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NEW YORK FILM ACADEMY



Filmmaking

• Organization Directory Page
  (includes titles of all evaluated learning experiences, organization description, and source of official student records)

• Titles of all active evaluated learning experiences in Filmmaking

• Descriptions and credit recommendations

Descriptions and credit recommendations

FIL101 One-Week Digital Film Camp
Location: New York Film Academy, 100 East 17th Street, New York, NY
Length: 48.5 ((1 week).
Dates: June 2008 - Present.
Objectives: Experience through immersion the filmmaking process.
Instruction: Each student will make one short depth film employing basic film language.
Credit recommendation: In the lower division baccalaureate/associate degree category, 1 semester hour in Filmmaking (7/08). NOTE: This course overlaps in content with FIL103, FIL 103-D, FIL104, FIL 104-D, FIL106, FIL108, FIL112 and FIL112-D. The maximum amount of recommended credit for any combination of these courses is 7 semester hours. Further, these courses overlap with the One-Year Filmmaking Program. If a student progresses to the One-Year Program, only the recommended credits in the One-Year Program should apply.

FIL103 Three-Week Filmmaking Workshop
Location: New York Film Academy, 100 East 17th Street, New York, NY
Length: 100.5 hours (3 weeks).
Dates: June 2008 - Present.
Objectives: Combine basic elements of filmmaking to create and tell stories through moving images; apply fundamental writing, directing, shooting, and editing concepts to the making of mise-en scene, continuity, and music films; light simple scenes; execute different shots that combine to forward the story and action; use lighting and music to enhance the overall mood of the story; edit content into a finished product utilizing their understanding of beats, rhythm, mixing and other editing skills; use a developing critical eye toward the viewing of their own and other’s work; and identify and analyze the mechanics and artistry of motion picture storytelling; write, direct, and edit short films from a technical and artistic perspective.
Instruction: This workshop explores introductory principles and concepts of filmmaking through hands-on, intensive training. Students study mise-en scene, continuity, and music and montage filmmaking. Students learn to incorporate the fundamental principles of the craft to successfully tell stories with moving images. This workshop is ideal for the novice or beginner filmmaker, who wants to take the next step in their filmmaking education.
Credit recommendation: In the lower division baccalaureate/associate degree category or in the upper division baccalaureate degree category, 3 semester hours in Filmmaking (7/08). NOTE:This course overlaps in content with FIL101, FIL 103-D, FIL104, FIL 104-D, FIL106, FIL108, FIL112 and FIL112-D. The maximum amount of recommended credit for any combination of these courses is 7 semester hours. Further, these courses overlap with the One-Year Filmmaking Program. If a student progresses to the One-Year Program, only the recommended credits in the One-Year Program should apply.

FIL103-D Three-Week Digital Filmmaking Workshop
Location: New York Film Academy, 100 East 17th Street, New York, NY
Length: 100.5 hours (3 weeks).
Dates: June 2008 - Present.
Objectives: Combine basic elements of digital filmmaking to create and tell stories through moving images; apply fundamental writing, directing, shooting, and editing concepts to the making of mise-en scene, continuity, music, and narrative films; light simple scenes; execute different shots that combine to forward the story and action; use lighting and music to enhance the overall mood of the story; edit content into a finished product utilizing their understanding of beats, rhythm, mixing and other editing skills; use a developing critical eye toward the viewing of their own and other’s work; and identify and analyze the mechanics and artistry of motion picture storytelling and documentary filmmaking; write, direct, and edit short digital films from a technical and artistic perspective.
Instruction: This workshop explores introductory principles and concepts of digital filmmaking through hands-on, intensive training. Students study mise-en scene, continuity, and music and montage filmmaking. Students learn to incorporate the fundamental principles of the craft to successfully tell stories with moving images. This workshop is ideal for the novice or beginner filmmaker, who wants to take the next step in their exploration of difital filmmaking.
Credit recommendation: In the lower division baccalaureate/associate degree category or in the upper division baccalaureate degree category, 3 semester hours in Filmmaking (7/08). NOTE:This course overlaps in content with FIL101, FIL 103, FIL104, FIL 104-D, FIL106, FIL108, FIL112 and FIL112-D. The maximum amount of recommended credit for any combination of these courses is 7 semester hours. Further, these courses overlap with the One-Year Filmmaking Program. If a student progresses to the One-Year Program, only the recommended credits in the One-Year Program should apply.

