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  • New York Film Academy (NYFA) Alum Jameelah Rose del Prado Lineses Wins Best Cinematography Award

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    Jameelah Rose del Prado Lineses has won several awards for her various film projects since attending New York Film Academy (NYFA), and last October, she added another. At the 8th Annual International Film Festival Manhattan, Lineses earned the Best Cinematography Award for her music video, Atareek.Jameelah Rose Lineses

    The 2018 International Film Festival Manhattan (IFFM 2018) opened on October 17 and ran until October 21, with its awards ceremony held on October 18 at the Philippine Consulate in New York City. Lineses screened Atareek at the Producers Club Theaters, just a few blocks from Times Square. Saudi Vice Consul of the Saudi Arabian Consulate, Mazin AlMouallimi, was in attendance at the event.

    Atareek is “a journey to the colorful streets of Old Balad” that explores “the beautiful history of the city’s rich culture and heritage.” It was the only film representing Saudi Arabia at this year’s festival, and was shot, directed, edited, and produced by Lineses, who was assisted by her mother throughout the shoot.  

    Lineses picked up a lot of the skills necessary for filmmaking, from pre-production through post-production, at the New York Film Academy, which she first attended in June 2011 when she enrolled in the 8-Week Filmmaking workshop. Two months after that, she deepened her studies and attended the 1-Year Filmmaking program at NYFA’s New York City campus.

    Atareek was filmed in 2017 entirely in Jeddah during the Atareek festival and is the third production Lineses has made that features Historic Jeddah. Her previous films, Historic Jeddah and Our Journey to Hijaz, have garnered significant praise from multiple festivals in the last several years. 

    In addition to Atareek, Lineses worked on two other films that were Official Selections at IFFM 2018. She was Associate Producer on Reunion as well as Assistant Director, Editor, cast member, and one of the producers of Mindanao. 

    The New York Film Academy congratulates Jameelah Rose del Prado Lineses on her film Atareek and her latest award win!  

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    November 30, 2018 • Cinematography, Film Festivals, Filmmaking, Student & Alumni Spotlights • Views: 325

  • New York Film Academy (NYFA) MFA Cinematography Alum Jude Abadi Wins Best Student Cinematography Award

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    This summer, New York Film Academy (NYFA) MFA Cinematography alum Jude Abadi added a very important accolade to her resume when she won the Best Student Cinematography Award at the European Cinematography Awards. The award was for her work as director of photography on the short film The End of the World.

    The European Cinematography Awards are a film competition for filmmakers worldwide. According to their mission statement, the ECA supports “new and student filmmakers, who are just beginning their careers with a supportive and enthusiastic audience for their creative efforts,” as well as gives filmmakers “access to film industry professionals who can offer guidance and other forms of career assistance.”

    Best Student Cinematography Award

    Of the award, Abadi told NYFA that she was “ecstatic.” Abadi enrolled in the MFA program at NYFA’s cinematography school in Fall 2016, an accelerated, conservatory-based graduate program designed to instruct gifted and hardworking prospective directors of photography in a hands-on, professional environment. The cinematography school is chaired by Tony Richmond, A.S.C., B.S.C., who has shot many well-known films including Sympathy for the Devil, The Man Who Fell to Earth, and Legally Blonde.

    “Jude did a great job shooting this film, and putting it together,” said Mike Williamson, a NYFA instructor and one of Abadi’s thesis advisors, who worked with her as she shot the film. He continued, “It can be difficult to maintain a consistent look when you’re shooting a long scene in a practical location, but her work over several shooting days matches very nicely. Her team made a strong film, and this award is well-deserved.”

    The End of the World was filmed in Los Angeles and tells the story of a married couple taken hostage by a crazed stranger, and their attempts to defuse their captor and his inane ramblings. It was written by Nabil Chowdhary and directed by NYFA alum Joshua M.G. Thomas. The film co-stars Buffy Milner, another NYFA alum who has recently written, directed, and acted in the film Type.

