Overview of our 1-Year Broadcast Journalism Program
NYFA's Broadcast Journalism Program is offered at our New York Campus only.
The New York Film Academy is training the next generation of journalists to be prepared to navigate the evolving
landscape of journalism in the 21st Century. Working with top broadcast and investigative journalists, NYFA created
an intensive hands-on curriculum to address the pressing demand for multi-skilled, independent journalists on
broadcast television, cable, and the internet.
Students are introduced to cutting-edge digital technology and methods now used professionally in the field. Today’s
journalists are expected to research, write, shoot, produce, edit, and even appear on camera in their own field reports
and investigative segments. In small crews or even solo, these intrepid reporters are the fastest growing sector of the
industry. Our journalism programs will challenge students to practice and develop these skills in preparation to enter
this exciting and competitive field.
Through study and hands-on practice, NYFA students are trained in the fundamental principles, techniques, and craft of
contemporary journalism through a combination of lecture, demonstration, in-class hands-on production, and project-based
work. Each student produces a series of prerecorded news projects, shot both single and multi-camera and edited on Avid
Students who successfully complete this program will have learned to research, produce, shoot, write, report, narrate,
and edit news projects suitable for broadcast and the internet. The first semester provides a foundation in journalistic
skills in this digital age that students apply to more advanced work in the second semester, where the focus is on NYFA
News, our own biweekly news magazine. Students learn the process of show production as they rotate positions that include
anchor, reporter, writer, producer and director.
Equipment and Facilities
The core of the New York Film Academy’s Broadcast Journalism program is learning to work both behind and in front of the
camera. Students work with industry-standard DSLR cameras, learning to shoot in a variety of styles and circumstances to
prepare them for the unpredictable challenges in the field. After shooting their projects, students are responsible for
editing them. Nonlinear digital editing software gives students total control over the final presentation of their work.
On top of shooting and editing stories, broadcast journalism students work in a variety of positions in a studio space
specifically designed for our school. Students take turns handling key on-camera and control room assignments, as well as
shadowing industry professional who explain the intricacies of working in a deadline-driven industry.
One-year broadcast journalism students also learn the skills associated with personal journalism, including dynamic
first-person narratives and highly visual "explainers" like those found on popular digital news sites such as Vice, Wired,
Vox, Quartz and AJ+. In addition, one-year students benefit from exclusive behind-the-scenes tours of major network
Broadcast Journalism Faculty
NYFA’s Broadcast Journalism School boasts a prestigious and experienced faculty of professional award-winning journalists
who have covered some of the most important events in recent history. Our faculty possesses decades of working experience
as producers, directors, and reporters for such legendary networks as NBC, ABC, PBS, and CBS. One aspect that sets our
school of broadcast journalism apart is that the majority of our faculty members continue to remain active in the industry,
allowing them to update students on the latest developments within broadcast journalism while providing them with hands-on
instruction in and out of the classroom. Faculty includes:
Bill Einreinhofer: As the chair of the broadcast journalism school, Einreinhofer brings decades of
experience as a broadcast journalist and is an Emmy-winning producer, director, and writer. He developed and
produced programming for “PBS NewsHour,” “Good Morning America,” “60 Minutes,” Discovery and HBO. In addition,
he served as the series producer for an international four-part documentary series tied to the 2008 Summer
Olympics, and he was the senior producer of “New Jersey Nightly News.”
Robert Ferraro: Possessing over 40 years of experience in local and national news, Ferraro has worked at
both NBC and ABC. An Emmy Award-winning news producer, Ferraro earned recognition for his work as a broadcast
news writer, editor, special reports producer, broadcast line producer, and documentary producer.
Bob Haberl: Having worked in journalism for more than 40 years, Haberl first cut his teeth working as a
radio tech during the Watergate scandal when he was right out of college. He went on to work as a television
reporter in Jacksonville, Florida, and Philadelphia before becoming an executive producer at ABC News. While
there, he covered everything from the fall of the Berlin Wall to Nelson Mandela's release from prison, helping
him to earn seven Emmy Awards.
Courses & Projects
Semester One Classes
This course is the spine of the program, and encompasses the principles and foundation of news gathering and production. All student projects are introduced, viewed, and critiqued in class. Topics include: Story ideas and development, research, basic reporting, producing and directing single and multiple camera shoots, live and remote production. Additional topics include story structure; writing commentary; rights, ethics and law; broadcast studies. Classes are geared towards preparing students for their own productions throughout the year.
Hands-On Camera & Lighting
Functions, operation, and use of the HD digital video camera and associated equipment. Training for shooting in the field and in the studio. Students learn to operate professional cameras and production equipment enabling them to technically execute single and multi-camera productions and understand the necessities of a variety of shooting environments and conditions. Lighting is a key element in this class, and students will learn basic three-point lighting techniques, lighting for various interview situations, and lighting on location.
Students learn to record in a multitude of situations. Students also learn mixing and communications. Training encompasses wireless, interview, and boom microphone techniques.
In these teacher-supervised labs, the process of producing, shooting, interviewing and sound recording for news projects is put into practice. Each workshop is an opportunity for students to implement and examine in a controlled environment the techniques they are learning in class. Prior to the execution of their individual projects, students meet with the Production Workshop instructor for review of their preparation. Required materials may include scripts, location details, and shooting schedule.
