Film Editing Schools: January 2008

Top Film Schools

Art Institute of Chicago - Film, Video And New Media Department - http://www.artic.edu/saic/programs/depts/graduate/fvnm.html Read descriptions of the graduate programs in film and video. Take a virtual tour of the school or view the work of faculty members, students, and alumni.

	University of Southern California School of Cinema-Television - http://www-cntv.usc.edu/ Offers information on admissions, academic programs, faculty, and resources for the undergraduate and graduate programs in screenwriting, producing, critical studies, and directing.
	New York Film Academy - http://www.nyfa.com Film school offering intensive workshops and summer programs covering screenwriting, directing, cinematography and editing.
	Film Studies Division--Univ. of Utah - http://www.film.utah.edu The Film Studies Division at the University of Utah offers B.A. and M.F.A. Degree programs with courses in film/video production, computer animation, screenwriting, and Film History.
	FSU Film School - http://filmschool.fsu.edu/ The official web site for the Florida State University School of Motion Picture, Television and Recording Arts (The Film School).
	University of Edinburgh - Film Studies - http://www.filmstudies.llc.ed.ac.uk/ Offers postgraduate courses (Masters and PhD) and scholarships. Information on facilities, content of courses and contacts.

	Australian Film Television and Radio School - http://www.aftrs.edu.au Australia's premier film school with 100s of pages of information on courses and services, online library, and Quicktime movies.
	Northwest Film Center School of Film - http://www.nwfilm.org/ Based in Portland, offering a range of courses and workshops. Details of each course are provided with an enrollment form, as well as information on the organisation, scholarships and equipment.
	FAMU - http://www.famu.cz The Academy of Performing Arts in Prague
	Concordia University Cinema Department - http://cinema.concordia.ca/ The Mel Hoppenheim School of Cinema at Concordia University, Montreal, Canada, offers three main areas of study: animation, film production, and cinema studies.
	The Huston School of Film and Digital Media - http://www.filmschool.ie/ Founded at the National University of Ireland, Galway with the support of the Huston family. Courses, events, library.

	The College of Santa Fe: Moving Image Arts - http://mov.csf.edu/ Offers full film/video/digital production equipment and facilities, classes screen in 35mm, history, theory, critical studies, and writing.
	Video Symphony - http://www.videosymphony.com Provides information about film and production programs, course schedule, and contact information. Burbank, California.
	International Academy of Film and Television - http://www.filmschool.ph/ Focus on film production technology. Located in Cebu, Philippines.
	Moonstone International - http://www.moonstone.org.uk Training courses for feature film writers and directors in consultation with the Sundance Institute
	London Film Academy - http://www.londonfilmacademy.com Industry professionals teach courses in this vocational approach to filmmaking. Graduates can earn a Film-Making certificate.

	Chapman University: School of Film and Television - http://ftv.chapman.edu/ Information for students, alumni, and parents.
	Panico London - http://www.panicofilms.com/ London-based school offering courses in screenwriting and filmmaking. Also provides a resource base for filmmakers.
	Film & TV Connection - http://www.film-connection.com Film schools on the actual movie set or video studio.
	South Seas - http://www.southseas.co.nz Film and TV school located in Auckland, New Zealand, offering several diploma courses.
	Virginia Commonwealth University - Department of Photography and Film - http://www.pubinfo.vcu.edu/artweb/photo/ Offers a graduate & undergraduate film program in Richmond, Virginia.

	New Zealand Film Academy - http://www.nzfilmacademy.com Offers television production and filmmaking courses in Auckland.
	International Film and Television Workshops - http://www.theworkshops.com/filmworkshops/index.asp Education in film, video, digital media, directing, editing, producing, screenwriting, documentary, and cinematography. Workshops, Master Classes, and professional training.
	Metro Screen - http://www.metroscreen.com.au/ Metro Screen is a production and training facility catering to emerging film, video and multimedia producers. a non-profit organisation supported by the Australian Film Commission.
	NYU Department of Film and Television - http://www.nyu.edu/tisch/filmtv Provides information on the courses, details of staff, students and alumni, production resources available, special events and projects and admissions information.
	New York Independent Film School - http://www.nyfilmschool.com Provides information on the faculty, the courses and how to apply, as well as showing student work online.

	School of Communication Arts - http://www.higherdigital.com Offers courses in filmmaking, special effects, audio and animation.
	Metropolitan Film School - http://www.metfilmschool.co.uk Offers digital filmmaking courses; aimed at inspiring and developing independent filmmakers. London, United Kingdom.
	Tinseltown Online Seminars - http://www.tinseltownonline.com/seminars/default.asp Short courses on various aspects of the entertainment industry, including sending out a script and putting together a reel.
	Center for Digital Imaging and Sound - http://www.artschool.com This private college in Vancouver offers diploma programs, certificate programs and part-time courses in 3D animation, recording arts, digital film, visual effects, new media, video game production, web design and video production.
	Gulf Islands Film and Television School - http://www.giftsfilms.com This hands-on residential media training centre is located on Galiano Island, BC. Detailed school information is available, as well as registration help, student films, resources for filmmakers and GIFTS merchandise.

	The Los Angeles Film School - http://www.lafilm.com/ The Los Angeles Film School offers a year long hands-on training course in filmmaking.
	International Film Seminars - http://www.flahertyseminar.org Presenters of The Robert Flaherty Film Seminar in New York. Provides information on the seminars, scholarships and archive of their projects.
	UCF Film Program - http://www.cas.ucf.edu/film/ The film program at the University of Central Florida offers majors in film production, screenwriting, and cinema studies.
	EICAR Film School - http://www.eicar-international.com A private college, situated in Paris, offers a curriculum based on state-controlled educational programs for the advanced study of cinema techniques.
	The London Film School - http://www.lfs.org.uk Registered charity offering two-year MA degree program in filmmaking.

	Indian Film Academy - http://www.ifacinema.com/ Promoting Indian film, presents contact, script and contact information.
	Columbia College - Hollywood - http://www.columbiacollege.edu Offers Bachelor of Arts degrees in Cinema and in Television/Video Production. Programs, admission information, tuition, and background information.
	Columbia University School of the Arts Film Division - http://wwwapp.cc.columbia.edu/art/app/arts/film/index.jsp Features program and course information, faculty biographies, an events calendar, and application information.
	Sydney Film School - http://www.sydneyfilmschool.com Private film school in Australia, focusing on 16mm film and digital technologies.
	Whistling Woods International - http://www.whistlingwoods.net Institute for Film, Television and Media Arts offers two-year diploma programs in Mumbai, India.

	San Francisco School of Digital Filmmaking - http://www.sfdigifilm.com/ Combines film classes with actual hands on experiences. Features course, faculty and campus information.
	Oklahoma State University Screen Studies Program - http://english.okstate.edu/screen/index.htm Offers undergraduate film option, Master's and Ph.D. programs in screen studies.
	Cityvarsity TV and Multimedia School in Cape Town. - http://www.cityvarsity.co.za/ Established to promote the development of design and production in film, television and multimedia.
	Action/Cut Directing Seminars - http://www.actioncut.com/ Directing film and TV workshops: weekend workshops with director/writer Guy Magar on the directing process for filmmakers, directors, writers, producers, actors, editors, cinematographers, production staff, and film students.
	Digital Film Academy - http://www.digitalfilmacademy.com/ Offers workshops in screenwriting, directing, camera, and editing; includes course, staff and contact information.

	Flanders Script Academy - http://www.vsa-fsa.org/ Belgium's premier training facility for both professional and amateur scriptwriters for film and audiovisual production.
	PCFE Film School - http://www.filmstudies.cz Describes film workshops, semester and year-long programs of the non-accredited film school in Prague.
	Summer School in Film making - http://www.summerfilmschool.com Course details, prices and application form for this course taught at the University of Melbourne, Australia each January.
	Hollins University Film and Photography Department - http://www.hollins.edu/undergrad/film/film.htm Course offerings, major requirements, faculty listings, facilities, exhibition, and internship information for this University in Virginia.
	APA International Film School - http://www.apa.edu.au Offers course, location, and contact information about training and certificate programs. Artarmon, Australia.

	Hollywood Film Institute - http://hollywoodu.com/ Independent film school offering courses for both industry professionals and neophytes. Curriculum is designed to build upon the core 2-day film school program.
	Sydney International Film School - http://www.sifs.com.au Independent film school offering courses in feature film, documentary and television.
	LOAFS: The Library Of Annotated Film Schools - http://www.filmmaker.com/loafs/ Contains actual reviews from past and present film school students.
	Film Program Cannes - http://www.film-program-cannes.com/ Professional film school located in Cannes, France. Curriculurm, tuition details, calendar, lodging information, application form, media, and links.
	India, Foundation Institute For Learning Media - http://www.filminstituteindia.com Offers courses in directing, camera, editing, and acting.

	Seattle Film Institute - http://seattlefilminstitute.com Offers full-time and part-time classes in all aspects of film production, screenwriting, and digital video. Programs, faculty, student profiles, and registration information.
	Asian Academy of Film and Television - http://aaft.com/ Offers courses to those aspiring to a full time career in film and television production.
	Colorado Film School - http://www.coloradofilmschool.net/cgi-bin/disp_home.cgi Offers facility, faculty, class and student information.
	Global Media Adventures - http://www.globalmediaadventures.com Journalism and documentary filmmaking program in Samara, Costa Rica,.
	The USA Film School - http://www.usafilmschool.com A 40 hour, full immersion crash course in filmmaking. Weekend hours and for beginners, intermediate and advanced workshops. Make a class film with professional equipment. Free intern placement program.

	Film School Online - http://www.filmschoolonline.com/ Learn filmmaking with online courses in screenwriting, directing, cinematography, editing, producing and digital video.
	Television, Film, & New Media @ SDSU - http://www-rohan.sdsu.edu/~taketwo/index.html The television & film department at San Diego State University

University of Texas At Austin Film School

University of Texas at Austin
College of Communication
Department of Radio-TV-Film
University of Texas at Austin
Austin, Texas 78712
512.475.7399

UT general information: 512.475.7348

Production facilities include four audio and radio production studios, two film sound stage/mixing facilities, four color television studios, and 24 video and film editing stations.

