PRE-PROD OF A MOTION PICTURE
Pre-Production of the Motion Picture teaches Creative Producing students how to breakdown, schedule and prep all aspects of a low budget independent feature film. Using one shooting script as a case study, the class will learn to think critically and master each step of the pre-production process. Students will prepare script breakdowns, production strip boards, call sheets and a full production binder. Topics will include state tax incentives, payroll services, union contracts, deal memos/hiring paperwork, casting, labor laws, hiring BTL crew, legal, insurance and deliverables. Additionally, students will become proficient in Movie Magic Scheduling. Required for all second-year Creative Producing students and only open to students in that concentration.
- T 10 a.m.-1 p.m.
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Instructor:
Maureen A Ryan
Info - 3 points
TV PILOT: COMEDY & DRAMA
With the pilot as a focal point, this course explores the opportunities and challenges of telling and sustaining a serialized story over a protracted period of time with an emphasis on the creation, borne out of character, of the quintessential premise and the ongoing conflict, be it thematic or literal, behind a successful series.
Early in the semester, students may be required to present/pitch their series idea. During the subsequent weeks, students will learn the process of pitching, outlining, and writing a television pilot, that may include story breaking, beat-sheets or story outline, full outlines, and the execution of either a thirty-minute or hour-long teleplay. This seminar may include reading pages and giving notes based on the instructor but may also solely focus on the individual process of the writer.
Students may only enroll in one TV Writing workshop per semester.
- M 10 a.m.-1 p.m.
- F 10 a.m.-1 p.m.
- M 10 a.m.-1 p.m.
- R 6 p.m.-9 p.m.
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Instructor:
David Klass
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Instructor:
Alice O'Neill
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Instructor:
James M Tyler
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Instructor:
Benjamin Robbins
Info - 3 points
TV PILOT - COMEDY
FILM AF 8131 Intro to Pilot: Comedy
With the comedy pilot as a focal point, (and by comedy, that could also include dramedies like
Transparent
and
Insecure
) this course explores the opportunities and challenges of telling and sustaining a serialized half-hour story over a protracted period of time with an emphasis on the creation, borne out of character, of the quintessential premise and the ongoing conflict, be it thematic or literal, behind a successful series.
Early in the semester, students may be required to present/pitch their series idea. During the subsequent weeks, students will learn the process of pitching, outlining, and writing a television pilot, that may include story breaking, beat-sheets or story outline, full outlines, and the execution of a thirty-minute teleplay. This seminar may include reading pages and giving notes based on the instructor but may also solely focus on the individual process of the writer.
Students may only enroll in one TV Writing workshop per semester.
- M 2 p.m.-5 p.m.
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Instructor:
Mark Williams
Info - 3 points
CINEMATOGRAPHY
This course serves as a hands-on introduction to both the aesthetics and craft of cinematography geared for the non-cinematographer. The syllabus is designed to deepen students' understanding of the craft and develop the communication skills that enhance a filmmaker's collaboration with a Cinematographer.
Vietnam War in American and Vietnamese C
Vietnam War in US and Vie
This course explores the portrayal of the Vietnam War in American and Vietnamese cinema. Students will analyze and compare films from both countries, examining themes such as patriotism, disillusionment, national identity, resistance and the human cost of war. The course also investigates how each country portrayed the other through its cinema, and the impact of cinema on public opinion and historical understanding of the conflict in both countries. We will also examine differences in cinematic and storytelling techniques used in each country, unpacking cinema as art, commercialism and propaganda. This course combines film screenings (in and out of class), discussions and critical analysis to provide a deeper understanding of how cinema in America and Vietnam were used to portray the same war.
DIGITAL STORY TELLING I: History and The
HISTORY&THEORY OF INTERACTIVIT
What does interaction have to do to storytelling? How do we tell stories within media that are non-linear, including games, virtual reality, and immersive theater? How can we craft narratives that emerge from the dynamics of interaction, narratives experienced through exploration and choice? What design strategies exist regarding an understanding of character, plot, drama, time, space, and event within interactive fictions? This course will take a close look at the mechanics of storytelling within dynamic media, exploring connections between interactivity and narrative experience. The course will examine examples ranging from the design of Live Action Role Playing games to massively multi-player experiences, from hypertext to tarot cards, from Oculus to Punchdrunk. Content will be delivered through lectures, reading, discussion, case studies, and small studio-based exercises. Elective open to all SOA students.
- W 6 p.m.-9 p.m.
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Instructor:
Char Simpson
Info - 3 points
DOCUMENTARY PRODUCING
Through the process of developing, pitching, researching, and writing a treatment for a documentary short, students will develop an overview of the documentary process from development through distribution. The course will touch on research, story, production and post production logistics, legal, financing, budgeting, distribution, and ethical issues in the creation of documentary films.
- M 2 p.m.-5 p.m.
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Instructor:
Jameka Autry
Info - 3 points
Tech Arts: Advanced Post Production
Tech Arts: Adv Post Produ
Tech Arts: Advanced Post Production covers advanced techniques for picture and sound editing and the post production workflow process. The goal of the course is to give you the capabilities to excel in the field of post production. We will focus extra attention to concepts and workflows related to long-form projects that can contain a team of technical artists across the post production pipeline. We will cover preparing for a long-form edit, digital script integration, color management and continuity, advanced trimming, and advanced finishing. The hands-on lessons and exercises will be conducted using the industry-standard Non-Linear Editing Systems, Avid Media Composer, and Davinci Resolve.
Each week’s class will consist of hands-on demonstrations and self-paced practice using content created by the students and provided by the program.
- F 10 a.m.-1 p.m.
