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A Q&A With Acting Alum Chandrika Ravi on Her Favorite Projects and Admiration For Indian Cinema

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Chandrika Ravi took the Indian film industry by storm after debuting in the 2018 Tamil comedy blockbuster Irattu Arayil Murattu Kuthu, immediately followed by the Tamil thriller, Sei.

Among other things, Chandrika is a UNICEF India Ambassador and was the first Indian to place in the state finals of Miss World Australia. She also has an active modeling career, appearing in international magazines and international campaigns for brands like Schwarzkopf and Beauty Blender.

NYFA spoke with the Acting for Film alum on her budding career, her admiration for Indian cinema, and the actress’ future projects.

New York Film Academy (NYFA): You grew up in Australia, but you are well known in the Indian film industry. How did you make the jump to begin a career in India?

Chandrika Ravi (CR): I had been getting a few movie offers in India already after I had competed in Miss World Australia and Miss Maxim India; but made my first work trip in April 2016 to try and scope out my options to see if it would be something that I would really want to do, especially as I had just settled down in Los Angeles. By July of that year, I was back in South India shooting my first Tamil film titled Sei, and have been shuttling back and forth between India and Los Angeles almost monthly ever since having already completed four South Indian films. 

NYFA: But you also decided to study acting. What brought you to New York Film Academy?

CR: Moving to Los Angeles had always been a dream of mine ever since I was a little girl as I started learning acting and dancing from the age of three. I came to Los Angeles to research the various schools that were out here and my father and I actually found NYFA, and I immediately knew that was where I wanted to continue my studies in acting. 

NYFA: The Indian film industry is one of the largest and most diverse in the world, with so many different languages present and representation across multiple regions. What do you love most about working in the Indian film industry? For those who have yet to discover the Indian film industry, what films would you recommend they watch to introduce them to Indian cinema?

CR: Having been brought up learning classical and folk Indian and western dance styles my whole life alongside undertaking my studies in acting; that is honestly what I love the most about being in the Indian film industry. Of course, not every film is in the musical genre, but for someone who loves both; it is a dream come true to be able to perform both my passions in front of the camera. Two films that I would recommend that have always been the absolute favourite that I think captures the beauty of our culture, country, dance, colours, and sounds are Devdas and Ram Leela. The cinematography, choreography, costuming, dialogues, and sets are beyond beautiful! 

[caption id="attachment_17452" align="aligncenter" width="640"] Photo by Derec Ethan

NYFA: What would be your dream project to work on?

CR: My dream project to work on both in India and in Hollywood would be a biopic film. I would love to be a part of a cross-cultural period piece like Troy that can give the western world an insight into our Indian history and mythological stories. 

NYFA: From modeling to acting, you’ve done a lot across the industry. Do you have a favorite of the two? 

CR: I would definitely say that acting is my favourite. Modeling has always been a hobby of mine, but acting has always been my first love. I definitely do think they both compliment each other as they both require you to know your angles, how to carry yourself, body language, and how to caress the camera. 

NYFA: You recently shot Un Kadhal Irundhal; did you shoot any scenes during the pandemic? As the world waits for the film’s release, can you tell us more about it and what you hope audiences will enjoy about the film?

CR: Luckily we were able to finish production on Un Kadhal Irundhal before the pandemic hit, but unfortunately our release date has been delayed due to the closure of theatres around the world. This film is something I am very excited for the world to see as I play a role that’s very different from what audiences have seen me play. It is a thriller film, with a great storyline and follows the story of the main character Neha, played by myself, as she maneuvers her husband’s secret plot to exploit her to create the storyline for his next film. 

Poster for Un Kadhal Irunthal

NYFA: Do you have any other upcoming projects that you can tell us about?

CR: I am currently working on an original scripted show, in which we were able to fine-tune the script with the time spent at home during the pandemic; alongside getting ready for pilot season starting back up over here. I am really looking forward to being able to get back to Indian cinema as soon as it is safe to travel back. Apart from that, I am still continuing my advocacy work with UNICEF India and the other charities and causes I work with; and spending more time this year alongside other South Asian artists in bridging the gap and creating stronger ties between the east and west, especially in the entertainment industry. 

NYFA: What advice do you have for incoming NYFA students after your experience?

CR: My advice for incoming students would be to soak every little thing in. Every moment in class, the people around you, the professors; especially those who are going to continue their careers in their own countries. The experience, knowledge, and memories will stay with you forever. The classes were so interactive and learning from professionals who are also still working in the industry was incredible. It was such a pleasant experience and I look back on my time at NYFA very fondly.

New York Film Academy would like to thank Chandrika Ravi for taking the time to share more on her career and looks forward to the upcoming release of Ravi’s latest film Un Kadhal Irundhal.

Will the Force be with Lucasfilm Games?

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StarWars.com recently announced that they would be starting up Lucasfilm Games, the new brand-heading for all video games Star Wars-related. The 1-11-21 press release says that Lucasfilm Games would be working “with world-class development teams across the industry to tell new tales in the Star Wars galaxy and beyond.” But what does this rebranding mean for Star Wars games, the game industry and… is it even necessary?

The announcement makes Lucasfilm Games sound like it will be structured similar to Marvel Games; in that, it is a division that manages internal and external stakeholders.

Photo Credit: LucasFilm Games

What the announcement doesn’t mention is whether Lucasfilm Games will be resurrecting their game development team. The last time there was a Lucas-led production team was when LucasArts Entertainment – that team that not only created classic Star Wars games but also created original licenses including Grim Fandango, Full Throttle, and the Monkey Island series. Sadly, LucasArts was closed in 2012 and some believe that Star Wars video games haven’t been the same since.

In 2010, Disney partnered exclusively with Electronic Arts to make Star Wars games. Some critics are saying the rebranding is an attempt by Disney and Lucasfilm to distance themselves from Electronic Arts, who has come under fire from the gaming community. A similar tactic was used by Warner Brothers with EA who used the brand “Portkey Games” for all EA created Harry Potter games.

The EA Star Wars games have garnered poor reviews, with the controversy stemming over loot boxes and product delays and cancellations of high profile titles. In the ten years they’ve had the exclusive license, EA has only released five major Star Wars games – Battlefield II, Jedi Fallen Order, Star Wars Squadron, The Old Republic: Knights of the Eternal Throne, and the mobile title Galaxy of Heroes.

