BA Offerings
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This intensive introductory course covers the foundations of digital film producing and provides students an overview of the entire production process. Focusing on collaborative content creation, this fast-paced learning experience consist of lectures, practical labs, and hands-on film production.
Requirement: SFTV Majors
Meetings: See PROWL for course days and times
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In this introductory class, students will learn the basic principles and application of digital film production. The focus of the course will be on visual storytelling through cinematic language consisting of a series of lectures and workshops on the foundations of visual storytelling with supplementary technical labs. Three films are required.
PROD Mjrs Only
Meetings: See PROWL for course days and times
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Training in the technical aspects of beginning film production: camera, sound, and lighting.
Corequisite: PROD 200.
Meetings: See PROWL for meetings times/dates.
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What is Producing? Family and friends may often ask the question, “You're a producer, so what exactly is it you do?” A producer is the VISIONARY of the project. We are many times the one that begins the process, nurtures it, develops it and builds it...step by step. We put all the elements together and we are responsible for holding it together. It is imperative that writers, directors, and producers learn the Art of Producing. In this class, we will study each section and build all of these pieces upon the spine of your own individual projects.
So how do we do this? This course will be delving into it item by item. It is an immense job and in the world today it is essential to be knowledgeable of the process. Learning to be a producer starts with a journey of self-discovery. Why do you want to tell stories, what kind of stories do you want to tell and how do you pitch those stories. In this class, we will begin with the passion: where ideas come from and the Who, Where, What, When and Why Now...Why You. Why are you the one who must tell this story. We will then proceed to the art of pitching: knowing how to sell your show is fundamental to getting your film/TV show produced. We will then focus on sales tools from creative show bibles to tone reels.
We then move onto the creative aspects of production. This will include your personal research as you will be required to watch every week a film or television show with produciary eye. You will be watching for production look and elements, watching for elements: DPs, writers, costumers, actors, executive producers, production designers, editors, casting directors, sound engineers, etc. We will have guest casting directors, writers, editors, directors, etc. visiting our class.
This class will be very heavy on guests from the business, both behind and in front of the camera. We will explain the role of agents, managers, and executives. We will broadly cover financing, co-production international models, and new media. This class is specifically designed so that students can learn and participate in the
development of other student’s work. The expectation is that discussions and ideas applied to one student’s work in class will be reviewed by each student to see how it applies to their own concepts.Meetings: See PROWL for course days and times
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This course offers students the opportunity to explore faith and justice issues. The course includes a component of Community-Based Learning (CBL).
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An introduction to the aesthetic and practical problems of communications in the multi-camera television studio.
Lecture and Laboratory, 6 hours.
Lab fee. Insurance fee.
Majors only. A grade of B- or higher is required.
Prerequisites: FTVS 1010 and PROD 101.
Meetings: See PROWL for meeting days/times.
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This course surveys the theory and practice of writing for the international documentary and other forms of non-fiction media in television and film.
International Documentary Production minors only.
Meetings: See PROWL for meeting days/times.
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Media Innovation is a creative, technical, and critical exploration of the practice of using small-form capture devices (cell phone, digital still camera, etc.) to create media for display on the web and other evolutionary viewing platforms. Each student is required to produce and edit a series of videos for posting on their own videoblog.
Meetings: See PROWL for course days and times
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An introduction to 16 mm motion picture cameras, film stocks, lighting, and grip equipment. Location and studio procedures for both sync and non-sync situations.
Majors only. Prerequisite: PROD 200.
Meetings: See PROWL for meeting days/times
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Focused on developing an intermediate level knowledge of a cinematographer’s skill sets and knowledge base, Cinematography II will include a greater emphasis on the development of a visual “Goal” or “Look,” lighting, gripology, and the practice of various technical aspects of Cinematography.
Majors only. Prereq: PROD 341
Meetings: See PROWL for meeting days/times
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Post-production theory and practice as applied to film.
Majors only. Prerequisite: PROD 200.