UT Austin offers a Bachelor's degree in Radio-Television-Film, which contains a specialized intensive track in media production. They also offer an MA and PhD in Media Studies, an MFA in Film and Television Production, an MA in Screenwriting, an MFA in Creative Writing jointly with the English and Theatre departments, and joint Masters programs with the LBJ School of Public Affairs, the Business School, the Institute of Latin American Studies, the Center for Middle Eastern Studies, and the Center for Russian, East European and Eurasian Studies.

The research faculty interests include communication technology and policy, international communication, ethnic issues in communication, gender and sexuality issues, and critical and cultural studies of film and television. Our creative faculty specialties include cinematography, animation, documentary, feature, experimental, studio, single-camera, audio, interactive multi-media.

USC Film School

University of Southern California
Los Angeles, CA 90089-0911
213.740.1111

Film, Video and Computer Animation 213.740.3985
Peter Stark Producing Program 213.740.3304
Division of Screen and Television Writing 213.740.3303
Division of Critical Studies 213.740.2911
Division of Film and Video Production 213.740.2911

In the early 1980s, many of the school's most famous alumni and friends joined forces to fund a world-class film and television complex at USC. Their gifts enabled the school to build the following facilities:

The George Lucas Instructional Building, which houses Ann and Jack Warner Hall
The Marcia Lucas Post-Production Building
The Steven Spielberg Music Scoring Stage
The Johnny Carson Television Stage
The Harold Lloyd Motion Picture Sound Stage

The newly renovated Television Production Center, part of the Sony Media Center, encompasses three multi-camera stages, both off- and on-line editing rooms, a digital Betacam editing suite and a broadcast control-center that serves the campus and surrounding community.

The School of Cinema-Television has other facilities within the University Park Campus. The Cinema-Television Library, housed in Doheny Memorial Library, is the site of the Film and Television Study Center and the Warner Bros. Archive. In addition to its vast collection of books, journals, screenplays and periodicals, the library provides viewing access to an extensive collection of film and television titles, and houses studio records and personal papers relating to those films.

The Cinema-Television complex and the sophisticated equipment it contains constitute a comprehensive production facility. Each year, USC cinema students use these facilities to produce the equivalent of 25 feature-length films, near the output of any studio. A significant portion of the multi-million dollar cost of producing these films and video projects is absorbed by the School of Cinema-Television.

Within the school are five main areas of study:

Division of Critical Studies
Division of Film and Video Production
Division of Screen and Television Writing
Film, Video and Computer Animation Program
The Peter Stark Producing Program

The School of Cinema-Television continually strives to push the forward edge of technological experimentation and scholarly thought. Aspects of the curriculum range from very traditional scholarly paths to a new production curriculum, designed to keep pace with massive changes in entertainment media. Undergraduate and graduate degree programs are available in the school's Division of Critical Studies, Division of Film and Video Production and Division of Screen and Television Writing. The school also offers graduate degrees through the Peter Stark Producing Program and the Film, Video and Computer Animation Program.

The School of Cinema-Television at USC exists in the context of a fine research university and promotes excellence in both thought and implementation. A strong emphasis is placed on craft, but not at the expense of aesthetic and critical foundations. Students participate in courses beyond their core area of study, and they typically have the opportunity to take electives in other areas of the School of Cinema-Television and the university.

In addition to training new talent for the industry, the school serves as an incubator for new ideas, technologies and applications. The school's research and technology laboratories enable students and faculty to pursue a wide range of activities, including work with large-format computer animation, interactive and high-definition television, multimedia, "virtual reality" and advanced imaging techniques for special-effects, animation and graphics.

Alumni: George Lucas, Irvin Kershner, John Milius, Robert Zemekis, Randall Kleiser, Les Blank, Laura Ziskin, Ron Howard, John Singleton, Dan O'Bannon, Michael Lehman, Phil Joanou.

ASC alumni include:

Caleb Deschanel, ASC
Director/Director of Photography

The Right Stuff (1983): Oscar Nominated
The Natural (1984): Oscar Nominated
Twin Peaks (1990) (TV)
Fly Away Home (1996): Oscar Nominated

Richard Edlund, ASC
Visual & Special Effects

Star Wars (1977): Oscar Recipient
The Empire Strikes Back (1980): Oscar Recipient
Raiders of the Lost Ark (1981): Oscar Recipient
Return of the Jedi (1983): Oscar Recipient

Conrad Hall, ASC
Director of Photography

Cool Hand Luke (1967): Oscar Nominated
Butch Cassidy and the Sundance Kid (1969): Oscar Recipient
The Day of the Locust (1975): Oscar Nominated
Tequila Sunrise (1988): Oscar Nominated

UCLA Film School

University of California, Los Angeles
Department of Film and Television
Box 951622
Los Angeles CA 90095-1622

The UCLA Department of Film and Television is considered among the finest in the country and continuously monitors and revises its offerings in order to provide students with the best training possible for entrance into these demanding professions. The Department offers seven degree programs: the Bachelor of Arts in Film and Television; the Master of Fine Arts in four distinct professional areas: Production/Directing, Screenwriting, the Producers Program, Animation, and the Master of Arts and Doctor of Philosophy degrees in Critical Studies.

Students in all programs study the history and theory as well as the creative and technical aspects of both film and television, and may then proceed to advanced work and study in either medium and in whatever expressive form they prefer. The Department's purpose is to provide a scholarly, creative, and professional approach to the study of film and television, and to help each person discover his or her powers as an independent artist and communicator.

The Department of Film and Television's production and teaching facilities consist of three motion picture sound stages, a completely equipped animation lab, a scoring stage, a re-recording stage, thirty film editing rooms, mixing rooms, viewing rooms, and negative cutting rooms. Television facilities include three TV studios, a Master Control room, five video viewing rooms, two time-code rooms, ten video editing rooms, and a fully equipped remote van. In addition, there are seminar rooms, an Equipment Office, a darkroom, a title room, a film chain, and a sound effects library.

The UCLA Film and Television Archive is the largest collection of film and video holdings in the United States outside of the Library of Congress. The Archive collection of over 200,000 titles includes motion pictures from all film eras and television programs representing every aspect of American telecasting from 1946 to the present. Besides its internationally recognized preservation and restoration activities, the Archive presents more than 500 public programs each year in the James Bridges Theater, the Department's 276-seat motion picture theater. The Archive Research and Study Center provides additional access to Archive resources through its educational programs, research and consultation services, and publications; and student and public access to Archive materials through ninety on-campus viewing stations.

Alumni: Stephen Burum ASC, Francis Ford Coppola, Danny DeVito, Tim Robbins, Paul Schrader, Penelope Spheeris, Jeff Margolis

San Francisco State University

San Francisco State University
Cinema Department
1600 Holloway Avenue
San Francisco, CA 94132
415-338-1629 (voice)
415-338-0906 (FAX)

The Cinema Department at San Francisco State University was founded amid the political activism and artistic experimentation of the 1960's. Today, as then, the Cinema Department is committed to a curriculum which recognizes cinema to be an independent, powerful and unique medium in the world. Cinema programs combine theory and practice; students are encouraged to engage in scholarship and to pursue production in all forms of cinematic expression.

The goal of undergraduate instruction in the Cinema Department is to foster creative, critical and independent endeavor as part of a liberal arts education. Students in the B.A. program study film history, film theory and critical studies alongside screenwriting and production.

A specialized animation curriculum provides students with a foundation in the processes involved in developing animated films from initial planning through shooting and post-production. Students work in a variety of techniques, including cel, model, computer and effects animation. Advanced animation study can emphasize either film animation or computer animation.

The M.A. in Cinema Studies enables students to pursue research and writing in selected areas of film scholarship. The M.F.A. in Cinema provides students with rigorous, professional training in cinema production in conjunction with an understanding of film history, theory and aesthetics. M.F.A. students explore current and emerging cinema technologies and are encouraged to develop new modes of expression; this program also prepares filmmakers who wish to teach cinema at the college or university level.

The Cinema Department is housed in one of the most comprehensive and modern production facilities in Northern California. The state-of-the-art facility includes the 150-seat August Coppola Theatre, a 2500 square-foot shooting stage, editing and post-production areas for both analog and digital media, sound recording and mixing studios with digital audio workstations, an animation studio with film and computer workstations, an on-line digital cinema lab and a cinema studies center.

SFSU cinema graduates often work as independent film producers or in varying capacities within the film industry &emdash; as producers, directors, cinematographers, sound or picture editors, screenwriters, sound recordists and mixers, animators, and multimedia artists. Many B.A. graduates continue with advanced studies in either production or theory/criticism. In particular, the M.A. prepares graduates to work in areas of applied film scholarship or to pursue doctoral study in cinema. The M.F.A. degree prepares graduates to work as independent producers, to assume creative professional roles within the film industry, or to teach at the college or university level.

New York University

New York University
70 Washington Square South
New York, New York 10012
212.998.1212

The Tisch School of the Arts, founded in 1965, provides undergraduate and graduate training in aspects of the performing and visual arts. Departments and programs offering professional training are acting, dance, design, drama, performance studies, film and television, cinema studies, photography, dramatic writing, musical theatre, and interactive telecommunications. Degrees offered are the BFA, MFA, MPS, and, through the Graduate School of Arts and Science, the MA and PhD.

Introduction: The film program is recognized internationally as the premier training site for professionals in film, television and radio. Students are required to perform in all crew positions (director, cinematographer, editor, etc.) as they produce works that are reviewed and evaluated by faculty and fellow students. Films are owned by the students who created them.

BFA Program: Undergraduates are provided with a variety of creative experiences in the conceptual and production phases, and intensive coursework is offered in directing, producing, writing and acting, as well as in the craft and technical skills of film editing, video post-production and sound mixing. In addition, students are encouraged to experience the full range of artistic expression by taking courses in other departments of the Tisch School, as well as at the College of Arts and Science. Fewer than 300 of the more than 1,000 applicants are admitted into the undergraduate program, leading to the Bachelor of Fine Arts degree.

