FALL QUARTER 2021 COURSE OFFERINGS - September 20-December 12 - Entertainment ...
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FALL QUARTER 2021 COURSE OFFERINGS September 20–December 12
1
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listing to search for individual courses. Refer to the next column for g Hybrid Course
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platform.
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click the individual tabs for the schedule and instructor information.
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C Enroll Online Courses are taught in-person with regularly scheduled class meetings.
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Delivery format and/or ‘remote’ meeting times listed are subject to
change. Please refer to the UCLA Extension website, uclaextension.
edu, for up-to-date course information.
ACADEMIC CALENDAR CONTACT US
Asynchronous: students engage a variety of learning materials posted
Fall Quarter 2021 By Email:
on Canvas (that may include lectures, interactive discussion boards
Classes begin September 20. enroll@uclaextension.edu
Enrollment begins July 26. and quizzes) and interact with the instructor and other students using
By Mail: messaging tools.
Winter Quarter 2022 UCLA Extension
Classes begin January 3. 1145 Gayley Avenue Synchronous: instruction occurs in-real time during a live, pre-sched-
Enrollment begins November 1. Los Angeles, CA 90024-3439 uled Zoom session(s) where instructors and students interact.
Spring Quarter 2022 In Person: C Course Times
Classes begin March 28. UCLA Extension All times quoted in this document’s course desciptions are Pacific Time.
Enrollment begins January 31. 1145 Gayley Avenue
Monday–Friday, 8am-5pm
Summer Quarter 2022
(800) 825-9971
Classes begin June 22.
Enrollment begins April 25.
Enroll at uclaextension.edu or call (800) 825-9971Entertainment 49
ENTERTAINMENT
For more information call (310) 825-9064.
Film & TV MGMT X 403.01
Legal Primer for the Entertainment Business
MGMT X 476.99
Marketing Entertainment:
For more information call (310) 825-9064, email entertainmentstudies@ 4.0 units Strategies for the Global Marketplace
uclaextension.edu, or visit entertainment.uclaextension.edu. This unique course explores key legal principles and contractual 4.0 units
relationships within the film and television industry through a dynamic Today, marketing entertainment is a global enterprise, and motion
assortment of lectures and hands-on workshops. You develop a core pictures, television shows, streaming content, and video games are
Business & Management of understanding of subjects including idea protection, copyright, defa- the assets that drive expanding ancillary markets. How these proper-
mation, privacy, and the right of publicity. In addition, you are exposed ties are marketed determines their financial success and future. The
Entertainment to key issues in manager agreements and in standard film and televi- instructor and a select number of the industry’s top marketing profes-
sion agreements, including literary option/purchase agreements, life sionals address myriad issues on how entertainment content, includ-
MGMT X 403.31 rights agreements, collaboration agreements, and talent employment ing feature films, gets marketed in today’s increasingly competitive
The Business of Entertainment agreements. The course concludes with exploring independent film market. Topics include creating brand-centric franchise-driven strate-
4.0 units finance and distribution deals. Through learning some essential gies; positioning an entertainment property as a brand in popular
With the entertainment industry converging into a worldwide mass “countermeasures” to use when reviewing such contracts, you are culture; marketing and distribution strategies in a converging market-
media, both business and operation models continue to rapidly evolve. empowered in a way usually only reserved for elite talent lawyers—and place; secrets to creating compelling audio-visual, social/digital, and
This introductory course for producers, directors, writers, development have a lot of fun in the process. print advertising; the power of social media; the influence and use of
personnel, and aspiring media executives examines the changing Reg# 382307 research; and leveraging international strategies and new media
business issues associated with the entertainment industry. Through Fee: $699 promotional and licensing strategies to create valuable partnerships
lectures, discussions with industry guests, and case studies, instruc- No refund after 24 Sept. and revenue streams.
tion focuses on current business and production issues and intro- mOnline Reg# 382779
duces new business models to navigate content onto new distribution Sept. 20-Dec. 5 Fee: $699
platforms. Some history is highlighted to provide a context for current Early enrollment advised. c & No refund after 24 Sept.
practices and potential. The course also features opportunities to meet David Wienir, business affairs executive at United Talent Agency and
Sept. 20-Dec. 5 c
mOnline
senior entertainment industry executives in various sectors. Topics author of four books, includingAmsterdam Exposed and Making It On
include financing, contracts, intellectual property issues, licensing, Broadway. Mr. Wienir practiced law at two of the top entertainment Scott Edwards, executive vice president of Creative Advertising for
worldwide theatrical marketing and distribution, worldwide home law firms where he represented clients such as Steven Spielberg Fox Entertainment, where he oversees advertising for countless televi-
entertainment marketing and distribution, worldwide television pro- and Madonna. sion shows, including 9-1-1, BH 90210, Empire, Last Man Standing, and
duction and distribution, multi-channel network distribution and
The Masked Singer. Mr. Edwards also helped launch the shows 24: Live
opportunities, the impact of piracy, and leveraging new distribution MGMT X 403.34 Another Day, Gotham, and The X-Files.
platforms. By the end of the course, students should have an under-
standing of the opportunities available in the business of
Entertainment Financing: From First $ to Reg# 382776
entertainment. Distribution of Profits Fee: $699
4.0 units No refund after 4 Oct.
Reg# 382565 This course covers the financial aspects of each step of the motion
Fee: $699
A Remote Instruction
picture value chain (from development through profit participation) 11 mtgs
Tuesday, 7-10pm, Sept. 21-Nov. 30 c
No refund after 6 Oct. and considers the implications of financial choices. Designed to give
A Remote Instruction you a general understanding of how financial deals are structured,
11 mtgs Scott Edwards, executive vice president of Creative Advertising for
topics include how film financing is secured, connecting the produc- Fox Entertainment, where he oversees advertising for countless televi-
Thursday, 7-10pm, Sept. 23-Dec. 9
No meetings Nov. 11 & 25. c &
tion budget to the financing, when a completion guarantor is required, sion shows, including 9-1-1, BH 90210, Empire, Last Man Standing, and
and the various types of domestic and international distribution The Masked Singer. Mr. Edwards also helped launch the shows 24: Live
Randy Greenberg, executive producer of The MEG and Cowboys & arrangements. You also learn about third-party profit participation Another Day, Gotham, and The X-Files.
Aliens; founder of The Greenberg Group, a global entertainment agreements and the practical aspects and procedures that underlie
investment and content strategy consultancy. He was previously the them; terms and definitions that impact bottom line considerations,
SVP/head of international theatrical marketing and distribution for including contingent compensation; distribution fees and expenses;
Universal Pictures. the producer’s share of profit; distinctions between production, distri-
bution, and marketing costs; and how these costs may significantly
impact recoupment and profits.
