Build Your Cinematography Reel at NYFA
In NYFA’s Cinematography programs, students complete a range of hands-on projects to hone their visual and narrative skills. Through these projects, students explore various aspects of their craft and learn to connect with viewers emotionally through compelling images, gradually building their cinematography reel.
These programs are available at multiple campuses, and projects will vary by location. The projects listed below are examples of the work that cinematography students will complete at NYFA and not an all-encompassing list. For more information, please see the course catalog.
Projects By
Degree Program
Still Photo Project
Using a 35mm still camera, each student will tell a short story by creating seven black and white photos. The photos must be arranged in order, and should give the audience all of the necessary information to understand the story visually. Students will be limited to using a single 50mm lens, however they will incorporate different shot sizes in the project (wide, medium and close-up shots) where appropriate. Students will concentrate on creating strong compositions, and use a light meter to help them make exposure decisions. This assignment will be shot with available light.
Mise-En-Scène Film
Using a camera such as the Arri-SR, each student will shoot a silent film that tells a complete story in one single shot. Each film should have a clear beginning, middle and end, and the audience must be able to understand the story based only on the visuals. Emphasis will be placed on blocking the actors to the camera, and selecting the best focal length for the shot. Students will have access to a basic light kit, allowing them to design a lighting scheme that serves the story. Though students may shoot on color 16mm film stock, the final project must be submitted in black & white. Soundtrack music is encouraged, but no dialogue or synch sound effects are allowed.
Continuity Film
Shooting on high definition video, each student will create a project utilizing multiple shots to tell a story. Shots should be designed to cut together seamlessly according to the rules of classic continuity editing, creating the illusion of continuous action. Students should strive to have the camera in the best place for each moment of the film, incorporating different shot sizes and using different lenses as the story dictates. This project should build upon students’ skills with composition, exposure, and lighting developed in their previous films. This project will provide the first opportunity to shoot in color, and the first chance to incorporate synch sound (dialogue, etc.)
Music Video Project
Shooting with a digital cinema camera such as Red Scarlet, each student will create a project inspired by a piece of music. Students should strive to understand and take advantage of the RAW workflow, while delivering strong images that connect with the viewer emotionally. The project can be a traditional music video, incorporating performances, a narrative film inspired by a song, or an experimental piece that finds appropriate visuals to interpret the intent of the music, but must have a coherent visual concept.
Semester Two Film
Each student will shoot a short project using the Red Dragon digital cinema camera and a large lighting package. The film must incorporate a strong narrative with an emphasis on visual storytelling, utilizing the techniques and skills honed on previous films. This project should be a showcase for the cinematographer as they endeavor to create a visual approach that is specific to this story. Cinematographers are encouraged to work with students from other NYFA programs, continuing to build their network and find new collaborators. These projects will be featured in a screening at the end of the term.
Documentary Project
Each student will plan, shoot and edit a short documentary project on a subject of their choice. They are challenged to develop a compelling narrative as they take the project through a series of revisions. They begin by researching their topic, and then prepare to shoot their initial material. This material will first be screened as dailies, then assembled into a rough cut as the students find and construct the story within their footage. Following a critique of the first edit, students will have a chance to shoot additional material to strengthen the film. They will then work to finalize their film, addressing color correction and sound design once the picture is locked.
Photographic Tests
Each student will conduct a series of photographic tests to determine specific aspects of the look of the upcoming thesis film. These tests may address a number of different visual aspects of the thesis film, and should be specific to the challenges of each production. The results of the test will be presented in both the thesis committee meetings and as part of the thesis presentation given in class. Tests should include an analysis of whether or not the test was successful and how this will influence your approach in photographing the thesis film in the following semester.
Cinematography Reel
Throughout the program, cinematographers will edit and revise their cinematography reel. The reel should showcase their best work and demonstrate a strong sense of composition, a range of lighting techniques, dynamic camera movement, and so on. In editing their work, the students will create a snapshot of their identity as a cinematographer. The reel will go through multiple iterations, including a rigorous critique process in the final semester. There will be opportunities throughout the program to screen the reels for other NYFA students in order to facilitate collaboration.
MFA Thesis Film
Students will either collaborate as the cinematographer on a thesis film for a directing student from the MFA Filmmaking program, or initiate their own project with collaborators of their choice. The thesis film represents the culmination of the cinematographer’s work in the MFA Cinematography program, allowing each student to demonstrate the full range of their visual and narrative skills. Students should seek to demonstrate consistency in their technical control over the frame, while using their images to tell the story and engage the audience on an emotional level. The cinematographer’s artistic voice should be evident throughout the film, supporting the narrative and creating memorable images.
Still Photo Project
Using a 35mm still camera, each student will tell a short story by creating seven black and white photos. The photos must be arranged in order, and should give the audience all of the necessary information to understand the story visually. Students will be limited to using a single 50mm lens, however they will incorporate different shot sizes in the project (wide, medium and close-up shots) where appropriate. Students will concentrate on creating strong compositions, and use a light meter to help them make exposure decisions. This assignment will be shot with available light.
