Master of Fine Arts Two-Year Accelerated Programs

14 Students prepare to shoot a scene on location using the RED digital camera.

15 Two-Year Accelerated MASTER OF FINE ARTS in FILMMAKING

As part of their production classes in Los Angeles, our students shoot on the back lot of Universal Studios.

16 LOCATION LOS ANGELES, CALIFORNIA; SOUTH BEACH, FLORIDA As part of their production classes in Los Angeles, our students shoot on the back lot of Universal Studios. Locations are subject to change. For start dates and tuition, please visit nyfa.edu

17 MFA Filmmaking

Each Master of Fine Arts Filmmaking OVERVIEW student writes, shoots, directs, and edits 7 to 9 flms and works on 28 more in the frst year.

earn flmmaking in the heart of Hollywood In the Academy’s MFA program, students not only at the Academy’s Master of Fine Arts in learn the theory of flm, but learn all aspects of the Filmmaking Program. Over the course of the flmmaking process through our project-based two-year accelerated program, students gain curriculum that challenges students to work on a the extensive flmmaking experience needed series of original flm projects of increasing difculty, Lto create their own original flms. preparing them to create their fnal thesis flm. After all, to learn flmmaking, one must actually make flms, In our intensive graduate program, students receive and the philosophy of learning by doing is at the heart over 2,000 hours of hands-on instruction and actual of the Academy’s academic mission. production experience through both creating their own flms and serving in a wide variety of crew positions on Therefore, students undertake an intensive course load their fellow classmates’ flms. that integrates intensive study in all the major flmmaking disciplines, which include directing, cinematography, Ofered at both our Los Angeles and South Beach screenwriting, producing, and editing. In addition, our campuses, the New York Film Academy ofers aspiring flmmaking students have access to students in our flmmakers an unparalleled education in both the acting school, which allows them to gain the invaluable fundamentals and advanced facets of flmmaking. experience of mastering the craft of directing actors QUALIFIED STUDENTS HAVE THE OPTION OF and running an entire set with a full crew. COMPLETING COURSE WORK AT THE NEW YORK FILM ACADEMY IN NEW YORK CITY IN A ONE-YEAR While no prior flmmaking experience is required, NON-DEGREE PROGRAM AND THEN APPLYING students should possess self-discipline, a passion THEIR COURSE WORK TO BE ACCEPTED FOR for flmmaking, and the ability to collaborate with ADVANCED STANDING IN THE MFA FILMMAKING their fellow classmates as they plunge headfrst into DEGREE PROGRAM. the thrilling and challenging world of flmmaking in a program where they are behind the camera from Students have the option to complete the MFA program day one. The New York Film Academy encourages in either six or seven semesters, with the optional seventh students to take creative risks and fnd their own semester allowing them to complete a feature-length flm as voices as visual artists. their thesis project. At the end of the MFA program, students graduate The Academy provides students with state-of-the- with developed skills in all of the flmmaking crafts, art facilities and equipment, and students in the MFA an enormous amount of production experience, program become familiar shooting with a wide variety a reel with their eight to ten original flms, and an of cameras and film, including 16mm film, 35mm film, expanded awareness of themselves and their abilities HD, Super 16mm, and the RED EPIC DRAGON camera as creative artists. system. In addition, students edit their projects using Avid Media Composer, the industry standard software Students’ fnal flms are celebrated in school screenings for professional video editing. open to cast, crew, friends, family, and invited guests.

Please Note: curriculum and projects are subject to change and may vary depending on location. Students should consult the most recently published campus catalog for the most up to date course information.

