Nyfa Brochure PDF

Table of Contents
The New York Film Academy is designed for a new generation of storytellers:
visual and performing artists who share a passion for motion pictures and want to
learn by making their own projects in a hands-on, intensive program.
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What Makes Us
DiFFereNT?
All of our programs are

based on the philosophy of
learning by doing.
Every curriculum stems from
that belief. We offer an
intensive, hands-on,
total immersion approach
to learning.
Hands-on Experience From Day One
o support our philosophy and our innovative curricula, the New York
Film Academy maintains an unparalleled faculty and one of the largest
The Film Academys many programs in visual and performing arts do
their chosen craft is to immediately start creating their own work in a hands-on
Towards this end, all students begin practicing
Our courses are taught through a balance of classroom instruction, hands-
produce good work will be of immeasurable value to them as directors, actors,

Celebrated guest speakers from the film, television, and media industries
Guest Speakers at the New York Film Academy
Steven Spielberg
Director
Al Pacino
Actor
Kevin Spacey
Actor
s*AWS
s*URASSIC0ARK
s)NDIANA*ONES
s3CHINDLERS,IST
s4HE'ODFATHERTrilogy
s3CARFACE
s3ERPICO
s$OG$AY!FTERNOON
s!MERICAN"EAUTY
s4HE5SUAL3USPECTS
s3EEN
s3WIMMINGWITH3HARKS
Ron Howard
Director
Doug Liman
Director/Producer
s!POLLO
s!"EAUTIFUL-IND
s4HE$A6INCI#ODE
Fred Roos
Producer
s!POCALYPSE.OW
s4HE'ODFATHER)))
s2UMBLE&ISH
Philip Seymour
Hoffman(1967-2014)
Actor
Glenn Close
Actress
Kevin Kline
Actor
s#APOTE
s-AGNOLIA
s4HE4ALENTED-R2IPLEY
s$ANGEROUS,IAISONS
s&ATAL!TTRACTION
s!IR&ORCE/NE
s-ARS!TTACKS
s!&ISH#ALLED7ANDA
s4HE)CE3TORM
s)N/UT
s7ILD7ILD7EST
Andy Garcia
Actor
Brett Ratner
Director
J. K. Simmons
Actor
s4HE"OURNE)DENTITY
s-R-RS3MITH
s3WINGERS
s4HE'ODFATHER0ART)))
s/CEANS4WELVE
s4HE,OST#ITY
s2USH(OUR
s&AMILY-AN
s8 -EN4HE,AST3TAND
s7HIPLASH
s3PIDER -AN
s/Z
s4HE#LOSER
Sir Ben Kingsley

Actor
Garry Marshall
Producer/Director/
Writer/Actor
Gabriel Byrne
Actor
Matthew Modine
Actor
Ben Stiller
Actor
Al Ruddy
Producer
s4HE5SUAL3USPECTS
s-ILLERS#ROSSING
s%NEMYOFTHE3TATES
s&ULL-ETAL*ACKET
s-ARRIEDTOTHE-OB
s"IRDY
s-EETTHE0ARENTS
s:OOLANDER
s.IGHTATTHE-USEUM
s4HE'ODFATHER
s-ILLION$OLLAR"ABY
s4HE,ONGEST9ARD
s0RETTY7OMAN
s'EORGIA2ULE
s0RINCESS$IARIES
s3CHINDLERS,IST
s3HUTTER)SLAND
s'ANDHI
Joel Schumacher
Director
Thelma Schoonmaker
Editor
Dennis Hopper
(1936-2010) Actor
Paul Zaentz
Producer
Jon Voight
Actor
Elliott Gould
Actor
s&LATLINERS
s"ATMAN&OREVER
s0HONE"OOTH
s4HE$EPARTED
s'OODFELLAS
s2AGING"ULL
s%ASY2IDER
s(OOSIERS
s"LUE6ELVET
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s4HE2AINMAKER
s/CEANS%LEVEN
s4HE,ONG'OODBYE
s-!3(
Ted Hope
Producer
Buck Henry
Screenwriter
Kenneth Lonergan
Director/Screenwriter
Vittorio Storaro
Cinematographer
Mira Nair
Director
Lou Diamond Phillips

Director/Actor
s!MERICAN3PLENDOR
s4HE)CE3TORM
s'RAMS
s4HE'RADUATE
s4O$IE&OR
s'ET3MART
s9OU#AN#OUNT/N-E
s'ANGSOF.EW9ORK
s!NALYZE4HIS
s!POCALYPSE.OW
s4HE,AST%MPEROR
s4HE#ONFORMIST
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s-ONSOON7EDDING
s3ALAAM"OMBAY
s,A"AMBA
s9OUNG'UNS
s#OURAGE5NDER&IRE
The most hands-on intensive programs in the world.
Guest Speakers at the New York Film Academy
Robert Towne
Screenwriter
Jamie Lee Curtis

Actress
Henry Winkler
Director
Holly Hunter
Actress
Eric Roberts
Actor
Joel Silver
Producer
s#HINATOWN
s-ISSION)MPOSSIBLE
s-ISSION)MPOSSIBLE))
s!&ISH#ALLED7ANDA
s&REAKY&RIDAY
s(ALLOWEEN
s(APPY$AYS
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s4HE7ATERBOY
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s"ROADCAST.EWS
s4HE0IANO
s4HE&IRM
s4HIRTEEN
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s4HE%XPENDABLES
s!NOTHER7ORLD
s4HE#ABLE'UY
s$IE(ARD
s4HE-ATRIX
s,ETHAL7EAPON
s3HERLOCK(OMES
Jonah Hill
Actor
Hank Azaria
Actor
Joseph Gordon-Levitt
Actor
Billy Dee Williams

Actor
Mary Kay Place

Actress
Joe Mantegna
Actor
s*UMP3TREET
s3UPERBAD
s-ONEYBALL
s4HE"IRDCAGE
s-AD!BOUT9OU
s(UFF
s)NCEPTION
s"RICK
s $AYSOF3UMMER
s3TAR7ARS%P6
s3TAR7ARS%P6)
s"ATMAN
s4HE"IG#HILL
s"EING*OHN-ALKOVICH
s"IG,OVE
s4HE'ODFATHER0ART)))
s4HE2AT0ACK
s(OUSEOF'AMES
John Carpenter
Director
William Friedkin
Director
Kathleen Turner
Actress
John Hamburg
Director/Writer/Producer
Juliette Lewis
Actress
Mark Harris
Producer
s(ALLOWEEN
s4HEY,IVE
s%SCAPEFROM.EW9ORK
s4HE&RENCH#ONNECTION
s4HE%XORCIST
s4O,IVEAND$IEIN,!
s0EGGY3UE'OT-ARRIED
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s),OVE9OU-AN
s.ATURAL"ORN+ILLERS
s#APE&EAR
s$UE$ATE
s#RASH
s'ODSAND-ONSTERS
Dylan Baker
Actor
Billy Zane
Actor
Jon Favreau
Director/Writer/Actor
Jason Alexander
Actor/Comedian
s3PIDERMAN
s(APPINESS
s4RICK@R4REAT
s4ITANIC
s$EAD#ALM
s3NIPER
s3WINGERS
s)RON-AN
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s'OODFELLAS
s4HE,AST4EMPTATION
OF#HRIST
Michael Besman
Producer
s!BOUT3CHMIDT
s"OUNCE
s3EVEN9EARSIN4IBET
s3EINFELD
s0RETTY7OMAN
Bob Fisher
Screenwriter
Paul Haggis
Writer/Director
Sean Young
Actress
George Gallo
Director/Writer
Tom DiCillo
Director
Janeane Garofalo
Actress
s7EDDING#RASHERS
s-ARRIEDWITH#HILDREN
s#RASH
s-ILLION$OLLAR"ABY
s&LAGSOF/UR&ATHERS
s"LADE2UNNER
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s,OCAL#OLOR
s-IDNIGHT2UN
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s*OHNNY3UEDE
s"OXOF-OON,IGHT
s2EALITY"ITES
s2ATATOUILLE
s4HE4RUTH!BOUT
#ATS$OGS
Barbara De Fina
Producer
Go Online at nyfa.edu for more information.
What Former Students

Are Saying & Doing
B
-- Tommaso Bernabel, Italy
-- Ruben Baeten, The Netherlands
-- Cindy St. Vil, New York City
-- Kris Swinnen, Belgium
-- Wyndham Price, London, England
-- Allen J. Redwing, Boston
-- Helena Smith, Stockholm, Sweden
Go Online at nyfa.edu for additional student testimonials.
About the
New York Film Academy
The Academy originally opened its doors (in Robert De Niros Tribeca
Film Center) on a belief that a top quality education in filmmaking should
be accessible to anyone with the drive and ambition to make films.
O
Walt Disney
World
10
Anyone can direct a picture once they know the fundamentals. - John Ford
OUR FACULTY
Harvard, Yale, Princeton,
Stanford, Brown, Dartmouth, and Cornell
JERRY SHERLOCK
ERIN HILL
Founder
RANDALL DOTTIN
Critical Film Studies
NANCY BURSON
Screenwriting, Directing
Photography
Seeing and Believing
MICHAEL J. YOUNG
President
A-Alike
Lifted
Grant recipient Indelible
McJew
FREDERIC DURAND
Animation
Todays Man, Romeo,
Romeo
DAVID KLEIN
Senior Executive Vice President
Making Media Work

The International Encyclopedia of
Media Studies
Production
Studies: Cultural Studies of Media
Industries
Never Done: Womens Work in
Media Production History
CLAUDE KERVEN
Filmmaking Chair, New York

To Dye For
Gone With the Moon
Saturday Night Live

Afterschool Specials Birthday Boy
Candy Store
the David Brenner
Show
Mortal Thoughts
JIM SIGNORELLI
Producing, Directing
Saturday Night Live
GLYNIS RIGSBY
Acting Chair, New York

Rape of
Lucretia
Britannia Triumphans
Naked Angels
GIL SHILTON
Directing, Screenwriting
HERE
JIM JENNEWEIN
Screenwriting
PAUL BROWN
Stay
Tuned, Richie Rich, The Flintstones,
Getting Even with Dad
Major
League II
Producing, Writing
The
X-Files, Quantum Leap, Twilight Zone,
Enterprise,
Star Trek: Voyager.
DAVID JACKSON
Directing
Miami Vice, 21 Jump Street

The Equalizer
PAUL WARNER
BLANCHE BAKER
Acting
MELANIE WILLIAMS ORAM
Screenwriting Chair, New York
Harry Potter and the

Chamber of Secrets, Tomb Raider
1
2, SharkTales, Speed Racer,
2012, Beowulf, Monster House,
Chicken Little
VICTOR VERHAEGHE
Boardwalk
Empire
Blue
Bloods The Good Wife Damages
Bored to Death Ugly Betty Fringe
Sex and the City Spin City
the
Law & Order
JAMES LECESNE
Documentary Writing
Lolita
ANDREW GARRAHAN
Game Design
Maupins Further Tales of the City
BOAZ LIVNY
Animation
mental ray for

Maya 3ds Max
XSI: A 3D Artists
Guide to Rendering
Mastering Maya 7
Mastering
Maya 8.5
Editing, Sound Design
BOB EISENHARDT
Master Editing Lecturer
Directing
Cinematography
the Saw
Hellraiser:
Revelations Next Day Air
The Lodger
Pawn
KRISTY CATES
Creative Director, Musical Theatre

Wicked
Trevor
Sling
Blade.
Harold
and Kumar Go To White Castle Cats
and Dogs Agent Cody Banks
House
Law and Order
Taking Chance
DAVID ARMSTRONG
Meisner Technique, Acting for Film
JEFF KUSHNER
Holocaust
Sports
Dare To Compete
Real
Unbeatable
Jerry Springer the Opera
DEIDRE GOODWIN
Jazz & Theatre Dance

Nine
Jesus Christ Superstar
Chicago
A
Chorus Line
Never
Gonna Dance The Boys from
Syracuse The Rocky Horror Show
Chita Rivera: The Dancers Life
Chicago Half Nelson
Fair Game Rabbit Hole Across
the Universe Its Complicated
Every Little Step
THOM CHRISTOPHER WARREN
History of Musical Theatre