The sizzle reel released with the Lucasfilm Games announcement focused on these EA games as well as the upcoming titles: Lego Star Wars: the Skywalker Saga – a reimagining of the classic Lego Star Wars console games – and several Star Wars-themed expansions for The Sims, Fortnite, and Minecraft.

If distancing from EA is the case for the rebranding, Lucasfilm’s worry isn’t justified. Most fans and players of Star Wars games are sophisticated enough to know that EA and Lucasfilm are two different entities. The problems of one don’t necessarily reflect on the other. And for us older Star Wars fans, we realize that there will always be bad Star Wars games and good Star Wars games. For every Star Wars Rebellion, Star Wars Kinect, and Star Wars Super Bombad Racing, there is a Star Wars: TIE Fighter, a Star Wars: Knights of the Old Republic, and Star Wars: The Force Unleashed.

In the end, it doesn’t really matter what Lucasfilm’s game division calls themselves, just as long as they keep making games worthy of the Star Wars license.

To learn more about the Game Design School of New York Film Academy, click here.

From the Military to New York Film Academy: A Q&A with the US Navy’s Eric Brown and Michael Kunselman on NYFA’s Division of Veterans Services

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New York Film Academy (NYFA) recently enjoyed virtually sitting down with two of its esteemed colleagues, Eric Brown and Michael Kunselman, to learn more about their military experience, how they were attracted to the film industry, and the visual and performing arts education that NYFA provides. Both Brown and Kunselman also discussed their roles as members of the NYFA Division of Veteran Services (DVS).

New York Film Academy (NYFA): What branch did you serve in, and what were your primary responsibilities?

Eric Brown (EB): I served in the United States Navy and my primary responsibilities consisted of but not limited fulfillment of the roles of a Gas Turbine Technician mechanical, craftsman/maintenance man, and shipboard firefighter. However, in the Navy as an engineer, there are multiple collateral duties that are assigned and must be treated with the same initiative as your primary function.

Michael Kunselman (MK): I was an Air Traffic Controller in the U.S. Navy for seven years. 

NYFA: What was your transition like when separating from the military and entering into civilian life? When did you plan to pursue higher education and why?

EB: I think each veterans’ transition is unique, as each journey is unique to the person on it. So, I would classify it as such. It was a hard road filled with a lot of mistakes and misplaced trust but holding tight to Navy core values and the training helped me land on my feet. It took me about a year before pursuing an education and I’m truly glad I did. 

MK: I knew that I wanted to segway right into school after the military but was unsure of what I wanted to study. I attended a local community college after the military for a couple of years and knocked out my general ed classes before learning about NYFA.  

Eric Brown onboard USS Stethem DDG-63

NYFA: How did you initially learn about New York Film Academy? What were the major reasons that led you to choose NYFA for your education?

EB: I learned about the New York Film Academy through my brother, in which we were supposed to embark on this journey together in filmmaking & screenwriting. However, he decided to continue to serve instead. What led me to choose the New York Film Academy was the hands-on instruction I heard about and I had recently started doing some acting, so I wanted to see if I could really harness such a skillset. 

MK: A fellow Navy Veteran that I had met on a film set let me know about the New York Film Academy. I found the admissions process and getting into the classroom rather seamless when I first attended NYFA. The pre-set curriculums were great in that I didn’t have to worry about selecting the appropriate classes in my degree program and worry about being at full time.

NYFA: What programs did you attend at NYFA? What were your favorite elements in the discipline of your study? What was your biggest challenge? 

EB: My primary focus was learning as much as I could through taking the Associates of Fine Arts in Acting for Film and then applying what I learned to the industry. So, for me, my favorite discipline was and will always be acting. However, nothing comes easy and there were some challenges. In Acting you have to be open to vulnerability, to emotions, to chaos almost; so, it would seem. These are none of my favorite things and I never really knew much about emotions growing up. I’m from Miami Florida, it’s really not in our DNA but it was a challenge, so I accepted it and went there. 

MK: I graduated from the Bachelor of Fine Arts in Acting for Film program. I really enjoyed that the core classes were throughout the duration of the program and that I didn’t have to take a number of semesters of only General Ed and Liberal Arts and Sciences classes before taking acting classes.

One of the challenges, in general, is that you have people that are trying to get into the industry and in school for the wrong reasons. People who just want the stardom and to walk the red carpet and that don’t have a true love for the craft that goes into being a successful visual and performing artist.

Michael Kunselman onboard the USS Kitty-Hawk CV-63

NYFA: Tell us how your military experience and your NYFA education have impacted your goals in the industry as actors? 

EB: The level of training and discipline I received from the military created the spear sharp enough to break through any barrier (i.e. the entertainment industry) and I would say, NYFA (through Acting) helped create a powerful thrust for proper execution. So, my advice to vets who may be interested in NYFA. Take a look at what it has to offer, the community of veterans that whole-heartedly love what they are doing, sharpening their skillsets, and telling the stories we’ve waited so long to tell. 

MK: The discipline I learned while in the military and the education from NYFA sets you up with the tools to succeed in an industry as brutal and competitive as the film industry. It’s an industry where you have to be on the grind and constantly be working at your craft and getting yourself out there.

NYFA:  How has your experience in the military helped you in your current position within the DVS?  

EB: My mindset from the military was and still is that I can do anything that I set my mind to accomplishing. That’s what they prepare you for if you’re paying attention. It’s hardening your mind for a less than gentle reality that there may come a time where you have to do this job or that job and have all of these responsibilities, atop of your full course meal. The military helped prepare me for whatever may come my way, which is now assisting my fellow veterans who are interested in studying at NYFA — as well as those who enroll –with their transition into education 

MK: My experience having served in the military; it really helps with connecting with veteran students at NYFA and understanding their needs. Being able to be as transparent as possible with the information on the school helps in that development of trust and chemistry building. Do your research on the film industry and the different schools first and foremost. The New York Film Academy has a hands-on approach to teaching visual and performing arts. You will be on your feet and have your hands on a camera in no time and will get that on set experience in your production workshops. Being able to shoot on the Universal Studios Backlot at the Los Angeles Campus is a unique experience that is exclusive to the New York Film Academy. 

