What makes our Producing Program unique?
The New York Film Academy’s Film and Television
Producing Program is housed within our film school
and is designed to illuminate one of the most important,
yet misunderstood, jobs in film and television.
Students eager to control their own destiny in the business
world of film and television flourish in this intensive handson
program.
It is geared to students with little or no experience in producing,
but who recognize that an intensive and demanding program,
much like the job of producing itself, will provide them with the
knowledge they seek.
Students are treated as Producers throughout the duration
of the course, and are challenged at each step of the way.
Students are encouraged, but not required; to bring a piece of
intellectual property - a book, screenplay, show concept or
treatment — at the beginning of the course that will be used
throughout the year as the foundation of their final project.
Students take this project through the various stages of
development: pitch, treatment, script, talent search, budget,
schedule, and plans for marketing and distribution. Students
learn the real-word strategies for successful producing and
are encouraged to develop the professional network needed
within the film and television industry.
Students must be prepared for full-days of intensive work
throughout the entire program. They must be committed to
a fast-paced, intensive learning and production schedule,
and willing to work collaboratively with our filmmaking,
screenwriting, and acting students.
SEMESTER ONE OVERVIEW
Producers are confronted with a number of visual, dramatic,
financial, legal, logistical, managerial, and technical
challenges. Instructors encourage students to artfully work
through these challenges while working to complete several
film and television projects.
From the first day of class, students are immersed in a
hands-on education. Students undergo a thorough regiment
of class work and film production that lays the groundwork
for a professional life in the film arts. They learn both the
creative aspects of producing, as well as the more technical,
line producing side. All students participate in an intensive
sequence of classes and hands-on workshops.
Continue >>
Learning Goals
• Introduction of the roles, tasks, and obstacles faced
by film and television producers: optioning, developing
material, film festivals, networks and ratings, pilot
season, studio distribution and marketing, independent
film financing, and pitching.
• Gain understanding of the entire physical process of
pre-production: scouting, securing locations, permits,
casting, budgets, scheduling.
• Master the concepts of storytelling: elements,
conventions, structure, style, forms.
• Understand basic principles of Entertainment Law.
• Understand filmmaking from the perspective of the
director and screenwriter.
Production Goals
• Begin to develop a feature film project for
the Year-One Final Project
• Perform a pitch to an audience of peers.
• Direct a scene with actors on digital video and edit that
same scene for presentation with class.
• Break down a short script into a shooting plan.
• Prepare a budget and schedule from scratch.
SEMESTER TWO OVERVIEW
The second semester challenges students to develop their
production craft artistically and technically. The focus is on
hands-on production, and learning through immersion in the
process. It is designed to enable students to create a fully
conceived short film in collaboration with their peers. Working
in groups, students oversee and manage all aspects of preproduction,
production, and post-production.
Learning Goals
• Continue examining, analyzing, and mastering key
elements of the producer’s craft.
• Study production strategies through execution of
production goals.
Production Goals
• Produce a reality show pilot.
• Produce a news segment or short documentary.
• Line-produce a short film
• Develop a feature film project
Continue >>
QUICK FACTS:
Start Dates: January, September
Locations: New York City, Universal Studios
Cost:
$15,000 (USD)/Semester
€10,115 (EURO)/Semester
YEAR ONE COURSE DESCRIPTIONS
Producer’s Craft
This study of the craft of Producing outlines the essential
roles, tasks, and obstacles faced by film and television
producers in Hollywood and independent production of film,
television, and new media. Suitable time is spent on script
coverage, which is the deconstructing of a screenplay’s
log line, synopsis, and commentary, which then leads to
an understanding of style, genre, and story content of a
submitted script. Everything from Distribution, Marketing,
and Packaging to Networking is covered.
Producer’s Roundtable
In this class, students begin to develop their year long
producing project, which must be a feature film of any
genre with a completed Sundance Lab grant application,
television pilot of any genre, feature length documentary
with completed ITVS grant application, or a concept and
breakdown for a series of webisodes. Students develop the
following for their project where applicable: logline, synopsis,
treatment, partial spec script, business plan, basic marketing
plan, basic distribution plan, budget, shooting schedule,
potential attachment of a director and principle actors, and
an explanation of the attachments.
Pitch Meetings
Students are instructed in the process and honing of pitching
skills for narrative features, sitcoms, dramatic television
content, reality TV, and/or feature length documentaries.
They present their pitches in workshops and perform them
before students in Directing and Screenwriting programs.
Industry Speaker Series
These are information sessions featuring discussions
with producers of American independent, foreign, and
Hollywood films, network and cable television, as well as
directors, actors, agents, managers, lawyers, foreign sales
representatives and many others. These sessions may be
coupled with screenings of new films or television shows
brought by these guests.
