Film

Film Department Production Policies provides a brief overview of the Film Department's production policies and procedures. Topics covered: CPR & first aid, safety, equipment checkout and return, production levels, casting, production forms, and production insurance. There will be a written test, on which students must score 85% or better. Students may take the test up to three times.

Set Safety is a 13 week class that acclimates all incoming Graduate and Undergraduates film student on the safe practices for the Film Department's Stages and Grip and Lighting equipment. This class will also cover Film Facilities usages. Required for all Film Students.

Set Safety and Tech Training acclimates all incoming Graduate and Undergraduates film student on the safe practices for the Film Department's Stages and Grip and Lighting equipment. This class will also cover Film Facilities usages. Additionally, this course is a technical introduction to the tools you will use throughout film productions, including camera systems, sound recording, slating, and ingesting production media for post-production. Required for all Film Students.

This course is a comprehensive introduction to the world of screenwriting. Topics we will cover include goal/obstacle, three-act structure, character development, setups and payoffs, and screenplay formatting. During the second half of the course, students will write and revise a short script. Required software: Final Draft

This course provides a conceptual approach to the art and craft of writing for film. Emphasis is on writing from a visual point of view, as well as analyzing and exploring the elements fundamental to all styles of screenwriting. The goal of this class is to encourage student awareness of alternative approaches to the development of more complex story structures and characters, and to assist the student in becoming a more versatile storyteller.

This course is a technical introduction to the tools you will use throughout film productions, including camera systems, sound recording, slating, and ingesting production media for post-production.

This class is an introduction to the basic principles and practices of visual storytelling from the director's point of view. Students have weekly assignments involving the recognition, discussion and crafting of story within image making and filmmaking. -Production Level: 1

Storyboarding: Mastering Communication Using Text, Image, and Diagram. This course focuses on stroyboarding skills for the filmmaker. A series of exercises teaches techniques that enhance the student's ability to visualize and sketch shot sequences and camera moves. Students are instructed in simple sketch techniques to expand their ability to communicate visual concepts to other participating artists.

This is a hands-on class designed to teach students the actor's process, as well as the most effective ways to communicate with actors to get the desired results for the director. Students will experience acting from the practical viewpoint of becomming the actor and learn how to direct actors for best results.

It is the goal of this class to take a fresh look at the way films are made so as to open new possibilities of cinema. Today the industry is facing the greatest challenge to its global technological and cultural dominance. In the not too distant future, all films will be made and distributed differently. The film artists of tomorrow will be those capable of thinking in novel ways. Hence the ambition of this class is to help students imagine their filmmaking beyond the norms generated by the current practice of the medium. Each week some questions relevant to the making of films will be presented by the instructor then debated in group discussions. Course Objectives: to create a forum where the potential of film can be thought out and expanded beyond the views presently regulating its practice. -Production Level: 1

Each session in this course will be part technical information necessary to understand production sound and part student-centered, hands-on instruction addressing immediate sound needs. The goals are to give students the basics needed to get good sound on their projects and an understanding of how sound professionals interface with a film making team. Basic sound and noise theory, microphone types and applications, current recording technology, equipment and practice will be covered. Documentary sound and how it differs from dramatic sound will be explored. This course does not require technical expertise or aptitude; all sound issues that arise, simple or complex are welcome. Student work will be shown in class for discussion. This course is not about post-production sound.

Post-production for digital video using AVID, integrating Photoshop, After Effects, Soundtrack Pro, DVD Studio Pro and other software. Methods for editing, color correction, animation, compositing, capturing, mastering and publishing are taught, then implemented in a project of the student's choosing. Students will also gain general technical knowledge of digital video, broadcast standards and problem solving skills.

This is an introductory class to visual effects using After Effects. Through weekly assignments, students will learn to apply visual effects into their films, such as how to use green screens, matte paintings, underwater scenes, 3d tracking and more. We will also explore the history of visual effects, from the early techniques used in Melie's films to the latest technology used in "The Mandalorian". This is the starting point for learning visual-effects compositing and gaining a new set of tools to be more imaginative and ambitious in your own projects.