Reg# 382867
Fee: $699
No refund after 24 Sept.
Sept. 20-Dec. 5 c
mOnline
Jeanette B. Milio, feature film and television producer and financier m ONLINE COURSE, page 1.
who ran a media fund that invested in the production, acquisition, and g HYBRID COURSE, page 1.
c
worldwide distribution of over 40 television and theatrical projects for
HBO, Showtime, ABC, USA Network, Disney, Lionsgate, Sony Pictures, WEB-ENHANCED COURSE, page 1.
Warner Bros. and others.
A REMOTE INSTRUCTION, page 1.
v CLASSROOM, page 1.
& TEXTBOOK REQUIRED
C UC CREDIT
50 Entertainment Enroll at uclaextension.edu or call (800) 825-9971
MGMT X 403.33 THEATER X 410.5
Independent Film Financing Acting Acting for the Camera II
4.0 units 4.0 units
In today’s ever-changing market, filmmakers need to have a working THEATER X 407.5 Building on the skills learned in Acting for the Camera I, you prepare
understanding of a wide variety of financial models in order to suc- Acting Techniques: The Fundamentals for work professionally by practicing in all styles that you may audi-
cessfully fund the different phases of their entertainment projects. This 4.0 units tion—features, sitcoms, TV dramas, and commercials. Focusing on the
course explores film finance methods, discusses the advantages and In this introduction to acting, learn fundamental performance tech- flexibility of the actor in front of the camera, you develop camera
disadvantages of each, and provides sources for additional informa- niques and exercises, including relaxation, concentration, sense techniques in scene study using scripts from TV series, sitcoms, and
tion. The goal is to become familiar with numerous ways to finance a memory, emotional recall, improvisation, character tasks, and text films. You also learn blocking and continuity with emphasis on master,
feature or documentary film that may vary at different stages of your analysis. You then apply these techniques by rehearsing and perform- two-shots, and close-ups. You perform individual and ensemble
career. In addition, you are exposed to many different sources of ing monologues and two-character scenes. In-class partner work and scenes increasing in complexity in terms of emotion and subtext, and
additional information regarding film financing so that you may be weekly assignments are required. the final project is a three-person scene. The material from the final
confident with your choices relating to film finance. You also gain an Reg# 382273 project is edited and becomes the basis for developing your show reel.
awareness of the many film finance scams that exist in the market- Fee: $699 Prerequisite(s): THEATER X 410.3 Acting for the Camera I or previous
place so that you are in a better position to avoid such problems. No refund after 25 Sept. acting on camera experience.
Topics include gifts and grants, active and passive investor financing, A Remote Instruction Reg# 382751
federal and state securities law compliance, lender financing, studio/ 11 mtgs Fee: $699
industry financing, and the broader film finance environment. Tuesday, 7-10pm, Sept. 21-Nov. 30 No refund after 25 Sept.
Reg# 382244 Enrollment limited; early enrollment advised. c A Remote Instruction
Fee: $699 Toni Attell, Emmy-nominated actor, comedian, and mime whose 11 mtgs
No refund after 24 Sept. background includes a variety of work in theater, film, and television. Tuesday, 7-10pm, Sept. 21-Nov. 30 c
Ms. Attell has opened for Jay Leno, Steve Martin, and Robin Williams Ernesto Gonzalez, bilingual actor whose credits include co-starring
Sept. 20-Dec. 5 c &
mOnline
and has guest-starred on numerous television dramas and sitcoms. roles in TV shows such as Carol’s Second Act (CBS), Indebted (NBC),
John Cones, securities/entertainment attorney who advises indepen- Grace and Frankie (Netflix), and Alone Together (Freeform). He has also
dent feature film producers on matters relating to investor financing THEATER X 422.12 performed in regional theaters across the country and is a member
of feature films and entertainment projects. He has prepared or par- Voice and Movement for the Screen Actor of SAG, AEA, and the Television Academy.
ticipated in over 250 business offerings for feature films, TV pilots, 4.0 units
documentaries, and more. This holistic approach to movement, voice, and speech aims at liberat- FILM TV X 438.40
ing and enhancing the performer’s natural capacity for moving, The Working Actor:
MGMT X 402.32 sounding, and speaking as applied to performance on camera. Using Get the Audition, Book the Job
Starting Your Own Entertainment Production techniques developed by Alexander, Spolin, and Sills, learn to feel the 4.0 units
Company way the human body naturally functions when it is free of adverse This interactive course provides you with career strategies that help
4.0 units conditioning. Exercises in posture and breathing, tonal quality, pitch generate audition opportunities and skills that increase your ability to
A practical primer on starting a business, staying in business, and range, projection, and body characterization lead to enhanced char- book the job. Learn how to identify your unique product, position it
thriving—whether in motion pictures, television, or another entertain- acter portrayal, emotional truth, and increased energy and mental strategically in the marketplace, and develop effective auditioning and
ment industry venture. This course addresses essential issues regard- alertness. You experiment with vocal and body energies, discover meeting techniques. Topics include self-marketing, networking,
ing the legal and business affairs basics, planning, implementation, numerous choices in communicating text, and find new ways of tap- headshots and resumes, cold reading, obtaining and working with the
and management. Guest speakers include industry experts in enter- ping into the imagination and soul of a character. five areas of representation, reviewing contracts, understanding union
tainment financing, intellectual property, union issues, distribution, Reg# 382282 issues, and selecting the best career services for actors. You also
film and television production, and other matters relating to managing Fee: $699 create a personalized business plan. Industry guest speakers include
and operating an independent production company. No refund after 24 Sept. casting directors, agents, and personal managers who offer advice
Reg# 382752 A Remote Instruction and networking opportunities.
11 mtgs
Monday, 7-10pm, Sept. 20-Nov. 29 c
Fee: $699 Reg# 382276
No refund after 3 Oct. Fee: $699
A Remote Instruction Kellynn Meeks, actor and producer whose credits include the Funny No refund after 25 Sept.
11 mtgs or Die exclusive web series, The Snooze Room, and 10 years’ experience A Remote Instruction
Monday, 7-10pm, Sept. 20-Nov. 29 c as a company member of the Los Angeles Women’s Shakespeare 11 mtgs
David Pierce, attorney, Pierce Law Group, LLP, who specializes in Company. She is a Lessac-certified trainer who has studied under Tuesday, 7-10pm, Sept. 21-Nov. 30 c
representing entertainment companies in corporate operations, intel- Arthur Lessac. Adam Lieblein, president for 16 years of Acme Talent & Literary, a
lectual property, and labor and employment issues. His clients include bicoastal agency, who represented actors for film, television, com-
Lionsgate Entertainment, Earthview, Inc. (The Amazing Race), and The THEATER X 410.3 mercials, print modeling, and voiceover work. After Acme’s several
Comedy Store. Acting for the Camera I divisions were sold at the end of 2008, Mr. Lieblein returned to produc-
Patrick J. Gorman, entertainment attorney in private practice. Mr. 4.0 units ing and teaching across the country.