Eric Brown & Michael Kunselman with NYFA Veteran-students at the screening of the Documentary Film, “The Unknowns”

NYFA: Please tell us about the services that the NYFA Division of Veterans Services provides to veterans and how it supports them? 

EB: The DVS provides an abundance of resources to all veterans, dependents, and their spouses. NYFA’s DVS has a full-service mission to help the veteran community with transitioning out of the military, support through the admissions process, connecting veterans with counseling services resources within the community, special events including Master Classes and VA benefits briefings, and industry resources. While students focus on the classroom, we create an environment of supportive resources such as internships, networking events, scheduled outings, or guest speakers, through the NYFA Veterans Advancement Program, which is Chaired by the honorable Colonel Jack Jacobs, an American hero and recipient of the Medal of Honor.  

MK: The NYFA DVS has a number of resources and contacts available to help veterans in many different ways, including post-graduation employment. The DVS is constantly looking to grow its resource and contacts network. The DVS has worked with the local Vet Centers, VA, and a number of veteran non-profit organizations to provide a number of workshops and benefit information sessions. Lionsgate, Paramount, Disney, Casting Society of America (CSA), Warner Brothers, Hire Heroes USA, and many others have visited our campus to help our veteran students on ways to enhance their careers and take them to the next level. We have been proud to have helped NYFA veteran-students find employment and internships at top companies in the industry including Lionsgate, NBCUniversal, and CBS. 

The entire New York Film Academy community expresses appreciation to Mr. Eric Brown and Mr. Michael Kunselman for their service to our nation, and for their support of veteran-students at NYFA. If you have any questions or would like to learn more about NYFA’s Division of Veteran Services (DVS), click here. 

Star Wars, Marvel, and More: Your Ultimate Guide to Disney Investor Day Announcements

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It’s been quite an eventful year for Disney. Like many, they were left trying to figure out a whole new theatrical release model for big-budget films like Mulan in the midst of the pandemic and pushing their new streaming service platform, Disney+, to the forefront to compete with the likes of Netflix, HBO Max, Amazon Prime, and others. 

They stole our hearts with Baby Yoda (sorry, we still won’t be calling him Grogu) in Star Wars spinoff, The Mandalorian, as part of their slate of first original programming, nabbed Broadway darling Hamilton for a streaming event so epic that it made even your typical non-musical fans sing “The Schuyler Sisters,” and they dropped two massive music events for the most prolific artists of the last decade, Taylor Swift (Folklore: The Long Pond Sessions) and Beyoncé (Black is King).

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Enter Disney Investor Day; boy did Disney deliver. The Mouse paraded a whole lineup of new shows, movies, and company announcements that would send any fan of pop culture into media overload and make any company executive jump up and down from all the intellectual property that is about to be put on display. Don’t worry, if you’re feeling overwhelmed, you’re not alone. Let’s break down some of the highlights. 

1) It’s all about numbers, and Disney has them: 137 million global paid subscriptions, to be exact, which includes:

  • 11.5 million ESPN+ subscribers
  • 38.8 million Hulu subscribers
  • 86.8 million Disney+ subscribers

Disney plans to see these numbers rise tremendously by the 2024 fiscal year, with projections of 300–350 million total subscriptions, driven primarily by a significant increase in content output.

(Photo Credit: Disney)

2) “Content is King,” and Disney is coming for the crown: Disney announced that they would be targeting 100+ new titles per year on Disney+. Yep, you read that right. For Disney+ alone, Disney revealed an impressive slate of content spanning across the Disney, Pixar, Marvel, Star Wars, and National Geographic catalogs. They also announced that they would be releasing some feature films in theaters and Disney+ simultaneously.

Some of the top content announcements included:

  • Star Wars getting the Marvel treatment: Easily one of the biggest surprises of the day was Lucasfilm president, Kathleen Kennedy, announcing a slate of 10 Star Wars series stretching into 2023 for Disney+, the most aggressive creative expansion of the franchise since Disney acquired Lucasfilm in 2012. The theatrical film, Star Wars: Rogue Squadron, was also announced with director Patty Jenkins attached as director. Taika Waititi has also been attached to an unnamed Star Wars feature film. Probably the biggest Star Wars news of the day, however, was the return of Hayden Christensen to play Darth Vader alongside Ewan McGregor in the Obi-Wan Kenobi series, sending fans into a frenzy. 

  • Avengers may be over, but Marvel is just getting started: Starting off Marvel’s Phase 4 is WandaVision, The Falcon and The Winter Soldier, and Loki. Joining the previously announced lineup, Disney announced three new series for Disney+ including the Samuel L. Jackson-led Secret Invasion, Ironheart with Dominique Thorne as a genius inventor, and Armor Wars, starring Don Cheadle as James Rhodes. She-Hulk is here; starring Tatiana Maslany as lawyer Jennifer Walters. “Guardians” fans will be happy to hear that James Gunn will return to write and direct The Guardians of the Galaxy Holiday Special for Disney+, and everyone’s favorite baby tree will get his own series in I Am Groot. Marvel Studios also revealed that Black Widow will be released in theaters, Christian Bale joins the cast of Thor: Love and Thunder, Black Panther 2 will retire the character of T’Challa in memory of Chadwick Boseman, and Nia DaCosta (Candyman) will direct Captain Marvel 2.

  • Pixar is still focusing on quality over quantity: While Pixar’s latest film, Soul, will launch on December 25 on Disney+, Pixar revealed three new films: Lightyear, an origin story starring Chris Evans; Luca, set in a seaside town of Italy, arriving in theaters June 2021; and Turning Red, which follows a 13-year-old girl with the ability to transform into a giant red panda.

  • Disney Animation is Bringing Your Favorites Back: Zootopia Plus, a series based on the little-seen creatures of Zootopia, will arrive on Disney+ in spring 2022; Baymax!, featuring the robot of Big Hero 6, will be released in 2022; Moana will be receiving a long-form musical comedy series spinoff; and Tiana, based on The Princess and the Frog, is also getting a spinoff. Raya and the Last Dragon will receive a day-and-date release in theaters and on Disney+ Premier Access on March 5, 2021, and Lin-Manuel Miranda will be writing music for Pixar’s new Columbia-set musical comedy Encanto.

