The 1-Year Conservatory in Documentary Filmmaking is the flagship program of NYFA’s Documentary Filmmaking Division.
Learn to make films by making films.
One-year intensive and extremely hands-on.
Award-winning filmmakers teach new filmmakers through workshops, lectures and real-time mentoring as students make their own films.
Make 6 short nonfiction films and digital media pieces and develop a TV series.
Faculty work has won and been nominated for multiple Academy Awards and Emmy Awards, among many top honors.
Alumni have won an Emmy Award and been nominated for Emmy and Academy Awards. They have been honored at major film festivals around the world including Sundance, Cannes, Berlin and Toronto Film Festivals.
Graduates of a short term NYFA Documentary Workshop
NYFA Documentary Workshop tuition is deducted from Conservatory Tuition.
Films made in the workshop can be submitted as part of an application for a Talent Based Award.
Professionals ready to pivot and finally pursue their documentary dreams
Alumni include former teachers, journalists, military veterans, researchers, anthropologists, and motion picture professionals of various stripes. Others have had jobs in international development, technology, criminal justice, and higher education, among many others.
College aged students who aren’t ready to start college can spend a year making documentary films.
Alternative to college
Some students choose the Conservatory over traditional academics.
Single intensive year vs multi-year investment.
Focus solely on the practice of non-fiction filmmaking.
Make a movie, change the world (a little bit).
Alumni have used documentaries and nonfiction content to create real change.
Because the world is awesome and documentary filmmaking can be an exceptional passport.
Many fiction filmmakers got started by making documentaries.
Others move back and forth between the two.
Graduates of a different discipline
Students have come with degrees in business, social sciences, journalism, psychology, international studies, the arts, health sciences, and information technology, just to name a few.
Some use documentaries to share their vocation with a broader audience.
Others want an additional area of expertise.
MFA in Documentary Filmmaking
Apply to our 2-Year degree program offered on the Los Angeles campus.
Our intensive curriculum prepares candidates with advanced knowledge about independent documentary filmmaking.
Apply for credits from a New York City 1-year non-degree program for advanced standing in the MFA program.
Fall ’22 is the next start date for the second year.
6-Week Documentary Filmmaking Workshops
Start dates slated for February, May, July and September.
Introduction to the basics of Documentary Filmmaking.
Created for students who can’t take a year off for the Conservatory.
Some try out a workshop and before the Conservatory.
Graduates of Online Workshops who want an intensive, live experience.
Elsabet Ademe was born in Ethiopia, and as a teenager, she embarked on the most dangerous journey of her life – traveling the treacherous smugglers’ route toward the West, living in several countries, and working in each one to save money. Her goal was to make it to the United States to pursue a career in film. Years later, Ademe is a U.S. citizen and BFA graduate from New York Film Academy with an active career in Los Angeles.
Acting for Film Alum Elsabet Ademe
“I had a dream of becoming an actress since I was six years old, so when I got a chance to follow my dream, I decided to go to school first,” said Ademe. “I did my research about a film school, then I came across the New York Film Academy in 2014. I took the Acting for Film 1-Year Conservatory program in New York, then I did few theaters in NYC. In 2016, I moved to LA and started the NYFA’s Acting for Film BFA program.”
After Ademe graduated in 2018, she picked up acting, casting directing, producing, and writing projects. Her first web series pilot, The Bartender, got picked up by PAN Africa Film Festival.
Ademe recently wrote a book called Behind Sunrise, based on true events, which is available on Amazon, Barnes & Noble, and more. The book’s synopsis reads:
The story of the bright and positive, yet ferociously determined, Sarah Belay.
Sarah is a sixteen-year-old Ethiopian girl with big dreams. She wants to travel to Europe to pursue the arts. However, she has a huge problem – her family is dead set against it.
When she hears the man who drives her to school talk about human smuggling, her ears perk up. She knows what she’s going to do. Weeks later, in the dead of night, she leaves her home to embark on a journey that dramatically changes her life.