Gorman represents both established and start-up entertainment Learn to get comfortable in front of the lens. Exercises begin with
companies, domestically and globally, in the motion picture, music, on-camera interviews so students can view their screen images in THEATER X 438.8
and television industries, as well as producers, actors, directors, and playback. Instruction focuses on understanding technical and emo- Delivering Memorable Auditions for Film and
screenwriters. tional adjustments required for working in front of the camera in a Television: A Workshop for Actors in Cold
relaxed and truthful way and developing intimacy with the camera. Reading and Interview Techniques
Topics include the difference between frame sizes and learning to hit 4.0 units
marks. Hone your acting techniques through scene-study guidelines Become an actor who gets noticed! Delivering a memorable perfor-
and sensory and moment-to-moment exercises, as well as monologue mance during an audition can be the key to getting parts and being
work. Some exercises are performed on camera with emphasis on called for future projects. Hone your craft and gain valuable informa-
close-ups, simple scenes, and basic camera moves. The instructor tion in this course, where you perform film and television scenes on
critiques individual students’ work during playback. camera for video playback and critique by the instructor. You learn to
Reg# 382665 make better choices, trust yourself to make quicker choices, confront
Fee: $699 your fear of auditioning, create a good atmosphere in the auditioning
No refund after 26 Sept. room, and develop a winning audition work ethic. Cold reading tech-
A Remote Instruction niques and exercises as well as the actor’s interview also are
11 mtgs covered.
Wednesday, 7-10pm, Sept. 22-Dec. 1
Enrollment limited; early enrollment advised. c
Reg# 382662
Fee: $699
Celeste Pechous, actor and educator with extensive training in the- No refund after 24 Sept.
ater and sketch comedy. Ms. Pechous’s work in film and television A Remote Instruction
includes such shows as One Day at a Time, Masters of Sex, and Sharp 11 mtgs
Objects. She has performed around the world with theaters including Monday, 7-10pm, Sept. 20-Nov. 29 c
The Second City and The iO Theater. Henry LeBlanc, actor whose TV credits include appearances on ER,
24, Everybody Loves Raymond, Law and Order, and Scrubs, and regular
appearances on The Jay Leno Show and The Bold and the Beautiful.
His film credits include lead roles in independent films, such as
Antebody, The Hit, and Fortune’s 500.
Enroll at uclaextension.edu or call (800) 825-9971Entertainment 51
THEATER X 419.3 Reg# 382773
Playing the American: Cinematography Fee: $999
An Acting and Accent-Reduction Workshop No refund after 10 Oct.
4.0 units FILM TV X 478.27A A Remote Instruction
Participants who are not native speakers of American English hone Introduction to Cinematography 11 mtgs
4.0 units Monday, 7-10pm, Sept. 27-Dec. 6
Enrollment limited; early enrollment advised. c &
their craft and learn to perform credibly in mainstream America. The
ultimate objective is to achieve a seamless accent shift that does not An introduction to the fundamental tools and principles used by the
call attention to itself or get in the way of the acting. Working in a safe, cinematographer to create digital or film images generated from the Roman Zenz, award-winning cinematographer. Mr. Zenz has served
supportive environment, you learn to build confidence and trust in context of the story. The curriculum covers visualization, the negative, as a director of photography on several TV documentaries and lifestyle
your creative process; modify voice, speech, and delivery; break digital manipulation, sensitometry, filters and lenses, lighting, color, shows, including the History Channel’s Million Dollar Genius and
through acting blocks and limitations; and develop tools for dealing laboratory procedures, camera systems, special effects, and image ARTE’s Tracks. He recently wrote, produced, and directed the docu-
with performance anxiety. Throughout the course, you perform mono- control—all illustrated through video clips and other media. You gain mentary, Urban Fruit, airing on Amazon Prime.
logues, scenes, cold reading, and improvisation. a solid foundation for applying the concepts presented, as well as
Prerequisite(s): All participants must speak English fluently. prepare for subsequent cinematography workshops. Students must FILM TV X 478.301
Reg# 382317 have access to a digital camera for assignments. The Role of the Digital Imaging Technician in
Fee: $699 Prerequisite(s): Students will be required to complete camera assign- Cinematography
No refund after 27 Sept. ments that will require both still and moving images. Student-provided 4.0 units
A Remote Instruction equipment can be as simple as a smartphone camera or DSLR. With the prevalence of HD, 4K, and digital cinema technology, the
11 mtgs Reg# 382755 digital imaging technician (DIT) has become crucial in helping the
Thursday, 7-10pm, Sept. 23-Dec. 9 Fee: $699 director of photography achieve and maintain the desired look of
Saturday, 2-5pm, Oct. 23 No refund after 12 Oct. the picture. There are growing entry-level opportunities in this field,
No meetings Nov., 11 & 25. c A Remote Instruction and the DIT is becoming a vital part of the camera department for
Cle Thompson, actor, director, jazz vocalist and educator with exten- 12 mtgs all types of productions. The course is designed to train aspiring
Wednesday, 7:30-10pm, Sept. 29-Dec. 8 cinematographers on the tasks of the DIT including workflow, color
Saturday, 10am-5pm, Nov. 13 c &
sive experience in film and theater whose credits include the Off
Broadway plays Stompin at the Savoy and Dunbar. Her film credits management, LUTs, ACES, data management, dailies generation, and
include Funny Valentines and The Cemetery Club. Deland Nuse, cinematographer and director of independent films many other on-set tasks. Instruction also provides a basic introduc-
whose credits include the indie feature The Chilling and the documen- tion to the art and techniques of color correction and the digital
THEATER X 433 tary The Other Bridge. Mr. Nuse won the Triple Play Award for Cinema- intermediate, including tutorials on industry-leading color and look
Pursuing a Career in Voice Overs tography at the 2006 Long Island Film/Video Expo for the film The management software.