18 Filmmaking MFA

WHAT YOU WILL LEARN WHAT YOU WILL ACHIEVE Students will be able to demonstrate the following SEMESTER ONE skills and abilities upon graduation from the • Write, direct and edit fve short flms, including a project emphasizing Academy’s MFA Filmmaking program: a character’s Point of View. • Direct or DP a short group project exploring pacing. • Develop a unique voice and vision through • Work with actors exploring subtext through Instructor-supervised the creation of professional level flm and HD Digital Production workshops. productions. • Crew as Cinematographer, Gafer, and/or Assistant Camera on approximately 20 additional projects. • Demonstrate an understanding of advanced • Write a short flm script with dialogue. cinema techniques and concepts. • Write, produce, direct, and edit a short flm with dialogue of up to 10 • Exhibit a grasp of the newest in editing techniques minutes in length. and technology. SEMESTER TWO • Master production management skills needed for • Direct, Assistant Direct, or DP a Synchronous Sound Production Workshop. successful flm and multi-media productions. • Serve as a crewmember on four other production workshops, shot on various formats ranging from 16mm to HD. • Demonstrate ability to write narrative scripts. • Develop profciency with the one-ton intermediate flm equipment • Exhibit efective directing skills necessary to package. realize convincing performances from actors. • Shoot exercises on 35mm flm as part of Cinematography II. • Showcase proper use of critical analysis and SEMESTER THREE • Direct, produce, and edit an intermediate flm of up to ffteen minutes in leadership skills to determine the best method length (shot on 16mm flm, 35mm flm, or High Defnition Video). of on-set crew management and the ability to • Serve as a principal crewmember on classmates’ projects. collaborate with others. • Determine a course of study an option for Year Two. • Demonstrate knowledge of professional conduct • Workshop a concept for a feature screenplay. and industry practices. SEMESTER FOUR (OPTION A) • Show an appreciation and understanding of • Produce a short exercise focused on flm style and performance. • Produce a short exercise using advanced cinematography techniques. cinematic history to inform one’s own work. • Develop profciency with the 3-ton thesis flm equipment package. • Create a treatment for a feature screenplay. SEMESTER FOUR (OPTION B) • Put into practice advanced directing techniques. • Begin pre-production of the feature flm. SEMESTER FIVE (OPTION A) • Present a full production notebook to a thesis committee. • Develop advanced abilities to collaborate and lead on a flm set. • Produce and direct a sync-sound fnal thesis flm of up to 30 minutes in length OR serve as a crewmember on at least two classmates’ projects. • Write a up to act II of a feature screenplay. SEMESTER FIVE (OPTION B) • Put into practice advanced cinematography design. • Put into practice production design concepts. • Continue pre-production of the feature flm. SEMESTER SIX (OPTION A) • Produce and direct a sync-sound fnal thesis flm of up to 30 minutes in length OR serve as a crewmember on at least two classmates’ projects. • Edit the fnal thesis project. • Complete a full draft of a feature screenplay. SEMESTER SIX (OPTION B) • Construct and workshop scenes from the feature flm. • Finalize pre-production of the feature flm. • Begin principle photography of the feature flm. SEMESTER SEVEN (OPTION B) • Complete principle photography of the feature flm. • Begin and complete post-production of the feature flm. • Compile a complete inventory of flm deliverables. 19 MFA Filmmaking

YEAR ONE OVERVIEW Over the course of the first three semesters of our MFA Filmmaking program, students undergo a thorough regimen of class work and film production that lays the groundwork for a professional life in the film arts. From the first day of class, students are immersed in a hands-on education and an environment that empowers them to artfully tell stories.

SEMESTER ONE PRODUCTION WORKSHOP Designed to demystify the craft of flmmaking, students FILM AESTHETICS I work alongside directing and acting instructors to apply In this course, students begin to learn the the complex techniques from class as they articulate language and craft of flm aesthetics from a the objectives of a given scene. This applies to the use director’s perspective by studying the director’s of lenses, lighting, and editing. Students also work with decisions in camera placement, blocking, staging, actors in order to understand the critical significance of and visual image design. This course requires complex performances. that students challenge themselves not only to SCREENWRITING become competent directors, but also become This course introduces students to the format and compelling storytellers by utilizing advanced structure used in writing a visual story. Students take a expressive visual tools to tell their stories. story from initial idea, treatment, and outline to a rough draft, and fnally a shooting script. Students intensively CINEMATOGRAPHY I workshop their ideas with classmates and instructors, Through intensive in-class exercises, students providing constructive criticism while accepting critiques shoot 16mm flm and learn the complexities of their own work. The scripts they write become the of flm exposure, the psychological efect of basis for all projects in the frst semester. focal lengths, and the use of advanced lighting techniques to evoke a story’s mood and tone. ACTING FOR DIRECTORS As students incorporate dialogue, they also This course adheres to the philosophy that, in order learn the technical nuances of shooting and to direct actors, one must understand and experience lighting high defnition video. acting as a methodology. Directing students become actors and learn how to identify a screenplay’s EDITING I emotional “beats” and “character objectives” in order to improve their actors’ performances, and their own Students are taught multiple aesthetic ability to direct them. approaches to editing flm and video. They learn how to apply concepts such as temporal CINEMA STUDIES continuity and spatial continuity, as well as less Cinema Studies introduces students to the evolution of traditional discontinuous editing techniques to the motion picture art form as a visual storytelling medium their work. Students study the nuanced efects and the motion picture industry since their inceptions. of editing on storytelling and then apply them Students will be given a thorough creative, technological, to their own flms. The results allow students to and industrial view of the flmmaking art and be prepared apply the psychological and emotional efects of for more advanced academic and production related editing to their overall stories. studies and practice of flmmaking.