FIL104 Four-Week Filmmaking Workshop
Location: New York Film Academy, 100 East 17th Street, New York, NY
Length: 167 hours (4 weeks).
Dates: June 2008 - Present.
Objectives: Combine basic elements of filmmaking to create and tell stories through moving images; apply fundamental writing, directing, shooting, and editing concepts to the making of mise-en scene, continuity, and music films; light simple scenes; execute different shots that combine to forward the story and action; use lighting and music to enhance the overall mood of the story; edit content into a finished product utilizing their understanding of beats, rhythm, mixing and other editing skills; use a developing critical eye toward the viewing of their own and other’s work; and identify and analyze the mechanics and artistry of motion picture storytelling; write, direct, and edit short digital films from a technical and artistic perspective.
Instruction: This workshop explores introductory principles and concepts of filmmaking through hands-on, intensive training. Students study mise-en scene, continuity, and music and montage filmmaking. Students learn to incorporate the fundamental principles of the craft to successfully tell stories with moving images. This workshop is ideal for the novice or beginner filmmaker, who wants to take the next step in their filmmaking education.
Credit recommendation: In the lower division baccalaureate/associate degree category or in the upper division baccalaureate degree category, 4 semester hours in Filmmaking (7/08). NOTE: This course overlaps in content with FIL101, FIL 103, FIL 103-D, FIL 104-D, FIL106, FIL108, FIL112 and FIL112-D. The maximum amount of recommended credit for any combination of these courses is 7 semester hours. Further, these courses overlap with the One-Year Filmmaking Program. If a student progresses to the One-Year Program, only the recommended credits in the One-Year Program should apply.

FIL104-D Four-Week Digital Filmmaking Workshop
Location: New York Film Academy, 100 East 17th Street, New York, NY
Length: 172.5 hours (4 weeks).
Dates: June 2008 - Present.
Objectives: Combine basic elements of digital filmmaking to create and tell stories through moving images; apply fundamental writing, directing, shooting, and editing concepts to the making of mise-en scene, continuity, and music films; light simple scenes; execute different shots that combine to forward the story and action; use lighting and music to enhance the overall mood of the story; edit content into a finished product utilizing their understanding of beats, rhythm, mixing and other editing skills; use a developing critical eye toward the viewing of their own and other’s work; and identify and analyze the mechanics and artistry of motion picture storytelling; write, direct, and edit short digital films from a technical and artistic perspective.
Instruction: This workshop explores introductory principles and concepts of digital filmmaking through hands-on, intensive training. Students study mise-en scene, continuity, and music and montage filmmaking. Students learn to incorporate the fundamental principles of the craft to successfully tell stories with moving images. This workshop is ideal for the novice or beginner filmmaker, who wants to take the next step in their exploration of digital filmmaking.
Credit recommendation: In the lower division baccalaureate/associate degree category or in the upper division baccalaureate degree category, 4 semester hours in Filmmaking (7/08). NOTE: This course overlaps in content with FIL101, FIL 103, FIL 103-D, FIL 104, FIL106, FIL108, FIL112 and FIL112-D. The maximum amount of recommended credit for any combination of these courses is 7 semester hours. Further, these courses overlap with the One-Year Filmmaking Program. If a student progresses to the One-Year Program, only the recommended credits in the One-Year Program should apply.

FIL106 Six-Week Filmmaking Workshop
Location: New York Film Academy, 100 East 17th Street, New York, NY
Length: 242.5 hours (6 weeks).
Dates: June 2008 - Present.
Objectives: Combine basic elements of filmmaking to create and tell stories through moving images; apply fundamental writing, directing, shooting, and editing concepts to the making of mise-en scene, continuity, music, and narrative films; light simple scenes for either 16mm film and digital video cameras; execute different shots that combine to forward the story and action; use lighting and music to enhance the overall mood of the story; use sound effects, voice-over, wild track and ambient sound in building a complex overall sound for film projects; edit content into a finished product utilizing their understanding of beats, rhythm, mixing and other editing skills; use a developing critical eye toward the viewing of their own and other’s work; and identify and analyze the mechanics and artistry of motion picture storytelling; write, direct, and edit short films from a technical and artistic perspective.
Instruction: This workshop combines introductory principles and concepts specific to both 16-millimeter and digital filmmaking through hands-on, intensive training. Students study mise-en scene, continuity, music and montage filmmaking. They are then tasked to make a longer, more challenging narrative film incorporating all of the covered material with added elements of sound. Students learn to incorporate the fundamental principles of the craft to successfully tell stories with moving images. This workshop is ideal for the beginner filmmaker, who wants to develop the skills necessary to pursue filmmaking in traditional and digital formats.
Credit recommendation: In the lower division baccalaureate/associate degree category or in the upper division baccalaureate degree category, 6 semester hours in Filmmaking (7/08). NOTE: This course overlaps in content with FIL101, FIL 103, FIL 103-D, FIL 104, FIL 104-D, FIL108, FIL112 and FIL112-D. The maximum amount of recommended credit for any combination of these courses is 7 semester hours. Further, these courses overlap with the One-Year Filmmaking Program. If a student progresses to the One-Year Program, only the recommended credits in the One-Year Program should apply.

