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Program Summary
The Motion Picture Production Program is offered as a one-year intensive course of study. Students are required to take fifteen core film making courses and at least one of four film concentrations in either film directing, screenwriting, film production or film editing comprising 454 clock hours. These concentrations allows the student to specialize their skills to a particular area of film making as they enter the film industry to pursue a career.
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The Motion Picture Program
Over the course of one year students are required to take a series of 15 core fundamental and advanced filmmaking classes in screenwriting, film directing, cinematography, lighting, audio recording, script supervision, production management, film editing, post audio recording, finance and marketing. Our hands on approach has them producing numerous individual and group projects each semester. These experiences allow students to make an informative decision on where to further develop their film education and the direction of their careers.
At the midway point of the school year students choose from four film concentrations; Film Directing, Screenwriting, Film Production and Film Editing. These classes challenge your creativity as you are steered through either writing a marketable feature length script, working as a film technician on a set, editing projects, or directing a master thesis film that is shot on either 16mm, 35mm or a high resolution digital format.
The pinnacle of our program takes place at our graduation film festival where student film projects are screened for a live audience on the big screen at a local movie theater. Our career services offer preparation and guidance as you interview for internships and entry-level jobs in the film industry. Our alumni programming kickstart aspiring director’s by offering equipment and human resource to continue post graduate projects. |
First Semester
| Class |
Clock Hours |
Screenwriting 1 - Writing the Short
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18 |
| Film Directing 1 - Visual Storytelling |
18 |
| Cinematography 1 - Image Capture and the Camera |
18 |
| Production Lab 1 - Production Principles |
36 |
| Edit Lab 1 - Introduction to Digital Editing |
18 |
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First Semester Core Classes
There is no movie without a story or a script. This course introduces students to the critical elements of motion picture storytelling. The primary emphasis is on the story being physical and visible, and not relying on sounds or words. The focus is that film must not only tell, but show. Key concepts include: the importance of character, goals, rising conflict and obstacles, tension, suspense, turning points, resolution and finally format. In short, students will begin to learn how to write stories that are visual and dramatic.
Film Directing 1 teaches the art and science of bringing the words of the screenplay to life, and capturing the resulting action in a way that is aesthetically pleasing and intellectually engaging. Topics that are examined include the tools the director uses to stage a scene on paper long before the camera rolls. This includes the impact of shot composition, camera placement, juxtaposition, and mise-en-scène. Lab exercises allow students to practice and demonstrate these skills through short films. Through these exercises students learn the function and role of the director and communication skills.
Cinematography 1
Image Capture and the Camera- CORE
Cinematography is the art of image creation. In order to control an image students are first taught the fundamental processes of image capture. Technical studies establish strong fundamental cinematic skills that include: camera design, optics, film & digital formats, filmstocks & sensors, focus, color correction, filtration, basic exposure, compensation, and measuring light. Also covered is the role of the director of photography as a visual translator for the film director. Students put this knowledge into practice during the course by producing short photographic projects.
The MPI soundstage comes to life as students crew up on an in-class film production. Sets are constructed and actors are brought into class. Students light, shoot, and record audio in a simulated production environment. This course provides immediate "hands on" training with students learning to run a film set. Students become proficient in 16mm and digital camera operation, studio lighting, and digital sound recording. Students learn key set commands, interdepartmental communications, paperwork related to camera, sound & script continuity. Small group tutorials, production assignments and departmental rotations offer students crucial production training.
Edit Lab 1
Introduction to Digital Editing - CORE
This course trains students how to edit using computer based non-linear editing systems. Instruction includes an introduction to the primary functions of a variety of NLE (non-linear editing) applications including, AVID, Final Cut, Autodesk, Adobe, and Sony programs. Utilizing the AVID NLE platform students learn basic editing workspace configurations, image capture from tape and digital media sources, media storage, file management, edit preparation, basic picture editing, audio editing, frame rate conversions, title creation, file compression and basic Blu-Ray HD output.
