MFI

Advanced Screenwriting: Writing Visually is a Master's level course designed for students who already have a solid foundation in screenwriting. Students are expected to develop and complete a professional-level screenplay either long form or short.

The class will concentrate on learning how to effectively present and sell yourself and your projects in the room to potential employers or buyers. Developing and practicing one's pitch is also an extremely effective method for uncovering and fixing problems with your concept and story. + Managing Your Career An extension of Pitching, concentrating on how individuals working in the entertainment industry manage the practical aspects of an uncertain and challenging life as a free agent in a volatile business.

This class will concentrate on refining and fine tuning your pitch (for a writing or directing job) and getting it buyer-ready. With the ever changing landscape of Streamers, Studios and Financiers as well as Zoom pitches, this class will help your pitch be engaging, concise and memorable. Whether it's your own original concept, an adaptation of IP or pitching a remake/sequel of a project, this course will help you recalibrate your pitch to not only sell why you are the only person for the job but also make clear what your vision is. Prior completion of FILM-302/501 "Pitching" class recommended.

The Writer's Room experience will be recreated in this class, where you will learn to pitch, break story and write a first act of your series. We will also examine groundbreaking television that has elevated the art of storytelling, learn about the show runner's creative process, and become fluent in the craft of television narratives.

This is an introductory course on story in which you will discover your resources as a storyteller; your memory and observation, your responsiveness to stories around you, and of course your imagination; your ability to create and develop compelling dramatic characters and great cinematic tales.The course will lead you through three fundamental aspects of storytelling: how to get started, stimulating inspiration for your work; how to acquire resources for discovering new characters, new worlds and fresh ideas; and techniques for developing ("breaking") your stories into a detailed outline.

This intensive workshop focuses on writing short narrative films with emotional impact that are both ends in themselves and calling cards for the feature and television and streaming community. Students begin by creating a compelling premise with artistic and/or commercial promise. They develop the premise into an outline. They develop the outline into a screenplay. They rewrite the screenplay until the film is ready to shoot, while acquiring or enhancing skills essential to writing in longer forms. Required software: Final Draft.

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.

Producing & Set Procedures provides students with a professional emphasis on the business skills and leadership responsibilities a producer requires to develop and produce motion pictures, TV, music videos, and commercials. Emphasis is placed on best practices on set and on location.

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.

The basic principles of film directing start with an in-depth study of the screenplay from the director's point of view with an emphasis on structure, theme, and character. Films are reviewed using directorial tools, including camera (composition, lighting, angles, and camera moves), location, sound, performance, editing, style, tone, and music. All mistakes are made in prep. For the final project students will prep for a mock film from one of the scripts using tools such as a director's workbook and look book. Although no filming will occur during this class, the lessons learned from prep will apply to future classes and productions. Other topics covered in this class include: Storyboards, Pre-vis & Production Design, and an extension of Script Breakdown & Production Prep for Directors.

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 becoming the actor and learn how to direct actors for best results.

This course approaches cinematography as a visual tool to assist in the craft of storytelling. With a combination of theoretical study and hands-on exercises, we build a rich understanding of a DP's most important technical skills, and how those skills are used to support the narrative. There is a strong emphasis on student cinematographers' preparation for the professional world. Note: this is a hands-on workshop for Cinematography majors and those who want an advanced understanding of the craft. It is not a portfolio production class for directors. + Tech Training & RED Certification An extension of Cine Workshop covering the technical and safety-related know-how required to use professional camera equipment and oversee a camera crew. The class module includes hands-on demos with the RED One, field trips, lectures, and a final exam. Students will achieve an understanding of a Cinematographer's responsibilities, tools used on a set, vocabulary, lighting and safety. Students must be RED certified before being able to use those cameras for their productions.

** 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.

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.)

A Master Class for the graduate Film program, focused on the creative collaboration between Directors and Cinematographers. Creating a genre look from script interpretation by the selection and application of formats, lighting, lenses, movements and color grading based on sequences, scenes and shot design. This class focuses on practical sets, and is a level 3 production class. Taught by Affonso Beato, ASC, ABC member of the ASC Master Class faculty, with more than 50 features and 300 commercials on his resume. -Production Level: 3

This advanced course approaches cinematography as a practical craft and as a design art. With a combination of theoretical study and hands-on exercises, we build a rich understanding of a DP's most important skill-sets -- light, exposure, color, lighting, cameras, formats, lenses, frame composition and shooting practices. Strong emphasis on student cinematographers' preparation for the professional world. Note: this is a hands-on workshop for Cinematography majors and those who want an advanced understanding of the craft. It is not a production class. -Production Level: 1 for in-class demonstrations only.

