative form, this course focuses on the writing and rewriting of the Intermediate Film Script. Narrative lessons learned from the production of the Digital Dialogue Film are incorporated into the more refined and nuanced Intermediate Film Scripts.
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SEMESTER FOUR

Short Film Directing I

Utilizing the skills learned in Director’s Craft IA, IB, and II, this course examines the director’s challenge in directing the short film, specifically the Intermediate Film. Through a series of lectures and exercises, the tools available to implement the Director’s vision in the unique narrative structure of the short film are examined in depth.
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Intermediate Film Prep

This course prepares students for their final presentation of their intermediate Film production book. Through a combination of lectures, exercises, and individual mentoring sessions, the skills required to produce a detailed production presentation, including both aesthetic and production goals, will be taught. The student will make a final presentation for project approval, and participate in an analysis of their production experience after completion of principal photography, in this class.
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Intermediate Film Production

This film project is the capstone project of terms one through four. All students are challenged to incorporate lessons from all other courses in the design and execution of these films. These projects may be up to 15 minutes in length of any genre style and may be produced either on 16mm film, 35mm film, or High Definition Video.
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Intermediate Film Crew Participation

Students are required to work as crewmembers on five of their classmates’ Intermediate projects. This collaboration is monitored through a crew participation class, in which students meet to discuss upcoming projects and debrief and review recent productions. Co-taught by a directing and producing instructor, students are approved for production on their own Intermediate Projects through a rigorous review of their preproduction materials by their instructors and classmates.
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SEMESTER FIVE

Feature Screenplay I

The goal of this workshop is to fully immerse each student in an intensive and focused course of study, providing a solid structure for writing a feature film treatment. Students will learn the craft of writing by gaining an understanding of story, structure, character, conflict, and dialogue. With strict adherence to professional standards and self-discipline, students will complete a treatment of a feature-length script that will be further developed in the second year of the program.
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Intermediate Film Post-Production

In this course, students will apply the knowledge gained so far through editing and post-production courses to finish their Intermediate Film. They will be assessed on their ability to take a film from rough assembly to locked picture to a finished product with sound mix and titles. Excellent problem-solving skills will be necessary to steadily improve each cut of the film on the way to achieving one’s vision.
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Cinematography III

Class sessions are designed to help students master many elements of cinematography using professional high-def RED camera systems. Proper use of advanced lighting and grip equipment such as HMI lights and dollies is taught in this course. In preparation for the upcoming projects, students learn lighting techniques of increasing complexity, building on their arsenal of skills through shooting tests and experimentation.
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SEMESTER SIX

Feature Screenplay II

This class is designed as a creative and academic safe-haven for students to develop, write, and polish a feature film script. In order for a student to successfully pass this class, each script must be completed and revised by the end of the term.
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Director’s Craft IIIA

A continuation of Director’s Craft II; students study the language and craft of film directing from the perspective of the last thirty years. 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 the Synchronous Sound Production Workshop II, which runs concurrently. Preparation of a director’s journal will assist students in defining their style and vision for projects in later terms.
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Screenwriting Short Thesis A

Building upon the narrative short film screenwriting skills developed in semesters one and two, this course focuses on advanced narrative storytelling techniques to be applied in the thesis project scripts. Students will take their projects from log lines to completed scripts in this class. A supportive workshop environment will allow students to work through multiple scenarios as they hone their narrative vision for these thesis projects.
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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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Sync Sound Commercial Workshop

Students stage and shoot fully-produced commercials under the supervision of the instructor. Putting into practice the skills learned in Director’s Craft II and Cinematography III, students film using the advanced equipment package. This experience gives students an arsenal of techniques and practical tools, which they can use to successfully complete their Thesis project.
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SEMESTER SEVEN

Director’s Craft IIIB

A continuation of Director’s Craft IIIA, students build upon skills learned previously. These skills provide students with the foundation required to direct a sophisticated music video or commercial using the advanced equipment package. Each student will direct his or her own project in addition to collaborating as crew on their classmates’ projects. These music videos/commercials allow students to implement the vision and style refined in the last term in Director’s Craft IIIA and the production experience gained from Synchronous Sound Production Workshop II. Later stages of the class will focus on advanced scene work, performance, and production of the director’s notebook for the upcoming thesis film projects.
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Screenwriting Short Thesis B

A continuation of Screenwriting Short Thesis A, this course takes students through multiple drafts, ultimately leading to the final draft of the thesis project. Workshop and instructor feedback, in addition to class exercises and assignments, will provide crucial insights as these projects become production-ready.
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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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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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SEMESTER EIGHT

Short Film Directing II

Utilizing the skills learned in all previous directing classes, this course examines the director’s challenge in directing the short film at more advanced level. Higher-level concepts such as control of tone and style will be pursed in depth as they related to the unique short film format. Lectures and exercises will contribute to this advanced directing class aimed at refining the student’s ability to more precisely execute their creative vision.
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Thesis Film: Prep

Similar in nature to Intermediate Film prep, this course prepares students for their final production of their Thesis Film. Through a combination of lectures, exercises, and individual mentoring sessions, students work with faculty to prepare for their Thesis Film production.
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Thesis Film: Production