    The New York Film Academy congratulates Jude Abadi on her prestigious award and wishes her the best of luck as her career continues forward!

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    October 22, 2018 • #WomenOfNYFA, Cinematography, Student & Alumni Spotlights • Views: 86

  • “Sympathy for the Devil” at 50: New York Film Academy (NYFA) Los Angeles Chair of Cinematography Tony Richmond Presents Restored Godard Film 

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    Fifty years ago, Jean-Luc Godard filmed an intimate, groundbreaking documentary about the Rolling Stones, capturing the recording of one of their most seminal tracks: “Sympathy for the Devil.” The 1968 documentary shares the same title, though it was originally titled One Plus One before its producers controversially took final cut away from Godard. sympathy for the devil

    The Museum of Modern Art (MoMA) recently held a limited theatrical release for the 50th anniversary of Sympathy for the Devil, which was kicked off with a Q&A with New York Film Academy-Los Angeles (NYFA-LA) Chair of Cinematography Tony Richmond, A.S.C., B.S.C. Richmond served as Godard’s director of photography on the documentary, and supervised the color grading of the newly restored, 4K version of the film.

    The restoration was done in London by Arrow Films, working off the still-preserved original 35mm negative. “It’s just wonderful,” says Richmond of the project, adding it was “such an honor to go back to a film I shot fifty years ago and give it another life.”

    Sympathy for the Devil was one of Richmond’s earliest films as director of photography. He has mostly worked on narrative features since then, including Don’t Look Now, The Man Who Fell to Earth, The Sandlot, and Legally Blonde. The London-born, BAFTA-winning cinematographer has resided as Faculty Chair of NYFA-LA’s cinematography school since 2015, where students receive hands-on training in the unique visual language of film with state-of-the-art equipment they can use on their classmates’ productions. 

    Sympathy was a landmark moment in rock and roll documentaries, preceding other films like Gimme Shelter and The Last Waltz. Along with a strong political message, the film captured the birth of one of the Rolling Stones’ most famous hits. It was also a turbulent shoot, with legendary French filmmaker Jean-Luc Godard butting heads with his producers, who changed his original ending. As an infamous story goes, at a screening of the film, Godard attempted to screen his original ending outside in the parking lot, and when one of the producers intervened, he punched him in the face. 

    Additionally, some of the film was shot on the streets guerilla-style, without permits. Some shots included jumping out of Godard’s car to film his wife, Anna, spray-painting walls, roads, and vehicles, and then hopping back in the car and taking off before the police arrived.

    With an incredible story told by the film and another one around the making of it, it was no surprise that MoMA would host a limited release on its 50th anniversary. The Q&A with Tony Richmond was held after the September 13 screening, which Richmond told NYFA was “a great success. I enjoyed the Q&A, telling them how much in awe I was with Jean-Luc Godard and what an honor it was to shoot a film for him at such a young age.”

    In a recent profile by Rolling Stone magazine, Richmond went into further detail about the shoot, describing how they would pre-light for each member of the band before they would stroll into the studio after a late night of recording and maybe some hard partying: “We knew where Mick was gonna be, where Keith was gonna be, where Brian and Charlie were gonna be, and it was lit in such a way that we never had to touch anything between takes or disturb the Stones in any way…

    “And then the guys would come in, and they’d get down to work, and we would shoot. We were very quiet, and we had a very, very small crew — just a guy pushing the dolly, a focus-puller, Jean-Luc and I, and everybody else was way in the background.”

    Speaking with NYFA, Richmond added, “I wouldn’t know what we were going to shoot until [Mick Jagger] arrived on the set. I can’t tell you how exciting and frightening that was.”

    All told, the new 4K restoration and MoMA’s limited release of Sympathy for the Devil went very well, and included both the theatrical and Godard’s original ending. Richmond told Rolling Stone, “I hadn’t seen it again on a large screen until recently. And I have to say, I think it’s really fantastic… You really see how they’re putting the music together.”