This course teaches students about the film editor's craft and its creative aspects. Students will edit picture with synchronized sound from a number of professionally-directed scenes using Avid software. After taking the course, students will have an overview of dramatic editing techniques, enriched by hands-on experience. Students will also gain knowledge of the way that editing fits into the larger filmmaking process and will be prepared to continue to Film Editing 2.

A professional approach to story and structure for feature-length narrative film. I will give you the feedback and the tools to enable you to make radical improvements in your writing, artistically or commercially or (preferably) both. I expect you to use that feedback and those tools to make the biggest strides possible toward professionalism in 14 weeks. My goal is that when you write, you will begin to think, and to act, like a professional screenwriter.

Course material explores the more esoteric elements of screenwriting, including the creative process and the proper application of exposition, subtext and character to writing assignments. After this class, students should have a clearer idea about how to become a more productive writer and a more creative artist. *Registration by petition only. Prospective students should email 3-5pages of screenwriting sample to film@artcenter.edu prior to registration.

This course is designed to be an immersive introduction to writing an original television pilot and the inner-workings of the TV writer's room. Following an introduction to the differences between screenwriting and television writing, format, and finding your audience/network, week-to-week student work will be "put up on the board" and workshopped in the same manner as the professional television writer's room, breaking down the steps from ideation to finished script. Students will leave the class with a finished pilot script which can be used as a writing sample for working in television and a basic confidence of what to expect when working in a writer's room on a professionally produced show. Through our weekly workshopping core screenwriting skills will be reinforced including narrative, structure, story arcs, scene work, the importance of theme, character development, and point-of-view.

Line Producing and Production Management is an interactive course that takes participants through the preparation, production, post-production and delivery aspects of filming while focusing on bringing the story to life given the constraints of time and money. Topics include breaking down a script , prep calendars and time lines, scheduling, budgeting, call sheets, production reports, script supervisor reports, and delivery items. Also featured will be descriptions of the various departments and personnel that work together to create a project and the responsibilities of those respective departments. How information is conveyed and communication lines established in the various phases of production will be illustrated.

Students in this class will learn about working with the actor and the script in narrative film. Emphasis is on making the scene work, from casting to camera-ready. Each student is expected to direct and present three fully rehearsed scenes with accompanying research, floor plan, character description. -Production Level: 1 for in-class assignments only.

This course is a technical introduction to the tools used in the Directing 2 class, including camera systems, sound recording, slating, and ingesting production media for post-production.

This class focuses on applying the tools of cinematic language to tell compelling stories. Emphasis is on design and visual structure, including guiding performances, camera blocking, and post-production. Students write, direct and edit weekly film assignments that feature a range of technical, aesthetic, craft and logistical problems to be solved. Each student writes and preps a final film project. All student work is screened and discussed in class. Production Level-1 (for weekly assignments); Level-3 (for final projects)

This course is designed to teach future cinematographers the technical "know-how" and vocabulary used by professionals on sets and in the industry. It will cover advanced topics not addressed in Set Safety such as cameras and dollies. Knowledge will be gained from hands-on demos, field trips, lectures,and a final exam. Students will achieve a strong understanding about a Cinematographer's responsibilities, tools used on a set, vocabulary, lighting and safety. A firm knowledge of the technical allows more time for creativity. This is not a shooting class and is a technical class.

The course consists of a series of 35mm still photo exercises to introduce the student to the basic vocabulary of lighting, including: lighting direction and formal definition, hard and soft light qualities, and the laws of light behavior. An overview of the historical conventions of film lighting and the role of the director of photography is provided as foundation for the practical photo assignments. -Production Level: 1

This course is an introduction to the art and craft of cinema lighting. This will be achieved by lectures, demonstrations, supervised exercises, and assignments using a variety of lights and lighting tools. Emphasis is on students becoming comfortable and capable with lighting, planning and effectively communicating with others about lighting both technically and creatively. Students will learn to create new solutions to traditional techniques and styles. (Production Level: 1 for in-class demonstrations only. This is not a production class.)