With little information from her transporters, Sarah travels the perilous off-road paths toward Sudan in the care of suspicious and increasingly cruel men. The battle for survival brings out the worst in some, and the incredibly good in others as a bond forms between some of the travelers.
Arriving in Sudan, Sarah finds work and saves money for what she believes is the most dangerous leg of the journey – the long trek through the Sahara Desert and into Libya. The passage, however, is a nightmare far worse than anything she could have imagined. Abandoned by the smugglers in the vast barrenness of Al Kufrah, the friends escape and hire a local Libyan smuggler to get them to Tripoli.
Instead, he takes them to the middle of the desert and into even more life-changing dangers. Will Sarah survive the journey to reach her dreams? Or will the circumstances beyond her control destroy her?
Ademe will appear in the short film Raine on the Run, which is slated to be released later this year and will continue to expand on her acting and writing skills for the future. “I’m Ethiopian so English is my second language and I have learned a lot to develop my writing skills, while also building a network through NYFA,” shared Ademe. “I discovered myself at NYFA and through me, I can do anything.”
In pre-production and during a shoot, Arjun Ravi has one of the toughest jobs for a film; communicating a director’s vision to the audience as a cinematographer. Like other DP’s (Director of Photography), he is tasked with giving the audience an accurate portrayal of the director’s ideas, characters, settings, and emotions, which are integral elements for any film.
Originally from the state of Kerala in Southern India, Ravi graduated from NYFA’s Los Angeles campus in 2017 after completing a 1-Year Conservatory Program for Cinematography. “NYFA has great exposure to many renowned lecturers and guests from the industry,” he says, “which got me interested to join the course even more.”
After graduating, Ravi brought the hands-on skills he learned in his cinematography course back to India with him, where he has gone on to shoot three feature films and is currently in production on another.
Official film poster for ‘The Kung Fu Master’
One of Ravi’s more recent films, The Kung Fu Master (Directed by Abrid Shine) is a vengeful action film shot in Auli, India, where Ravi remembers filming for four months in negative degree temperatures with a short amount of time for shooting in daylight (8:00 a.m. – 4:00 p.m.). The film itself was martial arts heavy, requiring an even more specialized way for Ravi to shoot since he was capturing action sequences. Ravi, who shot the action-packed film with a handheld camera, describes filming each scene for The Kung Fu Master as a “breathtaking” experience.
“Each scene had to be captured in multiple angles in very few takes, as the actors would get extremely exhausted very quickly due to the lack of oxygen.” In addition to the meticulous detail for shooting the action sequences, Ravi also focused on capturing the environment for the film to convey the director’s tone and sense of place. “A lot of historical places were captured in the film to bring out the beauty of the state [in India] where we were filming.”
From the fast-paced action of The Kung Fu Master, Ravi then pivoted to his next project, Vaanku, which was “a completely different style of story compared to The Kung Fu Master.” Ravi worked alongside female director Kavya Prakash to tell a more concentrated, character-driven story about four ambitious young women in a coming-of-age drama.
“We shot the feature in 29 days. The lighting felt more sophisticated, yet simple at the same time, which gave the movie the look it needed.” Vaanku, which was originally slated to be released in 2020, has since pushed back its release date due to the COVID-19 pandemic.
All of Ravi’s feature films that he has shot are all considered part of the Malayalam film industry. “Malayalam, to those who may not know, is a language spoken in the southern part of India majority in Kerala, also known as “God’s own country.” Ravi shares that the Malayalam film industry is well known for its scripted films and famous actors, including Mohanlal (Manjil Virinja Pookkal,Rajavinte Makan) and Mammooty (New Delhi). Other well known films that have come from the Malayalam film industry include Kalapani (1996), Manichitrathazu (1993), Killukkum (1991), and many more.
As for what’s next for Ravi, he is currently in production on his latest film, Jillampeppere. He also shares that some of the best advice to becoming a great cinematographer is focusing on your lighting, framing, and, most importantly, knowing what the director needs.