  • More titles announced: The Sanderson Sisters will return in Hocus Pocus 2; Noah Hawley is developing an Alien series for FX; Andy Samberg and John Mulaney will voice our favorite chipmunks in a reboot of Chip and Dale: Rescue Rangers; and Will Smith and Chris Hemsworth are each getting their own National Geographic shows. Lucasfilm is also rebooting Willow with Warwick Davis returning as the beloved character, with Jon M. Chu announced to direct the pilot. 

This only scratches the surface. Check out all of Disney’s upcoming content here.

3) Star power: The media giant also announced that it will be launching another general streaming service called Star for the international market as a fully-integrated part of Disney+ that will launch in Europe, Canada, Australia, New Zealand, and Singapore as early as February 23, 2021. Star will feature more adult-orientated content from the company’s ABC, FX, Freeform, Searchlight, and 20th Century Studios brands.

In short, Star will act like a service similar to Hulu, which Disney CEO Bob Chapek mentioned has “no brand awareness” outside of the U.S. Star will also include aggregated third-party content (likely from Hulu) and will instead focus on shows that Disney owns, as well as content that does not fall into other licensing arrangements on a global scale.

4) Latin America is getting its own version of Star: In the offshoot of Star, a standalone streaming service, Star+, will launch in June 2021 and will feature Disney’s umbrella of general entertainment content and live sports. The decision for Star and Star+ is said to be a result that followed the launch of Disney+ Hotstar in India in April 2020 and Indonesia in September 2020. 

For years now, Disney has sold its ABC shows to linear broadcasters and local streaming services around the world. So, essentially, Disney has a massive web of content to untangle when it comes to acquiring certain rights for content again, which is why Star is the answer to that solution…for the time being. 

In conclusion, the ambitious business moves from Disney prove that it is ready and willing to do whatever it takes to expand and compete with other streamers. With more than 137 million subscriptions worldwide, in a world where shows and films are now being launched at any moment on a streaming platform, Disney has shown they are committed to developing their intellectual properties (IP) to keep their viewership intrigued and gain more subscribers.

Q&A With The Academy Director of MultiChoice Talent Factory East Africa Academy and NYFA Filmmaking Alum Njoki Muhoho

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Njoki Muhoho is a lover of growing organizations to support people and takes pleasure in scripting and producing films, so don’t ask her to choose one career over the other. The Kenyan native is a member of the International Emmys, the Academy Director of MultiChoice Talent Factory East Africa, runs her own production company, was profiled by Business Daily Africa this year, and was named by the Women in Film Awards as the ‘Most Influential Women Personality’ in the Kenyan film industry. 

Earlier this year, NYFA had the opportunity to ask the MultiChoice East Africa Academy Director about her career behind the camera, studying at NYFA, and advice for aspiring filmmakers and creatives. 

Njoki Muhoho during MultiChoice Networking Portal

New York Film Academy (NYFA): Can you tell us more about yourself and what brought you to study at New York Film Academy back in the early 2000s?

Njoki Muhoho (NM): I am from Nairobi Kenya and I am the Academy Director for Multichoice Talent Factory EA. (MTF).  MTF is the film academy for Multichoice Africa Group.  We have 4 hubs. South Africa- Johannesburg, Southern Africa – Lusaka, East Africa – Nairobi, and West Africa – Lagos.  

In East Africa, our Hub caters to Kenya, Uganda, Tanzania, and Ethiopia.  I’m also the founder of – Zebra Productions Kenya Ltd where I am the Executive Producer. I have been in the film industry for about 18 years and I have a dual career in Management Consultancy, including a Pricewaterhouse background with 30 years of experience in Organisation Development. 

From my school days, I always enjoyed, creative writing. In 1996, while busy with my consulting career, Multichoice/Mnet launched a scriptwriting competition and I had never seen a film script let alone know a filmmaker. But I was confident in my ability to tell a story, so I entered the competition and ended up becoming the national winner. I remember thinking, ’This is a fluke or I might have innate talent.’ I then promised myself that one day, I would take at least a six-month sabbatical and go away to learn filmmaking. I also promised myself that I would have to learn with the experts, no matter how much it cost. 

For over two years, I quietly researched. I wrote to institutions and finally decided on NYFA. I choose Los Angeles based on the weather. I did not want to experience a cold winter in New York!

NYFA: After finishing your studies, what was that transition like coming back to Kenya?

NM: There was fear that I may not get opportunities to apply the highest level of sophisticated skills that I had learned and I worried about how I would fund my productions. In the middle of planning for upcoming productions, I also needed to go back to consultancy just to make ends meet. 

NYFA: Can you tell us a bit about your current positions (MultiChoice, Zebra Productions, Emmy’s) and what it’s like juggling all of them? What keeps you inspired?

NM: Multichoice Talent Factory – Academy Director: This was an advertised and competitive job, but I got it. I run the academy of 20 students. The academy is a practical film immersion for adult students who already have a maximum of 2 years of experience in filmmaking.

Zebra Productions Kenya Ltd: I am the founder of this company. I was commissioned to produce the first high-end drama series in E.A by Mnet (Multichoice), I was also Co-Executive Producer for 75 made-for-tv, feature films for Multichoice channels. My first fully owned drama series, Mama Duka, won the prestigious Best Indigenous Film/TV Series East Africa 2014. It later went on to win four more awards. 

International Emmys:  I am a Member of the International Emmys. The only East and Central African.; a situation I am working hard to change. I have just endorsed 12 of my colleagues in the industry to join the International Emmys. I have also done Jury work for the International Emmys for the last four years. I find the experience very enriching and it provides a benchmark of the quality of content. I attended the International Emmys Festival and Gala last year. It was very educational with fantastic networking opportunities. 

NYFA: What are your goals and what’s next for you?

NM: To ensure I streamline MTF and find a successor. Then, I will put full-time work in my production company. I want to produce proudly and authenticate African content for International and local audiences. I need to produce more. 

NYFA: What did you learn at NYFA that you are applying or plan to apply directly to your work?

NM: Plenty. Set standards in your work and stick to them. Let it be your brand. Tell your stories. Understand why others tell their stories in their own way (e.g. the Hollywood template), but not to copycat but, instead, benchmark and tailor. At the time, I was the only non-American student in my class. I constantly insisted on translating skills learned into Africa content. Not always easy, but I feel I stayed true to who I am, and learning from practicing filmmakers was an amazing experience. 

