Classes

Introductory Level

FIL-001 Observing Workshop
This course gives beginning students the opportunity to observe the processes of the advanced film workshops. Studio.

FIL-002 Screenwriting 2 Workshop
Drop in workshop to go with Screenwriting 2 course. Students do not enroll in this workshop, just drop in. Studio.

FIL-003 Screenwriting 1 Workshop
Drop in workshop to go with Screenwriting 1 course. Students do not enroll in this workshop, just drop in. Studio.

FIL-004 Directing Workshop
This is the concurrent lab component of the advanced Directing and Production classes. Classic feature films and student projects will be screened and critiqued as part of the Directing 3 curriculum, and other advanced production classes TBA. Studio.

FIL-006 CPR & 1st Aid Cert Workshop
All studio term students must have a valid CPR and First Aid certification before participating in any voluntary, extra-credit portfolio project, sponsored project, or home or classroom assignments. At the beginning of each term, the Film Department schedules a CPR and First Aid course for all first-time film students. If you miss the scheduled Film Department, CPR/First Aid course, you will have to arrange, at your own expense, to take the course elsewhere. Upon completion, you will have to present your valid CPR/First Aid certificate to the Film Office. If you have alraedy taken the CPR courses at Art Center and your CPR certification has expired, you may take this CPR/First Aid Workshop. Studio.

100 Level

FIL-100 Film Dept Orientation (wk 2-5)
This class is a comprehensive presentation and study of all requirements and career options presented by the Film Department faculty and department chair. Course provides a detailed analysis of the philosophy and structure of the Art Center Film program, including how students can effectively accomplish individual creative goals while working within the collaborative structure of the Film Department. Studio (3.00).

FIL-101 What Is Cinema? (3 credits)
This beginning film course poses a series of questions, such as: What is the role of film in today’s media empires? What is the role of the artist in an industry dedicated to mass entertainment? What does the digital take-over mean for the future of directing, writing, shooting, editing, sound, etc.? Studio. Equivalent to FIL-106.

FIL-102 Observing Workshop
Studio.

FIL-103 Seminar in Computer Editing
This seminar provides an introduction to professional video tape formats and non-linear digital editing. Students work with professional 3/4 SP 3/4 Hi-8, and various DV equipment to learn the basic techniques of taping and editing broadcast-quality video tape frojects on Final Cut Pro. Studio.

FIL-104 Deconstructing the Director (3 credits)
See Department Chair for details. Studio.

FIL-105 Film Development Seminar (1 credit)
This course provides an opportunity for students to hear and interact with guest professionals from all areas of the film industry who will share their career experiences and offer insights into their respective motion picture arts and sciences. Studio.

FIL-106 Cinematrography 1: Fund 1 (3 credits)
This beginning film course poses a series of questions, such as: What is the role of film in today’s media empires? What is the role of the artist in an industry dedicated to mass entertainment? What does the digital take-over mean for the future of directing, writing, shooting, editing, sound, etc.? Studio. Equivalent to FIL-101.

FIL-108 So You Wanna Make Movies (3 credits)
Studio.

FIL-110 Cinematography 1: Fund 1 (3 credits)
Brief Description: it is the goal of this class to take a fresh look at the way films are made so as to open anew the possibilities of cinema.

Extended Summary: today the industry is facing the greatest challenge to its global technological and cultural dominance. In the not too distant future, all films will be made and distributed differently. The film artists of tomorrow will be those capable of thinking in novel ways. Hence the ambition of this class is to help students imagine their filmmaking beyond the norms generated by the current practice of the medium. Each week some questions relevant to the making of films will be presented by the instructor then debated in group discussions.

Course Objectives: to create a forum where the potential of film can be thought out and expanded beyond the views presently regulating its practice.

Reading Material: Jean-Pierre Geuens, Film Production Theory (available in the campus store, at some bookstores, at Amazon.com and other internet sites).
Course Requirements: % of Grade
Class presence and participation 50%
Individual projects: artistry/timeliness: 50% Studio (3.00). Corequisite courses: CGR-107.