    [UPDATE: November 7, 2018: Sympathy for the Devil will also be screened at the Museum of Contemporary Art in Los Angeles on November 8, 2018.]

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    October 15, 2018 • Cinematography, Documentary Filmmaking, Faculty Highlights • Views: 542

  • Q&A With New York Film Academy (NYFA) Alum Horacio Martinez

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    Horacio Martinez graduated from New York Film Academy’s 1-Year Cinematography program last year, but the hard-working lover of film finds education everywhere he goes. That includes everything he learns whole on set, where his work ethic and passion for cinema has made him a valuable asset to any film crew.

    Martinez really spoke with NYFA about his time at the Academy’s Los Angeles campus and his work on a feature film starring Ed Asner as 2nd AC. In addition to all the technical skills he’s picked up along the way, Martinez stresses that human relationships between the crew and between fellow students and instructors are just as important when forging your career in film.Horacio Martinez

    New York Film Academy (NYFA): What was the journey that lead you to the New York Film Academy? 

    Horacio Martinez (HM): Movies have been a part of my life ever since I was kid. I’ve always related episodes or experiences in my life with films. In my teenage years, I developed a curiosity about photography. At the same time, I worked as a composer for short films and various behind-the-scenes for photographers and videographers. After I moved to the USA from Venezuela, I explored my passion for photography, doing a lot of Urbex (Urban Exploration). It was a wonderful experience and I got to know every corner of the city. 

    I felt I needed something beyond urban and landscape photography. After doing some research, I decided to pursue my original dream of trying to find a place in the industry of visual storytelling. I found NYFA as my home as a professional, and also as a human being. Cinematography really changed my perception of life, my surroundings, the way I see and analyze problems to opportunities, and everyday life. 

    NYFA: Why did you choose NYFA’s 1-Year Cinematography program?

    HM: Cinematography, in my opinion, is the perfect marriage between technology and art. It is a very passionate career. We have to be chameleons and adaptable. We have to get into people’s minds (in most cases, the director’s) and meticulously dissect their thoughts and ideas, and then translate them into reality with the use of wonderful, amazing tools. Technology can help us in solving problems and achieving a unique look for each film. 

    I looked at the instructors, all the subjects and the approaches to cinematography, and found that the 1-Year Cinematography program was a great match. I needed to formalize my education, and open my eyes professionally about the craft itself. Since I’m in my 30s, I am hungry to go out and explore the world of filmmaking and find the right path to success. 

    NYFA: What were your favorite moments at NYFA?

    HM: Getting to know all of my classmates and people from other departments that share the same passion as me about storytelling. Forging relationships and earning people’s respect one day at a time.

    I loved all of my classes, so it is very hard for me to choose one specific favorite instructor or class. They were all shaping my life as a cinematographer and making me a different person since the day I started. All the classes are of equal importance. All the instructors are very passionate professionals that really care about teaching not only their knowledge, but also personal experiences that really helped me to have a better understanding about the craft of cinematography, and the protocol and relationships in the industry. 

    NYFA: Shortly after graduating, you had the opportunity to work on an independent feature film as the 2nd Assistant Camera (2nd AC). Can you tell us about that?

    HM: That was an amazing opportunity and I am really thankful for it. When I was at NYFA, one of my main priorities was to create strong relationships not only between my classmates and fellow students, but also between me and the instructors. In this case, Anthony B. Richmond ASC, BSC called me on a Saturday afternoon, asking me if I could join his son Gaston on a low budget feature film starring Ed Asner. I immediately said yes. At first, I couldn’t believe that I got a personal phone call from Tony himself asking me if I could work with his son.

    Everything turned out amazing, and I really learned a lot about all the duties of a 2nd AC in the real world. Of course, what I learned at NYFA was a huge influence on my workflow. 

    NYFA: As the 2nd AC and media manager, what were your responsibilities on the film? 

