Graduate Film

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.

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.

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.

Set Safety is a 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. 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

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.

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.

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

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.

This Graduate Course covers the entire film-making process, as the student film-maker takes his or her thesis film script from table read to color-corrected answer print in 14 weeks. Clearly, this is NOT a class is about theory. On the contrary, it's an on the ground "dirt under the fingernails" exercise in real-world independent film-making -- devoted to one thing and one thing only: turning your script into a narrative short that you can be proud of - one that can and will become your calling card, as you set out to find your place in this notoriously competitive business. **Must have an approved script ready to shoot - this is a Level 3 production class

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.

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.

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.

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 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

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 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.

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.