Introduces the creative, technical, and collaborative practices of post-production sound for film and media. Students learn how creative sound choices influence what an audience feels, believes, and experiences while working in a studio environment that mirrors professional post-production workflows. Using Pro Tools and contemporary production tools, they develop the technical skills, creative judgment, and professional habits needed to transform picture and sound into a finished cinematic experience. This is not a production course.

The role of the editor is examined in-depth through challenging weekly assignments. Beginning with a detailed analysis of the scene, a through understanding of the characters and their motivations are developed. Each scene is dissected to determine its function in the larger story. The concept of motivated cutting is introduced to underscore the correlation between text and subtext in illustrating internal as well as external character objectives. Sequences from a broad array of popular television dramas form the basis of coursework.

Designed for upper term and Masters Program students, Advanced Editing is tailored to the individual student's projects and areas of interest. The instructor and student collaborate to set goals for the semester's work. Students are welcome to edit their own or fellow student's films. Sequences from television series and feature films are provided for those who wish to develop genre specific skills in comedy, action, or drama. Progress is monitored weekly with screenings and classmates taking part in discussions. The instructor works closely with the student to build a comprehensive understanding of the post production process. (Offered Fall and Spring.)

This course is designed to offer upper level film students an opportunity to complete a portfolio film of their choice. The class will cover the entire production process from script to final color-corrected answer print. Film-making has always been a collaborative art form as well as a mixture of art and commerce, which means it's full of right-brain and left-brain hyphenates. For example, there are writers who direct as well as directors (and actors) who produce, or independent filmmakers who pride themselves on shooting and editing their films all by themselves. This widespread hyphenating of roles in the movie business is mirrored in the fundamental relationship between the two (arguably) most powerful people on a Hollywood set: the Producer who "handles the money" and the Writer-Director who "handles the art," so to speak. This has led to a common misconception where the Producer is cast in the role of 'responsible adult' (or parent) while the Writer-Director plays the part of the brilliant but irresponsible child who is constantly in need of supervision. This is patently ridiculous, as anyone who has spent even a few moments on an actual film set knows. Creative collaboration among everyone involved is essential to the making of a successful film. And so, in this Advanced Directing 1 class, students will be asked to wear many "collaborative" hats over the fourteen-week semester. Some will come prepared to write and direct (and even produce) a single portfolio project of their own; while others will decide to collaborate on one or more of their colleagues' projects. But everybody will need to get their hands dirty in the practical realities of breaking down scripts, creating budgets and shooting schedules, finding locations, casting, assembling a crew, etc., etc. In other words, everybody will learn to become a collaborator who can bring a multitude of skills to the table. And so, if you are a student writer-director, be warned! If you don't know anything about cinematography or production design or casting - or even producing --- you will almost inevitably find yourself at the mercy of someone who does. Requirements for AD-1 are the following: 1) You must bring to class a COMPLETED SHOOTING SCRIPT for a short narrative film of your choice -- plus a detailed Production Plan for the 14 week semester. In order to be officially "greenlit" by the instructor, your project must also have recruited at least one or more Collaborators from the present class. Our first meeting will involve a table read of each of the "greenlit" scripts; 2) If you DO NOT have a script that is ready to shoot, Do Not Panic. You should come prepared to work as a Collaborator on one of your classmate's projects. Collaborators in the past have been Producers, Assistant Directors, Production Designers, DP's, Editors, etc. (Needless to say, collaborators will need the written permission of a writer/director in order to work on their project.)

This production level 3 undergraduate course covers the entire production process from script breakdown to a locked picture. Students can work on short films, scenes from a larger project (to workshop and film), spec Commercials, and other moving image forms (discussed with Instructor and class). Look books, schedules, budgets, locations, casting will all be part of the class. This course will include readings/behind-the-scenes/making of - from directors/films about process. This is not a class for the undecided or the passive participant. Student can participate as a creator or collaborator. Collaborators must fulfill a significant role in a production in the class and must be approved by the instructor. All students will be held accountable for essential production work publicly in class. Production Level: 3

Students will develop and prepare their project for filming by presenting their projects for peer and instructor critique. The course emphasizes a real-world Hollywood perspective for developing and filming projects as part of a marketable student portfolio, including film, television and commercials. The course allows any kind of project and any level of production. The course also covers an overview of the film, television and commercial industries including development, agents and managers, common agreements, film finance, guilds & unions and other topics related to life as a professional working in the entertainment business. Production Levels 1-4

Students in this class will meet with a team of film faculty members and professionals to review their body of work and professional assets (resume, website, etc) thus far. Students will receive feedback on their current portfolio, including thoughts on their strengths and areas that are in need of improvement. Long-term professional goals and strategies may also be explored. Students should enroll in this class immediately after completion of Directing 3 or Narrative Film Practicum.

