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The second four weeks are all production based; going from concept to produced commercial. This involves classes with various departments; editing, cinematography, producing, sound. The final product will be reel ready. Some classes may have guest speakers who excel in the field. Tech Essentials: 12 Total Sessions This course introduces the students to the technical aspects of commercial production.

From the fundamentals of cinematography to the best practices for sound recording this course will enable the student director to make informed creative choices. Tech Essentials also introduces the student to the worlds of sound design and sound recording, detailing the process of sound design by providing concepts, technical information, and equipment demonstration. Editing: 10 Total Sessions This area of study presents students with multiple aesthetic approaches to editing video.

Treatment writing: 4 Total Sessions In this course the student director will learn how to synthesize their concepts and put them down in a client ready presentation. While equal parts technical and theoretical the main purpose of this course is to workshop the students ideas and get feedback on what resonates and what does not. By the end of these sessions each student will have completed a treatment. Two weeks of no classes for the holiday break.

Total workshop hours is hours Program Description For students with little or no filmmaking experience, but with desire to challenge themselves and learn the craft of cinematic storytelling in a condensed time period. This workshop provides focused learning with working industry experts and the opportunity to make a fully-realized final film while also taking time off to enjoy the holiday season. Each student divides the Six-Week Holiday Online Filmmaking course between in-class, online instruction, self guided work and the production of three short films.

Following production and postproduction, students screen their work and engage in a critique and discussion of their directorial choices. The first two films in the program are non-synchronous no on set audio, including dialogue , with the second film accompanied by a track of music. After a two week break the second three weeks is devoted to the production of a Final Film project - a film of up to ten minutes.

The third film is the first time students incorporate dialogue, learning to work with subtext and acting beats. Students edit their project using DaVinci Resolve. Students will spend an additional ten to twenty hours a week on the production of their film projects. The Academy recognizes, as should the students, that these hours will vary from student to student.

Cinematography: 8 Total Sessions This course is designed to introduce the student to the art of cinematography. In addition to introducing the students to the principles of photography it will also cover fundamental lighting techniques. Beyond being a purely technical course, instruction will also cover the psychological and emotional effects of editing on the overall story.

Students will learn to operate DaVinci Resolve editing software that they will use to edit their own exercises. Also included in the course is writing a treatment and logline, developing plot lines, screenplay format, creating believable characters with complete narrative arcs and writing effective dialogue that serves the needs of the character.

Topics include mic placement, mic pick-up patterns and pitfalls to avoid while recording on set. Scenario: Shooting script, lined script, shot lists, floor plan, shooting schedule and visual reference guide. They apply the lessons learned through editing the first two projects as they utilize the many transition tools, special effects, and sound design options that digital editing allows.

Demonstrate a basic understanding of the components of designing a shot, create and direct the dramatic beats in a script. Screenwriting The Screenwriting portion of the course adheres to the philosophy that good directing cannot occur without a well-written script. Also included in the course is writing a treatment and logline, developing plot lines, screenplay format, and creating believable characters with complete narrative arcs. Sound Design This film course introduces the student to the world of sound design, detailing the process of sound design by providing concepts, technical information, and examples of how sound is used in cinema.

Minimum system requirements for macOS macOS Prerequisites - Because all short-term Filmmaking workshops start at the introductory level no prerequisites are required nor any prior experience expected.

Editing broken down into 2 subclasses: Theory of Editing and Working with DaVinci Resolve Screenwriting The Screenwriting portion of the course adheres to the philosophy that good directing cannot occur without a well-written script. In one short week, students are instructed in the basics of writing, directing, cinematography and digital editing. Each student writes, directs, shoots, and edits a short film project.

The pace of this 1-Week course is feverish, and students must be prepared to live and breathe filmmaking for the duration of the workshop. The 1-Week workshop was designed to serve the needs of a variety of students, yet through online classes and exercises, all students gain an understanding of the requirements and rigors of filmmaking, as well as experience the exhilaration of seeing a completed project. For some, the workshop is an opportunity to see if filmmaking is the appropriate craft for them.

All students enrolling in the 1-Week Online Filmmaking workshop should be aware that this is an introductory course. The limitations of a one-week course should be apparent, given that many people spend years studying film and perfecting their craft.