4.0 units Showdown. Prerequisite(s): Students will be assigned a color correction project
Do people say you have a wonderful voice? Are you an actor missing and are expected to use some type of image manipulation software
out on opportunities in this exciting field? Gain a comprehensive FILM TV X 478.27B to work with the images. Cost-free options will be described in class,
understanding of the tools needed to excel in TV and radio commer- Visualization and Exposure and the instructor will work with each student to make sure they have
cials, animation, narration for documentaries, and other areas of voice 4.0 units a usable software tool to complete the project.
over work. Instruction includes breath and microphone technique, This course is designed to deepen the cinematographer’s understand- Reg# 382672
script analysis, finding characters spontaneously, and how to keep it ing of the principles and methods of visualization on-set and in pre- Fee: $699
fun—even when the pressure’s on. You also learn how to pursue a production with particular emphasis on digital exposure and No refund after 24 Sept.
pre-visualizing lighting design and execution. Instruction covers
Sept. 20-Dec. 5 c &
career in voice over. mOnline
Reg# 382870 pre-production tools and techniques for cinematographers with
Fee: $699 emphasis on lighting, lenses, cameras, camera movement, and color. Jason Knutzen, cinematographer on more than 30 narrative and
No refund after 27 Sept. Each week, you participate in exercises and workshops designed to documentary projects, professional colorist, and expert in post-pro-
A Remote Instruction help you master the skills used for visualizing the lighting, camera, duction workflows. Mr. Knutzen is currently an educational contributor
11 mtgs and exposure of the scene. You also practice the techniques of com- to the Global Cinematography Institute in the areas of traditional, vir-
Thursday, 7-10pm, Sept. 23-Dec. 9 position and framing (interior and exterior). You learn how to design tual, and digital cinematography.
Saturday, 2-5pm, Oct. 16 shots, achieve compositional balance, tracking, gear-heads, fluid
No meetings Nov. 11 & 25. heads, eye-lines, and two-shots.
Students record voice over exercises directly onto their own record- Prerequisite(s): Successful completion of or concurrent enrollment in Directing
ing devices. c & FILM TV X 478.27A Introduction to Cinematography.
Janet Wilcox, writer, producer, and actor. Ms. Wilcox has written and Reg# 382724 FILM TV X 476.581
produced promos for HBO, ABC, and The History Channel, among Fee: $699 The Language of Filmmaking
others. As a voiceover talent, she has been heard on Lifetime, HBO, E!, No refund after 29 Oct. 4.0 units
Cinemax, and AMC. She is the author of Voiceovers: Techniques and F Hybrid Designed for filmmakers who need to develop the necessary skills
Tactics for Success. 7 mtgs to make better films and viewers who want to better understand and
Tuesday, 7-10pm, Oct. 26-Nov. 9 appreciate the complexity of the cinematic text, this course outlines
Saturday, Sunday, 10am-1pm, Oct. 30-Nov. 7 the many components of film language used by great directors to
Discounts cannot be applied to a portion of fees for this course.
Enrollment limited; early enrollment advised. c
tell their stories in the most effective way. Through a wide selection
of multimedia material—including film and sound clips, pictures,
Instructor to be announced articles, and interviews—you analyze shooting and editing tech-
niques employed by the greatest filmmakers of all time. Topics range
FILM TV X 478.282 from functional usage of image composition and lighting to camera
The Craft of the Cinematographer movements, editing, and sound. The purpose of this course is to give
Course Icons 4.0 units clarity to the filmmaking process and to enhance the enjoyment of
film viewing.
In this capstone course of the Cinematography Certificate program,
Provide apply your knowledge of the principles and elements of cinema-
tography through several short filmmaking assignments. Lectures
Reg# 382247
Fee: $699
Information and discussion cover various advanced lighting and shooting
techniques and the examination of film genres and visual styles.
No refund after 24 Sept.
Sept. 20-Dec. 5 c
mOnline
At-a-Glance You are asked to test your creativity and understanding of different
cinematography concepts, techniques, and genres presented by Peter Hanson, screenwriter, director, producer, and educator. Among
completing shooting exercises using your own camera outside of his credits are hundreds of print and online articles, three books on
m ONLINE COURSE class. Student work is screened and critiqued in class. You must cinema, and films including the feature-length documentary Tales from
Technical requirements, page 1. provide your own video camera, have access to editing equipment the Script, which features interviews with dozens of Hollywood
and software, and be able to output your assignments to various screenwriters.
g HYBRID COURSE, page 1. media sources. This course also provides a bridge to the profes-
c
Reg# 382281
sional world by discussing various paths of entry and employment
WEB-ENHANCED COURSE, page 1. Fee: $699
opportunities into the cinematography field.
No refund after 6 Oct.
Prerequisite(s): Students must have access to a digital video camera
A REMOTE INSTRUCTION, page 1. A Remote Instruction
and editing equipment and software. Successful completion of FILM
11 mtgs
v CLASSROOM, page 1. TV X 478.27A Introduction to Cinematography and FILM TV X 478.283
Thursday, 7-10pm, Sept. 23-Dec. 9
Lighting for Emotional Impact is required.
Saturday, 10am-5pm, Oct. 30
No meeting Nov. 11 & 25. c &
& TEXTBOOK REQUIRED kkk
Visit our website for textbook information.
Michael Green, has taught film studies and screenwriting for a
C UC CREDIT decade. His film writing has appeared in Film International, Senses of
May be t ransferable to other colleges and Cinema, Bright Lights Film Journal, and The Journal of Film and Video,
universities.,Learn more on our website. among others. He is also the co-editor of Race in American Film: Voices
and Visions that Shaped a Nation.
52 Entertainment Enroll at uclaextension.edu or call (800) 825-9971
FILM TV X 476.39 Reg# 382762 FILM TV X 478.432
Making Your First Short Film Fee: $699 Direct and Produce Reality and Documentary
4.0 units No refund after 8 Oct. Television
Always wanted to make your own short film but thought you had no A Remote Instruction 4.0 units
experience and no money? In this class for aspiring directors, writers, 11 mtgs Discover what it takes to be an effective producer and director in the
Saturday, 10am-1pm, Sept. 25-Dec. 11
No meeting Nov. 27. c
and producers, you use your own camera to learn how to write, pro- flourishing genre of unscripted television and gain insights in the
duce, direct, and edit a three-to-five-minute short film. Emphasis is process of creating a valid series concept that can sell. Through lec-
placed on maximizing the on-screen value of the project using avail- David Martin-Porras, director and writer whose credits include tures, discussion with industry guests, and analysis of landmark
able resources. The first part of the class is devoted to understanding the shorts Inside the Box, which was nominated for a Goya Award, shows, this course navigates the cluttered landscape of non-fiction
the pre-production process, highlighting the role of the story, and La Viuda (The Widow), for which he won the DGA Student Film Award, broadcast and cable television and focuses on how to succeed as a
providing an overview of affordable shooting equipment and editing and Ida y Vuelta (Round Trip), which was a finalist for a Student strong producer and director. You develop an idea from scratch and
technologies. You then develop and write your project, which is filmed Academy Award. learn how to complete a total package that is ready to be pitched to
outside of class. Instruction includes a primer on the fundamentals of a TV network and/or a streaming service. Topics include developing
shooting and directing actors, as well as the basics of editing and FILM TV X 475.44 your idea, pitching, getting the job, prepping the shoot, directing/
outputting assignments. The completed films are screened and dis- Directing Actors for the Screen producing on location, interview techniques, what to do once it’s in
cussed during the last class. 4.0 units the can, tech talk, post-production tips, the life of a director/producer
Prerequisite(s): Students must have access to a digital video camera If directors are the architects of film, then actors are the artisans of a in the field, and looking ahead to the future of the genre.