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Instructor:
Michael J Cacioppo Belantara
Info - 1.5 points
THESIS PREP SEMINAR
- F 9:30 a.m.-12:30 p.m.
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Instructor:
Jane Gaines
CULPA: 4 Info -
Instructor:
Ronald Gregg
CULPA: 2 Info - 3 points
SCREENWRITING THESIS WORKSHOP
SCREENWRITING THESIS ADVSMNT
Screenwriting concentrates who are focusing on Screenwriting MUST take Screenwriting Thesis Workshop with their advisor at least once during Research Arts matriculation in order to graduate. Students may take this class with their advisor whenever it is offered. They should consult with their advisor if they are considering taking Thesis Workshop at the same time as Script Revision or TV Revision.
- F 10 a.m.-1 p.m.
- T 6 p.m.-9 p.m.
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Instructor:
Christina Lazaridi
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Instructor:
Jamal Joseph
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Instructor:
Trey Ellis
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Instructor:
Katherine Dieckmann
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WORKSHOP IN SCRIPT REVISION
- F 10 a.m.-1 p.m.
- M 6 p.m.-9 p.m.
- R 6 p.m.-9 p.m.
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Instructor:
David B Schwab
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Instructor:
Jessica Keyt
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Instructor:
Galt V Niederhoffer
Info - 0 points
TV REVISION
FILM AF 9120 TV Revision
The goal of TV Revision is to bring in a completed pilot and then completely revise it in one semester. Students will initially present their full scripts for feedback in class discussion, then map a plan for rewriting with their instructor. Deadlines throughout the semester will focus on delivery of revised pages.
The work can range from an intensive page 1 rewrite to focus on selected areas in a script. Reading of all scripts in the workshop and participation in class discussion is required.
There is an application process to select students for the class.
- W 9:30 a.m.-12:30 p.m.
- R 10 a.m.-1 p.m.
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Instructor:
Courtney M Baron
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Instructor:
Matthew R Fennell
Info - 0 points
Portfolio Film Workshop
This fourteen-week elective, open to Research Arts Screen & TV Writing students, will provide vital directing advisement to Portfolio films. It covers pre-production and director’s prep.
- R 10 a.m.-1 p.m.
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Instructor:
Bogdan G Apetri
Info - 0 points
DIRECTING THESIS ADVISEMENT
This course will serve to provide an opportunity for Students who are Directing Concentrates to develop their thesis projects within a structured environment. The course may be taught in every week or alternating week formats. Students will be encouraged to submit ideas, treatments, scripts, rough cuts and fine cuts of their thesis films. The class is collaborative and serves as a base from which Directors can try out concepts and ideas, and receive input from fellow students as well as their thesis advisor.
- W 9:30 a.m.-12:30 p.m.
- R 6 p.m.-9 p.m.
- T 2 p.m.-5 p.m.
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Instructor:
Ramin Bahrani
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Instructor:
Hilary Brougher
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Instructor:
Bette Gordon
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Instructor:
Tom Kalin
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Instructor:
Bogdan G Apetri
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Instructor:
Anocha Suwichakornpong
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PRODUCING THESIS ADVISEMENT
Meets one Tuesday every month from June 2021 through May 2022, from 6-9pm. Dates are listed below, but there may be times when class dates will have to change.
All classes will be taught via Zoom.
Overview:
The class will meet once monthly and will focus on the following:
1) Students’ thesis work - class will analyze, advise, give notes on, support, and discuss each person’s work over the year during the development, prep, production, post-production, and marketing periods of work for each thesis project.
2) Exploration of skills necessary to transition to working in the film industry after graduation. Topics include resume workshops, web site creation, film festival strategy, financing strategies, rights clearance, and press kit creation.
3) CU alums and other guest speakers will discuss their transitions from film school to working in the film industry, and will discuss their areas of expertise: TV producing, feature film producing, development, representation, networks and studios, teaching as a career, etc.
- T 6 p.m.-9 p.m.
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Instructor:
Jack Lechner
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Instructor:
Maureen A Ryan
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Instructor:
Mynette Louie
Wikipedia Info - 0 points
DIGITAL STORY TELLING III: Immersive Pro
IMMERSIVE PRODUCTION
Students work in teams to design, build and deploy a digital storytelling experience which is staged for the public at the end of the semester. The course
combines project work, mentors, and collaborative methods to create a dynamic hands-on learning environment that mixes story and code.
Interested students should contact the instructor for details on applying to the course.
- M 6 p.m.-9 p.m.
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Instructor:
Lance Weiler
CULPA: 1 Wikipedia Info - 0 points
Writing for the Screen
The Pilot
A great TV series starts with a great pilot episode. You have one chance to intrigue an audience and stand out from hundreds of other series—599 were released in 2022, and that only includes the English language releases! This course will share the building blocks needed to write the next compelling series, starting with the pilot. Not all buyers want to read a finished pilot, but as the creator, you’ll need to know your pilot inside out and become an expert in your series’ genre if you want to sell it. This course will be a combination of pilot outlining and scene writing with an exploration of character and theme. All this through the lens of the marketplace and your authentic, lived experience—the magic combination for a winning series. We will workshop your outlines and scenes in class. Any assigned readings, screenings, and exercises will be focused as much as possible on inspiring material that relates to your pilot/series idea.
This course will support you if you want to write a full pilot script. However, the main objective is to finish the course having written a pilot outline and key scenes, as well as other material that's vital to a successful pilot and series such as character and season one breakdowns. You should come to the first class with at least two original logline/elevator pitches for series ideas to which you have a strong personal connection.
Existing ideas that you feel would benefit from this coursework are also welcome.
- R 6 p.m.-9 p.m.
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Instructor:
Marilyn S Fu
Info - 0 points