FIL-141 Intro to Cinematography (3 credits)
This class is composed of a series of 16 X 9 format still photo exercises designed to achieve the following aims:
1. To introduce you to the basic concepts of :
a.tLight b.tFocus c.tComposition
2.tTo use light as part of one146s storytelling conventions.
3. To give you the opportunity to begin manipulating light in the service of creative interpretation.
Learning objectives: To hone the students146 skills and work habits to a level that is as close to professional as can be expected in a fourteen-week course.
Texts/Equipment/Supplies: N/A.
Course Structure and Grading: Grading is based on promptness and attendance (25%), class participation (25%), and the execution of material (50%). Studio. Equivalent to FIL-250.

FIL-151 Intro to Creative Lighting (3 credits)
The course consists of a series of 35mm still photo exercises to introduce the student to the basic vocabulary of lighting, including: lighting direction and formal definition, hard and soft light qualities, and the laws of light behavior. An overview of the historical conventions of film lighting and the role of the director of photography is provided as foundation for the practical photo assignments. Studio. Prerequisites: take FND-108.

FIL-152 Film Writing 1 (3 credits)
This course provides a conceptual approach to the art and craft of writing for film. Emphasis is on writing from a visual point of view, as well as analyzing and exploring the elements fundamental to all styles of screenwriting. The goal of this class is to clear up the common misunderstandings that become obstacles to writing effectively for the screen and assist students in thinking visually. Studio. Prerequisites: take FIL-100.

FIL-153 Film Directing 1 (3 credits)
Students in this class will learn the basic principles of film directing, from the breakdown of the script as the first stage of directing, to the analysis of the script from the director’s point of view. Studio (3.00).

FIL-154 Film Editing 1 (3 credits)
This course teaches students about the film editor’s craft and its creative aspects. Students will edit a sequence in 16mm with synchronized sound from a selected professional drama series. After taking the course, students will have an overview of dramatic editing techniques, enriched by hands-on experience. Students will also gain knowledge of the way that editing fits into the larger filmmaking process and will be prepared to continue in Editing 2. Studio (3.00). Prerequisites: take CGR-107.

FIL-155 Acting Workshop for Directors (3 credits)
This is a hands-on class designed to teach students the actor’s process, as well as the most effective ways to communicate with actors to get the desired results for the director. Students will experience acting from the practical viewpoint of becoming the actor and learn how to direct actors for best results. Studio (6.00).

FIL-156 Screenwriting 1 (3 credits)
This course provides a conceptual approach to the art and craft of writing for film. Emphasis is on writing from a visual point of view, as well as analyzing and exploring the elements fundamental to all styles of screenwriting. The goal of this class is to clear up the common misunderstandings that become obstacles to writing effectively for the screen and assist students in thinking visually. Studio (3.00).

FIL-157 Cinematography 2: Fund 2 (3 credits)
Extended Summary: to write with light, to write with motion, the learning of design (disegno), lighting and composition: these are the traditional aims of a class devoted to cinematography. Yet, under the impact of digital technology, this 179language,178 this way of seeing, is being challenged. What are we indeed to make of the differences between film and digital capture? Are we facing a new kind of aesthetics, one no longer concerned with the beautiful? Will the new technology help us gather a new awareness of the social world or is it dooming us to stylistic figures without consequence? Course Objectives: although lectures will fill much of the class, the heart of the course will consist of a series of visual explorations involving the filmmaker, the camera, and the world. Through specific exercises, each student will engage cinematographic issues related to the pictorial transformation of reality.

Suggested Reading Material: Paul Wheeler Digital Cinematography (Focal Press, 2001); Jean-Pierre Geuens The Digital World Picture (Film Quarterly, Summer 2002 173 to be distributed).

Course Requirements: each student will be responsible for 4 projects (about 5 min. each) for presentation in class on an assigned schedule. These are to be understood as raw sketches that challenge our stereotyped assumptions about filmmaking rather than polished pieces. The overall idea is to push your creativity rather than concern yourself with the equipment.

Class presence, quizzes, and participation: 50% of the final grade.
Artistry and timeliness of individual presentations: 50%.
Studio (3.00). Prerequisites: take FIL-110.