The Lion King
Once Upon A Mattress
The Lion King
Joseph
and the Amazing Technicolor
Dreamcoat Copacabana Barry
Manilows Harmony
PHIL KAUFMANN
Fall Time
KENNETH JOHNSON
Special Lectures
Bionic Woman,
V, Incredible Hulk, The Six Million
Dollar Man.
MARK SAWICKI
Animation Chair, Los Angeles

Terminator, X-Men
Knight Rises
with Stop Motion Pro
the Fantastic
The
The Dark
Animating
Filming
Valentino: The Last Emperor

Dixie Chicks: Shut Up and Sing
ROBERT FERRARO
Broadcast Journalism
Acting, Screenwriting
Law and Order Harrys Law The

Mentalist
Indiana
Jones 5
For the complete faculty list, visit www.nyfa.edu/about/faculty/nyc-academic.php
11
Who Sends Their Sons &

Daughters to the Film Academy
O
Steven Spielberg
Amy Irving
Martin Scorsese
Drew Carey
Bruce Springsteen
Pierce Brosnan
Terry Gilliam
Jean-Claude Van Damme
Stephen Frears (The Queen)
Arthur Cohn,
(One Day in September)
Kevin Kline
Al Pacino
Warren Beatty & Annette Bening
Sharon Stone
Roger Donaldson Bank Job)
Gary Ross Pleasantville)
George Romero (Night of the Living Dead)
James L. Brooks (Terms of Endearment)
Susan Sarandon
Tim Robbins
Robert Downey Jr.
Jamie Foxx
F. Murray Abraham
Blair Underwood
Lisa Kudrow
Toshiro Mifune
Clark Gable
Val Kilmer
12
Charles Gassot (The Taste of Others)

Sheila Nevins (HBO President,
Documentary & Family)
Bono (U2)
Diana Ross (The Supremes)
Andy Summers (The Police)
Ric Ocasek (The Cars)
Ed Catmull (Walt Disney & Pixar President)
Doug Herzog (President of MTV)
Howard Schultz (Starbucks CEO)
Ben Bradlee VP of The Washington Post &
Legion of Honor winner)
Donatella Versace (famed fashion designer)
Peter Bogdanovich (Last Picture Show)
Jim Sheridan (In The Name of the Father)
Dan Marino (Hall of Fame Quarterback)
The list goes on...
AND ALL WHO HAVE A PASSION FOR FILM
No, Martin Scorsese did not attend the New York Film Academy, however, his daughter attended three times.
In the picture, NYFA President Michael Young (left) and NYFA Senior Executive Vice President David Klein (right).
13
Master of Fine Arts

Two-Year Accelerated Programs
Filmmaking | Acting for Film | Producing for Film & TV | Screenwriting
Photography | Documentary | Cinematography | Game Design
14
Students prepare to shoot a scene on location using the RED digital camera.
15
Two-Year Accelerated
MASTer oF FiNe ArTS

in FilMMAkiNg
As part of their production classes in Los Angeles, our students shoot on the back lot of Universal Studios.
16
LOCATION
LOS ANGELES, CALIFORNIA;
SOUTH BEACH, FLORIDA
Tuition per Semester: $12,666*
Number of Semesters: 6
* Please note, additional equipment fee: $1,334 per semester.
Students may also incur additional expenses on their own productions.
These expenses will vary depending on the scale of the projects.
Locations, tuition, and other fees are subject to change.
For start dates, please visit www.nyfa.edu
17
MFA
Filmmaking
OvErviEW
each Master of Fine Arts Filmmaking

student writes, shoots, directs, and
L
QUALIFIED STUDENTS HAVE THE OPTION OF
COMPLETING COURSE WORK AT THE NEW YORK
FILM ACADEMY IN NEW YORK CITY IN A ONE-YEAR
NON-DEGREE PROGRAM AND THEN APPLYING
THEIR COURSE WORK TO BE ACCEPTED FOR
ADVANCED STANDING IN THE MFA FILMMAKING
DEGREE PROGRAM.
Please Note: curriculum and projects are subject to change and may vary depending on location.
Students should consult the most recently published campus catalog for the most up to date course information.
18
Filmmaking
WHAT YOU WILL LEARN
MFA
WHAT YOU WILL ACHIEVE

SEMESTER ONE
Demonstrate an understanding of advanced
SEMESTER TWO
Master production management skills needed for
Showcase proper use of critical analysis and

leadership skills to determine the best method
of on-set crew management and the ability to
SEMESTER THREE
Demonstrate knowledge of professional conduct

SEMESTER FOUR (OPTION A)
Show an appreciation and understanding of
SEMESTER FOUR (OPTION B)
SEMESTER FIVE (OPTION A)
SEMESTER FIVE (OPTION B)
SEMESTER SIX (OPTION A)
SEMESTER SIX (OPTION B)
SEMESTER SEVEN (OPTION B)
19
MFA
Filmmaking
YEAR ONE OVERVIEW
SEMESTER ONE
production Workshop
Film Aesthetics i
screenWriting
cinemAtogrAphy i
Acting For directors
editing i
cinemA studies
20
- Frank Capra
Filmmaking
SEMESTER TWO
SEMESTER THREE
Film Aesthetics ii
intermediAte Film production
MFA
cinemAtogrAphy ii
intermediAte Film post-production
collAborAtion Workshop
elements oF FeAture screenWriting
editing ii
sound design
screenWriting ii
mAsters thesis development
producing i
21
MFA
Filmmaking
YEAR TWO OVERVIEW
SEMESTER FOUR: THESIS OPTION A

AdvAnced directing
AdvAnced cinemAtogrAphy
producing ii
FeAture screenWriting i
screenWriting short thesis i
psychology oF Film
22
Filmmaking
SEMESTER FIVE:
THESIS OPTION A
MFA
mAsters thesis production i
directing the thesis Film
producing the thesis Film
SEMESTER SIX: THESIS OPTION A

mAsters thesis production ii
FeAture screenWriting ii
thesis Film post-production
screenWriting short thesis ii
FeAture screenWriting iii
production design
mAsters proFessionAl development:
nAvigAting the industry
- Werner Herzog
23
MFA
Filmmaking
SEMESTER FOUR: THESIS OPTION B
SEMESTER FIVE: THESIS OPTION B
AdvAnced directing
FeAture producing i
mAsters production design
Writing the FeAture screenplAy i
FeAture producing ii
FeAture scheduling & budgeting

Writing the FeAture screenplAy ii
pitching & business plAns

FinAnciAl reporting
business AFFAirs
24
Filmmaking
MFA
mArketing & distribution models
SEMESTER SEVEN: THESIS OPTION B

FeAture thesis production
SEMESTER SIX: THESIS OPTION B

directing the FeAture
FeAture thesis post
FeAture thesis development
FeAture logistics & WorkFloW
FeAture delivery
FeAture thesis prep
Telling me to take a vacation from filmmaking is like telling a child

to take a vacation from playing.
- Stanley Kubrick
25
MFA
Filmmaking
mise-en-scne
FILM
PROJECTS
Nonetheless, it is essential
in addition to directing
continuity
26
the pursuit/
group pAcing exercise
montAge
pov
27
mFA production Workshops
28
Film is truth, 24 times a second. - Jean-Luc Godard
Filmmaking
MFA
semester one Film
yeAr one intermediAte Film
Thesis Project
option A: short Film
option b: FeAture Film
29
MASTer oF FiNe ArTS

in ACTiNg For FilM
Actor performs as an astronaut in an MFA shoot at Laurel Canyon studios on the same
30
LOCATION
Tuition per Semester: $15,750
31
Acting for Film
OvErviEW
MFA
People? I aint people. I am a shimmering, glowing

star in the cinema firmament.
- Gene Kelly
the
QUALIFIED STUDENTS
HAVE THE OPTION OF COMPLETING COURSE WORK
AT THE NEW YORK FILM ACADEMY IN NEW YORK CITY
IN A ONE-YEAR NON-DEGREE PROGRAM AND THEN
APPLYING THEIR COURSE WORK TO BE ACCEPTED FOR
ADVANCED STANDING IN THE MFA ACTING FOR FILM
DEGREE PROGRAM.
32
Acting for Film
MFA

SEMESTER ONE
SEMESTER TWO
SEMESTER THREE
WHAT YOU WILL LEARN

SEMESTER FOUR
33
MFA
Acting for Film
COUrSE DESCriPTiONS
YEAR ONE OVERVIEW
SEMESTER ONE
technique & scene study 1
movement i
FilmcrAFt
Acting For Film 1
cinemA studies
voice And speech 1
34
Acting for Film
SEMESTER TWO
technique & scene study ii
MFA
The actor should be able to
create the universe in the palm
of his hand.
- Laurence Olivier
movement ii
Acting For Film ii
improvisAtion
voice And speech ii
35
MFA
Acting for Film
YEAR TWO OVERVIEW

acting, the second year prepares MFA students for their thesis projects.
SEMESTER THREE
Writing For Actors
Acting For Film iii: scripted tv
SEMESTER FOUR
voiceover Workshop
mAsters scene study
thesis development
stAge to screen 1 (plAy)
business oF Acting/Audition technique
shAkespeAre
stAge to screen ii (Film)
36
Working on a professional sound stage, Acting for Film students gain extensive in front of and
behind the camera.
ELECTIVES
singing For Actors
sketch comedy
AdvAnced stAge projects
contemporAry dAnce
entertAinment lAW
stunt Workshop
- George Burns
37
MASTer oF FiNe ArTS

in ProDUCiNg
For FilM & TV
In the studio, the cabin of an airplane provides a unique production opportunity for our students.
38
LOCATION
LOS ANGELES, CALIFORNIA
39
MFA
Producing for Film & TV
OvErviEW
40
MFA
WHAT YOU WILL LEARN

SEMESTER ONE
QUALIFIED STUDENTS HAVE THE

OPTION OF COMPLETING A ONE-YEAR
CONSERVATORY PRODUCING PROGRAM
AT OUR NEW YORK CITY CAMPUS AND
THEN APPLYING THEIR COURSEWORK
TOWARDS ADVANCED STANDING IN THE
MFA PROGRAM.
SEMESTER TWO
SEMESTER THREE
Please Note: curriculum and projects are

subject to change and may vary depending
on location. Students should consult the most
recently published campus catalog for the
most up to date course information.
SEMESTER FOUR
41
MFA
COUrSE DESCriPTiONS
YEAR ONE OVERVIEW
The Year One curriculum is extremely comprehensive, teaching students
the creative aspects of producing, as well as the more technical side of line
producing. To be effective producers, they will become immersed in all areas of
SEMESTER ONE
introduction to screenWriting
producers crAFt i
directing For producers
producing reAlity television
short Film production i

cinemAtogrAphy, lighting & editing
sound For producers

entertAinment lAW & business prActices i
42

SEMESTER TWO
MFA
pitching, business plAns & tv shoW bibles
producers crAFt ii
producing documentAries
Writing the tv pilot treAtment
Our students shoot on interior sets they create on

the studio sound stage for class projects.
short Film production 2

Writing the FeAture treAtment
industry speAker series

business AFFAirs
43
MFA
YEAR TWO OVERVIEW
SEMESTER THREE
thesis development Workshop i
MFA candidates must complete

a series of highly specialized
classes and deliver a completed
and well-executed Thesis Project in
order to graduate with a Master of
Fine Arts in Producing. Students
are required to pursue one of three
Writing the FeAture screenplAy
thesis options and those who select

Thesis Option C will also be required
complete their project.
Writing the tv pilot screenplAy
producing AlternAtive mediA
budgeting & entertAinment Accounting
post For producers
cinemA studies
44
MFA
Spare no expense to make everything

as economical as possible.
SEMESTER FOUR
thesis development Workshop ii
- Samuel Goldwyn
SEMESTER FIVE
thesis option c
entertAinment lAW & business

prActices ii
FeAture prep
AdvAnced pitching Workshop
FeAture production
FeAture post-production
AdvAnced directing Workshop
FeAture mArketing & distribution
Acting For producers
45
MASTer oF FiNe ArTS

in SCreeNWriTiNg
performed for an audience of guests and industry professionals.