MFA Program: Graduate students develop their creative talent through actual production experience and learn about business procedures used in the profession. The program culminates with production of a thesis film in the form of a dramatic short or documentary. Fewer than 40 of the more than 800 applicants are admitted to the three-year graduate program, leading to the Master of Fine Arts degree.

State-of-the-art facilities include 60 editing rooms, 25 film and video screening rooms and theaters, animation studios, a cinema studies archive, broadcast-quality television studios, three film soundstages, and the University radio station, WNYU-FM.

Alumni: Spike Lee, Martin Scorsese, Oliver Stone, Joel Coen, Martin Brest, Susan Seidelman, Joel Silver, Amy Heckerling, Chris Columbus, Billy Crystal.

The North Carolina School of the Arts

The North Carolina School of the Arts
School of Filmmaking
1533 South Main Street
Winston-Salem, NC 27127-2188
336.770.1330 (voice) 336.770.1339 (fax)

The School of Filmmaking trains exceptionally talented students for professional careers in the moving image arts. This program stresses the collaborative creative process of filmmaking. The program does not seek to train professionals as specialists in one facet or another of the filmmaking arts and sciences. It does, however, seek to develop and nurture the complete filmmaker— a storyteller of vision and insight who knows and appreciates the entire spectrum of components that are essential to the creation of a theatrical motion picture. The intense conservatory training concentrates on screenwriting, directing, cinematography, editing and sound, producing, and production design. Students are expected to have or to develop a strong base in liberal arts and sciences with intensive course work in screenwriting, film production and producing, directing, film history, film theory and film criticism. The School of Filmmaking works closely with the Schools of Drama, Design & Production, Music, Dance and the Visual Arts Program as essential contributors to the filmmaking process.

The faculty of the School of Filmmaking consists of working professionals from the motion picture and television industry. The relationship between faculty and students is one of "master-apprentice" involving close collaboration in all aspects of the development, production and exhibition of motion pictures. Students work in both video and film producing several productions of varying length over the course of their studies. The Bachelor of Fine Arts is awarded to those students who satisfactorily fulfill the requirements of the program.

Dale Pollock, Dean
Gerald Paonessa, Assistant Dean, Production
Steven L. Jones, Assistant Dean, Instruction

Columbia University School of the Arts

Columbia University School of the Arts
New York, NY 10027
212.854.2134

e-mail: admissions-arts@columbia.edu

A member of the Ivy League, undergraduates focus on film theory and criticism, while the graduate program is production-oriented. Film Division facilities, equipment, and library materials are reserved primarily for the use of registered MFA candidates.

First-year projects are shot in video, second-year projects are shot in video or film, and most thesis projects are shot in 16mm film.

Facilities: The facilities of the Division include camera and sound packages for 16mm production, 16mm editing facilities, VHS camcorders, VHS and 3/4" video editing equipment, lighting and grip equipment, and a screenwriting facility equipped with Macintosh computers.

Alumni: David Brown, Kathryn Bigelow, Malia Scotch-Marmo, Joe Minion.

Cal Arts

California Institute of the Arts
24700 McBean Parkway
Valencia, CA 91355
805.255.1050

email: admission@calartsl.edu

Founded in 1961 by Walt Disney, Cal Arts offers degree programs in film and video production with emphasis on individualized courses of study. The school specializes in study of both character and experimental animation. Faculty consist of practicing visual and performing artists and there are extensive media internship opportunities.

Facilities: Film screening room, editing suite, sound mixing room, sound stage, computer animation laboratories, motion control camera, optical printer, animation stand, film library.

Alumni: Tim Burton, John Lassiter, Michael Pressman, Michael Patterson.

The American Film Insitute

The American Film Institute
P.O. Box 27999/ 2021 North Western Avenue
Los Angeles, CA 90027
213.856.7600
Fax: 213.467.4578

First and foremost, AFI's Center for Advanced Film and Television Studies is a Conservatory, similar to European art and music conservatories, where leading artists mentor rising talents. The MFA and MA programs focus solely on teaching the art of the moving image and training better storytellers. The willingness to experiment and to push the boundaries of storytelling has been a vital component of the Center since 1969.

Education and Training Programs at AFI offer emerging artists the opportunity to learn from the most talented people working in cinema, television and the digital arts. AFI's Center for Advanced Film and Television Studies (CAFTS) is a two year production based Conservatory offering Master of Fine Arts (MFA) degrees in six disciplines. CAFTS also offers a one-year Master of Arts (MA) degree in Digital Media Studies.

The Center for Advanced Film and Television Studies provides a unique curriculum, offering a two-year Master of Fine Arts program in six disciplines and a one-year Master of Arts degree in Digital Media Studies. The programs are hands-on and production-based, creating a rigorous academic environment that closely parallels the challenges of real-world production.

The production facilities include state of the art 16mm film equipment, digital television production and editing equipment, sound stages, mixing rooms, and elaborate computer facilities.

Alumni: David Lynch, Terrence Malick, Jeremy Paul Kagan, Paul Schrader, Amy Heckerling, Tim Junter, Ed Zwick, Marty Brest.

Cinematography Alumni:

Caleb Deschanel, ASC ('69)

Hope Floats, Fly Away Home, Crusoe (dir.), The Natural, The Black Stallion, The Right Stuff, Being There

Frederick Elmes, ASC ('72)

The Ice Storm, In The Gloaming, Night On Earth, Wild At Heart, River's Edge, Blue Velvet, Eraserhead

Janusz Kaminski, ASC ('87)

Amistad, The Lost World, Jerry Maguire, How To Make an American Quilt, Schindler's List

Robert Richardson, ASC ('79)

The Horse Whisperer, U-Turn, Nixon, Salvador, Casino, Natural Born Killers, A Few Good Men, JFK, City of Hope, Born on the Fourth of July, Talk Radio, Platoon

Juan Ruiz-Anchia, ASC ('79)

Death In Granada, The Adventures Of Pinocchio, The Jungle Book, Glengarry Glen Ross, House of Games, At Close Range

Top Film Schools

Here's a list:

Writing With Images

From Oscars.org:

Editing is one of the most creative aspects of filmmaking. The film editor, in conjunction with the director, establishes the pace and structure of a film by connecting various shots to create scenes and sequences that form the final movie. The shots the editor chooses and the ways they are combined set the mood, develop the action, create the rhythm, establish the film's time and space, and guide the viewers' attention. For a typical feature-length film, the editor begins with hundreds of thousands of feet of film and must reduce it to less than 10,000 feet.

Part A. Film editor Carol Littleton describes editing a film as being a lot like writing: "You become a writer, but you're writing with images…" Ask your students to think about how visual images differ from those created by the written word. For example, have them write a paragraph describing a disagreement between an official and two runners about the outcome of a race. Then ask them to draw a series of pictures (stick figures are fine) that depict a similar scene. Ask them to analyze how the written description differs from the visual images they used and how this difference may affect the way films are made. While the written version may describe very specific thought processes, the pictures probably illustrate specific actions. People say, "A picture is worth a thousand words" and "Actions speak louder than words." Have students consider in what ways these sayings are true in regard to motion pictures and in what ways they neglect the difficulties of communicating with images. In what ways do the interactions of characters in a written story differ from the interactions of characters in a traditional narrative film?

Part B. In the 1920s, Russian filmmaker Lev Kuleshov conducted a series of experiments designed to demonstrate that when two separate shots are projected in succession, the viewer assumes a connection between them. In one experiment, Kuleshov spliced together a series of shots that had been taken in different places and at different times. The shots were of a waiting man, a walking woman, a gate, a staircase and a mansion. Kuleshov's viewers—who interpreted the sequence as a man and a woman meeting at the gate in front of the mansion—had, in essence, inferred a whole narrative on the basis of seeing only portions of it. This effect allows filmmakers to use exteriors and interiors miles apart and imply that they are in the same place, to have people filmed on different days appear to be talking to each other, to have actors seemingly facing dangerous situations, or to imply that what actors are thinking about is represented by a subsequent cutaway image.

To illustrate the Kuleshov effect, show your students drawings or photographs (as described above) that are not necessarily related, but which, when viewed together, can be mentally connected in time and space to create a brief scene.

Part C. The Kuleshov effect is an editing technique that illustrates how the human brain tries to find connections between objects when viewed together. Other editing techniques rely on how the human eye works. For example, there usually must be an appropriate change in distance for a shot not to seem like a mistake or "jump" cut. The direction in which things move across the screen is also an editorial concern. A car that exits the screen on the right is expected in a subsequent shot to reappear on the left—otherwise the car could be perceived as a different car coming from the opposite direction. Scenes featuring characters in opposition to each other (a hero and villain, for example) usually feature one character continually facing one direction with the other character continually facing the other direction. This keeps the two "sides" clear. Have your students prepare a "shot list" (see example below) listing the shots from a sequence of a film they've watched. The list should outline the details of direction, position, distance, continuity, or relationship that is communicated with each cut between shots. Have them explain why they feel the edit does or does not work. If they desire, they can use arrows or symbols as shorthand to describe what is happening in each shot.

Film Editing Terminology

Some of the terminology that a film editor uses includes:

Close-up (CU): A shot showing a detail only (ex., face only or hands only).

Cross-cutting: Cutting back and forth between two or more events or actions that are taking place at the same time but in different places. Cross-cutting is used to build suspense or to show how different pieces of the action are related.

Cut: An abrupt transition from one shot to another.

Cutaways: A cut away from the primary subject to something the filmmaker has decided is equally or more relevant at that time. Often cutaways consist of shots showing the reaction of one character to another. This is often used to compress time in what appears to be a seamless manner.

Dissolve: An overlapping transition between scenes where one image fades out as another fades in. Editors often use this to indicate a change in time and/or location.

Establishing Shot: A shot, usually taken from a distance, which establishes for the viewer where the action is to occur and the spatial relationship of the characters and their setting.

Extreme Close-Up (ECU): A detail of a close-up (eyes or mouth only, etc.).
Fade In: A shot that starts in darkness and gradually lightens to full exposure.

Fade Out: A shot that starts at full exposure and gradually fades to black.