FIL108 Eight-Week Filmmaking Workshop
Location: New York Film Academy, 100 East 17th Street, New York, NY
Length: 328.5 (8 weeks).
Dates: June 2008 - Present.
Objectives: Combine basic elements of filmmaking to create and tell stories through moving images; apply fundamental writing, directing, shooting, and editing concepts to the making of mise-en scene, continuity, music, and narrative films; light simple scenes for either 16mm film and digital video cameras; execute different shots that combine to forward the story and action; use lighting and music to enhance the overall mood of the story; use sound effects, voice-over, wild track and ambient sound in building a complex overall sound for film projects; edit content into a finished product utilizing their understanding of beats, rhythm, mixing and other editing skills; use a developing critical eye toward the viewing of their own and other’s work; and identify and analyze the mechanics and artistry of motion picture storytelling; write, direct, and edit short films from a technical and artistic perspective.
Instruction: This workshop combines introductory principles and concepts specific to both 16-millimeter and digital filmmaking through hands-on, intensive training. Students study mise-en scene, continuity, music and montage filmmaking. They are then tasked to make a longer, more challenging narrative film incorporating all of the covered material with added elements of sound. Students learn to incorporate the fundamental principles of the craft to successfully tell stories with moving images. This workshop is ideal for the beginner filmmaker, who wants to develop the skills necessary to pursue filmmaking in traditional and digital formats.
Credit recommendation: In the lower division baccalaureate/associate degree category or in the upper division baccalaureate degree category, 7 semester hours in Filmmaking (7/08). NOTE: This course overlaps in content with FIL101, FIL 103, FIL 103-D, FIL 104, FIL 104-D, FIL106, FIL112 and FIL112-D. The maximum amount of recommended credit for any combination of these courses is 7 semester hours. Further, these courses overlap with the One-Year Filmmaking Program. If a student progresses to the One-Year Program, only the recommended credits in the One-Year Program should apply.

FIL112 Twelve-Week Evening Filmmaking Workshop
Location: New York Film Academy, 100 East 17th Street, New York, NY
Length: 196 hours (12 weeks).
Dates: June 2008 - Present.
Objectives: Combine basic elements of filmmaking to create and tell stories through moving images; apply fundamental writing, directing, shooting, and editing concepts to the making of mise-en scene, continuity, music, and narrative films; light simple scenes for either 16mm film and digital video cameras; execute different shots that combine to forward the story and action; use lighting and music to enhance the overall mood of the story; use sound effects, voice-over, wild track and ambient sound in building a complex overall sound for film projects; edit content into a finished product utilizing their understanding of beats, rhythm, mixing and other editing skills; use a developing critical eye toward the viewing of their own and other’s work; and identify and analyze the mechanics and artistry of motion picture storytelling; write, direct, and edit short films from a technical and artistic perspective.
Instruction: This twelve-week evening part-time workshop explores introductory principles and concepts of filmmaking through hands-on, intensive training. Students study mise-en scene, continuity, music and montage, and narrative filmmaking. Students learn to incorporate the fundamental principles of the craft to successfully tell stories with moving images. This workshop is ideal for the novice or beginner filmmaker, who wants to take the next step in their filmmaking education.
Credit recommendation: In the lower division baccalaureate/associate degree category or in the upper division baccalaureate degree category, 6 semester hours in Filmmaking (7/08). NOTE: This course overlaps in content with FIL101, FIL 103, FIL 103-D, FIL 104, FIL 104-D, FIL106, FIL108 and FIL112-D. The maximum amount of recommended credit for any combination of these courses is 7 semester hours. Further, these courses overlap with the One-Year Filmmaking Program. If a student progresses to the One-Year Program, only the recommended credits in the One-Year Program should apply.

FIL112-D Twelve-Week Evening Digital Filmmaking Workshop
Location: New York Film Academy, 100 East 17th Street, New York, NY
Length: 202 hours (12 weeks).
Dates: June 2008 - Present.
Objectives: Combine basic elements of digital filmmaking to create and tell stories through moving images; apply fundamental writing, directing, shooting, and editing concepts to the making of mise-en scene, continuity, music, and narrative films; light simple scenes for either 16mm film and digital video cameras; execute different shots that combine to forward the story and action; use lighting and music to enhance the overall mood of the story; use sound effects, voice-over, wild track and ambient sound in building a complex overall sound for film projects; edit content into a finished product utilizing their understanding of beats, rhythm, mixing and other editing skills; use a developing critical eye toward the viewing of their own and other’s work; and identify and analyze the mechanics and artistry of motion picture storytelling; write, direct, and edit short films from a technical and artistic perspective.
Instruction: This twelve-week evening part-time workshop explores introductory principles and concepts of digital filmmaking through hands-on, intensive training. Students study mise-en scene, continuity, music and montage, and narrative filmmaking. Students learn to incorporate the fundamental principles of the craft to successfully tell stories with moving images. This workshop is ideal for the novice or beginner filmmaker, who wants to take the next step in their digital filmmaking education.
Credit recommendation: In the lower division baccalaureate/associate degree category or in the upper division baccalaureate degree category, 6 semester hours in Filmmaking (7/08). NOTE: This course overlaps in content with FIL101, FIL 103, FIL 103-D, FIL 104, FIL 104-D, FIL106, FIL108 and FIL112. The maximum amount of recommended credit for any combination of these courses is 7 semester hours. Further, these courses overlap with the One-Year Filmmaking Program. If a student progresses to the One-Year Program, only the recommended credits in the One-Year Program should apply.