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.

In this course students will dive into the increasingly essential world of new media. Each student will explore the medium first hand, creating a no budget, short form series that can be posted online as a standalone piece, or as a proof of concept for a future project. Special attention will be paid to outlining the story, designing each episode so it stands alone as well as part of the series, and picking the best platform for the story being told. Students will also learn the recent history of short form digital content, starting with YouTube and going through everything from Quibi to TikTok. Production Level: 1

This narrative film editing course is designed to perfect storytelling techniques through advanced editing theory and practice. Students must already be sufficiently familiar with Avid Media Composer to use it without supervision or assistance. While some of the material to be edited will be provided by the instructor, it will be augmented by material chosen and directed by the students. Subjects of discussion will include narrative picture editing for feature films, television and short films, editing production dialogue and sound effects, sound recording by means of ADR, Foley and other processes, music score creation, foreign sound mixes and delivery elements. Production Level: 1

Advanced Flame expands on the previous flame class and moves further into student projects as well as more plot-driven effects. These plot driven effects range from affecting the environment characters are in and a larger focus on advanced color correction. Additionally, there is an emphasis on project planning for films with visual effects both supporting and plot driven.

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.

This course will investigate the techniques, skills and craft needed for a successful director working today, with a special emphasis on the particular terms for working in episodic streaming platforms. The student will delve into all of the mechanics: from preparation to final production. Students will be required to make two shorts before the end of term: one drama and one comedy. Students will combine the knowledge from previous classes and move into using effective formulas in an advanced format by creating the systems necessary for real-world production. Production Level: 2

A lively in-depth look at the art of the film, with screenings curated and class discussions led by a nationally known film critic. Rather than concentrate on the usual "must-see" classics from the history of world cinema, this class will have an eclectic mix of great films including indies fresh off the festival circuit, studio blockbusters, underground gems and others, with deep analysis and valuation of each individual picture.

Directing Movement for Impact is an exploration of how movement functions expressively, thematically, narratively and structurally through insightful direction of the moving image. The filming of weekly, personalized movement sketches and critical analysis of examples from a broad range of film production promotes the discovery, development and enrichment of each student's own individual movement "voice." Movies move. Why not use movement to expand, heighten and deepen the effectiveness and impact of your own original ideas and creations?

Students watch films and analyze specific narrative focuses, and research and compose a paper based on their screenings, as the course focuses on different topics and films each term.

An analysis, critique, and practice of metaphorical "visual montage" storytelling techniques created by selected iconic filmmakers. The course is designed to encourage the use and enhance comprehension of metaphorical/abstract imagery in filmmaking. Students practice montage techniques through a variety of personal visual experimentations and interpretive critiques. The ability to effectively communicate concepts without the use of traditional language can provide a "universal voice" for filmmakers. This course may be taken multiple times if appropriate and supported by the course professor. + Production Sound An extension to Visual Storytelling Workshop that covers the fundamentals of recording sound on set, and provides an introduction to using sound practically and creatively. -Production Level: 1

A collaborative exploratory workshop intended to foster experimentation in creating effective movement strategies to enrich the affective communication potential of all types of film projects. Through analyses of several key examples of past and present successful movement strategies, execution of three of each individual student's own filmed projects, and extensive classroom discussion and exercises, each student will develop his/her own personal methodology and will have completed three short examples illustrating the results of their process.

Hollywood's diversity problem has been getting some needed attention in recent years, but Filmmakers of Color have been creating brilliant movies since the dawn of moviemaking. By promoting an understanding and appreciation for Black Directors & Black Actors, this course is designed to educate and expand awareness of Black Cinema. Through the examination of carefully selected films by renowned filmmakers, this class promises to be an exciting opportunity to become immersed in expressive black viewpoints on contemporary society. This course will be exhilarating, breathtaking and educational.

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.

Topic studio classes will focus on various, limited time-offering, film-related topics that cover a wide range of concentrations. These topics may only ever be run once due to the instructor being an industry professional with limited free time to teach, the topic at hand being relevant only to the term in which the section runs, or the scope of the class being so hyper-specific that it can't support regular, yearly enrollment. If you see a topic studio that's of interest to you, take the class while you can! For more information about what this term's topic studio class section is, please refer to the communications you may have received from Film administration, or reach out to them directly for more information.

As the first of three written thesis courses, students meet individually with the Thesis Director to decide on a topic for their written thesis and begin researching their chosen topic.

In Written Thesis Development - the second of three written thesis classes - students complete their thesis research, develop a thesis outline and begin writing the thesis.

