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  • Film School Advice From Admission Advisor Tami Alexander

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    As an admissions counselor I am most frequently asked, “What program will make me the best filmmaker and get me into the industry as soon as possible.”

    This is a hard question to answer because the film industry is truly based on talent, hard work, who you know and sometimes luck. As a student of the New York Film Academy you will be amongst the largest network of filmmakers and actors in the industry. You will also have intensive hands-on training in all aspects of the film-making process. How you take advantage of these opportunities, will determine your success during the program and your career after graduation.

    Every filmmaker would love to have these opportunities, but unfortunately film school is expensive, time consuming and very demanding. This is why I advise everyone interested in enrolling into our film courses to determine what they want to learn and take from the program. If you know what you want and set goals, you will most likely find it and achieve it at the New York Film Academy as a student.

    Before you enroll in NYFA or any film school, my advice for prospective film students is to decide what exactly it is that you want from your education as a filmmaker. If you do not know, try enrolling in our one or four-week film workshops to get a better understanding of the filmmaking process.

    I am happy to answer any questions about the New York Film Academy Film School, please contact me today at (212) 674-4300.

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    May 8, 2009 • Acting • Views: 4650

  • The History of 16 MM Film and the Arriflex 16 S Camera

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    The New York Film Academy offers students an excellent opportunity to work with 16mm Film and the Arriflex S & SR 16 mm cameras.  Shooting on film has many inherent advantages, including the organic look, its unparalleled exposure latitude, natural color reproduction, and long term archivability.  Arriflex cameras are among the best in the world, and NYFA gives its students the instruction they need to join the ranks of legendary filmmakers who have made landmark films by looking through the Arri viewfinder!

    The Arri company was founded in Munich in 1917 by August Arnold and Robert Richter, who began their career working as cameramen on over 100 films.  Arri introduced the Arriflex ST in 1952, it was the first professional 16mm movie camera with a reflex viewing system; the camera was a hit, selling over 20,000 units! The Arriflex SR was introduced in 1982 and was the first professional 16 mm camera to feature symmetrical construction and a swing-over viewfinder, enabling incredibly flexible operation.  In 1982, the Arnold and Richter were presented with an Oscar in recognition of their life’s work.

    The silent 16 mm film format was initially aimed at the home filmmaker, but by the 1930s it had begun to be popular for professional use in the educational market. The addition of optical sound tracks and, most notably, Kodachrome in 1935, significantly boosted the 16 mm market. The format was widely used during WW2, and consequently there was a massive increase of 16 mm professional filmmaking in the post-war years. Films for government, business, medical and industrial clients created a large network of 16 mm professional filmmakers and related service industries in the 1950s and 1960s.

    The advent of television also enhanced the use of 16 mm film, initially due to its lower cost and greater portability compared to 35 mm. At first used as a news-gathering format, the 16 mm format was also used to create programming shot outside the confines of the more rigid television production sets.

    Even though Super 16 is used for all kinds of projects, its most common use today is for television productions and independent features. The three most common types of productions are detailed below.

    1. Shoot Super 16, Post Video, Broadcast HD Broadcasters today are demanding content to be delivered in HD, and shooting Super 16 is the best way to create high quality HD programming.

    The production is shot on Super 16 film, and then transferred to standard definition (SD) or high definition (HD) video on a telecine. Modern telecines can extract most of the image information from Super 16 film, and are one reason for the continued popularity of this format. Post production commences on SD or HD equipment in the traditional fashion, as does broadcast on SD or HD. This workflow maintains all the advantages of film and the creative options of film cameras and lenses. Once the program is aired, the film-originated material can be re-transferred to any foreign or future television standard.

    2. Shoot Super 16, Post DI (Data), Theatrical Release The Achilles heel of shooting Super 16 for a theatrical release has always been the optical blow-up required to get from the Super 16 camera negative to a 35 mm release print. This optical blow-up is now being replaced by the Digital Intermediate (DI) process, which is quickly becoming a mainstream production tool.

    The production is shot on Super 16 film, and then scanned on a pin-registered film scanner. Modern film scanners can record all the image information present on Super 16 film. The resulting image data is used for editing, special effects and color correction. Once in the digital realm, there is almost no limit to the image manipulations, effects or looks that can be created. The finished image data is then recorded onto 35 mm film with a modern film recorder to create 35 mm release prints. Since the DI process is completely transparent, there is no image quality loss incurred by going from a Super 16 camera negative to a 35 mm release print.