    HM: My first priority was to be invisible. That’s a thought that I always had with me while working on set. Invisible to the point that I had to make the 1st AC’s — Gaston Richmond’s — job easy. I had to keep the department afloat. Everything has a domino effect. If one tiny little thing breaks, falls, or is not charged, then the department could be delayed big time, so anticipation was key. 

    I also needed to keep the camera in order, keep all the batteries charged, keep track of all the rolls that we shot and what day they were shot. When things flow smoothly, it’s thanks to order, organization, and protocol. 

    I also had to change lenses in extreme situations, and change camera magazines. I had to run blocks and blocks down the street during a massive heatwave in order to back up the files to three hard drives at the same time, while keeping in constant communication with the Sound Mixer to also get the sound files and back them up in the proper way.

    Gaston was a great mentor, and I really learned a lot from him. He gave me great support, and helped me keep things in balance with the thousands of details that people assume are going to be taken care of. It is true that no one is going to tell you how to do your job at first, but I saw that as an opportunity to show them who I really was and all that I knew. 

    NYFA: Were there any specific challenges for the camera department on this film? How did you handle those issues? 

    HM: There were a lot of challenges like I mentioned before, but being a 2nd AC is a challenge itself. You are the base of the camera department, the one that keeps everything running smoothly. If you take care of the details, people will trust that you will do your job.

    My first focus was to have a great relationship with my department. We are a team, and we all wanted to have things moving forward smoothly. My relationship on set with Gaston (1st AC), was really important since he and I were working so closely. As I said, he was very reliable, incredibly supportive on set, and a great guy with a great personality. With a good attitude and always keeping our cool, we solved any challenges that we had to overcome.

    It is also extremely important to have a good relationship with every single department on the project. You never know when someone will have to help you, and basically save your life. I also offered myself as help to other departments when needed.

    Life on set is not easy, it is basically creating art out of chaos. That’s why it is extremely important to have good relationships with everyone, have a great attitude, a good sense of humor. Be humble at all times, and ask for help when you need it. These factors will help you overcome all the challenges on set. 

    1st AC Gaston Richmond and 2nd AC Horacio MartinezNYFA: Did your classes at NYFA prepare you for working on a professional set? 

    HM: Definitely. 100% of the material, cinematography practicums, and classes that I had at NYFA were of huge help, especially when it came to actually knowing my role. You have to respect the protocol of communication between members of your department, and with other departments as well.

    I never felt out of place, and I spoke the same language as the DP. This was especially helpful when we had to be very technical, with camera resolution, lenses, filters, white balance, etc. 

    NYFA: What advice would you give to current students about starting their careers? 

    HM: Never doubt yourself. Always be yourself. Be willing to learn, because one of the most exciting things about this career is learning about new technologies, developing skills to solve problems, and experimenting with different looks. This is not a 9-to-5 career, and every day is not the same. The challenge is how to adapt ourselves, and use our personality and creativity to leave our mark and identity in the visual story we are telling. 

    NYFA: What projects do you have coming up next? 

    HM: Right now, my mission is to join projects that will help me develop my skills and become a better professional. I hope to join the camera union (Local 600) in the near future. I want to learn, I want to meet people, and create bridges and relationships.

    In the meantime, I am prepping a music video and a couple of short films with great directors, all of them out of NYFA. 

     

    The New York Film Academy thanks Horacio Martinez for speaking about his experiences and looks forward to the future successes his drive, passion, and hard work will undoubtedly bring him!

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    September 17, 2018 • Cinematography, Student & Alumni Spotlights • Views: 599

  • Much-Buzzed Doc Killer Bees is Lensed by New York Film Academy Instructor John Foster

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    New York Film Academy (NYFA) Cinematography Instructor John Foster lensed feature-length sports documentary Killer Bees, which The New York Times raves is “…engaging and humane storytelling that uses the drama of basketball to tell a deeper story about race, class, and the excitement and heartache of young lives careening toward adulthood.”

    The film traces the legacy of Bridgehampton High School’s all-star basketball team, the Killer Bees; championship winners that have united their community for decades. Yet it’s all under increasing threat, as the socio economic divide between wealthy vacationers and diverse working-class community continues to grow.