and editing equipment and software. collaborative team working together to realize a singular vision. Through Reg# 382587
Reg# 382373 discussions, exercises, casting sessions, and the presentation of Fee: $699
Fee: $699 scenes, you analyze and apply the directorial skills required for a suc- No refund after 3 Oct.
No refund after 3 Oct. cessful artistic collaboration with performers. You select one dramatic A Remote Instruction
A Remote Instruction and one comic scene, then cast, rehearse, and present the scenes in 11 mtgs
10 mtgs class. Topics include analyzing the script, the Method approach to Monday, 7-10pm, Sept. 20-Nov. 29 c
Monday, 6:30-10pm, Sept. 20-Nov. 22 acting, defining objectives, creating dramatic conflict, and the elements
Students must have access to a camera and editing equipment. c
Jim Milio, award-winning producer and director who has created more
of characterization. Actors for class scenes are selected during in-class than 400 hours of TV for such networks as National Geographic
Arkesh Ajay, award-winning director, producer, writer and editor of auditions, and final scenes are performed on camera. (Dog Whisperer), Discovery Channel, and CBS (Rescue 911). Mr. Milio
numerous short films and theater productions. Mr. Ajay’s recent awards Reg# 382876 has received three People’s Choice Awards and multiple Emmy and
include the Hollywood Foreign Press Award for Artistic Merit and Alfred Fee: $699 WGA nominations.
P. Sloan Screenwriting Award for a feature film screenplay. No refund after 4 Oct.
A Remote Instruction
FILM TV X 476.95 11 mtgs Film & TV Development
Directing Workshop I: Composition and Tuesday, 7-10pm, Sept. 21-Nov. 30
Movement Enrollment limited; early enrollment advised. c & FILM TV X 476.22
4.0 units Julian Goldberger, screenwriter/director, WGA member, whose credits Story Analysis for Film and Television
As the first hands-on course in the directing series, you complete four include The Hawk Is Dying starring Paul Giamatti and Michelle Wil- 4.0 units
short films using your own video camera. Instruction focuses on the liams, and the critically acclaimed indie trans. He has written scripts Designed for aspiring readers, development executives, producers, and
basic building blocks of narrative filmmaking: the shot, mise-en-scene, for Universal Studios and Lionsgate, as well as major producers storytellers, this course offers a pragmatic, comprehensive overview of
concept, the actor, environment, sound, and montage. Assignments including Marc Platt, Ted Hope, and Ed Pressman. story analysis and the tools used by the professional reader. Throughout
explore aspects of visual expression through the use of composition, the course, you learn and practice coverage skills while gaining an
rhythm, and point-of-view; moving from black and white/silent com- FILM TV X 476.271 understanding of the elements of story. Topics include various types of
positions to the use of color; non-sync sound; and editing. Your work Production Sound for Directors coverage, how to compose story notes, comparative coverage, charac-
is screened and critiqued by the instructor and class. 2.0 units ter breakdowns, treatments, and outlines. Through weekly assignments,
Prerequisite(s): Students must provide their own digital video camera The importance of quality sound in a movie cannot be overstated. Of you are required to practice reading and writing for several formats and
and have access to editing equipment and software. particular interest to directors and independent filmmakers who want to deadline. In addition, the current job market and the various expecta-
Reg# 382359 to understand the production and post-production workflow, this tions of studios and independent producers are discussed. Upon
Fee: $699 overview course covers such topics as the nature of sound and its completion of the course, you have written at least two pieces of full
No refund after 5 Oct. aesthetics, microphone characteristics, the sound recording chain, coverage that can be used as part of a professional portfolio or for
A Remote Instruction budgeting and scheduling, and what can be fixed in post versus what auditioning for a job as a reader or an assistant.
11 mtgs can only be done during production. Instruction includes equipment Prerequisite(s): Strong English composition skills.
Wednesday, 7-10pm, Sept. 22-Dec. 8 and listening demonstrations. Many of the practical techniques pre- Reg# 382302
No meeting Nov. 24. c sented are suitable for student productions. Fee: $699
Navid Sinaki, an experimental filmmaker and artist whose works have Reg# 382849 No refund after 24 Sept.
screened at museums and art houses around the world, including Fee: $499 mOnline
Moderna Museet in Stockholm, Lincoln Center, British Film Institute, No refund after 25 Sept. 11 mtgs
REDCAT, and Cineteca Nacional in Mexico. F Hybrid Sept. 20-Dec. 5
Reg# 382391 4 mtgs Enrollment limited. c
Sunday, 2-6pm, Sept. 26-Oct. 17
Visitors not permitted. c
Fee: $699 Joanne Moore, producer, film and TV executive. Former president of
No refund after 5 Oct. Dustin Hoffman’s production company, Ms. Moore has developed
A Remote Instruction Third class meeting will consist of asynchronous content to be com- projects for Warner Bros, Universal, Disney, and more. She also pro-
11 mtgs pleted outside of Zoom and a one-on-one meeting with the instructor duced the award-winning film Swimming with Sharks and the shorts
Wednesday, 7-10pm, Sept. 22-Dec. 8 scheduled during or around class time. Rockboy and Big Al.
No meeting Nov. 24. c & Ashley Maria, production sound mixer whose many credits include Reg# 382347
Lori Balaban, Award-winning filmmaker who has produced two fea- the documentary Take Every Wave: The Life of Laird Hamilton and the Fee: $699
tures and written and directed web series and shorts, including short Night Shift, both of which were selected for Sundance, and a No refund after 6 Oct.