NYFA: What advice would you give to students just starting out at NYFA?

NM: Be truthful to yourself and your background. Learn everything and then learn more. There is more to learn at NYFA than just what is in your super busy schedule. Have curiosity. Talk to other students in other departments. Be open-minded. Accept criticism of your work as a means to grow. Don’t waste time defending yourself.  Even when you do not agree, still learn how to do it differently.  Criticism of work comes hard-hitting at NYFA. Have a thick skin and a light attitude. Keep the contacts; they will come in handy later in your career.

New York Film Academy would like to thank NYFA alum Njoki Muhoho for taking the time to share about her life, experiences in the industry, and the importance of staying truthful when creating.

Q&A With NYFA Cinematography Graduate Naeem Seirafi on Joining The International Cinematographers Guild and His Advice for Incoming Students

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Iranian-born Naeem Seirafi got his first taste of being on set when he was 19 years old and quickly began to realize that the world of cinema was where he belonged. His most recent work as director of photography includes In This Gray Place and 1st Born starring Val Kilmer and Denise Richards. Seirafi attended the NYFA’s inaugural MFA Cinematography class in 2011 and has since joined the International Cinematographers Guild (IASTE Local 600).

NYFA had the opportunity to catch up with the cinematography alum to joining the International Cinematographers Guild, his advice to incoming students, and what work is really like behind the camera.

Prime DNA Lens Test with Naeem Seirafi

New York Film Academy (NYFA): First, can you tell us a bit about yourself, where you’re from, and what brought you to New York Film Academy?

Naeem Seirafi (NS): I was born in Iran, and I’m currently a US Citizen. I went to engineering school in Iran while I was establishing a name as a set photographer in the Iranian cinema. My first professional set experience was in 2003 when I did my first feature film as a set photographer at the age of 19. In 2010 when I came to the US, I knew it was time for a bigger challenge. I started looking up film schools in LA immediately after my arrival. I was looking for a program that was focused on cinematography and had the most hands-on experience. New York Film Academy became my top choice, and I’m really happy about the decision I made.

NYFA: Why have you decided to focus on cinematography?

NS: My dad is a photographer, and as a kid, I always had the privilege of playing with his cameras, lenses, and unlimited rolls of 35mm film. There was always something unique about taking a picture, making sure to get all the technical aspects right, and at the same time try to tell a story in one frame. When I was 18, I started my professional career as a set photographer. A couple of years later, the director I was working with on his feature film, asked me to start thinking about making a career switch to cinematography. He mentioned that he liked my compositions, choices of lenses, color grading, and framings better than what his cinematographer was doing at the time. I knew it wasn’t an easy task but I also knew that it’s not impossible. My goal was to finish engineering school and make this switch after I arrive in the United States.

NYFA: How did your career change after joining the IATSE Local 600 guild?

NS: From the moment I started my career as a cinematographer, I realized that I need to belong to a bigger family of filmmakers who have been doing this for decades. By joining ICG (International Cinematographers Guild), I’m now assured that I can have a future in the film industry. The rights, wages, health plans, overtime rules, and any other musts that can go missing in film productions, are always there. I also knew that in order to be able to accept offers from an IATSE affiliated project, I need to be an active member. In general, it’s always good to have a union behind you. 

Val Kilmer (Left) and Naeem Seirafi (Right) on the set of “1st Born”

NYFA: Can you tell us about the features you’ve DP’d on?

NS: In 2019, two of my feature films got released on major VOD networks. One is called In This Gray Place, a drama suspense genre that was shot in one location. Aleksander Ristic, Rudi Womack (my fellow NYFA alumni), and I decided to make a feature film in a garage which we used to build our main set, a bathroom. We’ve worked on multiple projects together, and I’m glad our latest collaboration worked out really well.

My other feature film is called 1st Born, starring the iconic actor Val Kilmer, with Robert Knepper, Tom Berenger, Denise Richards, and Taylor Cole. It’s a fun comedy project we shot here in LA. This movie also was shot mostly in sound stages with limited shooting days. 


NYFA: How is your process different when shooting a feature vs shooting a short film?

NS: No one would think this but sometimes shooting a short film is more challenging than shooting a feature film. When shooting a short film, you’re supposed to tell a story in a way shorter timeline compared to a feature film. Other than that, you might have limited equipment, crew, number of days, and even access to the locations you’re using. I’ve shot 24 short films so far, and I really enjoyed working on every single one of them. At the end of the day, it’s all about who you are collaborating with.

On the other side, when shooting a feature film, you have more time to visualize what’s written in the screenplay. By the time I finish reading the script for the first time, I’ve already shot it once in my head by visualizing it scene by scene. That’s also when I know if I would want to work on the project or not. As a cinematographer, I’m looking for projects that are challenging, and I can bring more dynamics, visuals, and creativity to the table. A bigger and more professional crew would certainly ease the process of making a feature film. Unfortunately, I had to turn down two projects last year.

Phil LaMarr and Naeem Seirafi on set for “Diamond Dayze”

NYFA: What other projects are you working on or do you plan to work on?

NS: At the moment I’m in the late development stages of 2 feature films. One is called My Favorite Season and it was my first ever large-format movie. It was shot on Alexa 65 and Prime DNA lenses, and the same package will be used for the feature version.

My second project is called The Bishop’s Man. It’s a drama based on the best-selling novel, and that is as much information as I can give at the moment. 

NYFA: What did you learn at NYFA that you apply directly to your work?

NS: Almost everything I needed to start my career as a cinematographer, I learned at NYFA. Thanks to Michael Pessah who was running the cinematography program at the time, we were able to practice and learn a lot of basics, and techniques, especially on 35mm film. There is a lot that you can learn in film school, that you may not be able to learn on a film set. There is no margin for mistakes and errors on a real film set, especially if you’re the head of your department. At the end of the day, it’s all up to the students, to decide how much and what they want to get out of the film school. Learning is a never-ending process in our careers.