Term Eight culminates in the production of the Thesis Film. This film project is the capstone project of all previous terms. Students are challenged to incorporate lessons from all other courses in the design and execution of these films.
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Thesis Film: Crew Participation

By participating as crewmembers during their classmates’ Thesis Films, students will gain further on-set experience and become more intimate with the nuts-and-bolts aspects of filmmaking. By understanding the role of each key member of the crew, students will greatly improve their ability to manage a large production as a director.
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SEMESTER NINE

Thesis Film: Post-Production

In this course, students will apply the knowledge so far gained through editing and post-production courses to finish their Thesis Film. They will be assessed on their ability to take a film from rough assembly to locked picture to a finished product with sound mix and titles. Excellent problem-solving skills will be necessary to steadily improve each cut of the film on the way to achieving one’s vision.
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Entertainment Industry Seminar

Students will examine filmmaking from a business perspective as well as the breadth and diversity of the industry today. Topics include the history of the studio system, the roles of production companies, post-production companies, professional guilds, financing, film festivals, agents and managers. Exposure to the expansive scope of the industry will provide students with knowledge of multiple potential career pathways. Students will meet industry professionals during special guest lectures.
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SEMESTER NINE ELECTIVES

Marketing & Professional Development

Every great filmmaker has also been an excellent self-promoter, using their storytelling skills to convince people to support their next great project. This class examines all of the twenty first century tools that can be put into service of this age-old task. Internships, social media, new media, websites, director’s reels and the ability to create opportunity out of obstacle are all explored in this hands-on class. Various projects will help prepare the students to promote themselves in the real world after graduation.
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New Media

Industry professionals must keep abreast of evolution in New Media technology and the many New Media outlets for distribution that continually emerge. In this course, students develop an introductory sense of the filmmaking challenges and opportunities presented by new/digital/viral media—including podcasting, marketing films, and producing for the web/handhelds. Through readings, discussions, and hands-on production, students develop critical and pragmatic insights into critiquing and designing New Media experiences.
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Film Projects

Mise-en-scène
Continuity
The Pursuit/Group Pacing Exercise
Montage
The Non-Sync Film
Chekhovian – Text & Subtext
POV
Digital Production Workshops
The Digital Dialogue Film
Collaboration Production Workshop
Intermediate Film
Advanced Commercial Workshop
Advanced Music Videos
Thesis Film

Mise-en-scène

Each student will make a short film of fifty seconds to one minute. This project emphasizes how the relationship of the subject to the camera creates drama. Students should tell a story that has a beginning, middle, and end.

Students should pay close attention to their choice of lenses, distances, and angles. Since students will tell their story in only one shot, they should be sure the shots they compose express as much as possible about the characters and their actions. It is also important for students to thoroughly rehearse their films for blocking in order to get the most out of their footage.
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Continuity

Students shoot a dramatic scene to create a feeling of continuous action. The scene unfolds utilizing a variety of shots (10-15) with a consistency of physical detail between shots intended to match (no jumps in time or action). This will challenge students to produce a clear, visual scene while maintaining the truthfulness of the moment. It is essential that the audience believes in the reality of the scene.

Students should not shoot without thoroughly pre-planning the following elements: script, storyboard, script breakdown, production schedule, location scouting, and floor plans.
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The Pursuit/Group Pacing Exercise

As a group, students shoot a “pursuit” story told in “real time.” Students use multiple shots to establish a constant flow of action and time out their shots during filming in order to achieve a dynamic sequence. Students should be sure to utilize the basic principles of screen direction, rhythm, time, and space.

This project will be created, designed, and produced as a group as a way to explore pacing through editing.
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Montage

Students choose one short selection of music then plan and shoot this film of up to four minutes with the music in mind. Students use montage-style editing to move the story or idea forward. Students may not use multiple songs on this project or edit the selection of music that they choose.

Montage can be used to great effect in the compression of time and to create visual collisions or unexpected continuations between shots. In the editing room students should cut the images to work in concert with or in counterpoint to the music. Students should experiment with rhythm and pacing.

In addition to storyboards, students may use a still camera for pre-planning their coverage. It can help them in the choice of locations, distances and angles, lighting, and compositions.
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The Non-Sync Film

The goal of this project is to create a longer narrative film that incorporates all of the directing techniques learned thus far (Mise-en-scène, Continuity, Pacing, and Montage), along with sound effects and score, into a complete story of no more than 10 minutes.

It is best to keep the production to one or two locations with two to three characters. The goal is to tell a concise story that demonstrates students’ directing abilities. Please remember that less is often more and that the quality of a film is never determined by the amount of money spent. There is no substitution for creativity, ingenuity, resourcefulness, and above all, pre-production.

Students make a shot list, storyboard, and floor plan for their project, as well as scout locations. They create a production book with tabbed dividers including their script, floor plans, shot lists, shooting schedule, script breakdowns, and permits. Lastly, they must rehearse with their actors prior to shooting.

