80 Entertainment Enroll at uclaextension.edu or call (800) 825-9971

Reg# 378001 Fee: $699 Film & TV No refund after 19 Jan. ENTERTAINMENT For more information call (310) 825-9064, email ❖ Remote Instruction [email protected], or visit 11 mtgs entertainment.uclaextension.edu. Wednesday, 7-10pm, Jan. 6-Mar. 17 c Vernon Mortensen, filmmaker and development execu- FILM TV 804.2 tive. Mr. Mortensen wrote and produced the movies Sneak Preview: Army Dog and A Sierra Nevada Gunfight, and produced Contemporary Films and Filmmakers and directed the limited series, Universal Dead, as well 2.0 CEUs as the pilot for the new animated series, Mars Bar. He Join us for an exclusive preview of new movies before is in pre-production on Dakota, starring Megan Fox. their public release. Enjoy provocative commentary and in-depth discussions with invited guests after each MGMT X 403.34 screening. Guests include some of the most prestigious Entertainment Financing: actors, filmmakers, and executives in the industry. Our From First $ to Distribution of Profits moderators, who are international film festival corre- 4.0 units spondents and award season prognosticators, lead This course covers the financial aspects of each step of engaging Q&As that give you an insider’s perspective the motion picture value chain (from development of the making of each film. through profit participation) and considers the implica- Reg# 378026 tions of financial choices. Designed to give you a general Fee: $199 understanding of how financial deals are structured, No refund after 3 Mar. topics include how film financing is secured, connecting ❖ Remote Instruction the production budget to the financing, when a comple- 8 mtgs tion guarantor is required, and the various types of Wednesday, 7-10pm, Mar. 10-Apr. 28 domestic and international distribution arrangements. The University is not responsible for lost or stolen You also learn about third-party profit participation quarterly film passes; there is a $50 charge per agreements and the practical aspects and procedures replacement pass. that underlie them; terms and definitions that impact Due to film piracy concerns, no cameras or recording bottom line considerations, including contingent com- FILM & TV MUSIC devices are allowed inside the theater. Participants pensation; distribution fees and expenses; the produc- are subject to a security check, promotional photog- er’s share of profit; distinctions between production, 80 Business & Management 86 Film Scoring raphy, and audio and video recording. distribution, and marketing costs; and how these costs Enrollment limited; early enrollment advised. Visitors may significantly impact recoupment and profits. of Entertainment 88 Music Business not permitted. Reg# 377992 Instructor to be announced Fee: $699 82 Acting 90 Music Production No refund after 8 Jan. 83 Cinematography m Online Business & Management Jan. 4-Mar. 21 c 83 Directing Jeanette B. Milio, feature film and television producer of Entertainment and financier who ran a media fund that invested in the 84 Film & TV Development production, acquisition, and worldwide distribution of MGMT X 403.31 over 40 television and theatrical projects for HBO, 85 Producing The Business of Entertainment Showtime, ABC, USA Network, Disney, Lionsgate, Sony 4.0 units Pictures, Warner Bros. and others. 86 Post-Production With the entertainment industry converging into a worldwide mass media, both business and operation MGMT X 476.99 models continue to rapidly evolve. This introductory Marketing Entertainment: course for producers, directors, writers, development Strategies for the Global Marketplace personnel, and aspiring media executives examines the 4.0 units changing business issues associated with the entertain- Today, marketing entertainment is a global enterprise, ment industry. Through lectures, discussions with and motion pictures, television shows, streaming con- industry guests, and case studies, instruction focuses tent, and video games are the assets that drive expand- on current business and production issues and intro- ing ancillary markets. How these properties are For more information call (310) 825-9064. duces new business models to navigate content onto marketed determines their financial success and future. new distribution platforms. Some history is highlighted The instructor and a select number of the industry’s top to provide a context for current practices and potential. marketing professionals address myriad issues on how The course also features opportunities to meet senior entertainment content, including feature films, gets entertainment industry executives in various sectors. marketed in today’s increasingly competitive market. Topics include financing, contracts, intellectual property Topics include creating brand-centric franchise-driven issues, licensing, worldwide theatrical marketing and strategies; positioning an entertainment property as a distribution, worldwide home entertainment marketing brand in popular culture; marketing and distribution Entertainment Studies and distribution, worldwide television production and strategies in a converging marketplace; secrets to creat- distribution, multi-channel network distribution and ing compelling audio-visual, social/digital, and print opportunities, the impact of piracy, and leveraging new advertising; the power of social media; the influence and distribution platforms. By the end of the course, stu- use of research; and leveraging international strategies dents should have an understanding of the opportuni- and new media promotional and licensing strategies to Certificate Student ties available in the business of entertainment. create valuable partnerships and revenue streams. Reg# 378002 Reg# 378050 Fee: $699 Fee: $699 No refund after 18 Jan. No refund after 19 Jan. F Hybrid ❖ Remote Instruction Orientation Jan. 5-Mar. 16 11 mtgs This course will feature live Q&A sessions with guest Wednesday, 7-10pm, Jan. 6-Mar. 17 speakers at a weekly time determined by the instruc- c Scott Edwards, executive vice president of Creative Exclusively for Certificate Students tor. All live guest speaker sessions will be recorded Advertising for Fox Entertainment, where he oversees for students to view at a later time if they are unable The Entertainment Studies Certificate Studies, Independent Producing, advertising for countless television shows, including to attend. & Student Orientation is a resource for all ­Producing, Music Business, Independent c 9-1-1, BH 90210, Empire, Last Man Standing, and The Jim Milio, award-winning producer and director who Masked Singer. Mr. Edwards also helped launch the new certificate students in the fields of: Music Production, and Film Scoring. has created more than 400 hours of TV for such net- shows 24: Live Another Day, Gotham, and The X-Files. Acting, Directing, Cinematography, Busi- There will be a live orientation and works as National Geographic (Dog Whisperer), Discov- ness and Management of Entertainment, recordings and other resources for you ery Channel, and CBS (Rescue 911). Mr. Milio has received three People’s Choice Awards and multiple Film and TV Development, Entertainment to access throughout the quarter. Emmy and WGA nominations. For More Information kkk (310) 825-9064 | entertainment.uclaextension.edu Enroll at uclaextension.edu or call (800) 825-9971 Entertainment 81

FILM TV X 439 MGMT X 403.01 Inside the World of Film Acquisitions: Legal Primer for the How to Sell Your Project to Hollywood Entertainment Business 4.0 units 4.0 units So your script or film is ready. What’s next? In this This unique course explores key legal principles and course, learn the art of selling your project to studios, contractual relationships within the film and television production and sales companies, indie distributors, and industry through a dynamic assortment of lectures and the like. But first, you must learn how buyers, known as hands-on workshops. You develop a core understanding acquisitions execs, evaluate the “worth” of your project. of subjects including idea protection, copyright, defa- You gain the skills necessary to develop an in-depth mation, privacy, and the right of publicity. In addition, knowledge of buyers, agents, producer’s reps, festival you are exposed to key issues in manager agreements programmers, and their respective tastes. You learn and in standard film and television agreements, includ- how to pitch buyers effectively; how to analyze box ing literary option/purchase agreements, life rights office numbers and which genres and ratings are the agreements, collaboration agreements, and talent most profitable; how to determine if your project is employment agreements. The course concludes with budgeted for profitability through comp analysis; how exploring independent film finance and distribution Film & Television to present your project to maximize profile and salability deals. Through learning some essential “countermea- at festivals and markets; what it takes to attract domes- sures” to use when reviewing such contracts, you are tic distributors, including ways to position and package empowered in a way usually only reserved for elite for greatest interest; how to sell your project into talent lawyers—and have a lot of fun in the process. international territories; and how to understand the Reg# 377794 Certificates and major deal points so as to negotiate the best terms. You Fee: $699 also learn how digital players are changing the para- No refund after 8 Jan. digm and how to gain access to the gatekeepers with m Online insider tips and strategies for developing relationships Jan. 4-Mar. 21 with key industry players. Early enrollment advised. c & Specializations Reg# 377807 David Wienir, talent lawyer at United Talent Agency. Fee: $699 Before UTA, Mr. Wienir practiced law at two top talent No refund after 20 Jan. boutiques, where he represented Steven Spielberg and Gain the Skills to Take Your Career to the Next Level ❖ Remote Instruction Madonna. He was named to Variety’s 2014 Legal 11 mtgs Impact Report and is the author of several acclaimed Interested in becoming a director? Want a career as a movie producer­ Thursday, 7-10pm, Jan. 7-Mar. 18 c books, including Making It on Broadway. or executive? Interested in behind-the-scenes positions such as director Mark Padilla, senior vice president of Sales and Reg# 377942 Acquisitions at Double Dutch International. Mr. Padilla Fee: $699 of photography? manages the worldwide sales for numerous films, No refund after 19 Jan. including Nostalgia, Romans, and Super Troopers 2. He ❖ Remote Instruction Enroll in one of our 8 Film & Television Certificates. previously oversaw sales, acquisitions, and distribution 11 mtgs at Myriad Pictures and Essential Entertainment. All of the Film & Television Certificates offer a broad overview of the industry, Wednesday, 7-10pm, Jan. 6-Mar. 17 c & Daniel Lifschitz, associate counsel at Johnson & as well as targeted skills, training, and the contacts you need for success. MGMT X 404.2 Johnson, LLP, focusing on entertainment, intellectual Production Accounting for property, and business litigation in music, film, and Film and Television television. Mr. Lifschitz has represented industry figures Film & Television Certificates 4.0 units ranging from Quincy Jones to World Star Hip Hop and Directing Cinematography Responsible for maintaining financial controls and writes frequently in trade publications on major enter- Newly Revised financial reporting of all production funds, the produc- tainment law issues. Acting tion accountant must provide timely and accurate Entertainment Studies reporting of the financial information that will enable MGMT X 448.84 Film & TV Development the producers to maximize production values. This Copyright Law in the Business & Management comprehensive course covers duties, including set up Entertainment Industry Producing and oversight of all accounting functions (i.e. budgeting, 4.0 units of Entertainment cost reporting, accounts payable, accounts receivable, What is intellectual property and how does it apply to petty cash, purchase orders, BTL payroll, ATL payroll, the entertainment industry? As the ownership of intel- Independent Producing per diem, and banking) and knowledge of signatory lectual property continues to be the lifeblood of the Offered entirely online! guilds and unions. Other topics include related soft- industry and the source of income for many, this course ware; insurance; labor laws; and production tax credits, answers these questions while providing a general Are you looking for a shorter program? rebates, and refunds. Guest speakers are included. overview of intellectual property rights with a focus on Prerequisite(s): Familiarity with basic production termi- copyright law and its role in the film, music, and digital Our specializations can be completed in as little as 2-3 quarters! nology and some accounting knowledge is helpful. online industries, including such related areas as celeb- Reg# 378000 rity endorsements and branding. Specific topics covered Film & Television Specializations Fee: $699 include authorship and copyright ownership, fair use, No refund after 17 Jan. how copyrights are licensed and controlled in the enter- Fundamentals of the Entertainment Industry ❖ Remote Instruction tainment industry, copyright “mechanics,” (such as 11 mtgs registration and notice), copyright legislation and Con- Offered entirely online! Monday, 6:30-9:30pm, Jan. 4-Mar. 15 gress, and duration of copyright. Also examined is the This 4-course specialization is ideal for students who are passionate about entertain- Saturday, 10am-5pm, Feb. 6 c role of copyright in the entertainment industry and its ment and are looking for a short program to prepare them with the basic skill sets Aved Savoulian, audit manager and production interaction with other business and legal principles, key accountant, NBC Universal Feature Pictures, who has court cases, and international copyright protection. needed to break into the entertainment industry. has held previous positions at CBS Television and Fox Reg# 377901 Film Editing Sports Networks Fee: $699 Greg Hemstreet, senior director, Production Finance, No refund after 8 Jan. Offered entirely online! Universal Pictures m Online This 3-course specialization provides students with the fundamentals of editing theory Jan. 4-Mar. 21 and practice in the leading digital editing software. Enrollment limited; early enrollment advised. c & Jaia Thomas, entertainment and sports attorney. In addi- tion to her practice, Ms. Thomas is a contributor to Entertainment Project Management Uptown Magazine and Entrepreneur Magazine, where she This 3-course specialization provides opportunities to understand project management regularly authors articles pertaining to the intersection of concepts and tools in the entertainment space, covering a wide range of industries, from sports, entertainment, entrepreneurship, and the law. Film and TV to Theme Parks and Gaming/Interactive. Plus, enjoy maximum flexibility—start anytime, with no admissions­ requirements. Take the next step toward the career you’ve always wanted!