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Second Semester
| Class |
Clock Hours |
| Screenwriting 2 - Writing the Thesis Short |
18 |
| Film Directing 2 - Directing Talent |
18 |
| Production Management 1 - Breaking Down a Film |
18 |
| Cinematography 2 - Cinematic Elements and Visual Organization |
18 |
| Production Lab 2 - Lighting for Film |
36 |
| Edit Lab 2 - Advanced Digital Editing |
18 |
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Second Semester Core Classes
Screenwriting 2
Writing the Thesis Short - CORE
This course advances the storytelling concepts covered in Screenwriting 1 by employing dialogue to develop character, plot and motivations. Emphasis is placed on how to structure an effective short and build characters. Students write and develop short narrative scripts to demonstrate their understanding of the concepts. They also use this opportunity to embark on writing a script for their thesis film project or laying the groundwork for a feature length screenplay.
Students are assigned advanced level storytelling projects to develop their individual directorial styles. Through this course students explore the relationship between the director and the actor. Studio exercises allow student directors to work with both seasoned and inexperienced film actors to learn the delicate art of acting for the camera. Student directors will learn how to articulate character motivations, pull performances, or properly execute eyelines and the axis. Blocking and staging techniques train students to direct their work within the confines of the cinematic frame. Students conduct a large scale casting call through which they learn techniques for strategic casting and coming to know the film "look". From there, read throughs and rehearsals give the student director a "real world" and practical experience to mold their thesis film projects.
Cinematography 2
Cinematic Elements and Visual Organization - CORE
This course explores the creative depths of cinematography. The latent image is always at the service of the story and an approach must be developed. The careful choices a cinematographer makes with respect to composition, color, light and texture affect the overall look and mood of the film. Students explore the impact of the visual language of film and related topics such as design principles and forces of visual organization. The effects of scene direction and lines of action on the editing process are explored. Students learn cinematic composition, the rule of thirds, spatial relationships and proper framing.
Lighting is as much an art as it is a science. Students learn how lighting affects the tone, mood and texture of a film. Lighting as a storytelling device and its impact on space, subtext, symbolism and emotional context of a scene is demonstrated. Students are first taught to develop a pictorial lighting style that best serves the script then taught to design a technical lighting schematic in order achieve the desired effect. Multiple strategies to lighting a scene are covered. From these approaches students can develop a realistic lighting plan for a film.
Lighting Lighting a film requires both an artistic and technical understanding of its application. For this reason this course teaches students how to use specific small and medium size fresnel, florescent, practical and reflected light sources and modifiers to achieve a desired look.
This course utilizes specific clips from well known films as a model to demonstrate how a particular look is achieved using light. The most commonly encountered lighting scenarios, problems, and solutions are explored through the lighting of an actual film set or location. Topics include lighting for the master shot, close-ups, portraiture (faces), eyelights, silhouette, contrast control, day exteriors, night exteriors, day interior and night interior treatments, dealing with mixed sources and sunset. Students will learn advanced techniques for measuring light sources and making adjustments for exposure.
Edit Lab 2
Advanced Digital Editing - CORE
Students will study why we make an edit. This course will explain how we make edits to better immerse our viewers into our story, fix problems incurred during production and give our productions a fresh edge.
Editing requires a keen understanding of the storytelling process. One aspect of editing that is done prior to a single frame of film being shot is storyboarding. Storyboarding is the process whereby the director determines the shot selection and order in which the scene will play out using drawings or renderings of each shot. A component of this course teaches students to use a computer based modeling application for creating storyboards for their films. These storyboards are used to previsualize or pre-edit film projects.
Students also learn advanced functions of the non-linear editing platform that includes transitions, key framing, syncing audio from slates, timecode syncing, basic image compositing, and format conversion. This course teaches students how to import media from a variety of tape and digital media sources or codecs.
Producing a film, large or small, requires an understanding of how a film is organized and the legal aspects surrounding it. This course teaches the standard industry processes for organizing and managing film productions. This includes an in-depth study of the stages of production, the production team, director’s team, script timing, location scouting and management. Students learn the skills required to breakdown a script into basic story elements of time of day, cast, costumes, props, special effects, stunts, vehicles, and locations. This is then utilized to create a production schedule. Students are taught to use Entertainment Partners Movie Magic Film Scheduling software for breaking down a script and creating a shooting schedule.