Mise-En-Scène Film
Using a camera such as the Arri-SR, each student will shoot a silent film that tells a complete story in one single shot. Each film should have a clear beginning, middle and end, and the audience must be able to understand the story based only on the visuals. Emphasis will be placed on blocking the actors to the camera, and selecting the best focal length for the shot. Students will have access to a basic light kit, allowing them to design a lighting scheme that serves the story. Though students may shoot on color 16mm film stock, the final project must be submitted in black & white. Soundtrack music is encouraged, but no dialogue or synch sound effects are allowed.
Continuity Film
Shooting on high definition video, each student will create a project utilizing multiple shots to tell a story. Shots should be designed to cut together seamlessly according to the rules of classic continuity editing, creating the illusion of continuous action. Students should strive to have the camera in the best place for each moment of the film, incorporating different shot sizes and using different lenses as the story dictates. This project should build upon students’ skills with composition, exposure, and lighting developed in their previous films. This project will provide the first opportunity to shoot in color, and the first chance to incorporate synch sound (dialogue, etc.)
Music Video Project
Shooting with a digital cinema camera such as Red Scarlet, each student will create a project inspired by a piece of music. Students should strive to understand and take advantage of the RAW workflow, while delivering strong images that connect with the viewer emotionally. The project can be a traditional music video, incorporating performances, a narrative film inspired by a song, or an experimental piece that finds appropriate visuals to interpret the intent of the music, but must have a coherent visual concept.
Montage Project
The HD Camera Project is a montage exercise, a film of 15-25 shots that employs film non-linear storytelling techniques where images tell a story or convey a message by manipulating time, space, and rhythm. A filmmaker/cinematographer must have a thorough understanding of how film images work together, how a filmmaker uses it to tell a story and engage the audience. We see montage as another primary method for dramatic storytelling on film. It is essential that students be fully versed on the “rules” and applications. This project requires multiple shots, necessarily with most edits of discontinuous space/time/action. Documentary style approach as well as working in minimal crew is encouraged, as well as working in natural light and with minimal equipment.
POV Project
This project is restricted in camera, and in content parameters. The POV Project must be shot on an advanced camera, similar to the Red Dragon. Students will shoot a story that clearly establishes one character’s story POV, and then, create a discernible shift to a second character’s clearly established story POV. Collaboration with students from other programs is encouraged. Each student will be allotted two full days for their project and they will have access to the whole G&E package of the second semester. This project focuses on developing confidence with complex narrative structures, as well as with the equipment that will be used on the Capstone film.
Semester One Final Film
The students can use any camera or equipment taught to them to date. The student will have the opportunity to choose between shooting a music video, potentially contacting local bands and performers or teaming up with musical theater students, or shooting a commercial respecting timing and visuals typical of a mainstream commercial. Each student will have up to two days to shoot. Collaboration with other departments is encouraged.
Cinematography Reel
Throughout the program, cinematographers will edit and revise their cinematography reel. The reel should showcase their best work and demonstrate a strong sense of composition, a range of lighting techniques, dynamic camera movement, and so on. In editing their work, the students will create a snapshot of their identity as a cinematographer. The reel will go through multiple iterations, including a rigorous critique process in the final semester. There will be opportunities throughout the program to screen the reels for other NYFA students in order to facilitate collaboration.
Semester Two Film
Each student will shoot a short project using the Red Dragon digital cinema camera and a large lighting package. The film must incorporate a strong narrative with an emphasis on visual storytelling, utilizing the techniques and skills honed on previous films. This project should be a showcase for the cinematographer as they endeavor to create a visual approach that is specific to this story. Cinematographers are encouraged to work with students from other NYFA programs, continuing to build their network and find new collaborators. These projects will be featured in a screening at the end of the term.
Filmmaker’s Thesis
The Filmmaker’s Thesis is a departure from the other projects. For this project, students will collaborate as the Director of Cinematography on a filmmaker’s thesis project. This is meant to mirror the real working world. Students must find a director/producer to work with, a script they are interested in, and a time in their busy schedule to commit to such a project. They must serve the director’s creative decisions and interpretation of the story, work within the budget, and use the camera available to the production.
One-Year Capstone Film
Each student will shoot a short project using a camera such as the Red Dragon digital cinema camera or a similar camera, as well as a large lighting package. The film must incorporate a strong narrative with an emphasis on visual storytelling, utilizing the techniques and skills honed on previous films. This project should be a showcase for the cinematographer, as they endeavor to create a visual approach that is specific to this story. Cinematographers are encouraged to work with students from other NYFA programs, continuing to build their network and find new collaborators. These project will be featured in a screening at the end of the term.
Projects By
Certificate Program
Still Photo Project
Using a 35mm still camera, each student will tell a short story by creating seven black and white photos. The photos must be arranged in order, and should give the audience all of the necessary information to understand the story visually. Students will be limited to using a single 50mm lens, however they will incorporate different shot sizes in the project (wide, medium and close-up shots) where appropriate. Students will concentrate on creating strong compositions, and use a light meter to help them make exposure decisions. This assignment will be shot with available light.
