Film

Film Department Orientation 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.

Casting Lab explores and demystifies the dynamic casting process from start to finish. Graduate and Undergraduate Film students will learn how to run a professional audition and find a strong cast for an upcoming project. Directors will be coached on how to effectively pitch and schedule their casting session as well as best practices for auditioning and working with professional actors.

Additional screenings are required in most film classes. This lab and discussion class, open to all Art Center students, allows interested students to view great films from around the world on the big screen. Screenings and open discussions every week.

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 is a 14 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 Set Safety class also will cover our Film Production Handbook and Film Facilities usages. Required for all Film Students. Class will run 1 thru 3 online and will cover Set Safety Overview, Demo Tool Student Purchase; Level one Safety tips and Location Shooting.

Set Safety is a 14 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 Set Safety class also will cover our Film Production Handbook and Film Facilities usages. Required for all Film Students. Class will run 4 thru 14 in-person and will cover Lighting Fixture, Power, Cable and cord, rigging, Head crate, clamps, butterfly Frame, Knot tying, rigging light, hands on practical test.

Set Safety Hands-on training is a 6 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 Set Safety class also will cover our Film Production Handbook and Film Facilities usages. Required for all Film Students and must have complete the Online Set Safety course

This class will help students develop and reinforce the writing skills they will need throughout their tenure as Film department students as well as in the professional filmmaking world. Students who display sufficient command of English writing and grammar will be eligible to test out of the class prior to the end of the term.

"I don't expect directors to know how to write, but I do expect them to know how to read." - Billy Wilder. "You call yourself a writer?" -- Arne Sultan, sitcom show runner and former roomate of Lenny Bruce, to Ron Osborn This required seminar for all film majors will familiarize students with the industry-standard form and function of motion picture and television single-camera screenplays. We will cover how story, character, tone, and emotion are articulated on the page using a very specific format designed to communicate visually, with a unique shorthand descriptive style. Writing a script in proper format is essential for writers; understanding how and why screenplays look and read as they do is equally essential for all filmmakers.

This course is designed to be an immersive introduction into the nuts and bolts of narrative as well as proper format and professional presentation for screenplay writing. It will cover the essentials of narrative, 3-act structure and story arc, scene and sequence structure, the importance of theme, how to develop characters, and point-of-view. 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 is the concurrent lab component of the advanced Directing and Production classes. Classic feature films and student projects will be will be screened and critiqued as part of the Directing 3 curriculum, and other advanced production classes TBA.

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

To write with light, to write with motion, the learning of design (disegno), lighting and composition: these are the traditional aims of a class devoted to cinematography. Yet, under the impact of digital technology, this "language," this way of seeing, is being challenged. What are we indeed to make of the differences between film and digital capture? Are we facing a new kind of aesthetics, one no longer concerned with the beautiful? Will the new technology help us gather a new awareness of the social world or is it dooming us to stylistic figures without consequence? Course Objectives: although lectures will fill much of the class, the heart of the course will consist of a series of visual explorations involving the filmmaker, the camera, and the world. Through specific exercises, each student will engage cinematographic issues related to the pictorial transformation of reality. Course Requirements: each student will be responsible for 4 projects (about 5 min. each) for presentation in class on an assigned schedule. These are to be understood as raw sketches that challenge our stereotyped assumptions about filmmaking rather than polished pieces. The overall idea is to push your creativity rather than concern yourself with the equipment.

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.

This is a course for students who were enrolled in a Level 1 production class and were unable to film their projects due to the campus closure. Facility access and social distancing guidelines permitting, students enrolled in this class will have an opportunity to film these assignments. Students may only film projects associated with the classes they were previously enrolled in, and all projects must be pre-approved by the instructor of that class. In order to request access to this class, e-mail Nijo or Olaolu.

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 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.

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 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.

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.

Students in this class will learn the Director's Prep from Story to Script to Storyboards. By understanding Emotional Story Structure: creating the story beneath the plot, the students will gain the mastery of combining the practical and the creative and thus enhance the Director's interpretation of the Script, Scene Analysis, Visual elements of storytelling. Students will also learn to distinguish between an actor's performance: what makes it good, great, or unconvincing. Each student will present 3 scenes. They will create a director's notebook that will hold their research, scene analysis, character breakdowns, shot lists, pre- visualizations. This deep dive into preparation will allow the student to create a strong dramatic narrative.