One-Year Filmmaking Program

First Semester

NOTE:Each semester of the One-Year Filmmaking Program is an integrated, cross-disciplinary experience. Credit is recommended only after a student completes all courses within a given semester.

1. FIL110 Directing I
2. FIL150 Production I
Location: New York Film Academy, 100 East 17th Street, New York, NY
Length: Course 1: 223 hours (16 weeks). Course 2: 333.5 hours (16 weeks)
Dates: Courses 1 and 2: September 2007 - Present.
Objectives: Course 1: Create a floor plan, shot list, shooting schedule, lined script, and director's notes for any film project they will direct; examine the components of designing a shot, how to maintain spatial, temporal, graphic, and narrative continuity, how to utilize music as score, soundtrack, and source music, and how to create and direct the dramatic beats in a script; discuss the responsibilities of each crew member's role in a shoot, set protocol, and the order of commands on a film set; make use of blocking, staging, and the use of props for creating a character; discuss different approaches to directing dialogue, and integrate improvisational techniques in rehearsal and on set; explore acting techniques to better communicate with their actors in directing a credible and interesting performance; apply acting techniques in the shooting of a scene from a script in which the student directs and acts in; deconstruct scenes from features and shorts to identify different approaches to directing a film. Course 2: Discuss the roles and responsibilities of a variety of Crew Positions such as Cinematographer, Assistant Camera, and Gaffer/Grip; budget and schedule for a short film shoot; determine the different budget categories: Film/Video stock, Film Development and Processing, Post-Production, Cast and Crew, Locations, Craft Services, Transportation, Art Department, Casting, Insurance, Contingencies, and Distribution; schedule a shoot and implement daily and weekly shooting schedule strategies.
Instruction: Course 1: This course introduces students to the language and craft of film directing. Directing classes prepare students for the film projects they will shoot and is the venue for screening and critiquing their films throughout the course. Each student writes, directs, produces, and edits seven short film projects. Directing classes cover the following subjects: Directing the Camera, Principles of Mise-en-Scene, Introduction to Directing Actors, Shot Planning, Principles of Continuity filmmaking, Directing Music and Montage, Dramatic Breakdown of a Script, the use of Staging and Blocking and Production Design to create Character and Sub-text in a scene, Approaches to Directing Dialogue, and Different Approaches to Subjective vs. Objective Dramatic beats through Point of View. They explore acting techniques to better communicate with their actors in directing a credible and interesting performance. Students give a Director's Presentation based on their Semester One Film preparation in class. Successful completion of this course enables the student to continue on to FIL210 Directing Two, with an emphasis on Thesis film completion. Course 2: This course is a practical application of learning from all the components in the Directing, Writing, Cinematography, Sound Recording, and Editing level one courses as they relate to the making of a film. Each student works in a variety of crew positions such as Cinematographer, Assistant Camera, Sound Recordist, and Gaffer/Grip on their fellow student shoots for the first four film projects. The student takes a Budgeting and Scheduling class where he/she learns the fundamentals and techniques of budgeting and scheduling for a short film. Each student also produces the films that s/he will direct in the first semester: Mise-en-Scene Film, Continuity Film, Music Film, Fourth Film, Chekhovian Film, POV Film, and Semester One Film. Successful completion of this course enables the student to continue on to FIL260 Production Two, with an emphasis on Thesis film completion.
Credit recommendation: Courses 1 and 2: In the lower division baccalaureate/associate degree category or in the upper division baccalaureate degree category, 6 semester hours, distributed as follows: 4 semester hours as Directing in Filmmaking and 2 semester hours as Production in Filmmaking (7/08). NOTE: Each semester of the One-Year Filmmaking Program is an integrated, cross-disciplinary experience. Credit is recommended only after a student completes all courses within a given semester.