Directing for Producers
Even if a producer never plans to direct anything, he/she
needs to know how directors carry out their visions. Producers
should create a nurturing and artistic production environment
that enhances each director’s skills and provide the support
needed to make the best possible film or television show.
Producing students learn how directors use the camera and
work with actors – the two central tools of any director. In
hands-on sessions students break down a short script into a
shooting plan and direct a scene with actors on digital video.
Students have the opportunity to edit the scene and present
it at their final class meeting.
Introduction to Line Producing
The Line Producer is responsible for the physical production
of a film, from pre-production through the end of production.
In this class we dissect the Line Producer’s responsibilities,
covering budgeting, hiring crew, scheduling, scouting,
prepping shoot & post, as well as managing relationships
with the director, crew, and studio/financiers.
Special attention is paid to the duties and relationships
within the production team (Line Producer, UPM (unit
production manager), Assistant Directors, and Accountant)
and to the balance that the Line Producer has to strike
between accountability to the studio/investors and to the
director’s vision.
Film Craft
In Film Craft, students learn the basics of practical production.
They are educated through hands-on instruction in basic
cinematography, lighting, sound, and digital editing.
Continue >>
Entertainment Law : Contracts, Intelectual
Property , Negotiations Drafting, and Ethics
This course is an overview of contract law and how it impacts
the entertainment industry. Students study legal issues
regarding television, films, recordings, live performances and
other aspects of the entertainment industry. Topics include
contracts, copyright law, compensation, celebrity status
(including privacy and publicity rights), First Amendment,
intellectual property, and talent representation. This course
addresses legal issues to preserve, protect and actualize
the intellectual, entertainment, and technological property of
people working in the entertainment industry.
Screnwriting Fundamentals
This course helps students develop their analytic skills in
the areas of structure, plot, story, momentum, tone and
characterization, and master the tools of story genesis
and development for film and television. The course also
develops an understanding of genre, theme, imagery, working
with writers, and other professional issues as they relate
to creative producing. The focus is on the definitions and
implementation of story, drama, conflict, and the difference
between story and script. There are discussions about
the hiring of a screenwriter to work with producers on the
development of an idea or concept for a reality television
pilot, feature film, or other creative forms they wish to pursue
as well the WGA and how it functions in relation to the
producer and writer.
Hands on Producing - Reality Television
All genres of Reality Television are studied including
elimination or game shows, talent competitions, dating
based competitions, job search competitions, selfimprovement
makeovers, hidden camera, hoaxes, and
episodic documentaries.
Working in small groups, students create their own reality show
trailer or teaser. They cast, scout, shoot, and edit their shows
for presentation and critique. Students learn brainstorming
techniques, casting, how to research topics and characters,
pre-interviews, formal interviews and on the fly interviews.
They learn how to create a reality “script”, schedules, budgets,
special insurance, legal issues, and the deliverable process.
Documentary and News Magazine Workshops
These workshops focus on schools of documentary
thought including cinema verite, direct cinema, biographical
documentary, docu-drama, political documentary, and
investigative journalism, among others. The workshops
further examine artistic, technical, and ethical approaches in the genre. Documentary styles, shooting approach, methods
of interviewing, documentary structure, theme, point of view,
and reenactment are some of the topics that are discussed
and critiqued. The workshops inform students about basic
business plans, models and distribution methods used for
independent documentary production, as well as the nuts
and bolts of television’s successful investigative journalistic
models.
Pre-production of a Short Film
Working closely with their respective mentors, in this course,
producers learn the basics of all producer related roles on
set and in the production office. They will plan the production
strategy, budgets, schedules, script breakdowns, etc. for the
short films they will produce in conjunction with students from
the NYFA Master of Fine Arts in Filmmaking Program.
Short Film Production
Collaborating with students in the Master of Fine Arts in
Filmmaking and Producing students function as Creative
Producers as well as Line Producers for a “Thesis” short film.
Master of Fine Arts YEAR ONE Final Project
Each student is required to develop a narrative feature film
of any genre, feature documentary, television project, or
concept and breakdown for a series of webisodes including
filmed examples. Requirements for the project include
a development package, and final pitch. The package is
comprised of a logline, synopsis of the project, a ten page
treatment, an executive summary, a studio, independent, or
documentary film overview, a partial spec script (consisting of
the first 10 pages), a business plan, including risk statements,
and paperwork associated with the formation of an LLC, a
financing plan, basic marketing plan, basic distribution plan,
festival strategy, shoot schedule, two budgets, top sheet,
and potential attachment of a director and principle actors,
as well as all related business documentation for investors.