In this class, you'll learn how to present and sell feature and TV projects to potential buyers. You'll also learn how to sell yourself-to be hired for open assignments. We'll discuss what to include in a pitch, how to structure a pitch, and how to keep an audience engaged. You should expect to pitch different types of projects almost every week.

This class is the capstone of all our other directing classes. Students will direct a single portfolio-level short narrative film, based on a script of their own or one they've developed with a writer. In addition, there will be workshops and lectures covering advanced directing skills, more about storytelling and the artistry of directing than about the technical skills covered in prior classes. The class is required for undergraduate directing majors and is open, as space allows, as an elective for all Graduate and Undergraduate Film students with the approval of the instructor. Production Levels 1-4.

The process of filmmaking is looked at from the producer's point of view. Each class consists of a lecture on one of the five major creative areas of filmmaking: writing, acting, cinematography, editing and directing; then a screening of a scene from a completed movie--we analyze it creatively and production-wise; finally, every session has time for individual questions and answers. Emphasis is on professionalism--both problems and solutions. Also, three of the sessions are dedicated to production management--script breakdown, scheduling and budgeting are covered Some expenses are associated with the class ($100-200).

** This is NOT a production class ** Through a combination of in-class lighting assignments and film screenings students will learn to see and experience light as a narrative tool, beginning with the basic laws of light as described by the legendary educator Charles Potts. Students will pair up into small groups to explore various lighting techniques as they apply to humans, objects, and environments. Screening days will involve analyzing specific styles of cinematography, exploring their place within the narrative, and determining how to achieve similar effects during in-class demos and practicals.

"Shoot Film" is an Advanced Production Course to give filmmakers exposure to the entire process of shooting film starting with a brief history of the medium, best practices, advanced lighting and light meter usage, cameras, film stocks and materials, processing and scanning, and post production work flows. Each student will have the opportunity to put together a production and shoot 400ft MOS of Kodak Motion Picture film. The student will get hands on experience in Camera Building / Loading, Shooting, Process and Scan, Edit and Color Grading their own project. The final project for this course will be a review and critique of the what was shot by the student. Level 3 Production class

This Course is based in a critical method of Cinematographic Visual Analysis using 13 Visual Elements of Cinematography which are employed in real time film/video production and/or what is behind the image quality on acclaimed film titles. The program will discuss on how to perceive these Elements on a film production set, using film titles as examples which use each Element as their main Look. The Course is important for students on Directing Track whom wants to improve the understanding of Cinematography and the communication with their Cinematographers and for Directors of Photography whom wants to improve the quality of production of their images.

The workshop begins with a brief history of film music and then interactive lessons and hands-on guidance will teach the creative, technical, and legal aspects of film scoring each week. The instructor and guest composers will assist and advise students with specific music scoring and sound design needs using state-of-the-art sample libraries and live recording techniques. The student's work is critiqued on the same strengths and weaknesses that it would be judged by in the marketplace. Students should be familiar with Pro-Tools software and have taken the pre-requisite POST PRODUCTION PRODUCTION class.

A historical and aesthetic overview of film editing, ranging from the early days of silent film, to the innovations of modern techniques in the 21st century. Various editing scenarios and sequences will be explored in-depth; from Alfred Hitchcock's use of voyeurism, to the crafty use of Point-of-view edits in The Sopranos; the function of voice-over and music to create structure and pace in films by Martin Scorsese and Francis Ford Coppola; to the use of spatial and expressional sound design in films by David Lynch and Ridley Scott. This course is designed to spark curiosity and expand students' theoretical knowledge of film editing. The ultimate goal is to encourage learning through the act of watching films and to inspire students to employ thematic ingenuity in the planning and editing of their own projects.