Freeze-Frame: At a chosen point in a scene, a particular frame is printed repeatedly, given the effect of halting or "freezing" the action.

Jump Cut: A cut where two spliced shots do not match in terms of time or place. A jump cut gives the effect that the camera is literally jumping around.

Long Shot (LS): A shot taken at a considerable distance from the subject. A long shot of a person is one in which the entire body is in frame.

Medium Shot (MS): A shot framing a subject at a medium range, usually a shot from the waist up.

Reverse cutting: A technique alternating over-the-shoulder shots showing different characters speaking. This is generally used in conversation scenes.

Sequence Shot: An entire scene or sequence that is one continuous camera shot. There is no editing.

Film Connection School

From Film-Connection.com:

Welcome to the Film Connection Editing School….the only school that offers you a one on one private education in Final Cut Pro or Avid editing. That’s right, at Film Connection you will have the opportunity to learn editing from a professional editor one or one. Did you ever think that you could learn how to be a film, commercial, or music video editor, from an editor? And did you ever think that this would all be possible for 70% less than classroom-centric schools? Think it too good to be true? Well think again, Film Connection Film School for Editing has been training editing students one on one for over a decade. We’re the common sense answer to overpriced film schools that leave you unemployed, in debt, and under qualified.

If accepted into our film program, Film Connection will place you with a professional film, commercial, TV, or music video editor within an hour to 90 minutes of where you live. This professional filmmaker becomes your personal tutor, your private mentor if you like, and he or she will teach you just about all you need to know to get your start in the film business, In addition to that, your mentor will introduce you to his or her connections in the film business by placing you on real movie, TV, commercial or music video projects. Now compare that with sitting in some overcrowded, OVERPRICED college classroom…it’s the biggest “no brainer” in the history of film school education…

If accepted into our Editing Program you will learn how to be a florist…(just kidding). You will learn Editing of course! The Film Connection Editing program is designed as an intensive 4 month, introductory editing course that will teach you the basics of Final Cut Pro or Avid Editing (you choose). The benefits of learning from a professional editor as opposed to a college teacher should be clear, but in case it’s not, read on:

First, learning from a professional that is daily faced with meeting the demands of the industry as opposed to a “college editing teacher” who is daily faced with the demands of “just teaching” can help you to better prepare for your career as an editor.

Second, learning from a pro in his or her studio only places you that much closer to the “action” so to speak. Where would you rather learn, in a “safe” college classroom where NO ONE gets hired, or next to a pro., in a real world studio or company who might have an opportunity to hire you or place you on a real project?

Third, the fastest way to get hired in the film business is to know someone, that is to “have connection”. At Film Connection your teacher is a working professional that makes his or her living in the film business as an editor. What that means is that your mentor has hundreds of connections. And if he or she has trained you and believes in you, guess who your mentor might recommend for the next job that comes his or her way?

Apple chief to grads: Glad I dropped out

From MSNBC:

PALO ALTO, Calif. - Apple Computer Inc.'s CEO Steve Jobs told Stanford University graduates Sunday that dropping out of college was one of the best decisions he ever made because it forced him to be innovative — even when it came to finding enough money for dinner.

In an unusually candid commencement speech, Jobs also told the almost 5,000 graduates that his bout with a rare form of pancreatic cancer reemphasized the need to live each day to the fullest. "Your time is limited so don't let it be wasted living someone else's life," Jobs said to a packed stadium of graduates, alumni and family.

Jobs, wearing sandals and jeans under his robe, was treated like a rock star by the students, in large part due to the surge in popularity of Apple's iPod digital music player. A group of students wore iPod mini costumes over their robes and several students shouted, "Steve, hire me!"

Jobs, 50, said he attended Reed College in Portland, Ore., but dropped out after only eight months because it was too expensive for his working-class family. He said his real education started when he "dropped in" on whatever classes interested him — including calligraphy.

Jobs said he lived off 5-cent soda recycling deposits and free food offered by Hare Krishnas while taking classes.

The Radio Connection Advantage

Dennis Daniel writes:

So you want to get into the radio business, huh? You want to be an Announcer? A DJ? A Copywriter? A Newsperson? A Producer? A Salesperson? A Music Director? Maybe even a Program Director! You figure, "Okay, I'll just go to college, study communications, get my degree, send out resumes and bingo: I'll have a job." Right? Wrong. Dead wrong.

For a career in radio, college is a waste of time and money. Yes, you read it right. In fact, I'll repeat it. College is a waste of time and money. Blasphemy, right? How could I write something so stupid, so idiotic, so irresponsible, so untrue! You may be wondering if it's worth your while to continue reading, right? You must be thinking, "This guy is a nutcase." You may even think I'm like one of those infomercial types, trying to sell you my course on how to make a quick buck or how to buy real estate with no money, or how to lose 100 pounds in a week.

Well, chill out, my friends. I am not one of those hucksters. My name is Dennis Daniel and I've been in the radio business for the last 16 years. I am currently the Creative Director for the WDRE Modern Rock Network, a group of radio stations that broadcast WDRE's Modern Rock Programming to several cities.

I am responsible for all the on-air, in-house produced commercials, comedy and programming-oriented production. I have a staff of six people under me. During my career, I have won almost every major award in radio advertising, including the Clio Award, the Sunny Award, The International Radio Festival, two Firsty and two Radio and Production Awards, and a Boli. For four years I wrote a column called "Tales Of The Tape" for Radio and Production Magazine. The column was designed to help Production Directors deal with the day to day demands placed on them for creativity.

I have consulted several radio stations around the country on production and creativity, and I lecture about it often at local colleges on Long Island. And ... I do not possess a college degree. Never have, never will. What's more ... I never needed it.

What's the Hot, New Way To Launch a Film-making Career?

By Si Dunn and Connie Dunn

These days, you can spend four years of your life and almost US $100,000 to obtain a prestigious film degree from a big-name university. Yet once you hit the streets looking for a job in the entertainment industry, that hard-earned diploma may not land as many interviews or bring you as much respect as you imagined.

Indeed, you may find yourself losing out to someone without a degree but who happens to have some production credits, plus good connections.

"The old adage is true--it's definitely who you know," says Sherwood Jones, an editor and postproduction supervisor at Tapestry Films in Beverly Hills. "This is why internships have become an increasingly effective way to get the proverbial foot in the door. Many producers and production managers no longer look to resumes but instead turn to colleagues for their hiring recommendations," Jones notes.

Experience sells, too, but good references are absolutely vital, especially in tight job markets. Producers and directors who are responsible for multimillion-dollar projects often have to hire quickly, and they must trust that the people who get the jobs will show up every day and give their best efforts.

Faced with a choice between a film school graduate with no professional experience and a high-school dropout who recently has worked on a few movie sets, many hiring managers will go for the dropout right away. He or she will need a lot less on-the-job training and will have references from other producers and directors

Don't Make the Grade -- Make the Connection

By Bruce Britt

Is Jimi Petulla the savior of American adult education?

Though some may debate his methods, one thing is certain: Petulla's radical, yet time-honored approach to teaching could shake higher learning to its unstable core. He is founder and president of Entertainment Connection, a California-based program that applies the old world concept of "apprenticing" -- i.e., a learning experience where students receive personal, on-the-job training from a seasoned professional.

An entertainment-oriented vocational program, Entertainment Connection offers students a low-cost, work-intensive way to enter the worlds of radio, TV, film and recording. Petulla's graduates have been hired at some of the most prestigious companies in the entertainment business, including Universal Studios, ABC, CNN, Sony, MTV, NBC Radio, ESPN and HBO. Entertainment Connection students have worked on projects for renowned artists like director James Cameron ("Titanic"), Wesley Snipes, the Rolling Stones, Aerosmith, Madonna, Nirvana, Garth Brooks, Puff Daddy, David Bowie and countless others.

Moreover, Petulla's system allows students to acquire real-world knowledge in the studio of their choice in any city or country. His flexible program allows ambitious, industrious students to work part-time, nights or weekends with no prior experience required. In praise of Petulla and his innovative system, television veteran and ABC "20/20" host Hugh Downs recently commented: "It is especially amazing to me the amount of people you have placed in broadcasting jobs all over the country."

Echoing the sentiments of many Entertainment Connection students, recording engineer Billy Flores says: "Although I am an intern, (Entertainment Connection has) enabled me to work in a top-of-the-line studio with some the music industry's finest ... Don Henley, Brian Wilson and the Rolling Stones."

L.A. Film Editing School

Here's the web site:

Video Symphony's film editing school is the place to go for Hollywood grade training. Our school has the technology and equipment you need to master your skills in editing.

Located in the Burbank Media District, our school is in the center of the entertainment industry. Our school trains students of all levels of expertise. Newcomers attend our school with professional film editors. This golden networking opportunity is heightened by the fact that film editing courses at our school are also taught by industry veterans.

Many film editing students also have the opportunity to work on professional client projects while still in school. Video Symphony's reputation is solid, and employers know that our students are ready to put their film editing skills to use. We have extensive job resources to launch your career as a film editor.

Please click here to learn more about Video Symphony's film editing classes and career programs.

Emerson University Film Editing School

Here's a website review:

The film major begins with introductory classes, which provides students with a foundation in the field of media arts. These classes focus on the history, aesthetics, and theories involved in the visual and media arts. The proceeding level of classes provides students with a basic understanding of their chosen discipline.

For film and television students, the second level of classes will provide students with a broad appreciation of their field. Some of the classes taken at this level might include television and film writing or introductory courses in production.

The third and final level of classes will enhance the production skills learned in the second level. At the third level, students will select their preferred field of specialization; it is here that students are afforded the opportunity to further examine the field of post production techniques.

In film and video editing classes, students receive hands-on training as they work on their own editing assignments. They gain the ability to work with medium- to long-format editing processes. Additionally, students will meticulously examine completed motion pictures to understand the artistic choices of professional editors.

To aid in the editing process, Emerson has provided students with the excellent facilities for post production. The campus is home to flatbed Steenbecks for analog editing and Avid platforms for non-linear digital editing.