20 “My advice to young flmmakers is this: don’t follow trends, start them!” - Frank Capra Filmmaking MFA

SEMESTER TWO SEMESTER THREE

FILM AESTHETICS II INTERMEDIATE FILM PRODUCTION This class further explores the aesthetic elements Students start their third semester with a fnished of mise-en-scène while students practice diferent script of up to 15 pages, having fully developed approaches to coverage by breaking down scenes their ideas and prepared the scripts for production. from their own scripts and applying sophisticated visual Working with instructors to develop a production approaches to establish believable performances. schedule, students make fnal preparations for their Students submit detailed proposals for their Year One flm shoots, resulting in a production period that is Intermediate Films. as intense and demanding as a professional feature flm shoot. CINEMATOGRAPHY II This class immerses students in the more advanced INTERMEDIATE FILM POST-PRODUCTION technical and creative demands of cinematography. After the production period, students build their Students work with 16mm cameras before flms in the editing room. They screen rough-cuts of transitioning to the RED Scarlet to continue studying their flms for their directing and editing instructors HD cinematography. In addition, students deepen and receive feedback from their peers before their understanding of camera formats by completing a presenting their fnished flms to an invited audience 35mm flmmaking component. at the end of the semester. COLLABORATION WORKSHOP ELEMENTS OF FEATURE SCREENWRITING The experience of working on a flm set allows students to This course introduces students to the craft explore the importance of the actor/director relationship required for a successful flm shoot. Filmmaking and of feature screenwriting through lectures, in- Acting students come together for a series of audition class exercises, outside readings, classroom technique, rehearsal, and screening classes alongside discussions, and flm viewings. By the conclusion full-fedged production exercises. of this course, students will develop a feature flm script idea that will be fully realized in the second EDITING II year of the MFA program. Students sync and edit with dialogue, and learn advanced techniques in sound mixing and color correction. They SOUND DESIGN make creative discoveries as well when they compare As students edit their own flms, they learn that the very diferent versions that are edited from the same good sound improves the overall production value material, preparing them to undertake the challenge of of their flms. Receiving instruction in sophisticated picture and sound editing their Intermediate Year One Film. sound design topics, students build sound efects, integrate music and orchestration, add SCREENWRITING II atmosphere, and create a polished sound mix for This class is an intensive workshop aimed at developing, their Year One Project. writing, and polishing scripts for the students’ Year One Intermediate Films. Students critique each other’s MASTER’S THESIS DEVELOPMENT screenplays through table-reads and engage in lively Through roundtable discussion with classmates, roundtable discussions and rewrites to develop under the guidance of writing and directing sophisticated visual stories. instructors, students consider their second year Master’s Thesis Projects. As they discuss the PRODUCING I various thesis options available to MFA students, Students are led through the entire process of pre- they will workshop their ideas. By the end of production and learn how to make creative choices from the semester, students will declare to a Thesis the producer’s point view, identifying target audiences, Committee which option they plan to pursue in exploring audience expectations, and crafting realistic budgets for their flms. Using script breakdowns, students their second year: learn how to plan and keep to a schedule and budget. A) Directing a short flm, B) Directing a feature flm.

Go Online at nyfa.edu for more information. 21 MFA Filmmaking

YEAR TWO OVERVIEW Year Two is designed to immerse students in advanced directing and cinematography techniques. Students learn the skills necessary for more mature filmmaking while familiarizing themselves with sophisticated equipment packages and High Definition RED Epic Dragon cameras. Students begin the process of writing both a short thesis script and a full-length feature screenplay.

SEMESTER FOUR: THESIS OPTION A

ADVANCED DIRECTING This class is an exploration of flm style and the process of directing performance. Students study the stylistic choices of great flm masters and apply the same styles to an assigned scene. They receive a selection of pre-published texts and workshop and flm the scenes with actors from the MFA Acting for Film program and/or local industry professionals.

ADVANCED CINEMATOGRAPHY This intensive course expands students’ knowledge of cinematography and introduces them to the full capabilities of the RED Epic Dragon Camera and complex grip and lighting packages. Students learn mastery of contrast, composition, and camera movement.

PRODUCING II Students work on advanced concepts of scheduling and budgeting, and learn about the nuances of legal contracts, deal memos, and working with guilds and unions. Instructors use case studies to help students hone group problem-solving skills and develop students’ pitching skills.

FEATURE SCREENWRITING I This workshop fully immerses each student in a focused course of study in which to write a feature flm treatment and frst act. Students will learn the craft of writing and draft a feature-length script that will be further developed throughout the second year of the program

SCREENWRITING SHORT THESIS I The focus of this class is for master’s students to begin writing their short thesis scripts. Emphasis is placed on a more advanced understanding of character development and dramatic arcs as students prepare a story with greater depth and nuance.

PSYCHOLOGY OF FILM This course examines various facets of flm narrative and flmmaking from a psychological perspective. Through case studies, students learn about the psychology of the flmmaker, audience, and characters while studying their own approaches and recurring themes.

22 Filmmaking MFA

SEMESTER FIVE: MASTER’S THESIS PRODUCTION I THESIS OPTION A The fnal capstone project of the MFA program, the thesis flm combines all of the skills learned thus far into a single project DIRECTING THE THESIS FILM of up to thirty minutes in length. These thesis flms enable MFA An intensive examination of the visual flmmakers to demonstrate their creative vision and professional style of flm, this class helps students skills to the world of flm festivals and the entertainment industry assess their directorial approach. Students community. These projects provide the necessary equipment and workshop scenes from their thesis scripts, a longer production period to allow flmmakers to work on a more and prepare a thorough and detailed detailed and nuanced level and with a larger scope. Each project presentation of their thesis flms for a is greenlit by the students’ directing and producing instructors, thesis committee where their projects will who evaluate the students‘ creative and business choices as they be given a fnal faculty review. are presented in each student’s production notebook.

PRODUCING THE THESIS FILM Prior to production, all candidates must pass a fnal evaluation As their thesis scripts are polished and by the Thesis Committee and faculty chair, ensuring that all completed, students will apply their academic requirements and standards for the previous semesters knowledge of production management have been achieved. to their projects. Under the guidance of their producing instructors, students SEMESTER SIX: THESIS OPTION A will thoroughly prepare their scripts for production, and complete all of the MASTER’S THESIS PRODUCTION II necessary planning and paperwork. Every two weeks during the production period, students reconvene with their directing and producing instructors to discuss each FEATURE SCREENWRITING II production, and prepare for the upcoming projects. Students are The ideas from Feature Screenwriting I required to participate as crew on three thesis projects. will be further developed into a full feature draft. Students work with instructors both THESIS FILM POST-PRODUCTION in class and in consultations to complete It is often said that the edit is the fnal rewrite of the script and this the script, continuing to workshop ideas in class helps guide the students through that process. Extensive notes class with their peers. are received from classmates and directing and editing instructors that must be analyzed and either incorporated, interpreted or set SCREENWRITING SHORT THESIS II aside, helping students to gain a more objective perspective and Under the guidance of screenwriting edit that “fnal rewrite” more efectively. instructors, students continue to workshop and polish their scripts through table reads, FEATURE SCREENWRITING III using rehearsals and scene exercises from Using the drafts of their feature scripts, students lead table reads other classes to fnalize their scripts in the with actors and workshop scenes, further refning the idea as it weeks leading up to production. develops into a more fully realized future project. The goal is for students to graduate with a feature script that will accompany PRODUCTION DESIGN their thesis flm. Production design plays an important role in the success of any production, providing MASTER’S PROFESSIONAL DEVELOPMENT: visual clues and enhancing the production NAVIGATING THE INDUSTRY content. Through lectures and exercises, A broad cross-section of the flm community is represented in this students use set design and construction, lecture series, exposing students to multiple pathways into the costume design, prop choices, and flm industry. Mentors work individually with students to discuss advanced aesthetics of color and shape to the next step in their careers, and students are presented with a create their thesis flms’ visual approach. realistic, yet hopeful vision of a future in the industry.

“I would travel down to Hell and wrestle a flm away from the devil if it was necessary.” - Werner Herzog 23 MFA Filmmaking

SEMESTER FOUR: THESIS OPTION B SEMESTER FIVE: THESIS OPTION B

ADVANCED DIRECTING ADVANCED CINEMATOGRAPHY This class is an exploration of flm style and the process This intensive course expands students’ knowledge of directing performance. Students study the stylistic of cinematography and introduces them to the full choices of great flm masters, and then apply the same capabilities of the RED Epic Dragon Camera and styles to an assigned scene. They are provided with a complex grip and lighting packages. Students gain selection of pre-published texts and rehearse and flm sophisticated mastery of contrast, composition and the scenes with actors from the MFA Acting for Film camera movement, using professional equipment and program and/or local industry professionals. shooting on a studio soundstage.

FEATURE PRODUCING I MASTER’S PRODUCTION DESIGN Students begin the process of organizing their feature Production design plays an important role in the success flm productions and develop a timeline for putting of any production, as it provides the audience with the together their teams. Students assess crew needs by visual clues that establish and enhance the production department, minimum departmental budget levels, content. Through lectures and exercises, students use and determine the impact of the SAG Agreement on set design and construction, costume design, prop their budget range. Students will meet regularly with choices, and advanced aesthetics of color and shape to the Thesis Committee to review their progress. create the visual approach of their thesis flms.

WRITING THE FEATURE SCREENPLAY I FEATURE PRODUCING II In a workshop setting, students will develop and Students continue to organize their feature flm write the frst draft of their feature screenplay. productions and revise as necessary while executing the Students will learn the craft of screenplay writing by timeline for hiring their teams. They research and explore gaining understanding of and putting into practice payroll service options, the most suitable legal entity the elements of structure, story, style, character to form for their productions, and insurance policies development, confict and dialogue. needed and their costs. Students will meet regularly with the Thesis Committee to review their progress. FEATURE SCHEDULING & BUDGETING Feature flm scheduling and budgeting practices WRITING THE FEATURE SCREENPLAY II will be introduced and explored in this course. In a Students undertake a substantial revision of their frst hands-on setting, students train on industry standard draft screenplays and complete their second drafts. software used by producers and flmmakers and learn Throughout this course, students will delve deeper to assess scheduling and budgeting factors when into their stories, critically assess their characters’ reading and analyzing feature scripts. development and motivations, and identify and fnd solutions for characters and scenes that are not efective. PITCHING & BUSINESS PLANS Students develop a brief and efective pitch of their FINANCIAL REPORTING feature projects, and through practice, they gain This course provides an overview of production budgeting fundamental pitching skills. Through lectures and and accounting functions specifc to the flm industry, analysis of case studies, students develop efective with application to other areas of media production, feature flm business plans. including television. Students analyze techniques and control procedures for accurate preparation and BUSINESS AFFAIRS presentation of budgets and fnancial statements. Students analyze and discuss legal topics such as contract negotiations, marketing projects to fnanciers and distributors, and audience and research testing.

24 The most hands-on intensive programs in the world. Filmmaking MFA

MARKETING & DISTRIBUTION MODELS In this course, students analyze successful fnancial, marketing and distribution models for independent flms, focusing on micro-budget models. Marketing strategies, including viral SEMESTER SEVEN: THESIS OPTION B campaigns and other low to no cost methods of developing FEATURE THESIS PRODUCTION public awareness will be discussed. Other topics include current and emerging distribution models, flm festival strategies and With supervised set visits and daily review deliverables to prepare. of production documents, students begin and complete principal photography of their SEMESTER SIX: THESIS OPTION B feature films. Through weekly check-ins, students de-brief and troubleshoot the prior DIRECTING THE FEATURE week’s shooting days and work through the Through in-class exercises and scene study of numerous classic, upcoming week’s production demands. popular, and arthouse (niche-market) flms, students analyze a wide range of efective directing styles and techniques. Students FEATURE THESIS POST will each workshop the construction and shot breakdown of one With supervised editing lab visits and regularly scene from his or her feature flm. scheduled reviews, students complete the post- production phase of their feature flms. Picture, FEATURE THESIS DEVELOPMENT ADR, and sound editorial, as well as music In this course, students further advance their development scoring sessions will be discussed and analyzed. and fundraising eforts. Topics include monitoring fundraising Final picture lock, sound mix, color correction, milestones and back-up contingency planning. Students will meet and main and end titles will be reviewed. regularly with the Thesis Committee to review their progress.

FEATURE DELIVERY FEATURE LOGISTICS & WORKFLOW Students will prepare the non-visual elements Students fnalize production workfow between departments, including handling all pertinent paperwork required or that are required of the producer/flmmaker in generated during production and spending, authorization and a distribution deal. Each student will learn the reconciliation. On-set and production ofce protocol will be process of organizing a complete and detailed addressed. Students will schedule and hold a full cast and crew archive of his or her production for the purpose of production meeting, including a timed table read, cast and delivery along with the flm to a distributor upon crew introductions, completing fnal deal memos, and general execution of a distribution deal. Topics include discussion of on-set protocol. errors and omissions (E&O) insurance, fnal and prior cost reports, a detail of all expenditures FEATURE THESIS PREP including itemized petty cash tallies and receipts, In this course, students fnalize their pre-production and pertinent production documents including all green light preparation. Topics include contingency scenarios agreements, and the standard methods used to for last-minute location changes and handling crew or cast inventory these documents. scheduling or personality conficts. Students will meet regularly with the Thesis Committee to review their progress.

Telling me to take a vacation from filmmaking is like telling a child “ “ to take a vacation from playing. - Stanley Kubrick

Go Online at nyfa.edu for more information. 25 MFA Filmmaking

MISE-EN-SCÈNE Each student will make a short flm of thirty FILM seconds to one minute. This project emphasizes how the relationship of the subject to the camera creates drama. Students should tell a story that PROJECTS has a beginning, middle, and end.

Students should pay close attention to their Students in the MFA Program write, direct and choice of lenses, distances, and angles. Since edit their own flms. Nonetheless, it is essential students will tell their story in only one shot, they that flmmakers understand the importance of should be sure the shots they compose express collaboration. Therefore, in addition to directing as much as possible about the characters and their own flms, students are required to rotate their actions. It is also important for students to thoroughly rehearse their flms for blocking in among principal production positions. order to get the most out of their footage.

During the frst semester, these positions are: • Director • Director of Photography • Assistant Camera CONTINUITY • Gafer/ Grip Continuity is one of the fundamental principles • Sound/Boom (depending on project) of modern flmmaking. By making a “continuity flm,” students learn the way cuts can advance the From the second semester on, the crews expand to story while sustaining the reality of the scene. They six or more and may include the roles of Assistant learn the diference between “flm time” and “real Director, Sound Mixer, Boom Operator, Production time.” Students are challenged to make a flm that Manager, and Key Grip. Crews are required to meet maintains continuity in story, time, and space. The each week with the directing instructor to review action in these flms unfolds utilizing a variety of scripts, shooting, and production plans. shots (10–15) in a continuous sequence (no jumps in time or action). In the continuity flms, students must The Film Academy designed the following flm projects produce a clear, visual scene while maintaining the to build students’ technical and creative skills. They authenticity of the moment. It is essential that the are intended to instill in each student a degree of audience believe in the reality of the scene. Students confdence in visual and dramatic storytelling and to write, direct, shoot, edit, and screen a flm of up to provide a strong foundation in flm craft. Those new three minutes. to flmmaking begin to understand how the disciplines of writing, cinematography, sound, and editing work together, while those with experience can practice and refne specifc craft skills.

All students should seize this opportunity to experiment freely in order to develop their ability to engage and entertain an audience.

26 THE PURSUIT/ MONTAGE GROUP PACING EXERCISE Students choose one short selection of music and plan and shoot As a group, students shoot a “pursuit” story this flm of up to four minutes with the music in mind. Students use told in “real time”. Students use multiple montage-style editing to move the story or idea forward. Students shots to establish a constant fow of action may not use multiple songs on this project or edit the selection of and time out their shots during flming in music that they do choose. order to achieve a dynamic sequence. Students should be sure to utilize the basic Montage can be used to great efect in the compression of time and principles of screen direction, rhythm, to create visual collisions or unexpected continuations between shots. time, and space. In the editing room students should cut the images to work in concert with or in counterpoint to the music. Students should experiment with This project will be created, designed, and rhythm and pacing. produced as a group as a way to explore pacing through editing. In addition to storyboards, students may use a still camera for pre- planning their coverage. It can help them in the choice of locations, distances and angles, lighting, and compositions.

POV Each shot in a flm expresses a point of view, and in narrative flm, the point of view changes often, sometimes with each new shot. For the most part, point of view–which is often called narrative stance–is largely invisible to the audience; though the accumulated efect of the changes profoundly afects the way the audience interprets any scene. Students create a short scene with minimal dialogue and no more than three characters that have conficting objectives, while presenting the viewer visually with a clear and distinct point-of‐view.

Through experimenting with eyelines, framing, graphic control (composition and staging), and narrative control (often editing choices), the audience should have a clear understanding of which character’s story the flmmaker is telling. Each student will write, direct, and edit a short POV flm of up to fve minutes.

Go Online at nyfa.edu for more information. 27 Students learning to operate a Steadi-Cam to achieve foating tracking shots.

MFA PRODUCTION WORKSHOPS These instructor supervised productions occur regularly throughout the program. They are designed to compliment and reinforce lessons learned in class. Production workshops may be flmed in the classroom, on location, on a studio back-lot, or sound-stage depending on when they occur in the program. In earlier semesters, these exercises help the students learn the basic techniques of visual storytelling that will allow them to efectively express their ideas. Aligned with the curriculum, Production Workshop provides students the opportunity to practice with the tools and techniques they will use on their own flm projects.

As their program progresses into later semesters, these hands-on courses challenge students to interpret and apply the cinema theory and practice they have learned in class to a series of sync-sound production exercises. Students shoot complex dramatic scenes with the guidance and critique of the instructor. Students must determine what adjustments to make to their scripts and shooting plans before entering into production. These projects are expected to be fully pre-produced (storyboarded, cast, scouted, rehearsed and pre-lit) and executed at a professional level.

28 “Film is truth, 24 times a second.” - Jean-Luc Godard Filmmaking MFA

SEMESTER ONE FILM Students write a script of up to 10 pages in length. The fnal project of the semester, this flm will test students’ abilities YEAR ONE INTERMEDIATE FILM as directors to tell a clear and This project is the culmination of the year’s work. Each student’s goal concise story in three acts, is to produce a fully realized short flm that demonstrates his or her complete with an inciting own artistic vision and point of view. Student’s work with larger crews incident, crisis and climax, and and with more time allotted for pre-production, production and post- fnally a resolution. production than the previous projects. Students prepare for this project with the assistance of all classes in the second semester, including the producing class, which is specifcally designed to guide students through the preproduction of this project. Students must prepare detailed production books and receive a “green light” from the faculty to check out for their shoots. Each student can choose to shoot this flm in one of three formats - high defnition digital video, 16mm flm or 35mm flm.

Thesis Project OPTION B: FEATURE FILM OPTION A: SHORT FILM Students direct and edit a feature-length film in a seventh semester of study at the end of Year Two, and Students direct and edit a short film up to fill essential crew positions on short form films directed 30 minutes in length, and fill essential crew by fellow students. positions on short form films directed by fellow students. Due to the extremely demanding nature of this thesis option, students must pass a rigorous review by faculty The fnal capstone project of the MFA program, before being granted entrance into this track in semester this flm combines all of the skills learned three. This option requires that students enroll for a seventh thus far into a single project of up to thirty semester with an additional tuition payment. minutes in length. These thesis flms function as the calling card project for MFA Filmmakers In semester six, students must achieve specifc milestones enabling them to demonstrate their creative in order to maintain active status in the feature flm program. vision and professional skills to the world of If these milestones are not met, students will revert back to flm festivals and the larger community of the Option A and make a short thesis in semester six. entertainment industry. Filmed using the entire equipment package that includes, RED Epic These milestones will include a clear template of delivery Dragon cameras, HMI lighting, and industry dates for script deadlines, casting calls, production standard dollies, these projects have the meetings, budget breakdowns, location lockdowns, and a necessary equipment and longer production demonstration of fnancial responsibility to obtain approval period to allow flmmakers to work on both a to shoot. Students must receive a “green light” before more detailed and nuanced level and with a beginning production on their feature thesis flms. larger scope.

The most hands-on intensive programs in the world. 29