Film and TV Production Courses

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 Mjrs

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.

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.

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

This course surveys the theory and practice of writing for the documentary and other forms of non-fiction media in television and film.

PROD Majors Only Prerequisites: PROD 200 and SCWR 120.

Meetings: See PROWL for course days and times

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.

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 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.

Students will explore the historical foundations of music video imagery and its relevance to the technology-laden landscape of today. Against a backdrop of social media and image-crafting,students examine the function and impact of the contemporary music video. How are gender, race, and identity represented? What role do politics play? How does the voice of the artist intersect with the vision of the director? These questions and many more will be posed throughout the quarter.

The class will cover all stages of production, from development of a unique and highly visual concept through the planning, production and post-production phases.

PROD Jrs/Srs Only

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.

Course description coming soon.

Course description coming soon.

Also: DANC 479

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 

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

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

Further studies in the techniques of camera and lighting for film and video.

Majors only.

Seniors only.

Prerequisites: PROD 390 or PROD 392; RECA 367.

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

Further studies in aesthetics and the techniques of editing for film and/or TV.

Lab fee. Insurance fee.

Majors only. Seniors only.

Prerequisites: PROD 390 or PROD 392; RECA 367.

3 semester hours

Meetings: See PROWL for meeting days/times 

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:

Course description coming soon.

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 

Exploration of real-time tools for building landscapes for narrative innovations. With the lines between Live-action Productions and Animation more interconnected than ever, this course provides a survey of basic techniques to establish skills in virtual production.

Also: ANIM 498.

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.  

Also available as PROD 685.

Meetings: See PROWL for meeting days/times.

Also available as PROD 685.

Meetings: See PROWL for meeting days/times.

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

"Actor Workshop/Working with Actors" will have Students will learn and practice the common vocabulary and fundamental principles of acting in order to understand and communicate with their actors more effectively as directors. Students will learn to personalize scenes with their own experiences to give life to the work.

School of Film and Television students only.

May be repeated for degree credit up to four times.

Prerequisite: PROD 390 or PROD 392.

Meetings: See PROWL for course days and times

Through a mixture of presentations and practice, this course exposes students to techniques of blocking actors and moving the camera, and to the fundamental differences between montage and mise-en-scène.  Emphasis will be on long-take scenes.

Meetings: See PROWL for meeting day/time.

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

Research and development of a documentary idea to be produced in the advanced documentary course.

Prerequisites: PROD 500, PROD 541, PROD 566, SCWR 501, all with a minimum grade of B

Meetings: See PROWL for course days and times

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

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

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.

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

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

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

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

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 ownstill imagesand afilm. Particularattention 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 meeting days/times.

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.

 *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.

Seminar/workshop course in special advanced techniques in production and post-production topics. FULL COURSE DESCRIPTION COMING SOON.

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

Exploration of real-time tools for building landscapes for narrative innovations. With the lines between Live-action Productions and Animation more interconnected than ever, this course provides a survey of basic techniques to establish skills in virtual production.

Also:

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.  

Meetings: See PROWL for meeting days/times.

Also available as PROD 685.

Meetings: See PROWL for meeting days/times.

Also available as PROD 480.

Meetings: See PROWL for meeting days/times.

"Actor Workshop/Working with Actors" will have Students will learn and practice the common vocabulary and fundamental principles of acting in order to understand and communicate with their actors more effectively as directors. Students will learn to personalize scenes with their own experiences to give life to the work.

Meetings: See PROWL for course days and times.

Through a mixture of presentations and practice, this course exposes students to techniques of blocking actors and moving the camera, and to the fundamental differences between montage and mise-en-scène.  Emphasis will be on long-take scenes.

Prerequisite: PROD 550.

Meetings: See PROWL for meeting day/time.