While the 1-Week Online Filmmaking workshop is not meant to be a substitute for longer-term programs, many students have made excellent projects. Program and Software Requirements To complete the assigned project, the student will edit using DaVinci Resolve, which can be downloaded free of charge. Students will also need a camera capable of recording video, in this course a mobile device will suffice. Editing is broken down into 2 subclasses: Intro to Editing and Open Edit.

Check, the second session, tasks the students with pitching their story ideas to their instructor and classmates for the purpose of receiving feedback on the concept and feasibility of shooting the story given the time allotted and resources available.

Screenwriting is broken down into 2 subclasses: Intro to Story and Story Check. This workshop is focused on understanding the basic principles of cinematography with a combination of online lectures, analysis of the history of cinematography, camera and basic lighting technology and techniques, including an introduction to editing and color correction using Davinci Resolve. The students will test what they learn during the online lectures with 3 exercises that are designed to be realized even in isolation, if required by local health conditions, using a digital camera of their own possession, including a cell phone if nothing else is available.

We suggest, but not require, apps like Filmic Pro to be able to control manually the functions of the video camera of the phone.

History of Cinematography This class analyzes the evolution of cinematography along the history of cinema, pointing out trends and historically relevant turning points in style film noir, the introduction of color, etc. Each student will choose 6 movies from this list to watch and analyze. Camera This class will introduce the basic characteristics in a digital camera and the main settings, common to most digital cameras, using a Sony FS5 as example. Advanced digital cinema cameras will be introduced using a Red Dragon as an example.

The course will also provide an excursus on the evolution of Digital Cinema. Lighting and Grip Lighting and Grip class will present lighting principles and examples via live demonstrations of how to create basic lighting setups.

During Guerrilla Lighting students will be introduced to examples of lights that are of easy build using common materials. Editing This class will introduce digital editing capacities of Davinci Resolve, allowing the students to receive a basic editing training, and also will guide the students to understand the basic principles of color correction and postproduction. Production Lab This class will guide the students on producing and developing their 3 personal projects within the respect of social distancing and isolation rules.

During the online course they will create a Composition, a Continuity and a Montage project, each one of them following a different set of rules and instructions.

Screen and Review This class provides feedback to the students on their personal projects and analyzes their choices and approaches. Continuity: The student will create a small scene, within the space safely accessible to them, in which they will use different framing, angles of view and available or artificial light to build the narrative. The project focuses less on the narrative aspect of filmmaking and more on the capacity of cinematography to deliver a subtext of significance to otherwise unrelated images.

Class Details Close. The students will test what they learn during the online lectures with 3 exercises that are designed to be realized using a digital camera of their own possession, including a cell phone if nothing else is available. Projects are: Composition: As directed during the Production Lab prep class the students will create a series of shots to practice and test the knowledge of composition and the technical elements of cinematography focus, exposure, color, basic camera movements.

Continuity: The student will create a small scene, within a space that is safely accessible to them, in which they will use different framing, angles of view and available or self-made light to build the narrative. History of Cinematography History of Cinematography analyzes the evolution of cinematography along the history of cinema, pointing out trends and historically relevant turning points in style film noir, the introduction of color, etc.

A list of films, easy to find online, will be distributed to the student for watching on their own time.

Camera This will introduce the basic characteristics in a digital camera and the main settings, common to most digital cameras, using a Sony FS5 as an example.

It will also introduce advanced digital cameras, using a Red Dragon as example, to present the differences in quality and structure of modern Digital Cinema Cameras. Lighting and Grip Lighting and Grip class will present basic lighting principles and examples via live demonstrations of how to create basic lighting setups and to control the light using flags and other grip elements. Editing This class will introduce digital editing capacities of Davinci Resolve, allowing the students to receive a basic editing training, and also will guide the students to understand the basic principles of color correction and post production.

Production Lab This will guide the students on producing and developing their 3 personal projects within the respect of social distancing and isolation rules. During the online course they will create a Composition, a Mise En Scene and a Montage project, each one of them following a different set of rules and instructions.

