MFA Filmmaking

Overview of our MFA in Film Program

MFA Film Program at New York Film Academy (NYFA) is an accelerated two-year program made possible by an extended academic year. Candidates will complete three full-length semesters in each calendar year.





Qualified candidates have the option of completing course work at the New York Film Academy in New York City in a one-year non-degree program and then applying their course work to be accepted for advanced standing in the MFA Film degree program. No previous experience is required for NYFA’s Filmmaking School; however, MFA Film candidates must work with self-discipline, energy, and mutual respect.

MFA FILM CURRICULUM OVERVIEW

As in all New York Film Academy programs, hands-on learning is emphasized.

We believe that Film directing classes are not theoretical explorations; they are practical classes designed to put candidates in the director's chair as quickly as possible. Candidates are encouraged to take creative risks and find their own voices as visual artists.

The MFA Film program offers candidates over 2,000 hours of hands-on instruction and production experience, whether they choose to complete 76 or 79 credits. Throughout their time here, our MFA Film candidates will shoot projects on 16mm film, 35mm film, High-Def, Super 16mm, and the RED Dragon camera system. All projects are edited digitally.

By the end of the MFA Film program, our graduates are expected to build a holistic skillset that includes all major aspects of the filmmaking craft, gain an enormous amount of production experience, and create 10 films of their own.

MFA FILMMAKING PROGRAM EXPERIENCE

Beginning on day one, our MFA Film candidates participate in an intensive sequence of classes in Film Directing, Screenwriting, Cinematography, Digital Editing, Directing Actors and Production. While the theory they learn in the classroom is important, the heart of program is the production of original, short 16mm films. Candidates will team up to make these films, working in crews of three of four where each candidate will gain experience in writing, producing, directing and editing.

While working on each other’s films, MFA Film candidates will fill essential roles such as director of photography, assistant camera operator, and gaffer (lighting technician). This rigorous and holistic approach to filmmaking means that candidates leave the program with an understanding of every single part of the filmmaking process that will make them capable as a director and artist as well as flexible on set. Once MFA candidates master traditional film, they will move to using digital video technology.

Each individual candidate will direct two digital projects. These projects and in-class production workshops will challenge them to explore the dramatic mechanics of motion picture storytelling, and the critical collaboration between actors and directors. Supporting classes include Screenwriting, Directing Actors, Directing, and Digital Production. These classes and projects prepare our candidates for their second and third semester, and production of their intermediate films.

In the second and third semester, MFA Film Candidates will move into more advanced topics of directing, cinematography, screenwriting and producing. They will interact and utilize advanced equipment including 16mm sync cameras, dollies, and 35mm cameras. Each candidate will complete the semester by filming their own intermediate film, a 15-minute short that incorporates all the skills they’ve learned in the program

MFA FILM CURRICULUM

The MFA Film curriculum integrates intensive study in all the major filmmaking disciplines, including directing, cinematography, screenwriting, producing, and editing. Our film graduate program is for people who have the passion to plunge into full-time filmmaking, and to commit themselves to a focused and demanding curriculum. In addition to writing a feature length script of 90-120 pages, MFA Film candidates will also produce 10 films through the duration of the program.

Production Goals
During the program, each MFA Film candidate will write, direct, and edit 10 films of increasing complexity and length, including a master's thesis film. These 10 films will include projects focused on:

• Mise-en-scène For their first production, candidates will be introduced to mise-en-scène, or directing a shot to visually tell a story. Once they create a dramatic moment, they concentrate on the dynamics of the shot that will best express it. This project teaches candidates how the visual relationship between the subject and the camera creates drama. Each candidate designs and shoots a scene that has a beginning, middle, and end. Candidates will learn to pay close attention to the choice of lenses, distances, and angles.
  