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Third Semester
| Class |
Clock Hours |
| Production Management 2 - Film Budgeting and Production Reporting |
18 |
| Cinematography 3 - Advanced Cinematic Techniques and the Camera |
18 |
| Audio Post - Intro to Audio Editing and Mix for Film |
18 |
| Screenwriting 3 - Story Development |
18 |
| Film Directing 3 - Previsualization |
18 |
| Production Lab 3 - Production Workshop |
18 |
| Edit Lab 3 - The Film Editor |
18 |
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Third Semester Classes
Production Managment 2
Film Budgeting and Production Reporting - CORE
Winning the battle before it is fought is the mantra for any production. That is the goal of preproduction. The next step in preparing a film is to determine the budget. This course focuses on the processes for drafting a budget including methods for obtaining material pricing, pay scales, rentals costs, and bids. Students are trained to use the most popular costing app Entertainment Partners Movie Magic Budgeting software.
Students also learn important production practices related to obtaining clearances, production insurance, establishing a production office, planning transportation schedules and hiring.
Production topics include: filling out callsheets, production reports, morning reports, understanding payroll, cash flow reports, the role of the 1st & 2nd Assistant Directors, Production Coordinator, Transportation Capt, Unit Production Manager and Location Manager.
Cinematography 3
Advanced Cinematic Techniques and the Camera - CORE
This course focuses on identifying the latest in film and digital camera and lens technologies in the professional market. Special attention is given to the various features of specific camera models and the critical factors for selecting a particular system for a production. Students learn the entire film and digital workflow for image manipulation from capture to color grading. This provides insight as to the means for selecting an appropriate path for a given film project. This also includes techniques for checking lens quality and how to evaluate the lens before entering the field.
The camera prep is used as a means for inventorying and evaluating the parts of various cameras in this course. This is in conjunction with the in-class shooting of color and focus charts that demonstrate the means to evaluate in lens, filmstocks or sensors. An essential element in evaluating color rendition is the use of reference field monitors and LUTs (look up tables). Students learn how these tools are used and their impact on maintaining the vision of the cinematographer.
Essential professional camera support equipment such as heads, sticks, remote heads, steadicams and other specialty hardware are reviewed and identified.
Audio Post
Intro to Audio Editing and Mix for Film - CORE
Audio Post teaches the complete workflow and post pipeline for delivering a completed stereo audio mix for film. Students are taught advanced features of the audio tools the non-linear editing applications they’ve trained on to date. Using existing projects students are taught to arrange, edit and mix audio for film projects. This course further introduces students to audio specific software where they learn to import, edit prepare, sync, build stems, channel mix, EQ, create effects, mix stereo and export a stereo audio track.
Students create an audio project that requires them to strip away audio from a previous assignment, then re-record and recreate the audio from scratch using ADR (dialogue replacement), foley, fx, room tone, music editing, sycning and mixing.
Film Directing 3
Previsualization - DIRECTING CONCENTRATION
This course is for students who wish to pursue a career as an independent film director. Students electing this course set about the task of writing, producing and directing a short thesis film project. The thesis film is both a learning tool and for many a resume piece that will carry them into the professional world. Thesis film projects can be of any variety (short narrative, documentary, commercial, psa, or music video). Of the short narrative variety students can produce any genre: comedy, drama, horror, action, suspense, western, biopic, or trailer for a feature film, etc..
Course work includes preparing the director’s notebook, staging sequences, organizing shot lists, drawing storyboards, determining the pictorial style and the corresponding art direction for the film. From this students create an animatic of their film project. These animatics are presented in-class for discussion purposes, planning and critique by the instructor and the class. Special attention is given to the student’s use of production design elements in establishing the look and tone of their film.
Lecture topics revolve around the day to day operations of the film director on set. This includes scheduling the day, organizing, making that critical decision to abridge a scene or shot list, working with name talent, preparing the next day, time management on set, working under pressure and how to deal with unforeseen problems and delays.
Production Lab 3
The Camera Assistant - FILM PRODUCTION CONCENTRATION
Production Lab 3 offers advanced training for technical positions such as camera assistants, operators and data managers.
Students learn do to a camera prep for both film and digital cameras. This includes: magazine loading, scratch testing, inventorying, inspection, and labeling. Special attention is given to the 1st and 2nd assistants in these processes. Also covered is the testing of lens quality including: color rendition, focus and zoom tracking.