Video Editing Schools

Here's the website:

Prospective students who searched for video editing schools found the following information relevant and useful.

Information about Cinematography and Film Production

A cinematographer is responsible for planning every shot in a movie or television show, considering camera angles, lighting, and editing. A film producer then takes this film and transforms it into something useful--something that can be viewed and enjoyed by others. As the movie industry continues to expand, the demand for cinematographers and film producers increases.

While not all cinematographers and film producers have earned degrees, they must both certain undergo some sort of formal training. They must, after all, understand the technical aspects of filmmaking, such as how to use all equipment or how certain adjustments in angle or lighting transform the image. There are a number of schools, colleges, and universities offering such programs.

Articles related to video editing schools

Associate of Film and Video: Degree Overview

The ideal graduate of an Associate Degree in Film and Video will be passionate about the industry, creative, hands-on, detail oriented and analytically minded. Students will get experience operating cameras, using editing software and working on virtually every aspect of a film! Learn more about Film and Video degree programs here.

Top Schools for Photography, Film and Video

Read on for academic and career information for those pursuing a career in Photography, Film and Video. This article includes a list of institutions offering film, video and photography programs.

Truly a cutthroat artist: Wausau native wins Emmy for bloody good film work

Here's the article:

Eric S. Anderson has literally cut his own throat for the sake of art.

If you're a fan of the critically acclaimed Showtime TV series "Dexter," you've seen it in the opening sequence. Listen to the interview

Anderson, a Wausau native and a 1983 graduate of Wausau West High School, was the creative director for that piece of work, and it garnered him and his team a 2007 Emmy.

"Dexter" is a show about a serial killer "who is kind of a good guy," said Anderson. He wanted the opening to exemplify the duality of Dexter -- the fact that he's a killer and also a "normal" person. Anderson used slow-motion close-ups to lend a savage and ominous feel to ordinary actions such as slapping a mosquito, cutting a piece of ham, cracking an egg and shaving.

"For 'Dexter,' it's all about being brutally real. It's all about realism," Anderson said.

So Anderson and his producer picked up razors, he said, "and we had them film us slitting our own throats. That was to the degree that we wanted to do a great job. It was like, we could use fake blood. Yeah, but it looks like fake blood. Let me actually cut myself. Fake blood, for the record, actually looks a lot more realistic. It takes a long time for blood to come out of a cut."

Making videos is more than just assignment for student

Terry Webster writes:

Eighteen-year-old Brent Garner was ahead of his time.

Garner began making videos for class projects while in elementary school, long before the mass popularity of YouTube and MySpace.

But he isn't dabbling in videos just for fun. Garner, a senior at Trinity High School, plans a career in filmmaking.

He recently won second place in a national video competition sponsored by the Association for Career and Technology Education. Two videos were selected from more than 80 submitted.

Garner's video We are the Future is a public-service announcement for a national campaign to promote the association in Alexandria, Va. The group focuses on advancing education that helps prepare students for various careers, according to its Web site. Garner will also receive a complimentary copy of Apple Final Cut Studio 2 software, which is valued at more than $1,200. The software features a professional-level film editing program.

Principal builds showpiece program

From the Union Democrat:

Road construction and the arts are fields that seem worlds apart, yet Michael Gibson's career path has crossed both.

Gibson, the principal at Summerville Union High School District's Connections Visual and Performing Arts Academy, started his career as a project manager for a private company that did freeway and highway projects in the Santa Clara Valley, now called Silicon Valley.

But a volunteer coaching job helped direct his future into education.

Gibson has been principal at the academy for the past five years. Under his direction, it has grown both in program and in enrollment.

It now boasts a myriad of courses, including film editing, animation, ballet, concert choir, academy drama, and studio art available to its 160 students.

From the time he started, his vision for the program was one that contains all that each individual student is seeking in visual and performing arts, he said.

"I don't ever want them to outgrow the program," he said. "I want the program to meet their needs."

That was the drive behind the latest additions to the school, including string ensemble, stagecraft and ballet.

His commitment to the arts is evident in his office. Colorful posters from plays such as "Hello Dolly," "The Sound of Music" and "Cats" are lined in neat rows on the back wall.

Who To Do After Film School

by: Paul Kyriazi

I get this question a lot and have a serious opinion about it:

The most important thing is to always keep your shingle hanging out, saying "I am a freelance director." Never say, "Ah I gave that up." Even if you have other jobs, never tear up your business card.

Keep contact with all active filmmakers from college. Work on their films. It's a business of showing up. Show up to shoots, in any capacity. Show up enough and do a good job, and be an ambassador of good will, and you have a good chance on being invited to work on other films. And remember, be courteous and respectful to everyone. The extra or stunt man of today's shoot could be the producer of tomorrow's shoot. It happened to me. One of my swords women fighters from "Weapons of Death" hired me to do a travelogue in Phuket, Thailand. And actress Barbara Leigh just hired me to direct her new audio-book "The King, McQueen, and the Love Machine", and play the part of Elvis.

My life changed when I realized that I was not only in the feature film business, but in the COMUNICATION business. Just like the the USA train companys that thought they were only in the train business and didn't invest in trucks and airplanes in the 40's and '50s. They were left behind.

So be a sound man, an extra, an actor, a novelist, a speaker, a film teacher, (but don't get stuck in a dead end job). Be those as a freelance. But not a stunt man. It's too dangerous.

Yes, you will direct, but be in the communication business. Also you must start to develop your own projects that you feel passionate about. You never know when someone with money will ask you if you have a project. You should be able to instantly give him or her a script and budget and location plan and schedule.

Keep watching you favorite films over on DVD. Keep reading books by directors and watching DVD bonus programs and listening to commentary tracks. This is an incredible teaching device that will help program your subconscious to keep you on the right track.

Most important, to repeat, work on everyone's film. Yes, some will not appreciate your help, some will not pay you what they promised, but others will.

You must have some kind of short film or video to show someone when you get an opportunity.

I've directed six features (did post on many more) and still want to do more. That's why I did "Hard Rock Lovers" as an audio-book with famous actors. That's why I have it on ebay listed under those actors. Maybe a producer who is a fan of those actors will see it, buy it or request it from me, love the story and ask for a script, which I have waiting. But more than that, I'm still talking action on it, by getting it to producers via my agent.

Beware, age 26. That's when all my movie friends gave up. Four years after college. Their wives, girlfriends, or even parents said, "Well, you gave it a shot, now you have to get a real job." Yes, get freelance jobs. I always worked and at night I screened my first feature to buyers and future investors. Always work, but work freelance to be available for other film jobs.

Most of all, repeating, stay in touch with every active filmmaker, and make a contribution, whether it's passing on your used DVDs, helping to write a project, or whatever. You have to ask, ask the right people, have something to give, and keep asking other people.

If your interested in directing for the creative expression and lifestyle, or to do that one great story you have in your heart, you'll stay in it. However if you only have the dream of fame fortune and money, it's hard to stay motivated and will seek other paths for that.

And the best part is that you can't even imagine the surprises that come when you follow your dreams. I have too many personal examples to list here, but it's amazing what comes and how it comes.

About The Author

Paul Kyriazi - Feature Film Director

http://www.xanga.com/featurefilmdirector

Film School Financing

Graduates from a Film Studies program have a new opportunity in film & video production. Of course, with every opportunity comes a challenge - and in this case, the challenge is to find financing for your, or your employer's, projects.

With the advent of digital equipment the scope of film & video production has widened. The usual Hollywood styled film production is no longer the only route to a career for film graduates. There are a multitude of opportunities in audio and visual applications throughout business, government and the entertainment industry. That means OPPORTUNITY for the keenest graduates to produce their own film & video projects, or to land the most interesting positions with leading film & video production companies.

Financing has been a dirty word for years in the film industry. The 'Blue Suits' and the cold heart of the banker are synonymous with the enemy of the creative. However, in this new era of opportunity you need to be both the 'Blue Suit' and the creative.

How do you find a way to learn about film financing, film budgeting, etc.? First let's look at Film Studies programs.

There are so many Film Study programs available now that I find it confusing, and I've worked in the film industry for over 20 years. The Universities are taking a Liberal Arts degree approach to their curriculums, and the Colleges/Schools are primarily taking a hands-on technical approach. In either case, it is unarguable that Film Studies is big business. The following excerpt from The New York Times Company, published March 6, 2005©, made it clear to me how big a business Film Studies really is:

"Some 600 colleges and universities in the United States offer programs in film studies or related subjects, a number that has grown steadily over the years.... At the University of Southern California, whose School of Cinema-Television is the nation's oldest film school (established in 1929), fully half of the university's 16,500 undergraduate students take at least one cinema/ television class."

Which College, School or University will best prepare the graduate for a career in film & video? If a student has invested 2 to 4 years of their lives in this degree, how can they turn it into a worthwhile career?

Let's see what the Universities say about their own programs, and the kind of results they expect - that is, what the Graduate will be capable of when entering the work force. This promotional letter, posted on one University's web site, says it all:

"A major in Film Studies is not an occupational or professional degree. A sound program of studies in this discipline, however, should qualify a student for a variety of vocational possibilities. Obviously an individual will need to employ his or her knowledge about film in either a creative or a practical capacity and, in either case, exercise the judgment and initiative that a rigorous pursuit of a major in Film Studies should develop."

The use of 'should' twice in three sentences tells the story - it's up to you, Bud!

Film Studies programs (at any level) either don't address, or don't address strongly enough, the major force behind all film and video production - the MONEY! If the word money is brought up at all, it's only a handshake and a nod. Most undergraduate programs have very little mention of Film Budgeting, and such things as Cost Reports and Business Plans are treated as foreign topics entirely. The Masters programs are only slightly better.

The reason for the void of information on such things as Film Budgets, Cost Reports, etc. in the academic sector originates from the big Hollywood production machine. The perpetual negotiations with the three big guilds (SAG, DGA and WGA), as well as with the IATSE & Teamster crew unions has forced the producing studios to be extremely confidential.

That era of total confidentiality isn't over, nevertheless there is a huge demand to know more about film financing, film budgeting, etc. The new crop of Independent Film & Video makers want to make their own projects, find their own financing and do their own film budgeting and reporting of production costs. It is even increasingly possible for producers to distribute their own projects over the internet.