Dark Visions: The Art of the Horror Film is a special course offering designed to provide practical insight into developing and making a low budget horror film. Led by Stephen Berkman and special guest teacher Zack Snyder, this immersive class / film workshop will span two terms. The horror film - one of cinema's most enduring genres has traditionally created opportunities for young filmmakers to develop their craft and to gain a foothold in the film industry. Many great American filmmakers launched their careers working within the horror genre, including Zack Snyder, who started his feature filmmaking career in 2004 with the success of the now classic horror film Dawn of the Dead. Even today, low budget horror films are still making breakthroughs and opening doors for young filmmakers to showcase their talents. In the fall term, students will develop a concept for a low budget horror film and pitch their projects in class. The emphasis is on crafting a strong hook and a unique approach for a compelling narrative. After refining their concept, students will first create a written treatment and pitch deck for their film which will then develop into a complete screenplay. In the spring term, students will film a trailer and shoot one complete scene from their film to demonstrate proof of concept. Course work will be supplemented with a deep dive into the horror genre, including screenings of horror films from the very beginning of cinema to today to provide a historical overview. Prerequisite: Production Level 3 and 4 only. Required for first class to submit an original up to 5 sentence pitch for a horror film.

This course is an intense immersion into what is required to be a viable commercial director and short form storyteller in the ever-shifting, fast- paced world of commercials and branded content. An entrepreneurial attitude is strongly encouraged for students to take charge of their careers by creating a body of commercial work that reflects their individuality without conforming to current or conventional views. Students produce weekly film assignments. Production Level: 3 and higher

The objective of this class is to introduce the student to non-fiction film and video-making. The class will provide a forum for the student film-maker using a series of specific exercises designed by the instructor to prepare each of them for the documentary film-making experience. During the 14 week semester, each student will be asked to shoot and edit a number of short videos, while at the same time exploring not only the history of the form but its future, for example, by looking at how today's digital technologies are completely transforming both the aesthetics -- and the ethics -- of modern documentary film-making. -Production Level: 1

Digital Motion Compositing is an advanced level transdisciplinary studies film course. Students from Film, Motion Graphics and Motion Illustration collaborate to create unique narrative solutions. The course will teach how to produce live-action green screen shoots and the proper methods of post-production development. Faculties will teach unique perspectives from a designer, director and a cinematographers point of view. -Production Level: 1 for in-class assignments only.

The purpose of this class is to ensure that every student has the professional assets and tools they will need to successfully pursue their career immediately after graduation. This class will cover the creation and refinement of websites, resumes, and cover letters. Students will also workshop strategies for effective networking, interviewing, and self-promotion. A portion of this classes will involve a final term review where students will be asked to submit portfolio materials and professional documents for review and departmental archival. Like with the mid-program review, students will meet with a team of film faculty and professionals to receive feedback on these documents. This class should only be enrolled in by students who are in their final term and have submitted their "Intent to Graduate" form.

Students should only enroll in this class in their graduating term. This class does not have weekly meetings. Instead, students in this class will meet once with a team of film faculty members and professionals to review their final academic body of work and professional assets (resume, website, etc). Career goals and aspirations will be explored and strategies about pursuing these goals will be explored. Students will not only receive feedback on their work, but also share their own feedback about their experiences in the college and Film department.

Sensuality, seduction and pleasure are at the core of almost every effort in the worlds of entertainment, advertising and marketing. In order to ignite desire and create brand awareness in consumers and audiences, it is necessary to speak in symbolic visual terms. A curated selection of films, advertising campaigns, photography, brand materials and 'brand codes' will be examined in order to form an understanding of the traditions of the art of visual seduction and how such traditions constantly evolve in response to society's ever- changing conditions and values. Students will create concepts, research documents, mood boards and a short film using pre-existing footage, the focus of which will be an instructor-assigned luxury brand communication project. Production Level: This class involves no filming for first-time students. However, students who take this class a second time may be eligible to shoot an original short film.