Scripts are rewritten. Repeatedly. Knowing how to improve upon a prior draft is an essential skill for writers and non-writers alike. In this course students are expected to polish and refine an existing script, ideally one they began in an earlier writing class.

From Coppola to Cameron, Steven Spielberg to Bong Joon-ho, many of our greatest filmmakers have started with a first or early feature in the horror, suspense and sci-fi thriller genre. Emerging directors Robert Eggers, Jordan Peele, Jennifer Kent and Ari Aster all made horror films as their first features and you too may pursue this path. Students in this class will write a first draft of a horror, suspense, or sci-fi thriller feature screenplay. We will also examine the elements common to the films of this genre.

This intensive workshop for writers of features and/or shorts is a professional approach to story and structure for narrative films with emotional impact. Students begin by creating a compelling premise with artistic and/or commercial promise. Shorts writers develop the premise into an outline and the outline into a screenplay. They rewrite the screenplay until the film is ready to shoot, while acquiring or enhancing skills essential to writing in longer forms. Feature writers develop the premise into a first-stage outline. If and when they are ready, they develop that into a second-stage outline from which a screenplay can be written. If time allows, they begin the first draft of the screenplay. Required software: Final Draft.

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.

Conscious Communication is an intense immersion course at ArtCenter College of Design that allows students to experience the pace of a professional environment, creating work relevant to current real-world social issues. Led by photographer and creative director Matthew Rolston, students will produce a series of targeted short-form videos, ultimately making powerful pieces of audiovisual communication. The class addresses issues that affect us all, among them: the movements for diversity, equity and inclusion; mental health; the climate crisis; the promotion of joy and kindness; and many other pressing topics. The course is ideal for aspiring advertising professionals, creative directors, filmmakers, photographers, and those who wish to communicate powerfully in the public interest. For more information about the course, please visit www.consciouscommunication.io. Production Level: This class involves no filming and is not considered a production class.

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

Students will pitch short scenes to direct in-class. Selected students will work with the instructor to design and execute appropriate lighting strategies with regards to the tone, setting, and narrative needs of the scene. Students should be have potential scenes in mind prior to the first day of class. Students may be expected to attend pre-lighting sessions during the day prior to the film shoot. Production Level: 3 and higher.

Students edit their own material and assigned dailies, with the goal of cutting to enhance performance, advance the story, set pacing and tone, etc.

Narrative Film Practicum builds upon the foundations of storytelling, story comprehension, and filmmaking that were explored in the first term of the Grad Film program. Armed with the knowledge of what elements are essential in the creation of compelling films, students will apply this knowledge towards the directing of their own short films. Production Level: 2

This class will teach color theory through the practice of color grading motion pictures. The class will cover the history of color in cinema and art. Students will learn to speak the language of digital cinema "color" in order to communicate effectively with their filmmaking collaborators. Students will learn basic and intermediate techniques for color grading their own commercial and narrative work in Davinci Resolve and will be encouraged to explore other equivalent software.

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.

This class covers the complete process of finding and/or developing material; protecting it; financing it; selecting cast, crew, locations, equipment; finishing the project; offering it for sale to the marketplace; finding distributors; understanding exhibitors; playing the "film festival" game; marketing, promotion; finding agents, managers, attorneys; etc. A "must" class for anyone serious about making films. Examined from the "independent" perspective, but with numerous references to the studio process as well. Textbook required. Two short quizzes and a term paper (a business plan for a project--real or imagined). -Production Level: 1

George Lucas famously stated that sound is the other half of your movie. Via workshops and examining films with great sound design, students learn techniques for rich, effective sound design and music scoring, and how these elements contribute immeasurably to telling the story and creating a mood.

This advanced course, taught by a filmmaker, is designed to examine well-made motion pictures from the point of view of what techniques the filmmakers used to achieve their cinematic storytelling goals.

This class offers an insider's view of the business side of film and television development and production, from the acquisition of rights and the negotiation of agreements for writers, producers, directors and actors through the many avenues of distribution, including consideration of ancillary markets an so-called new media. Several class meetings will feature guest speakers, including top industry professionals such as studio executives, directors, producers, agents, etc. This class is open to all majors.

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.

This graduate course is an intensive screenwriting class for Writers and Writer/Directors. Students will meet individually with the instructor to develop a short film screenplay from idea through final shooting script with the intention of directing the film in Advanced Film Production. The course is designed to provide the student with a comprehensive, professional understanding of screenwriting. The story idea must be original, created by the student, and not based on any previous work in any other class. The screenplay will be no more than 10 pages long. The script must tell a story. Students pitch ideas with a Classic Three-Act narrative structure. Once the story idea is approved, students will begin the screenplay. This is a rigorous writing experience. Good writing is re-writing. Scripts will be in colloquial English and contain a satisfying resolution, complete the story's theme and answer its basic question. The finished script must be approved by the Instructor before script is shot in Advanced Film Production. (The student will direct the film, but may not be in the film's cast.)