Meetings: See PROWL for meeting days/times
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Post-production theory and practice as applied to film.
Non-majors only
Meetings: See PROWL for course days and times
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Pre-production theory and practice as applied to film/television. Special emphasis on the latest production facilities and their use.
Majors only. A grade of C (2.0) or higher is required. Prerequisite: PROD 200.
Meetings: See PROWL for days and times.
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Survey of pre-production preparation for directors, including script analysis, casting, visualization, and working with actors.
Majors only. Prerequisite: PROD 200.
Meetings: See PROWL for meeting days/times
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This course requires students to serve as production designer on an intermediate or advanced SFTV student film produced during the same semester, with the course’s instructor guiding the production designer and director of the project to establish an effective and unique look and vision for the film.
Prerequisite: PROD 390 or PROD 392.
Meetings: See PROWL for meeting days/times
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Practicum in the production of films from initial concept through post-production. Lectures on professional production procedures are linked to personal experience on an actual film project. Project maximum length, 8 minutes.
Lab fee. / Insurance fee.
Majors only.
A grade of B- or higher is required.
Prerequisites: PROD 200, PROD 250, PROD 341, and PROD 379; RECA 250; SCWR 327.
Corequisites: PROD 366 and RECA 367.
Meetings: See PROWL for meeting days/times
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A seminar in real-world skills required for networking, job-seeking, and professional
presentation in the entertainment industry.Meetings: See PROWL for meeting days/times
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This course is designed to enhance students’ understanding of the feature film and TV development process while exploring critical concepts and common business practices. Students will learn how to best analyze and create concepts for film and TV and the overall “language of film and TV” when discussing and creating concepts viable for script development. They will discover the creative process from how to transfer their passion into a concept. And for TV, how to create an engine that can drive 100 ideas for the longevity of the show, and how to identify potential homes for the show. Producers and writers will work together to emulate the American entertainment business. As a non-writing producer in TV, a producer must become the right-hand of the writer and assist them in all facets of development, selling and production. Students will work in two person teams through the semester. The writers and non-writing producers will work in their own respective roles in pitching and writing then switch roles. The goal is the development of both an original comedy and drama TV show, and an original film concept, which they will pitch for review and feedback by the class, instructor, and industry guests
Meetings: See PROWL for course days and times
-
A producer is the VISIONARY of the project. In this course, students will learn the Art of Creative Producing through lectures, guest speakers, and the development of one of their own individual projects from the idea to the pitch. Students will learn about the sales tools - show bibles and tone reels; the business of show business - contracts, deal memos, optioning material, working with agents, managers and executives, financing, festival strategy, co-production international models, and new media. By the end of this course, students will have a fully developed pitch and the sales tools needed to sell their project and any future project in the professional world.
Meetings: See PROWL for course days and times
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This class will fulfill your thesis requirement in lieu of PROD 490 or PROD 492. The course is an intensive investigation in one or more areas of production based upon a mentorship, interviews, practical experience in production, and a final research paper and presentation. It is an alternative form for the student to gain in-depth knowledge of the professional practices within the entertainment industry.
The student must provide a professional copy of all senior thesis-level projects to the School of Film and Television in partial fulfillment of degree requirements.
Seniors only.
Majors only.
Prerequisites: PROD 390 or PROD 392 and RECA 367.
Meetings: See PROWL for course days and times
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This course addresses the process of communication through typographic animation and visual effects. Emphasis is placed on creating emotional expression and identity through composites of video, text, and special effects.
Lab fee. Insurance fee.
Majors only. Seniors only.
Prerequisites: PROD 390 or PROD 392; RECA 367.
Meetings: See PROWL for course days and times
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The Digital Imaging Technician wears many hats. This two-day intensive workshop focuses on the roles, responsibilities, tools and technical knowledge expected of a DIT as they move footage from set to post-production. Using lecture, demos and hands-on practice, the workshop will discuss digital imaging technologies, color, software and hardware setups, calibration, data management and verification, on-set color correction/color charts, LUTS and CDLs, syncing audio, and current professional standard workflow like ACES.