FIL-161 Cinematography Tech Training (3 credits)
This is a hands-on class designed to teach students the actor’s process, as well as the most effective ways to communicate with actors to get the desired results for the director. Students will experience acting from the practical viewpoint of becoming the actor and learn how to direct actors for best results. Studio (6.00).

200 Level

FIL-200 Introduction to Documentry (3 credits)
Studio. Prerequisites: take FND-108.

FIL-201 Digital Cinematography (3 credits)
This course provides an introduction to the tools and techniques of cinematography. Course material covers the practical use of light meters, cameras, lenses, film and the lab. The emphasis throughout is on “writing” the image rather than merely capturing it. Practical film exercises with department cameras are assigned and executed on campus. Studio. Prerequisites: take FND-108 FIL-153 FIL-100.

FIL-202 Film Writing 2 (3 credits)
This course provides a conceptual approach to the art and craft of writing for film. Emphasis is on writing from a visual point of view, as well as analyzing and exploring the elements fundamental to all styles of screenwriting. The goal of this class is to encourage student awareness of alternative approaches to the development of more complex story structures and characters, and to assist the student in becoming a more versatile storyteller. Studio. Prerequisites: take FIL-152.

FIL-203 Film Directing 2 (3 credits)
Students in this class will learn about working with the actor and the script in narrative film. Emphasis is on making the scene work, from casting to camera-ready. Each student is expected to direct and present three fully rehearsed scenes with accompanying research, floor plan, character description. Studio. Prerequisites: take FIL-155. Corequisite courses: FIL-208.

FIL-204 Film Production Sound (3 credits)
This course covers the fundamentals of sound and provides an introduction to using sound practically and creatively. Students will be trained to properly record sound for production. Course material will cover: sound theory, including the differences between sounds and pictures, and the value of perspective in sound; development of sound from its beginnings to new techniques and systems found on today’s sets, in theatres, and in the home; the tools used in production, including microphones, booms, mixers, tape, and recorders; the sync pulse and time code; recording and play back on set; analog and digital sound; creating and using the 3 elements of any sound track-dialog, sound effects, and music. Studio (3.00). Prerequisites: take FIL-205.

FIL-205 Storyboarding for Filmmakers (3 credits)
Storyboarding: Mastering Communication Using Text, Image, and Diagram. This course focuses on stroyboarding skills for the filmmaker. A series of exercises teaches techniques that enhance the student’s ability to visualize and sketch shot sequences and camera moves. Students are instructed in simple sketch techniques to expand their ability to communicate visual concepts to other participating artists. Studio (3.00). Prerequisites: take FND-101 or FND-103.

FIL-208 Directing2: Tech Training
This course provides a basic videography, using the Panasonic DVC Pro AJ-D610 WA DV camera. Students will learn and gain access to the camera system in preparation for Directing 3. Studio (3.00). Corequisite courses: FIL-203.

FIL-210 Cinematography 3: Comp&Color (3 credits)
The course consists of a series of 35mm still photo exercises to introduce the student to the basic vocabulary of lighting, including: lighting direction and formal definition, hard and soft light qualities, and the laws of light behavior. An overview of the historical conventions of film lighting and the role of the director of photography is provided as foundation for the practical photo assignments. Studio (3.00). Prerequisites: take FIL-157.

FIL-211 Screenwriting 2 (3 credits)
This course provides a conceptual approach to the art and craft of writing for film. Emphasis is on writing from a visual point of view, as well as analyzing and exploring the elements fundamental to all styles of screenwriting. The goal of this class is to encourage student awareness of alternative approaches to the development of more complex story structures and characters, and to assist the student in becoming a more versatile storyteller. Studio (3.00). Prerequisites: take FIL-156.