NYFA: What advice would you give to students just starting out at NYFA

NS: As I said, it all depends on the student to make the most out of the program they’re attending. You can learn from every single moment and person while at school, even your classmates. NYFA is a big nationwide and worldwide family. They should take advantage of this opportunity. While you’re a student, there are a lot of open doors, resources, equipment, and people who are willing to help you. Even a lot of rental houses, studios, and post-production companies would help you as a student to make your movie. I’m sure you’re going to miss all that once you are out of school.

New York Film Academy would like to thank NYFA alum Naeem Seirafi for taking the time to share more about his career, what life is like behind the camera, and for sharing advice to incoming students and creatives alike.

NYFA Alum Francesco Panzieri on What It’s Like Being The Compositing Supervisor on a Netflix Film

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Netflix’s upcoming release of the holiday musical feature film Jingle Jangle: A Christmas Journey (“Jingle Jangle”) will see NYFA alum Francesco Panzieri among the film’s credits as the film’s compositing supervisor. The film was released by the streaming giant on November 13, 2020, release, and audiences are already loving the whimsical film from director David E. Talbert. 

Panzieri has had an extensive career since attending NYFA’s 3D-Animation & VFX conservatory program and has contributed to over 20 feature films and 50 television series. Some of his credits include Once Upon a Time…In Hollywood, Star Wars: The Force Awakens, The Fate of The Furious, Avengers: Infinity War, Westworld, and Spiderman: Homecoming to name a few.

Francesco Panzieri

The NYFA alum’s latest work will be featured in Jingle Jangle, a holiday musical by Talbert, starring Forest Whitaker, Keegan-Michael Key, Phylicia Rashad, Anika Noni Rose, and Hugh Bonneville; with songs by EGOT winner and celebrated recording artist John Legend. The film follows a former joyful toymaker (Whitaker) who is rejuvenated in his love of creativity for his craft when his curious granddaughter appears on his doorstep one day.  

Panzieri worked as an in-house compositing supervisor for Jingle Jangle, leading a team of artists who completed over 230+ shots of post-visualization since they began their work on the film in October 2019. Once the post-visualization was finalized, Panzieri, along with his in-house visual effects team (INH), moved onto production shots, working from beginning to end on shots that are meant to be in the final cut. Panzieri and his team then completed over 70 shots, spanning from clean-ups to set extensions to color correction to split screens to retime. “The team went above and beyond and everyone on the VFX production side was very pleased with our work,” shared Panzieri. 

Still from a scene in “Jingle Jangle” (Netflix)

Panzieri had the opportunity to share more about his experience working on the film with New York Film Academy and the process of leading a team as the Compositing Supervisor on the Netflix Film:

“We (INH) spent the first 5-6 months on post-visualization, focusing on the 2nd & 3rd act of the movie, namely the Magic Man G sequence and the Tunnel Escape sequence,” he revealed. “In light of the multiple audience screening tests that were scheduled on our way forward, we did several interactions each time on both sequences depending on the feedback received from Netflix and the audience.

Keegan-Michael Key in Netflix’ “Jingle Jangle” (Netflix)

For the Magic Man G (MMG) sequence, we were presented with the cut of the sequence that editors Michael Tronick and Joe Galdo put together. We paid attention to what David E. Talbert was asking us, and animated & composited accordingly the Whirly Twirly to bring flow and life to the sequence, and to connect the choreography of the audience with the flying toy that Gustofson is introducing to them, including the malfunctioning and crash at the end. Once we had a lock on the sequence in terms of animation, timing, positioning, look, we sent our work to Framestore Montreal (one of the several VFX vendors on the show), who dived head-in into the sequence, and started working on it from scratch, using our post-visualization renders as basically blueprints to masterfully build the final visual effects for each shot. The MMG sequence is my favorite part of the movie, with some incredible music, lyrics, and acting/dancing by everyone, especially by Keegan-Michael Key.

For the Factory Escape (FAC), we had to design the entire sequence from scratch.

It was gracefully shot entirely on blue-screen, and it had nothing but the two characters (Journey and Edison) rigged and secured to the wooden chest. INH built the 3D assets for the tunnel, matching roughly the parts that were built on set, and then did all the animation and composites for each shot. On my side of things, I also managed to keep the entire edit of the sequence open separately and literally laying on top of each blue screenshot of our composites, slowly managing continuity and look. That’s where the sequence started coming to life. 

Still from “Jingle Jangle” (Netflix)

We delivered each draft of the sequence to the editors, they re-arranged things on their side in terms of swapping shots around, adding repos, camera animations, and then sent out the movie each time for the audience screening. Our work was always welcomed warmly during every screening. John Legend and his daughter came twice to the office to watch the movie, and Luna seemed to really enjoy and dig the sequence, so we knew we were on the right path. From there on, Framestore Montreal took our work and once again brought it to final quality with fantastic finesse. 

Once we finalized post-visualization (230+ shots), INH moved onto production shots, which means working from beginning to end on shots that are meant to be in the final cut, so the real deal. We completed over 70 shots, spanning from clean-ups to set extensions to color correction to split screens to retime. The team went above and beyond and everyone on the VFX production side was very pleased with our work.

Still from “Jingle Jangle” (Netflix)

Sadly, Covid-19 hit right as we started working on those final shots, so we had to relocate and work remotely from home for the rest of the project, which meant having so many production meeting prior to leaving the office, in order to make sure everything was planned and taken care of. It was a challenging but stimulating situation to be in, figuring out for example the length of network cables that each artist needed, or testing the internet connection speed for everyone in order to make sure that we could do downloads/uploads and Cinesync reviews in a timely fashion. I was also requested to assist/consult VFX production for the purchase of a workstation for our director David E. Talbert, in order for him to review all the work from home. Production purchased for him exactly what I had advised to them, shipped it to me in order to configure it and set it up with all the necessary software for reviews, and I eventually ended up going to his residence to install it, do a first dry run test with my remote team, and explain David every bit and piece on how to run things properly.

JJ was: photographed with spherical Signature Prime lenses on Alexa Large-Format at full-aperture resolution (4448×3096), worked on at 4k-flat resolution (3996×2160), finished in DI at 4k-UHD resolution (3840×2160). Real 4k movie. Additionally, graded in Dolby Vision and mixed in Dolby Atmos for the most immersive viewing experience.”