For More Information (310) 825-9064 | entertainment.uclaextension.edu 82 Entertainment Enroll at uclaextension.edu or call (800) 825-9971

MGMT X 452.2 THEATER X 407.78 Sold! Project Management Improvisation Techniques for the Actor: Principles and Tools in the A Course in Spontaneity Entertainment Industry 4.0 units 4.0 units Gain experiential understanding of improvisational acting This course will explore the tools and processes as the and develop a strong improvisational perspective essential major function of organization for entertainment project to scripted work. Through theater games and improvised management. Take a deeper look into concepts that scenes, develop tools to make you more trusting of your include life cycles, creative development, scope, budget, own impulses and more generous with your fellow actors. schedule, managing conflict, and communication. Learn Learn to go for active choices to play at the top of your about the tools that help manage the budgets and intelligence and at the service of the scene. Actors also schedules, and further your understanding about how to experience that the best comedy comes out of listening communicate progress and resolve conflicts. This inten- and responding honestly, not “going for jokes.” Entertainment Studies sive second step in the Entertainment Project Manage- Reg# 377712 ment suite of courses provides a meaningful foundation Fee: $699 of these tools to connect project requirements with the No refund after 11 Jan. teams that are needed to complete them. ❖ Remote Instruction Reg# 377610 11 mtgs Scholarships Thursday, 7-10pm, Jan. 7-Mar. 18 Fee: $699 No refund after 20 Jan. Enrollment limited; early enrollment advised. c ❖ Remote Instruction Toni Attell, Emmy-nominated actor, comedian, and mime UCLA Extension Entertainment Studies offers three scholarships for our students. 11 mtgs whose background includes a variety of work in theater, Thursday, 7-10pm, Jan. 7-Mar. 18 film, and television. Ms. Attell has opened for Jay Leno, Movie Magic Scholarship The three courses in this specialization (MGMT Steve Martin, and Robin Williams and has guest-starred X 452.1, 452.2, and 452.3) count toward elective on numerous television dramas and sitcoms. The Movie Magic Scholarship is an annual award presented to a UCLA Extension student credit in the Business and Management of in the Entertainment Studies Producing or Independent Producing certificates. The schol- ­Entertainment and the Entertainment Studies THEATER X 422.12 arship is sponsored by Movie Magic, a software program for production professionals. certificates. & c Voice and Movement Instructor to be announced for the Screen Actor This scholarship provides outstanding students with a free course of their choosing 4.0 units within UCLA Extension Entertainment Studies valued at $699 or less to be taken within This holistic approach to movement, voice, and speech one year of receiving the scholarship. Acting aims at liberating and enhancing the performer’s natural capacity for moving, sounding, and speaking as applied THEATER X 407.5 to performance on camera. Using techniques developed BMI/Jerry Goldsmith Film Scoring Scholarship Acting Techniques: The Fundamentals by Alexander, Spolin, and Sills, learn to feel the way the Named in honor of the late Oscar- and Emmy Award-winning film and television com- 4.0 units human body naturally functions when it is free of adverse In this introduction to acting, learn fundamental perfor- conditioning. Exercises in posture and breathing, tonal poser Jerry Goldsmith, the BMI/Jerry Goldsmith Film Scoring Scholarship is awarded mance techniques and exercises, including relaxation, quality, pitch range, projection, and body characterization annually to help partially underwrite study in the UCLA Extension Film Scoring program. concentration, sense memory, emotional recall, impro- lead to enhanced character portrayal, emotional truth, To help composers develop the specialized skills and essential contacts needed to pursue visation, character tasks, and text analysis. You then and increased energy and mental alertness. You experi- apply these techniques by rehearsing and performing ment with vocal and body energies, discover numerous a successful career, BMI awards one student $2,500 to be applied toward course fees in monologues and two-character scenes. In-class partner choices in communicating text, and find new ways of the UCLA Extension Film Scoring program. work and weekly assignments are required. tapping into the imagination and soul of a character. Reg# 377711 Reg# 377713 Independent Music Production Scholarship Fee: $699 Fee: $699 No refund after 8 Jan. No refund after 11 Jan. The Independent Music Production Scholarship is an annual award presented to a ❖ Remote Instruction ❖ Remote Instruction UCLA Extension student in the Independent Music Production certificate. 11 mtgs 11 mtgs Monday, 7-10pm, Jan. 4-Mar. 15 Thursday, 7-10pm, Jan. 7-Mar. 18 c This scholarship provides outstanding students with a free course of their choosing Saturday, 2-5pm, Jan. 23-30 Crystal Robbins, actress whose work includes film within UCLA Extension Entertainment Studies valued at $699 or less. No meetings Jan. 18, Feb. 15. Enrollment limited; roles (Time Changer, The Long Walk Home, Great Balls Visit our website for application details. early enrollment advised. c of Fire), theater acting, and directing. She completed Lisa Chess, actor whose film credits include Frankie and studies in voice, speech, and body work with teaching Johnny Are Married, The Hollow, and Separate Lives. Ms. legend Arthur Lessac and is a certified Lessac Trainer. Chess was a semi-regular on the TV series Picket Fences For more Information and has guest-starred on television shows such as The THEATER X 438 entertainment.uclaextension.edu/scholarships Practice, Family Law, and The Division. Performing in TV Commercials: Practices and Opportunities THEATER X 410.3 in the Field Acting for the Camera I 4.0 units 4.0 units Considering the lucrative field of TV commercials or Get Credit for Learn to get comfortable in front of the lens. Exercises seeking to improve your confidence in personal or begin with on-camera interviews so students can view business communications? In this course, participants their screen images in playback. Instruction focuses on take part in simulated, recorded auditions for both “slice understanding technical and emotional adjustments of life” dialogue and “spokesperson” narrative. To help required for working in front of the camera in a relaxed you attain relaxation, taped performances are sensi- a Remote Internship and truthful way and developing intimacy with the tively directed and critiqued in class. This workshop also camera. Topics include the difference between frame provides a comprehensive analysis of a commercial’s sizes and learning to hit marks. Hone your acting production from the actor’s point of view and gives such Receive ­internship credit from home! Due Internships are restricted to candidates techniques through scene-study guidelines and sensory professional practices as successful audition tech- to COVID-19, the Entertainment Studies­ in certificate programs and only to and moment-to-moment exercises, as well as mono- niques, proper photography portfolio, agency represen- logue work. Some exercises are performed on camera tation, and union membership. Internship Program is allowing certificate those students who have completed a with emphasis on close-ups, simple scenes, and basic Reg# 377714 students to receive elective credit for substantive portion of their course work camera moves. The instructor critiques individual stu- Fee: $699 work performed remotely with compa- (at least 12 units). If you are planning on dents’ work during playback. No refund after 10 Jan. nies in the film, television, and entertain- doing an internship for academic credit, Reg# 378047 ❖ Remote Instruction Fee: $699 11 mtgs ment media communities. Internships are visit our website and take a moment to No refund after 9 Jan. Wednesday, 7-10pm, Jan. 6-Mar. 17 an excellent way to obtain real-life work familiarize yourself with our policies. ❖ Remote Instruction Students record video exercises directly onto their 11 mtgs experience and make the vital connections You must be enrolled in a certificate to own recording devices and submit files online. c Tuesday, 7-10pm, Jan. 5-Mar. 16 Gabrielle Schary, commercial casting director and necessary to a successful career in the receive internship credit. entertainment industry. Students record video exercises directly onto their president of Gabrielle Schary Casting for over three own recording devices and submit files online. decades. Ms. Schary is hired to cast commercials for Enrollment limited; early enrollment advised. c top brands, including Kay Jewelers, McDonald’s, Nis- For More Information Instructor to be announced san, BMW, Verizon, Amazon, Coke, Nike, Chevy, and (310) 825-9064 | entertainment.uclaextension.edu/student-information/internships Honda, as well as Super Bowl spots for Diet Coke, Budweiser, Dannon, and Pistachio Growers. Enroll at uclaextension.edu or call (800) 825-9971 Entertainment 83

FILM TV X 407.45 Acting Workshop: Cinematography The Meisner Technique FILM TV X 478.283 No-Cost Virtual 4.0 units Through improvisation and scene work, explore basic Lighting for Emotional Impact concepts of the Meisner approach to acting with a 4.0 units focus on creating and living in imaginary circum- This course is designed to help you develop a stronger stances. Learn to work more independently, improve understanding of lighting for motion pictures. Through Entertainment rehearsal and research skills, and strengthen vocal and lectures, workshops, assignments, and in-class exer- movement skills. cises, you learn about different lighting styles and techniques. Special emphasis is placed on lighting Reg# 377715 tailored specifically for the story and the emotional Fee: $699 impact that lighting can have on the audience. The No refund after 10 Jan. Studies Seminars class focuses both on theory and practical application ❖ Remote Instruction of the concepts presented. Throughout the course, 11 mtgs visual references are discussed, and completed assign- Wednesday, 7-10pm, Jan. 6-Mar. 17 ments and supervised exercises are screened and To support our student community during the ongoing COVID-19 pandemic, we Enrollment limited; early enrollment advised. c critiqued in class. are offering FREE virtual seminars for the Winter quarter! Jeffrey Stubblefield, television, film and theater actor Prerequisite(s): Successful completion of FILM TV with supporting roles in the features Ted 2, Nesting, and X 478.27A Introduction to Cinematography is strongly These free seminars offer a chance to learn, grow, and network while at home. Pedestrian. He also held recurring roles in Good Trouble, recommended. Desperate Housewives, Robert Townsend’s Diary of a The seminars will be conducted over Zoom and will be led by industry Single Mom, Women’s Murder Club, Without a Trace, Reg# 378030 professionals. and The Practice, among others. Fee: $699 No refund after 18 Jan. THEATER X 407.42 ❖ Remote Instruction Inside Stanislavski: 9 mtgs Tuesday, 7-10pm, Jan. 5-Feb. 16 For More Information Applications for the Screen Actor Saturday, Sunday, 10am-5pm, Feb. 6-7 entertainment.uclaextension.edu/free-seminars 4.0 units Enrollment limited; early enrollment advised. The great Russian actor, director, and teacher Konstan- c Doug Glover, Two-Time Emmy Nominated cinematog- tin Stanislavski had a method that combined physicality rapher. Mr. Glover has served as the director of photog- Prerequisite(s): Successful completion of FILM TV and spirituality when building a character as the shorter Directing raphy for numerous features and television shows, Dirty X 478.27A Introduction to Cinematography is strongly route to finding its inner life. Learn these practical Jobs, Netflix’s Shot in the Dark, and The Road Home, recommended. techniques of Stanislavski to perform with confidence FILM TV X 476.581 for which he won Best Cinematography at the New York Reg# 377167 and depth. Exercises are supplemented with discussion The Language of Filmmaking Independent Film Festival. Fee: $699 of Stanislavski’s concepts, philosophy, and ethics. Most 4.0 units No refund after 8 Jan. Designed for filmmakers who need to develop the modern acting methods are grounded in the Stanislav- m Online ski system, and understanding the basics of this system FILM TV X 478.27B necessary skills to make better