Arjun Ravi shooting ‘The Kung Fu Master’
“I listen to the story a few times from the director before we head out for some location scouting.” Ravi notes that there are additional discussions surrounding topics like “the color pattern we would use on the house, for the film as a whole, and the other properties involved with the film.” One of the final parts of Ravi’s process with the director includes making “the shot division [list] according to the dates of the location and the actors, while also taking into account whether there are any action scenes or any kids on the set that day; which means we will need have more time and care.”
New York Film Academy would like to congratulate Cinematographer Arjun Ravi on his success in the Malayalam film industry and looks forward to seeing more from the NYFA alum in the coming future.
When Angolan filmmakers Fradique (a.k.a. Mario Bastos) and Hugo Salvaterra, a NYFA Fulbright student, met in high school, little did they know it would be the beginning of a friendship and collaboration that would continue into adulthood, where they would both be studying at the New York Film Academy, and take them to the prestigiousWe Are One: A Global Film Festival. Created by the Tribeca Film Festival as a fundraiser for organizations addressing the world’s COVID-19 crisis, We Are One includes selections from top festivals such as Cannes, Berlin, Venice, and Rotterdam.
Air Conditioner, Fradique’s first fictional feature as writer and director,will premiere on YouTube on Saturday, June 6, 2020, at 11:45 am Eastern. It will then become available on demand for seven days afterwards. Attending the premiere is free, but donations are welcome.
Crickett Rumley, NYFA’s Director of Film Festivals, caught up with Fradique and Hugo right before the festival and asked them about their experiences.
Fradique on set of ‘Air Conditioner’ (Photo Credit: Cafuxi)
Rumley:Congratulations on this amazing success. Fradique, could you tell us more about Air Conditioner and how it came to be?
Fradique: This is actually a project that I had started writing a couple of years ago while I was developing what was supposed to be my first fiction film, The Kingdom of Casuarinas. Air Conditioner was kind of a side project that eventually ended up becoming my first fiction film, which for me was a big lesson on how in our line of work these things take many years. Sometimes the next one is not the one you thought it would be. The film was written by me and the director of photography, Ery Claver, who is a very talented filmmaker and someone that sees cinema as I do.
Air Conditioner is a magic neo-realistic journey through downtown Luanda, Angola, where we follow Matacedo, a security guard of an old building, while he tries to retrieve his boss’s AC in a city where all the AC’s are falling. This is a film about loss, how we live together as society, and a critique of social classes in a city that is past-present-future. My biggest inspiration for this film was my own life experience growing up and living in many different buildings in downtown Luanda and also the idea that these invisible workers that are the heart and soul of our city should be main characters on the stories we watch on the big screen.
Rumley: What was the most challenging thing about making the film? What did you learn in the process?
Fradique: The film was produced and shot with a very small crew, almost guerrilla-style, so letting go and accepting what surroundings are offering you was my biggest challenge and lesson. Usually in all my projects, I try to be as meticulous as I can regarding the script, storyboard, and shooting plan, but with this film we wanted to work not only with non-actors, but also with the real location where the story takes place, the building. In the end, the film resulted from creative acts derived from a deep structure. It privileges character and location over traditional narrative. The improvisation in this project was not simply a free flow of expression, but a rigorous and disciplined act of playing from a given structure at its core. I believe that this mixture was essential to bring some raw and poetic experiences to the screen while pushing at the same time stronger performances from the cast.
Film poster for ‘Air Conditioner’
Rumley:The film premiered at Rotterdam, which is an amazing place to launch. What was that experience like?