Computer Editing FIL-241 Adv Sound Design Workshop (3 credits)
As an ADVANCED SOUND DESIGN studio course, it is assumed the student already knows the fundamentals of Pro-Tools and has taken the pre-requisite FILM SOUND PRODUCTION class. Thus this course is a small, specialized workshop designed to help each student with specific music scoring and sound design needs on a project of the students146 choosing. This course will examine audio production techniques, technologies, and aesthetics related to the development of a soundtrack as used in film, video production, and theater. As reference, the course will investigate the most creative uses and innovations in sound design over the last century. Using live recording techniques and sound and music libraries, the course will inform students of the importance of sound in feature film and television. The course will also design and mix elements to create effective soundtracks for student film projects using digital sound recording and surround-sound mixing. The use of temporary musical scores and elements in student projects will also be discussed with special attention paid to the legal ramifications of intended or unintended plagiarism in the student’s final soundtrack mix; the dangers of 147Temp Love148 will concurrently be explained. The course is industry-oriented in its approach; that is, the student’s work is critiqued on the same strengths and weaknesses that it would be judged by in the marketplace. Learning objectives: To hone the students’ skills and work habits, assuming they will be filmmakers who will work and communicate with music composers and sound designers, to a level that is as close to professional as can be expected in a fourteen-week course. Texts/Equipment/Supplies: No text or equipment needed. Students are encouraged to bring their own filmed but unfinished works to class in QuickTime format to be used in the workshops and discussions, and when appropriate to be scored and sound designed. Course Structure and Grading: The student starts with a review of his/her specific projects in an effort to understand the sound, music and composing necessary to complete the project. Students then experiment with a variety of sounds and musical compositions for thematic ideation. Through ideation and experimentation students are able to explore and apply his/her specific learning to the completion of their film projects. Grading is based on promptness and attendance (25%), class participation (25%), and the execution of material (50%). Studio (3.00).

FIL-253 Film Directing 3 (3 credits)
This class focuses on directing and shooting the Master Scene. Emphasis is on directing actors, staging, camera blocking, editing, and screen direction. Scenes are videotaped in class and edited for viewing. Studio. Prerequisites: take FIL-203.

FIL-254 Film Editing 2 (3 credits)
The role of the editor is examined in-depth through challenging weekly assignments. Beginning with a detailed analysis of the scene, a through understanding of the characters and their motivations are developed. Each scene is dissected to determine its function in the larger story. The concept of motivated cutting is introduced to underscore the correlation between text and subtext in illustrating internal as well as external character objectives. Sequences from a broad array of popular television dramas form the basis of coursework. Studio (3.00). Prerequisites: take FIL-154.

FIL-256 Screenwriting 3 (3 credits)
Course material explores the more esoteric elements of screenwriting, including the creative process and the proper application of exposition, subtext and character to writing assignments. After this class, students should have a clearer idea about how to become a more productive writer and a more creative artist. Studio (3.00). Prerequisites: take FIL-211.

FIL-257 Film Editing 3: Adv Film Edit (3 credits)
Designed for upper term and Masters Program students, Advanced Editing is tailored to the individual student’s projects and areas of interest. The instructor and student collaborate to set goals for the semester’s work. Students are welcome to edit their own or fellow student’s films. Sequences from television series and feature films are provided for those who wish to develop genre specific skills in comedy, action, or drama. Progress is monitored weekly with screenings and classmates taking part in discussions. The instructor works closely with the student to build a comprehensive understanding of the post production process. Studio (3.00). Prerequisites: take FIL-254.

FIL-260 Cinematography 4: Lighting (3 credits)
This class is composed of a series of 16 X 9 format still photo exercises designed to achieve the following aims:

To introduce you to the basic concepts of :

Light
Focus
Composition

To use light as part of one146s storytelling conventions.
To give you the opportunity to begin manipulating light in the service of creative interpretation.

Learning objectives: To hone the students146 skills and work habits to a level that is as close to professional as can be expected in a fourteen-week course.
Texts/Equipment/Supplies: N/A.
Course Structure and Grading: Grading is based on promptness and attendance (25%), class participation (25%), and the execution of material (50%). Studio (3.00). Prerequisites: take FIL-210.

FIL-281 Post Production Sound (3 credits)
Course covers in depth the process of Post Sound for Film and Video from Video Editor to the industry standard Pro Tools. Subjects covered in depth are : recording Voiceover and ADR, Foley, editing music and production dialogue, sound design, music score creation, mixing, foreign mixes and delivery. Pre-req FIL-204 Studio. Prerequisites: take FIL-204.