Irrelevant White Girl, The Dogstalker, Die Un Ze Spat, and Property Vets. commercial for Reebok starring Ronda Rousey. She is the recipient of A Remote Instruction
Ms. Balaban also created branded content for A+E, The Today Show, the DGA student minority award. 11 mtgs
The Walking Dead, and Ron Howard’s Rush. Reg# 382858 Thursday, 7-10pm, Sept. 23-Dec. 2
Fee: $499 Saturday, 2-5pm, Oct. 16-23 c &
FILM TV X 478.9 No refund after 23 Oct. Instructor to be announced
The Craft of the Director F Hybrid
4.0 units 4 mtgs
A director must have the ability to interpret and translate the written Sunday, 10am-2pm, Oct. 24-Nov. 21
No meeting Oct. 31.
Visitors not permitted. c
ideas of the screenplay into cinematic form. This overview lecture
course gives the aspiring director a comprehensive practical under-
standing of the film director’s craft—the language, grammar, and tools Third class meeting will consist of asynchronous content to be com-
of the medium—from the first script reading to the last day of principal pleted outside of Zoom and a one-on-one meeting with the instructor
photography and into post-production. Lectures, discussions, screen- scheduled during or around class time.
ings, assignments, and class projects guide you through the process Ashley Maria, production sound mixer whose many credits include
of preparing a film for shooting. Topics include script analysis, casting, the documentary Take Every Wave: The Life of Laird Hamilton and the
directing the actor, acting for the camera, collaborating with the short Night Shift, both of which were selected for Sundance, and a
creative team, camera blocking, planning the shot list, photographing commercial for Reebok starring Ronda Rousey. She is the recipient of
the subtext, film grammar, visual composition, the role of music, and the DGA student minority award.
sound effects.
kkk
Enroll at uclaextension.edu or call (800) 825-9971Entertainment 53
FILM TV X 476.244 FILM TV X 476.894 FILM TV X 479.613
Story Development Workshop: Crafting Your Introduction to Feature Film Development The Art and Craft of Film Editing
Original Story 4.0 units 4.0 units
4.0 units What happens to a script or novel when it is submitted to a buyer and Editing is storytelling. Throughout the process, from first assembly to
Producers, development executives, directors, and writers gain practi- what happens after it’s optioned or sold? In this introductory course, final delivery, editors are responsible for fulfilling the film’s potential
cal experience adapting and developing their own stories for motion students interested in a career in development or filmmakers looking through a full command of craft, as well as an aesthetic understanding
pictures, movies-of-the-week, and miniseries. Emphasis is placed on to guide their projects towards a green light learn the essential steps of story, character, and rhythm. By examining different editing styles,
studying dramatic structure, learning techniques that strengthen in the development process. Sessions focus on the key positions and this course covers the elements of storytelling, performance, pace,
character development, and understanding the importance of col- roles in that process, from the story department and its readers to emotion, action, continuity, and time manipulation. Instruction includes
laboration with writers. You are called upon to write development studio and production company executives. Topics include finding new lectures, discussion, and viewing exercises. You also learn to select
notes; compile directors/writers lists; and learn the difference talent and generating ideas, talent lists, networking and tracking, the most appropriate editing systems and technology by evaluating
between beat sheets, step outlines, and story outlines. You also learn pitching, and moving up. Weekly assignments include reading screen- the limitations of budgets and time.
how to assess the marketplace by determining what network and plays, writing synopses, development notes, script coverage, and Reg# 382357
studio executives are looking for, as well as the best way to quickly developing pitches and ideas. Upon completion of the course, you Fee: $699
and effectively pitch an idea. You are welcome to submit written works have gained an understanding of the development process and the No refund after 6 Oct.
in progress for in-class critiques. At the end of the course, you have entry-level jobs available in development, such as reader and assistant A Remote Instruction
honed your storytelling craft by writing original treatments based on to the producer, actor, or creative producer. 11 mtgs
your story outline developed in class. Prerequisite(s): Familiarity with the production process for film and Thursday, 7-10pm, Sept. 23-Dec. 9
Prerequisite(s): Good written communication skills. Previous training television through training and/or experience. No meeting Nov. 25. c &
in story analysis is recommended but not required. Reg# 382158 Tyler Danna, filmmaker who has edited and produced content for
Reg# 382324 Fee: $699 Sony Pictures, Fox, Disney, Universal, Fremantle, Riot Games, Verizon,
Fee: $699 No refund after 25 Sept. and more. He offers training in editing software: Avid, Premiere, and
No refund after 24 Sept. mOnline Final Cut Pro. He has also written pilots and feature screenplays for
mOnline Sept. 21-Dec. 6 production companies.
Sept. 20-Dec. 5 Students interested in development are strongly encouraged to take
Enrollment limited; early enrollment advised. c this course first. c & FILM TV X 477.84
Scott Agostoni, SVP of Development & Production and in-house Monika Skerbelis, author, producer and programming director for The Introduction to Adobe Premiere
consultant at Dick Cook Studios. Scott also runs his own management American Pavilion Emerging Filmmaker Showcase at the Cannes Film 4.0 units
and consulting practice. Previously, Mr. Agostoni was a Motion Picture Festival. Her former positions include VP of creative affairs and execu- Adobe Premiere Pro is used by professionals across the spectrum of
& TV literary/graphic novel agent with WME and Non-scripted & tive story editor at Universal Pictures Story Department and story filmed entertainment, including feature films, music videos, and docu-
Alternative TV agent with WMA. editor at 20th Century Fox. mentaries. You learn how to use this powerful program, from simple
Reg# 382248 editing techniques to more complex compositing, layering, tilting,
Fee: $699 motion graphics, and sound design. Instruction includes illustrated
No refund after 4 Oct. Post-Production lectures, demonstrations, discussion, and class projects. Topics include
A Remote Instruction starting a project, organization and subclipping, timeline and basic
11 mtgs FILM TV X 404A editing tools, editing audio, video effects, color correction and grading,
Tuesday, 7-10pm, Sept. 21-Nov. 30 Post-Production for Film and Television titles and motion, exporting, and posting online.