    3. Shoot Super 16, Post DI (HD Video), Theatrical Release A hybrid option combining the other two workflows is also possible when a theatrical release is required from a Super 16 negative at rock bottom costs. The film is transferred by a telecine to HD video instead of scanned to image data. Post production is done in HD video, and the feature is output to 35 mm film on a film scanner. The result has slightly less image quality than a true data DI post production, but is substantially faster and less expensive.
    Richard Crudo, President of the American Society of Cinematographers, said: “You’re going to see a huge resurgence in 16 as DI becomes more manageable and cheaper. People are going to say, ‘My God, look at the quality you can get out of this.’”

    Studying at New York Film Academy is a great way to gain experience using a wide variety of top-of-the line equipment.  NYFA is proud to be able to offer its students the opportunity to use cutting-edge technology, such as the RED HD camera.  However, learning to master traditional filmmaking tools such as the Arriflex S cameras is one of the most challenging and rewarding aspects of a NYFA education!

    Written by Brian Koplow, New York Film Academy Student Adviser

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    April 10, 2009 • Acting • Views: 11395

  • Film School Alumni Babar Ahmed Directs Feature Film, Royal Kill

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    The feature film by award-winning director and New York Film Academy alumni, Babar Ahmed, Royal Kill starring Gail Kim, and Academy Award nominees Eric Roberts and Pat Morita will be released at AMC Theatres in Los Angeles, Chicago and Washington, D.C. on April 10, 2009.

    Babar Ahmed’s (Genius) second feature film shows the full potential of a new generation of independent movie makers. Based on historical facts, the story evolves around a high school girl (Lalaine) who is facing a fierce assassin (Gail Kim) from a kingdom in the Far East. Twists and turns lead the audience to test the boundaries between good and evil. Supported by Eric Roberts (The Dark Night) and the late Pat Morita in his last movie appearance (Karate Kid), a breathtaking battle unfolds.

    The outstanding cast of this action-thriller is made to electrify the audience. With Gail Kim, a WWE champion in her first feature, and Oscar-nominated actors Eric Roberts and Pat Morita, Royal Kill will bring fans of all ages into the theater seats. Lalaine, the star of Disney’s TV show “Lizzy McGuire,” shows her tremendous breakthrough potential.

    Screenings

    Los Angeles, California Area
    AMC Ontario, 4549 Mills Circle, Ontario, CA 91764
    AMC Covina, 1414 N Azusa Ave, Covina, CA91722

    Chicago Area
    AMC Cantera , 28250 Diehl Rd, Warrenville, IL60555
    AMC South Barrington, 175 Studio Drive, South Barrington, IL 60010

    Washington D.C. Area
    AMC Hoffman, 206 Swamp Fox Rd, Alexandria, VA22314

    Note: His last movie Genius has received 3 international awards.

    Interview with Babar Ahmed at the DC Independent Film Festival.

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    April 9, 2009 • Acting • Views: 3465

  • Are Drawing Skills Needed For 3D Animation Program?

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    Another often asked question regarding coming to the NYFA animation program is “Do I need drawing and artistic abilities and skills in order to attend your school?”.

    If you have art school and or drawing experience that is a definite plus as it indicates that you have above average ability to visualize your characters and scenes. We do have a life drawing class during our first semester as it’s very important to have a grasp of the human anatomy for modeling and animation.

    For modelers drawing skills are a definite plus and if you can design a character and draw a decent turnaround, then draw him/her in an action pose and model the character accurately with correct topology then that’s a really nice thing to put on your reel. You may for instance see a job advertisement for a modeler with this addition: “Traditional art skills and ability to do draft occasional concept drawings/paintings would be a major plus”.

    However I know some good modelers who are not such great draftsmen, and in allot of companies artists specialize and so one person does the drawings and another does the models.

    As I said in a recent blog, artistic skills are not essential. Technical abilities are highly valued in the animation industry so you can be lacking artistically and still do well in such ares as shading and lighting, rigging, rendering and particle systems. These areas require good skills in scripting languages such as Python, Maxscript and MEL, and programing languages such as C++.

    Robert Appleton, New York Film Academy 3D Animation School Instructor

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    April 7, 2009 • Acting • Views: 889

  • Film School Student Stephanie Okereke in The News

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    Nollywood actress, Stephanie Okereke landed her first acting roles in the 1997 movies Compromise and Waterloo. Over the years, the Imo State-born actress has grown to become one of Nigeria’s foremost actresses, having featured in over a hundred movies.

    She got her big break in 2003 in the movie Emotional Crack, which earned her two awards (out of eight nominations) at the Reel Awards for the Best Actress, English and Actress of The Year. The following year, Emotional Crack premiered at the African Film Festival in the United States.

    This opened the door to many opportunities for the actress. As a result, Hollywood came calling in 2005 and the beautiful actress auditioned for a role in The Good Shepherd which featured Robert De Niro, but an unfortunate car accident on her way to the AMAA awards in Yenagoa, Bayelsa State hindered her chances of appearing in the film.

    Ups & Downs

    The actress, who is also a model, was the second runner-up in the Most Beautiful Girl in Nigeria contest in 2002, which was won by Chineye Akinlade nee Ochuba. Despite the fame, the English and Literary Studies graduate of the University of Calabar has had her own fair share of problems and scandals.

    In 2007, the leggy actress called it quits with her husband of two years, Chikelue Iloenyosi, a former player with the Nigerian National football team, who nursed her after her 2005 accident. Okereke was able to bounce back after the incident and she landed a role in the MNET sponsored series, Snitch, shot in South Africa in 2006. She played a Nigerian undercover agent in the series.

    Taking Control

    Having trained at the New York Film Academy Film School, the talented actress cut her teeth as a director, scriptwriter and producer last year with the movie Through the Glass. The movie, shot in the US, featured a Nigerian and American cast.

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    March 23, 2009 • Acting • Views: 4918

  • Film & Television Industry Statistics

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    Cinema is an incredible artistic medium, but it is also the basis for a multi-billion dollar industry.  Although the major motion picture industry is changing, and independent filmmakers are reaching new levels of creative and economic success each year, audiences worldwide still love going to the movies! That’s good news for anyone considering film school.

    More information can be found by taking a look at the current statistics from the Motion Picture Association of America:

    •    Over 357,000 employees helped make 2007 a historic year for the movie industry.  In fact, there were 19,000 more people working in the industry than there was a decade prior.

    •    In 2007 the worldwide box office reached a historic high of $26.72 Billion, a    4.9 % increase from the 2006 box office of $25.47 Billion!

    •    Here in the United States the box office rose 5.4 % in 2007, reaching $9.63 Billion.

    •    United States customers bought a total of 1.4 billion movie tickets in 2007. The average American went to 6 movies between the middle of 2006 and the middle of 2007.

    •    50 % more films earned over the $100 million mark in the domestic box office than in the year prior.

    •    The average U.S. citizen spent 1,962 hours watching movies or TV in 2007; an increase of 6% from 2003.

    •    Americans also spent 6 % more money on filmed entertainment in 2007 than in the previous year.

    •    DVD players helped bring home theater entertainment into 87 % of American homes.

    •    Similarly, digital cable subscriptions were up 5% in 2007, bringing more Americans a wider variety of options for quality programming.

    We all enjoy different styles of films and television shows, and that means there are myriad opportunities for creative people to have lasting careers in a successful industry.  Working in film and television is certainly a challenging vocation, but it is also exciting and rewarding!  The preceding statistics speak to the fact that employees in this industry are in a position to profit from an ever-increasing desire for quality entertainment!

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    March 23, 2009 • Acting • Views: 5678

  • 3D Animation School: Mental Ray Interpolation

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    Mental ray glossy reflections are notoriously expensive to render (expensive in this case meaning taking a long time). In order to optomise the render time it can be advantageous to use “interpolation”.

    In this example the MIA (mental images architectural shader) is applied to the spheres, one with a colored metal look and the other with a glass ball appearance. Both have glossy reflections and refractions. In order to greatly shorten the render time, the “interpolation” rollout in the MIA shader is employed in conjunction with the glossy samples in the refraction and reflection rollouts.

    I wont go into the technical aspects of how the interpolation is achieved (you can read an in depth account in Boaz Livny’s book “Mental Ray for Maya, 3ds Max, and XSI”), suffice to say that interpolation of glossy elements for rendering is a life saver for a busy lighting and rendering artist.

    By Robert Appleton, New York Film Academy 3D Animation School Instructor

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    February 26, 2009 • Acting • Views: 3292

  • Digital Film School Equipment

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    The New York Film Academy is well known for having the best student to camera ratio with one of the largest inventory of cameras in the world – more than any other film school or University. The NYFA Film School prides itself in providing students full-access to state-of-the-art digital filmmaking equipment and software for their film school projects. When students are given a film assignment, which can be weekly, they are permitted to sign out the necessary equipment for up to seven days, depending on the type of project.

    The digital equipment available for students of our filmmaking workshops, one and two-year programs include the following.

    •    Panasonic DVX100 24p Digital Video Camera

    •    HVX200 P H.D. Camera

    •    Lenses 17.5 MM, 25MM, 28MM, 35MM, 50MM, and Zoom Lenses

    •    Final Cut Pro Editing Suite on Macintosh Pro Computers

    •    RED One A.D. (Altered Definition) Camera (1 & 2 year students)

    o    18MM, 25MM, 35MM, 50MM and 85MM Lenses

    o    LCD and 17in HD Monitor

    In addition to the equipment above, students are also provided with access to transmitter mics, gaffer & grip equipment, various tripods, an AC Kit and our famous “Flying Squad”, which is free 24/7 production support provided by NYFA to each student to use in case of emergencies during their shoot.

    The New York Film Academy understands that having access to the right equipment, resources, and sufficient time to use them, is essential to producing your best work.  If you are serious about making films, make sure the film school you decide to attend offers serious equipment, policies and opportunity.

    * A little known fact is that our students at our Universal Studios location in Los Angeles have access to an exclusive prop and costume collection that regularly supplies Hollywood blockbusters.

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    February 19, 2009 • Acting • Views: 4657

  • Bevin Prince is ‘Redefining Love.’

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    You may know Bevin from her long-run as ‘Bevin Mirskey’ on the hit CW show One Tree Hill or maybe you caught her on Fox’s House. We know Ms. Prince from our Acting for Film program, where she was ever present as the sweetest girl to deal with, not to mention she could act.

    “There are times when you’re in class and a student does a first read, you kind of just have to lean back in your chair a bit to give the student room. You just say, ‘Wow, they’ve got it,’ and Bevin has it,” said New York Film Academy instructor Robert Goodman.

    She is currently in a new film titled Redefining Love which you can check out the trailer for below, the film received a limited theatrical release for Valentine’s Day this past weekend:

    According to the films creators-

    “Redefining Love is the story of the search for the answer to that question. The movie features a hot young cast including Jodie Sweetin (Full House), Serah D’Laine (Wild Things 3), Timothy Woodward Jr. (Whittaker Bay), Bevin Prince (One Tree Hill), and introducing Ryan Small and Jessica Rose Smith.”

    Congratulations to NYFA’s Prince(ss), we look forward to speaking with her in the next couple of weeks regarding several of her upcoming projects, life as a working actor and the trials and tribulations of being a young actor in life… Of course, we will have that posted up for you guys here within the next week or two.

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    February 19, 2009 • Acting • Views: 4354

  • 3D Animation School: The Fundamentals of Light

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    This is a post for the 1 year animation 2nd semester group project at the New York Film Academy 3D Animation School, which encompasses many disciplines necessary for an animation/vfx career.

    The fundamentals of light. Shaders are the elements of an animation program that provide a surface with color, lighting effects and textures. Understanding the behavior of light and it’s relationship to photography is essential to creating convincing renders and imitating real world natural phenomena as seen by a camera.

    In this class we study how light behaves when it meets different surfaces such as skin, metal, wood and marble etc. Knowing how to construct shaders to emulate these diverse surfaces and the manner in which light is absorbed, refracted and reflected on them is the cornerstone of the lighting and rendering arena. Think for instance of Gollum in LOR or the latest Hulk, their skin textures were quite convincing, and the reason why is that the shader “writers” spent many hours studying the different qualities of skin, how it light responds to it, getting lots of references with which to inform their work and then creating shaders to reproduce that look.

    In order to produce the best possible project lighting and rendering is top of the list. There is a demand in the animation world for those who have lighting and shader construction as their primary skill. It’s in demand because few really understand the deeper concepts of shader construction and rendering, and can do it well. It’s a great opportunity for getting into the industry.
    —-
    By Robert Appleton, New York Film Academy 3D Animation Instructor

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    February 18, 2009 • Acting • Views: 2677