Mise-En-Scène Film
Using a camera such as the Arri-SR, each student will shoot a silent film that tells a complete story in one single shot. Each film should have a clear beginning, middle and end, and the audience must be able to understand the story based only on the visuals. Emphasis will be placed on blocking the actors to the camera, and selecting the best focal length for the shot. Students will have access to a basic light kit, allowing them to design a lighting scheme that serves the story. Though students may shoot on color 16mm film stock, the final project must be submitted in black & white. Soundtrack music is encouraged, but no dialogue or synch sound effects are allowed.
Continuity Film
Shooting on high definition video, each student will create a project utilizing multiple shots to tell a story. Shots should be designed to cut together seamlessly according to the rules of classic continuity editing, creating the illusion of continuous action. Students should strive to have the camera in the best place for each moment of the film, incorporating different shot sizes and using different lenses as the story dictates. This project should build upon students’ skills with composition, exposure, and lighting developed in their previous films. This project will provide the first opportunity to shoot in color, and the first chance to incorporate synch sound (dialogue, etc.)
Music Video Project
Shooting with a digital cinema camera such as Red Scarlet, each student will create a project inspired by a piece of music. Students should strive to understand and take advantage of the RAW workflow, while delivering strong images that connect with the viewer emotionally. The project can be a traditional music video, incorporating performances, a narrative film inspired by a song, or an experimental piece that finds appropriate visuals to interpret the intent of the music, but must have a coherent visual concept.
Montage Project
The HD Camera Project is a montage exercise, a film of 15-25 shots that employs film non-linear storytelling techniques where images tell a story or convey a message by manipulating time, space, and rhythm. A filmmaker/cinematographer must have a thorough understanding of how film images work together, how a filmmaker uses it to tell a story and engage the audience. We see montage as another primary method for dramatic storytelling on film. It is essential that students be fully versed on the “rules” and applications. This project requires multiple shots, necessarily with most edits of discontinuous space/time/action. Documentary style approach as well as working in minimal crew is encouraged, as well as working in natural light and with minimal equipment.
POV Project
This project is restricted in camera, and in content parameters. The POV Project must be shot on an advanced camera, similar to the Red Dragon. Students will shoot a story that clearly establishes one character’s story POV, and then, create a discernible shift to a second character’s clearly established story POV. Collaboration with students from other programs is encouraged. Each student will be allotted two full days for their project and they will have access to the whole G&E package of the second semester. This project focuses on developing confidence with complex narrative structures, as well as with the equipment that will be used on the Capstone film.
Semester One Final Film
The students can use any camera or equipment taught to them to date. The student will have the opportunity to choose between shooting a music video, potentially contacting local bands and performers or teaming up with musical theater students, or shooting a commercial respecting timing and visuals typical of a mainstream commercial. Each student will have up to two days to shoot. Collaboration with other departments is encouraged.
Cinematography Reel
Throughout the program, cinematographers will edit and revise their cinematography reel. The reel should showcase their best work and demonstrate a strong sense of composition, a range of lighting techniques, dynamic camera movement, and so on. In editing their work, the students will create a snapshot of their identity as a cinematographer. The reel will go through multiple iterations, including a rigorous critique process in the final semester. There will be opportunities throughout the program to screen the reels for other NYFA students in order to facilitate collaboration.
Semester Two Film
Each student will shoot a short project using the Red Dragon digital cinema camera and a large lighting package. The film must incorporate a strong narrative with an emphasis on visual storytelling, utilizing the techniques and skills honed on previous films. This project should be a showcase for the cinematographer as they endeavor to create a visual approach that is specific to this story. Cinematographers are encouraged to work with students from other NYFA programs, continuing to build their network and find new collaborators. These projects will be featured in a screening at the end of the term.
Filmmaker’s Thesis
The Filmmaker’s Thesis is a departure from the other projects. For this project, students will collaborate as the Director of Cinematography on a filmmaker’s thesis project. This is meant to mirror the real working world. Students must find a director/producer to work with, a script they are interested in, and a time in their busy schedule to commit to such a project. They must serve the director’s creative decisions and interpretation of the story, work within the budget, and use the camera available to the production.
One-Year Capstone Film
Each student will shoot a short project using a camera such as the Red Dragon digital cinema camera or a similar camera, as well as a large lighting package. The film must incorporate a strong narrative with an emphasis on visual storytelling, utilizing the techniques and skills honed on previous films. This project should be a showcase for the cinematographer, as they endeavor to create a visual approach that is specific to this story. Cinematographers are encouraged to work with students from other NYFA programs, continuing to build their network and find new collaborators. These project will be featured in a screening at the end of the term.
Please note: Equipment, curriculum, and projects are subject to change and may vary depending on location. Students should consult the most recently published campus catalog for the most up-to-date course information.