    Produced by a team that includes legendary NBA star and NYFA alum Shaquille O’Neal, the film is directed by Bridgehampton natives Ben and Orson Cummings. The directors are quoted in  The Hollywood Reporter as saying, “Having grown up in Bridgehampton, we’re honored to release a film that reveals another side of our hometown, known to most as the Hamptons. Releasing this film with Shaquille O’Neal as a producer has given an amazing boost to our mission to garner recognition for this legendary basketball program that provides meaning and hope for a community under siege from the threats of racism, gentrification and income inequality.”

    A faculty member at NYFA’s New York City campus, John Foster is credited as the cinematographer on 37 films — including 1997 Sundance Film Festival favorite Sunday. With Killer Bees, he continues to forge a career packed with hard-hitting documentaries that tackle timely social and economic issues, from the legacy of Brown v. The Board of Education to the genocide in Darfur.

    The New York Film Academy congratulates John Foster on his impeccable work!

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  • RBG, Shot by New York Film Academy Documentary Professor Claudia Raschke, Is Box Office Hit

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    This year’s breakout documentary, RBG, shot by Director of Photography and NYFA Documentary Department Cinematography Instructor Claudia Racshke, tells the story of Supreme Court Justice and surprise millennial icon Ruth Bader Ginsberg (aka “The Notorious RBG”), The Flatbush, Brooklyn-born Justice was appointed by Bill Clinton in 1992, becoming only the second female to serve at the highest federal court in the United States.

    When the film premiered at the Sundance Film Festival, we highlighted Claudia on the NYFA blog, and Filmmaker magazine also featured an interview. Sundance and American Cinematographer spotlighted her on their “Women Who Shoot” panel. MovieMaker magazine also ran an article exploring her equipment preferences.

    RBG NYFA

    RBG 

    And why not? Claudia’s previous work has already been nominated for Academy Awards four times, and has won a Peabody, a DuPont, and a National Board of Review Award, among many others. She has worked on such acclaimed documentaries as My Architect, about Louis Kahn, Mad Hot Ballroom, which focuses on a New York dance program, and Small Wonders, which documents a music teacher in East Harlem.

    On its opening weekend, RBG scored the second-highest-per-screen average at the box office, second only to Avengers Infinity War. The film has also earned a 93 percent Fresh rating from review aggregator Rotten Tomatoes. It then spent the next three weeks among the Top 10 overall Box Office earners, holding its own in the company of blockbusters like Avengers: Infinity War, Ocean’s Eight, Black Panther, Solo: A Star Wars Story, Deadpool 2, and A Quiet Place.

    Claudia Raschke with Ruth Bader Ginsberg

    Claudia Raschke with Ruth Bader Ginsberg. Photo provided by Claudia Raschke.

    RBG has also already worked its way amongst the 25 highest-earning documentaries in history, and its run is far from over. NYFA would like to congratulate its Documentary instructor Claudia Racshke on her impressive work on an already important film. You can watch the official trailer below.

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  • New York Film Academy Cinematography Students See Latest Projection Technology at Dolby Cinema With Anthony Richmond, ASC, BSC

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    Graduating Cinematography students in the New York Film Academy Los Angeles MFA and 1-Year programs participated in a recent field trip to Dolby Laboratories to see the cutting-edge of theatrical projection. NYFA Los Angeles Cinematography department chair Anthony Richmond, ASC, BSC set up the visit.  

    During the trip, NYFA Cinematography students were introduced to some of the technical aspects of Dolby Vision, and had a chance to see the color correction process in Dolby’s state of the art theater. Students asked questions of the Dolby staff, and got to see some of the possibilities available to shape the look and finish their images.

    The trip gave these recent graduates a look at some of the latest innovations that they will be seeing in the industry very soon.