300 Level

FIL-314 Cinematography 5: Master Class (3 credits)
In this lecture/lab class, world-renowned cinematographer Allen Daviau, ASC uses screenings of his works and other important films to analyze the specific techniques of visual storytelling- the mise-en-scene of lighting, blocking, production design, camera movement, etc., as well as color, lens and film stock choices. This special class is open to all film students with Department approval.

Allen Daviau’s credits as Director of Photography include E.T. the Extraterrestrial; The falcon and the Snowman; The Color Purple; Empire of the Sun; Avalon; Bugsy; Van Helsing, and many others. Other honors include a BAFTA Award, two ASC Cinematography Awards, and the Art Directors’ Guild Distinguished Career Award.

FIL-315 PSA & Commerical Workshop (3 credits)
This course provides instruction in nomenclature and use of professional motion picture cameras and related tools. Students will get a broad view of the most current advances in cinematic technology. Course material includes the evaluation of the role of the cinematographer as a visual storyteller and students will develop a broadened understanding of the balance between artist and technician. Studio (3.00). Prerequisites: take FIL-253.

FIL-316 Screenwriting 4: Script Dev (3 credits)
Studio (3.00). Prerequisites: take FIL-256.

FIL-317 Pitching (3 credits)
Class is in two sections: weeks 1 thru 7 concentrate on learning how to effectively present and sell yourself and your projects in the room to potential employers or buyers. Weeks 8 thru 14 will focus on designing and making the best possible portfolio or sales reel, focusing on effective content as well as the technical aspects of content editing, mixing, compression, DVD menus, printed inserts and labels, etc. Studio (3.00). Prerequisites: take FIL-253.

FIL-318 Line Prod&prof Film Production (3 credits)
The process of filmmaking is looked at from the producer’s point of view. Each class consists of a lecture on one of the five major creative areas of filmmaking: writing, acting, cinematography, editing and directing; then a screening of a scene from a completed movie—we analyze it creatively and production-wise; finally, every session has time for individual questions and answers. Emphasis is on professionalism—both problems and solutions. Also, three of the sessions are dedicated to production management—script breakdown, scheduling and budgeting are covered. [NIJO: THIS LAST SENTENCE IS OPTIONAL. PLEASE MAKE IT ALIGN WITH ACCD STANDARDS. Some expenses are associated with the class ($100-200). Studio (3.00). Prerequisites: take FIL-253.

FIL-319 3D Cinematography Workshop (3 credits)
An intensive, hands-on laboratory in the art and technology of the explosive field of stereoscopic 3D cinematography. Introduction to Basic Concepts, Theory and Terminology will be given in capturing, editing and monitoring stereo video and virtual stereo projects. Hands-on will start on the first day using your own still digital camera, processing to more sophisticated stereo equipment in exercises in a studio environment, followed by production of short dramatic projects. We will have demonstration of state-of-the-art hardware and software, plus visits to several important 3D companies. The workshop is open to graduate and undergraduate students, professional cinematographers and visual graphic artists interested in knowledge and practice about this emerging filmmaking process. Affonso Beato, ASC, ABC is a highly experienced Director of Photography, recently consulting for a major international TV Network and member of its R&D project on producing and broadcasting stereoscopic programs. His many feature film credits include: The Queen; Nights in Rodanthe; Ghost World; Dark Water; The Fighting Temptations; The Big Easy; Great Balls of Fire; Love in the Time of Cholera; and many others. Prerequisites: take FIL-161.

FIL-354 Selling Your Film (3 credits)
This class covers the complete process of finding and/or developing material; protecting it; financing it; selecting cast, crew, locations, equipment; finishing the project; offering it for sale to the marketplace; finding distributors; understanding exhibitors; playing the “film festival” game; marketing, promotion; finding agents, managers, attorneys; etc. A “must” class for anyone serious about making films. Examined from the “independent” perspective, but with numerous references to the studio process as well. Textbook required. Two short quizzes and a term paper (a business plan for a project—real or imagined). Studio (3.00). Prerequisites: take FIL-253.