Semester Three OVERVIEW
At the beginning of Semester Three, students must form a
thesis- committee and determine which Thesis Option they
will pursue over the course of Year Two. Students must meet
regularly (at least once per week) with thesis committee
members in order to ensure compliance with New York Film
Academy standards, and to seek assistance in the realization
of their respective creative visions.
Semester Three classes are infused with an emphasis on
perfecting craft, exposing students to emerging media and
technology, and exposing them to the realities of the film
industry and the business of filmmaking. The focus of the
semester is on “professionalism.” It is designed to prepare
Master of Fine Arts students for their thesis projects as well as
for a life in the industry after graduation.
Learning Goals
• In depth analysis of the television sitcom industry.
• Explore story and storytelling through an in-depth study of
the elements, conventions, structure, style, and traditional
forms of the art.
• Analyze budgets, schedules of films and television shows.
• Overview of the contract law and how it impacts the
entertainment industry.
• Identify the techniques used by cinematic innovators.
• Survey of negotiations and drafting.
• Explore the evolutions of new media.
Production Goals
• Prepare a sitcom script for production
• Long Form project development
Continue >>
SEMESTER FOUR OVERVIEW
In Semester Four, students devote a majority of their time to
their thesis requirements. Faculty meets one-on-one with
students in an extensive series of advisements to assist
them and coach them through the successful completion of
thesis requirements.
Learning Goals
• Learn postproduction workflow.
• Further study of the strategies of financing, marketing and
distribution
• Historical analysis of entertainment law
• In depth study of documentary production
• Production Goals
• Produce Thesis Project
Production Goals
• Produce Thesis Project
SEMESTER FIVE
Students who choose to complete NYFA Thesis Option C,
stay for a paid fifth semester. During the fifth semester, in
continuation of Semester Four, students produce a feature
length film in collaboration with a NYFA Master of Fine Arts in
Filmmaking Student.
Students form an LLC or a Production Company in conjunction
with the Production process of making the film, and are
expected to guide a production from original concept and
development, to pre-production and production, followed
by a post-production schedule set to a final delivery date.
All Marketing and distribution commences upon completion
of the Feature.
Students are involved in all aspects of each phase on the film,
including, development of script and story, casting, budgeting,
scheduling, locations, hiring of crew, payroll, contracts,
deal memos, equipment, vendors, talent negotiations,
union Regulations, post-production, delivery requirements,
marketing & distribution agreements, and Final MPAA ratings.
Year two COURSE DESCRIPTIONS
Situational Comedy Development
In this exploration of television Situation Comedies from the
Producer’s point of view, students participate in an in depth
analysis of the Television Sitcom industry and develop a fulllength
pilot of their own. From the initial concept and pitch to
finalized script and budget, students prepare a sitcom script.
Line Producing II
Line Producing leads students through the entire process of
pre-production (including scouting and securing of locations,
permits, and casting), and production (managing a bustling film
set and keeping on schedule and on budget). Students also
analyze budgets and schedules of films and television shows
that have already been produced to gain an understanding of
these two key elements in preparing a project for production. In
later sessions, students prepare a budget and a schedule and
learn how these two elements interact and drive the production.
EP Budgeting/Scheduling
EP Budgeting/Scheduling is the industry standard in budgeting
and scheduling software. The budgeting format allows users
to create and edit comprehensive budgets of all sizes for all
types of productions, while automating the scheduling strip
board process. Producers, production managers and assistant
directors use this script breakdown and scheduling software.
Entertainment ACCOUNTING
This course provides an overview of the financial, cost, and
managerial accounting functions specific to the film industry,
with general application to all other areas of media production,
including television, commercials, music videos, and game
development. Students will analyze techniques and control
procedures for accurate preparation of financial statements.
Specific topics include production budgeting, management
reporting, film accounting terminology, amortization of film cost,
and studio distribution contacts.
PRODUCER’S CRAFT II
This course continues the study of the essential roles, tasks,
and obstacles faced by film and television producers in
Hollywood and in independent production. Students also
track feature films and new television shows as case studies.
The class serves as the core of the first year of study and is
essential in conveying fundamental producing skills including
optioning and developing material, film festivals, networks
and ratings, pilot season, studio distribution and marketing,
independent film financing, and the pitch.
Cinema Studies 1: Historical Perspectives
This course is an intense film studies seminar in which students
are taught to identify the techniques used by cinematic innovators
throughout the history of filmmaking. The course explores
ways that the craft of directing (particularly shot construction),
cinematography, acting, and editing have developed. Through
screenings and discussions, students grow to understand how
filmmakers have approached the great challenge of telling stories
with moving images from silent films to the digital age.