Forest Whitaker in “Jingle Jangle” (Netflix)

With COVID-19 hitting right as Panzieri and his team started working on the final shots, like many companies, they had to relocate and work remotely from home for the rest of the Jingle Jangle project. With the new change of scenery, Panzieri was requested to assist/consult VFX production for the purchase of a workstation for the film’s director, David E. Talbert, in order for Talbert to review all the work from home, to which Panzieri himself implemented in the director’s home successfully with the help of his remote team. 

“Working on this film was an amazing experience that allowed me to learn so much,” shared Panzieri. “The strenuous teamwork and love that everyone involved in this feature poured into it couldn’t make us prouder. I feel that the final result looks really dazzling, just like a true Christmas movie should look, and I hope that Jingle Jangle will turn into a holiday classic to enjoy with family and friends for years to come for audiences of all ages.”

New York Film Academy would like to congratulate Francesco Panzieri on his involvement in Netflix’s Jingle Jangle and encourages everyone to check out the holiday film when it gets released on Friday, November 13, 2020, and to see why the Magic Man G sequence in Jingle Jangle is Panzieri’s favorite part of the film. 

Q&A With NYFA Filmmaking Alum Somasekhar “Som” Kovvuri on Becoming a Filmmaker, Working With His Wife, and Producing “Freddie’s Piano”

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In 2018, Somasekhar “Som” Kovvuri decided to leave his job and pursue his dream of finally becoming a filmmaker. With a younger son in Berklee College of Music in Boston, Kovvuri, encouraged by his family, was also back in school at NYFA’s New York campus to study the filmmaking craft. 

NYFA caught up with one of its own just as Kovvuri is in the middle of screening his latest film Freddie’s Piano at the Scottsdale International Film Festival to discuss his film and what the director has been up to since attending NYFA. 

NYFA filmmaking alum Somasekhar “Som” Kovvuri

New York Film Academy (NYFA): Thank you for taking the time to speak with us Som! For those who may not know, can you share more about your film Freddie’s Piano?

Somasekhar Kovvuri (SK): Freddie’s Piano is about two recently orphaned brothers trying to make sacrifices to fulfill each other’s perceived needs but finally realizing all they need is each other. As time progresses the film depicts how they balance their grief, their responsibilities, and life’s normal activities in their unique ways.

NYFA: How did you get involved as a producer? What was it like working alongside your wife for this project?

SK: Being our first film, it was a great learning experience being involved as a producer.  My work experience in the corporate world fortified my belief that if you get a good team together, give them independence, and remove obstacles it results in success.  Lisa and I followed the same principle with this film. I also stepped into the role of casting director. I was truly fortunate in connecting with KM Music Conservatory in Chennai and finding Pranav to play the role of Freddie.

Film poster for “Freddie’s Piano” (Poster art by Lisa Kovvuri)

On the set, Lisa (my wife) and I were mostly behind the monitor. Being a portrait painter, she could appreciate the intent of our art director and cinematographer and helped me understand them better. It was great working alongside her and I am happy with the painting she did of Freddie and Aden in their piano ties for our poster. 

NYFA: How do you feel now that your first feature film has been accepted into the Scottsdale International Film Festival?

SK: I was happy with how the film turned out but was not sure how objective I could be, so I feel extremely glad that the film got accepted into the Scottsdale International Film Festival. It validates my initial thought that we made a good film. Oscar-winning composer, Mr. A.R Rahman (Slumdog Millionaire), even tweeted our trailer with congratulations.

NYFA: After initially completing your course at NYFA and before completing Freddie’s Piano, what did you work on?

SK: Just one project. During the course, a fellow student, Aakash Prabhakar (also director of Freddie’s Piano), pitched his idea for a film about two brothers. I liked it and agreed that I and my wife Lisa would produce the film. After the course, we started working on the script for Freddie’s Piano, then location hunting, casting, acting workshops, and producing. This year we began submitting to film festivals and now looking for a buyer.  While he was finishing the post his film, Aakash juggled a few plays including Visiting Mr. Green by Jeff Baron in different cities in India. Incidentally, M.K. Raina who plays the lead role in this play was also the lead in the film 27 Down, a film by Awtar Krishna Kaul that initially revealed to me the powerful nature of film when I was a teenager. 

Behind the scenes shooting “Freddie’s Piano”

NYFA: What kinds of projects do you want to get involved with in the future?  

SK: I would like to get involved with feature films with a good story to tell.  Hailing from a village in India and living in many cities around the world puts me in the fortunate position of having understanding and access to a wide range of locales, stories, talent,  and languages that I can choose from.   

NYFA: Do you have any upcoming projects? 

SK: I am currently focused on the distribution of Freddie’s Piano, Aakash is working on writing his next film, and my two sons are excellent musicians from the Berklee College of Music. The thought of a film with creative use of music has crossed my mind but nothing concrete yet.

Lisa Kuvvari on set of “Freddie’s Piano” (Courtesy of Somasekhar “Som” Kovvuri)

NYFA: Is there anything else you would like us to know? 

SK: I must say that the NYFA filmmaking course gave me a lot of confidence. The projects simulated real movie-making conditions (as I found out during the filming of Freddie’s Piano) and it was immensely helpful. The instructors are experts in their crafts too. While I benefited from many, I would like to thank the following teachers in particular: Andi Deliano, Ben Cohen, Austin Smoak, Till Neumann, Moebius Simmons, Shiek Bey, Kris Kato, Heng-Tatt Lim, and Davide Berardi.

New York Film Academy would like to congratulate NYFA alum Somasekhar “Som” Kovvuri on Freddie’s Piano being selected to be part of the Scottsdale International Film Festival and looks forward to news on distribution and what’s next from the Filmmaking alum.

Q&A With NYFA Producing Alum Max Peltz on the Role of a Producer and His Recent Documentary Releases ‘In The Cold Dark Night’ and ‘Bad Hombres’

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UK native and co-founder of Lone Wolf Studios Max Peltz has had a bustling career since he finished his 1-Year Producing program at NYFA in 2013. From learning about what it meant to even become a producer to starting his own company, Peltz has become a prolific producer and writer in his own right working with distributors like ABC, Hulu, and Showtime to name a few.

Ahead of the release of his latest project Bad Hombres (for Showtime), New York Film Academy caught up with the Producing alum to learn more about his recent projects, his time at NYFA, and what it means to be a producer.