* 1 unit weekend course
Meetings: See PROWL for meeting days/times
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This course presents an intro to color theory and the craft of color correction. We will be going over techniques to create a better understanding of how we interact with color, how we can affect color and developing abilities as a colorist.
School of Film and Television students only.
Seniors & Juniors only.
Prerequisites: PROD 390 or PROD 392; RECA 367.
Meetings: See PROWL for meeting days/times
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Your project is developed and your logline, pitch and presentation materials are ready. What now? This course will pick up at the packaging and finance stage, focusing on how to get your first or second film project made and how a producer positions a film for sale and marketing. Students should come to class with a project that is well developed so we can jump right into the later stages of the process. We will also examine films in the marketplace and the work of marketers and distributors, using case studies and hands-on exercises.
School of Film and Television students only.
Seniors only.
May be repeated for degree credit up to four times.
Also available as PROD 685.
Meetings: See PROWL for meeting days/times.
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Students learn advanced skills for directing narrative media by focusing on how to block the actors and camera in master shots. By analyzing, designing, and shooting master shots, the course dissects the text of the script, scrutinizes the style and function of blocking, presents strategies for directing actors, and allows students to explore their own creative impulses in designing and executing complex master shots.
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This course provides a supportive and open workshop environment in which advanced level Film and TV students explore two of the film’s director’s most essential tasks–script analysis and directing actors.
Majors only.
Seniors only.
Prerequisites: PROD 390 or PROD 392; RECA 367.
Meetings: See PROWL for course days and times
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Preparation of the shooting script, casting, scheduling, budgeting, art design, pre-visualization, and other preparation prior to principal photography.
Practical experience in motion picture production on a paraprofessional level including writing, directing, and editing a film. Sync sound project, maximum length: 15 minutes.
Note: Insurance required for off-campus use of equipment. The student must provide a professional copy of all senior thesis-level projects to the School of Film and Television in partial fulfillment of degree requirements.
Majors only. Seniors only.
Prerequisites: PROD 390 or PROD 392; RECA 367.
Meetings: See PROWL for meeting days/times.
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A producer is the VISIONARY of the project. In this course, students will learn the Art of Creative Producing through lectures, guest speakers, and the development of one of their own individual projects from the idea to the pitch. Students will learn about the sales tools - show bibles and tone reels; the business of show business - contracts, deal memos, optioning material, working with agents, managers and executives, financing, festival strategy, co-production international models, and new media. By the end of this course, students will have a fully developed pitch and the sales tools needed to sell their project and any future project in the professional world.
Meetings: See PROWL for course days and times
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An introduction to 16mm motion picture cameras, digital cameras, film stocks, lighting, and grip equipment. Location and studio procedures for both sync and non-sync situations.
Majors only.
A grade of B- or higher is required.
Corequisites: PROD 500, PROD 566; SCWR 501.
Meetings: See PROWL for days and times
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This course presents an introduction to color theory and the craft of color correction. We will be going over techniques to create a better understanding of how we interact with color, how we can affect color, and developing abilities as a colorist.
Prerequisite: PROD 566.
See PROWL for meeting day/times.
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This course requires students to serve as production designer on an intermediate or advanced SFTV student film produced during the same semester, with the course’s instructor guiding the production designer and director of the project to establish an effective and unique look and vision for the film.
Prerequisite: PROD 500.
Meetings: See PROWL for course days and times
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Course description coming soon!
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Targeted at creatives, this course looks at the Television and Film landscape of fantasy and science fiction content.