Entertainment LAW II:
CONTRACTS NEGOTIATIONS AND DRAFTING
A survey of legal issues pertaining to contract negotiation
and conflict resolution in the entertainment industry, this
course, teaches students contract negotiation and contract
drafting skills through mock negotiations and contract drafting
exercises.
Students will gain a historical perspective of entertainment
industry culture, including the rise of modern mass mediated
culture and cyber culture. Students explore the link between
entertainment culture and our usual categories of aesthetics,
politics, culture, identity, ethics, and value. Various perspectives
on ethical decision-making and ethical business practices
specific to the entertainment industry will be studied.
Cinema Studies II: Historical Perspectives
A broad cross-section of the film community is represented in
this screening series, including directors, producers, directors
of photography, editors, screenwriters, production designers,
post-production coordinators, and casting directors. Students
are exposed to multiple avenues for potential employment in
the film industry. All lectures are followed by Question & Answer
sessions.
Continue >>
ELECTIVE: New Media
In the ever-changing world of the entertainment industry, it is
essential for a producer to keep abreast of evolutions in new
media technology and the many new outlets for distribution
that continue to emerge on an increasingly rapid basis. In the
digital age, ipods, webcasts, even cell phones have become
viable modes for distribution. The war between HD formats, the
dynamic possibilities of multimedia tie-ins and Alternate Reality
Games, and the anti-piracy aspirations of digital 3-D projection
are only a few of the topics that will be covered in detail.
The Post-production Proces
This workshop explores the entire post-production and
“deliverable” workflow for both film and digital formats. In
addition to the technical aspects of physical post-production,
the artistic and managerial aspects are also addressed. Postproduction
for all current exhibition venues, including DVD,
theatrical, cable and satellite is reviewed.
FINANCING, MARKETING AND DISTRIBUTION II
Focusing on domestic, international, and independent marketing
and distribution, and using case studies of actual studios and
independent production companies (and the films and television
shows they produce), this workshop focuses on successful
strategies for each of these vital aspects of producing.
Thesis Project
Thesis Projects consist of
Thesis Option: A or Thesis Option: B or Thesis Option: C.
The Primary Thesis Options and Secondary Thesis Components
are as follows:
Thesis Option: A
The student produces and delivers a Short-Form version of
the Long-Form Project they developed and pre-produced in
Long-Form Project Development. Students work under the
guidance and advisement of the New York Film Academy Thesis
Committee. Mandatory consultations with these appointed
faculty members are necessary for students to gain guidance
and an understanding of the many tasks inherent to long-form
production. These consultations also include a clear template
of delivery dates for script deadlines, casting calls, production
meetings, budget breakdowns, location lockdowns and a
demonstration of financial responsibility to obtain approval to
shoot. Due to the significant amount of time required to produce
and fully complete Long-Form Projects, students produce shortform
versions which are considered useful marketing tools for
financing long-form or feature length projects.
Thesis option: B
The student self-incorporates a Limited Liability Corporation
production company. The student must find, acquire, and
develop a stable of at least three properties, develop and preproduce
them, and deliver a completed production package
(including a polished script, storyboards, budget, production
schedule, list of potential actors for consideration in each role,
plans for set construction, etc.). The student must also produce
and deliver a finished trailer for at least one of the developed
and pre-produced properties. These corporations are formed
with the guidance and advisement of the New York Film
Academy Thesis Committee. Mandatory consultations with
these appointed faculty members are necessary for students
to gain guidance and an understanding of the tasks inherent to
entrepreneurial endeavor in the entertainment industry.
Thesis Option: C
Students may choose to produce a feature length film in
collaboration with a Master of Fine Arts in Filmmaking Student.
By choosing Option C the student agrees to remain for a paid
fifth semester before completion of his/her certificate. Students
enter Pre-production of a feature film in Semester Four with
the guidance of an appointed faculty member. Mandatory
consultations with these appointed faculty members are
necessary for students to gain guidance and an understanding
of the grueling tasks inherent to feature length film production.
These consultations also include a clear template of delivery
dates for script deadlines, casting calls, production meetings,
budget breakdowns, location lockdowns and a demonstration
of financial responsibility to obtain approval to shoot. Students
must receive a “green light” before beginning production on
their thesis films.
SEMESTER FIVE (Optional):
Production of Feature Length Film
(Thesis Option C)
A continuation of the work started in Semester Four.
Students complete and deliver a feature length film in
collaboration with a Master of Fine Arts in Filmmaking student.
Prerequisite: Thesis Project C
Russian
Spanish
Italian
Portuguese
Japanese
Korean
Chinese Traditional
Chinese Simplified