Believe me, the film school graduate who has a thorough understanding of their Film Studies program, AND understands the basic processes of Film Budgeting, Cost Reporting and Business Plans, is light-years ahead of the pack. A film studies graduate who can help prepare a financing package (that is, help to prepare a Film Budget and a simple Business Plan) would absolutely blow away any Independent Film & Video Production company. Can you imagine an Independent Producer who wouldn't LOVE to have help with preparing and presenting a financing package?

I used to assume that the film students had a lack of interest in Film Budgeting and Costs (of any kind). Not anymore. I recently did a survey of film students at a respected film school. Here are the results of the survey:

Over 80% of the students said they felt it was important to know more about budgeting and how it affected their careers as filmmakers.

Film & Video production is one of the biggest industries in THE WORLD (next to weapon manufacturing, of course). The wide spread use of digital medium has created a new opportunity. That opportunity, although less expensive than the Hollywood style film productions we've grown used to, is still costly and requires financing. How do you get that financing? Where do you start?

Answer: You start with the basics of Film Budgeting, Cost Reporting and very simple Business Plans. If you can calculate a focal point, or learn how to operate a video camera, a Film Budget is a piece of cake.

Based on my experience over the past 20 years in the film industry, I can confidently say:

1. Graduates from Film Study programs who know the basics of film & video production money (Budgeting, Cost Reporting and Business Plans) will find they can take on more responsibility in their film & video projects, and

2. as a result will have more successful careers than their peers who haven't learned to prepare Film Budgets, who don't understand any production's Cost Report and who never saw a simple Business Plan.

So how does a film student get familiar with Budgets, Cost Reports and a simple Business Plan? I've been a Production Auditor for 20 years and I've NEVER shown a crewmember a Final Budget or a Weekly Cost Report (the universally standard financial report card issued to the Financiers and Producers every week) in that entire time. They are considered sacrosanct by Studio Executives, Producers and Financiers everywhere.

Well, I'm about to tease you with some relevant articles that will open the door enough to let you walk through. They're written for the complete novice, so be patient if you've already been exposed to budgets and cost reports.

Visit my web site at http://www.talkfilm.biz and sign-up for 7 FREE informative articles on how to participate in the budgeting and cost reporting process. You can instantly download my Ebook, "Walk The Talk".

Written by John Gaskin - With 20 years experience in the Film Industry as a Production Auditor, John has managed over 40 major films all over the world. John has worked with some of the industries top professionals including academy award winning producer Ron Howard, Brian Grazer, Walter Salles, etc. See more "About the Author" at http://www.talkfilm.biz.
About the author:

Written by John Gaskin - With 20 years experience in the Film Industry as a Production Auditor, John has managed over 40 major films all over the world. John has worked with some of the industries top professionals including academy award winning producer Ron Howard, Brian Grazer, Walter Salles, etc. John is the author of several articles as well as a book,"Walk The Talk". See more "About the Author" at http://www.talkfilm.biz.

Written by: John Gaskin

Film Production

It seems like the only films being made these days by major studios are sequels to comic book hero movies, remakes of classic old movies and old television shows that have been turned into movies. Most of the projects of today’s film industry are chosen by Wall Street instead of by some cigar chomping studio executive sitting behind a desk on a studio lot in Hollywood. It can be disheartening at times when you are standing in front of an eighteen-plex movie theater location and you want to see a movie with a story. However, just when you think that creativity is dead in the movie business a talented filmmaker will come along and remind the big shots that they ultimately depend on them for their product.

The fact of the matter is that the film industry is a business like any other in which the primary goal is to make money. Any deviation from that concept puts a studio at risk of having a movie that “bombs”, or in other words loses money. When you are dealing with a major studio like Warner Bros or Paramount you have shareholders to worry about, and that makes studio executives nervous. When shareholders get nervous they shine a bright light on their investment and look for anything or anyone that is not making them money. This spells disaster for inept studio executives and their heads will roll. This is why they always try to cover their behinds with the safest investment, and that is why you will not see them taking any chances on something or someone that has not already been proven to make money.

A big studio is basically defined by the value of their stock, not the quality of their films. This is why major studios appear to be creatively bankrupt these days. Decisions about making movies are being made by financial people instead of creative visionaries like Jack Warner. Today’s films are constructed around a host of commercial themes instead of artistic ones and that is why you get a whole lot of special effects and very little storyline. Explosions and clever product placement sell more tickets than gripping stories.

When you think about how the odds are stacked so heavily against the financial success of a truly independent film it is a wonder that any at all get made. It is a testament to the creative and irrepressible spirit of independent filmmakers around the world. While filmmaking is first and foremost a business these days it will always rely on its creative aspect to keep the customers happy. This is why creative people are drawn to this industry despite the odds of success being heavily against them. Film production is and always will be a form of art no matter how commercialized it becomes. Artists are drawn to this business because that is what they do; they work with art forms.

You have to understand when you take on a career in film production you are rolling the dice with your future success. It is really hard to break into this field as a major player without connections due to the fact that there is a great deal of nepotism involved in the hiring process. It is hard, but not impossible.

The best way for a Nobody to become a Player in Hollywood is to make a big showing at a major film festival like Sundance or Toronto. This always leads to some good publicity, which can launch a career from independent to mainstream.

We all remember The Blair Witch Project and El Mariachi. These were films made in the late nineties that cost less than fifty thousand dollars and crossed over from the film festival circuit to the major theater circuit. They were made by artists who put their budget second and their vision first. Persistence and an undying passion to make movies was the fuel that drove them, and it paid off in the end. Big studios bought their films and went on to make millions with them. It does not matter that the studios made most of this money, for the publicity that these filmmakers received was enough to launch their careers in Hollywood. In both cases the makers of these movies went on to create sequels, but with major studio budgets backing them financially for the second episodes of their stories. Their exploits in the world of independent film was a springboard to the big time. It worked out well for them.

It is good to see that every once in a while a really independent film makes it to the big time. Most films that are entered in festivals never get to see the bright lights of the mainstream, but it does happen every once in a while. This is because passionate and creative artists will always gravitate to this line of work to tell their stories, no matter how hard the big studios make it for them to join their money-making party. A truly great story teller cannot be silenced by nepotism. They will always find a way to get their story told.

One thing is for sure; when it comes to the movie industry the cream always rises to the top. Although it has been smothered by commercialism lately it cannot exist on money and test marketing alone. The main nutrient it requires to survive is creativity. Even the most heavily laden special effects movie needs some sort of creativeness to build their explosions around. Once in a while the big Hollywood studio executives open the doors to their party and let the creative people inside, but only if their financial advisors tell them that it is a good idea.

Article Source: http://www.electrictext.com

About the author:

Michael P. Connelly is an Author, Artist and award-winning Filmmaker who writes on a variety of topics that effect people in their every day lives. CLICK HERE For More Information on the topic of this article

Finding A Film School

Filmmaking is not only an interesting, enjoyable and fulfilling career but very lucrative as well. Unfortunately, realizing the big Hollywood dream entails hard work, commitment and great amount of skill, right attitude, guts and some luck, too. While it is true that you’re not in full control of your fate, the initial steps toward being a successful filmmaker depend on you. Choosing the right or the best film school where you would hone your talents, develop more interest and learn more knowledge in filmmaking is your first step. Your decision to choose a particular film school is very crucial to your success as a filmmaker since that film school shall equip you with or shall help you gain more knowledge, skills, techniques and experiences, which are essential to a filmmaker. Those are his tools in filmmaking that cannot be bought but are earned and cultivated through time.

1. Know What You Want

First of all, you have to know what you want. Ask yourself what realm of filmmaking do you want to venture in or what kind of films do you want to work on in the future? Do you want to be an independent filmmaker or a simple film artist? There are so many film schools in the country as well as in other parts of the globe and each has its own expertise. Knowing what you want in the first place would allow you to focus your research and thus refine your choices for good film schools. Also, this would help you save time and effort in searching for schools as you have already eliminated those that may not fit your interest and criteria.

2. What Are Your Considerations?

After deciding on what area you want to concentrate, you should also identify your major considerations in choosing a particular film school.

- the affordability of film courses
- the facilities of the film school
- the accessibility and proximity of the school
- the film school’s reputation and quality of education

3. Don't Skimp On Your Education

Remember that a good film education is really expensive so do not just choose a film school that offers the cheapest film courses. It is important to consider the quality of education and the reputation of the school above all else. Remember that with that school, you are building a career that is supposed to be a life-long profession. Short-term film courses, say a 2-yr filmmaking course may be a lot cheaper than a 4-yr course and is quite helpful as most provide hands on training and a lot of project work. If you want to really excel in this field, however, you might opt for a longer course as it is more comprehensive.

3. Identify Where You Want To Study

Knowing where you want to cultivate your skills and intensify your interest in filmmaking is essential in selecting the right film school for you. This would refine your search as well since you would have to concentrate in looking for film schools only in one particular area or locality. New York is one of the best places to study film. It has the most developed art scenes for film and a number of reputable film schools. If affordability of the film course is one of your major considerations, you can choose a film school in Chicago and Milwaukee, which are known for having the most affordable film schools in the country. If you want to make it to Hollywood, better start your search for the best film school there in Los Angeles and nearby cities. There are lots of renowned film schools there that offer short and long term film courses.

4. Explore Colleges and Universities

Now that you have refined your criteria: the area in filmmaking you want to concentrate in, your major considerations such as the affordability of the courses, the school’s reputation and the place, you can now do some research. As you explore your options, consider the things you have identified earlier. It would be better if you list down every film school’s advantages and disadvantages so you can easily compare and contrast them. Also, as you examine the school’s film courses and their special attributes, you can add some more considerations to your list and see which of the film schools you have considered meet the most of your requirements.

5. Narrow Your List

After going through several colleges and universities, narrow now your list by eliminating those that do not meet your criteria. With your short but well researched list of the best film schools, you can be more confident now of making a right decision. But before you finally select the film school, seek for other people’s advice and recommendations, especially those who are well familiar with filmmaking.