FIL120 Cinematography I
Location: New York Film Academy, 100 East 17th Street, New York, NY
Length: 67.5 hours (16 weeks).
Dates: September 2007 - Present.
Objectives: Operate an Arri-S 16mm non-sync film camera: load and unload daylight spools; affect focus and depth of field with the use of different lenses; describe the properties of a wide-angle, medium, and telephoto lens; calculate a proper exposure with a Sekonic light meter, and shoot slow motion and fast motion; identify how to shoot an Exposure Test, Light Meter Test, a Lens Test, a Focus Test, and a Frame rate test with the Arri-s Camera; recognize a three-point lighting set up, and discuss the differences between key, fill, and back light; assess different characteristics of hard and soft lighting and implement the uses of diffusion, gels, blackwrap, flexfill, and determining wattage and voltage and amp with each light unit; judge how to implement lighting ratios; gauge the latitude of film stocks; operate a Panasonic DVX100a camera; discuss DV technology and CCD technolog; utilize shutter speed, frame modes, scene files, and DVX scene menus; differentiate and apply how to light for digital vs. film; discuss exposure for DV; discuss the crew roles as a Cinematographer and an Assistant Cameraman with both camera packages; recognize what the crew roles are as a Director, Director of Photography, Assistant Camera, and Gaffer and Grip.
Instruction: This course trains students on how to use the 16mm Arriflex-S motion picture camera and its accessories. The students learn how to load the camera and take light readings. They perform test shoots to learn about the latitude of the film stock, how to get a correct exposure, the effect of different lenses, focus pulling, and in-camera effects. In lighting class, they examine the fundamental lighting techniques through shooting test on film. As they progress through the workshop, they explore how to support the mood of the story with lighting choices and they experiment with expressive lighting styles. The Cinematography Labs are hands-on workshops in which students stage and shoot scene exercises under the supervision of the instructor. The technical aspects of filmmaking are seen as tools to realize the story. Through the in-class exercises, the rules and tools of mise-en-scene and continuity are defined and practiced.
Credit recommendation: In the lower division baccalaureate/associate degree category or in the upper division baccalaureate degree category, 3 semester hours as Cinematography in Filmmaking (7/08). NOTE: Each semester of the One-Year Filmmaking Program is an integrated, cross-disciplinary experience. Credit is recommended only after a student completes all courses within a given semester.

FIL130 Screenwriting I
Location: New York Film Academy, 100 East 17th Street, New York, NY
Length: 72.5 hours (16 weeks).
Dates: September 2007 - Present.
Objectives: Identify the principles of visual and dramatic storytelling, the dramatic components of a protagonist, an antagonist, the creation of conflict on an inner, personal and social level in the dramaturgy of their stories; recognize scenes that are composed of dramatic beats, a turning point, and a dramatic arc; discriminate the principles of 3-Act Story Structure: how to design a precipitating event, an inciting incident, escalation, complications, turning points, crisis decisions, climax and plot resolutions; identify and discuss proper screenplay format with regards to scene slugs, description, character name, dialogue, title page, and the use of margins; recognize characterizations vs. true/inner character in protagonists and identify cast design functions; differentiate the properties of a short story vs. a feature length story, evaluate the dramatic construction of a scene, and generate story ideas, step-outlines, treatments, and drafts of a script; define the elements of classical design, minimalism, and expressionism in their story-telling approach; assess effective dialogue; discern the difference between text and subtext in a scene and script; execute the twelve steps of the Hero's Journey as it relates to storytelling in feature length films.
Instruction: This course introduces students to the craft and techniques of screenwriting and is a venue for work shopping their scripts for their film projects. Each student writes a script for their First Quarter Film and their Semester One Film. The course covers the following subjects: Introduction to Visual and Dramatic Storytelling, Screenplay Format, 3-Act Story Structure, Character Development and Cast Design, Pitching, A Writer's Method, Shorts vs. Features, Classical Design, Minimalism, and Anti-Structure, How to Write Realistic Dialogue, and Classical Myth Structure in Film. Successful completion of this course enables the student to continue on to FIL230 Screenwriting Two, with an emphasis on Thesis film completion.
Credit recommendation: In the lower division baccalaureate/associate degree category or in the upper division baccalaureate degree category, 3 semester hours as Screenwriting in Filmmaking (7/08). NOTE: Each semester of the One-Year Filmmaking Program is an integrated, cross-disciplinary experience. Credit is recommended only after a student completes all courses within a given semester.