Students learn the daily set routines for the camera operator, and 1st & 2nd assistant camera on set. Technical skills developed include: leveling, setting focus marks, pulling focus, framing with movement, checking the gate, reporting, inventorying, storage and care of filmstock and gear on set.
Students learn data management workflows including hardware and software requirements.
Screenwriting 3
Story Development - SCREENWRITING CONCENTRATION
Screenwriting 3 guides students through the steps of writing a feature length screenplay. Students begin developing and writing log lines, pitches and treatments. From this, they learn to analyze story dynamics, the three act structure, plotting, paradigms, character, themes, dialogue and many other screenwriting basics. Students are then required to select one idea to turn into a ten page treatment, followed by the first ten pages of their screenplay. Students use this ground work to draft the first act of their screenplay by the end of the semester.
Edit Lab 3
The Film Editor - FILM EDITING CONCENTRATION
The film editor is the rewriter of the story. The film editor is as much a technical person as they are a collaborative storyteller. They must work from elements given to them, good or bad, to craft a cohesive and engaging film. It is a painstaking process that takes countless hours spread over weeks or even months. They must know story elements and be able to find ways to make a scene work when at times there seems to be no immediate solution.
This course studies the creative processes every film editor needs to consider when approaching a project. This includes how the editor interacts with the director and the production, how to take story notes during dailies, and putting together a personal reference diary. The course focuses on key concepts every editor should know such as why cuts work, the rule of six and when to stop cutting.
Technical studies focus on the finishing pipeline for theatrical and broadcast television distribution.
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Fourth Semester
| Class |
Clock Hours |
| Screenwriting 4 - First Draft |
2 |
| Film Directing 4 - Directing the Thesis Film |
2 |
| Production Lab 4 - Thesis Production |
2 |
| Edit Lab 4 - Intro to Adobe After Effects |
18 |
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FOURTH Semester Classes
Film Directing 4
Directing the Thesis - FILM DIRECTING CONCENTRATION
Film Directing 4 is the production phase for thesis projects. This course is an independent study. Students meet once to review course policies and guidelines at the beginning of the semester then embark on the independent study portion. Students are required to attain "greenlight" status before beginning their productions.
Greenlight Process
Step 1: The "greenlight" begins with script approval from the Screenwriting Instructor. During this process students form production companies with their peers and together they create a production plan (schedule and breakdown).
Step 2: Once the script is approved they present their production plan to the Production Management instructor for approval. This usually requires a production meeting with the instructor.
Step 3: Once the production plan is approved the student will submit their director’s notebook to the directing instructor for final approval. Upon approval the student is officially "greenlit" for production and may begin booking equipment.
During this process students may conduct casting, rehearsals, location scouting, propping etc. Once "greenlit" they enter into principal photography. Students select their capture format as either film or digital.
Screenwriting 4
First Draft - SCREENWRITING CONCENTRATION
This Screenwriting 4 is an independent study where students must complete a 75 - 100 page draft of a screenplay by the end of the semester. Students enter this course with the first 30 pages already written from the previous course.
This course meets once at the beginning of the semester to prepare students for the work required of them throughout the nine week semester. Lecture topics focus on the second and third acts of a story. Importance is given to sequencing, inner structure, engaging interests, and expectations.
Production Lab 4
Thesis Production - FILM PRODUCTION CONCENTRATION
Post Production Lab 4 is a nine week independent study. Students are required to commit ninety-six (96) documented hours working in key crew positions on thesis films, the feature lab, or an outside internship on a qualified film. Technical crew positions include: assistant director, cinematographer, camera assistant, operator, data manager or loader, film electrician, gaffer, grip, sound mixer, boom operator or script supervisor. Students taking a co-concentration in Editing may count up to half of their documented editorial hours towards this concentration. Students may accumulate hours for this course through the first half of the fifth semester.
PL4 students must also enroll in a technical crew position on the Feature Lab project for no less than 36 hours. Students receive screen credit for meeting this requirement.
PL4 students may opt to take an internship on a professional film production authorized by MPI. Internships may be sought out by the students and in some cases will be posted by MPI. Internship hours count towards the required ninety-six hour minimum.
Edit Lab 4
Intro to Adobe After Effects - FILM EDITING CONCENTRATION
Adobe® After Effects® software is a widely used and compelling motion graphics and visual effects application. Students learn to navigate the main interface and workspace of this program. Of the many possible uses of Adobe® After Effects® this course focuses on primary color grading, animated titling and compositing capabilities.