FIL-355 Non-Fiction Film and Video (3 credits)
Students in this class will work together with non-profits to focus on the organizations’ media needs, conduct research, work on budgets and presentations, then form small production units that will write, produce, shoot direct, and edit films and videos serving the various specific needs of these organizations. These films would range in length from 30 seconds to 30 minutes, and could include PSAs, fundraising films, outreach programs, informational and educational videos. Studio (3.00).

FIL-356 Post Production Seminar (3 credits)
This class will cover all of the various steps of post production following the completion of principal photography in a comprehensive and detailed fashion while making it as simple, accessible and easy to understand.
Beginning chronologically, The first stage is picture editing, followed by sound editing, music composition, music recording, music editing, foley and ADR recording and eventually sound re-recording and the mastering of the three elements of the sound track - dialog, music and sound effects and the manufacturing of the final sound elements in preparation for compositing picture and track into one final film element.
Parallel to these stages are the visual processes of the creating of any special visual effects, main and end titles and any other titling within the film, locating and integrating of any stock or special footage, finalizing the picture edit and negative cutting and color grading for eventual final printing of the picture and mastering with the soundtrack.
Guest speakers from the various disciplines will share their professional expertise and experiences and be available for questions. Studio (3.00). Prerequisites: take FIL-253.

400 Level

FIL-401 Film Workshop 1 (3 credits)
The Workshops are for 7th and 8th term and Masters candidates. Every session has students present projects at every stage of development: pitching concepts; presenting storyboards and/or animatics; showing casting videos; doing table readings; showing dailies, rough cuts, fine cuts. Emphasis on feedback from your peers. Every session is supplemented with screenings by the instructor of former student work as well as professionally-made films. Studio (3.00). Prerequisites: take FIL-315.

FIL-452 Film Workshop 2 (3 credits)
The Workshops are for 7th and 8th term and Masters candidates. Every session has students present projects at every stage of development: pitching concepts; presenting storyboards and/or animatics; showing casting videos; doing table readings; showing dailies, rough cuts, fine cuts. Emphasis on feedback from your peers. Every session is supplemented with screenings by the instructor of former student work as well as professionally-made films. Studio (3.00). Equivalent to FIL-451. Prerequisites: take FIL-401.

FIL-453 Film Workshop 3 (3 credits)
The Workshops are for 7th and 8th term and Masters candidates. Every session has students present projects at every stage of development: pitching concepts; presenting storyboards and/or animatics; showing casting videos; doing table readings; showing dailies, rough cuts, fine cuts. Emphasis on feedback from your peers. Every session is supplemented with screenings by the instructor of former student work as well as professionally-made films. Studio (3.00). Prerequisites: take FIL-452.

Graduate Level

FIL-551 Gradute Film Semnar (3 credits)
Graduate Academic ().

FIL-699 Thesis Preparation
Required for all graduate film students that have completed their course work but have not completed their thesis. Student must enroll in this course every semester until thesis is complete and approved. Studio.

FIL-900 Film Internship (3 credits)
Studio.

FIL-975 Studio Independent Study (3 credits)
Independent Study ().

FIL-F002 Intro to Lighting (3 credits)

FIL-F004 Storyboarding (3 credits)

FIL-F0052 Cinematic Language (3 credits)

FIL-F006 Elements of Image (3 credits)

FIL-F008 Film Lighting 1 (3 credits)

FIL-F0082 Film Lighting 2 (3 credits)

FIL-F009 Student Film Analysis (3 credits)

FIL-F0152 Cinematography 2 (3 credits)

FIL-F017 Intro Comp-Base Edit (1 credit)

FIL-F023 Digital Camera Sys (1 credit)

FIL-F045 Film Sound Prod (3 credits)

FIL-F046 Post-Production Sound (3 credits)

FIL-F129 Film Dept Orientation (1 credit)

FIL-F1332 Non-Linear Editing 2 (1 credit)

FIL-F1603 Film Workshop
Studio.

FIL-F176 Line Producing & Prod Mgmt (2 credits)

FIL-F216 Film Lighting Workshop (wk1-7) (1 credit)
Studio.