  Since the story will be told within one long shot, it must be staged to express as much as possible about the characters and their actions. Candidates should rehearse the shot for blocking of actors and camera until the scene works without needing to stop; only then should they roll film. Candidates will each shoot one roll of black and white reversal film, then edit and screen their films for critique and discussion.
  • Allotted shooting time: three hours.
  • Editing time: one four-hour slot.
  • Screening time: 30 seconds to two minutes.
• Continuity Continuity is one of the fundamental principles of modern filmmaking. By making a "continuity film," MFA Film candidates learn the way cuts can advance the story while sustaining the reality of the scene. They will learn the difference between "film time" and "real time." They are challenged to make a film that maintains continuity in story, time, and space. The action in these films unfolds utilizing a variety of shots (10–15) in a continuous sequence (no jumps in time or action). In their continuity films, candidates must produce a clear, visual scene while maintaining the authenticity of the moment. It is essential that the audience believes in the reality of the scene. Utilizing their theatrical knowledge, with the help from instructors, candidates will write, direct, shoot, edit, and screen a film of up to three minutes. They must thoroughly plan and complete the following pre-production elements:
  • Script.
  • Location scout.
  • Script breakdown
  • Floor plan.
  • Storyboard.
  • Schedule of shots.
  Students shoot two rolls of film then edit and screen their films for critique and discussion.
  • Allotted shooting time: four hours.
  • Editing time: two four-hour slots.
  • Screening time: one to three minutes.
  
  
• Music & Montage Film The third project in the MFA Film program curriculum introduces candidates to the relationship between sound and film, as well as to narrative tools like montage and jump cuts.
  
  In this project, candidates are encouraged to explore a more personal form of visual storytelling, where they can choose a piece of music for their artistic expression. In the editing room, they cut their images to work in concert with, or in counterpoint to, the music. Candidates should experiment with rhythm and pacing. Each candidate writes, directs, shoots, edits, and screens a film of up to four minutes. In addition to storyboards, candidates may use a still camera to plan their films. This assists them in their choice of locations, angles, and lighting.
  • Allotted shooting time: five hours.
  • Editing time: three four-hour slots.
  • Screening time: two to four minutes.
  
  
• Quarter Film This fourth required film that MFA Film candidates create is more ambitious in scope than the previous exercises. It builds upon the foundation of skills and knowledge gained in the first part of the semester. There is a pre-production period during which candidates meet with faculty for consultation. From the first week of the program, candidates begin developing their scripts in writing class for this film. Each candidate must complete a production book that includes the following:
  
  • Statement of Objective: idea of the film and stylistic approach in a concise statement.
  • Scenario, shooting script, storyboards and floor plan.
  • Analysis: intention, realization, mistakes, crew work.
  There are two weeks of post-production. Candidates may use sound effects, music, voice-over and ambient sound to help tell their stories. The final project may be from three to10 minutes in length, keeping in mind that "less is more."
  
  Films may be of any genre and can be narrative, documentary, or experimental. This film project may be shot on 16mm film or digital video.
  • Allotted shooting time: two days.
  • Editing time: 40-60 hours.
  • Screening time: three to 10 minutes.
  
  
• POV Each shot in a film expresses a point of view, and in narrative film the point of view changes often, sometimes with each new shot. For the most part, point of view -- which is often called narrative stance -- is largely invisible to the audience, though the accumulated effect of changing point of view profoundly affects the way the audience interprets any scene. For this production, MFA Film candidates will analyze different ways to create a point of view through visual means: POV shot construction, camera placement and the 180-degree rule, shot size, shot constructions (such as over the shoulder construction), in depth and linear staging and blocking, lens choice, and sound design, etc.
  
