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FILMM K A E K E I W N

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8

P R K O O DU BO CTION HAND

NEW YORK ACADEMY

100 East 17th Street Tel: 212-674-4300 Email: [email protected] New York, NY 10003 Fax: 212-477-1414 www.nyfa.edu CLASSES

Director’s 16mm Arriflex-S, the Lowel VIP Lighting Kit Director’s Craft serves as the spine of and its accessories. Students shoot and screen the workshop, introducing students to the tests for focus, exposure, lens perspective, film language and practice of filmmaking. Through latitude, slow/fast motion, contrast, and lighting a combination of hands-on exercises, during their first week of class. Beginning in screenings, and demonstrations, students Week Four, students will be instructed in the use learn the fundamental directing skills needed of the Panasonic DVX 100 digital video camera. to create a succinct and moving film. This class Students have the of shooting their final prepares students for each of their film projects projects on 16mm film or digital video. and is the venue for screening and critiquing their work throughout the course. Production Workshop Production Workshop gives students the Writing opportunity to learn which techniques will help The writing portion of the filmmaking course them express their ideas most effectively. This adheres to the philosophy that good directing class is designed to demystify the craft of cannot occur without a well-written script. The filmmaking through in-class exercises on course is designed to build a fundamental film under the supervision of the instructor. understanding of dramatic structure, which is essential to writing an engaging film. Arc, theme, Budgeting and Scheduling character, tension, and conflict are explored. Students learn to organize production schedules in order to maximize the creative time spent Editing on their , while minimizing the size of the This class covers the language of editing and production budget. They learn the preproduction the organization of film and sound material. process, including casting, finding locations, Films are shot on 16mm film and edited digitally obtaining shooting permits, costumes, and all with Final Cut Pro on Apple computers. While other production elements that apply to the students learn how to use the nonlinear editing successful completion of their films. software, the emphasis is on the craft of editing which challenges students to create cogent Sound sequences that best serve the story. In this class, students learn to incorporate voice-over, sound effects, and music into their Hands-on Camera and Lighting final film projects. Students will have access to Beginning on day one, this is a no-nonsense our extensive library of sound effects and sound camera class in which students learn fundamental recording equipment. Final films may have skills in the of with the multiple tracks of sound.

PAGE 2 | 100 E17TH STREET, NEW YORK, NY 10003 | WWW.NYFA.EDU OVERVIEW OF 8-WEEK FILMMAKING WORKSHOP Classes are Director’s Craft, Writing, Editing, Production Workshop, Hands-On Camera, Budgeting and Scheduling, Lighting, Sound, and Special Lectures.

Week 1 Tools of Filmmaking • Instructions on how to use the Arri-S, lenses, light meter, depth of field • Shoot camera test • Screen camera test • Director’s Craft #1, 2 Writing #1 • Lighting Workshop • Production Workshop #1 • Preproduction for First Film • Production Meeting • Shoot individual Mise-En-Scene film

Week 2 Continuity • Editing #1, 2 • Production Workshop #2 • Edit Exercise Film • Screen Exercise and critique Mise-En-Scene project • Writing #2 • Director’s Craft #3 Pre-production for the Continuity Film • Production Meeting • Shoot Individual Continuity Film

Week 3 Music & Montage • Editing #2 • Music in Film • Screen Continuity Film/Critique: what went right, what went wrong • Preproduction for the Music Film • Director’s Craft #4 • Production Workshop #3 • Writing #3 • Production Meeting • Shoot Music Film

Week 4 Finalizing Your Script • Edit Music Film • Editing #3 • Screen Music Film/Critique: what went right, what went wrong • Hands-on Digital Camera #1 • Hands-on Digital Camera #2 • Production Workshop #4 • Director’s Craft #5 • Budgeting and Scheduling • Lighting Review • One-on-one advisements with faculty

Week 5 Hands-on Digital Camera #3 • Director’s Craft #6 • Director’s Craft #7 • Production Workshop #5 • Shoot Chekhov Film • Sound #1 • Lock Down Production • Preproduction for Final Film • Locations, Casting, Rehearsal • One-on-one advisements with faculty

Week 6 Director’s Craft #8 • Edit Dialog • Sound #2 • Directors shoot their final film over a two day period. Pace yourself. • Edit Chekhov film • Critique Chekhov film • Check out for Final Film

Week 7 Production on Final Film • Check-in • Edit Final Film

Week 8 Post Production • Edit #4 • Edit #5 • Faculty works with students in Editing Advisements • Final Screenings • Students attend screening with friends, family, fellow students, and faculty

PAGE 3 NEW YORK FILM ACADEMY | 100 E17TH STREET, NEW YORK, NY 10003 | WWW.NYFA.EDU EXERCISE #1 MISE-EN-SCENE

Each student will make a of 30 seconds Rehearse each shot for and camera to one minute in 1 to 3 shots. until you get it right; only then should you roll film. You will shoot 1 roll of black and white reversal This project teaches you how the relationship of film then edit and screen your film. the subject and the camera creates drama. You will design and shoot one to three shots in order You will work in crews of four. You may use to produce a scene which has a beginning, your crew as or you may utilize the file of middle and an end. actor’s headshots located outside of the editing room to find actors. Pay close attention to your choice of lenses, distances, and angles. Since you will tell your story in no more than three shots, be sure you Shooting time allotted: 3 hours. design each shot to express as much as you Running time: 30 sec. - 1 min. can about the characters and their actions. Editing time: One editing slot

EXERCISE #2 CONTINUITY

Shoot a dramatic scene to create a feeling of Do not shoot without thoroughly continuous action. The scene unfolds utilizing pre-planning the following elements: a variety of shots (10-15) with a consistency of physical detail between shots intended to match Script (no jumps in time or action). This will challenge you to produce a clear, visual scene while maintaining the truthfulness of the moment. It is Floor Plan essential that the audience believe in the reality of the scene.

