Spring 2022 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.
SFTV Mjrs
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: TBA
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Course Description
Meetings: See PROWL for course days and times
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Documentary filmmaking is currently experiencing a “golden age.” Never before has non-fiction entertainment commanded such attention or pushed aesthetic boundaries as it has in the last decade.
This course will look at the ever broadening spectrum of content within documentaries today and understand the creative choices behind them – as heard directly from the acclaimed filmmakers who made them.
Each week will feature a discussion with a director or other creator working in the industry and discuss their recent work. Discussions will revolve around the filmmaking process from development through release, aesthetic choices, practical problems and ethical dilemmas. Special emphasis will be paid to sub-genres within the documentary landscape, and the choices geared towards each of them.
The course is geared towards students considering a major or career in documentary, but all students are encouraged to attend for a better understanding of the genre and its techniques.
Students will be expected to understand sub-genres within documentary, its modes of expression, and the language of documentary film. They will meet some of the luminaries of contemporary documentary film and will be able to identify they hallmarks of their work. And they should be able to analyze the choices directors make for storytelling, aesthetic, and ethical considerations.
Meetings: See PROWL for course days and 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: Multiple times, See PROWL for 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 course days and times
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Post-production theory and practice as applied to film.
Majors only. Prerequisite: PROD 200.
Meetings: See PROWL for 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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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 Days and 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 course days and 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 course days and times
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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
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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 course days and times
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Streaming and Digital Web Series and Content can be the gateway to TV and film as evidenced by well-known web series that ultimately were transformed into TV series, such as BROAD CITY and AWKWARD BLACK GIRL. Indie web series and content have skyrocketed. We will explore how digital content can be a gateway into traditional television and film and how it has allowed a new frontier for storytelling through new media. These shows and content can also prove to be a bridge for you into the professional world by selling your series or using them as a calling card.This course will teach you how to develop, sell and monetize digital content. The class will explore the changing world of television through the development of digital distribution, branded entertainment, and web series. We will also familiarize you with the many digital buyers as well as other branded content opportunities. You will develop your own idea which we will then develop into a pitch. We will then decide what sales tools you will need to create in order to sell. You will decide to work on your own Rip real or a proof of concept script. You can Shoot your 3-5 page proof of concept/first episode or assemble your Rip Reel. The semester will culminate in showing and pitching your web series or alternate digital content to branded and digital buyers.
Meetings: See PROWL for course 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
Meetings: See PROWL for course days and 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.
Prerequisite: PROD 390 or PROD 392.
Meetings: See PROWL for course days and times
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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. It is an alternative form for the student to gain in-depth knowledge of the professional practices within the entertainment industry. Students must provide a professional copy of all senior thesis-level projects to the School of Film and Television in partial fulfillment of degree requirements. (Fulfills thesis requirement in lieu of PROD 400 or PROD 450.)
Seniors only. Majors only. Prerequisites: PROD 300 or PROD 350 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.
Majors only.
Seniors only.
Prerequisites: PROD 390 or PROD 392; RECA 367.
Meetings: See PROWL for course days and times
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This course will balance the technical and the aesthetic, focusing on advanced editing techniques and conceptual approaches to structure and method. Lectures, discussions, screening film clips, class and group critiques, and projects will take place throughout the semester.
Majors only. Seniors only. Prerequisites: PROD 300 or PROD 350; RECA 367.
Meetings: See PROWL for course days and times
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Seminar/workshop course in Post Production-Finishing Short Film
School of Film and Television students only.
Seniors & Juniors only.
Meetings: See PROWL for course days and 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 course days and times
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The Post-Production Supervisor is a hybrid of a producer and a technical position. They must create and manage a budget, schedule, and then guide a team of people (editorial, color, sound, music, titles, VFX) through the process to successfully deliver a finished film. Managing personalities, expectations, costs and deliverables is a huge task. This workshop is designed to discuss aspects of the position while you carry out the various aspects of the supervisor during the semester.
School of Film and Television students only.
Seniors only.
Prerequisites: PROD 390 or PROD 392; RECA 367.
*The workshop nature of the class requires a schedule that meets at various intervals during the semester for five-hour blocks.
Meetings: 6 Saturdays throughout the semester:
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Through lectures, practical assignments, and their in-class critique, students will learn how to clearly and effectively communicate content through still and moving images. The class is designed to teach students how to dissect the design principles that are at work in all photographic images. Students will learn how to apply those principles by creating their own still imagesand a film. Particular attention will be paid to exposing students to the development of visual treatments (pre-visualization concepts). Upon completion of the course, Student will be able to make educated choices concerning how to manipulate and control the elements and components that are part of the visual medium of their choice.
Meetings: See PROWL for course days and times
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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, Multiple Options
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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
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Practicum in production of fictional student projects from initial concept through post-production. Advanced production and post-production theory and practice as applied to film and television. Involves individual and/or group projects.
A grade of B- or higher is required.
Prerequisites: PROD 500, PROD 541, PROD 566, SCWR 501, all with a minimum grade of B-.
Corequisites: PROD 530 or SCWR 530, PROD 570, and RECA 500.
Meetings: See PROWL for course 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.
Meetings: See PROWL for course days and times
-
In-depth study of production planning with an emphasis on budgeting and scheduling for the intermediate and advanced projects.Prerequisites: PROD 500, PROD 541, PROD 566, SCWR 501, all with a minimum grade of B-.
Corequisites: PROD 530 or SCWR 530, PROD 550, RECA 500.
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
-
Meetings: See PROWL for course days and times
-
Streaming and Digital Web Series and Content can be the gateway to TV and film as evidenced by well-known web series that ultimately were transformed into TV series, such as BROAD CITY and AWKWARD BLACK GIRL. Indie web series and content have skyrocketed. We will explore how digital content can be a gateway into traditional television and film and how it has allowed a new frontier for storytelling through new media. These shows and content can also prove to be a bridge for you into the professional world by selling your series or using them as a calling card.
This course will teach you how to develop, sell and monetize digital content. The class will explore the changing world of television through the development of digital distribution, branded entertainment, and web series. We will also familiarize you with the many digital buyers as well as other branded content opportunities. You will develop your own idea which we will then develop into a pitch. We will then decide what sales tools you will need to create in order to sell. You will decide to work on your own Rip real or a proof of concept script. You can Shoot your 3-5 page proof of concept/first episode or assemble your Rip Reel. The semester will culminate in showing and pitching your web series or alternate digital content to branded and digital buyers.SFTV Grads Only
Meetings: See PROWL for course 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
-
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.
Graduate majors only.
Prerequisite: PROD 541 with a minimum grade of B-.
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
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Editing and completion of the thesis project.
Consent of Graduate Committee required.
Prerequisite: PROD 650 with a minimum grade of B-.
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
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Directorial analysis of and practical experience in the special problems of directing actors for the camera. Can emphasize film, TV, or the different problems involved in each medium.
Prerequisite: PROD 550
Meetings: See PROWL for course days and times
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Seminar/workshop course in special advanced techniques in production and post-production topics.
Meetings: See PROWL for course days and times
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Seminar/workshop course in special advanced techniques in production and post-production topics
Meetings: See PROWL for course days and times
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Seminar/workshop course in special advanced techniques in production and post-production topics
Meetings: See PROWL for course days and times
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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, in order to visualize the dramatic content of a scene.
Prerequisite: PROD 550.
Meetings: See PROWL for course days and times