Fradique: Yes, the film had its World Premiere at the Rotterdam International Film Festival in the section of ‘Bright Future Main Program’ in 2020. For me, it was an honor to have the first festival screening at IFFR. It was my second time over there and I love and stand for everything that the festival believes. A lot of filmmakers that inspire me have been at IFFR; it’s a great home for the global south cinema. The feedback after the screenings exceeded my expectations, which were very low because I was very tired after a year of working on the film. We had five screenings and they were all sold out before the festival even started. The audience in Rotterdam are very generous and authentic cinephiles. We had great reviews at The Hollywood Reporter, The Guardian, and other local newspapers. The original soundtrack, which was composed by Aline Frazão for the film, was one of the elements that reviewers and the audiences mention a lot. She did an incredible job, and I believe the music in the film brought to the surface the soul of the main character, Matacedo, as well the city of Luanda.
Rumley:Fradique and Hugo, what are you each looking forward to with the film’s screening at We Are One?
Fradique:How this festival was put together still amazes me. We Are One offers a global audience easy access to great films and conversations about filmmaking. It’s free, yet it’s also open to donations to fight against Covid-19. For me as a filmmaker in the current crisis that was an important criterion to join this initiative because it has bigger concerns than defending a particular festival or film. It shows how important it is to work and act collectively. We are all still learning and trying to figure out what the future of independent cinema and festivals will be, but it’s important to try new formats and be open. I hope at the festival Air Conditioner reaches audiences that probably were not going to watch this film or simply give someone who is at home a small pleasant journey to Luanda, Angola.
Hugo:Personally, I’m mostly proud of the company’s achievement, amazed at the scale and sheer diversity of the festival. After attending many festivals like Tribeca, LA and NY film festivals or even the Venice Biennale, this feels like the most diverse and representative curatorship I’ve seen thus far. It truly represents cinema and independent cinema as a planetary global experience. It also gives me added hope that the usually non-English, non-western filmmaking voices can also be heard on a global scale for a more democratic and inclusive future for all independent filmmakers.
Filming ‘Air Conditioner’ (Photo Credit: Cafuxi)
Rumley:Let’s backtrack for a minute to the beginnings of your collaboration. How did you meet and start working together? Was it attending NYFA, or back at home?
Fradique: I met Hugo while I was still in high school here in Angola. Afterwards we went to study abroad. He went to Europe, and I went to the US in 2004 where I did NYFA’s 1-Year Filmmaking program and also a BFA at the Academy of Art in San Francisco. Once I got back to Angola in 2010, I started a production company called Geração 80, with Jorge Cohen and Tchiloia Lara. Hugo was one of the first artists to come on board at Geração 80. Our production company will celebrate 10 years this year.
Hugo:I met Fradique in the cocoon of our high school here in Luanda, Angola, in our youth. If my memory doesn’t fail me, I think I formed a kinship with him when I was still in university in Lisbon making music on the side. He showed some interest in shooting a video for a small EP I had made in my bedroom, something I never expected, and it meant a lot at the time. Our connection really took off when I joined Geração 80. I did my first job for the company while I was living in London in the end of 2011 then joined in early 2012, way before NYFA. I was still an aspiring filmmaker, writing film reviews and working mostly with photography. A memorable day is when I first made it into his bedroom, shortly after arriving from London. Large sections of his DVD film collection mirrored mine. That’s when I realized that more than a friend, I had found a brother through our shared passion for film.
Rumley:Hugo, what was your position on ‘Air Conditioner?’
Hugo: I was fresh from returning to Angola post-NYFA and figuring out how to promote my film “1999” here in Luanda. In an independent production company, a lot of sacrifices have to be made in order to make things happen. So I was focused on the commercial end of the company making sure that my colleagues could enjoy the freedom and necessary focus to produce and shoot the film.
On set of ‘Air Conditioner’ (Photo Credit: Cafuxi)
Rumley:Your production company sounds really interesting. Can you describe it, how you work, what you do, how you started it?