films and viewers who Visualization and Exposure Jan. 4-Mar. 21 want to better understand and appreciate the complex- helps the actor understand and study other acting Enrollment limited; early enrollment advised. techniques. Topics include action vs. emotion, using 4.0 units c ity of the cinematic text, this course outlines the many Jason Knutzen, cinematographer on more than 30 imagination to create real emotions, relaxation and This course is designed to deepen the cinematogra- components of film language used by great directors narrative and documentary projects, professional color- concentration, emotional memory, and building a char- pher’s understanding of the principles and methods of to tell their stories in the most effective way. Through a ist, and expert in post-production workflows. Mr. acter through physicality and voice. At the end of the visualization on-set and in pre-production with particu- wide selection of multimedia material—including film Knutzen is currently an educational contributor to the course, you will have acquired techniques to learn how lar emphasis on digital exposure and pre-visualizing and sound clips, pictures, articles, and interviews—you Global Cinematography Institute in the areas of tradi- to deal with stage fright, how to approach a role and lighting design and execution. Instruction covers pre- analyze shooting and editing techniques employed by tional, virtual, and digital cinematography. inhabit it from the initial research to the physical production tools and techniques for cinematographers the greatest filmmakers of all time. Topics range from with emphasis on lighting, lenses, cameras, camera functional usage of image composition and lighting to embodiment of the character, and how to avoid bad FILM TV X 478.27C acting habits, such as faking emotion or overacting. movement, and color. Each week, you participate in camera movements, editing, and sound. The purpose exercises and workshops designed to help you master Advanced Lighting Workshop of this course is to give clarity to the filmmaking pro- Reg# 377716 the skills used for visualizing the lighting, camera, and 4.0 units cess and to enhance the enjoyment of film viewing. Fee: $699 exposure of the scene. You also practice the techniques A practical workshop in creating a look and executing Reg# 377908 No refund after 9 Jan. of composition and framing (interior and exterior). You a vision through cinematography by using the key tools ❖ Fee: $699 Remote Instruction learn how to design shots, achieve compositional bal- that are available to the director of photography. 11 mtgs No refund after 8 Jan. ance, tracking, gear-heads, fluid heads, eye-lines, and Remote instruction will be applied through project work m Tuesday, 7-10pm, Jan. 5-Mar. 16 Online c two-shots. that challenges you through practical application. The Jan. 4-Mar. 21 Eric Scott Gould, actor, director, screenwriter, and Prerequisite(s): Successful completion of or concurrent course covers a variety of lighting situations (including c producer. Mr. Gould has performed in more than 50 Michael Green, has taught film studies and screenwrit- enrollment in FILM TV X 478.27A Introduction to exterior and interior lighting) through lectures and dis- ing for a decade. His film writing has appeared in Film stage productions and has appeared in TV shows such Cinematography. cussion, lighting demonstrations, and specific assign- as Curb Your Enthusiasm, Numb3rs, The District, International, Senses of Cinema, Bright Lights Film Reg# 378051 ments, including problems often encountered in film Journal, and The Journal of Film and Video, among Another World, and recurred on Without A Trace for the and television production. Instruction also includes a first four seasons. Fee: $699 others. He is also the co-editor of Race in American No refund after 19 Jan. review of color and exposure theory for advanced Film: Voices and Visions that Shaped a Nation. F Hybrid application in cinematic lighting. Prerequisite(s): Successful completion of FILM TV Reg# 377736 7 mtgs Fee: $699 Wednesday, 7-10pm, Jan. 6-Feb. 17 X 478.283 Lighting for Emotional Impact or FILM TV X 478.27B Visualization and Exposure. No refund after 20 Jan. Discounts cannot be applied to a portion of fees for ❖ Remote Instruction this course. Reg# 378052 11 mtgs Enrollment limited; early enrollment advised. Fee: $699 Thursday, 7-10pm, Jan. 7-Mar. 18 c No refund after 6 Feb. c Lesley Elizondo, cinematographer, writer, and director Peter Hanson, screenwriter, director, producer, and F Hybrid for films, TV series, documentaries and music videos. educator. Among his credits are hundreds of print and 7 mtgs Ms. Elizondo served on the lighting crew of Francis Ford online articles, three books on cinema, and films includ- Tuesday, 8:30-11:30am, Feb. 2-Mar. 16 Coppola’s “Live Cinema” production, Distant Vision. She ing the feature-length documentary Tales from the Enrollment limited; early enrollment advised. is currently the director of photography on the shows c & Script, which features interviews with dozens of Holly- This course will consist of live lectures and discussion Salem High, Fight Forward, andYa Basta. wood screenwriters. on Zoom as well as significant time spent on practical FILM TV X 479.302 application through guided projects done on your own Becoming Camera-Savvy: time. A camera and light meter are required for this A Workshop for Today’s Filmmakers course, but additional gear is strongly recommended m ONLINE COURSE, page 5. 4.0 units in order to get the full value of the course. The camera is the essential tool of the filmmaker. This Leigh Lisbao Underwood, award-winning director of g HYBRID COURSE, page 5. course prepares cinematographers and digital filmmak- photography whose films have screened at Cannes, ers to utilize the camera by employing an aesthetic and Tribeca, and Palm Springs, and on television for Life- WEB-ENHANCED COURSE, page 5. technical approach to projects. The essential technical time. His credits include 1915, Brasil Meu Amor, and c Sugar Baby. He received the best cinematography REMOTE INSTRUCTION, page 5. aspects of how digital cinema cameras function are v explored through lectures and practical application. award at the 2013 Palm Springs International Shortfest for The Boy Scout. & TEXTBOOK REQUIRED Students participate in the testing and analysis of cur- rent digital cinema cameras and become more familiar C UC CREDIT, page 6. with their individual features as well as the differences between them. 84 Entertainment Enroll at uclaextension.edu or call (800) 825-9971

Reg# 377170 Reg# 377168 Fee: $699 Fee: $699 No refund after 19 Jan. No refund after 19 Jan. ❖ Remote Instruction ❖ Remote Instruction 11 mtgs 11 mtgs Wednesday, 7-10pm, Jan. 6-Mar. 17 Wednesday, 7-10pm, Jan. 6-Mar. 17 Enrollment limited; early enrollment advised. c Students must have access to a camera and editing Dallas King, President of Red Rabbit Pictures, director, equipment. c producer, writer known for KISS KISS, INK & RAIN, THE Navid Sinaki, an experimental filmmaker and artist BILL MURRAY EXPERIENCE, and MOST WANTED and whose works have screened at museums and art winner of the Motion Picture Association of America houses around the world, including Moderna Museet Award, the Hollywood Foreign Press Association Award, in Stockholm, Lincoln Center, British Film Institute, and the Directors Guild of America Award for Outstand- REDCAT, and Cineteca Nacional in Mexico. ing Directing. FILM TV X 476.12B Film & TV Development Advanced Filmmaking Workshop: Production and Post-Production FILM TV X 476.243 Benefits of Remote 8.0 units Developing Your Short Film In this capstone course of the Directing Certificate 4.0 units program, you maximize your learning experience and Learn the development process as it relates to short improve your filmmaking skills through the creation of films with the focus on developing a short film treat- a short film that is screened for an invited audience ment, first draft, and second draft. You gain an under- Instruction via Zoom! after the end of the course. Having first developed your standing of the basics of story structure and how the projects in the course X 476.23 Developing Your Short specific storytelling elements—theme, plot, characters, Film, you enter the workshop ready to begin pre-pro- and dialogue—work in synergy toward the goal of an Remote Instruction courses feature live meetings with your instructor, industry duction. Through lectures, demonstrations, and hands- effective short story. Topics include character develop- on exercises, you learn the techniques for translating ment, creating realistic dialogue, discovering what you guest speakers, and fellow students connecting in real time on Zoom. your script into moving images, as well as the creative are driven to say through your story’s theme, and and physical requirements for directing a film. Topics planning the scenes with a limited budget in mind. Benefits of Remote Instruction • Regular interaction with a variety of include budgeting and production scheduling, casting Lectures and exercises illustrated with film clips and courses with UCLA Extension’s ­notable guest speakers actors and eliciting the best performance, collaborating readings emphasize the role of story, creating original with the crew, camera blocking, creating the shot list, characters and developing plot points for different Entertainment­ Studies: • Networking opportunities with filmmaking visual composition, sound, and editing. By mid-class, genres of films. You submit your work-in-progress Real-time instruction from professionals peers from Hollywood and around you have the opportunity to put in practice all the pro- throughout the quarter for evaluation and feedback by • the globe ducing and directorial basics you have learned through- the instructor and the class. At the end of the course, actively working in the entertainment out the program as you shoot and edit your film with you will have honed your idea and will have a final short industry guidance from the instructor. Dailies are reviewed and script or treatment ready for shooting. critiqued in class. Running time with credits must not Reg# 377792 exceed 15 minutes. Fee: $699 For More Information, Contact Prerequisite(s): Enrollment is restricted to Directing No refund after 18 Jan. Certificate students who have successfully completed ❖ Remote Instruction [email protected] | (310) 825-9064 FILM TV X 476.23 Developing Your Short Film. Students 11 mtgs with prior short film experience can enroll by consent Tuesday, 7-10pm, Jan. 5-Mar. 16 c & of instructor, space permitting, and must submit a Cynthia Riddle, MFA award-winning writer/producer, FILM TV X 475.44 use of composition, rhythm, and point-of-view; moving proposed script for the class. All students must com- from black and white/silent compositions to the use of former development exec at MGM and WGA member Directing Actors for the Screen plete an application for approval to enroll. whose credits include Crossroads, Puppy Love, Brittany 4.0 units color; non-sync sound; and editing. Your work is Reg# 377153 Murphy Story and Poisoned Love: The Stacey Castor If directors are the architects of film, then actors are screened and critiqued by the instructor and class. Fee: $699 Story. She has written projects for Netflix, Showtime, the artisans of a collaborative team working together to Prerequisite(s): Students must provide their own digital video camera and have access to editing equipment No refund after 18 Jan. Disney, Lifetime, Starz, Hallmark and others. realize a singular vision. Through discussions, exercises, F Hybrid casting sessions, and the presentation of scenes, you and software. Reg# 377793 11 mtgs Fee: $699 analyze and apply the directorial skills required for a Reg# 377159 Tuesday, 7-10pm, Jan. 5-Mar. 16 successful artistic collaboration with performers. You Fee: $699 No refund after 18 Jan. Students must have access to a video camera and ❖ Remote Instruction select one dramatic and one comic scene, then cast, No refund after 19 Jan. editing equipment. rehearse, and present the scenes in class. Topics ❖ Remote Instruction 11 mtgs Refer to course syllabus for online session details. Tuesday, 7-10pm, Jan. 5-Mar. 16 & include analyzing the script, the Method approach to 11 mtgs Enrollment limited; early enrollment advised. c acting, defining objectives, creating dramatic conflict, Wednesday, 7-10pm, Jan. 6-Mar. 17 c Monique Sorgen, writer and director who has been Fernando Scarpa, award-winning director. He has and the elements of characterization. Actors for class Enrollment limited; early enrollment advised. hired to write both scripted and unscripted television & directed for the national Italian Television RaiUno and scenes are selected during in-class auditions, and final c and film for independent productions, as well as major Tim Arvin, screenwriter and director who has worked in the German ZDF and SAT1. Alongside work in docu- scenes are performed on camera. studios and networks, local and foreign. Ms. Sorgen has both feature films and new media. He has written films mentaries and film, he is developing projects based on Reg# 377187 for major studios, including Sony Pictures, as well as also directed short films and music videos that have his award-winning short Doradus, his play Galileo 1610, been picked up for distribution. Fee: $699 independent production companies. He is currently and a feature The Book of Ronnie. No refund after 15 Jan. developing a television series and multiple film projects. FILM TV X 476.22 ❖ Remote Instruction FILM TV X 476.39 11 mtgs FILM TV X 476.95B Story Analysis for Film and Television Making Your First Short Film 4.0 units Monday, 7-10pm, Jan. 4-Mar. 15 Directing Workshop II: Storytelling 4.0 units Saturday, 10am-1pm, Jan. 16 4.0 units Designed for aspiring readers, development executives, Always wanted to make your own short film but thought producers, and storytellers, this course offers a prag- Saturday, 10am-1pm, Feb. 13 In the second part of the Directing Workshop series, par- you had no experience and no money? In this class for No meetings Jan. 18; Feb. 15. ticipants complete short narrative films using their own matic, comprehensive overview of story analysis and aspiring directors, writers, and producers, you use your the tools used by the professional reader. Throughout Enrollment limited; early enrollment advised. c & digital video camera. Focusing on storytelling, instruction own camera to learn how to write, produce, direct, and John Henry Davis, MFA, director/screenwriter, play- teaches participants how to apply the principles and essen- the course, you learn and practice coverage skills while edit a three-to-five-minute short film. Emphasis is gaining an understanding of the elements of story. wright; WGA, DGA, SDC member whose credits include tial elements of dramatic structure and character develop- placed on maximizing the on-screen value of the project directing OZ, The Sarah Jones Show, and Broken Mir- ment to the filmmaking principles explored in X 476.95 Topics include various types of coverage, how to com- using available resources. The first part of the class is pose story notes, comparative coverage, character rors. He’s directed plays at the Lincoln Center, the Directing Workshop I: Composition and Movement. Through devoted to understanding the pre-production process, Kennedy Center, and the Mark Taper Forum, including increasingly complex filmmaking assignments, participants breakdowns, treatments, and outlines. Through weekly highlighting the role of the story, and providing an assignments, you are required to practice reading and the show Daughters with Marisa Tomei. discover how to combine key elements, such as casting, overview of affordable shooting equipment and editing working with actors, shot selection, sync-sound, and music, writing for several formats and to deadline. In addition, technologies. You then develop and write your project, the current job market and the various expectations of FILM TV X 476.95 to communicate the themes, conflict, and story arcs that which is filmed outside of class. Instruction includes a create compelling narrative for a visual medium. Student studios and independent producers are discussed. Upon Directing Workshop I: primer on the fundamentals of shooting and directing completion of the course, you will have written at least Composition and Movement work is screened and critiqued by the instructor and class. actors, as well as the basics of editing and outputting Prerequisite(s): X 476.95 Directing Workshop I: Composi- two pieces of full coverage that can be used as part of 4.0 units assignments. The completed films are screened and a professional portfolio or for auditioning for a job as a As the first hands-on course in the directing series, you tion and Movement or previous directing experience. discussed during the last class. Students must provide their own digital video camera and reader or an assistant. complete four short films using your own video camera. Prerequisite(s): Students must have access to a digital Prerequisite(s): Strong English composition skills. Instruction focuses on the basic building blocks of nar- have access to editing equipment and software. video camera and editing equipment and software. rative filmmaking: the shot, mise-en-scene, concept, kkk kkk the actor, environment, sound, and montage. Assign- kkk ments explore aspects of visual expression through the Enroll at uclaextension.edu or call (800) 825-9971 Entertainment 85

Reg# 377910 runs his own management and consulting practice. Fee: $699 Previously, Mr. Agostoni was a Motion Picture & TV liter- No refund after 8 Jan. ary/graphic novel agent with WME and Non-scripted & m Online Alternative TV agent with WMA. Jan. 4-Mar. 21 Enrollment limited. c FILM TV X 476.242 Joanne Moore, producer, film and TV executive. For- Understanding Genre: mer president of Dustin Hoffman’s production company, How to Develop a Hollywood Classic Ms. Moore has developed projects for Warner Bros, 4.0 units Universal, Disney, and more. She also produced the Producers, executives, writers, and filmmakers all focus award-winning film Swimming with Sharks and the on story components that make for a good movie. Learn shorts Rockboy and Big Al. to identify the specific characteristics that define various Reg# 377742 film genres and how style, form, content, mood, camera Fee: $699 work, lighting, and pacing work together to fulfill expec- No refund after 18 Jan. tations and deliver a satisfying cinematic experience. ❖ Remote Instruction Each week, through lecture, discussion, and film clips 11 mtgs examining its visual language and its evolution over time, Producing Certificate you break down and analyze one of the genres on which Tuesday, 7-10pm, Jan. 5-Mar. 16 c & Marla White, development consultant for Sony Inter- Hollywood thrives: action, drama, comedy and romantic national Television Networks through her company, comedy, fantasy and science fiction, the mystery-thriller, Looking to pursue a certificate in producing? Taught by Hollywood professionals, Marla White Consulting. Ms. White has also served as and horror. Instruction also covers an examination of the Vice President of Development at Fedora Entertain- each genre’s target audience and provides you with a the Producing Certificate gives participants an insider view of the “real world” ment and Longbow Productions, where she contributed common language with which to articulate and sell your aspects of producing, providing the essential skills and knowledge needed for to the feature, A League of Their Own. ideas in the development process. Reg# 377849 both creative and physical producing. The curriculum emphasizes the role of FILM TV X 476.244 Fee: $699 story, as well as principles of financing, marketing, and distribution. Story Development Workshop: No refund after 8 Jan. Crafting Your Original Story m Online Get started this winter with these recommended courses. 4.0 units Jan. 4-Mar. 21 c & Producers, development executives, directors, and Dr. Beverly Graf, vice president of Development, FILM TV X 404 Pre-Production and FILM TV X 478.13A The Art of writers gain practical experience adapting and develop- Abilene Pictures (Primal Fear, Fallen, Frequency, Hart’s Production for Film and Television Line Producing ing their own stories for motion pictures, movies-of-the- War, Fracture) week, and miniseries. Emphasis is placed on studying This survey course presents an overview Gain an understanding of the boots-on- dramatic structure, learning techniques that strengthen FILM TV X 479.482 of the real-world aspects of producing as the-ground work of physical production character development, and understanding the impor- Television Development: practiced in the various sectors of filmed through the various tasks of a line pro- tance of collaboration with writers. You are called upon From Idea to Small Screen to write development notes; compile directors/writers 4.0 units entertainment, from script development ducer such as creating a budget, location lists; and learn the difference between beat sheets, step In today’s ever-evolving TV business and market, figur- through pre-production and production. scouting, hiring crew, and everything outlines, and story outlines. You also learn how to ing out how and where to sell your “product” can be Page 85. in between. assess the marketplace by determining what network confusing. Once you’ve settled on an idea, then what Page 85. and studio executives are looking for, as well as the are the next steps? How do TV shows get “on the air?” FILM TV X 478.733 Producing best way to quickly and effectively pitch an idea. You Producers, development executives, directors, and Documentaries You do not need to be enrolled in a are welcome to submit written works in progress for writers will benefit from learning all about the develop- in-class critiques. At the end of the course, you have ment process for TV series, limited series, and movies- Explore the stylistic and narrative, as well certificate to take a course. honed your storytelling craft by writing original treat- of-the-week. Course topics include how to give notes; as technical and business, approaches to ments based on your story outline developed in class. how to create writer lists; how attachments such as Prerequisite(s): Good written communication skills. showrunners, producers, talent, and directors affect successful documentary filmmaking from Previous training in story analysis is recommended but your project; how to assess the TV marketplace by inception to distribution, and create your not required. determining which networks/outlets are right for which own project proposal based on the Reg# 378034 projects; what you should include in your sizzle reel; strategies­ learned. Fee: $699 and finally, how to effectively pitch your idea. The No refund after 8 Jan. course goal is to equip you with the knowledge neces- Page 86. m Online sary to successfully go from an idea for a TV series to Jan. 4-Mar. 21 getting it sold. At the end of the course, you have the opportunity to pitch your shows to industry guests. Enrollment limited; early enrollment advised. c Peter Russell, story analyst, Imagine Films Entertain- Reg# 377802 For More Information ment, CBS, Anschutz Film Group (AFG and Walden Fee: $699 (310) 825-9064 | entertainment.uclaextension.edu/certificates/producing Films), and Participant Productions; theater director No refund after 20 Jan. whose credits include New York’s Public Theater ❖ Remote Instruction (Shakespeare in the Park). Mr. Russell is a recipient of 11 mtgs Reg# 377826 FILM TV X 478.13A the Nick Adams Short Story Award. Thursday, 7-10pm, Jan. 7-Mar. 18 c & Fee: $699 The Art of Line Producing Reg# 378009 Stephanie Varella, independent producer and former No refund after 8 Jan. 4.0 units Fee: $699 VP of Jerry Bruckheimer TV, who has worked on shows m Online This comprehensive, step-by-step overview of physical No refund after 18 Jan. such as CSI, Without a Trace, Cold Case, Charmed, and Jan. 4-Mar. 21 production processes covers the tangible and intangible ❖ Remote Instruction Seventh Heaven. She has developed shows with all the Refer to course syllabus for online session aspects of line producing, including budget; breakdown 11 mtgs major studios and broadcast and cable networks, as details. c & and scheduling; hiring and working with cast, director, Tuesday, 7-10pm, Jan. 5-Mar. 16 well as the newer-streaming outlets. Amotz Zakai, vice president, Echo Lake Productions. staff, crew, and outside vendors; choosing locations; Mr. Zakai has worked on such projects as Tsotsi (Oscar Enrollment limited; early enrollment advised. c equipment and music; how to deal with divergent Kate Schumaecker, a television producer for over 15 winner, 2006), Water (Oscar nominated, 2007), Away personalities and specific problem solving during pro- years, was most recently President of Cloud Nine Pro- Producing from Her, and Thirteen Conversations About One Thing. duction; and the differences between producing a ductions where she developed numerous shows includ- Reg# 377828 movie independently versus with a studio. The course ing First Lady, Cascadia, and I’m Fine. Before that she FILM TV X 404 Fee: $699 also includes a comprehensive introduction to Movie was President of Tall Girl Productions and VP at Univer- Pre-Production and Production for No refund after 20 Jan. Magic scheduling software. This is not an introduction sal Cable Productions. She will be Executive Producer Film and Television ❖ Remote Instruction to production course. on the upcoming Hulu series Woke. 4.0 units 11 mtgs Prerequisite(s): A basic knowledge of film production is highly recommended. Reg# 378035 This survey course presents an overview of the real- Thursday, 7-10pm, Jan. 7-Mar. 18 c & Fee: $699 world aspects of producing as practiced in the various Bridget Terry, award-winning producer and writer Reg# 377784 No refund after 18 Jan. sectors of filmed entertainment, from script develop- whose credits include Showtime film They, PBS docu- Fee: $699 F Hybrid ment through pre-production and production. Topics mentary The Kennedys: America’s Emerald Kings, and No refund after 19 Jan. 11 mtgs include the producer’s interface with the writer, director, projects for Netflix and NBC-Universal. Ms. Terry for- ❖ Remote Instruction Jan. 5-Mar. 9 and other key personnel; pitching and selling ideas; merly served as a showrunner at Showtime and is 11 mtgs Tuesday, 6:30-10pm, Feb. 9-Mar. 9 script breakdown and scheduling; budgeting; and all currently the owner of Chaise Lounge Productions. Wednesday, 7-10pm, Jan. 6-Mar. 17 c This course includes both live remote instruction on the critical on-the-set issues facing the producer. Lydia Cedrone, who has over 20 years of experience in the entertainment industry; Ms. Cedrone has man- Zoom and asynchronous instruction on Canvas. Refer kkk to course syllabus for online session details. c aged feature film financing at the Walt Disney Company, Scott Agostoni, SVP of Development & Production and oversaw production at Michael Mann’s Forward Pass in-house consultant at Dick Cook Studios. Scott also Inc. and produced her own films independently. 86 Entertainment Enroll at uclaextension.edu or call (800) 825-9971

MGMT X 403.61 FILM TV X 408 available international film treaties, and their practical FILM TV X 477.84 Marketing and Distributing Building an Online Audience applications. Beyond the local tax credits available in Introduction to Adobe Premiere Independent Films Across 4.0 units territories, instruction also covers “soft equity” and tax 4.0 units All Platforms In the Internet age, uploading your work to YouTube or shelters where available, and how to apply them to a Adobe Premiere Pro is used by professionals across the 4.0 units Vimeo is imperative, and successful producers/direc- financing plan. Some sessions include a visit from a spectrum of filmed entertainment, including feature What are the considerations involved in financing, tors/actors can now demonstrate a growing online territory’s local film office and/or local producers to films, music videos, and documentaries. You learn how packaging, selling, or acquiring a financially viable film? audience. This course shows you how to create a public provide additional insight to the country. to use this powerful program, from simple editing Producers, filmmakers, and screenwriters learn what face and promotional platform for your creative content. Reg# 378043 techniques to more complex compositing, layering, makes a project attractive to potential buyers, study a Using relevant video platforms, social media, and avail- Fee: $699 tilting, motion graphics, and sound design. Instruction variety of deal structures, and learn how to find domestic able website creation tools, learn to present and pro- No refund after 19 Jan. includes illustrated lectures, demonstrations, discus- and overseas distribution for theatrical, television, DVD, mote your body of work. Instruction emphasizes group ❖ Remote Instruction sion, and class projects. Topics include starting a and alternative markets. You gain knowledge on how to discussion and interaction, as you are encouraged to 11 mtgs project, organization and subclipping, timeline and basic craft a distribution strategy from the earliest stages of use each other’s sites and platforms in various assign- Wednesday, 7-10pm, Jan. 6-Mar. 17 c editing tools, editing audio, video effects, color correc- project development. Topics include choosing materials, ments. Topics include identifying different audiences; Instructor to be announced tion and grading, titles and motion, exporting, and budget, and casting; selling the film through festivals basic video and audio production; mastering available posting online. and markets; key buyers; evolving distribution outlets, video and audio; review of social media branding sites; Prerequisite(s): You are required to have a working, such as Internet and cell phones; the roles of producer, creating an individual brand and brand messages; Post-Production current copy of Adobe Premiere Pro CC, as well as have marketing and sales executives, and executive produc- understanding design as it relates to presentation; video and audio files ready for use while learning Adobe ers; and an overview of film financing models. audience building tools such as fan pages, tweet FILM TV X 404A Premiere Pro. Reg# 377817 marketing, cross-commenting strategies and Post-Production for Film Reg# 377872 “response-to” uploading; responding to audience; and Fee: $699 Fee: $699 professional interaction. The course goal is to create an and Television No refund after 10 Jan. 4.0 units No refund after 8 Jan. individual presentation plan across chosen platforms m m Online Emphasizing how new technologies continue to impact Online that is critiqued by your peers. Jan. 4-Mar. 21 Jan. 6-Mar. 21 c & post-production, this course provides an overview of Kevin Mardesich, former head of the story department Reg# 377867 the post-production pipeline from dailies through deliv- Enrollment limited; early enrollment advised. c & at Oliver Stone’s development company, Ixtlan. He cur- Fee: $699 ery. Class topics include a step-by-step overview of James Biddle, award winning filmmaker and editor. rently runs KevinMardesich.com, a communications No refund after 8 Jan. each stage of the process and building the post-pro- Mr. Biddle is a certified professional instructor of Avid m practice specializing in written communications for film, Online duction team: editors, audio mixers, composers, sound- Media Composer, Adobe Premiere, and Final Cut Pro X. television, and industry leaders. Jan. 4-Mar. 21 designers, visual effects artists, and post-production He is a senior lecturer at Grady College, University of Early enrollment advised. c management. The latest trends in post-production are Georgia and runs the Grady College Authorized Training FILM TV X 476.6 Robert Scheid, Apple-certified Final Cut Pro, Motion, covered. Instruction may include guest speakers. Center for Avid Media Composer and Adobe Premiere. Low-Budget Filmmaking and DVD Studio Pro instructor; television producer; film Reg# 377864 4.0 units and television editor and colorist. Fee: $699 In this detailed exploration of low-budget filmmaking, No refund after 8 Jan. learn techniques and theories examining all phases of FILM TV X 478.733 m Online Music the process, from development to production to post- Producing Documentaries Jan. 4-Mar. 21 c For more information call (310) 825-9064, email production. The focus is on translating a minimum 4.0 units Robert Scheid, Apple-certified Final Cut Pro, Motion, budget into maximum quality on screen. Topics include Learn about the opportunities available to the indepen- [email protected], or visit and DVD Studio Pro instructor; television producer; film entertainment.uclaextension.edu. the script, financing the production, evaluating the dent documentary producer in this overview of the and television editor and colorist. marketplace, analyzing and breaking down the screen- entire documentary production process, from idea through distribution. Emphasis is placed on today’s Reg# 378019 play, learning to apply creativity to a budgetary plan to Fee: $699 maximize on-screen value, casting, selecting key pro- market—for both television and theatrical one-to-two- Film Scoring hour programs—through screening and discussing No refund after 20 Jan. duction personnel, production design, music, editing, ❖ Remote Instruction sound design, marketing, and distribution. Throughout examples of documentary genres. Lectures emphasize MUSC X 483.43 story, structure, and style and address related budget, 11 mtgs Instrumentation and Introduction the class, you are able to apply concepts learned to Thursday, 7-10pm, Jan. 7-Mar. 18 your own projects. financial, and technical aspects of television documen- c to Orchestration Tamera Martin, Emmy/Telly-nominated Editor and Reg# 377897 taries. Each participant conceives and drafts a written 4.0 units synopsis for a one-hour television documentary with the Producer of documentaries and award-winning shorts, Fee: $699 Explore why musical instruments sound as they do, how option to independently produce a presentation video. including Francis Marion: Without Lying Down, The Day their sound is produced, and the rudiments of combin- No refund after 8 Jan. My God Died, Liminal and Cigar at the Beach. Ms. Martin m Online Specialists with expertise in archival footage, interview ing those sounds together. Learn the characteristics and techniques, location shooting, editing, and other areas is also a 24-year Senior Avid Certified Instructor, post- Jan. 4-Mar. 21 & basic idiomatic scoring techniques for each orchestral c are invited as guest lecturers, subject to availability. production workflow architect and curriculum designer. instrument family (strings, woodwinds, brass, and Kim Adelman, filmmaker who co-produced the inde- pendent feature Just Friends and has produced 19 Reg# 377785 percussion), as well as approaches of writing for differ- FILM TV X 479.613 ent ensembles. Coursework also includes a review of shorts that have played in more than 150 festivals, Fee: $699 The Art and Craft of Film Editing winning more than 30 awards. She has authored two No refund after 19 Jan. music fundamentals and how to read and study an ❖ Remote Instruction 4.0 units orchestral score. Apply your knowledge by composing film books, Making It Big in Shorts and The Ultimate Editing is storytelling. Throughout the process, from first Guide to Chick Flicks, and currently writes for Indiewire. 11 mtgs three short pieces to be played in class. Wednesday, 7-10pm, Jan. 6-Mar. 17 & assembly to final delivery, editors are responsible for Prerequisite(s): The ability to read music, knowledge of c fulfilling the film’s potential through a full command of Priscilla Gonzalez Sainz, an experienced director, music notation, and an understanding of the fundamentals FILM TV X 479.088 craft, as well as an aesthetic understanding of story, producer, and editor. Ms. Gonzalez has worked as an of music theory. Basic working knowledge of a music Movie Magic Budgeting character, and rhythm. By examining different editing independent film producer, primarily in documentaries notation program such as Sibelius, Finale, or Dorico is 2.0 units styles, this course covers the elements of storytelling, and in television distribution. She has also been a film required, as students are required to produce and print For production managers, producers, corporate finance performance, pace, emotion, action, continuity, and time curator and strategist for independent film financing music scores and instrumental parts for their assign- personnel, and production accounting professionals, manipulation. Instruction includes lectures, discussion, and distribution. ments. Additionally, it is recommended to have any profes- this course provides you with a practical understanding and viewing exercises. You also learn to select the most sional quality computer-based Digital Audio Workstation. of the budgeting process, including how to use Movie appropriate editing systems and technology by evaluat- FILM TV X 431 Reg# 377199 Magic Budgeting, a budgeting software application. You ing the limitations of budgets and time. prepare a movie-of-the-week budget based on informa- A World of International Filmmaking Fee: $1,299 4.0 units Reg# 377991 No refund after 14 Jan. tion that typically would be available during pre-produc- Fee: $699 tion, including a script, day-out-of-days, one line As the business of film has become more reliant on the ❖ Remote Instruction No refund after 8 Jan. 10 mtgs schedule, shooting schedule, departmental budgets, international market, so has the production of film. Both m studio and independent producers alike must under- Online Sunday, 2-5:30pm, Jan. 10-Mar. 14 and other hypothetical parameters. This is not an Jan. 4-Mar. 21 introduction to production course. stand the ever-evolving rules and principles to produc- Discounts cannot be applied to a portion of fees for ing in countries around the world. This course provides Please note this is not a hands-on editing course. this course. Prerequisite(s): Students must purchase Movie Magic Enrollment limited; early enrollment advised. & Budgeting 7. A discount code will be provided to thorough and practical instruction on all the elements c Students’ pieces will be recorded remotely. Scott Mazak, editor and writer. Mr. Mazak has exten- enrolled students after the start of class. and stages to producing films outside of the United Enrollment limited; early enrollment advised. Visitors sive teaching experience in all areas of filmmaking and not permitted. Reg# 377607 States. Every week, case studies explore specific, real- c & life films, which follow the processes involved in pro- also has written about Lucasfilm in the book George Richard Bronskill, orchestrator for over 100 films, Fee: $499 Lucas’s Blockbusting. No refund after 8 Jan. ducing films internationally, and compare the including Vice, Mission: Impossible-Rogue Nation, Hotel m Online differences among the territories. The following topics Transylvania, and 21 Jump Street. Mr. Bronskill has Jan. 4-Feb. 14 are discussed each week for specific countries: film worked with many notable Hollywood composers, such Students enrolled in this section are eligible to pur- commissions, available financing, the approval process, as Michael Giacchino, Nicholas Britell, Christopher Young, chase Movie Magic Budgeting 7 at a discount. locations and climate, facilities, budgets, unions and Christophe Beck, Mark Mothersbaugh, and Rolfe Kent. Enrollment limited; early enrollment advised. working practices, co-production treaties, and local & c partners and distributors. At the end of each session, Instructor to be announced students have the tools to produce a film in the region discussed that week. The course also examines the broader concepts of international co-productions, Enroll at uclaextension.edu or call (800) 825-9971 Entertainment 87

MUSC X 403.52 MUSC X 483.1 Harmony I: Crash Course in Film Scoring on a Budget Composing for Tonal Music 4.0 units 4.0 units Learn to compose an effective film score on a limited The study of harmony has been the foundation of budget using both MIDI pre-records and live profes- composers for centuries. This intensive crash course sional musicians. Topics include spotting: the practical not only serves as a complete review of diatonic har- and psychological considerations of music placement; mony but also teaches you how to apply theoretical methods of synchronizing score to picture; and the concepts to your own compositions. Instruction consists dramatic utilization of melody, harmony, rhythm, and of three stages: establishing a strong foundation in orchestral texture. You write three cues using MIDI that diatonic harmony, studying music scores of the great will be enhanced with live recording sessions played by masters who demonstrate these techniques, and creat- professional musicians. ing your own music compositions emulating what you Prerequisite(s): Knowledge of music notation and the- have learned. Concepts covered include proper usage ory, experience in music composition, MUSC X 449.91 of scales; functional chord progressions and how they The Art and Craft of MIDI, and MUSC X 483.2 Advanced work; roman numeral analysis; how to create both Orchestration: Applied Techniques for the Studio and regional and true modulation; creating chord inversions; Scoring Stage, or consent of instructor. cadence types; and proper notational practices dealing Reg# 377315 with rhythm, meter, and score set-up. Scores studied Fee: $1,999 include works by J.S. Bach, Mozart, Haydn, Beethoven, No refund after 10 Jan. Mendelssohn, and more. As you work on your own ❖ Remote Instruction compositions, utilizing many of the concepts learned, 11 mtgs you receive guidance from the instructor and gain the Wednesday, 7-10pm, Jan. 6-Mar. 17 opportunity to build your portfolio. Students’ pieces will be recorded remotely. Music Certificates Prerequisite(s): The ability to read music, knowledge of Discounts cannot be applied to a portion of fees for music notation, and an understanding of the fundamen- this course. tals of music theory. Enrollment limited; early enrollment advised. c Reg# 377144 Fletcher Beasley, composer for film, television, com- Fee: $699 mercials, video games, and interactive exhibits who & Specializations No refund after 18 Jan. recently released Fictional Radio, an album of cinematic ❖ Remote Instruction electronic music. Mr. Beasley has worked with some of 11 mtgs the top composers in the film and television world, Jump-Start Your Career in Music from Home! Tuesday, 7-10pm, Jan. 5-Mar. 16 contributing writing, orchestration, and programming. Enrollment limited; early enrollment advised. c & Interested in a career in music business? Want to pursue film scoring or creating Steve Rothstein, PhD, composer of numerous orches- MUSC X 483.3 tral, choral, and chamber works Score like the Masters: music independently? Contemporary Techniques MUSC X 403.53 4.0 units Enroll in one of our Music Certificates. Harmony II: Techniques for Gain an understanding of and learn to emulate current Composing Contemporary Music compositional techniques and their enhanced possibili- Music Certificates 4.0 units ties of expression. Very often composers are asked to In this course, you learn the techniques of twentieth/ compose music “sounding like” that of the major BMI proudly supports UCLA Extension certificates. twenty-first century harmony while also applying the composers today. Study recent film scores and their theoretical concepts to your own compositions. You are harmonic, melodic, and textural language of such exposed to a wide variety of modern-era harmonic composers as John Williams, Jerry Goldsmith, Alan practices, starting with an introduction to the French Silvestri, and Danny Elfman.You have the opportunity to Impressionists of the late nineteenth century and then apply these techniques by composing short pieces Music Business moving forward to current trends of today. Instruction using your own DAW MIDI setup. Learn the principles of the music industry in the areas of A&R, touring, marketing, legal consists of three stages: establishing a foundation in Prerequisite(s): Access to and proficiency in using a issues, publishing, and artist management. contemporary harmonic techniques, studying the music home studio with sequencing software, as samples are scores of the great masters who demonstrate these required for completion of assignments. The course Independent Music Production techniques, and creating your own compositions by does not include instruction in any specific software. emulating what you have learned. Harmonic concepts Participants must already have adequate knowledge Designed for independent artists, develop the creative skills to write, produce, and include: modality and tonal ambiguity of the impression- and resources to MIDI program short compositions and record music in your home studio, along with the marketing and business skills to sell it. ists, total chromaticism, free atonality, serialism, bitonal- deliver these electronically. ity, modern scales, pandiatonicism, tone clusters and Reg# 377149 Film Scoring sound mass, minimalism, neo-romanticism, and more. Fee: $699 Scores studied include works by Debussy, Ravel, No refund after 18 Jan. Endorsed by the Society of Composers & Lyricists, learn the essen- Schoenberg, Webern, Stravinsky, Ligeti, Penderecki, ❖ Remote Instruction tial creative, business, and technical skills needed for a successful Reich, Adams, Glass, Part, and Whitacre. Utilizing many 11 mtgs career in film scoring from talented industry composers. of the concepts learned, you work on your own compo- Tuesday, 7-10pm, Jan. 5-Mar. 16 sitions and study scores that use many of these har- Enrollment limited; early enrollment advised. c & monic techniques. Billy Sullivan, composer and musician on over 150 Prerequisite(s): MUSC X 403.52 Harmony I: Crash albums, TV soundtracks and film scores including Course in Composing for Tonal Music, or consent of Behaving Badly (Selena Gomez), Big Momma’s House Are you looking for a shorter program? the instructor. (Martin Lawrence), Five Flights Up (Morgan Freeman), Reg# 377146 Monster in Law (Jennifer Lopez), Norbit (Eddy Murphy), Our new specialization in music supervision can be completed in as little as 2 quarters! Fee: $699 Curb Your Enthusiasm (HBO), and VEEP (HBO). No refund after 20 Jan. ❖ Remote Instruction Music Specializations 11 mtgs Music Supervision Thursday, 7-10pm, Jan. 7-Mar. 18 Enrollment limited; early enrollment advised. c & This 4-course specialization equips students with the skills needed to succeed as Steve Rothstein, PhD, composer of numerous orches- music supervisors. tral, choral, and chamber works m ONLINE COURSE, page 5. Plus, enjoy maximum flexibility—start anytime, with no admissions requirements. (Exceptions apply to the Film Scoring Certificate.) g HYBRID COURSE, page 5. Take the next step toward the career you’ve always wanted! c WEB-ENHANCED COURSE, page 5. v REMOTE INSTRUCTION, page 5. & TEXTBOOK REQUIRED C UC CREDIT, page 6. For More Information (310) 825-9064 | entertainment.uclaextension.edu 88 Entertainment Enroll at uclaextension.edu or call (800) 825-9971

MUSC X 483.12 MUSC X 484.931 Writing and Scoring for Strings Put Your Music to Work: Film Scoring Certificate 4.0 units Composition for Commercials This comprehensive workshop in writing music for the 4.0 units string family—violin, viola, cello, and double bass— Thousands of TV commercials are produced and scored Endorsed by the Society of Composers & Lyricists takes a thorough look at the contemporary and histori- every year, and the advertising business is always look- cal use of the strings and their usage in both film and ing for something fresh, new, and different. In this concert music composition. The film composers studied online course, composers fine-tune their musical skills include Bernard Herrmann, John Williams, Thomas to become more precise and focused composers. Each Newman, Michael Giacchino, and Jerry Goldsmith. The week, participants are given a different commercial concert composers include Johannes Brahms, Maurice video to score, as well as a second writing assignment Ravel, Leonard Bernstein, Edward Elgar, Igor Stravinsky, that is music only. The latter assignment is to build up and John Adams. The course examines how film com- the student’s own library of music. Assignments are position has utilized concert music for specific tech- constructively critiqued by the instructor with specific niques, as well as for inspiration. Many sessions feature detailed feedback on what improvements are advised one of the members of the string family, with top pro- to make the music fit the commercial requirements and fessionals from L.A. recording studios demonstrating stand out in a sea of competitive resources. At the end their respective instruments and playing student com- of the course, students who complete the course will positions. The final project is the writing and subse- have a compilation of their work to be used for their quent recording of a work for string quintet. own promotion at their website or online viewing portal. Prerequisite(s): The ability to read music, knowledge of Topics include concepts of advertising techniques, music notation, and an understanding of the fundamen- styles of scoring, the ad formula, self-promotion, stan- tals of music theory. dard business practices, and how to deal with competi- Reg# 377210 tive demos. Fee: $1,999 Prerequisite(s): Students must be able to receive No refund after 13 Jan. Quicktime files, record and/or edit their own music, and Under the direction of talented industry professionals, learn the essential creative, ❖ Remote Instruction send MP3s via the Internet. Students who are not business, and technical skills needed for a succesful career in film scoring. Compose your 11 mtgs proficient