Shooting time allotted: 4 hours. You will shoot 2 rolls of film then edit and Running time: 2 - 4 min. screen your film. Editing time: One editing slot

PAGE 4 NEW YORK FILM ACADEMY | 100 E17TH STREET, NEW YORK, NY 10003 | WWW.NYFA.EDU EXERCISE #3 MONTAGE MUSIC FILM

Choose a short selection of music. Plan and A good genre for a musical impression is a shoot this exercise with the music in mind. profile of a person, a place; an abstract; or an Students are encouraged to use montage . style editing to move the story or idea forward. This film may be simply a film accompanied by In addition to , you may use a still music or a “music video” type piece. You may camera to get a better idea of your film. It can use only one song on this project. help you in the choice of locations, distances and angles, lighting etc... It is a great supplement to Montage can be used to great effect in the a storyboard. compression of time and to create visual collisions or unexpected continuations Keep in mind you will not be cutting the sound track. between shots. In the editing room you should cut the images to work in concert with or in counterpoint to the music. Shooting time allotted: 8 hours Students should experiment with rhythm Running time: 3 - 5 min. and pacing. Shooting two rolls of film, each Editing time: Two editing slots student will make a short film of one to three by sign up minutes then edit and screen his or her film.

EXERCISE #4 CHEKHOVIAN FILM

Working with the spoken word. will find that these elements will determine the Text vs. Subtext: meaning of the dialog and should reinforce their understanding of text versus subtext. Students each direct a brief page of dialog (provided by the instructor) that has no written Shooting time allotted: 4 hours physical detail or action. The director determines Running time: 1 - 3 min. who the characters, the location, the situation, Editing time: Two editing slots back story, and especially the objectives and by sign up beats of the characters in the scene. Students

PAGE 5 NEW YORK FILM ACADEMY | 100 E17TH STREET, NEW YORK, NY 10003 | WWW.NYFA.EDU FINAL FILM

Write a short script of 3 to 10 pages. You may Cast your film and rehearse the action. It is choose from any genre including but not limited advisable to videotape your actors. There is a to: Narrative, Documentary, Episodic, Music Film, big difference between a live casting call and Experimental. This project may be shot on 16mm seeing your actors on tape. You have one week film or digital. You must choose one format or the of preproduction and advisements. other, you cannot check out both cameras. Create a production book with tabbed dividers including your . You have two Make a shot list, storyboard, and floor plan. full days to shoot your film. Scout your locations. If you are experiencing any trouble with locations please see Ben Pope Edit for one week. Use up to two tracks of sound at least two weeks before your shoot. incorporating voice over, music, sound effects and/or ambient sound. Screen your rough/fine cut film in final screenings.

Shooting time allotted: 2 days Running time: 3 - 10 minutes Editing time: one week

REMEMBER, LESS IS OFTEN MORE! The quality of a film is never determined by the amount of money spent. There is no substitute for creativity, ingenuity, resourcefulness, and above all, pre-production. ANY FILM OVER 10 MINUTES WILL NOT BE SCREENED! In order to be screened, all films must have: “PRODUCED AT THE NEW YORK FILM ACADEMY” in their closing credits.

PAGE 6 NEW YORK FILM ACADEMY | 100 E17TH STREET, NEW YORK, NY 10003 | WWW.NYFA.EDU SAMPLE STUDENT PRODUCTION BUDGET AND PROCESSING

8 WEEK FILMMAKING WORKSHOP

Week 1-2 Mise-En-Scène Film $46.50 One Roll Film Stock, Processing, Xfer Remember to pick-up: • Hard Drive ($155 refundable deposit required.) ($155.00) • You will receive your deposit when you return the hard drive. • Your film will be transferred to DVD for each project. Any additional DVD is sold at $1.00. Week 2-3 Continuity Film $93.00 Two Rolls Film Stock, Processing, Xfer: Week 3-4 Music Film $139.50 Three Rolls Film Stock, Processing, Xfer: Weeks 1-4 Miscellaneous production costs (Actual costs will be dependent on $100.00 - $300.00 each student’s production decisions.) SUBTOTAL WEEKS 1-4: approx. $400.00 - $600.00 **

Week 5 Chekhov film. $5.00 One mini- tape

Week 6-8 Pre-production costs are dependent upon the individual Production of Short film $465.00 * to fine cut with two tracks of sound, using black and white reversal film. Five minute film with a 5:1 shooting ratio. 10-100' Rolls Film Stock, Processing, Xfer:

Students may choose to shoot their final film on digital video. 2 Mini DV Tapes $10.00

Miscellaneous production costs (Actual costs will be dependent on $100.00 - $300.00 each student’s production decisions.)

SUBTOTAL WEEKS 5-8(if shooting final film on 16mm film): $570.00 - $770.00 ** SUBTOTAL WEEKS 5-8(if shooting final film on digital): $115.00 - $315.00 **

These costs do not include additional expenses a director may choose to incur for props, wardrobe, effects etc. The quality of your films will depend on how well you tell your story, not how much you spend. Prices for food and transportation have not been included in these figures. It is the responsibility of the director to provide food and transportation for cast and crew. If you promise your actors DVD copies, you have a moral and legal responsibility to deliver on your obligation. *For a ten minute film double this cost. **If the New York Film Academy’s guidelines are followed.

PAGE 7 NEW YORK FILM ACADEMY | 100 E17TH STREET, NEW YORK, NY 10003 | WWW.NYFA.EDU