46
LOCATION
47
Screenwriting
OvErviEW
he New York Film Academy

recognizes the critical role writers
MFA
A good film script should be able to do

completely without dialogue.
- David Mamet
talent alone is not enough to create successful
and to truly understand the elements that

OPTION OF COMPLETING COURSE WORK AT THE
NEW YORK FILM ACADEMY IN NEW YORK CITY
IN A ONE-YEAR NON-DEGREE PROGRAM AND
THEN APPLYING THEIR COURSE WORK TO BE
ACCEPTED FOR ADVANCED STANDING IN THE MFA
SCREENWRITING DEGREE PROGRAM.
Please Note: curriculum and projects are subject to change
and may vary depending on location. Students should consult
the most recently published campus catalog for the most up
to date course information.
48
Screenwriting
MFA
WHAT MAKES OUR

SCREENWRITING PROGRAM UNIQUE?
SEMESTER ONE
SEMESTER TWO
WHAT YOU WILL LEARN
SEMESTER THREE
SEMESTER FOUR
49
MFA
Screenwriting
COUrSE DESCriPTiONS
YEAR ONE OVERVIEW
will be introduced to the tools and skills necessary for writing successful
their craft artistically and technically.
SEMESTER ONE
elements oF screenWriting
Writing the FeAture Film

screenplAy i
Writing For television i: specs
genre studies
the greAt screenplAys
Scriptwriting is the toughest part of

the whole racket.
- Frank Capra
50
Screenwriting
MFA
SEMESTER TWO
Writing the FeAture Film screenplAy ii
build a blueprint to revise their semester one feature screenplay, learning the key tools of revision
the business oF screenWriting i

This class introduces students to the practices and players of the entertainment industry from a
Writing For television ii: pilot
introducing your central character and core cast, creating a series template, creative solutions
will be constructed to simulate a TV writers room, with students reading, evaluating, and assisting
script to screen
Script to Screen is designed to help writing students see what happens to their words when they
story generAtion
51
MFA
Screenwriting
YEAR TWO OVERVIEW

form of either a feature-length screenplay or the pilot for an original episodic
students for a professional life.
SEMESTER THREE
trAnsmediA i: FrAnchises
AdAptAtion Workshop
trAnsmediA ii: sequentiAl Art
the business oF screenWriting ii:

pitching
mAsters thesis Workshop i
AdvAnced Writing seminAr i:

chArActer development
52
Drama is life with the dull bits cut out. - Alfred Hitchcock
Screenwriting
MFA
SEMESTER FOUR
trAnsmediA iii:
interActive nArrAtive
trAnsmediA iv: Web series
the business oF screenWriting iii

AdvAnced Writing seminAr ii:
scene study
AdvAnced Writing seminAr iii:

Actor/Writer Workshop
mAsters thesis Workshop ii
53
MASTer oF FiNe ArTS

in PhoTogrAPhY
LOCATION
Semester 1 & 2 Tuition: $19,000* Per Semester
Semester 3 & 4 Tuition: $16,000* Per Semester
* Please note, additional equipment + lab fee: $1,000 per semester.
54
Peter Hurley, renowned photographer, giving a master class to our Photography students.
55
MFA
Photography
A state-of-the-art CANON or NIKON HDSLR camera, your preference, that allows you to
shoot stills and HD video, YOURS TO KEEP, is included in your FULL ENROLLMENT tuition
fee for the MFA Photography program.
MFA Photography students have the option to join a special one-week photography
expedition to an exciting locale.*
T
as
STUDENTS ALSO
HAVE THE OPTION OF COMPLETING A ONE-YEAR CONSERVATORY
PHOTOGRAPHY PROGRAM AT OUR NEW YORK CITY CAMPUS AND
APPLYING THEIR COURSEWORK TOWARDS ADVANCED STANDING
IN THE MFA PHOTOGRAPHY PROGRAMS IN LOS ANGELES OR MIAMI.
IF A STUDENT HAS NO PRIOR EXPERIENCE IN PHOTOGRAPHY, HE
OR SHE MUST COMPLETE A ONE-YEAR PROGRAM FIRST.
Please note, participants pay for the costs of their transportation, accommodation,
and food. The trip is scheduled during a school vacation or semester break. It is
Legendary photographer
Ralph Gibson is committed
to helping students realize their
artistic and professional ambitions.
56
Photography
MFA
WHAT MAKES OUR PHOTOGRAPHY PROGRAM UNIQUE
WHAT YOU WILL LEARN AND ACHIEVE

SEMESTER ONE
SEMESTER TWO
SEMESTER THREE
SEMESTER FOUR
photographer has his or her unique way of seeing. This can be

Every
discovered and this is what we develop with our NYFA students.
- Ralph Gibson
Chair, Department of Contemporary Photography
Ralph Gibson is an acclaimed photographer whose awards include fellowships
from the John Simon Guggenheim Foundation and the National Endowment for
France, and holds honorary doctorates from the University of Maryland and Ohio
Photo by Ralph Gibson
57
MFA
Photography
YEAR ONE OVERVIEW
SEMESTER ONE
photogrAphy essentiAls
contemporAry issues in photogrAphy
the criticAl eye
imAging essentiAls i
proFessionAl lighting prActices i
photogrAphy prActicum i
Photos by New York Film Academy Photography

grads (from top to bottom): Bryan Kong,
Aric Coppola, and Veselina Tsankova
58
Photography
MFA
YEAR TWO OVERVIEW
challenging theory courses as well as being immersed in digital darkroom practices
SEMESTER TWO
SEMESTER THREE
historicAl & criticAl perspectives i
proFessionAl methods ii
historicAl & criticAl perspectives ii

proFessionAl methods i
imAging essentiAls ii
thesis prep
proFessionAl lighting prActices ii
AdvAnced imAging 1
photogrAphy prActicum ii
59
MFA
Photography
Photo by our MFA Photography grad, Joseph Bornilla documenting the aftermath of Super Typhoon
Yolanda in the eastern Philippines.
SEMESTER FOUR
thesis project

As students transition to the professional world
beyond the academic environment, this course
provides practical guidance on the myriad ways
class includes guest lectures as well as guidance in
of creative work in the following ways: through peer

statement, editing sessions, planning and designing
digitAl printing methodologies

Under the guidance of instructors, students will
desired viewer impact, mounting, framing, hanging
AdvAnced imAging ii
A practical course where students are guided through
understanding proofs in relation to size, substrate,
60
Photography
MFA
ELECTIVES
book design For photogrAphers
AlternAtive processes
The photo book is currently one of the most popular

methods for presentation and marketing of ones
processes including lith printing, chromoskedasic,

the myriad creative uses of a variety of processing
motion cApture For photogrAphers

portFolio development
A students portfolio consolidates the use of the
communication, demonstrating technical ability,
creative vision, and personal aesthetic brought
based media, allowing them to practice core skills

in cinematography, using continuous light sources,
directing, screenwriting, location sound recording,
and lecturer feedback, students will produce and

AdvAnced Film photogrAphy
for presentation to the professional sector in their
This hands-on class covers medium and large format

development, and black-and-white photochemical
internship/selF-promotion
print and online work, this course prepares them for a
career in professional photography in which they will
Students learn how to distinguish themselves through

branding, develop strategic marketing plans and
identify themselves through marketing their portfolios
For the internship component of this course, students
students will learn the technology and processes

involved in photochemical photography, from the
mechanics of the cameras themselves to traditional
and-white printing and develop their own creative

vision by making images in a variety of genres and
lighting conditions, including landscape, architecture,
current perspectives in photogrAphy
areas in the industry, from assisting photographers
critical, aesthetic and practical issues relevant to

lectures, discussions, research, and writing will
61
MASTer oF FiNe ArTS

in DoCUMeNTArY
New York Film Academy Documentary graduate,

Kesang Choki shooting her thesis in Bhutan
62
10 BEST
Documentary
Programs
Independent
Magazine
LOCATION
* Please note, additional equipment fee: $667 per semester.
63
MFA
Documentary
Students have the option to join a special one-week documentary exploration

of an exciting locale*
Photo by Carlos Sanchez
In Belize, students journeyed to Oceanic Societys

Research Station on Black Bird Caye and shot
short documentaries while monitoring dolphins with
resident scientists, snorkeling the Mesoamerican
Reef with local Belizeans and practicing underwater
cinematography in the Great Blue Hole.
experience, students are not required to participate.
64
Documentary
MFA
WHAT YOU WILL LEARN

COMPLETING COURSE WORK AT THE NEW
YORK FILM ACADEMY IN NEW YORK CITY IN
A ONE-YEAR NON-DEGREE PROGRAM AND
ACCEPTED FOR ADVANCED STANDING IN THE
MFA DOCUMENTARY DEGREE PROGRAM.
65
MFA
Documentary
DOCUMENTARY
FILM
PROJECTS
mise-en-scne
intervieWs
montAge
observAtionAl
personAl voice
chArActer
Each student is challenged to build a portrait
encouraged to reveal the character through
his/her actions rather than by way of scenes
66
Documentary
locAtion story/mots
(mAn on the street)
production Workshop
MFA
intermediAte documentAry
Each student directs a story about an event

at a selected location capturing the essential
moments unfolding over the course of
content and reveal the heart of the event
through appropriate coverage and editing,
while incorporating the characteristics of
the location to enhance the visual appeal
documentAry reseArch,
development oF ideA &
pre-intervieWs
camera moves, and shooting for editing in

Students are challenged to think on their
feet, to solve location issues, and to adapt
collAborAtive production Film (group)

Students work as a team, under the close guidance of their
compilAtion Film
process, they learn to meet the demands of a professional
client, while developing a working knowledge of what it
prepArAtion For mAsters thesis

documentAry Film
sociAl issue
mAsters thesis documentAry
67
MFA
Documentary
COUrSE DESCriPTiONS
YEAR ONE OVERVIEW
that builds the groundwork for a professional life in the art and craft of documentary
shooting/editing exercises and short documentary projects ranging from two to
minutes in length. While the emphasis of the program is on hands-on immersion
studies and the industry as a whole.
SEMESTER ONE
directing the documentAry i
Writing the documentAry i
cAmerA & lighting i
editing i
production sound
68
documentAry Film AnAlysis
Documentary
SEMESTER TWO COURSES
MFA
Writing the documentAry ii
directing the documentAry ii
cAmerA & lighting ii
editing ii
post-production sound
producing the documentAry
69
MFA
Documentary
SEMESTER THREE
production & post-production seminArs
intermediAte documentAry production
the business oF documentAries
neW mediA
intermediAte documentAry post-production
70
Documentary
MFA
YEAR TWO OVERVIEW

Coursework in the second year includes a series of highly specialized classes and workshops
designed to further develop students knowledge and skills as professional documentary
students are expected to have a role in multiple thesis productions besides their own.
At the end of semester six, the MFA Documentary Filmmaking student will have produced
his/her own Thesis Documentary (up to 30 minutes in length) that can then be used for a
SEMESTER FOUR
Writing & directing
the thesis documentAry
Doing a documentary is about

discovering, being open, learning,
and following curiosity.
- Spike Jonze
AdvAnced editing
industry perspectives
community Film project
71
MFA
Documentary
SEMESTER FIVE
polishing: color, visuAl eFFects,

& grAphics
producing the
thesis documentAry
production Workshops
reseArching, developing, &

directing the documentAry
sound design
72
Documentary
SEMESTER SIX
MFA
mArketing the non-Fiction Film
thesis documentAry production
thesis documentAry post-production
mixing
73
MASTer oF FiNe ArTS

in CiNeMATogrAPhY
74
LOCATION
75
MFA
Cinematography
You make the movie through the

cinematography - it sounds quite a
simple idea, but it was like a huge
revelation to me.
- Nicolas Roeg
QUALIFIED STUDENTS HAVE THE OPTION OF COMPLETING COURSE WORK AT THE NEW YORK
FILM ACADEMY IN NEW YORK CITY IN A ONE-YEAR NON-DEGREE PROGRAM AND THEN APPLYING
THEIR COURSE WORK TO BE ACCEPTED FOR ADVANCED STANDING IN THE MFA CINEMATOGRAPHY
DEGREE PROGRAM.
76
As part of their training, Cinematography students learn to
WHAT YOU WILL LEARN
Upon completion of the MFA Cinematography program

at the Academys campus in Los Angeles, students will
demonstrate the following skills and know-how:
SEMESTER ONE
soundstage and practical locations including ability to

convey a time of day, location, and mood in service of
SEMESTER TWO
various imaging systems, including knowledge of the

A working knowledge of the current state of the
industry in all of its permutations, including emerging
SEMESTER THREE
A competitive reel demonstrating a body of work that is

Demonstrate both the creative capacity to pre-
SEMESTER FOUR
77
MFA
Cinematography
COUrSE DESCriPTiONS
YEAR ONE OVERVIEW
cinemAtogrAphy prActicum i
SEMESTER ONE
introduction to motion picture
cAmerA technique
post-production For cinemAtogrAphers
FundAmentAls oF lighting
directing For cinemAtogrAphers
Form & Function i
history oF cinemAtogrAphy i
78
Cinematography
MFA
SEMESTER TWO
35mm cinemAtogrAphy
steAdicAm And
cAmerA AssistAnt seminAr
AdvAnced lighting
A film is never really good

unless the camera is an
eye in the head of a poet.
cinemAtogrAphy
prActicum ii
AdvAnced motion picture

cAmerA technique
- Orson Welles
post-production For cinemAtogrAphers ii
Form & Function ii
stAge lighting Workshop
history oF cinemAtogrAphy ii
79
MFA
Cinematography
YEAR TWO OVERVIEW
mAsters lighting
SEMESTER THREE
Form & Function iii
reAlity television, documentAry,

& Web content
cinemAtogrAphy prActicum iii
mAsters cAmerA technique
cinemA studies
80
Cinematography
SEMESTER FOUR
thesis development Workshop
cinemAtogrAphy prActicum iv
history oF cinemAtogrAphy iii
optics oF lenses And cAmerAs
cinemAtogrAphy For digitAl eFFects
MFA
MASTer oF FiNe ArTS

in gAMe DeSigN
82
LOCATION
* Please note, additional lab fee: $1,000 per semester.
83
MFA
Game Design
Game desiGn
has rapidly evolved over the past several decades

from a popular trend to become one of the fastest
growing sectors in the entertainment industry. As
games become increasingly widespread in popular
culture, learning the technical and creative skills
required to bring a video game to life opens up a wide
range of opportunities for the aspiring game designer.
Chris swain
Chair of Game Design Department
An industry leader for over twenty years, Swain
winning games and products for companies that include Microsoft,
84
Game Design
MFA
STUDENTS ALSO HAVE THE OPTION OF COMPLETING A ONEYEAR GAME DESIGN CONSERVATORY PROGRAM AT NYFAS NEW YORK CITY CAMPUS AND APPLYING
THEIR COURSEWORK TOWARDS ADVANCED STANDING IN THE MFA PROGRAM.
WHAT YOU WILL LEARN
SEMESTER ONE AND TWO
SEMESTER THREE AND FOUR
85
MFA
Game Design
COUrSE DESCriPTiONS
YEAR ONE OVERVIEW

understanding the evolution of games and once a foundation in narrative theory is established,
students are then introduced to the tools, theory, and craft of storytelling in an interactive
gAme coding With unity And c#, i
SEMESTER ONE
nArrAtive design Workshop
gAme studio i
2d gAme design
Super Mario Brothers Asteroids

Joust Space Invaders Braid
plAycentric design
introduction to 3d Art
86
Game Design
SEMESTER TWO
systems literAcy
This course builds upon the foundations established
The course is workshop-focused, meaning a

substantial portion of time is spent actively engaged
more sophisticated facets of the playable systems
MFA
publishing video gAmes

This course provides the student with an
understanding of the business of video games with
a special focus on game publishing, deal structures,
through the publishers eyes and in the process gain
insight in how to plan, budget, pitch, launch, and
leave the course with a practical and state-of-the-art

of the game business model including perspective on
mobile games, console games, browser games, free
is the primary goal, and everything else students do

gAme coding With unity And c#, ii
3d gAme design
This is the second in the series courses wherein
students collaboratively deliver a working game over
meaning action takes place in a three dimensional
Like, its precursor course, it is taught by professional

game programmers who organize students into
instruction and self-paced tutorials are given to
each student to ensure that her hands-on skills with
coding are improved and her Github portfolio site
Battlezone, Deus Ex,

The Sims, Grand Theft Auto V, Minecraft
gAme studio ii
Art direction For gAme developers
the craft of the Art Director via a combination of

presentation (art history, color theory, composition,
constraints of technology, client needs, and end-
problem solving for visual design while mastering
87
MFA
Game Design
YEAR TWO OVERVIEW

In the third semester, students learn about Multiplayer Game design and get exposure to
Level Design, Marketing, and the History of Video Games.
In semester four students create their fourth working game conceptthis time as a
collaborative thesis project. At the same time, they learn about Ethics of Video Games,
Sound Design, and complete an advanced analysis course called The Great Video Games.
SEMESTER THREE
mobile gAme design
mArketing video gAmes
the business oF video gAmes

gAme studio iii
history oF video gAmes
level design
88
Spacewar
Game Design
SEMESTER FOUR
MFA
mAsters thesis production
the greAt video gAmes
MULE Tetris Civilization Super Mario 64 Zelda The Sims

Bomberman Braid Flow Ultima Online
BioShock
AdvAnced level design
collAborAtive thesis
Minecraft Little Big Planet
Warcraft
III
cinemA studies
ethics oF video gAmes

gAme studio iv
September 12
Grand Theft Auto
Populous
BioShock
Klaus is 2D puzzle platformer created by

NYFA student Victor Velasco. Winner of
the 2012 Square Enix Excellence Prize and
showcased at the PS Dev Summit 2014.
Victor and NYFA classmates Aleksandar Cuk
and Kshitij Bal are preparing Klaus for launch
on the PS4 and PSVita.
89
one-Year Accelerated
MASTer oF ArTS
in FilM & MeDiA
ProDUCTioN
90
Students on the Universal Studios backlot shooting with a RED HD camera.
LOCATION
91
MA
Film & Media Production
OvErviEW
ilm and media are in a constant

state of evolution. Whether this is
seen through cinemas embracing
of 3D technology, the growing
rise of Video on Demand, or
the proliferation of new visual content
across the internet and devices such as
smartphones or tablets, it is clear that
developing at an ever-increasing pace.
and media are ultimately about visual
storytelling. As such,
producers, writers, and other creatives
up-to-date changes and trends in the
foundations of the medium.
92
WHAT YOU WILL LEARN

SEMESTER ONE
SEMESTER TWO
SEMESTER THREE
st
Please Note: curriculum and projects are subject

to change and may vary depending on location.
Students should consult the most recently
published campus catalog for the most up to date
course information.
93
MA
COUrSE DESCriPTiONS
SEMESTER ONE
cinemA studies
Film production i
mediA & society

st
Film production studio i
SEMESTER TWO
screenWriting
94
Film production ii
MA
SEMESTER THREE
Film production studio ii
FinAl Film production
producing & neW mediA

thesis revieW
thesis development
emerging FormAts
principles oF visuAl Aesthetics

psychology oF Film
95
Fine Arts
Three or Four-Year Degree Programs
depending on the number of terms they take each year.
Filmmaking | Acting for Film | Photography

Producing for Film & TV | Screenwriting | Graphic Design
96
- John Cassavetes
97
BFA Filmmaking student working the Steadi-Cam during the industry lab.
98
Three or Four-Year Degree Program
in FilMMAkiNg
LOCATION
99
BFA
Filmmaking
Each Bachelor of Fine Arts student writes,

shoots, directs, and edits 10 films in the most
intensive hands-on program in the world and
works on the crew of at least 30 additional films.
QUALIFIED
STUDENTS
HAVE
THE OPTION OF COMPLETING
COURSE WORK AT THE NEW
YORK FILM ACADEMY IN NEW
YORK CITY IN A ONE-YEAR
NON-DEGREE PROGRAM AND
THEN APPLYING THEIR COURSE
WORK TO BE ACCEPTED FOR
ADVANCED STANDING IN THE BFA
FILMMAKING DEGREE PROGRAM.
Please Note: curriculum and projects

are subject to change and may vary
depending on location. Students
should consult the most recently
published campus catalog for the
100
Filmmaking
BFA

SEMESTER ONE
SEMESTER TWO
SEMESTER THREE
SEMESTER FOUR
Student camera operator and assistant camera riding the

dolly for a smooth tracking shot.
SEMESTER FIVE
WHAT YOU WILL LEARN

SEMESTER SIX
SEMESTER SEVEN
SEMESTER EIGHT
SEMESTER NINE
101
BFA
Filmmaking
COUrSE DESCriPTiONS
YEAR ONE OVERVIEW
SEMESTER ONE
directors crAFt i A
The following courses

curriculum; their required Liberal Arts and Sciences
classes are listed at the end of the BFA and BA
section of the brochure.
cinemAtogrAphy i
digitAl editing i
screenWriting i
102
Filmmaking
BFA
I have found it always the best policy to allow the film to speak for itself.
- Stanley Kubrick
SEMESTER TWO
SEMESTER THREE
screenWriting ii
directors crAFt ii
directors crAFt i b
cinemAtogrAphy ii
digitAl production Workshop
digitAl editing ii
producing i
screenWriting iii
103
YEAR TWO OVERVIEW
SEMESTER FOUR
104
short Film directing i
intermediAte Film prep
intermediAte Film
creW pArticipAtion
Filmmaking
BFA
SEMESTER FIVE
FeAture screenplAy i
The goal of this workshop is to fully immerse each
student in an intensive and focused course of study,
SEMESTER SIX
FeAture screenplAy ii
gaining an understanding of story, structure, character,

professional standards and self-discipline, students
will complete a treatment of a feature-length script
directors crAFt iii A
so far through editing and post-production courses to
screenWriting short thesis A

cinemAtogrAphy iii
Class sessions are designed to help students master
many elements of cinematography using professional
producing commerciAls
& music videos
building up their arsenal of skills through shooting
sync sound commerciAl Workshop
105
BFA
Filmmaking
YEAR THREE OVERVIEW
SEMESTER SEVEN
SEMESTER EIGHT
directors crAFt iii b
short Film directing ii
thesis Film: prep

screenWriting short thesis b
thesis Film: production

production design
thesis Film: creW pArticipAtion

sound design
106
FILM PROJECTS
SEMESTER NINE
thesis Film: post-production
mise-en-scne
Students should pay close attention to their choice

entertAinment industry seminAr
tell their story in only one shot (utilizing no more than
continuity
Students shoot a dramatic scene to create
SEMESTER NINE ELECTIVES

mArketing & proFessionAl
development
a consistency of physical detail between shots

This will challenge students to produce a clear,
visual scene while maintaining the truthfulness
Students should not shoot without thoroughly

pre-planning the following elements: script,
storyboard, script breakdown, production
neW mediA
the pursuit/
group pAcing exercise
As a group, students shoot a pursuit story
sure to utilize the basic principles of screen
107
BFA
Filmmaking
montAge
Students choose one short selection of music and plan
pov
are encouraged to use montage-style editing to move
Students create a short scene with minimal dialogue

and no more than three characters that have
students should cut the images to work in concert
graphic control (composition and staging), and

narrative control (often editing choices), the
audience should have a clear understanding of
them in the choice of locations, distances and angles,
chekhoviAn text & subtext

the non-sync Film
and Montage), along with sound effects and score,
concise story that demonstrates students directing
creativity, ingenuity, resourcefulness, and above all,
a production book with tabbed dividers including their
108
digitAl production Workshops
Filmmaking
the digitAl diAlogue Film
collAborAtion production
Workshop
BFA
AdvAnced commerciAl
Workshop
AdvAnced music videos
thesis Film
intermediAte Film
109
110
in ACTiNg For FilM

LOCATION
111
Acting for Film
OvErviEW
I love acting. It is so much more real than life.
BFA
- Oscar Wilde

OPTION OF COMPLETING COURSE WORK AT
THE NEW YORK FILM ACADEMY IN NEW YORK
CITY IN A ONE-YEAR NON-DEGREE PROGRAM
AND THEN APPLYING THEIR COURSE WORK TO
BE ACCEPTED FOR ADVANCED STANDING IN
THE BFA ACTING FOR FILM DEGREE PROGRAM.
112
Acting for Film

WHAT YOU WILL LEARN
BFA

SEMESTER ONE
SEMESTER FOUR
SEMESTER TWO
SEMESTER FIVE
SEMESTER THREE
SEMESTER SIX
SEMESTER SEVEN
SEMESTER EIGHT
At NYFA, students get the opportunity to act in a wide variety of locations.
113
BFA
Acting for Film
YEAR ONE OVERVIEW
COUrSE DESCriPTiONS
SEMESTER ONE
portion of a students curriculum; the required

Liberal Arts and Sciences classes are listed at the
end of the BFA and BA section of the brochure.
voice & speech i

FilmcrAFt
movement 1
technique & scene study 1
A BFA Acting student performs a scene on camera.
114
Acting for Film

SEMESTER TWO
SEMESTER THREE
voice & speech ii
Acting For Film ii
BFA
movement ii
technique & scene study iii
Acting For Film i
115
BFA
Acting for Film
YEAR TWO OVERVIEW

acting and progress into ensemble work and professional prep work such
as creating material for a voiceover reel.
SEMESTER FOUR
SEMESTER FIVE
stAge to screen (plAy)
AdvAnced techniques in Acting
improvisAtion
Writing For Actors

perForming shAkespeAre
voiceover
116
Acting for Film
BFA
SEMESTER SIX
technique & scene study iv (styles)
Acting For Film iv
building the reel
117
BFA
Acting for Film
YEAR THREE OVERVIEW

acting, the third year prepares students for their Thesis Projects. Year
Three BFA students must complete a series of highly specialized courses,
participate in a play production workshop, and ultimately deliver a
thesis project of their own creation.
SEMESTER SEVEN
producing the short Film
SEMESTER EIGHT
plAy production Workshop
thesis Film production
business oF Acting/Audition
technique
AdvAnced voice And movement:
chArActerizAtion For the stAge
118
Acting for Film
BFA
A New York Film Academy BFA Acting For Film student performs for the camera on a set in Los Angeles.
ELECTIVES
singing For Actors
sketch comedy
in order to feel comfortable and competent in
This workshop is designed for actors with comedy
instruction on the variety of ways sketch comedy is

created, using improvisational comedy to bolster the
writing process, and brainstorming to help each student

curriculum culminating in a taped live performance
contemporAry dAnce
This course will provide an opportunity for students to
entertAinment lAW
This course is an overview of basic entertainment
inside
and
outside
the
parameters
of
western
stunt Workshop
This course is designed to develop the specialty skills
recordings, live performances, and other aspects
119
in PhoTogrAPhY
A BFA Photography student hones her camera skills on location with a state-of-the-art Canon HDSLR camera.
LOCATION
* Please note, additional equipment + lab fee: $525 per semester.
120
121
BFA
Photography
fee for the BFA Photography program.
BFA Photography students have the option to join a special one-week photography
But
QUALIFIED STUDENTS HAVE THE OPTION OF COMPLETING

COURSE WORK AT THE NEW YORK FILM ACADEMY IN NEW
YORK CITY IN A ONE-YEAR NON-DEGREE PROGRAM AND
THEN APPLYING THEIR COURSE WORK TO BE ACCEPTED
FOR ADVANCED STANDING IN THE BFA PHOTOGRAPHY
DEGREE PROGRAM.
122
as an optional experience, students are not required to participate.
Esteemed photographer Ralph Gibson

guides a group of NYFA photography
Ralph Gibson is a photographer and an

independent publisher, whose Lustrum
own images are featured in the national

museums of America, France, Korea,
Canada, China, Australia, Germany, and
others, and included in over 170 museum
SEMESTER ONE
impart to our students that a strong photograph

We
will immediately reveal the photographers intentions.
- Ralph Gibson
SEMESTER FIVE
SEMESTER TWO
SEMESTER SIX
SEMESTER THREE
SEMESTER SEVEN
SEMESTER FOUR
SEMESTER EIGHT
123
BFA
Photography
COUrSE DESCriPTiONS
YEAR ONE OVERVIEW
The following
SEMESTER ONE
SEMESTER TWO
introduction to lighting
intermediAte lighting
photo FoundAtions i
photo FoundAtions ii
124
A true photograph need not be explained, nor can it be contained in words. - Ansel Adams
Photography
BFA
SEMESTER THREE
AdvAnced lighting
cApture to print i
cApture to print i
125
BFA
Photography
YEAR TWO OVERVIEW
SEMESTER FOUR
SEMESTER FIVE
Applied photogrAphy prActices i
Applied photogrAphy prActices ii
cApture to print ii
intermediAte imAging i
the moving imAge i
SEMESTER SIX
Applied photogrAphy prActices iii
processes & cultures oF

photogrAphy
intermediAte imAging ii
126
Photography
BFA
YEAR THREE OVERVIEW
SEMESTER SEVEN
SEMESTER EIGHT
business prActices For

photogrAphers
portFolio development ii
This course prepares students for entering the

development, self-promotion strategies, and
essential business practices are emphasized in
on branding their own business identity and
portFolio development i
FinAl project
This course guides students through the initial

portfolio development process, outlining principles
for targeting a market-ready portfolio to their
the appropriate terminology, students will clearly
covers current trends in photo bookmaking, online
senior thesis
theory & criticism:

contemporAry photogrAphy
This course is designed to advance students
application of historical and contemporary
methods of theoretical analysis to their own
work and the work of emerging and established
Through seminar discussions in class, as well as

in Los Angeles and Miami, students will learn to
imAging output
never-before seen work in real-time through an
127
BFA
Photography
the moving imAge ii
ELECTIVES
vieW cAmerA
portrAiture
photogrAphy As Fine Art i
editoriAl
Advertising photogrAphy
photojournAlism & documentAry i
AdvAnced imAging
128
Photography
BFA
photogrAphy As Fine Art ii
Photography is more than a

medium for factual communication
of ideas. It is a creative art.
- Ansel Adams
photojournAlism & documentAry ii
AdvAnced vieW cAmerA
multimediA photo essAy
commerciAl photogrAphy
129
LOCATION
130
in ProDUCiNg
For FilM & TV
BFA Producing students at the New York Film Academy are charged with the task of preparing
131
BFA
QUALIFIED STUDENTS HAVE

THE OPTION OF COMPLETING COURSE
WORK AT THE NEW YORK FILM ACADEMY
IN NEW YORK CITY IN A ONE-YEAR NONDEGREE PROGRAM AND THEN APPLYING
THEIR COURSE WORK TO BE ACCEPTED
FOR ADVANCED STANDING IN THE BFA
PRODUCING DEGREE PROGRAM.
132
PRODUCTION GOALS
SEMESTER ONE
Producing students learn the art of location scouting,

and in this scene, shoot in a real prison setting.
SEMESTER TWO
SEMESTER THREE
LEARNING GOALS
SEMESTER FOUR
SEMESTER FIVE
SEMESTER SIX
SEMESTER SEVEN
SEMESTER EIGHT
133
BFA
COUrSE DESCriPTiONS
New York Film Academy producing students learn the

fundamentals of producing in the classroom and on the set.
YEAR ONE OVERVIEW
SEMESTER ONE
producers crAFt i
134
directing For producers
cinemAtogrAphy,
lighting & editing
BFA
Most of my presumptions about a

production are usually wrong.
SEMESTER TWO
producers crAFt ii
- Steven Spielberg
SEMESTER THREE
entertAinment lAW &
business prActices i

sound For producers
135
BFA
YEAR TWO OVERVIEW
SEMESTER FIVE
short Film production ii
SEMESTER FOUR
pitching, business plAns
& television shoW bibles
SEMESTER SIX

business AFFAirs

Writing the FeAture
Film treAtment
script collAborAtion i
136
BFA
YEAR THREE OVERVIEW
SEMESTER SEVEN
prepare for their production green lights,
entertAinment lAW
& business prActices ii
contract law and critical issues raised in
marketing and distribution, and using case

studies of actual campaigns, this course
focuses on successful strategies for each of
SEMESTER EIGHT
thesis development Workshop iii
script collAborAtion ii
Students will continue with their screenwriter
collaborations to complete a fully developed
post For producers

directing For producers ii
of physical post-production, the artistic and
managerial aspects will also be addressed
along with post-production for all current
understanding of the directors integral creative
students will develop a deeper understanding of

cinematography, lighting, and sound needs and how
137
A BFA Screenwriting student supervises a scene while collaborating with Filmmaking

and Acting students to bring her script to life on the Backlot of Universal Studios.
138
in SCreeNWriTiNg
LOCATION
139
BFA
Screenwriting
OvErviEW

THE OPTION OF COMPLETING COURSE WORK AT THE
NEW YORK FILM ACADEMY IN NEW YORK CITY IN A ONEYEAR NON-DEGREE PROGRAM AND THEN APPLYING THEIR
COURSE WORK TO BE ACCEPTED FOR ADVANCED STANDING
IN THE BFA SCREENWRITING DEGREE PROGRAM.
140
Screenwriting
BFA

SEMESTER ONE
WHAT YOU WILL LEARN

SEMESTER TWO
SEMESTER THREE
SEMESTER FOUR
SEMESTER FIVE
SEMESTER SIX
SEMESTER SEVEN
SEMESTER EIGHT
141
BFA
Screenwriting
COUrSE DESCriPTiONS
COUrSE
DESCriPTiONS
YEAR ONE OVERVIEW
SEMESTER ONE
SEMESTER TWO
Writing the FeAture Film screenplAy i
story generAtion
genre studies
142
Screenwriting
BFA
SEMESTER THREE
They will also build a blueprint to revise their semester one feature
half, the students will take either the new breakdown or the revision
script to screen
Script to Screen is designed to help writing students see what happens
to write more powerful dialogue, develop more memorable characters, and
actually picks up a camera, blocks a scene, and directs actors from a script
translated a shot on the page into a shot in the camera, then the writer
in directing, editing, cinematography, and production give an overview of
143
BFA
Screenwriting
YEAR TWO OVERVIEW
SEMESTER FOUR
neW mediA i
144
sequentiAl Art
Screenwriting
SEMESTER FIVE
SEMESTER SIX
interActive nArrAtive
AdAptAtion ii
BFA
reWriting Workshop
AdAptAtion i
neW mediA ii
A story should have a beginning,

a middle and an end... but not
necessarily in that order.
- Jean-Luc Godard
145
BFA
Screenwriting
YEAR THREE OVERVIEW
SEMESTER SEVEN
AdvAnced thesis Workshop i
the greAt plAyWrights
plAyWriting
146
Screenwriting
BFA
SEMESTER EIGHT
screenWriting discipline & methodology
AdvAnced Writing seminAr ii: scene study
the business oF screenWriting ii
AdvAnced thesis Workshop ii
147
in grAPhiC DeSigN
In the New York Film Academys BFA In Graphic Design Program,

students explore the most current trends, software and technologies.
148
LOCATION
* Please note, additional lab fee: $500 per semester.
149
BFA
Graphic Design
Keith GOdard
OvErviEW
Creative director
department of Graphic design
MFA
Yale
School
of
Arts
and
st
An award-winning industry trailblazer in graphic

design for over four decades, Godard is regarded
Virginia, Fortune Magazine, Business Week, and much

a broad range of new media, print, animation, and
Combining in-class instruction,

hands-on education, and extensive
course work, the BFA in Graphic
Design program is as challenging
as it is rewarding. Students should
be prepared to make a full-time
commitment as they will attend
class regularly and often spend their
evenings and weekends working on
original projects. As a result, students
graduate from the BFA in Graphic
Design program not only with the skills
to succeed as a graphic designer, but
are also able to compete across a
variety of industries.
150
Graphic Design
BFA
QUALIFIED STUDENTS HAVE THE OPTION

OF COMPLETING COURSE WORK AT
THE NEW YORK FILM ACADEMY IN
NEW YORK CITY IN A ONE-YEAR NONDEGREE PROGRAM AND THEN APPLYING
THEIR COURSE WORK TO BE ACCEPTED
FOR ADVANCED STANDING IN THE BFA
GRAPHIC DESIGN DEGREE PROGRAM.
WHAT YOU WILL LEARN
151
BFA
Graphic Design
COUrSE DESCriPTiONS
DESCriPTiONS
COUrSE
YEAR ONE OVERVIEW
The following courses comprise the graphic design
SEMESTER ONE
grAphic design i (type, imAge, lAyout FundAmentAls)
elements oF design i (design principles)
type i (type FundAmentAls)
drAWing & imAging i (introduction to imAge mAking)
152
Graphic Design
SEMESTER TWO
SEMESTER THREE
drAWing & imAging ii

(digitAl processes)
grAphic design ii
BFA
type ii (type voice)

type iii (text As imAge)
elements oF design ii
communicAtion design i
intro to digitAl printmAking

digitAl photogrAphy
& digitAl printing i
153
BFA
Graphic Design
YEAR TWO OVERVIEW
Graphic Design, like all other disciplines at the Academy, is taught with an intensive, hands-on approach, in which
real-world scenarios are created to give students a taste of what to expect following graduation.
SEMESTER FOUR
154
elements oF design iii

(4d/time bAsed mediA)
communicAtion design ii
type iv (motion)
digitAl photogrAphy & digitAl printing ii
Graphic Design
SEMESTER FIVE
SEMESTER SIX
pAckAge design (3d grAphics)
design studio i
BFA
Advertising
communicAtion design iii (messAging)
publicAtion design
interActive design i
dAtA visuAlizAtion
& inFormAtion grAphics
pre-press & print production i
(For print)
155
BFA
Graphic Design
YEAR THREE OVERVIEW
SEMESTER SEVEN
pre-press & print production ii (For print & Web)
design studio ii
brAnding
interActive design ii
thesis i
156
Graphic Design
BFA
SEMESTER EIGHT
portFolio production
& business prActices
independent studio
thesis ii
Book Designer and Creative Director, Lonnie Silberling,

gives a guest lecture to New York Film Academy students.
157
in illUSTrATioN
Students have the option of completing in three or four years
LOCATION
158
159
BFA
Illustration
OvErviEW
are individuals who give expression to our
imagination and the world around us through
graphical representation. They are visual artists
who are both able to bring their own ideas to life, while also visualizing the
Illustrators
creative individuals and professions. Whether it is drawing a childrens book

creating the original visual imagery.
At the Academys BFA in Illustration program, students are immersed in the
world of illustration by our renowned faculty of professional illustrators who
by training in drawing, painting, and digital imaging techniques, but they
also learn how to apply their skills to a variety of genres and industries and
develop the entrepreneurial know-how to achieve their professional goals.

COMPLETING COURSE WORK AT THE NEW YORK FILM ACADEMY IN
NEW YORK CITY IN A ONE-YEAR NON-DEGREE PROGRAM AND THEN
APPLYING THEIR COURSE WORK TO BE ACCEPTED FOR ADVANCED
STANDING IN THE BFA ILLUSTRATION DEGREE PROGRAM.
160
Illustration
BFA
WHAT YOU WILL LEARN
Students should consult the most recently published campus catalog for the most up to date
course information.
161
BFA
Illustration
COUrSE DESCriPTiONS
DESCriPTiONS
COUrSE
YEAR ONE OVERVIEW
fundamentals of two-dimensional design and color theory and develop visual
thinking as the formation of ideas. Technical sensitivity is deepened through
practical illustration problems and critical evaluation. The following courses
comprise the illustration portion of a students curriculum; The required Liberal
Arts and Sciences classes are listed at the end of the BFA and BA section of
the brochure.
SEMESTER ONE
2d design & FundAmentAls oF color
introduction to illustrAtion: visuAl thinking
drAWing: Form, spAce & perspective
162
Illustration
SEMESTER TWO
SEMESTER THREE
mAteriAls & techniques For illustrAtors
text to imAge i
illustrAtion in context Audience

And ApplicAtion
digitAl illustrAtion survey
BFA
AnAtomicAl Figure drAWing
technicAl Workshop: mixed mediA,

collAge & AssemblAge
pAinting: light, color & mAtter
Sketches by New York Film Academy

student Magdalena Marinova
history oF illustrAtion
163
BFA
Illustration
series illustrAtion
YEAR TWO OVERVIEW

In the second year,
the relationship between picture
and word is explored while
illustrator as public intellectual
and member of society.
sketchbooks & visuAl journAlism
SEMESTER FOUR
text to imAge ii
digitAl 3d grAphics For illustrAtion
164
Illustration
SEMESTER FIVE
SEMESTER SIX
introduction to typogrAphy
the illustrAtor in society
BFA
selF-publishing: comics & zines
visuAlizing the sciences

hybrid imAging:
science Fiction & FAntAsy illustrAtion
technicAl Workshop:
3d illustrAtion
pictoriAl personAe:
modes oF chArActerizAtion
165
BFA
Illustration
YEAR THREE OVERVIEW

of their choice, beginning with a clearly stated objective and a well-articulated
research strategy. The thesis project is begun in semester seven and represents
the culmination of abilities and insights gained during the program.
SEMESTER SEVEN
illustrAting For interActivity
chArActer & concept Art For entertAinment
thesis development
Character concept art by

student Magdalena Marinova
166
Illustration
BFA
SEMESTER EIGHT
building A portFolio
entrepreneuriAl business prActices

For illustrAtors
New York Film Academy Illustration students use current technologies and software, including the now industrystandard graphics tablets to create new images and characters of their own design.
thesis & exhibition
proFessionAl project
167
in 3D ANiMATioN
& ViSUAl eFFeCTS
LOCATION
168
169
BFA
3D Animation & Visual Effects
Avatar
Rango
Toy Story
BioShock
Halo
QUALIFIED STUDENTS HAVE THE OPTION

OF COMPLETING COURSE WORK AT THE NEW YORK
FILM ACADEMY IN NEW YORK CITY IN A ONE-YEAR
NON-DEGREE PROGRAM AND THEN APPLYING THEIR
COURSE WORK TO BE ACCEPTED FOR ADVANCED
STANDING IN THE BFA 3D ANIMATION AND VISUAL
EFFECTS DEGREE PROGRAM.
170
BFA
WHAT YOU WILL LEARN & ACHIEVE
The New York Film Academy is an Autodesk
171
BFA
COUrSE DESCriPTiONS
COUrSE DESCriPTiONS
YEAR ONE OVERVIEW
The following courses

curriculum; their required Liberal Arts and Sciences classes are listed at
the end of the BFA and BA section of the brochure.
SEMESTER ONE
SEMESTER TWO
3d essentiAls
modeling i
drAWing & AnAtomy

drAWing & sculpture
chArActer AnimAtion
sculpture i
172
BFA
YEAR TWO OVERVIEW
SEMESTER FOUR
SEMESTER THREE
lighting & rendering
modeling ii
philosophy in creating both photorealistic lighting for live
This course will introduce students to approaches and
used in practical real lighting and cinematography and then
texturing & look development
compositing
chArActer design
renders, matte paintings, and digital video to create polished
shot by the instructor to teach students how to problem solve

the types of shots typical of a production shoot including
Green Screen Composites, Tracking, Color Theory, and Nuke
scripting in python & mel

Mayas scripting abilities allow the creation of any custom
very powerful class will help even the most non-technical
173
BFA
SEMESTER FIVE
SEMESTER SIX
digitAl environments
mAtchmoving
screenWriting
chArActer setup
mAtte pAinting
174
visuAl eFFects
Well, luckily with animation, fantasy is your friend. - Steven Spielberg
BFA
YEAR THREE OVERVIEW
SEMESTER SEVEN
SEMESTER EIGHT
cinemAtogrAphy
AnimAtion thesis production
proFessionAl development in
AnimAtion
thesis portFolio
storyboArd & AnimAtic
Acting For AnimAtors
AnimAtion directed studies

thesis project development
175
in gAMe DeSigN
LOCATION
176
177
BFA
Game Design
OvErviEW
Central to our game design education is

the New York Film Academys philosophy
of learning by doing; from day one
the software and equipment that they
will be using throughout their program.
The curriculum is designed to teach
aspiring game designers the essential
skills needed to create different styles of
games on a variety of platforms through
a combination of hands-on workshops,
seminars, lectures, and our one-of-a-kind
Game Studio.
Chris swain
Chair of Game design department
An industry leader for over twenty

years, Swain co-founded the
games and products for companies that include
178
Game Design
BFA
WHAT YOU WILL LEARN
SEMESTER ONE AND TWO
SEMESTER THREE AND FOUR
SEMESTER FIVE AND SIX
SEMESTER SEVEN AND EIGHT

THE OPTION OF COMPLETING COURSE WORK AT THE NEW
YORK FILM ACADEMY IN NEW YORK CITY IN A ONE-YEAR
NON-DEGREE PROGRAM AND THEN APPLYING THEIR COURSE
WORK TO BE ACCEPTED FOR ADVANCED STANDING IN THE
BFA GAME DESIGN DEGREE PROGRAM.
Please Note: curriculum and projects are subject to

change and may vary depending on location. Students
should consult the most recently published campus
catalog for the most up to date course information.
179
BFA
Game Design
COURSE DESCRIPTIONS
YEAR ONE OVERVIEW
Students gain a foundation of knowledge that they can use throughout a career in games.
Students work collaboratively to create working software with support from an instructor who
assists them with hands-on coding. They are also exposed to additional facets of games through
courses in Narrative Design, game Coding, and 3D Art. The following courses comprise the
SEMESTER ONE
gAme coding With unity And
c#, i
2d gAme design
Asteroids
Braid
plAycentric design
Super Mario Brothers

Joust Space Invaders
gAme studio i
180
Game Design
SEMESTER TWO
SEMESTER THREE
systems literAcy
mobile gAme design
BFA
Angry
Birds Clash of Clans Doodle Jump
gAme studio ii

level design

Spacewar
Pong
181
BFA
Game Design
YEAR TWO OVERVIEW

design and Agile development, while collaboratively developing original software.
SEMESTER FOUR
SEMESTER FIVE
3d gAme design
multiplAyer gAme design
Battlezone Deus Ex The Sims Grand Theft Auto

V Minecraft
M.U.L.E. Doom Wii Sports,

Madden series World of Warcraft
Call of Duty:
Advanced Warfare
gAme studio iii

gAme studio iv
182
Game Design
SEMESTER SIX
business oF video gAmes
BFA
SEMESTER SIX ELECTIVES

nArrAtive theory
Free to plAy gAme design

3d Art & AnimAtion
League of Legends Hearthstone Star

Wars: The Old Republic Super Crate Box
Clash of Clans
object oriented progrAmming
improvisAtionAl Acting
gAme studio v
- Jane McGonigal
183
BFA
Game Design
YEAR THREE OVERVIEW

Collaborative Thesis Project ii, which includes a game Design Wiki, written story materials,
and polished working software.
SEMESTER SEVEN
SEMESTER SEVEN ELECTIVES
mArketing video gAmes
3d Art & AnimAtion
collAborAtive thesis i
Minecraft
Little Big Planet
Warcraft III
mobile gAme progrAmming
gAme studio vi
184
Game Design
BFA
SEMESTER EIGHT
storyboArding
collAborAtive thesis ii
gAme studio vii
185
in MeDiA STUDieS
Students have the option of completing in three or four years
LOCATION
186
187
BA
Media Studies
OvErviEW
Media Studies Degree is in its

combination of media theory
and media practice. Students
will learn tools to develop and
present essays and academic
professional-caliber emerging
The program is further enhanced

collaboration with industry-leading
emerging media companies.
Students will be prepared to work
hand-in-hand with professionals
in the traditional and emerging
media industries.
188
as
Media Studies
BA
Students in the BA program get to experience shooting on location and on a studio set as depicted here.
WHAT YOU WILL LEARN
189
BA
Media Studies
COUrSE DESCriPTiONS
YEAR ONE OVERVIEW
SEMESTER TWO
introduction to
communicAtion theory
The
following courses comprise the media
section of the brochure.
mArketing, mediA & society
SEMESTER ONE
introduction to mediA studies
nArrAtive essentiAls
SEMESTER THREE
principles oF journAlism
190
Media Studies
BA
YEAR TWO OVERVIEW
SEMESTER FOUR
SEMESTER FIVE
introduction to Web design

& App development
introduction to brAnding &

sociAl mediA
trAnsmediA storytelling & production
The only safe thing is to take a chance. - Mike Nichols
191
BA
Media Studies
SEMESTER SIX
business oF emerging mediA
interActive storytelling
FilmcrAFt & producing
192
Media Studies
BA
YEAR THREE OVERVIEW
SEMESTER EIGHT
emerging mediA & digitAl production ii
thesis prep
SEMESTER SEVEN
emerging mediA & digitAl production i
entrepreneurship & mediA
studies in globAl mediA
193
BFA & BA
liberal Arts & Sciences
his section lists the Liberal Arts and Sciences courses offered for BA in
FOUNDATION STUDIES
public speAking
criticAl thinking
english composition
college mAthemAtics
physicAl & mentAl Wellness
drAWing**
Film Art
194
ARTS & HUMANITIES
Art, culture & society
compArAtive literAture
World religions
drAmAtic literAture
philosophy & ethics
195
BFA & BA
Liberal Arts & Sciences
the greAt plAyWrights
interActive storytelling
studies in globAl mediA
cultures & encounters
plAyWrights & screenWriters
AmericAn culturAl history
September 12
Grand Theft Auto
Populous
BioShock
mythology
europeAn culturAl history
th
196
SOCIAL & BEHAVIORAL SCIENCES
psychology oF perFormAnce
BFA & BA
internAtionAl politics
generAl Anthropology
psychology oF production
sociology
contemporAry psychology
Anthropology oF mediA
introduction to economics
mediA & society
197
BFA & BA
NATURAL SCIENCES
Astronomy
environmentAl biology
principles oF geogrAphy
coding
geology
physics
HISTORY OF ART, THEATRE & MEDIA

Artists need to know the history and traditions of the
of the past, creative trends of the present, and

humAn AnAtomy & physiology
criticAl Film studies
This seminar teaches students to identify the
the crafts of directing, cinematography, acting, and
198

history & Aesthetics oF
photogrAphy i
of master photographers from the birth of
history & Aesthetics oF

photogrAphy ii
This course continues the history of photography
from 1960 onwards, investigating cultural,
historical, and ideological aspects of this eras
BFA & BA
history oF grAphic design

Through lectures, videos, discussions, presentations,
and research, students are introduced to the creative
thinkers, important innovations, and breakthrough
technologies that have shaped the evolution of
history oF documentAry
This course will introduce students to the history
review and analyze the evolution of the documentary
history oF illustrAtion
The course emphasizes the language of visual
culture with a particular focus on the symbols,
history oF AnimAtion
topics in Film studies
Film Studies introduces a number of historical
film movements that provided the framework
for many of cinemas greatest auteurs while
identifying and discussing canonical films
Art history
Students are introduced to the full range of art
history ranging from ancient art to modern and
postmodern artists and artworks and obtain the
tools with which to critically assess historical
history oF theAtre
This course is a concise study of the history
of theater from the Greek and Roman theatre
history oF photogrAphy
This course focuses on the history and aesthetics of

animation, with references to related arts such as live-
history oF sequentiAl Art
students in this survey analyze trends, styles,

An understanding of the history of video games
is essential to the future game designer, not only
because it serves as a common foundation for those
who work in the industry, but only by understanding
the mistakes and successes of the past will future
topics in modern &

contemporAry Art history
This course will focus primarily on art movements of the
conceptual trends and ideas in the history of

history oF design
This course narrates the history of design, from its
roots at the beginning of the 19th century through
199
Associate of Fine Arts

Filmmaking | Acting for Film | Producing for Film & TV | Screenwriting | Game Design
200
- Martin Scorsese
A NYFA student gets hands-on instruction on RED camera.

201
LOCATION
202
Two-Year Degree Program
ASSoCiATe oF FiNe ArTS

in FilMMAkiNg
Students shooting a combat scene on the Universal Studios Backlot.
203
AFA
Filmmaking
OvErviEW
At the Academy, our philosophy is learning by

doing, something students will experience from the
second they step into our fantastic facilities. Whether
potential students are interested in creating feature-
Please Note: curriculum and projects are subject to change and may
vary depending on location. Students should consult the most recently
published campus catalog for the most up to date course information.
204
Filmmaking
AFA

SEMESTER ONE
SEMESTER TWO
QUALIFIED STUDENTS
HAVE THE OPTION OF COMPLETING COURSE WORK AT
THE NEW YORK FILM ACADEMY IN NEW YORK CITY IN A
ONE-YEAR NON-DEGREE PROGRAM AND THEN APPLYING
THEIR COURSE WORK TO BE ACCEPTED FOR ADVANCED
STANDING IN THE AFA FILMMAKING DEGREE PROGRAM.
WHAT YOU WILL LEARN
SEMESTER THREE
SEMESTER FOUR
SEMESTER FIVE
SEMESTER SIX
205
AFA
Filmmaking
COUrSE DESCriPTiONS
COUrSE DESCriPTiONS
YEAR ONE OVERVIEW
SEMESTER ONE
directors crAFt i
cAmerA & lighting i
digitAl editing i
production Workshop
screenWriting i
206
Filmmaking
AFA
Filmmaking
AFA
SEMESTER TWO
directors crAFt ii
digitAl editing ii
cAmerA & lighting ii
screenWriting ii
producing the short Film i
introduction to Film
elements oF FeAture screenWriting
sound design
SEMESTER THREE
mArketing the short Film

visuAl eFFects
207
AFA
Filmmaking
YEAR TWO OVERVIEW
SEMESTER FOUR
directors crAFt iii
cAmerA & lighting iii
FeAture screenplAy i
producing commerciAls & music videos
screenWriting iii
AdvAnced production Workshop
208
Filmmaking
thesis Film directing
Everyone finds it so easy to be

a director - how come I find it
so difficult?
SEMESTER FIVE
AFA
- Louis Malle
thesis Film prep
SEMESTER SIX
thesis Film production ii
screenWriting iv:
short thesis screenWriting
digitAl editing iii
thesis Film post-production
production design
entertAinment industry seminAr
thesis Film production i
FeAture screenplAy ii
209

in ACTiNg For FilM
AFA Acting students prepare to perform a scene in collaboration with Filmmaking students.
210
LOCATION
211
AFA
Acting for Film
OvErviEW
T
212
Students shoot a scene for their Production Workshop class in New York City
with the guidance of their cinematography instructor.
Acting for Film

Through our philosophy of learning by
doing, students start acting in front of the
camera from day one. Students at NYFA
supplement what they learn in class with
continuous practice, gaining substantial
on-set experience in supervised, inclass workshops and through acting in
AFA

ACCEPTED FOR ADVANCED STANDING IN THE
AFA ACTING FOR FILM DEGREE PROGRAM.
WHAT YOU WILL LEARN

SEMESTER ONE
SEMESTER TWO
SEMESTER THREE
SEMESTER FOUR
- William Shakespeare
213
AFA
Acting for Film
COUrSE DESCriPTiONS
COUrSE DESCriPTiONS
YEAR ONE OVERVIEW
In Year One, AFA students undergo a thorough regimen of classwork and film
acting that lays the groundwork for a professional life in the film arts.
SEMESTER ONE
movement i
technique & scene study 1 (plAys)
to engage the body in a full and courageously
with preparatory building blocks, which lay a solid
A focus of this course is to cultivate tools

internal life in an authentic manner on impulse
methods will be taught, including but not limited
to Viewpoints, the Suzuki Method, Dance,
Acting For Film i

This course introduces to the beginning Acting for Film
student the skills necessary for creating a fully realized
FilmcrAFt
Filmcraft provides the Acting for Film student
knowledge of directing, cinematography, writing,

producing, editing, and inhabiting crew positions,
students, which is a full immersion production approach
This seminar teaches students to identify the
voice & speech i

and
discussions,
students
will
grow
to
healthy voice and an awareness of vocal tendencies and

great challenge of telling stories with moving
including and not limited to, Fitzmaurice Voicework,
Knight-Thompson Speechwork, Linklater, Lessac, and
optimal vowel formation, a deeper, more precise and
214
directing (particularly shot construction),

cinematography, acting, and editing developed
Acting for Film
SEMESTER TWO
AFA
Life is a tragedy when seen in closeup, but a comedy in long-shot.
- Charlie Chaplin
movement ii
Acting For Film ii
screenWriters & plAyWrights
voice & speech ii
215
AFA
Acting for Film
YEAR TWO OVERVIEW

Film Project. All Year Two AFA students must complete a series of highly specialized
Portfolio that they may take with them upon graduation.
improvisAtion
SEMESTER THREE
technique & scene study iii
shAkespeAre
voiceover
216
Acting for Film

SEMESTER FOUR
AFA
ELECTIVES
technique & scene study iv
sketch comedy
contemporAry dAnce
Acting For Film iv
stunt Workshop
business oF Acting/
Audition technique
singing For Actors

history oF Acting
entertAinment lAW
217
Students in NYFAs AFA Producing program get hands-on experience during a 35mm
shoot. Working on original scenes, they build their experience to become producers
who really understand the requirements of production.
218

in ProDUCiNg
For FilM & TV
LOCATION
219
AFA
OvErviEW
I
recently published campus catalog for the most
up to date course information.
Students getting hands-on experience on a professional set with the RED camera.
220
AFA
The New York Film Academy provides a

creative setting with which to develop,
challenge and inspire the talents of dedicated
prospective producers in a total immersion,
professional environment. By combining
seminars, lectures, and intense handsunderstanding and appreciation of motion
picture arts and learn to integrate knowledge
and professional experience.

THEN APPLYING THEIR COURSE WORK TO
BE ACCEPTED FOR ADVANCED STANDING IN
THE AFA PRODUCING DEGREE PROGRAM.
WHAT YOU WILL LEARN

Understanding the roles and responsibilities
of the creative producer in film, television and
Learning the role of the line producer during the

SEMESTER ONE
Students develop and present a reality television

Each student will write, prep, shoot and edit his or her
Learning the various creative roles on a production

SEMESTER TWO
Gaining an understanding of finance, marketing
and distribution strategies for film, television and
Learning treatment and screenplay structure in
Gaining a fundamental knowledge of entertainment
SEMESTER THREE
Learning about the industrys past and present

Learning how to conduct yourself in a professional
SEMESTER FOUR
221
AFA
COUrSE DESCriPTiONS
COUrSE DESCriPTiONS
YEAR ONE OVERVIEW
The Year One curriculum is extremely comprehensive, teaching students the
creative aspects of producing, as well as the more technical side of line producing.
Students gain a practical understanding of the entertainment industry and the
tools needed to successfully navigate it.
entertAinment lAW
& business prActices i
SEMESTER ONE
producers crAFt i
directing For producers i

cinemAtogrAphy, lighting & editing

sound For producers
222
SEMESTER TWO
AFA
producers crAFt ii
Writing the FeAture treAtment
pitching, business plAns

& tv shoW bibles
business AFFAirs
short Film production ii

223
AFA
YEAR TWO OVERVIEW

AFA in Producing candidates must complete a series of advanced classes and deliver a
completed and well-executed Thesis Project in order to successfully complete the program
one of two thesis options for the remainder of the degree program. While the thesis options
SEMESTER THREE
224
AFA
SEMESTER FOUR
entertAinment lAW & business prActices ii
and distribution, and using case studies of actual campaigns, this course elaborates on
directing For producers ii
a deeper understanding of cinematography, lighting, and sound needs and how to
225

in SCreeNWriTiNg
A Screenwriting student works with a directing instructor as

she prepares to shoot her original screenplay.
226
LOCATION
227
AFA
Screenwriting
OvErviEW
It is the goal of the AFA in

Screenwriting program to train
students with hands-on instruction
and constant practice to master the
craft of creating a feature-length
screenplay or television script.
QUALIFIED
STUDENTS HAVE THE OPTION OF COMPLETING
COURSE WORK AT THE NEW YORK FILM ACADEMY
IN NEW YORK CITY IN A ONE-YEAR NON-DEGREE
PROGRAM AND THEN APPLYING THEIR COURSE
WORK TO BE ACCEPTED FOR ADVANCED STANDING
IN THE AFA SCREENWRITING DEGREE PROGRAM.
228
Screenwriting
AFA
Screenwriting students work together in class to workshop and critique each others scripts. This very
important in-class feedback forces students to push the boundaries of their own creativity to develop
their best possible work.
WHAT YOU WILL LEARN

SEMESTER ONE
SEMESTER TWO
SEMESTER THREE
SEMESTER FOUR
229
AFA
Screenwriting
COUrSE DESCriPTiONS
COUrSE DESCriPTiONS
YEAR ONE OVERVIEW
writing successful screenplays and are challenged to develop their craft artistically
SEMESTER ONE
Writing the FeAture Film

screenplAy i
genre studies
230
Screenwriting
AFA
SEMESTER TWO
script to screen
story generAtion
231
AFA
Screenwriting
YEAR TWO OVERVIEW

During Year Two, AFA candidates begin working on their Thesis Project, a featurelength screenplay or episodic television series pilot. Coursework in Year Two will
as well as preparing students for a professional life after the AFA.
SEMESTER THREE
232
the business oF screenWriting ii
drAmAtic Writing

Art & society
AdAptAtion Workshop
AdvAnced thesis Workshop i
Screenwriting
intro to trAnsmediA
Write. Rewrite. When not

writing or rewriting, read.
I know of no shortcuts.
SEMESTER FOUR
AFA
- Larry L. King
the Art oF the pitch
AdvAnced Writing seminAr ii: scene study
AdvAnced thesis Workshop ii
233
LOCATION
* Please note, additional lab fee: $1,000 per semester.
234

in gAMe DeSigN
235
AFA
Game Design
OvErviEW
The strength of the NYFA AFA in

Game Design Degree Program
exists in its combination of
storytelling studies, game design
theory, game arts education,
game programming education,
and the hands-on direct
application of each. Based on a
high concentration of narrative
and playable system design
workshops, the program is further
enhanced by concentrating on
the commercial realities of the
medium, and collaboration on a
game designed and deployed by
a team of students who work handin-hand with our senior faculty
recruited from the top companies
in the game industry.
In the Academys Game Design Program, students work with professional,

industry standard software to create their own video games.
236
Game Design
AFA
Chris swain
Chair of
Game design department
An industry leader for over
twenty years, Swain co-
games and products for companies that include

QUALIFIED
STUDENTS HAVE THE OPTION OF COMPLETING
COURSE WORK AT THE NEW YORK FILM ACADEMY
IN NEW YORK CITY IN A ONE-YEAR NON-DEGREE
PROGRAM AND THEN APPLYING THEIR COURSE
WORK TO BE ACCEPTED FOR ADVANCED STANDING
IN THE AFA GAME DESIGN DEGREE PROGRAM.
YEAR ONE
WHAT YOU WILL LEARN
YEAR TWO

237
AFA
Game Design
YEAR ONE OVERVIEW
COUrSE DESCriPTiONS
COUrSE DESCriPTiONS
In Year One, students receive a comprehensive introduction to the subject through courses in the
deconstruction and theory of game design, game writing, game art, and game programming.
Students complete multiple projects in their exploration of the medium during the year.
SEMESTER ONE
2d gAme design
gAme studio i
Super Mario Brothers Asteroids Joust

Space Invaders Braid
plAycentric design
238
SEMESTER TWO
systems literAcy
3d gAme design
gAme studio ii
Battlezone Deus Ex
The Sims Grand Theft Auto V Minecraft
239
AFA
Game Design
YEAR TWO OVERVIEW

In Year Two, students continue to grow as prospective game industry entrants by way
of fully immersive advanced workshops. Each student is challenged to complete a
thesis project that showcases his or her best work. The completed projects also serve
as high quality work samples for prospective employers.
SEMESTER THREE
SEMESTER THREE ELECTIVES
mobile gAme design
storyboArding
Angry Birds Clash of Clans Doodle Jump
3d Art & AnimAtion i

gAme studio iii
object oriented progrAmming

level design

Spacewar
Pong
240
Game Design
AFA
Semester Four Electives

storyboArding
SEMESTER FOUR
collAborAtive thesis
gAme studio iv
thesis production
Workshop
nArrAtive theory
September 12
Grand Theft Auto
Populous
BioShock
241
One & Two-Year
Filmmaking | Acting for Film | Producing for Film & TV | Photography | Cinematography
242
243
LOCATION
NEW YORK CITY;
Tuition per Year: $38,000*
* Please note, additional equipment fee: $4,000 per year.
244
one-Year Conservatory
in FilMMAkiNg
Filmmaking students gain hands-on experience with a RED digital camera.
245
CONSERVATORY
1-Year Filmmaking
OvErviEW
Please Note: curriculum and projects are subject to change and

may vary depending on location. Students should consult the
most recently published campus catalog for the most up to date
course information.
Students learn to operate and shoot with RED HD camera
246
1-Year Filmmaking
WHAT YOU WILL LEARN
CONSERVATORY
COUrSE DESCriPTiONS
directors crAFt i
cinemAtogrAphy i
editing i
production Workshop i
- Stanley Kubrick
247
CONSERVATORY
screenWriting i
1-Year Filmmaking
producing
of pre-production, including scouting and securing
instructor and students design a production schedule
students to form realistic plans to successfully make
how to plan and keep to a schedule and budget for
cinemA studies i
in class as they learn how to take advantage of
cinemAtogrAphy ii
This class immerses students in the technical and
to go beyond simply getting an image and focus on
addition to being trained to operate advanced
individuAl editing i
Special attention is given to the emotional attributes

that can be assigned to an image by changing the
understanding of aesthetic image control as they
sound recording i
sound recording ii
This hands-on course challenges students to interpret
curriculum in a series of sync-sound production
directors crAFt ii
produced (storyboarded, cast, scouted, rehearsed,
editing ii
This course teaches students to edit their sync-
a consistent editing design, dialogue rhythm, and

sense of pacing and continuity that compliments the
248
1-Year Filmmaking
screenWriting ii
CONSERVATORY
individuAl editing ii
cinemA studies ii
production Workshop ii
mise-en-scne
FILM
PROJECTS
249
CONSERVATORY
continuity
1-Year Filmmaking
music & montAge Film
quArter Film
250
1-Year Filmmaking
the chekhoviAn
CONSERVATORY
pov
semester one Film
yeAr one thesis Film
251
Working hands-on in an interior stage set gives students the

freedom to design precise camera moves and lighting
252
Two-Year Conservatory
in FilMMAkiNg
LOCATION
NEW YORK CITY
253
CONSERVATORY
2-Year Filmmaking
OvErviEW
C
Filmmaking students follow an

intensive curriculum and achieve
multiple learning and production
goals. In a combination of handson classroom education and intense
understanding and appreciation of
and learn to integrate knowledge and
professional experience.
254
2-Year Filmmaking
CONSERVATORY
YEAr TWO COUrSES

AdvAnced directing
AdvAnced production Workshop
music video production

cinemA studies
production design
AdvAnced sound design/sound mixing
commerciAl production
AdvAnced editing
AdvAnced screenWriting
AdvAnced producing
255
in ACTiNg For FilM
LOCATION
NEW YORK CITY;
Tuition per Year: $31,500
256
Acting students build a portfolio of work by performing in a series of

on-camera projects during the one-year program.
257
CONSERVATORY
1-Year Acting for Film
OvErviEW
WHAT YOU WILL LEARN
258
One of the things about acting is it

without having to pay the price.
Acting technique
COUrSE DESCriPTiONS
CONSERVATORY
- Robert De Niro
Film crAFt
Acting For Film i
improvisAtion i
meisner 1
intro to Audition technique
voice And movement i

shAkespeAre
speech i
text in Action
259
CONSERVATORY
diAlect trAining (yeAr-round)
perFormAnce AnAlysis i
Students will view and participate in discussion
appreciation and technical understanding of the
to assess and draw key lessons from viewing the
scene study i
Students learn to develop the arc of a scenes,
and develop awareness of the evolution of scenes
from moment to moment, including the ability to
incorporate the various disciplines covered
throughout the course into their work for a live
Acting For Film ii

Students apply training learned in Acting for Film
improvisAtion ii
meisner ii
Students learn to apply moment-to-moment
work to characters outside of their own
combAt For Film

culminates in a public demonstration of Meisner
voice And movement ii

Students focus on utilizing the physical and
demanding physical work designed to heighten
260
CONSERVATORY
perFormAnce AnAlysis ii
the business oF Acting
Acting For tv
Acting students work on scenes that are shot in class to develop on camera skills throughout the program.
261
in ACTiNg For FilM
262
LOCATION
263
WHAT YOU WILL LEARN

Students enrolled in the Two-Year Acting for Film
will demonstrate the following knowledge base
and skill set:
Development of an original script based on a
OvErviEW
Character creation from both a physical and

Advanced combat, movement and dialect
Alternative performance styles including
Edited scenes from full-day camera shoots

that replicate a professional television
Create multiple characters and personas,

including a clown presentation to a live
Develop a personalized dialect with
264
CONSERVATORY
One-Year Conservatory Acting for Film

Program and the second year is comprised
of the following classes.
SECOND YEAr
COUrSE DESCriPTiONS
AdvAnced Acting technique i
stAge to screen i
chArActer study
Acting For the cAmerA i
physicAl chArActerizAtion
265
CONSERVATORY
physicAl theAtre
AdvAnced voice
AdvAnced Acting technique ii
stAge to screen ii
AdvAnced movement
Acting For the cAmerA ii
266
AdvAnced speech And diAlect
AdvAnced combAt
theAtre dAnce
voiceover
mAsk
AdvAnced Audition technique
cloWn
267
in ProDUCiNg
For FilM & TV
Producing students produce their own work and may

collaborate with Filmmaking students on thesis projects.
268
LOCATION
NEW YORK CITY;
269
CONSERVATORY
1-Year Producing for Film & TV
OvErviEW
I
students in the professional realities of the
producers for a successful career.
WHAT YOU WILL LEARN

published campus catalog for the most up to
date course information.
270
CONSERVATORY
COUrSE DESCriPTiONS
project development prActicum
producers crAFt
cinemA studies
editing
editing lAb
271
CONSERVATORY
hAnds-on cAmerA
speciAl lecture
producing music videos & commerciAls

directing Actors
screenWriting For producers
reAlity television development
Writing
272

pitching lAb
Under the supervision of the instructor, students
CONSERVATORY
production Workshop
image construction and composition, and working with

collAborAtion lAb
Under the supervision of the instructor, each
Film AnAlysis For producers

The best producers are creative entrepreneurs who take
collaboration with select screenwriting students;

create scene breakdowns and shooting plans;
to learn the most important aspects of successful
locations; work on crew in key capacities of

Director, Cinematographer, Assistant Camera
producing For non-proFits
273
in PhoTogrAPhY
LOCATION
NEW YORK CITY;
* Please note, additional equipment + lab fee: $2,000 per year.
These expenses vary depending on the scale of the projects.
274
Photography students have access to an extraordinary array of professional equipment

during the program, including this Hasselblad medium format digital camera.
275
CONSERVATORY
1-Year Photography
A state-of-the-art CANON or NIKON HDSLR camera, your preference,

that allows you to shoot stills and HD video. YOURS TO KEEP
is included in your FULL ENROLLMENT tuition fee for the One-Year
Photography program.
The strength of the NYFA One-Year Conservatory
documentary photography, commercial photography,
276
1-Year Photography
CONSERVATORY
COUrSE DESCriPTiONS
photo i
imAging i
vision & style i
At the New York Film Academy we tell our students that it is

no longer a question of how to photograph, it is a question of
what to photograph.
- