Graduate Film & TV (GFMTV-GT)

This course is a required "homeroom" where the entire 1st year cohort will gather weekly to meet with various department leadership (chair, area heads, production staff, deans) to go over plans for things like: production, registration, preparing for your projects etc. and special guests in support of the MOS project.

This course is an introduction to the principles of editing as essential elements of visual storytelling. In the lecture, students will examine the design of sequences in various styles of films, discuss strategies of coverage, and explore why certain cuts are more impactful than others while prepping to shoot the MOS film. After the MOS shoot, this class will outline the Post Production process and introduce new elements that will come into play with the next two films made during the 1st Year. This class will also be a a safe place to workshop your MOS. The workshop will focus on the potential of the footage and explore how every editing decision can influence the narrative. The students will learn the basics of Avid in their lab, cutting assigned exercises which will be reviewed for pacing, emphasis, and sequencing.

During the first half of this course, students will learn how to structure non-fictional footage into a narrative arc while editing their Observational Character Study. Students explore the idea of editing as writing and rewriting. In the second half of the course, students prepare for and edit their first dialogue-driven drama for the Spring Narrative, exploring how editing can shape performances and story. Throughout the course, more advanced Avid techniques will be put into practice.

This screening series will focus on first features, allowing us to consider how young and/or novice filmmakers approached their initial foray into long form narrative film projects. In several cases we will also look at the work these filmmakers produced prior to their debut features, including short films and music videos. Along with the screenings, students will be asked to conduct a case study on a recent debut feature, researching how the filmmaker developed their project, how they got it funded, etc.

This screening series will focus on first features, allowing us to consider how young and/or novice filmmakers approached their initial foray into long form narrative film projects. In several cases we will also look at the work these filmmakers produced prior to their debut features, including short films and music videos. Films to be screened include Eraserhead (David Lynch, 1977), Boy Meets Girl (Leos Carax, 1984), Slacker (Richard Linklater, 1990), Being John Malkovich (Spike Jonze, 1999), Ratcatcher (Lynne Ramsay, 1999), Hunger (Steve McQueen, 2008), I Am Not A Witch (Rungano Nyoni, 2017), and Atlantics (Mati Diop, 2019). Along with the screenings, students will be asked to conduct a case study on a recent debut feature, researching how the filmmaker developed their project, how they got it funded, et al.

This course will introduce students to the role and multiple responsibilities of a producer on a film while helping students prepare for the production of their first project in the program, the B/W MOS exercise. In the professional world producers are responsible for ensuring that all legal, financial and safety requirements are met while helping fulfill the film’s creative purpose (art) and commercial potential (business). Producers are a director’s creative and business partner. In the NYU Grad Film program, as directors are legal owners of their films, they often fulfill certain producing responsibilities in partnership with their producers. Together, they are responsible for safety on their sets, fulfilling all legal and insurance requirements and forms, completing necessary production paperwork, creating budgets, shooting schedules and tracking costs. Directors raise the financing and make key creative decisions - script, cast, budget, locations, camera shots, costumes, hair and makeup, sound, music, editing. Directors and producers will discuss and agree in advance on how they can best support their partnership for each project.

During the first 6 weeks, students are introduced to basic film techniques and their function in visual storytelling. Studied closely for their dramatic effects, techniques are also viewed with an eye toward their patterns and variations in creating coherent work. Clips are screened from films by directors world-wide, past and present, to demonstrate the use of location, activity, movement, gesture, camera placement, lighting, blocking and staging as tools integrated into the visual fabric of the story. After the production period, students examine basic principles of the documentary, particularly as an observational character study. Clips are screened to highlight examples of compelling locations, activities, interactions, and situations. Students are also introduced to the notions of “structuring audience sympathy” and the director’s stance.

Ever since Georges Melies’ “The Cabinet of Mephistopheles” began the era of narrative cinema, filmmakers have been making production design choices. As with any other visual medium, a successful end product demands careful consideration of composition, color and motif along with a consistent point of view. This course will give students an introduction to understanding the role of design in motion pictures and also give them basic practical knowledge that will help them successfully incorporate these principles into their films.

Motion Picture Camera Techniques Beginning I is an introductory class in natural light 16mm and HD cinematography. This course will cover basic procedures required of beginning cinematographers, including celluloid camera operation and mechanics, composition, framing, light measurement, exposure, contrast, camera movement and blocking, to capture and control images. In addition to technical knowledge, students will be exposed to crew positions, etiquette and set protocol, as well as prepping the visual story language for their MOS project as cinematographers and directors.

Introduction to Producing II is designed to deepen students’ knowledge and skill in the production, financial, and legal aspects of filmmaking and provide an introduction to film festivals. The first part of the course will focus on preparing students for the skillful execution of their Spring Narrative projects. It will review scheduling and budgeting, production insurance, “special scenes” requirements, casting, production responsibilities on and off set, working with a larger crew, capturing publicity material, wrap protocol, and post-production. Building on the concepts introduced in the Fall Introduction to Producing I class, students will prepare detailed Production Review materials which include plans for production and safety. Additionally, students will build materials to support the underlying legal, financial and contractual obligations for the production. During the semester, students will produce the Spring Narrative written and developed in the directing/writing classes. When students return to class after the production period, the remaining classes will examine how to trouble-shoot future productions based on students’ Spring Narrative experience and provide an introduction to Film Festivals.

In this course, students learn the techniques and methods of sound recording on set through in class lectures as well as hands-on assignments to develop and improve the aural sense and the ability to capture ambiences, sound effects, and dialogue - both wild and sync. By the end of the semester, students will have a working knowledge of industry standard recorders, mixers and microphones whose general principles can be applied to other sound recording equipment. Sound theory, including concepts of sound perspective and reverb, will be also be considered to help transition from the set, to the sound editing process.

The course provides an overview of film language and visual storytelling techniques which are then practiced in hands-on directing exercises shot both digitally and on film. In addition, each student develops and directs a four-minute black and white silent film, written in Fundamentals of Screenwriting I. Students work in crews of four to six, and rotate positions allowing exposure and contribution to a number of productions other than their own. The course encourages students to explore the personal and formal variations that will lead to discovery of one's own style.

This class continues your instruction of the fundamentals of narrative filmmaking, incorporating the element of dialogue and directing actors through the 7 min Spring Narrative Film.

In this course, students learn the techniques and methods of sound recording on set through in class lectures as well as hands-on assignments to develop and improve the aural sense and the ability to capture ambiences, sound effects, and dialogue - both wild and sync. By the end of the semester, students will have a working knowledge of industry standard recorders, mixers and microphones whose general principles can be applied to other sound recording equipment. Sound theory, including concepts of sound perspective and reverb, will be also be considered to help transition from the set, to the sound editing process.

Actor’s Craft I is an introduction to the craft of acting, specifically designed for directors. In a laboratory setting, directing students will step into the role of the actor themselves and participate in exercises that focus on the fundamentals of acting and what it means to live truthfully, moment to moment, in imaginary circumstances, with purpose and intention. Throughout the course, students will gain experiential knowledge of the actor’s process and thereby gain an understanding of how to better communicate and collaborate with actors as directors. Beginning text and character analysis, from the actor’s point of view, as well as the basics of casting and auditioning will also be covered.

In this course, students will build on the Actors Craft I foundation in preparation for the Spring Narrative. The emphasis will be on laying a solid foundation for working with actors in scripted material. Students will workshop scenes from their Spring Narrative scripts as well as other film scripts. Prior lessons learned are reinforced and new rehearsal methods like improvisation are introduced.

Motion Picture Camera Techniques II is a continuing introductory class in lighting and digital cinematography. This course will cover basic procedures required of beginning cinematographers, including Sony FS7 digital camera operation and mechanics, composition, framing, exposure, contrast, camera movement and blocking as well as lighting with professional and practical equipment, interior, exterior, studio, and location. In addition to technical knowledge, students will continue their exposure to crew positions, etiquette, and set protocol, as well as prepping the visual story language for their Spring Narrative project as cinematographers and directors.

This course is a workshop which explores the language of dramatic writing and visual storytelling through lecture, demonstration, and exercises. The instruction embraces all styles and methods of script writing, but also teaches industry standard formats and common story structures. Assignments lead to the completion of a shooting script for the first semester project, a four-minute silent film (the MOS). After the production period, the class focuses on writing dialogue and preparation for the next semester’s writing project, the Spring Narrative.

A weekly 3 hour workshop continuing the basics of screenwriting by developing a short screenplay inspired by a work of fiction or journalism. The film is no longer than seven minutes, consisting of at least 3 scenes, with at least half being in dialogue. After these scripts are shot, mid-semester, the class focuses on the development of the idea for the second year film.

The course will illustrate the various skill sets and techniques used in film and television productions, and familiarize students with the industry’s standard of best practices on set. Learning these basic “nuts and bolts” not only enhances safety and productivity, it enhances our artistic purpose. Through a series of lectures, demonstrations, and hands-on exercises, students will become familiar with the many tools used in physical production, with the goal of fostering their creative vision in a safe and healthful workplace that is both professional and productive. This class meets two hours per week for five weeks.

This course builds upon the principles of narrative editing, with a focus on the evolving grammar of cinema. In preparation for the 2nd year film, the class will examine pre-production and production strategies that insure the editor will have the optimum material for post-production. A number of creative tools used in post-production will also be explored - including the use of music, sound design, visual effects, and voice-over. Each student will then submit a short paper describing the design of his or her film with regard to the editing style.

This is a workshop for students to screen and explore the editing of their 2nd year films. With an emphasis on class participation, students will learn the art of feedback as well as editing, and the possibilities that editing brings to shape performances and story beats. This class is designed to take students through the different post production milestones towards the completion of their 2nd year film.

This course will give students a greater understanding of the practical aspects of producing a short film. It will help students prepare for the production and promotion of their second year ten-minute fiction films, both creatively and practically. Students prepare a Production Notebook and short Project Deck for their project over the course of the semester. The Production Notebook contains all the essential information required for the safe and efficient production of your film. The Project Deck conveys your creative intentions, production timeline, estimated budget and festival distribution plans. It’s used to introduce you and your project to potential funders, actors, location owners, crew, etc. It documents your vision and your strategy for achieving it.

To succeed in today’s competitive market, emerging directors, writers and producers need an understanding of the creative and business sides of feature filmmaking and television. This course is designed to help students deepen their understanding of how filmmakers get their movies and television series made and seen. To that end, the course will teach how to create a strategic plan for the development/financing, production and marketing/distribution of films/tv series.

This seven-week workshop prepares students to work with actors in creative collaboration to obtain authentic, truthful performances for the second year film. The class will demonstrate the importance of communicating the vision of the script in a vocabulary that has meaning to an actor, with a focus on action and character behavior. Students will acquire a working knowledge of the language of actors through the application of various acting techniques created by influential acting teachers from Stanislavsky to the present.

Students will work the process of taking an idea and developing it into a feature script and/or a series pilot and story deck. This is a workshop, so students are expected to develop and write. Nothing is required to start, just an ambition to complete an original story for film, TV or streaming. Students can begin with a character, “world”, situation, real event or adaptation (with rights) and/or verbal or written pitch. The goal of the class is to complete a feature draft or a pilot draft and deck for a series. Class is intended to continue in the Spring to complete development.

Directing the Actor II aims to deepen our understanding of how to support the actor and their process so that they are empowered to collaborate with directors and give present, inspired and truthful performances in service of the story. For six weeks, students will collaborate with members of the Grad Acting program on scenes that will be shot in class. Directing students will be encouraged to use the class as an opportunity to let go of the need for predetermined outcomes and lean into the spirit of collaboration and discovery with fellow classmates and actors.

This intermediate course expands students’ proficiency in professional cinematography through hands-on experience with industry-standard tools and equipment. In-class exercises emphasize the development of a cohesive visual language through advanced lighting and composition strategies, including camera placement, movement, angle, and lens selection. Technical instruction includes continued work with the ARRI Alexa Mini, lighting and grip equipment, and color 16mm film stocks. Topics include shaping light for narrative effect, color temperature control, exterior lighting, management of natural light, continuity from the cinematographer’s perspective, and camera–actor choreography. The course also examines the collaborative dynamics between the director and director of photography, with an emphasis on the cinematographer’s creative and technical responsibilities across all phases of production.

This course will help students develop engaging and imaginative, original or adapted, ten minute screenplays for production in the second year program. The semester will begin with an “intensive" devoted to table readings where each script will be taken through a formal process of oral and written feedback in preparation for the subsequent course work. Students will subsequently rethink, restructure, rewrite and further develop the scripts. After a brief review of common issues and key principles, each revised script will be read and discussed in class, with individual consultations offered. At the end of this course, each student should have a strong second draft screenplay ready for production.

This class prepares the students to develop their next writing projects, which may include short screenplays, and longer form work such as feature or television scripts. The class analyzes scripts and films and uses a combination of lecture and exercises to pursue the practice and theory of conceptualizing and writing more complex narratives. Students will complete the class with developed concepts or outlines, and be prepared to write a thesis script over the summer.

Formerly known as Chair's Workshop, is a weekly gathering of graduate film students with the Chair and special invited guests.

This course provides students a sophisticated understanding of film techniques that combine to effect a particular film style. Each week is devoted to a different topic including casting, location, production design, camera, lighting, mise-en-scene, sound design and editing. Comprehensive discussion in these areas will provide students with authority over their thinking and directing and will show that the choices made converge to reveal dexterity, precision, and narrative strength.

This upper-level intermediate course serves as a prerequisite for advanced third-year cinematography classes. Structured as a hands-on test kitchen, it deepens students’ mastery of professional cinematography through weekly production exercises using more advanced industry-standard tools and workflows. Students develop a refined visual language through intentional lighting, composition, and camera strategy, exploring a range of contemporary film and television techniques. Each student rotates as director of photography, responsible for executing lighting and camera plans aligned with weekly creative and technical goals. The course emphasizes advanced camera operation (digital and film), lensing approaches, and lighting control across varied conditions, along with an introduction to color grading workflows. It also examines the evolving director–cinematographer collaboration, with focus on visual authorship and on-set leadership.

The course begins with a review of classical Hollywood narrative convention and variations from the classical storytelling convention, as well as a brief history of film genre, including a look at the various stages of a genre through cinema history. For much of the semester, students explore the way in which a given genre impacts a movie’s theme, setting, narrative structure and plot, characters, tone, style, casting, and use of iconography. Also examined is the role of narrative form in genre film. We will look closely at beginnings and endings in light of genre conventions. Students will also analyze genre-driven screenplays. The scripts are compared to the film.

This course will be an in-depth study of influential cinematographers from the silent era to the present.

A seven-week course geared towards developing elements of directing technique, with an emphasis on story, visual storytelling and working with actors. Course geared towards producing a ‘Second Year’ short film not to exceed 10 minutes in length. Your script and directing exercises related to your film will be discussed in class. Note: The semester is divided in two sections: 7 weeks of pre-production during which the elements of the film are explored through exercises and feedback, followed by a production period that extends from early November, through the Winter Break and ends when classes begin in late January.

Director’s Cut gives you the opportunity to screen cuts of your 2nd Year films and receive critical feedback from four full time Directing faculty. All 2nd Year students attend a weekly group session Weeks 2-9. At the conclusion of the group class, you will have an Evaluation screening with the entire Graduate Film Faculty. The Evaluation cut is a fine cut which cannot exceed TEN (10) minutes in length. After evaluation the class breaks in smaller sections to work on a polish to be screened at the Second Year Showcase, after the end of the classes. You will begin sections with your individual Directing instructors Week 10, the week before Evaluations, and continue them the last 3 weeks of class after Evals. These 4 weeks are dedicated to refining your ten-minute film in preparation for the Second Year Showcase screening. During this time, your individual Instructor may or may not assign a small directing exercise, to be shot with drop-in equipment.

This course expands on the introductory documentary skills taught in the first year “Observational Character Study” and positions students to continue on in the third year advanced documentary courses. By examining the basic building blocks of documentary filmmaking and how they are useful for all storytelling strategies, students will identify style and voice in nonfiction work. Through screenings, lectures, and discussion, the course will look at how to recognize a viable documentary subject and situation, how that subject is developed into a story, and how that story is told. Besides looking at verité and interview-based films, the class will also explore how a variety of constructed and illustrative forms are evolving in the documentary form, looking at look at hybrid work, and how “reality” and directed “fictional” elements can be used together.

This course is a 7 week technical workshop that covers Post Production workflow in the first part, and Production Sound in the 2nd part, to make sure that students are technically prepared for their 2nd Year Films and know how to plan for a healthy post workflow. During the 1st part, students learn the intricacies of the online / offline workflow, and the importance of a healthy Media Management process in different softwares such as Avid Media Composer and DaVinci Resolve. The 2nd part of the class aims to build on the techniques and methods of sound recording learned in 1st year. Using concepts learned in class, all students will "pre-auralize" their second year films in preparation for the production period.

This course covers the fundamentals of sound design, sound editing strategies, and technology. Students are introduced to ADR and Foley. By the end of the class, students will design and sound edit second year films, as well as prepare for the final mix.

Students may enroll in an Independent Study to do work that would not be covered by an existing course in the Department. Working with a full-time faculty member, students develop a plan of study that outlines the project, the schedule, and the number of contact hours with the faculty (minimum of one meeting every two weeks is required) an approximate number of hours per week to be spent on the project (approximately 5 hours per week for 14 weeks for each point of Independent Study).

Advanced Techniques is designed to immerse students in the practice of translating a developed visual aesthetic into compelling screen imagery. Emphasizing the relationship between observation, craft, and storytelling, the course explores how cinematographers create expressive visual illusions that support truthful and engaging narratives. This hands-on production course prepares cinematography majors for professional work as directors of photography and directors for visual story telling and collaboration with their DPs. Through weekly scene exercises, students collaborate in pairs (DP/Operator and Gaffer) to design, light, and execute projects on both soundstage and location. Production work incorporates a range of exposure and lighting techniques using both 35mm film and advanced digital cinema cameras. The course may include guest lectures from professional cinematographers and crew, as well as off-campus visits to industry vendors. Prerequisite: Intermediate Cinematography II (2nd Year Spring)

In this class, students will advance their knowledge of Avid Media Composer in an industry-standard environment. Using professionally shot dailies, students will practice organizing their drives and media, setting up a project, syncing and grouping footage, editing the provided footage and then defending their work and storytelling choices. This class simulates a professional environment to prepare the students both technically and creatively for the industry. During the final weeks of the course, the students will get the chance to apply the learned technical and creative skills by serving as Editors on works created in the collaboration directing classes.

The course encourages an in-depth look at the possibilities of the short form through exercises, demonstration, and lecture. By the end of the semester, students will develop a short screenplay for production in third year classes or for a thesis project. Students may choose to present a complete draft to the thesis committee in April.

Primarily a workshop, this class is designed to explore feature writing and develop a working draft of a feature film script. Students may choose to present a complete draft to the thesis committee in April.

This course is designed for the completion of the feature film script begun in Writing the Feature l. Primarily a workshop, this class explores feature writing and by the end of the semester, students develop a working draft of a feature film script. Students may choose to present a complete draft to the thesis committee in April.

The course reviews the characteristics of 15 popular genres including an investigation of the role of theme, plot, casting, iconography, location and style in serving the tacit agreement between filmmaker and audience that any specific genre requires. Students become adept at analyzing the relationship between genre and narrative structure. This process leads to screenplay analysis which includes a study of character, theme, premise, management of time and space and overall structure. Specific scenes are discussed with a close reading of dramatic beats achieved through dialogue and subtext.

At the completion of this course, the student will have a working knowledge of the history of the art and of the craft of cinematography through the study of many of the most influential cinematographers past and present.

This course will help students gain an understanding of the constituent groups that drive decision-making for the creative and commercial processes of television, how an idea moves from conception to an on-air commitment, and what a content creator can do to help a TV show connect with the people who have the power to give an idea the green light. Over 12 weeks, students will develop (either individually or in 2-person teams) a pitch for an original, scripted narrative series with a concept and characters that can sustain from episode to episode and season to season. At the end of the term, students will pitch to real world "buyers."

This is an advanced course in directing actors that helps students continue to discover and consolidate their skills in collaborating with actors. Guest directors and actors are brought in to continue an exploration of approach that will help students find their personal directing style and become more confident in guiding actors in rehearsal and on set.once they begin working professionally.

This is an advanced course in directing actors that helps students continue to discover and consolidate their skills in collaborating with actors. Guest directors and actors are brought in to continue an exploration of approach that will help students find their personal directing style and become more confident in guiding actors in rehearsal and on set.once they begin working professionally.

Professor Spike Lee mentors students on their own thesis projects, feature plans and careers. He brings in industry professionals to discuss their work, and lecture covers his own work as well as aesthetic and practical issues. Students also have the opportunity to meet with Prof. Lee in 30-minute individual advisement sessions as part of this class.

This course is designed to equip students with the essential information, strategies, and skills required to launch successful careers in the film, television, and related industries. Classes focus on the broad range of professional opportunities and the nature of the competitive challenges ahead. Topics of study include making professional contacts, financing your feature, agents and managers, joining a union, legal matters, and survival skills. Students will be encouraged to articulate clear and realistic career goals, develop individual career plans, and devise effective strategies to achieve the necessary competitive edge in launching their careers. Guest speakers will include key producers, managers, agents, distributors, film festival representatives, lawyers, and other key industry figures.

Special Topics in Producing course work will highlight a variety of specialities and areas of interest in the ever changing landscape of film and television producing. Course may be repeated.

Advanced Directing explores specific areas and skills with the intention of deepening the practice towards thesis or professional work. Depending on the Section, it may focus on exercising blocking and directing actors, preparing a thesis short, exploring directorial choices and personal voice towards long format directing, or navigating expectations and compromises in work for hire. The class meets the Fall directing requirements.

The Spring Film, Acting and Design Collaboration class will be an examination of the creative relationship between directors, actors, cinematographers and designers. Through lectures, discussions, screenings, in-class scene work and individual assignments we will explore first how a writer/director originates and communicates an artistic vision to their closest creative partners. We will then look at how those partners use this vision for shared discovery to complement and deepen the artistic experience of the audience. The emphasis of the class will be placed on creating an active, engaged partnership of creative artists working towards a common goal. Together as a team; the directors, actors, cinematographers, production designers and costume designers will share in exploration of the aesthetic and practical process in collaboration in the making of each film. Focus will be placed on developing a shared vocabulary, respect and understanding between all departments in creative collaboration. The film will be shot during production period, edited over the end of Spring semester and screened early in the Fall.

This course allows students to develop the styles, tools, and skills associated with documentary filmmaking through a series of exercises designed to either combine into a single short film or to work as separate films. The course is designed for students who want to make documentaries, and also benefits those who would like to learn writing or creating narrative in a documentary style. Topics covered include the interview, the verite situation, and the act of illustrating what is real - be it through reenactment or other arts, and delves into the structure of a nonfiction tale. Fundraising that is particular to documentary will also be covered in more detail. Students who would like to present a documentary as a thesis presentation in April should discuss with the Instructor the previous spring before they register for this fall class. Since the thesis presentation will involve a trailer of some kind, it is important that students shoot something over the summer if locations are not easily accessible from New York. Documentary Project with ITP: In this class, Grad Film directing and cinematography students and ITP students will look at Virtual Reality and experiment with VR storytelling techniques, focusing on the artistic possibilities of cinematic VR. The first half of the class will focus on technique, theory, and history, where the latter part will focus on production. The course is 12 weeks scheduled over the course of 14 weeks-- with two weeks off for out-of-class production. The students will form cross-departmental teams, creating several short experiments and one more developed piece.

In this course we will explore the power dynamics and incentives that maintain the Hollywood status quo. We will analyze the financial and ethical values of alternate models of financing, distribution and brand building. The aim is to get your voice, and films,seen, heard and taken seriously by your unique audience. We come with an awareness that despite the potential for diverse content when done right, Hollywood has been complacent in its support of diverse filmmakers. We know that media incumbents have not only tacitly contributed to, but also exacerbated a culture that underrepresents women and POC creatives, among other marginalized groups. In this class we aim to uncover, demystify and assert for methods outside of the traditional Hollywood system to find empowerment and exposure for diverse filmmakers.

Advanced Directing explores specific areas and skills with the intention of deepening the practice towards thesis or professional work. Depending on the Section/Instructor, it may focus on script analysis and directing actors, preparing a thesis short, exploring their own voice in a new short film, preparing their first feature or working for hire / directing TV.

In this course, students will continue their work from Television Writing and Series Development I to develop a concept, treatment and pilot for a half or full hour, episodic or serialized television series. Students may choose to present a complete draft to the thesis committee in April.

“Locked Picture” is just the first step in finishing a film, TV show or Project. The process of going from “Locked Picture” to an actual finished film with all the deliverables needed is a complicated one. This course covers what to expect from a DIT or on-set data manager. What is expected from a post-production supervisor, and what music supervisors do, and why they’re important. How to manage VFX, from a finishing point of view. How to prepare for turnover to Color and Sound. Other subjects covered will be how to prepare for festival submissions and strategies, festival deliverables, distribution deliverables, subtitling best practices. It's a crash course in everything you need to know so that your project doesn’t suddenly die and languish in post and can actually reach the finished product stage. There will also be an intensive introduction to the technical craft of color grading, teaching what is, and isn't possible with a colorist. You will go through the process of getting a project from picture lock, conform, color grade it, and get it to a state where it’s ready for delivery.

This course explores the art and business of directing commercials and examines some of the ways that film and advertising intersect and cross-pollinate. The course will analyze and identify different creative approaches that will be encountered for various types of commercials.

In this class, students will learn how to use Avid Media Composer using industry standard and professional practices. Using footage from a previously released feature film, students will practice setting up a professional project, organizing their drives and media, syncing and grouping footage, and bringing an edit from start to finish. Through a combination of lecture and hands-on editing time, students will learn how to advance their cuts through sound work, basic visual effects, and music, with particular emphasis on utilizing keyboard shortcuts and adhering to proper workflow. As a final assignment, students will edit the commercials shot in the production class.

This course is a hands-on workshop. Filmmakers will practice pitching their films — and will work through tasks that will help them assemble a detailed pitch and package — including script, budget and creative materials — for projects they intend to take into the marketplace. Through this process, students will develop a deeper understanding of their story, clarify their creative vision regarding tone and style, begin to assemble materials for a director’s look book, better understand audience and marketing realities and opportunities — and articulate the financial and legal obligations they’ll be assuming in production. Perhaps most critically — as stated at the top of this paragraph — students will practice pitching their project in class: to develop and refine the route to best telling the story of their film.

This course intends to serve as a companion piece to Career Strategies, which is offered to third year graduate students. The focus of that course has mostly dealt with how to segue away from an academic environment to working in the outside world of film and entertainment. A majority of that class has focused on the U.S. content industry (both studio and independent). There seems to be a strong need and desire among the students to have a comparable course, dealing with the international arena.

Movie marketing is a comprehensive and informative course designed to give students a basic overview and understanding of all aspects of a domestic specialized theatrical film marketing campaign. The focus will be on marketing, film positioning, publicity, word of mouth. Competitive landscapes, media plans, festival positioning, theatrical distribution opportunities, Sales and Awards campaigns.

The Advanced Producing: Independent Feature Film From Development to Production course will give students a greater understanding of the creative and practical aspects of producing a feature film. We will cover identifying and developing material, script breakdown, production scheduling and budgeting. The course will also cover – hiring and working with cast and crew, choosing location/equipment and insurance. We will discuss problem-solving strategies and how to deal with divergent personalities on set. This is not an introduction to production course. While some of you may not want to be line producers, understanding the basic principles of line producing will give you the practical skills needed for production planning. Students are highly recommended but not required to have Movie Magic Budgeting and Scheduling.

This course is designed to provide graduate film students with an understanding of the independent feature filmmaking process through screenings of a director’s first feature film followed by in depth conversation with invited guests. Via assigned readings and a series of conversations we will touch upon different aspects of the filmmaking process. Students are expected to draw from their learnings in other graduate level classes such as Producing for Directors, Developing the Treatment for Feature Films and Directing IV: Director’s Cut amongst others while engaging with the invited guests. Active class participation is expected and reflection papers will be due as noted.

Autofictions is a studio class built around the creation of immersive, multi-path and interactive experiences based on personal narrative. The main focus of the course is to experiment with new forms enabled by technology with a focus on immersive works (rather than presentational forms) and to give the students experience working in an interdisciplinary creative team. Grad Film, Design for Stage and Film, ITP and students from other disciplines will be placed in teams built to ensure each team has the necessary mix of skills. Each team will create an original experience from conception to presentation. The intention here is to experience creative collaboration between different practices, values, and artistic cultures. Students will create a work of immersive fiction based on materials gathered from the past, filmed in the present or imagined for the future that will be presented at the end of the semester.

This DP Practicum is an advanced production course that examines the stages and processes of cinematography for professional commercial projects. Designed for directors of photography, the course provides practical experience in translating creative concepts into effective visual solutions. Students will serve as Director of Photography on at least one production in the Third-Year Commercial Collaboration, through preproduction, lighting, camera operation, and on-set execution in a collaborative production environment. Prerequisite: Intermediate Cinematography II and permission from Cinematography Area Head.

This advanced production course examines the processes and collaborative practices of cinematography across all stages of production. Designed for Directors of Photography, the course emphasizes the translation of visual concepts into effective on-screen realization through close collaboration with directors, production designers, costume designers, actors, and editors. Weekly sessions function as production meetings with collaborators and include camera and lighting tests, as well as rehearsals with actors throughout the semester, preparing students to serve as Director of Photography on at least one production within the Third-Year Graduate Design/Graduate Acting Collaboration. Prerequisite: Intermediate Cinematography II and permission of the Cinematography Area Head.

Internships in the entertainment industry are eligible to earn academic credit for those interested.