in composing and producing their own cues own scores for film, TV, and video games, both electronically and using professional Saturday, 10am-1pm, Jan. 9-Mar. 20 may submit music samples or loop composites created Discounts cannot be applied to a portion of fees for in programs such as GarageBand, Reason, and Acid. union musicians. this course. Reg# 377209 Students’ pieces will be recorded remotely. Fee: $699 Flexible evening and weekend scheduling allows for completion of the program in as Enrollment limited; early enrollment advised. Visitors little as 1 year. No refund after 8 Jan. not permitted. c & F Hybrid Students may begin the program in either the Winter or Summer quarters. Dr. Norman Ludwin, DMA, instrumentalist, composer; 2 mtgs orchestrator, author, and professional bassist who has Jan. 4-Mar. 15 played on hundreds of feature films, television scores, Monday, 7-10pm, Jan. 4 and records. As an orchestrator, Dr. Ludwin has worked Monday, 7-10pm, Mar. 15 on the recent films Jurassic World, Inside Out, and Star This course includes both synchronous (live) online Trek Into Darkness. meetings and asynchronous instruction. Refer to For More Information course syllabus for online session details. Attendance MUSC X 482.3 at the first meeting is mandatory. (310) 825-9064 | entertainment.uclaextension.edu/certificates/film-scoring Bringing the Power of Music to Film: Enrollment limited; early enrollment advised. c A Film Scoring Seminar Liz Myers, vice president, Trivers/Myers Music; com- 4.0 units poser and pianist for commercials and films who won a This seminar is for film composers, filmmakers, and Clio Award for the arrangement of Gershwin’s Rhapsody others interested in the subtle art of film scoring. It in Blue created for United Airlines. Co-composer of the Your Career in Music examines the crucial contribution music makes to nar- theme for the CBS Evening News with Scott Pelley. rative and emotional expression in film. Lectures and discussions, enhanced with film clips and recordings, cover such topics as great film themes and how melo- Music Business dies work in films; musical style, fashion, and concept: Begins Here! what’s in and what’s out; love and sex in film music: MUSC X 446.2 what’s hot and what’s not; horror, suspense, and how A&R: Making Music from Acquisition to scare people with music; comedy, emotion, and what to Release The Music Business & Independent Music Production Certificates makes us laugh and cry; songs and singing in movies: 4.0 units what the singer/songwriter can do; and a guest com- A definitive analysis of the functions of the A&R profes- BMI Proudly Supports UCLA Extension Certificates posers’ roundtable. sional, this course stresses the collective effort needed Reg# 377994 from all departments—artist and label—in the creation Today, the music business—and Fee: $699 of recorded music in all formats—from creation to independent music production—are No refund after 20 Jan. acquisition and release. Topics include new artist complex, challenging, and changing ❖ Remote Instruction acquisition; record deals; the role of the producer; 10 mtgs working with personal managers and booking agents; constantly. Thursday, 6:30-10pm, Jan. 7-Mar. 4 the role of social media from the artist and executive Yet, opportunities exist. Start your One additional class (virtual field trip) to be arranged. perspectives; A&R and sync strategies; independent career, or move it to the next level, Enrollment limited; early enrollment advised. c touring; the current local music scene; specific A&R Charles Bernstein, Emmy Award-winning composer approaches for urban music, EDM, singer/songwriter, with our 2 certificates in these exciting whose music is featured in Quentin Tarantino’s Inglouri- alternative, and indie music; how to attract interest from fields. Both are comprehensive, nation- ous Basterds and Kill Bill, and who has scored A major and independent labels without compromising ally recognized programs,­ taught by Nightmare on Elm Street, Cujo, and The Entity. His artistic integrity; paths to A&R career positions; and television credits include Darwin’s Darkest Hour, Miss analysis of how recently signed artists got their first industry professionals. Ever’s Boys, and Drug Wars, among many others. contracts. Guest speakers include recording artists, bmi.com Advisors are available to provide producers, managers, record company executives, and guidance to students wishing to meet A&R personnel. Reg# 377186 particular career goals. Fee: $699 No refund after 18 Jan. ❖ Remote Instruction 11 mtgs Tuesday, 7-10pm, Jan. 5-Mar. 16 c Pablo Mathiason, music executive with over 20 years experience in discovering, developing and marketing talent. Mr. Mathiason ‘s most recent positions include director of Artist Relations for Greenpeace USA, and director of A&R for Starbucks Entertainment and for Jive For More Information Record/Zomba Music Publishing. (310) 825-9064 | entertainment.uclaextension.edu Enroll at uclaextension.edu or call (800) 825-9971 Entertainment 89

MUSC X 448.80 MUSC X 448.86 Do-It-Yourself Music Marketing Touring, Tour Accounting, 4.0 units and Merchandising Of interest to DIY musicians, producers, managers, 4.0 units startup record label personnel, and anyone interested Discover the fundamental aspects of the concert touring in learning fundamental marketing concepts used by industry. This course guides students through the entire the most innovative companies today. You learn how to touring process, from planning to settling live perfor- describe your vision; identify a market need; analyze mances. Participants gain an understanding of different your fans; learn from your competitors; demo your tour revenue streams, such as ticket sales, sponsorship products and services; set your marketing plan goals; income, and merchandising. Students also learn how to and find the perfect mix of new marketing strategies maximize tour profits through effective marketing, pro- ranging from branding, product, price, place, promotion, motion, budgeting, and monitoring. Instruction includes and marketing information systems. The Internet, word- lectures, industry guest speakers, and discussion. of-mouth, guerrilla marketing techniques, social media, Reg# 377196 mobile marketing, publicity, music licensing, live per- Fee: $699 forming and touring, merchandising, face-to-face No refund after 19 Jan. selling, sales promotions, radio, and sponsorships are ❖ Remote Instruction all addressed in course lectures, reading assignments, Music Business Certificate 11 mtgs and discussions with industry guests. You are provided Wednesday, 7-10pm, Jan. 6-Mar. 17 with the opportunity to craft a customized, low-budget c Seven Bailey, President of Omnes Records, where he Winter is the perfect time to begin pursuing a Music Business Certificate! marketing plan of attack using step-by-step templates oversaw the signing of several artists, three of which and to receive constructive criticism from the instructor secured EP debuts on the top 100 on Billboard. Mr. This program is for aspiring and established artists, producers, managers, and fellow students. At the end of the class, student Bailey also works with film producers and directors, songwriters, and publishers on the principles of the music industry in the areas teams are asked to solve real-world marketing prob- including Clive Davis, Rihanna, and Ms. Lauryn Hill to lems by presenting innovative solutions before a small create music driven film and television projects. of A&R, touring, marketing, legal issues, publishing, and artist management. panel of guest judges. Reg# 377306 MUSC X 448.81 Don’t know where to begin? We recommend getting started with the Fee: $699 Music Publishing: following courses. No refund after 24 Jan. ❖ A Creative and Business Perspective Remote Instruction 4.0 units 11 mtgs MUSC X 446.2 A&R: Making Music MUSC X 448.35 Legal and Practical This entry-level course is of interest to songwriters, from Acquisition to Release Aspects of the Music Business Monday, 7-10pm, Jan. 4-Mar. 15 bands, and producers but applicable to anyone who Saturday, 10am-1pm, Jan. 30 wants to learn both the creative and business basics of Learn the functions of the A&R profes- Discover how to monetize and maintain Saturday, 10am-1pm, Feb. 27 music publishing from A-Z. You learn how to improve No meetings Jan. 18; Feb. 25. sional, including the collective effort revenue in the music industry, no matter c your chances for getting seen, heard, and signed. Top- needed from all departments—artist and what your role may be, by exploring Dion Singer, Chief Executive Officer at Over the Top ics include effective songs, broadcast quality record- Global where he serves as a freelance marketing ings, and brand equity; how to ensure that you’re not label—in the creation of recorded music in ­copyrights, streaming services, social consultant for international stars, including Cher, getting ripped off: United States copyright basics, all formats, from inception to acquisition ­networks, the nature of talent/business Michael Bublé’, and Pablo Alborán. Previously, Mr. copyright registration in Washington D.C. and co-writer and release. agreements, and much more. Singer served as the Executive Vice President of Cre- and producer splits; what music publishing companies ative Marketing at Warner Records. can do for your career: song-plugging, advances, and Page 88. Page 89. copyright administration; how to make sense of pub- MUSC X 448.35 lishing deals and copyright assignment: exclusive MUSC X 448.80 Do-It-Yourself You do not need to be enrolled in a Legal and Practical Aspects of the songwriter agreements, co-publishing deals, and Music Marketing certificate to take a course. Music Business administration agreements; how to get paid for your Learn the exhaustive process of DIY 4.0 units music and master recordings: mechanical royalties, Whether you are an artist, manager, lawyer, accountant, performance royalties, synch fees, master-use fees, music sales and promotion from develop- music industry executive, producer, songwriter, music print royalties, new electronic transmissions, and for- ing your brand and identifying your vision publisher, or work for a digital service provider or other eign sub-publishing monies. You also learn how and all the way to promotions and publicity digital media company, this course is essential to when to join important music organizations and societ- while creating your own customized, BMI proudly supports UCLA Extension understanding the various ways in which rights are ies: ASCAP, BMI, SESAC, Sound Exchange, and The certificates. exploited and monetized and how revenue is generated Harry Fox Agency; and how to start your own publishing low-budget marketing plan. in the music business. In addition, the critical topics of company: self-publishing, music libraries, resource Page 89. building your artist’s brand as a business, along with guides, and pitching your own music in film, TV, games, the necessity of ancillary revenue streams outside of advertising, corporate videos, movie trailers, and DVD music and the cutting edge deals dealt with in the digi- featurettes. No prior understanding of music publishing For More Information tal space, are all covered. Also examined are arrange- is needed. (310) 825-9064 | entertainment.uclaextension.edu/certificates/music-business ments between record companies and artists; Reg# 377143 production deals, producer agreements, and other legal Fee: $699 and business issues that arise in the recording studio; No refund after 20 Jan. MUSC X 484.31 trademark and rights of publicity; agreements relating ❖ Remote Instruction Music Supervision for Film to the artist’s team of advisors; topics and agreements 11 mtgs relating to music publishing rights; monetizing and and Television Screenwriting Thursday, 7-10pm, Jan. 7-Mar. 18 4.0 units understanding the differences between subscription Enrollment limited; early enrollment advised. & and ad-supported services, as well as other digital c Defining the role of the music supervisor by drawing on Courses Suzan Koc, songwriting mentor and owner of Songwrit- media opportunities; and fans, brands, social network- the combined resources of the film and television com- ers Rendezvous, an exclusive songwriting workshop, ing sites, and cultural communities as they affect munities to marry music and moving images, this course and the boutique publishing company, House Call The UCLA Extension Writers’ Program music, copyrights, and merchandising in a global music is for anyone