Enrollment limited; early enrollment advised. c & 4.0 units Prerequisite(s): You are required to have a working, current copy of
Marla White, development consultant for Sony International Television Emphasizing how new technologies continue to impact post-produc- Adobe Premiere Pro CC, as well as have video and audio files ready
Networks through her company, Marla White Consulting. Ms. White tion, this course provides an overview of the post-production pipeline for use while learning Adobe Premiere Pro.
has also served as the Vice President of Development at Fedora from dailies through delivery. Class topics include a step-by-step Reg# 382380
Entertainment and Longbow Productions, where she contributed to overview of each stage of the process and building the post-production Fee: $699
the feature, A League of Their Own. team: editors, audio mixers, composers, sound-designers, visual effects No refund after 24 Sept.
artists, and post-production management. The latest trends in post- mOnline
FILM TV X 476.243 production are covered. Instruction may include guest speakers. Sept. 20-Dec. 5
Developing Your Short Film Reg# 382303 Enrollment limited; early enrollment advised. c
4.0 units Fee: $699 Joel Austin Higgins, editor specializing in the Adobe Creative Cloud
Learn the development process as it relates to short films with the No refund after 24 Sept. Suite. Mr. Higgins has executed After Effects projects for clients like
focus on developing a short film treatment, first draft, and second draft. D.A.R.E. International, Mercedes-Benz, and Hasbro and is a recurring
Sept. 20-Dec. 5 c
mOnline
You gain an understanding of the basics of story structure and how editor for a myriad of YouTube creators and online enterprises. He is
the specific storytelling elements—theme, plot, characters, and dia- Barry Goch, post-production professional with 15 years of hands-on also a writer, actor, and filmmaker.
logue—work in synergy toward the goal of an effective short story. experience. His credits include Spiderman: Homecoming, Passengers,
Topics include character development, creating realistic dialogue, Money Monster, Eye in the Sky, and Game of Thrones. He is currently FILM TV X 477.85
discovering what you are driven to say through your story’s theme, working on Black-ish, and Grown-ish. Adobe After Effects for Filmmakers:
and planning the scenes with a limited budget in mind. Lectures and Reg# 382304 An Introductory Workshop
exercises illustrated with film clips and readings emphasize the role Fee: $699 4.0 units
of story, creating original characters and developing plot points for No refund after 24 Sept. Using Adobe After Effects, learn to produce projects similar to those
different genres of films. You submit your work-in-progress throughout found in the real entertainment media world of digital effects and
Sept. 20-Dec. 5 c
mOnline
the quarter for evaluation and feedback by the instructor and the class. animation. Topics include an introduction to the interface, working
At the end of the course, you have honed your idea and have a final Robert Scheid, Apple-certified Final Cut Pro, Motion, and DVD Studio with layers and masking, rotoscoping, motion graphics, tracking and
short script or treatment ready for shooting. Pro instructor; television producer; film and television editor and stabilizing with Mocha for After Effects (a plug-in that is included with
Reg# 382358 colorist. AE), creating set extensions, compositing computer-generated imag-
Fee: $699 ery over video footage, and color correction. Finally, put it all together
Reg# 382300
No refund after 4 Oct. with practical projects where you will learn shortcuts, tips, and tricks.
Fee: $699
A Remote Instruction Prerequisite(s): Familiarity with digital video and basic Photoshop and
No refund after 6 Oct.
11 mtgs Illustrator techniques. Students must have access to Photoshop, After
Tuesday, 7-10pm, Sept. 21-Nov. 30 c &
A Remote Instruction
Effects, Illustrator, and Adobe CS6 or higher.
11 mtgs
Cynthia Riddle, MFA award-winning writer/producer, former develop- Thursday, 7-10pm, Sept. 23-Dec. 9 Reg# 382387
ment exec at MGM and WGA member whose credits include Cross- No meetings Nov. 11 & 25. c Fee: $699
roads, Puppy Love, Brittany Murphy Story and Poisoned Love: The Richard Greenberg, Former Head of Post Production at Miramax No refund after 24 Sept.
Stacey Castor Story. She has written projects for Netflix, Showtime, where he was responsible for defining workflow, scheduling, mOnline
Disney, Lifetime, Starz, Hallmark and others. Sept. 20-Dec. 5
Early enrollment advised. c
budgeting and guiding studio product through the post production
process from image capture, through picture editing, to visual
effects and sound finishing. Over the years has also written and David Dodds, Los Angeles-based motion graphics designer; his
produced marketing materials, sold new product-placement experience spans a decade in motion graphics, special effects, broad-
technologies, and been a senior executive at several prominent cast design, character animation, and infographics. He has worked for
Hollywood post-production facilities. studios such as Stardust, Mirada, Logan, and NFL Networks. Author of
Hands-On Motion Graphics with Adobe After Effects CC: Develop Your
Skills as a Visual Effects and Motion Graphics Artist.54 Entertainment Enroll at uclaextension.edu or call (800) 825-9971
FILM TV X 478.311 FILM TV X 478.13A FILM TV X 479.088
Editing with Final Cut Pro X: The Art of Line Producing Movie Magic Budgeting
A Comprehensive Workshop 4.0 units 2.0 units
4.0 units This comprehensive, step-by-step overview of physical production For production managers, producers, corporate finance personnel, and
In this hands-on course, master the feature set of Final Cut Pro X in processes covers the tangible and intangible aspects of line produc- production accounting professionals, this course provides you with a
the context of several real-world projects. Starting at an easy to follow ing, including budget; breakdown and scheduling; hiring and working practical understanding of the budgeting process, including how to
introductory level, this course guides you through even the most with cast, director, staff, crew, and outside vendors; choosing loca- use Movie Magic Budgeting, a budgeting software application. You
advanced features of this professional editing software, covering tions; equipment and music; how to deal with divergent personalities prepare a movie-of-the-week budget based on information that typi-
topics which include but are not limited to: project management and and specific problem solving during production; and the differences cally would be available during pre-production, including a script,
organization, capturing and editing techniques, audio editing and between producing a movie independently versus with a studio. The day-out-of-days, one line schedule, shooting schedule, departmental
mixing, motion, and filter effects. course also includes a comprehensive introduction to Movie Magic budgets, and other hypothetical parameters. This is not an introduction
Prerequisite(s): You must have your own Mac computer with a mini- scheduling software. This is not an introduction to production course. to production course.
mum of 15 GB of free space and Final Cut Pro X (10.1) installed and fully Prerequisite(s): A basic knowledge of film production is highly Prerequisite(s): Students must purchase the latest version of Movie
updated. Basic Macintosh skills; knowledge of editing very helpful. recommended. Magic Budgeting software.
Reg# 382355 Reg# 382923 Reg# 382812
Fee: $699 Fee: $699 Fee: $499
No refund after 24 Sept. No refund after 5 Oct. No refund after 24 Sept.
mOnline A Remote Instruction mOnline
Sept. 20-Dec. 5 11 mtgs Sept. 20-Oct. 25
Enrollment limited; early enrollment advised. c Wednesday, 7-10pm, Sept. 22-Dec. 1 Students enrolled in this section may be eligible to purchase Movie
Students enrolled in this section may be eligible to purchase Movie Magic Budgeting at a discount.