    Best known for their work in the audio field, Dolby has recently introduced a new system for high-dynamic-range (HDR) projection in the cinema. Dolby Vision makes it possible to project images with a dramatic 1,000,000-to-1 contrast ratio, creating a far bigger range of brightness than previous projection standards.

    Dolby simultaneously introduced a proprietary color correction system, creating a pipeline that will optimize films to take advantage of these new projectors. Recent blockbuster films including Incredibles 2, Ocean’s 8, Solo: A Star Wars Story, and Jurassic World have been early adopters of this new technology.

    Anthony Richmond recently employed Dolby’s new process in the color correction for the 4K restoration of the classic concert film The Rolling Stones Rock and Roll Circus, a film he shot for director Michael Lindsay-Hogg in December 1968. The film features performances from the Rolling Stones, The Who, John Lennon, Eric Clapton, and other iconic musicians from the British music scene of the late ‘60s.  

    Speaking about his experiences, Richmond said “I think Dolby Vision is the most exciting thing that has happened in the way we color correct films. Most of the new televisions are now Dolby Vision ready, and Netflix is already broadcasting some productions in Dolby Vision.”

    Richmond advocated for using Dolby Vision for this restoration, conducting a test to demonstrate the advantages to the producers. When Richmond showed them the results, they agreed that using the Dolby process would be an essential part of the restoration. The film will be released on September 27 for both Dolby Vision blu-ray and a limited theatrical release.

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  • Platino Awards and New York Film Academy Industry Lab Collaborate on Eugenio Derbez & Rob Schneider Comedy Sketch

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    The New York Film Academy Industry Lab participated in the production of the fifth edition of the Platino Awards, which was celebrated April 29 at Riviera Maya and broadcast to more than 60 countries. The Platino Awards have quickly become the Oscars of the Spanish and Latin-American film industry.

    The New York Film Academy team shot a comedy sketch written by and starring Eugenio Derbez (Overboard, How to Be a Latin Lover, Instructions Not Included), and Rob Schneider (Saturday Night Live, Grown Ups, Don´t Mess with the Zohan).

    The premise of the sketch was built around the clichés that Latin artists face when crossing over into the American film and television industry. Based on Derbez’s recent success in hits such as Overboard and How to be a Latin Lover, this hilarious sketch focuses on Rob Schneider wanting to cross over to the Latin market and being asked to audition by Derbez for all sorts of stereotypical characters.

    The sketch was directed by Spanish comedy director Miguel Cruz (Aída, CaigaQuienCaiga). Cruz is also a senior acting instructor for sitcoms and drama at the New York Film Academy Los Angeles campus.

    The Industry Lab was proud to offer equipment and production services for this groundbreaking sketch. NYFA Cinematography alumni Mridul Sen and Filmmaking alumni Fady Elmankabady were able to work as Gaffer and AC, under the guidance of Spanish Director of Photography Jon Aguirresarobe, son of renowned cinematographer Javier Aguirresarobe (ASC).  

    The Industry Lab is a production services entity of NYFA, offering equipment and crew support for professional productions. Our Industry Lab members have excelled in all aspects of production which enables them to acquire real world experiences. 

    The New York Film Academy would like to thank Rob Schneider, Eugenio Derbez, the Platino Awards, and the students of Industry Lab for putting together such an incredible event and hilarious sketch.

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  • Tony Richmond Screens Men of Honor With Special Q&A at New York Film Academy Los Angeles

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    New York Film Academy Chair of Cinematography Tony Richmond recently hosted a special screening of his film Men of Honor for New York Film Academy students at the Los Angeles campus. Rather than a formal Q&A following the film, Richmond encouraged his students to join him in an intimate conversation.

    Richmond is well known for his cinematography on beloved classics including The Sandlot, The Man Who Fell to Earth, Don’t Look Now, Legally Blond, and Alvin and the Chipmunks, yet Men of Honor has a special place in his heart because both of his sons worked on the crew with him.