The course will provide a step-by-step guide on how to develop fantasy and science fiction IP (original or pre-existing). We will cover how to obtain pre-existing rights, how to develop those rights, and how to develop original IP. We will discuss the process of packaging, selling, and producing fantasy/Sci-Fi IP, paying particular attention to the generative process of world-building and character creation through design and build (both practical and digital) along with how it impacts budget and timeline. Finally, we will cover the production process from a high-level creative and producorial role, i.e. what are some of the pitfalls and benefits of making genre content technically. We will dive into virtual production techniques, utilization of the volume, set extensions, puppetry and other effects.
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Further practical experience in fiction and non-fiction production and post-production, including the producing, directing, and editing of a film or documentary project.
Note: Insurance is required for equipment.
A grade of B- or higher is required.
Prerequisites: PROD 530 or SCWR 530; PROD 550 with a minimum grade of B-.
Meetings: See PROWL for meeting days and times.
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This course is designed to enhance students’ understanding of the feature film and TV development process while exploring critical concepts and common business practices. Students will learn how to best analyze and create concepts for film and TV and the overall “language of film and TV” when discussing and creating concepts viable for script development. They will discover the creative process from how to transfer their passion into a concept. And for TV, how to create an engine that can drive 100 ideas for the longevity of the show, and how to identify potential homes for the show. Producers and writers will work together to emulate the American entertainment business. As a non-writing producer in TV, a producer must become the right-hand of the writer and assist them in all facets of development, selling and production. Students will work in two person teams through the semester. The writers and non-writing producers will work in their own respective roles in pitching and writing then switch roles. The goal is the development of both an original comedy and drama TV show, and an original film concept, which they will pitch for review and feedback by the class, instructor, and industry guests
SFTV Grads Only
Meetings: See PROWL for course days and times
-
A producer is the VISIONARY of the project. In this course, students will learn the Art of Creative Producing through lectures, guest speakers, and the development of one of their own individual projects from the idea to the pitch. Students will learn about the sales tools - show bibles and tone reels; the business of show business - contracts, deal memos, optioning material, working with agents, managers and executives, financing, festival strategy, co-production international models, and new media. By the end of this course, students will have a fully developed pitch and the sales tools needed to sell their project and any future project in the professional world.
SFTV Grads Only
Meetings: See PROWL for course days and times
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This course addresses the process of communication through typographic animation and visual effects. Emphasis is placed on creating emotional expression and identity through composites of video, text, and special effects.
Graduate majors only.
Prerequisite: PROD 500 with a minimum grade of B-.
Meetings: See PROWL for course days and times
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Further studies in the theory, aesthetics, and techniques of editing for film and/or television.
Prerequisite: PROD 550
Meetings: See PROWL for course days and times
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This practical/analytical workshop class is intended to give the student an understanding of three of the director’s essential tasks — script analysis, working with actors and collaborating with key crew. Lectures, guest speakers, in-class assignments, and presentations are all part of the class process.
Prerequisite: PROD 550
Meetings: See PROWL for course days and times
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The Digital Imaging Technician wears many hats. This two-day intensive workshop focuses on the roles, responsibilities, tools and technical knowledge expected of a DIT as they move footage from set to post-production. Using lecture, demos and hands-on practice, the workshop will discuss digital imaging technologies, color, software and hardware setups, calibration, data management and verification, on-set color correction/color charts, LUTS and CDLs, syncing audio, and current professional standard workflow like ACES.
* 1 unit weekend course
-
Your project is developed and your logline, pitch and presentation materials are ready. What now? This course will pick up at the packaging and finance stage, focusing on how to get your first or second film project made and how a producer positions a film for sale and marketing. Students should come to class with a project that is well developed so we can jump right into the later stages of the process. We will also examine films in the marketplace and the work of marketers and distributors, using case studies and hands-on exercises.
Lab fee. Insurance fee. Majors only. May be repeated for degree credit up to three times.
Prerequisite: PROD 550 with a minimum grade of B-.
Also available as PROD 480.
Meetings: See PROWL for meeting days/times.