Students skills include being able to import and organize footage in the project window, set footage properties, create new compositions, use playback controls, use keyframes, key elements, use track mattes, composite, color grade and create motion titles. The course also reviews plug-ins and commonly used effects.
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Fifth Semester
| Class |
Clock Hours |
| Feature Producing - The Independent Filmmaker |
18 |
| Screenwriting 5 - The Rewrite |
18 |
| Film Directing 5 - The Director |
8 |
| Production Lab 5 - The Business of Freelancing |
8 |
| Edit Lab 5 - Advanced Adobe After Effects |
18 |
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FIFTH Semester Classes
Independently produced films make up a majority of worldwide film production each year. Many of the major Hollywood players began their careers on lower budgeted indy films. This course teaches students the business processes behind the start up of a production company for the purpose of financing, producing and distributing an independent film.
By way of exercise, this course requires students to contract screenplay rights from another student, develop a budget, attach talent, key crew personnel, create a marketing campaign, artwork, organize a business proposal and present their films to the instructor and peers as though they were film financiers.
Film Directing 5
The Director - FILM DIRECTING CONCENTRATION
This requires students to complete principle photography and begin editing their films. Students must turn in rough cuts of their thesis projects for feedback. It is expected that students utilize comments to improve or make adjustments to their picture edit before moving on to their audio mix and color grade.
Students must turn in their final cut no later than the last day of class to be eligible for screening the film at the MPI student film festival.
Students are graded on the creative and technical merits of their films taking into account preconceived goals and objectives for each film. This is in addition to the supporting paperwork that includes production logs, callsheets, credit lists, morning reports, release forms and essays.
Students work as an independent study for weeks 1-5. The classroom portion of this course begins in the sixth week of the semester. Lecture topics focus on preparing the student for life as a director. Topics include: cutting a director’s reel, social marketing strategies for self promotion, securing an agent or publicist, joining the DGA, DGA membership guidelines, film festival strategies and choosing another project.
Screenwriting 5
First Draft - SCREENWRITING CONCENTRATION
The first draft is like the pencil sketch before the oil painting. The plot is roughed out, the characters underdeveloped, the conflict unidentifiable, the relationships implausible and so on. A writer once said "I wrote the whole thing in just a weekend." Then followed with "and spent two years rewriting it." Ninety percent of writing is rewriting. This is where the real work is done to flush out the story and make it work.
This course analyzes students first draft scripts in order to identify weaknesses. Students are given tools to identify the ways and means for addressing story problems, weak dialogue, or unfocused characters. Students are expected to undertake a rewrite of the first draft that may include writing a story analysis that points out ways to improve the first draft or tackling an actual rewrite of the script itself.
A component of this course also includes the business of screenwriting as it pertains to the optioning and selling of their work. Topics include submission formats, query letters, pitches, agency solicitation, option agreements and copyright/WGA registration.
Production Lab 5
Thesis Production - FILM PRODUCTION CONCENTRATION
The first five weeks of this course are an independent study with students continuing to crew on thesis productions, feature lab or professional internships. Class time resumes week six of this semester.
This course delves into the life skills and the business aspects of working in the film and television industries as a below-the-line technician. Entry and job search topics include: resume writing, submission, building a demo reel, self promotion, social media and networking strategies. On the job topics include: Deal memos, contract terms, typical rates, production paperwork such as time card and IRS forms. Union topics include: joining requirements for IATSE and theTeamsters, pros and cons of union membership. Finally the course discusses continuing education options, and search strategies for work.
Edit Lab 5
Intro to Adobe After Effects - FILM EDITING CONCENTRATION
Adobe® After Effects® has countless applications and enumerable features. This course focuses on several of the most widely used advanced functions. Training focuses on students attaining proficiency skills in secondary color grading, masking, roto brush, motion tracking, color trapping, object removal, title effects, and 3D paths. Other topics covered include particle generation, expressions, zoom layers, and tips on working more efficiently.
Students learn gathering techniques for camera and lighting data when shooting for VFX or greenscreen. In class demonstrations and exercises include lighting and shooting elements for compositing on a greenscreen set.
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