Fradique:We will celebrate a decade next month. We started only with three people, and today we are a group of eighteen professionals working in the audiovisual industry in Angola. At the beginning the goal was to just make cinema, but soon we realized that we had to do other work to survive. In Angola there’s no film funds or initiatives, so being able to put together a production company that does not only cinema, but commercial and corporate work gave us the resources to be able to build a great team and acquire top equipment to make us more independent. Over the last ten years, we produced one feature fiction film, four feature-length documentaries, six short films and worked on a couple of international co-productions. When it comes to producing our films, we work very much like a collective. Everyone works on each other’s projects, and we only finish a film when it reaches an audience. We don’t make films to be put into drawers, we believe independent/author cinema should meet bigger audiences as well. We are tired of seeing our film theaters only with Hollywood films. We want not only more Angolan cinema in our theaters, but also African cinema.
Hugo:For me the real beauty of being part of this collective is also that, all of us, despite our differences, are committed to the power of movies, storytelling and all its magical elements. Our aim is to make movies, not products, which is increasingly more difficult in a time where everything is commodified either through likes or commerce. Making movies for us is not a job, it’s a way of living. We are in essence not in the movie business, but in the business of making movies. It’s our passion and desire to make films that informs the process and the how and that to me is special.
Rumley:How do you think your education at NYFA and the work you did here prepared you for a career in filmmaking?
Fradique:NYFA gave me the foundation of what it means to be an independent filmmaker. Learning how to work collectively on other classmates’ projects and at the same time experience different positions on the set was fundamental for me to be able not only to fully understand the craft and the importance of every person on set, but also l to later on have the resources to open up a production company in my home country. On top of all that, I did my one year program almost entirely on film. We only did one main digital project with a MINI DV, no REDs at the time. Everything else was in 16mm, and each gave me more confidence as a director in the beginning of my career.
Hugo:I was already in my early 30s when I made it into NYFA, so I almost missed the window to becoming a filmmaker. I’m very grateful for the two years spent there, particularly in New York, where I was able to find the confidence and tools not only to learn what filmmaking is, but also find my artistic voice. Los Angeles was different but essential in learning a more formal, business-oriented way of producing films. There, I focused more on how to write a feature within a more conventional three-act structure and developed technically on set, playing with the vocabulary of film in a way that made me a much stronger filmmaker.
Filming ‘Air Conditioner’ (Photo Credit: Cafuxi)
Rumley:Do you have any special shout-outs to faculty or staff who really helped or inspired you?
Fradique:I have great memories of teachers like Tassos Rigopoulos and Claude Kerven. Together with my fellow classmates, they represent the best first lessons I had about filmmaking.
Hugo:Brad Sample’s capacity to analyze, deconstruct and mentor, Ben Cohen’s humor, intellect and love of film history, Rae Shaw’s production acumen stand out. Sanora Bartels, Greg Marcks, and Robert Taylor for teaching me the science of script writing. There are others I’m sure, but those stand out.
Rumley: What advice do you have for recent graduates making their way in to the professional world?
Fradique: As it became easier to have the resources to make films, also it seems more difficult with so many options to follow or trying to keep up with all the trends and gadgets. My advice would be don’t get stuck on the gear, to spend more time and make meaningful connections and partnerships with the people you work with. Watch a lot of films and think collectively, that’s the root of filmmaking. Surround yourself with people that are different from you but have the same passions, values towards art and don’t forget the best stories are found at home, wherever that might be.
Hugo:Filmmaking is a mansion with many rooms and it’s very easy to get lost wandering in it, figure out what your strengths are and sink into what and who you are. By that I mean, what do you bring to a story, a set, a crew, a production company? What are you making films for? If you’re able to answer that, regardless of success or failure, you will find the nourishment you need to carry on.
Cast and Crew of ‘Air Conditioner’ including NYFA Alumni Fradique and Hugo Salvaterra (Photo Credit: Cafuxi)
Rumley:These are trying times in the world today, and art matters more than ever. Do you want to share any words about the importance of film in the lives of humans living right now? The role of Angolan film in world cinema?
Fradique:The world we have today is the result of the same and single story being told for centuries. We need more diversity behind the cameras and in what see on the screen. We need to remember that culture, art, is not mere entertainment or something to disconnect us from our daily life online. Be aware not only of your country’s borders, but your social and society borders as well. Cinema is more than a mirror; it is art and memory with all the senses, feelings and its lapses. Let’s take care of our memories.
Hugo: At its core, film is still the only art form that explores what it means to be human. It’s not the imitation of life, it is the imagination of everything life could be. In a time when the very existence of organized human life is at stake, we have to make sure, now more than ever, that the films we’re making get to the core of that exploration. There is a war raging that isn’t new, one that is fought between commerce and the full potential of film as an art form. It’s an age-old battle, where there will always be those who will try to define films as a monolith, by creating markets and monopolies where the overarching definition and structure of a film is the same and where its success is only measured by if it won anything in a festival or how much money it made vs. the whole history of the art form, where the writers, directors and producers made a film because they wanted to birth something that was urgent, as a way of life, as means of catharsis, beyond conventions of class or structure. Filmmakers have made the history, inside big studios or the smallest of spaces, with the biggest crews and the most skeletal ones, by understanding and studying film history and the art form. Angola is a young country and is showing potential to create both types of films, both profit-driven ones and ones that channel and respect the history of film as an art form. We champion the latter.
Rumley:Anything else that you would like to say to the NYFA community?
Fradique: Be safe and be informed. If you have the chance, watch Air Conditioner at We Are One: A Global Film Festival starting June 6th.
Rumley: Congratulations! We wish you the best with your We Are One screening and in all your endeavors. Keep making art; keep telling your stories. They matter.
New York Film Academy would like to thank Fradique and Hugo Salvaterra for taking the time to speak about their new film, Air Conditioner, and congratulates them on the premiere of their film at the We Are One Film Festival.
UPDATE June 19, 2020: Fresh off their screening with the We Are One Global Film Festival, Fradique and members of his crew and production company, Geração 80, will join Crickett Rumley, NYFA’s Director of Film Festivals, for a discussion of their film Air Conditioner on June 25, 2020.
New York Film Academy (NYFA) Acting for Film alum, Natasha Thahane, stars in her biggest role to date as Wendy Dlamini, an opinionated, “woke” high school student, in the Netflix teen drama Blood and Water. The South African drama series was released on May 20, 2020 and is available to stream as part of Netflix’s “Originals” lineup.
Netflix poster for ‘Blood and Water’
Thahane was born and raised in South Africa and graduated in 2018 from NYFA’s New York City campus after completing her 1-Year Conservatory program in Acting for Film. She has appeared in television series such as Skeem Saam, The Queen, and Lockdown, and serves as a brand ambassador for Garnier Fructis.
NYFA alum Natasha Thahane as Wendy Dlamini in Netflix’s ‘Blood and Water’
The Netflix series takes place in South Africa and centers around teenager Puleng Khumalo, who transfers to the prestigious Parkhurst College after suspecting that one of the students there is actually her long lost sister, who was abducted at birth. In addition to Thahane, the series boasts a leading female cast including fresh faces Ama Qamata, Khosi Ngema, Cingy Mahlangu, and Gail Mabalane. The series is also directed by South African female director Nosipho Dumisa, who previously directed the critically acclaimed film Number 37.
Natasha Thahane while doing promotion for ‘Blood and Water’
Blood and Water is six episodes long and is being hailed as “the next Gossip Girl” by Glamour Magazine, so there is already hope for a season two.
New York Film Academy would like to congratulate Natasha Thahane on her new starring role and encourages everyone to check out Blood and War, now available to stream on Netflix.
Due to the COVID-19 pandemic, TV news programs around the world have changed the way they operate. Our own NYFA News is no exception. All NYFA classes have moved online. Plus, our student producers/reporters face the challenge of creating a news program while everyone in New York is encouraged to stay at home, and all of us are expected to maintain “social distancing.”
This makes their accomplishments especially impressive, as they have found innovative ways to produce solid, information-based stories. They are also shooting entirely on-location, transforming NYFA News into a reporter-driven program.
The skills NYFA students learn can take them in a number of different directions. For Grace Shao, that includes time spent reporting for China Global Television Network (CGTN). She then joined CNBC, based in their Singapore bureau. She is now a media consultant and creative director for PayPal’s podcast series focusing on business innovation in the Asia Pacific region. She is also the Hong Kong Chapter Lead for SoGal, the largest global platform for the education and empowerment of diverse entrepreneurs and investors. (You can read more about SoGal’s mission in the New York Times.)
If you live in or visit Stockholm, you’ve probably heard the voice of NYFA grad Emilie Olsson, a radio news anchor for Bauer Media, so it’s probably not surprising that she explored the relatively new field of podcasting. She created Älskade Psykopat (Beloved Psychopath).
When asked about the podcast, Emilie says,”in the podcast we meet men and women who anonymously tell their story or experiences they’ve had with a psychopath or narcissist. It could be in a love relationship, family or at work. Here, real stories are highlighted that rarely can otherwise take place, and my hope is that the podcast will help, support and change!”
She was also recently featured on the TV4 morning show in Stockholm. Congratulations Emilie!
Imorse vad jag med i Nyhetsmorgon och berättade om min podd "Älskade Psykopat" som släpptes förra veckan! 🙂 I podden möter vi män och kvinnor som anonymt berättar sin historia eller erfarenheter de haft med en psykopat eller narcissist! Det kan vara inom en kärleksrelation, familjen och på jobbet. Här lyfts verkliga berättelser fram som sällan annars får ta plats och min förhoppning är att podden ska hjälpa, stötta och förändra! I veckans poddavsnitt möter vi Relationsexperten Michael Larsen som berättar mer om det här viktiga ämnet! Hela tv-inslaget finns att se här: https://www.tv4.se/nyhetsmorgon/klipp/att-dejta-en-psykopat-saknar-empati-12603932
It is always exciting when the paths of two NYFA grads cross. Bryanna (“Red Carpet”) Reynolds moved from Melbourne to Los Angeles last year. And while LA is a big place, she found herself interviewing fellow Broadcast Journalism alum Alisa Arvind. Alisa, now a published author, is using the communication skills she developed at NYFA as a life coach and motivational speaker.
This week we began offering a 4-Week Online Broadcast Journalism workshop. There are people around the world who want to study at NYFA. But for many, travel isn’t currently an option. Others need to stick close to home because of family commitments and work. Now there is a 4-Week Broadcast Journalism Workshop for them too.
New York Film Academy’s (NYFA) Graphic Design School has always been committed to developing the next generation of well-trained and successful designers. These students are prepared for an industry that has grown exponentially since the turn of the century, with more opportunities than ever before for skilled graphic designers to find professional work while also expressing themselves in an artistic, creative fashion.
Some of NYFA’s very own 1-Year Conservatory Graphic Design alumni have spent the past year since their graduation, continuing to learn and improve upon their skill sets as they each continue to build their impressive portfolios as professional designers.
Carl Dempsey is currently interning at Big Star Studio, a digital design firm in New York City that focuses on ground-breaking design and production. Big Star is well known for their creative sequences for Westworld, Game of Thrones and the documentary Free Solo. While Dempsey studied at the Academy, he focused on motion Graphics.
Carl Dempsey during his Graphic design showcase at NYFA
Cheryl Lin is now a Senior Designer at MTG, a design firm in New York City that provides custom high-level design solutions based on years of experience, creativity, knowledge and understanding of the current competitive climate. During her time at NYFA, Lin explored her passion for print, interactive and motion design. To view her graduation portfolio, click here.
Jose Taira is currently a Designer at FLUZ App, an app that aims to disrupt the global retail shopping experience through various consumer touch points. During his time at NYFA, Taira’s focus was print, interactive and motion design. To view his graduating portfolio, click here.