FIL140 Editing I
Location: New York Film Academy, 100 East 17th Street, New York, NY
Length: 186.5 hours (16 weeks).
Dates: September 2007 - Present.
Objectives: Discuss the fundamental differences between linear and non-linear editing; operate and edit with Final Cut Pro (FCP) software and the Apple computer; use a hard drive to store media and film projects; log and capture media, computer shortcuts, and print to video; discuss the principles of action match cuts, cutting on movement, jump cuts, and how to navigate the time line, canvas, and toolbars of FCP; relate the steps to import music into FCP, how to cut to music, how to create transitions such as fades and dissolves, how to design and generate titles and motion in FCP, how to use of filters, how to create multiple sound tracks and use room tone, sound effects, dialogue, voice over, and music in the creation of their sound design; discuss the fundamentals of how to edit overlapping dialogue and how to create special effects using Final Cut Pro.
Instruction: Students learn how to operate the digital editing system, Final Cut Pro (FCP). Through in class lecture and demonstration, students understand how to use a hard drive to store their media and film projects, how to log and capture media, implement the computer shortcuts on the keyboards, and put into action printing their projects to DVD. They compose action match cuts, cutting on movement, jump cuts, and montage in their films. They comprehend how to navigate the timeline, canvas, and toolbars of FCP. They learn and put to use how to import music into Final Cut Pro, examine how to cut to music, and discover how to create transitions such as fades and dissolves, and design and generate titles and motion, and employ the use of filters. They construct and capitalize on how to create multiple sound tracks with the use of room tone, sound effects, dialogue, voice-over, and music in the creation of their sound design. They edit their seven film projects on Final Cut Pro. Successful completion of this course enables the student to continue on to FIL240 Editing Two, with an emphasis on Thesis film completion.
Credit recommendation: In the lower division baccalaureate/associate degree category or in the upper division baccalaureate degree category, 3 semester hours as Editing in Filmmaking (7/08). NOTE: Each semester of the One-Year Filmmaking Program is an integrated, cross-disciplinary experience. Credit is recommended only after a student completes all courses within a given semester.

FIL170 Sound Recording
Location: New York Film Academy, 100 East 17th Street, New York, NY
Length: 20 hours (16 weeks).
Dates: September 2007 - Present.
Objectives: Record sound using the Fostex Recorder and the Wendt Mixer; use the audio signal chain, the recording and playback process; record using various microphones; solve potential sound problems; discuss what steps are necessary for preparing for post.
Instruction: This course is designed to give student filmmakers practical hands on experience in a workshop environment. The course covers the basic and most common devices for analog and digital recording and provides training in the importance of acquiring usable location sound for a smooth transition into post-production. This course also covers basic sound recording techniques in the field, production sound effects, ambient sound, production dialogue recording, analog and digital sound equipment, digital cameras and microphones. The course also explores the basics of sound theory, the difference between analog and digital recordings and the on set procedures a recordist must adhere to for a successful recording and sound effects. Students learn how to record sound using the Fostex Recorder and the Wendt Mixer. They understand the audio signal chain, the recording and playback process using the Fostex and Wendt mixer, how to record using wireless microphones, how to solve potential sound problems, and preparing for post. Successful completion of this course enables the student to continue on to successfully record sound on his or her Thesis film.
Credit recommendation: In the lower division baccalaureate/associate degree category or in the upper division baccalaureate degree category, 1 semester hour as Sound Recording in Filmmaking (7/08). NOTE: Each semester of the One-Year Filmmaking Program is an integrated, cross-disciplinary experience. Credit is recommended only after a student completes all courses within a given semester.

Second Semester

NOTE: Each semester of the One-Year Filmmaking Program is an integrated, cross-disciplinary experience. Credit is recommended only after a student completes all courses within a given semester.

1. FIL210 Directing II
2. FIL250 Production II
Location: New York Film Academy, 100 East 17th Street, New York, NY
Length: Course 1: 87.5 hours (16 weeks). Course 2: 312.5 hours (16 weeks).
Dates: Courses 1 and 2: September 2007 - Present.
Objectives: Course 1: Create and implement a Director's palette and utilize visual building blocks using space, line, shape, tone, color, rhythm, and movement to communicate mood, emotion, ideas, and the creation of a visual structure to a film; generate directing notes; utilize lenses and compositions, identify different approaches to directing a scene (long take, master shot discipline, multi-angularity, montage, parallel action), and identify ways to deal with directorial pressure on a film shoot; experience the Director's interrelationship with the crew for a sound or a high definition video film project. Course 2: Experience the role and myriad responsibilities of the film Director; experience his/her relationship with all crew positions with special emphasis on Assistant Director, Production Manager, Cinematographer, Assistant Camera, Gaffer, Grip, Sound Recordist, Boom Operator, Production Designer and Production Assistant on their fellow student thesis shoots.
Instruction: Course 1: During the course students classify the crew roles of an Assistant Director, Production Manager, Sound Recordist, Boom Operator, 1st and 2nd Assistant Camera, and Continuity, Gaffer, and Grip. They breakdown the crew roles and set procedures for a 7-15 person crew shooting a project on either 16mm sync sound or High Definition video. They generate a Thesis Production Book that will contain: Script, Floor Plans, Shot List, Floor plans, Visual Materials, Director's Notes, and Rehearsal Notes. They explore how to direct with lenses and compositions, different approaches to directing a scene (long take, master shot discipline, multi-angularity, montage, parallel action), and prepare for troubleshooting on a film shoot. They create a Director's palette and utilize visual building blocks using space, line, shape, tone, color, rhythm, and movement to communicate mood, emotion, ideas, and the creation of a visual structure to a film. They screen scenes from feature length films and break down the directorial approaches and style that a director brings to a film. Course 2: This course is a practical application of learning from all the components in the Directing, Writing, Cinematography, Sound Recording, and Editing second level courses as they relate to the making of a thesis film. Students work in a variety of Crew Positions such as: Assistant Director, Production Manager, Cinematographer, Assistant Camera, Gaffer, Grip, Sound Recordist, Boom Operator, Production Designer and Production Assistant on their fellow student thesis shoots. Each student has to work on minimum of five other Thesis projects as a crewmember. In the process of producing their thesis films, students experience the role and myriad responsibilities of Director and related crew positions. By regular assessment and evaluation, students gain an awareness of the range of competencies and expertise in these roles.
Credit recommendation: Courses 1 and 2: In the lower division baccalaureate/associate degree category or in the upper division baccalaureate degree category, 6 semester hours, distributed as follows: 4 semester hours as Directing in Filmmaking and 2 semester hours as Production in Filmmaking (7/08). NOTE: Each semester of the One-Year Filmmaking Program is an integrated, cross-disciplinary experience. Credit is recommended only after a student completes all courses within a given semester.