Film-making, as almost everyone knows, has always been a hybrid form, a mixture of art and commerce, part right-brain and part left-brain. Historically, the bifurcated nature of the medium was mirrored in the two key roles on a film set: the producer is usually described as the man or woman whose job is 'handling the money' while the director 'handles the art,' so to speak. This inevitably has led to a kind of unfortunate parent-child paradigm where the producer (and, by extension, the financing entity) is cast in the role of the 'responsible adult' or parent, leaving the director to play the part of the 'brilliant but irresponsible' child who needs constant supervision. This new section of Directing 2 will attempt to create a new right-brain/left-brain paradigm for the independent film-maker, one that fundamentally rejects both of these old and outdated metaphors in favor of a true collaboration among equals. In other words, first-time directors be warned! If you don't know anything about producing, you will almost inevitably find yourself at the mercy of someone who does

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.

This workshop is for students who has completed the online Cine Tech Training with a passing grade but missed the opportunity on getting the hands-on training with the equipment. Each session will be focused on a particular piece of equipment. This is purely an opportunity to work with the equipment and practice what you've learned in Cine Tech.

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.)

In this hands-on class, students will hone their sound editing skills using footage from television shows, films, and movie trailers provided by the instructor. Students will learn the basics of industry standard Pro Tools software while covering in depth, how to record voiceovers, ADR, and FOLEY, as well as basic editing of music, production dialogue, and sound effects. Other topics covered in depth are; mixing and how to achieve proper sound levels for film, TV, or multimedia productions. Editors will leave this class conversant in the language of sound editing/mixing with a great foundation in audio that can be further developed, while directors will more effectively and creatively know how they can use sound to better tell their stories.

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

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 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

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

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. Students should enroll in this class immediately after completion of Directing 3 or Narrative Film Practicum.

"If it's not on the page, it's not on the stage." - Sir Ridley Scott. This class offers one-on-one mentorships with a writer/director. It is aimed toward students who are in the process of writing - or working with a writer - on any length script they plan to direct themselves. With first-hand experience in both writing and directing, the mentor will help craft a dramatically-sound script which is also tailor-made for the level of production in which it will be filmed.

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.

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).

Through practical exercises, lectures, guest speakers, and short film assignments critiqued in class, students will explore the possibilities of professional-quality narrative filmmaking using an iPhone as their camera. The goal of the instructor, director Zack Snyder, is to demonstrate that filmmakers are limited only by their imagination, ingenuity and storytelling skills. Each student will be supplied with a loaner iPhone for use on their class productions, courtesy of Apple.

Media Makers Lab is a new class combining the skills of advertising, film and design students in an intense collaborative immersion of short storytelling of advertising concepts applied to multiple social media platforms. The class is specifically created to emulate the process of a creative team working in an ad agency or a design firm crossing into the world of marketing. It will be a 5 hour class made up of 3-4 teams comprising one from ad, one from film and one from design to work on a series of briefs every two weeks from concept through to final production. Week one is getting a concept approved. Week two is shooting your concept, editing with sound design and presenting finished video(s) in class the second week. There will be 6 assignments each term. It will move fast. You will shoot on a smart phone or a digital SLR, no big budget shoots. Shoestring productions only. You must submit a website/portfolio to be accepted into the class. We will curate/form these teams prior to the first class. You will get an email telling who your partners are. You're expected to introduce yourself to each other before the first class. With your get-to-know-each-other you will come to the first class with the name of your company that you've agreed on as a team. You will present that name with a brief raison d'etre to support your company name The outcome is to disrupt the status quo of the conventional business model of ad agencies, clients and commercial production companies with the simple application of strong concepts and clear storytelling. The below pre-requisites ONLY apply to Film majors.

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.

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 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.

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.

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.

Advanced techniques for Post Production Sound editorial and mixing. The introduction to post production sound class touches on a broad array of topics while this class provides the opportunity to deep dive into the areas of dialog editing, advanced recording principals, creative use of effects, equalization, compression and limiting, advanced automation, and mixing the industry standard digital audio program, Pro Tools. Subjects covered include: Stereo & Surround mixing techniques for TV and Film. Sweetening dialog through proper editing, equalization, and control of volume levels. Understand OMF and AAF files from Final Cut Pro or Avid Media Composer. How to create premixes and stems as well as how to deliver finished mixes back to the editing department (Media Composer, Final Cut, or any video editing workstation). Students are provided a variety of projects to work on and develop and understanding of how to make audio sound broadcast ready. Through lectures, examples and plenty of hands on time students will produce multiple finished projects and in addition, students are encouraged to work on their own projects.

Film Scoring Workshop is co-instructed by an Emmy-award winning composer and veteran mixing engineer. The workshop will help each student with specific music scoring, sound design, and mixing 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 FILM SOUND PRODUCTION class.