Screen and Review This class provides feedback to the students on their personal projects and analyze their choices and approaches. This Week Online Digital Photography Workshop is an intensive exploration of photography in the digital age.

Photo Arts Conservatory students are immersed in the art and craft of still photography, are introduced to the tools necessary to capture great images, and learn to refine them through digital imaging. Photography students at New York Film Academy develop the skills necessary to research, compose, and capture digital photographic projects in hands-on courses.

Students are encouraged to be creative, and are taught to think of each project as a concise statement of artistic and aesthetic intent. They expand their repertoire of techniques as they explore practical sources of light and shadow. No prior experience is required to enroll in the Week Digital Photography Workshop. Please note: All students are required to bring a digital camera with manual exposure controls. This is done through the use of both Adobe Lightroom and Adobe Photoshop.

This culminates in a final critique of either personal or commercial work. History of Photography Students study and analyze masterful photographers, not only by analyzing their distinct techniques, aesthetics, and approaches, but also by literally re-creating their images with precise attention to composition, lighting, gesture, format, and palette. Following this photography class, students are able to select the best methods by which to realize their own unique vision.

The course will cover Adobe Lightroom classic, camera operations, elements of exposure, the history of photography through , and a deep dive into the creation of personal projects. Students learn the mechanics of cameras and lenses as well as the components of exposure. Students are taught to be aware of the unique characteristics that light can take: direct, diffused, reflected, and tempered by atmosphere.

Every technique is practiced through individual assignments, which are critiqued by faculty and peers. Emphasis is placed on: developIng practical technical skills at handling modern digital SLR cameras and the ability to produce accurate exposures under a range of real-world conditions, developing a working ability to recognize and create dramatic exposures using natural light, and understanding the practical application of the components of exposure sensitivity, aperture, shutter speed under a wide variety of real-world shooting conditions.

Once immersed in Adobe Lightroom Classic, students acquire key digital darkroom techniques from nondestructive editing to unparalleled color and tonal control over an image. Students also learn the entire process of digital workflow, from RAW processing through output for advanced editing and web pages. Along with lectures and demonstrations, Imaging I allows for students to practice and perfect their image-editing skills. Vision and Style This course teaches students critical thinking skills, the visual language of photography, and pushes them to explore their personal interests in photography as they conceptualize, execute, refine, and critique.

Students define and develop a personal, iconic visual style and specific area of interest, studying master bodies of work across many photographic genres. The primary focus is still photography.

Students become familiar with principles of composition, color, editing, sequencing, and presentation through writing, journaling, research and photographic assignments. Students gain the level of self-awareness necessary to understand the most important origins of their ideas, and start to conceive how their work fits into the context of current photography practices and attitudes.

History of Photography Intensive study, analysis, and critique of the work of master photographers, their techniques, aesthetics and approaches helps to equip students to choose the most effective means of realizing their own projects.

In this course, the history of photography is studied from its beginning through to Discussion topics include composition, traditional and non-conventional framing, color theory, design, semiotics signs and symbols , the effect of technological changes on photography, the use and limitations of photography as a documentary and personal record, and the surprisingly long history of using viewer assumptions to distort the truth.

The course will give you an overview of the history of fashion photography as well as provide a working knowledge of current trends in clothing, hair, make-up, styling, working with a model, and producing a fashion shoot. Working models, make up artists, producers, magazine editors, and wardrobe stylists will join us in class to discuss their role on set and give you insight into the fashion industry.

There are 4 components to this workshop Fashion lecture, Fashion production, meeting with industry professionals, and class critique. Program Schedule: 2 Week program 10 classes per week 1.

Show an understanding of the roles within a creative team. Learn to identify and begin to become articulate in contemporary trends in: clothing, styling, models, hair and make-up. Identify and begin to articulate the details necessary to create a fashion photograph that meets industry standards.

Start to develop a visual style and personal point of view. Self organize within collaborative teams Students will need a computer and a digital camera dSLR, mirrorless, or medium format Apply Now. Workshop Description This Online Workshop gives students a comprehensive overview of the entire producing process for film and television process. There are no prerequisites for this Workshop. Line Producing Students learn about the physical aspects of production: scheduling and budgeting, crew descriptions, paperwork and reporting mechanisms permits, call sheets, production reports , pay rates, working with unions, insurance guidelines, and more.

Students are instructed in the use of Movie Magic Scheduling and Budgeting software. Pitching An essential producing skill, students learn the appropriate pitching techniques for a variety of meetings and settings. Each student will practice and gain critical and fundamental pitching skills, including writing effective loglines, identifying the audience, and perfecting the pitch.

Story and Screenwriting Producers play a key role in the development of scripts. Students will gain firsthand knowledge of fundamental screenwriting elements such as: structure, conflict, character, premise, plot, and thematic point of view.

They will gain insight into working with writers, story analysis, and overall management of the development process. Film Finance This course focuses on successful strategies employed in the finance of studio and independent films.

Topics include: equity investment, sales agents, foreign territories, pre—sales, gap financing, production incentives, subsidies and government funds, as well as the revenue waterfall, i.

TV Industry Overview An introduction to the way television is developed, produced and sold. Film Festivals are expanding as the technology explodes in the digital universe. Topics include festival selection, social media campaigns, case study of a specific film to examine the process of working the festival circuit, and achieving potential distribution deals.

Case Studies This course will use specific in-depth examples of an already produced project to introduce students to the specific issues, problems, and solutions of the development, financing, pre-production, production, post production, distribution, and exhibition of studio and independent films.

This course will provide the student with enough knowledge to deal with basic production camera and lighting issues. Intro to Sound An overview of production sound recording: to understand the importance of sound, to learn to record sound in different environments, to learn to assemble and troubleshoot the sound recording equipment. Intro to Editing Students will learn the fundamentals of editing. This course will provide the student with enough knowledge to deal with simple editorial production issues.

Directing for Producers Understanding the role of the Director helps a Producer run a set. Graduates of the program will gain practical and pragmatic skills, tools, and knowledge, enabling them to develop and hone their creative skills.

During the course, you will be provided with a student discount code to purchase the software directly through the software company's website.

Students will own this software even after the course is completed. Entertainment Law This course is an overview of contract law and how it impacts the entertainment industry. For such an order you are expected to send a revision request and include all the instructions that should be followed by the writer. Also remember to state the exact time the writer should take to do your revision. We offer free revision as long as the client does not change the instructions that had been previously given.

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This did fairly well in Los Angeles, but not well enough to convince producer Oliver Morosco to mount a production in New York. He also began a stage version of The Patchwork Girl of Oz , but this was ultimately realized as a film. With the success of Wizard on page and stage, Baum and Denslow hoped for further success and published Dot and Tot of Merryland in It was their last collaboration. Baum worked primarily with John R. Neill on his fantasy work beginning in , but Baum met Neill few times all before he moved to California and often found Neill's art not humorous enough for his liking.

Baum reportedly designed the chandeliers in the Crown Room of the Hotel del Coronado ; however, that attribution has yet to be corroborated.

However, he returned to the series each time, persuaded by popular demand, letters from children, and the failure of his new books. Even so, his other works remained very popular after his death, with The Master Key appearing on St. Nicholas Magazine ' s survey of readers' favorite books well into the s. In , Baum declared plans for an Oz amusement park. However, there is no evidence that he purchased such an island, and no one has ever been able to find any island whose name even resembles Pedloe in that area.

Baum planned to live on the island, with administrative duties handled by the princess and her all-child advisers. Woggle-Bug, T. Because of his lifelong love of theatre, he financed elaborate musicals, often to his financial detriment.

One of Baum's worst financial endeavors was his The Fairylogue and Radio-Plays , which combined a slideshow, film, and live actors with a lecture by Baum as if he were giving a travelogue to Oz. He did not get back to a stable financial situation for several years, after he sold the royalty rights to many of his earlier works, including The Wonderful Wizard of Oz. This resulted in the M. Donahue Company publishing cheap editions of his early works with advertising which purported that Baum's newer output was inferior to the less expensive books that they were releasing.

He claimed bankruptcy in August Maud handled the finances anyway, and thus Baum lost much less than he could have. Baum made use of several pseudonyms for some of his other non-Oz books. They include:. He continued theatrical work with Harry Marston Haldeman's men's social group The Uplifters , [35] for which he wrote several plays for various celebrations.

He also wrote the group's parodic by-laws. The group also included Will Rogers , but was proud to have had Baum as a member and posthumously revived many of his works despite their ephemeral intent. Many of these play's titles are known, but only The Uplift of Lucifer is known to survive it was published in a limited edition in the s.

Morosco, incidentally, quickly turned to film production, as did Baum. In , Baum started his own film production company The Oz Film Manufacturing Company , [36] which came as an outgrowth of the Uplifters. He served as its president and principal producer and screenwriter. The rest of the board consisted of Louis F. The films were directed by J.

Silent film actor Richard Rosson appeared in one of the films Rosson's younger brother Harold Rosson was the cinematographer on The Wizard of Oz , released in After little success probing the unrealized children's film market, Baum acknowledged his authorship of The Last Egyptian and made a film of it portions of which are included in Decasia , but the Oz name had become box office poison for the time being, and even a name change to Dramatic Feature Films and transfer of ownership to Frank Joslyn Baum did not help.

Baum invested none of his own money in the venture, unlike The Fairylogue and Radio-Plays , but the stress probably took its toll on his health. On May 5, , Baum suffered a stroke, slipped into a coma and died the following day, at the age of His last words were spoken to his wife during a brief period of lucidity: "Now we can cross the Shifting Sands. His final Oz book, Glinda of Oz , was published on July 10, , a year after his death.

The Oz series was continued long after his death by other authors, notably Ruth Plumly Thompson , who wrote an additional twenty-one Oz books. Baum's avowed intentions with the Oz books and his other fairy tales was to retell tales such as those which are found in the works of the Brothers Grimm and Hans Christian Andersen , remake them in an American vein, update them, omit stereotypical characters such as dwarfs or genies , and remove the association of violence and moral teachings.

Another traditional element that Baum intentionally omitted was the emphasis on romance. He considered romantic love to be uninteresting to young children, as well as largely incomprehensible.

In The Wonderful Wizard of Oz , the only elements of romance lay in the background of the Tin Woodman and his love for Nimmie Amee , which explains his condition but does not affect the tale in any other way, and the background of Gayelette and the enchantment of the Winged monkeys. The only other stories with such elements were The Scarecrow of Oz and Tik-Tok of Oz , both of them were based on dramatizations, which Baum regarded warily until his readers accepted them.

When Baum lived in Aberdeen, South Dakota , where he was secretary of its Equal Suffrage Club, much of the politics in the Republican Aberdeen Saturday Pioneer dealt with trying to convince the populace to vote for women's suffrage.

Anthony visited Aberdeen and stayed with the Baums. Nancy Tystad Koupal notes an apparent loss of interest in editorializing after Aberdeen failed to pass the bill for women's enfranchisement. Some of Baum's contacts with suffragists of his day seem to have inspired much of The Marvelous Land of Oz.

In this story, General Jinjur leads the girls and women of Oz in a revolt, armed with knitting needles; they succeed and make the men do the household chores.

Jinjur proves to be an incompetent ruler, but Princess Ozma , who advocates gender equality , is ultimately placed on the throne. Charlotte Perkins Gilman 's classic of feminist science fiction , Herland , bears strong similarities to The Emerald City of Oz ; the link between Baum and Gilman is considered to be Gage.

His Edith Van Dyne stories depict girls and young women engaging in traditionally masculine activities, including Aunt Jane's Nieces and The Flying Girl and its sequel. The Bluebird Books feature a girl sleuth. During the period surrounding the Ghost Dance movement and Wounded Knee Massacre , Baum wrote two editorials asserting that the safety of white settlers depended on the wholesale genocide of American Indians.

These editorials were re-published in by sociologist Robert Venables of Cornell University, who argues that Baum was not using sarcasm. The first piece was published on December 20, , five days after the killing of the Lakota Sioux holy man , Sitting Bull. The Wounded Knee Massacre occurred nine days later; the second editorial was published on January 3, Baum alleged that General Nelson A. You can deliver a single output from Media Composer l Ultimate to a single receive point connected with any device when only two people are involved, such as an editor and reviewer.

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