FIL220 Cinematography II
Location: New York Film Academy, 100 East 17th Street, New York, NY
Length: 153.5 hours (16 weeks).
Dates: September 2007 - Present.
Objectives: Operate the Arriflex 16SR camera, HD camera, and accessories; load the film magazine, use the battery and charger, and use the tripod; test and prevent problems; discuss how 16mm camera maintains sync; create scene files on HD, shoot HD at 720 and 1080; discuss HD workflow, slating, filling out camera reports, functions of all moving parts on the camera, how to use the eye-piece and zoom lens, marking focus pulls and zooms, labeling the magazine, film can, and HD storage device, focal lengths, filters, and apertures, and how to operate the Spyder dolly; discuss the properties of color negative and color reversal film with regards to grain, latitude, and density; operate C-Stands, Double Risers, Baby Stands, Hi-Boy Stands, Clamps (Maffers, Cardellini, Duck Bill, Large Studded C-Clamp, Spring and Gaffer Grips, Baby Wall Plates), Apple Boxes (full, 1/2, 1/4), Scrims (full double, full single, half double, half single-flag kit (solids, singles, doubles, silks) and use Tweeney, Inky, Baby Juniors, and a 2K Solarspot, and Filtration and Processing Techniques.
Instruction: This course trains students how to operate the Arriflex 16SR camera and its accessories and the Panasonic HVX 200 Camera and its accessories. Through hands on practice they learn: loading the Film magazine, use of the battery and charger, use of tripod, testing and preventing problems, how 16mm camera maintains sync, creating scene files on HD, shooting HD at 720 and 1080, HD workflow, slating, filling out camera reports, functions of all moving parts on the camera, how to use the eye-piece and zoom lens, marking focus pulls and zooms, labeling the magazine, film can, and HD storage device, focal lengths, filters, and apertures, and the use of the Spyder dolly. This course also immerses students in the technical and creative demands of cinematography. Color film stocks are tested to help students make the best choice for their films. The use of color correcting filters and gels is practiced through shooting tests. Lighting and contrast ratios are reviewed. In addition, students learn the most economical ways to light a scene by shooting set-ups from their own storyboards. A special focus on lighting and for shooting with HD enables students to achieve a film look and maximizes possibilities of working with this format. Students participate in Cinematography Labs in which each student works as a different crewmember in each lab. Crew positions are: Director, Director of Photography, Assistant Director, Assistant Camera, Gaffer, Sound Recordist, Boom Operator, and Dolly Grip. The student director for each production workshop selects a scene from their thesis film to shoot. They and the assigned D.P., and A.D., present their production package in the Cinematography Lab prep classes where they submit: a Contact Sheet, Production Schedule, Shot List, Floor Plan, Director's Notes, Character's Bios, Scene Beats, and the Script of the Scene to be reviewed.
Credit recommendation: In the lower division baccalaureate/associate degree category or in the upper division baccalaureate degree category, 3 semester hours as Cinematography in Filmmaking (7/08). NOTE: Each semester of the One-Year Filmmaking Program is an integrated, cross-disciplinary experience. Credit is recommended only after a student completes all courses within a given semester.