interested in the business and art of film Music. She has held positions such as VP of Creative offers more than 200 screenwriting market. Discussions on current events relating to the and television music. Lectures and discussion with guest at BMG Rights Management and VP of Writer Develop- ever-changing tides of the music industry, including the speakers present the principles and procedures of music courses annually—onsite and online— ment at BMG Music Publishing. ongoing legislative developments in Washington, D.C. supervision. Past guest speakers have included compos- as well as certificates in Feature Film affecting copyright reform and their impact on the ers, music supervisors, filmmakers, producers, music Writing, Television Writing, and Film/ future of the business are also woven into lectures licensing representatives, and executives. Reg# 378015 TV Comprehensive; specialization throughout the course. in Television Writers Fellowship Reg# 377185 Fee: $699 No refund after 18 Jan. Fee: $699 Prep; Pro-Series in Feature Film ❖ No refund after 20 Jan. Remote Instruction and Television Pilot Writing; script ❖ Remote Instruction 11 mtgs Tuesday, 7-10pm, Jan. 5-Mar. 16 consultations; and 3 screenwriting 11 mtgs c competitions. Thursday, 7-10pm, Jan. 7-Mar. 18 & Ryan Kofman, Senior Director of Creative Synch at c BMG (Bertelsman Music Group), where he pitches and Jonathan Larr, entertainment attorney at Icarus Law, procures synch placements for BMG’s catalog of music. This quarter’s screenwriting courses PC in Los Angeles, a boutique transactional entertain- begin on page 149. ment law firm whose clients include recording artists, Previously, Mr. Kofman served as the Associate Director songwriters, and producers. Mr. Larr has over a decade of AWAL Synch at Kobalt Music Group, securing synch placements for independent artists. For more information­ call of experience in the music industry both as a lawyer Jeff Bonnett­ at (310) 206-1542. and, formerly, as an artist manager. 90 Entertainment Enroll at uclaextension.edu or call (800) 825-9971

MUSC X 479.12 Music Production Introduction to Pro Tools 4.0 units MUSC X 451 Ideal for those who have recently purchased Pro Tools Online Courses Entrepreneurship for the Indie Artist and have been working with the system for less than 4.0 units one year. Learn the foundational skills and working Record-low album sales, industry lay-offs, and ever- knowledge needed to perform basic Pro Tools opera- You can earn continuing education­ or evolving changes in technology can be disheartening tions, and begin your own projects or interface with academic credit from UCLA Extension— for the aspiring artist looking to break into the business, others using Pro Tools. Topics include system capabili- but nothing could be further from the truth! There’s ties, navigation and display basics, understanding the anytime, ­anywhere. Simply take a UCLA never been a better time to be a do-it-yourself artist, edit and mix windows, making your first audio record- Extension online course. and this course gives you the tools to assess what you ing, making selections and playing audio, using the can do yourself (and how) and when you should bring editing modes and tools, importing audio and working To find online courses, look for in the professionals. Many musicians record and market with video files, using fades, managing audio clips, this icon: m their own music, but only a handful actually monetize elastic audio, basic mixing concepts, introduction to those efforts. Learn the importance of establishing a Real Time plug-ins, and an introduction to MIDI within Like our classroom courses, brand and how to harness the power of the Internet to Pro Tools. This course prepares you for the AVID certi- UCLA Extension online courses generate awareness and excitement around your music. fied Pro Tools 101 exam. let you advance your professional Topics include creating a business plan for yourself and Prerequisite(s): Basic computer skills and basic audio devel­op­ment, work toward a cer­tificate, your brand, forming a marketing campaign, deciding on technology concepts. Students must have access to distribution options, optimizing sales through targeted their own Mac or PC laptop with a minimum of 15 acquire skills needed for a career change, use of social media tracking tools, building a fan base GB of free space, a power adapter, and Pro Tools 12 or simply explore your creative­ side. through gigging and merchandise, publishing and or 2018 (installed and fully updated); external hard licensing, and the latest developments in promotion—all drive/audio interface/mic/midi keyboard are optional For more information about online study on a shoestring budget. Instruction features guest but recommended. see page 5. speakers, who work in various facets of the industry, to Reg# 377140 bring real-world perspective to the topics. Fee: $699 Reg# 377310 No refund after 8 Jan. Fee: $699 m Online No refund after 24 Jan. Jan. 4-Mar. 14 F Hybrid Reg# 378014 MUSC X 441.5 Enrollment limited; early enrollment advised. c & 9 mtgs Maurizio OttO De Togni, composer for commercials Fee: $699 Creating Commercial Jan. 4-Mar. 15 and TV, music/sound editor and producer. Mr. De Togni No refund after 19 Jan. Sounding Masters ❖ Monday, 7-10pm, Jan. 4-Mar. 15 is an Apple Certified Master Trainer in Logic Pro and an Remote Instruction 4.0 units No meetings Jan. 18; Feb. 15. Avid Certified Pro Tools Expert instructor. His clients 11 mtgs Just understanding how to operate a DAW (Protools or This course includes both live remote instruction on include Paramount Pictures, Maroon 5’s James Valen- Wednesday, 7-10pm, Jan. 6-Mar. 17 Logic) is not enough to help you to make your recordings Zoom and asynchronous instruction on Canvas. Refer tine, and Jesse Carmichael. Enrollment limited; early enrollment advised. c competitive with commercial sounding masters. In this to course syllabus for online session details. c Danny Echevarria workshop-style class, independent artists learn how to Robert Teegarden, former manager at Universal Music MUSC X 441.3 create commercial-sounding recordings “in-the-style- Group, music business educator, and entrepreneur. Audio Recording Theory MUSC X 415.3 of,” that is, re-producing a hit recording from the 4.0 units Making Your Mark in Music: ground-up and emulating the work of the well-known MUSC X 480 Specifically tailored to independent artists, this course Stage Performance Secrets producers and engineers. You learn what elements made Introduction to Logic Pro presents a practical and effective introduction to the 4.0 units those hits successful and how to re-create those win- 4.0 units theory, art, and craft of sound recording. Instruction This course focuses on developing your artistic identity, ning production components: sound, feel, and emotional Logic Pro is a professional music production program covers the basics of audio, acoustics, and electronics, stage presence, and signature sound. Through a series power. Classes are hands-on, real-world, intensive, and that combines composition, notation, and audio produc- as well as the theory and operation of the most com- of exercises, performance feedback, and homework, cover such concepts as choosing musicians and finess- tion facilities. Of interest to songwriters, composers, monly used signal processors, audio consoles, monitor learn how to develop a strong stage persona, perfect ing the best performance out of artists. You produce, audio producers, and audio engineers, this course loudspeakers, and microphones and their application to your vocal and microphone techniques, choose the right mix, and master one music project—either a live band introduces you to the primary features and basic user the digital audio workstation production process. songs for you, convey a story through song lyrics, move or a solo artist. Your project must incorporate live instru- ments as well as programmed instruments. The course interface of Logic Pro X. Using your own Mac, you walk Reg# 377136 your body on stage, be interviewed, and interact with an audience, with the goal of maintaining a remarkable is personalized to help each student explore the full through the process of creating an actual song, from Fee: $699 potential of creating and producing their music. Topics recording, producing a Virtual Drum track, editing audio No refund after 8 Jan. presence in today’s entertainment industry. The objec- include pre-production, recording using Pro Tools or with Flex Time and Pitch, and recording/editing/arrang- m Online tive is to provide you with a set of practical skills that Logic, getting great vocal performances through micro- ing of MIDI sequences and Apple Loops to digital effects Jan. 4-Mar. 21 help distinguish you as an artist in the professional processing using virtual amps and pedals, Logic remote c world of music. phone techniques, recording and mixing techniques, Michael Vail Blum, award-winning producer/music on the iPad, automation, and mixing. This course pre- mastering, and budgeting. Near the end of the course, engineer. Mr. Blum engineered several LPs for Madonna Reg# 378027 pares you for the Apple Certification exam. your projects are played and critiqued in class. and worked with artists such as Pink Floyd, Bryan Ferry, Fee: $699 Prerequisite(s): Basic computer skills and basic audio Prerequisite(s): You must be familiar with and comfort- and Kenny Loggins. He produced platinum artist No refund after 22 Jan. technology concepts. Students must have access to able working a DAW (Pro-Tools, Logic, Digital Performer, Anastacia in his own Titan Recording Studio and dis- ❖ Remote Instruction their own Mac computer with a minimum of 15 GB of or Cubase). covered, recorded, and produced Kelly Clarkson. 9 mtgs free space, a power adapter, and Logic Pro X 10.4 Saturday, 12:30-4pm, Jan. 9-Mar. 6 Reg# 377138 and above (installed and fully updated); external hard MUSC X 448.6 Final performance date to be determined. Fee: $699 drive/audio interface/mic/midi keyboard are optional Enrollment limited; early enrollment advised. & No refund after 18 Jan. but recommended. The Record Production Process: c ❖ Remote Instruction Professional Practices Anika Paris, award-winning songwriter whose work Reg# 377142 has been featured in major films and on television. She 11 mtgs 4.0 units Tuesday, 7-10pm, Jan. 5-Mar. 16 Fee: $699 This course provides an overview of the role of the record recorded three solo CDs and toured the world with No refund after 8 Jan. Enrollment limited; early enrollment advised. & producer and their responsibility through all the stages Stevie Wonder, John Legend, and John Mayer. She is c m Online Michael Vail Blum, award-winning producer/music of making a record: pre-production, recording, overdubs, the author of Five Star Music Makeover, Making Your Jan. 4-Mar. 14 engineer. Mr. Blum engineered several LPs for Madonna editing, mixing, and mastering. Topics include how to use Mark in Music, and a book of poetry, Woven Voices. Enrollment limited; early enrollment advised. and worked with artists such as Pink Floyd, Bryan Ferry, & appropriate terminology to communicate effectively with c and Kenny Loggins. He produced platinum artist Maurizio OttO De Togni, composer for commercials the various members of the production team, sharpening Anastacia in his own Titan Recording Studio and dis- and TV, music/sound editor and producer. Mr. De Togni your listening skills so you can incorporate specific ele- covered, recorded, and produced Kelly Clarkson. is an Apple Certified Master Trainer in Logic Pro and an ments into your own production, producing for a specific Avid Certified Pro Tools Expert instructor. His clients artist’s genre of music and how to get the best perfor- include Paramount Pictures, Maroon 5’s James Valen- mance from the artist, how producing a band is different tine, and Jesse Carmichael. from a solo artist, and how to budget for record produc- tion. You also learn arrangement techniques, as well as m ONLINE COURSE, page 5. key vocal production techniques for main and back- ground vocals. Discover the difference between produc- g HYBRID COURSE, page 5. ing a mix and engineering a mix, as well as the different WEB-ENHANCED COURSE, page 5. style of mixes that are needed before going into the c mastering phase of a project. At the end of the course, v REMOTE INSTRUCTION, page 5. you will have gained musical, emotional, performance, and arrangement techniques designed to make your & TEXTBOOK REQUIRED music more compelling. C kkk UC CREDIT, page 6.