  The POV project is designed for candidates to explore the various techniques directors use to create a character's point of view in a scene. Candidates create a short two-minute scene containing minimal dialogue and no more than two characters with conflicting objectives. The director will create two versions of the script and edit two distinct versions of the scene. Each should visually present the viewer with a clear and distinct point-of-view.
  • Allotted Shooting Time: five hours.
  • Editing Time: one four-hour slot.
  • Screening Time: up to two minutes.
• Semester One Film The first semester of the MFA Film program will conclude with a narrative digital project. This film should build upon the lessons and techniques candidates have learned in their Acting for Directors classes, production workshops, and the POV film. It should be a performance-driven film with no more than three characters and one or two locations. The "story time" of the film should be limited to minutes or hours, not days, weeks, or years. Candidates also have the option of producing a documentary film as a digital dialogue film.
  • Allotted shooting time: two days.
  • Editing time: 40-80 hours.
  • Screening time: up to 10 minutes.
• Year One Film This project is the culmination of the year's work. Each candidate's goal is to produce a fully realized short film that demonstrates their own artistic vision and point of view. Candidates work with larger crews and have more time allotted for pre-production, production and post-production than in previous projects. All second semester classes assist candidates to prepare for this project — including the producing class, which is specifically designed to guide candidates through the pre-production of this project. Candidates must prepare detailed production books and receive a "green light" from the faculty to check out equipment for their shoots. Each candidate can choose to shoot this film in one of three formats: high definition digital video, 16mm film or 35mm film.
  • Allotted shooting time: five days.
  • Editing time: up to four weeks.
  • Screening time: up to 15 minutes.
• Advanced Directing Project For this production, each candidate will write and direct a self-contained short scene from their upcoming thesis film on digital video. Throughout the course of the semester, each candidate presents their scene in class, using professional actors from the community. Advanced scene work and performance techniques are refined in each class session with the directing instructor. This project allows the candidates to refine their integration of script analysis and directing actors skills before embarking on their more ambitious thesis projects.
  • Allotted shooting time: one day.
  • Editing time: up to one week.
  • Screening time: up to four minutes./li>
• Advanced Cinematography Project As part of the class Cinematography III, each candidate will conceive of a complex shot to be executed on a sound stage using the advanced equipment package that includes the Red Camera, HMI lights, and industry standard dollies from Chapman or Fisher. This project will challenge the MFA Film candidate to incorporate this equipment into their creative tool kit as they bring their command of lighting, composition, camera movement, and blocking to a higher level. These advanced cinematography projects are conducted on a Universal Studios Sound Stage using complete sets and production design.
  • Allotted shooting time: half a day.
  • Editing time: up to one week.
  • Screening time: up to two minutes.
• MFA Short Film Thesis MFA Film candidates who choose this option will complete their degree in 76 credits. Candidates will direct and edit a short film up to 30 minutes in length, and fill essential crew positions on short films directed by their peers.
  
  The MFA short film thesis is the final capstone project of the MFA program, combining all the skills learned thus far into a single project of up to 30 minutes in length. This thesis film functions as the calling card project for MFA Film candidates, enabling them to demonstrate their creative vision and professional skills to film festivals and the larger community of the entertainment industry. Filmed using the entire advanced equipment package including Red cameras, HMI lighting and industry standard advanced dollies, these projects have the necessary equipment and longer production period to allow filmmakers to work on both more detailed and nuanced levels, and with a larger scope.
  • Allotted shooting time: 10 days.
  • Editing time: up to eight weeks.
  • Screening time: up to 30 minutes.
• Optional MFA Feature Thesis Due to the extremely demanding nature of this thesis option, only selected MFA Film candidates will be eligible for this option. Candidates interested in this production must start their application in semester three and enroll for a fifth semester with an additional tuition payment.
  
  Before feature thesis production can begin in the fifth semester, candidates must achieve specific milestones in semester four in order to maintain active status in the feature film program. If these milestones are not met, candidates will revert back to the short film thesis track and complete their short thesis in semester five. Required milestones will 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. Candidates who meet all the requirements will be eligible for a faculty review to determine if they can further pursue the thesis.
  
  Candidates admitted to this track will direct and edit a feature length film in a fifth semester of study at the end of the second year, also filling essential crew positions on short form films directed by fellow candidates. To complete their feature film thesis project, candidates must perform key crew positions on their classmates' films, including: cinematographer, gaffer, sound recordist, assistant director, and assistant camera.
  
  

FILMMAKING MFA: LEARNING GOALS

• Learn the art and technique of visual storytelling, including directing, cinematography, editing, and postproduction sound design.
• Learn the fundamentals of digital video production and digital editing.
• Fundamental training in acting craft and directing actors.
• Immersion in screenwriting craft.
• Fundamental training in acting craft and directing actors.
• Immersion in screenwriting craft.