FIL230 Screenwriting II
Location: New York Film Academy, 100 East 17th Street, New York, NY
Length: 103.5 hours (16 weeks).
Dates: September 2007 - Present.
Objectives: Discuss the principles of exposition in their future scripts (Flashbacks, Dream sequences, Voice-over, Dialogue, and Montage), Unity and Composition (Motifs, Set-up and Pay-off, Ascension and Progression in storytelling); identify and measure the components and properties of different genres in storytelling; use these principles in analyzing various scripts for short films and in their own future writing.
Instruction: This course prepares the student for writing the script for his/her thesis film starting from story idea to step outline to rough draft to final draft. Half of each class is divided into a Workshop session in which the students present their written work. The other half of the class explores Advanced Screenwriting Techniques such as Exposition, Unity and Composition, and Introduction to Genre Expectations in the various Genres through lecture and discussion. The students then change sessions for the remainder of the course.
Credit recommendation: In the lower division baccalaureate/associate degree category or in the upper division baccalaureate degree category, 3 semester hours as Screenwriting in Filmmaking (7/08). NOTE: Each semester of the One-Year Filmmaking Program is an integrated, cross-disciplinary experience. Credit is recommended only after a student completes all courses within a given semester.

FIL240 Editing II
Location: New York Film Academy, 100 East 17th Street, New York, NY
Length: 116 hours (16 weeks).
Dates: September 2007 - Present.
Objectives: Discuss the differences between linear and dialectical editing, how to identify and construct Action Match Cuts, Cutting on Movement, Jump Cuts, Jump Cut Editing Style, Montage, Parallel Cutting, Graphic Match Cuts, Action Wipes, Separation, Overlapping Dialogue, cutting POV and Reaction Shots, disguising bad cuts, and Multi-Angularity; discuss the elements of advanced sound editing; operate DVD-Studio Pro to export films into the compressor, and how to build menu options on their DVDs.
Instruction: This course is a continuation of FIL140 where students further explore the technical and aesthetic approaches to editing while editing their Thesis Film on Final Cut Pro. They participate in three classes on Editing Aesthetics where, through lecture and in-class demonstration and discussion, students explore the difference between linear and dialectical editing, how to identify and construct Action Match Cuts, Cutting on Movement, Jump Cuts, Jump Cut Editing Style, Montage, Parallel Cutting, Graphic Match Cuts, Action Wipes, Separation, Overlapping Dialogue, cutting POV and Reaction Shots, disguising bad cuts, Multi-Angularity, and examining editing techniques from various scenes from features. The Sound Design classes focus on the creation of the sound design of their Thesis films and delve into elements of advanced sound editing. They also learn how to operate DVD-Studio Pro, to export their films into the compressor, and how to create menu options on their DVDs.
Credit recommendation: In the lower division baccalaureate/associate degree category or in the upper division baccalaureate degree category, 3 semester hours as Editing in Filmmaking (7/08). NOTE: Each semester of the One-Year Filmmaking Program is an integrated, cross-disciplinary experience. Credit is recommended only after a student completes all courses within a given semester.

FIL260 Producing
Location: New York Film Academy, 100 East 17th Street, New York, NY
Length: 70 hours (16 weeks).
Dates: September 2007 - Present.
Objectives: Discuss how to create a production book for a short film project; identify and evaluate the following production items: Shooting Script, Shot List, Floor Plan, Shooting Schedule (shot by shot), Storyboards (optional), Director’s Notes: Breakdown of Film and Each Scene. Lined Script (optional),Visual Materials (optional), Detailed Budget, Contact list for Crew, Contact list for Cast, Shooting Permits (when necessary), Locations, Transportation, Call Sheets, SAG paperwork (when applicable), Equipment (copy of the equipment request form); recognize all the facets of producing a short film from budget, script breakdown, scheduling, to working with SAG actors; discuss how to build a reel, how to target and market their work in the film festival circuit, how to network and break into the film industry; create DVD's for distribution; discuss the financial and legal components of raising money for a feature film project.
Instruction: This course explores all the facets of producing a student thesis film from creating a budget, a script breakdown, and a shooting schedule based on the thesis script, to how to apply and work with SAG actors. Students create a thesis production book that includes the following items: Shooting Script, Shot List, Floor Plan, Shooting Schedule (shot by shot), Storyboards (optional), Director’s Notes: Breakdown of Film and Each Scene. Other possible aspects of the course include Lined Script (optional), Visual Materials (optional), Detailed Budget, Contact list for Crew, Contact list for Cast, Shooting Permits (when necessary), Locations, Transportation, Call Sheets, SAG paperwork (when applicable), Equipment (copy of the equipment request form). Students take a series of classes after their Thesis shoot that addresses "Life After NYFA". They learn how to build a reel, arget and market their work in the film festival circuit, network and break into the film industry, and create DVD's for distribution, and learn about the financial and legal components of raising money for a feature film project. Successful completion of this course enables the student to produce a Thesis Film.
Credit recommendation: In the lower division baccalaureate/associate degree category or in the upper division baccalaureate degree category, 3 semester hours as Producing in Filmmaking (7/08). NOTE: Each semester of the One-Year Filmmaking Program is an integrated, cross-disciplinary experience. Credit is recommended only after a student completes all courses within a given semester.

Updated 11/20/09

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