Film Scoring Workshop is co-instructed by an Emmy-award winning composer and veteran mixing engineer. The workshop will help each student with specific music scoring, sound design, and mixing 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 FILM SOUND PRODUCTION class.

Entertainment Design and Film are collaborating to create a ten-minute, high-concept sci-fi film with production values equal to the biggest Hollywood blockbusters. The process will take several terms, and utilize the varied talents of our students and faculty to develop, design and create the film. SFP: Story Development will develop a finished screenplay based upon the winning concept proposal, along with some rough concept, character, environment and scene storyboards. Students and instructors will collaborate in a "Writers' Room" format - collectively contributing to the creation of script and preliminary imagery.

In this course we'll explore how to write a sci-fi short film from a visual point of view. We'll discuss how to craft exciting stories, invent unique characters, and build intriguing worlds. Students will be expected to thoughtfully critique each other's work. In addition, each week students will watch and analyze a sci-fi movie.

This is an intermediate to advanced immersion into industry-grade Visual Effects. Moving into Autodesk's Flame Premium software; many techniques will be thoroughly detailed and practiced as if working in the industry, with senior-artist supervision, and under client-driven direction.

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.

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.

This is a course for students who were enrolled in a Level 2-4 production class and were unable to film their projects due to the campus closure. Facility access and social distancing guidelines permitting, students enrolled in this class will have an opportunity to film these assignments. Students may only film projects associated with the classes they were previously enrolled in, and all projects must be pre-approved by the instructor of that class - just as would have been required of them under normal circumstances. In order to request access to this class, e-mail Nijo or Olaolu.

This zero unit production class allows students to complete a production requirement for a production class from the most recent prior term. This class is only open to students who are not planning on enrolling in any other classes during the term and would otherwise be on a Leave of Absence. Students must have received an "Incomplete" grade in the production class for which they are shooting their film, and this "Incomplete" grade must be the result of a missing or incomplete production. The instructor who awarded the "Incomplete" grade must confirm with the Film Department that the project the student plans to shoot is for completion of the class and that the project's content matches what has been shared with them before. Students enrolled in Production Completion must complete their production by the end of the current term. Students who fail to do this will not be granted re-enrollment. While enrolled, students may only film their one incomplete production. Admission into this class is subject to Film Department discretion and review.

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. Analyzing the scripts and episodes of the acclaimed network series, Hannibal, we will examine groundbreaking television that has elevated the art of storytelling.

Comprehensive study of the social, economic, political and formal complex cinema of Robert M. Young. Analysis of cinema in the tradition of auteur study and how students can change hearts and minds within their own filmmaking approach. After researching and pitching issue-provoking subject matter (i.e. about race, environmental, gender, LBQTIA), students will be required to write an outline for their groundbreaking film with 15 pages written as their final.

An overview of topics related to establishing and maintaining a career in the Hollywood entertainment industry including developing a marketable filmmaker portfolio, agents/managers/lawyers, creating a resume and filmmaker website, guilds and unions, common agreements, techniques for building and maintaining contacts in the entertainment industry, microbudget filmmaking and more. Students are required to develop at least one portfolio project to be submitted for peer and instructor critique.

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

Documentary Workshop Two is a level three documentary video production course for those Art Center students, undergraduate and graduate, who have demonstrated in the eyes of the instructor an advanced level of skill in the art and craft of documentary film-making. Prerequisites for the course are 1) the Documentary Production Workshop, 2) Directing Three, and/or 3) prior approval of the instructor. Each student enrolled in the class will spend the entire semester working on a single full-length documentary project of their choice. Each film or video will be based upon a pre-approved story outline and individual "plan of attack" i.e., a set of specific bi-weekly objectives that MUST be met in order for the student to complete the course. In other words, the goals of the class are to be defined on a project-by-project basis under the supervision of the instructor; but once these individual objectives are set at the start of the semester, each student must agree to abide by them in order to receive credit for the course.

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.

A Master Class for graduate and undergraduate Film programs, 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 course is required for any Undergraduate or Graduate Film student who intends to complete their Film degree credit requirements by the end of the current term. Graduating students will learn more about their roles and responsibilities in graduation-related events such as Grad Show, Recruitment Open House, Grad Show Preview, and Commencement. Any student who does not enroll in this class or does not participate in the class may NOT participate in any graduation-related events except Commencement.

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 is only available to students who are in their final term and have submitted their "Intent to Graduate" form. Email your department coordinator for access.

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.

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.

This 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. 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.