    Based on a true story, Men of Honor follows Navy diver Carl Brasher, the first Black man to become a U.S. Navy Master Diving Instructor. Extraordinarily, Brasher was able to passe the qualification test to become a master diving instructor with an amputated left leg. It’s an inspiring film that earned numerous award nominations.

    About the film’s star, Cuba Gooding Jr., Richmond said, “He’s a wonderful actor and an even better man.”

    Filming underwater presented a lot of fun cinematography challenges for Richmond. Some of the behind-the-scenes stories he shared with NYFA students included the creation of an eight-foot-deep pool to accommodate Richmond’s photography, and rigging Cuba Gooding Jr.’s diving helmet with lights.

    Students were curious to hear how Richmond was able film underwater with such clarity. Richmond explained that finding a good lighting balance was the most important element.

    “There’s a very fine line when filming underwater,” he said. “There were times during the filming process that I felt there just wasn’t enough silt in the water.”

    In order to give the tank a realistic feeling of the ocean, silt, the fine sand found in ocean water, had to be added.

    “You have to be careful when adding that stuff,” Richmond warned. “If you put too much silt in the tank it takes four days to filter it out.”

    One student asked about the most challenging aspect of making the movie. Richmond didn’t hesitate to answer: the film’s final courtroom scene

    The location was on the seventh floor of a beautiful old building, but because of its age Richmond couldn’t set up a lighting rig inside. Instead, everything had to be lit through the windows.

    After an enlightening evening, Richmond’s final advice to his Cinematography students was about working with directors:”You have to remember that this is the director’s film. Before you’re called in for an interview, he or she has already been working for months if not years on it.”

    The New York Film Academy would like to thank Tony Richmond for taking the time to host Man of Honor and speak with our students.

    To learn more about the Cinematography programs offered at the New York Film Academy, click here.

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  • Congratulations to the Winter Class of 2018 at New York Film Academy Los Angeles

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    New York Film Academy would like to congratulate another class of graduating students.

    The end of a program is always a bittersweet time, as our students and instructors develop a strong bond over the many intense hours spent learning, practicing, and crafting projects, but before the winter class of 2018 walked across the graduation stage to accept their diplomas, the New York Film Academy celebrated all the graduates’ work with a series of final pres

    entations. The day before graduation, all students were given an opportunity to show off their work for family, friends, and entertainment professionals. Filmmaking, Documentary, Acting for Film and Cinematography students held their final screenings at the Riverside Theater and on the Warner Brothers Studios backlot. Photography students had their work displayed in galleries throughout Los Angeles. Game Design students held a game night where anyone in the school could play their games. Writing and Producing students had evenings where they could pitch their projects to industry professionals.

    The winter 2018 graduation ceremony was held at the Harmony Gold Theatre in Hollywood. The graduating class of 2018 was so large the ceremony had to be broken into two parts. Both ceremonies were standing room only. Families and friends came from all over the world.

    In his graduation speech, NYFA Instructor Mike Civille asked the students to think of their education as a gift. He said, “You come from places near and far. You have treated each other and your instructors to your fascinating stories. In this process, you have joined the great filmmakers who have also spoken to audiences about what was important to them. You have learned a new universal language. It’s young, only 100 years old. It crosses both political and cultural borders. This was the gift of the Lumiere brothers and it has traveled all the way to you. Use it wisely to tell your story.”

    The New York Film Academy would like to congratulate all of the incredible students who have completed their training here. We look forward to watching your films, playing your games, seeing your photographs, and celebrating your creative endeavors for years to come. Congratulations.