Students train on a non-linear editing system, Avid Media Composer. They master fundamental editing tools and techniques using this software. Students edit their own projects, and can supplement classes with individual consultations at the editing station. Students are taught the skills of editing nonfiction material, both practical and aesthetic. Topics include editing terminology/vocabulary, time code, cutting styles, organizational tools and rules for editing, and building the story in post.
Semester One Projects
As producers, broadcast journalism students have to identify and make arrangements for their subjects, choose and
secure locations, prepare equipment, arrange the preparation and setup of the locations, and make final technical
checks. Students are required to edit and deliver their projects for viewing and critiques.
While the subject matter of national network news programs, local TV newscasts, sports, entertainment and lifestyle
programs are totally different, they all employ the same journalistic techniques. The ways they use them are radically
different. Students develop projects that fit with their career goals. The types of projects to be completed include:
In the VO (voice-over) project, students use video and natural sound to help tell a story. Each student chooses a topic, shoots video, writes copy, narrates and edits a 30 second segment. The VO encompasses the six skills at the very core of broadcast journalism: finding the story, reporting the story, shooting the story, writing the story, recording the narration for the story, and editing the story.
The News Package
Each student introduces a newsworthy idea, initially as a “story pitch.” Students shoot their own footage, conduct interviews, write, edit and narrate. They also learn how to do “stand-ups.” The stand-up is the on-location appearance of the reporter on-camera. Graphic elements are developed for the story, including (but not limited to) lower-third ID’s and story locators. The News Package runs approximately 2 minutes in length.
The Interview Profile
An in-depth interview is an important way to use a character to tell a story. Students learn to identify good interview subjects, appropriate locations and work on the skills and techniques of asking questions that elicit news, a relevant story and/or important information. The “in their own words” piece will run approximately 4 minutes.
The Long-Form Story
“Magazine-style” news programs, such as “60 Minutes” and “Dateline NBC,” feature long-form stories. These reports, running 6 minutes or longer, are more complex than the standard news package, introducing multiple characters through the use of classic narrative storytelling. While a news package incorporates brief interview excerpts (“sound bites”), the long-form story allows for the inclusion of more thoughtful comments. A major challenge is developing a story that can sustain viewer interest and engage diverse audiences.
The Resume Reel
When applying for a job, potential employers will ask candidates to provide online links to their Resume Reel. This brief compilation of stand-ups, story segments and interview excerpts is often a key deciding factor when it comes to scheduling a candidate for an in-person job interview.
The Feature Story
The Feature Story is a mainstay of virtually all nonfiction television genres. Unlike “breaking news” stories, in feature stories there is less emphasis on timeliness. Instead, unique characters and unexpected events often form the basis of the report. They can have strong emotional content, and run the gamut from hilarious to tragic. Sometimes referred to as “back of the book” stories, they are positioned as “evergreens,” much like trees that remain green year-round. A good feature story can run today, tomorrow, next week or next month. The main character in this two-minute story should be empathetic and engaging.
The Special Report
The final assignment of the first semester is also the most ambitious. The Special Report (also called Team Coverage) is a an essential element in broadcast news programs. Working as a group, students tackle different aspects of a major story. When conducting interviews, each student asks questions that elicit information useful in one or more segments. Similarly, when shooting on-location footage, students consider the visual requirements of the entire series, not just their own segment. In this way, students are prepared for second semester coursework, which places a premium on collaboration and cooperation.
Semester Two Classes & Projects
In second semester, students gain fuller understanding of news coverage from inception to broadcast as they
produce their own biweekly news magazine. There is focus on both the practice and theory of studio and location
reporting, and the combination of these elements from every aspect of production. There is also a strong emphasis
on digital journalism, and the use of new and emerging media in the news industry.
Broadcast Production Workshop
Broadcast Production Workshop comprises the bulk of second semester class, production time and
projects. Students devote much of their time to story research and development, and preparation
and production of the biweekly broadcast. The instructor acts as executive producer while students
fill the roles of show producers, assignment desk editor, anchors, reporters, writers and field
In these teacher-supervised labs, live and remote production methods are put into practice. The
instructor assigns stories to student news reporters and the accompanying crews with real-time
deadlines for live coverage. This Production Workshop will break down the various elements of news
broadcasting operations and build towards combining the elements into a complete show involving the
control room and studio, live remotes and the employment of the various associated technologies. At
times, students will be reporting live. The program they create, “NYFA News,” is produced biweekly.
Additional topics include in-studio and in-field communications, and well as live sound mixing, and
advanced editing tools and techniques using Avid Media Composer. In Production Workshop, students
build a substantial portfolio that can be used to develop a professional reel for presentation to
Compelling, first-person narratives are an essential aspect of digital journalism. While some of the
production skills are similar to conventional news programming, the reporter in this form of
storytelling becomes a central character in the story who shares insights and discoveries directly with
This is not “personal journalism,” as it is based on the same ethical framework taught during the first
semester. Successful digital news outlets generally hire trained multimedia journalists (MMJs) who have
both technical as well as storytelling skills.
The course requires students to develop a distinctive “editorial voice,” a point-of-view that
distinguishes his/her work from others. Following extensive voice, movement and presentation coaching,
students graduate with new confidence in their on-air persona as well as reporting skills.