A student’s final film may have up to two tracks of sound that incorporates music, sound effects, and/or ambient sound where appropriate. However, voiceover is not allowed for this project. You will have an opportunity to screen your film in front of the class and receive notes from your instructors.
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Chekhovian – Text & Subtext

Students write and direct a scene without expository dialogue, exploring subtext through characters they have created for their upcoming Digital Dialogue Films.

The scene should be an original, stand-alone piece (written by students’ classmates, then redistributed); separate from their Digital Dialogue script, yet exploring the people, ideas, and story their Digital Dialogue Film will present. This is a great opportunity to workshop situations, scenarios, and backstories to get a better sense of who the characters are, and how they interact with the people and environment around them.
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POV

Students create a short scene with minimal dialogue and no more than three characters that have conflicting objectives, while presenting the viewer visually with a clear and distinct point of view.

Through experimenting with eyelines, framing, graphic control (composition and staging), and narrative control (often editing choices), the audience should have a clear understanding of which character’s story a student is trying to tell. Even though the project is called the POV, true POV shots are not necessary.
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Digital Production Workshops

Filming a neutral dialogue scene with the class as assigned crew and instructor supervision, this scene should be complete with subtext, backstory, conflict, objectives, beats, actions, and be contained within one location.
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The Digital Dialogue Film

The Digital Dialogue Film will test a student’s abilities as a director to tell a clear and concise story in three acts, complete with an inciting incident, crisis and climax, and finally a resolution. Students write a script of up to ten pages in length and have up to 10 minutes of screen time to present their stories.

This project should serve as a culmination of students’ experiences throughout the semester. Successful projects will utilize many of the ideas and concepts explored over the past sixteen weeks.
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Collaboration Production Workshop

All students must choose one of the six SSPW Scenes, present a director’s proposal (to the class, as well as a written 1-2 page document), and pitch their approach of the scene to their Directing and Camera instructors. During the pitch, students create excitement for the project by clearly defining their purpose/message, look/style, and logistics (where, when, how). After the pitching is completed, the instructors will green light the best proposals, as well as come up with a production schedule, assign crew positions, and assign cast. All students will be required to either direct, DP, or AD.
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Intermediate Film

This project is the culmination of the filmmaker’s work from the prior three semesters. Each student’s goal is to produce a fully realized short film that demonstrates his or her own artistic vision and point of view. Students work with larger crews and with more time allotted for pre-production, production, and post-production than the previous projects. Students prepare for this project with the assistance of all classes in the third and fourth semesters, which are specifically designed to guide students through the preproduction of this project. Detailed production books are prepared and presented, then the students receive a “green light” from the faculty in order to check out for their productions. Each student can choose to shoot this film in one of three formats—high definition digital video, 16mm film, or 35mm film.
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Advanced Commercial 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 final Thesis Project.

Students must film either a commercial in the Advanced Production Workshop or a music video later within the semester.
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Advanced Music Videos

Students who do not direct a commercial will film a music video, which is subject to instructor approval. The video will be a demonstration of a student’s ability to integrate music and image through casting, locations, cinematography, and editing. Music videos typically include a performance element by a band or group of musicians, depending on the nature of the video. However, all videos must be centered around an original piece of music.
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Thesis Film

Students direct and edit a short film up to 30 minutes in length, and fill essential crew positions on short form films directed by fellow students.

The final capstone of the BFA program, this film combines all of the skills learned thus far into a single Thesis Project. These final films function as a calling card for the BFA Filmmakers, enabling them to demonstrate their creative vision and professional skills to the world of film festivals and the larger community of the entertainment industry. Filmed using the entire advanced equipment package that includes RED Epic Dragon cameras, HMI lighting, and industry standard dollies, these projects have the necessary equipment and longer production period to allow filmmakers to work on both a more detailed and nuanced level, and with a larger scope.
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Dates & Tuition

Fees Per Semester

Tuition: $13,514 (USD) +
Equipment Fee: $1,396 (USD)




Location & Available Dates

For Los Angeles:
January 2017 - January 2020
May 2017 - May 2020
September 2017 - September 2020
January 2018 - January 2021
May 2018 - May 2021
September 2018 - September 2021

For South Beach Florida:
January 2017 - January 2020
September 2017 - September 2020
January 2018 - January 2021
September 2018 - September 2021



Please note: Dates and Tuition are subject to change

Faculty

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
Producing

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
Camera

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
Screenwriting

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
Producing

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
Producing

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
Sound

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
Editing

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
Directing

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
Producing

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
Cinematography

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

Lydia Cedrone Lydia Cedrone
Producing

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
Directing

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
Screenwriting

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
Writing

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
Sound

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
Writing

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
Writing

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
Writing

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
Producing

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
Directing

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
Directing

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
Cinematography

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
Screenwriting

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

Rick Greenwood Rick Greenwood
Camera

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
Directing

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
Directing

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
Directing

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
Producing

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
Directing

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
Editing

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
Screenwriting

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
Directing

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
Camera

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
Directing

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
Camera

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
Screenwriting

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
Writing

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
Editing

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
Producing

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
Camera

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
Directing

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
Sound

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
Writing

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
Cinematography

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
Directing

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.
Directing

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
Writing

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
Writing

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
Sound

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
Directing

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
Editing

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
Cinematography

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
Editing

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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