    1-Year Acting for Film

    Frederick Scott Basnight II

    Marlo Butler

    Emmanuel Pierre Cartier

    Undarga Enkhbaatar

    Isaac Wesley Fairley

    Gillian Griffin

    Terrel Mollison

    2-Year Acting for Film

    Daniel Berry

    Rodrigo Borges

    Peter Gomes

    Raymond Karago

    Tiara Donyae Murray

    Kurtis Potter

    Taraiyasi Hans Prymwaqa

    Matthew Robertson

    BFA Acting for Film

    Jazmin Hamilton

    Luis  Cordoba

    Zhiyun Zhou

    MFA Acting for Film

    Rajarshi Banerjee

    Taylor Byers

    Rebecca Cannizzaro

    Rei Alona Kennex Crossman

    Sumaia De Oliveira Radwan

    Jason Dolciani

    Anna Francisca Salles Marques Da Silva

    Craijece Lewis

    Lara Manatta Tenorio

    Jaylyn Neal

    An Thien Phan

    Leandro Luis Pineda Torres

    Aathira Rajeev

    Amber Resha Satcher

    Ke Shuai

    Eric Slaughter

    Lun Tan

    Julien Webb

    2-Year Producing

    Reginald E. Luck

    Nicole Zapata Quiles

    MFA Producing

    Johnnie Christopher Brown

    Kimbra Essex

    Xuan Liu

    Bahaguli Rehemutula

    Yosuke Sugimoto

    Bakhytzhan Urakhayev

    Liying Zhu

    BFA Screenwriting

    Zeyad Al Mutawa

    Katie Clem

    Seth Morton

    Louise Nyberg

    Patrick Kellam Lyons Stinich

    MFA Screenwriting

    Maria Androushko

    Katrina Brown

    Luis Alfredo Gonzalez

    Luke Jarret

    Harmony Kasper

    Joseph Knable

    Carmen Nelson

    Shane Redding

    Raul Ravindrakumar Sharma

    Melarissa Benedicta Sjarief

    Abigail Spencer

    Adam Tetelbaum

    Elon Washington

    MFA Photography

    Brittney Cathcart

    Monika Sedziute

    Yunzhi Wang

    MFA Documentary Filmmaking

    Hanan Higgi

    Amjad Tkroni

    Zhengyi Zhong

    MFA Game Design

    Nouf Bagazi

    Grace Ogwo

    Grettir Olafsson

    Santosh Peri

    Hetian Wang

    AFA Filmmaking

    Awana Morris

    BFA Filmmaking

    Ahmed Adil

    Hamda Al Midfa

    Ahmed Alghamdi

    Lionel Allen

    Saleh Mohammed Almalki

    Abdulaziz Almughrbi

    Faris Salah Beitar

    Danila Butovskiy

    Yujing Gao

    Yaser Hammad

    Wesley Garin Hobbs

    Lingxiao Jin

    Michael Moran

    Muhammad Raheem Sultan

    Victor Valerio

    Paulina Zamorano Castillo

    Marc Vital Guerin

    Jialei Li

    Yaonan Liu

    Topaz Peretz

    Yiding Xia

    Federico Sanna

    MA Film & Media Production

    Praveen Albert

    Oliver Berger

    Mansi Nitin Desai

    Qiqi Duan

    Hongzhi Guo

    Maryna Kovalevska

    Katlego Makhudu

    Natsumi Shibata

    Brionna Sutton

    Alessandro Turco

    Donatela Vacca

    Nihal Vasudevan

    Chuning Wang

    Ala Waznah

    Bingqi Xue

    Shipeng Yu

    MFA Filmmaking

    Khalid Ahmed Alsghair Ismail

    Roque Banos

    Siyuan Chen

    Chaaritha Dheerasinghe

    Travis Donald

    Weilun Feng

    Guoqing Fu

    Jialin Fu

    Yuanmei Ge

    Tingting Hua

    Shuntian Jiang

    Hongdon Lee

    Yixiang Li

    Hai Yao Liang

    Na Liu

    Yiwen Liu

    Jianan Ma

    Sholpan Murabuldayeva

    Anita Name Dos Santos

    Guangtao Pi

    Hugo Machado Salvaterra

    George Savidis

    Zicheng Tian

    Jiewen Wang

    Qiushi Xi

    Yuanyuan Xu

    Yuan Yue

    Han Zeng

    Shiyun Zeng

    Haoruo Zhang

    Hao Zhang

    Yuqing Zhang

    Jingwei Zhou

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