Magic at a discount. c Enrollment limited; early enrollment advised. & c
Robert Scheid, Apple-certified Final Cut Pro, Motion, and DVD Studio
Pro instructor; television producer; film and television editor and
colorist. Instructor to be announced Instructor to be announced
FILM TV X 408 MGMT X 403.61
Producing Building an Online Audience Marketing and Distributing Independent Films
4.0 units Across All Platforms
FILM TV X 404 In the Internet age, uploading your work to YouTube or Vimeo is 4.0 units
Pre-Production and Production for imperative, and successful producers/directors/actors can now What are the considerations involved in financing, packaging, selling,
Film and Television demonstrate a growing online audience. This course shows you how or acquiring a financially viable film? Producers, filmmakers, and
4.0 units to create a public face and promotional platform for your creative screenwriters learn what makes a project attractive to potential buyers,
This survey course presents an overview of the real-world aspects of content. Using relevant video platforms, social media, and available study a variety of deal structures, and learn how to find domestic and
producing as practiced in the various sectors of filmed entertainment, website creation tools, learn to present and promote your body of overseas distribution for theatrical, television, DVD, and alternative
from script development through pre-production and production. work. Instruction emphasizes group discussion and interaction, as you markets. You gain knowledge on how to craft a distribution strategy
Topics include the producer’s interface with the writer, director, are encouraged to use each other’s sites and platforms in various from the earliest stages of project development. Topics include choos-
and other key personnel; pitching and selling ideas; script breakdown assignments. Topics include identifying different audiences; basic ing materials, budget, and casting; selling the film through festivals
and scheduling; budgeting; and all the critical on-the-set issues facing video and audio production; mastering available video and audio; and markets; key buyers; evolving distribution outlets, such as Internet
the producer. review of social media branding sites; creating an individual brand and cell phones; the roles of producer, marketing and sales executives,
and brand messages; understanding design as it relates to presenta- and executive producers; and an overview of film financing models.
Reg# 382320 tion; audience building tools such as fan pages, tweet marketing, Reg# 382316
Fee: $699 cross-commenting strategies and “response-to” uploading; responding Fee: $699
No refund after 24 Sept. to audience; and professional interaction. The course goal is to create No refund after 4 Oct.
mOnline an individual presentation plan across chosen platforms that is cri- A Remote Instruction
Sept. 20-Dec. 5
Refer to course syllabus for online session details. c &
tiqued by your peers. 11 mtgs
Amotz Zakai, vice president, Echo Lake Productions. Mr. Zakai has Reg# 382322 Tuesday, 7-10pm, Sept. 21-Nov. 30
Fee: $699 Saturday, 2-5pm, Nov. 13
No meeting Nov. 2. c
worked on such projects as Tsotsi (Oscar winner, 2006), Water (Oscar
nominated, 2007), Away from Her, and Thirteen Conversations About No refund after 24 Sept.
One Thing. F Hybrid Mark Padilla, senior vice president of Sales and Acquisitions at Double
4 mtgs Dutch International. Mr. Padilla manages the worldwide sales for
Reg# 382866 Sept. 20-Dec. 5 numerous films, including Nostalgia, Romans, and Super Troopers 2.
Fee: $699 Wednesday, 6-9pm, Sept. 22; Oct. 13; Nov. 10; Dec. 1
Early enrollment advised. c
He previously oversaw sales, acquisitions, and distribution at Myriad
No refund after 24 Sept.
Pictures and Essential Entertainment.
Sept. 20-Dec. 8 c &
mOnline This course includes four live sessions offered on Wednesdays, Reg# 382321
6-9pm PT, via Zoom. See schedule for details.
Jennie Tugend, producer with more than three decades of expertise Fee: $699
Noemi Zeigler, producer, director, screenwriter, and comedian. Ms. No refund after 26 Sept.
in the Hollywood motion picture business, including film and TV Zeigler is an award-winning screenwriter and the co-producer and
Sept. 22-Dec. 5 c &
development, production financing, marketing, and distribution. Her mOnline
host of the web series, The Minx Mandate with Madeline Minx and Hot
producing credits include: Free Willy, Lethal Weapon, and HBO’s Tales Flash AF. Her work has screened at top festivals including South by
from the Crypt. Kevin Mardesich, former head of the story department at Oliver
Southwest and the Ann Arbor Film Festival.
Reg# 382319 Stone’s development company, Ixtlan. He currently runs KevinMar-
Fee: $699 desich.com, a communications practice specializing in written com-
FILM TV X 476.6 munications for film, television, and industry leaders.
No refund after 5 Oct. Low-Budget Filmmaking
A Remote Instruction 4.0 units
11 mtgs FILM TV X 475
In this detailed exploration of low-budget filmmaking, learn techniques
Wednesday, 7-10pm, Sept. 22-Dec. 8 Producing Commercials for All Platforms:
No meeting Nov. 24. c &
and theories examining all phases of the process, from development
to production to post-production. The focus is on translating a mini- A Practical Workshop
Bridget Terry, award-winning producer and writer whose credits 4.0 units
mum budget into maximum quality on screen. Topics include the
include Showtime film They, PBS documentary The Kennedys: Ameri- From concept to completion, learn to produce commercials for TV as
script, financing the production, evaluating the marketplace, analyzing
ca’s Emerald Kings, and projects for Netflix and NBC-Universal. Ms. well as for all integrated marketing platforms (video games, cinema,
and breaking down the screenplay, learning to apply creativity to a
Terry formerly served as a showrunner at Showtime and is currently Internet, TV, and cell phones). You break down storyboards; write
budgetary plan to maximize on-screen value, casting, selecting key
the owner of Chaise Lounge Productions. specifications; create bids; estimate special FX, editorial, talent, and
production personnel, production design, music, editing, sound design,
music; and prepare a final estimate and production schedule for
marketing, and distribution. Throughout the class, you are able to apply
presentation and critique in class. You also learn how to get the best
concepts learned to your own projects.
prices, stay on budget and schedule, and use the tools of advanced
Reg# 382157 media. Instruction includes industry guest speakers with discussion
Fee: $699 and screenings of the best current spots.
No refund after 24 Sept.
Reg# 382345
Sept. 20-Dec. 5 c &
mOnline
Fee: $699
No refund after 5 Oct.
Kim Adelman, filmmaker who co-produced the independent feature A Remote Instruction
Just Friends and has produced 19 shorts that have played in more than 11 mtgs
Wednesday, 7-10pm, Sept. 22-Dec. 1 c
150 festivals, winning more than 30 awards. She has authored two film
books, Making It Big in Shorts and The Ultimate Guide to Chick Flicks,
Instructor to be announced
and currently writes for Indiewire.You can also read