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Students learn advanced skills for directing narrative media by focusing on how to block the actors and camera in master shots. By analyzing, designing, and shooting master shots, the course dissects the text of the script, scrutinizes the style and function of blocking, presents strategies for directing actors, and allows students to explore their own creative impulses in designing and executing complex master shots.
Meetings: See PROWL for meeting days/times.
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Course description coming soon.
Also: DANC 479
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“Today's science fiction is tomorrow's science fact.” - Isaac Asimov
This class welcomes you to tomorrow, as an introduction to producing and screenwriting with AI. During the semester we take a deep dive into the intersection of technology and entertainment and focus on developing, writing, producing, and distributing original content. We'll us emerging technology and software (like OpenAI's ChatGPT4, Midjourney, and Runway) to generate new ideas and loglines, enhance character development and world building, polish dialogue and scripts, produce and distribute shorts, and improve the overall quality of our work.
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The advancement of hands-on practice and exposure to professional equipment and technical training, Intermediate Cinematography places a greater emphasis on the Cinematography student’s development of a visual goal, look or design.
Graduate majors only.
Prerequisite: PROD 541 with a minimum grade of B-.
Meetings: See PROWL for course days and times
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Completion of the thesis portfolio and career development of a transition to professional pursuits.
Consent of Chair required.
Prerequisite: PROD 600 with a minimum grade of B-.
PROD 649 Master Class (Required).
Meetings: See PROWL for course days and times
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Completion of the thesis portfolio.
Consent of Chair required.
Prerequisite: PROD 600 with a minimum grade of B-
Meetings: See PROWL for course days and times
BFA Offerings
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This is an intensive introductory course that provides an overview of the film production process and the basics of digital film production. The focus of the course is on the process of collaborative content creation and will consist of lectures, practical labs, a complete production process and additional crewing requirements beyond class time.
4 semester hours
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1-4 semester hours
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1-4 semester hours
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An introduction to the aesthetic and practical problems of communicating visually through experimental, fiction and non-fiction motion pictures. Write short scripts and treatments. Each student is required to direct and edit several short films and participate in additional crewing requirements beyond class time. Lab fee. Majors only. A grade of B- or higher is required.
Prerequisites: FTVS 1010 and PROD 1010.
Corequisite: PROD 2010.
4 semester hours
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This is an intensive introductory course that provides an overview of the film production process and the basics of digital film production. The focus of the course is on the process of collaborative content creation and will consist of lectures, practical labs, and production.
International Documentary Production minors only.
3 semester hours
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Students will use film production techniques and visual storytelling processes to create short digital film projects for the web and mobile devices. They will develop their own blog and post their short movies exploring issues of faith, justice, race, gender, sexuality and culture. University Core fulfilled: Explorations: Creative Experience.
4 semester hours
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This course offers students the opportunity to explore faith and justice issues through visual expressions.
3-4 semester hours
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An introduction to the aesthetic and practical problems of communications in the multi-camera television studio. Lecture and Laboratory, 6 hours. Lab fee. Insurance fee. Prerequisites: FTVS 1010 and PROD 1010.
3 semester hours
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1-4 semester hours
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1-4 semester hours
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Focuses on the production of a digital video documentary project. These documentaries should have a social justice component. It is also to be used as a reflection for students about social issues they have experienced in society. University Core fulfilled: Explorations: Creative Experience. University Core fulfilled: Flag: Engaged Learning.
4 semester hours
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This course will connect creative expression with relevant Catholic themes and documents for Social Justice. Students will create their own short documentaries and write a research paper that will address any of themes of social justice. University Core fulfilled: Integrations: Interdisciplinary Connections.
4 semester hours
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This course surveys the theory and practice of writing for the international documentary and other forms of non-fiction media in television and film.
International Documentary Production minors only.
3 semester hours
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Media Innovation is a creative, technical, and critical exploration of the practice of using small-form capture devices (cell phone, digital still camera, etc.) to create media for display on the web and other evolutionary viewing platforms. Each student is required to produce and edit a series of videos for posting on their own videoblog. University Core fulfilled: Flag: Engaged Learning.