NYFA Producing alum Max Peltz

New York Film Academy (NYFA): What made you decide to pursue a career in producing?

Max Peltz (MP): I’ve always loved watching films, but I was also incredibly curious about the work and team effort that went into actually making a film. Two of my cousins were film producers, and I would spend hours talking to them about their craft. By the time I started university in the UK, I knew I wanted to be a producer.

NYFA: What made you decide to come to New York Film Academy?

MP: After studying Business and Marketing at university, I knew that I had to become a producer. First, I first needed to learn what the job entailed and the various roles that come together to make a film. I found the New York Film Academy through online research and was impressed by the diverse number of courses and the producing curriculum. I made the right choice! In particular, Neal Weisman, Nick Yellen, and Lanre Olabisi taught me a huge amount about the art of producing. Neal and Nick put a lot of care and time into their curriculum and students, while Lanre gave me my first opportunity in production. I’m so grateful to them for this.

NYFA: What advice would you give to any incoming students?

MP: Three things I would say to any incoming student are:

  1. Listen
  2. Take notes
  3. Take every opportunity that comes your way. Attention and hard work are the key ingredients to success in any career. Opportunities are the only variable you can’t control, so always take them on.
Poster for ‘In The Cold Dark Night’

NYFA: Can you tell us more about your documentary In The Cold Dark Night and where people can watch it?

MP: Yes! In The Cold Dark Night examines both the 1983 and 2018 investigations into the murder of African-American man Timothy Coggins. The film highlights how one era enabled this crime to go without punishment and how the other attempts to bring justice decades later. It features a 360-degree view of all people involved within the case, conveying themes of hope and resilience. It’s available to watch on ABC/Hulu in North America and on Sky Documentaries in the UK.

NYFA: How did you get involved on the project? What inspired you to write/produce it?

MP: Almost three years ago in October 2017, I was watching a football match when my iPhone suddenly lit up with the CNN headline: “Cold case no more: Police arrest 5 in ‘torturous’ 1983 slaying.” At the time, I was unemployed, I had just finished a short film, and I was looking for stories that interested me both on a personal level and ones where I could also make a difference on a broader, societal and cultural level. As anyone will and should know, race relations is such a painful subject in the world right now. Its history in the South, in particular, is frightening. As the nights passed on and on, I kept thinking of the article I had read. So I decided to do something about it. I contacted the key contributors and, later that month, I flew out to Griffin, Georgia, where I met the key contributors in the story from the Sheriff, District Attorney, Georgia Bureau of Investigation (GBI), and Timothy Coggins’ family. The rest is history. We filmed for the whole of 2018 and initially thought of it as a four-part series, but once we got into the edit, we eventually decided to structure it as a feature film. It’s essential to always be adaptable in this industry as trends and formats are ever-changing.

Still from ‘In The Cold Dark Night’

NYFA: With so much discourse right now and momentum surrounding systemic racism, why was it important that people see this project?

MP: It is important for precisely the reason you mention. The message, which most resonated with me from the Black Lives Matter movement, is the one of education. Making this project educated me on the history of racism in the United States—in particular the South—and I feel that everyone should be aware of this history and how it is still very much widespread in the present day. Being aware of systemic racism is the start of making a difference. Then the hard work begins.

NYFA: What other projects have you worked on?

MP: After finishing the NYFA producing program, I worked on a feature film, Somewhere in The Middle, directed by Lanre Olabisi and then interned at A24 and Jean Doumanian Productions. 

In 2014, I moved back to London, which is where I fell into the documentary space. I worked on several documentary films for the BBC including, Decadence and Downfall: The Shah of Iran’s Ultimate Party (2016), Unknown Male Number 1 (2017), and Oink! (2017). 

Following this, I decided to start producing freelance, my first project being the docuseries Hacker: Hunter (2019), available on tomorrowunlocked.com. Now, my business partner Stephen Robert Morse and I run Lone Wolf Studios in the UK, and we are developing several unscripted and scripted projects.

NYFA: For those who may not quite understand the role of a producer – what would you tell them a producer does, in your own words?

MP: It’s a great question. A producer is a person who has to anticipate problems before they happen, as well as solve them when they do happen. They have to support their director to realise their vision; that can be creative support as well as organisational support. They’re responsible for the hiring and firing, the fundraising and budget, the pitching and shopping. Simply put, a producer is involved in every step of the way and every single area of the project. A producer makes sure that there is a working system in place, from the inception of a project to delivery.

NYFA: What makes you excited about a project?

MP: Stephen and I founded Lone Wolf Studios with the principal aim to tell commercial, hard-hitting, and character-driven stories that create lasting social and cultural impact. All of the films we eventually decide to work on must be smart, entertaining, and impactful. They have to be stories which we are passionate about.

Still from ‘Bad Hombres’ (Photo credit: Courtesy of SHOWTIME)

NYFA: Can you tell us about your latest project Bad Hombres for Showtime and any other upcoming projects you may be working on?

MP: Yes! Our documentary Bad Hombres airs Friday, October 16 on Showtime. The film looks at a professional Mexican baseball team who play half their home games in Laredo TX and half their home games in Nuevo Laredo Mexico. They have to cross the border by foot each time they play in the US. Our amazing director, Andrew Glazer, presented this project to us back in January 2019. We instantly fell in love with the story and the characters, and asked our team at CAA to start setting meetings. Showtime was the first meeting we had and, fortunately, they commissioned it a few months later. I produced with Stephen and Andrew.

The story has so much heart coupled with the overarching political issues between the USA and Mexico. Tune in tonight! It’s also available on-demand thereafter.

We also have a scripted limited series set up with Fuqua Films, Propagate, and CBS Studios, based on a book we optioned last year, and lots of projects in development! It’s essential to always have a pipeline of projects.

NYFA: Any advice you’d like to share for working in the industry?

MP: I would encourage any aspiring filmmaker/producer never to get too beat up by criticism. It’s an incredibly difficult industry to break into, but you have to work hard, stick to your convictions, and you will be fine. Consider it a journey rather than a career.

New York Film Academy would like to thank Producing alum Max Peltz for taking the time to share about his experience at NYFA, his career as a producer, and his recent projects. Peltz’s upcoming documentary Bad Hombres premieres on Showtime on October 16, 2020 at 9 PM ET/PT.