This graduate course is an intensive screenwriting class for Writers and Writer/Directors. Students will meet individually with the instructor to develop a short film screenplay from idea through final shooting script with the intention to direct the film in Advanced Film Production. The course is designed to provide the student with a comprehensive, professional understanding of screenwriting and the associated aspects of the craft. This is a class about finding the student's original voice. Students will study what makes a short film standout in an already convoluted market. What sets shorts that premiere at SXSW, Sundance, or Tribeca apart from the rest? Often, it's the filmmaker's voice. Their point of view and their ability to incorporate that into their storytelling. Along with voice, students will focus on writing within the constraints of their resources. Writing with the intention to "film the feasible". Students will learn about how to cast reputable actors and how to write for locations that elevate the material, not the budget. Like an imaginary friend suddenly knocking on your front door, at the end of this class what once existed in your head, will now exist in the world.

In Advanced Film Production, students will direct a script completed in Advanced Film Development. Instructor script approval is required before pre-production begins. The course is designed to cover the full directorial process from pre-production to delivery. Once students finalize the script completed in Advanced Film Production, they prepare for and complete a PRACTICE SHOOT using classmates or friends as actors in comparable locations to be filmed and edited, then screened with instructor. This is an invaluable process that allows students to work out shots, explore directorial approaches, shooting styles and ways to cover each scene. Classic film coverage of scenes is required (no long single shots with ping pong pans, etc.) After the Practice Shoot is completed and screened, the student moves into Pre-Production mode. Location scouts, casting, shot lists, production design, etc. are discussed as students prep the FINAL SHOOT. Students will edit their own films. It is recommended that students hire a professional sound recordist for their final shoot. Directors may not appear in their own films. Students are required to use DPs who are currently enrolled at Art Center. Films to be no longer than 10 minutes. After shoots are wrapped, Directors will create a First Cut to show Instructor. Notes to be given. Pick-up shots if possible. Director will then create a Second Cut to show Instructor. Then a Final Cut including Post Production- score, color correction, titles and credits. Student production company credits, logos, etc. are not permitted. 'A Film By' credit is generally prohibited in the film industry. Simple credits in this class are "WRITTEN and DIRECTED by.." Final films are screened for the class Week 14..

This graduate course is an intensive class for director/producers who wish to complete an advanced video project within a single 14 week semester. Each week, students will meet individually with the two instructors to cover the entire production process from table read to final color-corrected "print." Admission to the course is by petition. Students may enroll once the instructors have determined that their script has been effectively developed and that they have presented a comprehensive 14 week timeline to completion. Although not required, scripts for this course are typically developed in Advanced Film Development. Scripts (and their accompanying production timeline) are to be submitted to the instructors during weeks 12-14 in the term prior to enrollment. This section will focus on collaboration between a writer and a director; between a director and a producer; and/or between a writer/director/producer and his (or her) cast and crew. Our job over the next 14 weeks will be to help you complete your film or video short not only within a single Art Center semester but also within the larger framework of what is probably the most complex collaborative medium ever invented in which to create art.

This graduate course is an intensive class for upper level production-eligible directors who wish to complete an advanced short film within a single 14 week semester. Films should already have been sufficiently developed (script, treatment, etc) and should only need minimal further story development in the following term, if any. Coursework for this class centers around 1-on-1 meetings with the student's production eligible-instructor of choice. Meetings with the instructor are limited to 7 hours per term, to be utilized in whatever manner the student and instructor see fit. This course is by petition only and requires prior submission of an application in the previous term. Admission to the course is influenced by many factors, such as if the student is already enrolled in a different production course, the timeliness with which the student submitted the request, how sufficiently developed the script the student plans to shoot is, and other considerations. Enrollment to the course is not guaranteed even if seats remain available. Once all seats are taken, no additional seats will be granted even if other applications are pending. Students cannot enroll in multiple sections of this same course. Production Level: 3 and 4

In Written Thesis Creation, students write the last twenty pages of their thesis. They submit a first draft of the thesis by the eighth week of the term. The Instructor comments on the draft and then the students begin the revising process. They submit multiple drafts of their thesis for evaluation until it reaches the standard of competence for the completion of the Thesis Requirement for Graduation.

Required for all students finished with their course work but still working on completing their thesis. Required every semester until thesis is completed and approved.