3 semester hours
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This course explores the art of creative producing, familiarizing students with the various aspects of the producing process from idea to large or small screen. Prerequisites: FTVS 1010 Art of Cinema, PROD 1010 Production Bootcamp.
4 semester hours
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An introduction to digital cameras, film stock, lighting, and grip equipment. Location and studio procedures for both sync and non-sync situations. A grade of C (2.0) or higher is required. International Documentary Production minors only. Lecture and lab, 5 hours. Lab fee required. Insurance fee required. International Documentary Production minors only.
3 semester hours
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An introduction to 16 mm motion picture cameras, film stocks, lighting, and grip equipment. Location and studio procedures for both sync and non-sync situations. Lecture and lab, 5 hours. Lab fee. Insurance fee. Majors only. A grade of C (2.0) or higher is required. Prerequisite: PROD 2000. Insurance fee required. Lab fee required.
4 semester hours
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Focused on developing an intermediate level knowledge of a cinematographer’s skill sets and knowledge base, Cinematography II will include a greater emphasis on the development of a visual “Goal” or “Look,” lighting, gripology, and the practice of various technical aspects of Cinematography. Lecture and lab, 5 hours. Lab fee. Insurance fee. Majors only. A grade of C (2.0) or higher is required. Prerequisite: PROD 3410.
4 semester hours
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This course surveys the theory and practice of writing for the documentary and other forms of non-fiction media in television and film. In this course students will develop all expected research and Pre-Production documents and media for directing the Production. Additional instruction in basic documentary cinematography. Prerequisites: PROD 2000 and SCWR 120X. Majors only.
4 semester hours
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Planning, producing, and editing a documentary or experimental video production on actual international locations. Lecture and lab, 4 hours. Insurance fee required. Lab fee required. International Documentary Production minors only.
3 semester hours
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Introduction to media editing theory and practice. Lab fee. Insurance fee. Non-majors only.
3 semester hours
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This course investigates the relationship between the contemporary music video, non-narrative visual representation, and current social issues. With both theoretical and production components, students develop and produce a music video that addresses the needs of an outside client/artist. Prerequisite: PROD 3900 or PROD 3920.
4 semester hours
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This course requires students to serve as production designer on an intermediate or advanced SFTV student film produced during the same semester, with the course’s instructor guiding the production designer and director of the project to establish an effective and unique look and vision for the film. Prerequisite: PROD 3900 or PROD 3920.
3 semester hours
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Practicum in the production of an intermediate film project from script through post-production. In this hands-on course students direct and produce their script from 3500, beginning with budget and scheduling, casting and other pre-production processes. This culminates with editing, color correction, and other finishings as well as a final theater screening. Lab fee. Insurance fee. Majors only. A grade of B- or higher is required. Prerequisites: PROD 2000, PROD 3410, and PROD 3500. Corequisite: RECA 367x.
4 semester hours
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Planning, producing, and editing a short documentary or experimental video production on actual locations. This culminates with editing, color correction, and other finishing as well as finally theater screening the film. Lecture and Laboratory, 4 hours. Lab fee. Insurance fee. Majors only. A grade of B- or higher is required. Prerequisites: PROD 2000, PROD 3410, and PROD 3520. Corequisite: RECA 367x.
4 semester hours
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Practicum in the role of the film producer from development through post-production. Lectures on professional production procedures are linked to personal experience on an actual film project. Project maximum length, 8 minutes.
4 semester hours
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0-4 semester hours
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0-4 semester hours
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0-4 semester hours
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Final project in the production of films from initial concept through post-production. Lectures on professional production procedures are linked to personal experience on an actual film project. Project maximum length, 8 minutes. Majors only. Seniors only. Prerequisites: PROD 3900 or PROD 3920; RECA 367.
4 semester hours
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A seminar in real-world skills required for networking, job-seeking, and professional presentation in the entertainment industry. Prerequisite: PROD 2000.
3 semester hours
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Students will learn how to develop a digital series, culminating in pitching an original project to a branded web agency. Students will discover how digital content can be a gateway into traditional TV or film and how it has created a new frontier for storytelling through new media.
Prerequisite: PROD 2000.
3-4 semester hours
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This is an intensive course that provides an overview of documentary storytelling and its historical evolution. The focus of the course is on the development of technology, aesthetics and storytelling methods. The course will consist of lectures, screenings and lab exercises. Prerequisite: PROD 2000.
3-4 semester hours
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This course teaches students how to develop, sell, and monetize digital content. The course explores the various types of digital content and deconstruct their audience and structure, as well as the changing world of television through the development of digital distribution, branded entertainment, and web series. Prerequisite: PROD 2000 and PROD 2310.
4 semester hours
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This course is designed to enhance students' understanding of the feature film and TV development process while exploring critical concepts and common business practices. This course will educate and inform the student about how best to analyze and then create concepts for TV and film. Prerequisite: PROD 2000 and PROD 2310.
4 semester hours
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This course explores the art of creative producing, familiarizing students with the various aspects of the producing process from idea to getting a project sold. Prerequisite: Prerequisite: PROD 2000 and PROD 2310.
4 semester hours
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In this course, students will develop ideas for a short fiction film to be produced in PROD4900, while simultaneously working on techniques in directing actors. Students will learn how to develop character psychology and backstory, and use directing techniques to workshop scenes from their scripts. This is a collaborative class which allows students to develop a text while simultaneously workshopping the material. Blocking, business and some aspects of covering a scene will also be explored. Prerequisite for PROD 4900.
4 semester hours
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The course is an intensive investigation in one or more areas of production based upon a mentorship, interviews, practical experience in production, and a final research paper and presentation. Students gain in-depth knowledge of the professional practices within the entertainment industry. Students must provide a copy of all senior thesis-level deliverables to the School of Film and Television in partial fulfillment of degree requirements. Seniors only. Majors only. Prerequisites: PROD 3900 or PROD 3920; RECA 367x.
4 semester hours
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This course addresses the process of communication through typographic animation and visual effects. Emphasis is placed on creating emotional expression and identity through composites of video, text, and special effects. Lab fee. Insurance fee. Majors only. Seniors only. Prerequisites: PROD 3900 or PROD 3920; RECA 367x.
3-4 semester hours
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Beginning with an introduction to the fundamental differences between montage and mise-en-scène, the course will teach students the art and craft of designing, blocking, and executing sophisticated scenes with moving characters, to visualize the dramatic content of a scene. Prerequisites: PROD 3900 or PROD 3920; RECA 367x.
3-4 semester hours
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This course provides a supportive and open workshop environment in which advanced level Film and TV students explore two of the film’s director’s most essential tasks–script analysis and directing actors. Majors only. Seniors only. Prerequisites: PROD 3900 or PROD 3920; RECA 367X.
3-4 semester hours
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Preparation of the shooting script, casting, scheduling, budgeting, art design, pre-visualization, and other preparation prior to principal photography. Practical experience in motion picture production on a capstone level including producing, directing, and editing a sync-sound film. Students must provide a copy of all senior thesis-level deliverables to the School of Film and Television in partial fulfillment of degree requirements. Lab fee. Majors only. Seniors only. Prerequisites: PROD 3900 or PROD 3920; PROD 4500; RECA 367x.
4 semester hours
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Practical experience in motion picture production on a capstone level including pre-production, writing, directing, and editing a documentary short or experimental piece. Students must provide a copy of all senior thesis-level deliverables to the School of Film and Television in partial fulfillment of degree requirements. Lab fee. Majors only. Seniors only. Offered Spring semester only. Prerequisites: PROD 3520; 3900 or PROD 3920, RECA 367x.
4 semester hours
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0-4 semester hours
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0-4 semester hours