About the Author:

For more great Film Schools related articles and resources check out http://www.onlyfilmschools.com

Source: www.isnare.com
Written by: Linda Emerson

Film Editing Books

Here's a report:

Editing Digital Video : The Complete Creative and Technical Guide - by Robert M. Goodman, Patrick McGrath
-- Editing Digital Video - the first book designed to teach anyone, using any editing system from iMovie to iQ, how to work more efficiently and tell better stories. Anyone who wants to understand what the tools do why to use them rather than how to access the tool in a specific program will want to read this book.
The Eye Is Quicker : Film Editing: Making a Good Film Better - by Richard D Pepperman
-- The most comprehensive book on the principles, methods, and strategies vital to the creative art of film editing.
In the Blink of an Eye Revised 2nd Edition - by Walter Murch
-- In the Blink of an Eye is celebrated film editor Walter Murch's vivid, multifaceted, thought provoking essay on film editing. Starting with what might be the most basic editing question Why do cuts work? Murch treats the reader to a wonderful ride through the aesthetics and practical concerns of cutting film.
On Film Editing - by Edward Dmytryk
-- On Film Editing explains, in simple terms, the principles of film editing, using examples and anecdotes. Written in an informal "how-to-do-it" style, renowned director Edward Dmytyrk shares his expertise and experience in film editing in an anecdotal and philosophical way.
Nonlinear - A Field Guide to Digital Video and Film Editing - by Michael Rubin
-- Michael Rubin Rocks. Anyone interested in Digital Video Editing and Film Editing must go for it.
Technique of Film Editing, Second Edition - by Karl Reisz, Gavin Millar
-- Though The Technique of Film Editing has not been revised since 1968, it is still the single most comprehensive and engaging volume on film editing. Karel Reisz and Gavin Millar introduce readers to every aspect of the editor's craft. They provide a concise history of editing and describe editing style as it applies to every genre of moviemaking, including the many types of narrative and documentary films.
Creative Postproduction: Editing, Sound, Visual Effects, and Music for Film and Video - by Robert Benedetti, Michael Brown, Bernie Laramie, Patrick Williams
-- Creative Postproduction explains the creative aspects of film and video postproduction so as to enhance the understanding and appreciation of film and television. This text provides essential insight into the postproduction process for general film students; those headed for careers as directors, cinematographers, producers, or writers; and those who want to pursue a career in the area of postproduction itself.
The Little Digital Video Book - by Michael Rubin
-- The Little Digital Video Book is not some dense, jargon-filled reference tome. Instead, it focuses on practical shooting and editing techniques, and shows you how to start (and actually finish) that video project you have in mind--in less than a day.
303 Digital Filmmaking Solutions : Solve Any Video Shoot or Edit Problem in Ten Minutes or Less, for Ten Dollar or Less (Digital Video/Audio) - by Chuck Gloman
-- With the advent of digital video cameras, anyone can shoot and produce a video for very little money - in fact, hundreds of thousands of people are doing so. When video photographers look for guidance, they don't want to read a big book cover to cover -- they want help on their particular problem immediately.

Film Editing Schools

Janelle Ashley Nielsen writes:

If you are thinking about a career in the film business, there are a variety of different film editing schools that you can look into. I attended the University of California at Irvine Film Studies program. I found this program to be an excellent source of learning about various types of films from Japanese Cinema to German Films to Film Noir. Each of the film editing schools that are across the country offer various perks such as film editing systems like Final Cut Pro or Avid Express. The more tools that a school has to offer is, in my opinion, a better place to learn.

If you are seeking to attend film editing schools that are part of a university or community college curriculum, some of the top well-known schools for film include NYU, USC, University of Texas at Austin, U.C. Berkeley, and American Film Institute. There are also colleges that offer film programs that are a wider range of subjects more than just film editing. It is sometimes helpful to study all of the various areas of filmmaking to have a very good handle on how movies are made.

If you don't want to spend 4 years in a university or college setting, there are specialized film editing schools that you can attend through various editorial companies and training camps. These programs can be costly, so if you can manage the tuition, you can usually get a very quick hands-on training in a short amount of time. The downside to these types of training "camps" is that they teach a lot of technical basics that can't compensate for the actual reality of how a cutting room is operated. Sometimes, there is no comparison to cutting room experience! If you do decide to be a film editor, ask to sit in with professional editors to get an idea of how films are cut!

Film Editing Schools

Temple Film School Review

Posted on Sunday April 1st, 2007 at 14:58 in film editing schools, film schools, film students, temple university

If you are in search of a university whose film department places an emphasis on applying theoretical concepts to actual film making, then Temple University might be a good choice for you. The film pr...
UCLA Film School Review

Posted on Tuesday February 27th, 2007 at 20:14

The most logical destination for many future filmmakers is Los Angeles. There are a number of excellent editing film schools in the area, but the school to receive the most acclaim for its film and v...
Film Program at University of Michigan

Posted on Monday January 29th, 2007 at 19:23 in film editing schools, film schools, Students

The film program at the University of Michigan in Ann Arbor is one which places a significant emphasis upon the theoretical aspects of the craft of film making. This approach is generally seen in nati...
NYU Film School

Posted on Sunday January 21st, 2007 at 15:54

The film program at the famed Tisch school at New York University (NYU) is one of the most competitive programs of its kind in the nation. It is competitive for good reason. Their film-making facility...
Reviewing American University Film School

Posted on Saturday January 13th, 2007 at 12:44

Those searching for a university with a strong film department might want to check out American University. While their film department is not quite as old, their communications department has existed...

Film Editing Schools

By Marcus Peterson:

An editor lends structure, form and pace to a movie. The job of an editor requires a high level of creativity and craftsmanship. It is due to this reason that an editor is usually called the second director. The job can attain perfection through proper training and guidance.

Several film-editing schools offer online or classroom training and courses on film editing. These courses cover the important aspects of editing, such as the basics of time and space, cutting shots and scenes, dialogue mixing with sound. They also include music, transitions, maintaining the continuity of the flow, adding the momentum and offering proper rhythm and pace.

The film editing schools offer extensive digital editing workshops, varying from four to twelve weeks and designed to make the students familiar with the necessary skills of a good editor. Highly experienced and certified instructors guide the students about professional methods to shoot and edit scenes, keeping with the storyline and flow of the movie. Students are also required to complete projects, providing them with hands-on experience in film editing.

The students are also provided with the latest and necessary editing equipment, manufactured by renowned brands. The fees of the course may vary according to the duration and content of the courses. There are projects involving professional clients offered by some of the famous institutes. Many Institutes have placement opportunities to ensure the students' careers as film editors. These institutes welcome international students and offer migration assistance.

Detailed information of all the procedures regarding course enrollment and fee structures can be found online. Students may also download online brochures for reference purposes. However, it is important to check and compare the course content and career opportunities offered by the various Institutes. A discussion with an ex-student of a particular institute can be very helpful.

Film Schools provides detailed information on Film Schools, New York Film Schools, Top Film Schools, American Film Schools and more. Film Schools is affiliated with Italian Cooking Schools.

Article Source: http://EzineArticles.com/?expert=Marcus_Peterson

Finding A Film School

From the USA Study Guide:

Another factor in choosing a film school is location. If you would like to remain closer to home, then check the film schools in your area. Many of the most acclaimed film schools are located in New York and in Los Angeles, as they are the two major film centers in the United States. You may want to choose a film school in one of these or another major city, because it will give you a chance to be close to the film industry. This opens up more opportunities for you to get an film-related internship or job.

Film School, Film Making School, Film Directing Schools That Meet Your Career Needs

Depending on what branch of film most interests you, you will want to select a film school with a degree/program that will aid you in your particular field of interest.

There are three major types of film schools. Industry film schools are film schools that prepare you for a career in Hollywood and teach you how best to go about selling your movie ideas to producers. Independent film school will help you if you want to produce major films outside of the Hollywood system. Experimental film school does not teach the financial and business side of film, but focuses on the artistic side of film.

Film School Degrees vs. Film School Diplomas

Another very important factor when choosing a film school is knowing what the film schools offer you upon graduation. Some film schools will offer a degree, and some will offer a diploma upon completion of the course, but no degree. That is not to say that the programs are not recognized by the film industry, however. Many of the film degrees available are MFA (Master of Fine Arts) Degrees. To be considered for admission into a film school program of this nature, you must already have an undergraduate degree.

If possible, visit the film schools or film directing schools you are seriously considering attending. Make sure that you like the campus, city, and program they have to offer. You are given many options when looking for a film school. Make sure you choose the one that is right for you.

Applying to Film School and Film Making Schools

When applying to a film school or a number of film schools, you will be asked to provide them with various items to demonstrate your ability as a film-maker and prospective film school student. You may want to start early accumulating things that will look impressive in order to be admitted to your first choice film school.

Preparing Your Film School Résumé

The first item you will be asked to submit will be a résumé. In addition to the things you would put on any college application, you will want to focus on certain things. Many film schools look for students with advanced writing skills. Taking writing classes will give you an edge. Acting and theater-related classes will also help you, especially if you hope to specialize in directing during your film school career. Directing requires you to be able to relate and effectively communicate with the actors you are working with. Also, be sure to include any previous movie production experience you have, if any.

Making a Application Film for Film School

The other, equally important thing that a film school will want to see is a sample movie. Film schools want to see you in action. They want to see an example of your film production abilities. If you don’t have a video camera yourself, try to borrow one from a friend. The movie should not be very long. It should probably be between 5 and 10 minutes. Make multiple movies. Watch them with others and have them give you feedback. Your films will get progressively better as you gain more experience. With this information in mind, you may want to take different extra-curricular film programs and attend film camps to give yourself an extra edge in the competition for film school admission.

Other Requirements for Film School Applications

Some film schools may ask for other things, including a screenplay other example of your writing, an animation storyboard, or photographs. Much of it depends on the individual film schools, and what area of film you want to enter. For example, if you wanted to enter animation, you would most likely need to send your prospective film school drawings. Be sure to check the admission requirements for your specific film school.

Film School: About Film Schools, Film Editing Schools, Film Directing, Film Making School Programs

From the USA Study Guide:

Film schools and film directing schools provide aspiring film students with a solid understanding of the many facets of the film industry. While graduating from one of the many top film schools or film directing schools does not ensure a film school graduate success in the film industry, it certainly increases the odds in his or her favor. The film industry is becoming much more competitive and graduates of film schools or film directing schools have more doors opened to them because of their film school or film directing school diploma or degree. Because graduating from one of the many film schools and film directing schools requires lots of time and money, make sure that film school or film directing school is, in fact, the option that will best help you reach your film career goals.

Choosing the Film School Program That Is Right for You: How to Choose a Film School, Film Making School, or Film Directing School

The film industry is a lucrative, multi-faceted one. Depending on what part of film production and movie making you would like to learn, there is a film school or film directing school for you. Top film schools and film directing schools are located all over the United States, and choosing the right one can often prove very difficult to a prospective film student.

Researching Film School, Film Making School and Film Directing School Options

Due to the increasing demand of film-related jobs, film schools have been increasing in number. However, not all of these film schools issue film degrees or film diplomas that are taken seriously in the film industry. To be sure that you avoid attending one of these film schools, make sure you do plenty of research on the film school. Some questions you may want ask yourself are:

· Has this film school or film directing school been around for a while?

· Is this film school or film directing school affiliated with a major university?

· Does this film school have the credentials to back up its program?

· Have this film school’s teachers worked in the industry?

If the answer to many of these questions is no, you may want to consider another film school. Well established film schools that have been around for a long time are generally taken more seriously in the film industry. The film students of film schools affiliated with major universities are also more widely accepted. As a prospective film student, you want your film school teachers to have had experience in the film industry. If not, how can you expect to learn from them how to break into the film industry? The film school’s credentials are very important. Some film schools give degrees that are almost worthless in the film industry. Make sure that the film school that you choose is one that is respected in the film industry.

Chris Bessounian - Creating Movies with a Message

From LAFilm.com:

Recent LA Film School graduate, Chris Bessounian has made a quick transition from film student to award-winning film director, as his latest release, The Kolaborator, is earning accolades at film festivals across the world.

The short film, which is based upon The Balkins Conflict in the former Yugoslavia, centers on a young man who goes from athlete to solider virtually overnight. The cultural war he is caught in between, forces him to fight and commit atrocities against civilians and those he once considered allies.

Chris directed and co-wrote The Kolaborator soon after he graduated last year. Since its completion, the film has been featured at over 12 film festivals world-wide, winning three awards, including Best Screenplay at the Angelus Student Film Festival.

“It’s a great feeling when something that you believe in and put a year of your life into gets recognized,” Chris said. “It is also interesting to see the different ways the film is interpreted at each festival.”

Of Armenian decent, Chris grew up hearing stories of the 1915 slaughter of Armenians in Turkey. Wondering what could drive friends, neighbors and even relatives to start killing each other, he began to compile true stories for his film.

Chris hoped to expose just how easily life can transition from a state of hope and prosperity to one of deep despair through this project.

“The objective of the film is to incite conversation and debate about war and terror in the name of patriotism,” he added. “I chose this film not only because the story was important to me, but also because I believe films that deal with humanity need to be made.”

After the challenging task of finding actors who spoke Serbian, and portraying a scene that resembled Bosinia, Chris and his crew shot the 35mm film. “I shot on 35mm because I believe as a director you are taken a lot more seriously with that type of experience under your belt.”

While the film has found early success, Chris hopes it is just the beginning for his future as a filmmaker, as he is currently in post-production on a feature called Detached. He is also working on three projects, including a film about the daily struggle of untouchable women in rural India.

“I believe that as filmmakers we can change the world, but we have to want to change the world,” Chris said of his choice of films to make. “We have a responsibility to give a voice to the voiceless.”

To learn more about The Kolaborator, please click here

Top Schools for Film/Video and Photographic Arts

(Source: U.S. News, www.usnews.com):

1. Bennington College-

This college has an average freshmen retention rate of 80% as reported by U.S. News. -Undergraduate Student Body: 671; Faculty to Student Ratio: 1:8; Tuition Costs: $33,570; Average High School GPA of Incoming Freshmen: 3.3; Test Scores of Incoming Freshmen: ACT: More than 50% had scores 24-29, SAT: More than 30% had scores 1200-1299.

2. University of California, Los Angeles-

This university is ranked 25th in the category National Universities. -Undergraduate Student Body: 24,946; Faculty to Student Ratio: 1:18; Tuition Costs: In-State: $6,485, Out-of-State: $24,305; Average High School GPA of Incoming Freshmen: 4.0; Test Scores of Incoming Freshmen: ACT: More than 40% had scores 24-29, SAT: More than 30% had scores 1200-1299.

3. University of Southern California-

This institution has a rich history, founded in 1880. -Undergraduate Student Body: 16,474; Faculty to Student Ratio: 1:10; Tuition Costs: $32,008; Average High School GPA of Incoming Freshmen: 3.9; Test Scores of Incoming Freshmen: ACT: More than 40% had scores 30-36, SAT: More than 40% had scores 1200-1299.

Information about Cinematography and Film Production

From Education-Portal.com:

A cinematographer is responsible for planning every shot in a movie or television show, considering camera angles, lighting, and editing. A film producer then takes this film and transforms it into something useful--something that can be viewed and enjoyed by others. As the movie industry continues to expand, the demand for cinematographers and film producers increases.

While not all cinematographers and film producers have earned degrees, they must both certain undergo some sort of formal training. They must, after all, understand the technical aspects of filmmaking, such as how to use all equipment or how certain adjustments in angle or lighting transform the image. There are a number of schools, colleges, and universities offering such programs.

Film School Miami

Miami International University of Art & Design:

The Film program helps you to develop the creative principles of narrative filmmaking, as well as the culture, discipline, and professional protocols of the business. You’ll write, shoot, direct, and edit several narrative films in collaboration with your peers, under the guidance of faculty with direct experience in the film industry. Graduates are prepared to seek entry-level employment such as producing feature films, shorts, music videos, and commercials.

Students on the air

Nathan Hansen writes:

Irish Update was on its way out last year at Rosemount High School, and from the sound of things there weren’t many at the school who would have missed it.

The class, in which students produce a weekly newscast to broadcast to the school, had lost its way. The roughly eight year old show was more akin to MTV’s Jackass — with students being tackled in the hallway or being stuffed into trash cans — than to a nightly newscast. It’s what English and video production teacher Thom Hoffman described as students “trying to be funny and failing.”

Factor in sagging enrollment in the class and there didn’t seem to be much reason to keep Irish Update around.

“Over the years interest has kind of waned,” principal Greg Clausen said. “Part of that is because we kind of lost our focus on the purpose. We had great shows when we first got the equipment and implemented the program.”

But several students wanted the class to stay. They met with Clausen last year and made their case. They agreed the content needed to improve and asked for a chance to try.

The class came back this year, and so far the students have kept their word.

Lights, camera, action at ORCTV

MATTAPOISETT— After more than a year out of commission, the renovated TV studio at Old Rochester Regional High School is again ready to resume operations.

"We now feel well prepared for the student courses," ORR School Superintendent Bill Cooper said. "It's a great opportunity for students, both behind the camera and in front of the camera. We are also preparing for the launch of Channel 18, which is the educational TV channel. That will feature student productions, as well as video of things going on in these schools, plus the elementary schools" and the vocational schools.

The studio, which formerly was the headquarters for the local cable access company ORCTV, was closed after a serious mold problem developed in December 2006, the result of an air conditioner installed in the studio by personnel at ORCTV.

ORCTV and ORR school officials agreed the move was necessary, given the air quality problems that made an employee sick.

"They wanted to keep it cool in here because of all the equipment, but unfortunately it fought with the air conditioning system installed in the building," Dr. Cooper said.

A wall had to be replaced and the carpeting removed and replaced with tile. Students were able to continue with their classes for the rest of the school year, using a computer lab and software that permitted editing.

Lee Schionis, an instructor in television journalism, said that fortunately, the disruption proved minimal.

"The course I teach has two halves. I teach studio in the first half and the second half of the school year we go out in the field.

Film Editing Schools

Saturday, January 19, 2008

Top Film Schools

University of Texas At Austin Film School

USC Film School

UCLA Film School

San Francisco State University

New York University

The North Carolina School of the Arts

Columbia University School of the Arts

Cal Arts

The American Film Insitute

Top Film Schools

Writing With Images

Film Editing Terminology

Film Connection School

Apple chief to grads: Glad I dropped out

The Radio Connection Advantage

What's the Hot, New Way To Launch a Film-making Career?

Don't Make the Grade -- Make the Connection

L.A. Film Editing School

Emerson University Film Editing School

Video Editing Schools

Information about Cinematography and Film Production

Articles related to video editing schools

Associate of Film and Video: Degree Overview

Top Schools for Photography, Film and Video

Truly a cutthroat artist: Wausau native wins Emmy for bloody good film work

Making videos is more than just assignment for student

Principal builds showpiece program

Monday, January 14, 2008

Who To Do After Film School

Film School Financing

Film Production

Finding A Film School

Film Editing Books

Film Editing Schools

Film Editing Schools

Temple Film School Review

UCLA Film School Review

Film Program at University of Michigan

NYU Film School

Reviewing American University Film School

Film Editing Schools

Finding A Film School

Film School, Film Making School, Film Directing Schools That Meet Your Career Needs

Film School Degrees vs. Film School Diplomas

Applying to Film School and Film Making Schools

Preparing Your Film School Résumé

Making a Application Film for Film School

Other Requirements for Film School Applications

Film School: About Film Schools, Film Editing Schools, Film Directing, Film Making School Programs

Choosing the Film School Program That Is Right for You: How to Choose a Film School, Film Making School, or Film Directing School

Researching Film School, Film Making School and Film Directing School Options

Chris Bessounian - Creating Movies with a Message

Top Schools for Film/Video and Photographic Arts

Information about Cinematography and Film Production

Film School Miami

Students on the air

Lights, camera, action at ORCTV

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