Fall 2024 Offerings
-
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
-
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
-
Training in the technical aspects of beginning film production: camera, sound, and lighting.
Corequisite: PROD 200.
Meetings: See PROWL for meetings times/dates.
-
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
-
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
-
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
-
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
-
Post-production theory and practice as applied to film.
Majors only. Prerequisite: PROD 200.
Meetings: See PROWL for meeting days/times
-
Post-production theory and practice as applied to film.
Non-majors only
Meetings: See PROWL for course days and times
-
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.
-
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
-
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
-
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
-
Planning, producing, and editing a documentary or experimental video production on actual locations.
Lab fee. / Insurance fee.
Majors only. A grade of B- or higher is required.
Prerequisites: PROD 200, PROD 250, PROD 326, PROD 341, and PROD 379; RECA 250.
Corequisites: PROD 366 and RECA 367.
Meetings: See PROWL for course days and times.
-
“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.
-
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
-
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.
Prerequisite: PROD 390 or PROD 392.
Meetings: See PROWL for course days and times
-
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
-
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
-
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
-
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
-
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.
-
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.
-
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
-
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.
-
Writing the thesis (documentary) project and preparing the script for production.
Practical experience in motion picture production on a paraprofessional level including writing, directing, and editing a documentary or experimental piece. 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.
Offered Spring semester only.
Prerequisites: PROD 390 or PROD 392, PROD 379; RECA 367.
Meetings: See PROWL for course days and times
-
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
-
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.
Meetings: See PROWL for course days and times
-
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
-
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.
-
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
-
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
-
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
-
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
-
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
-
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.
-
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.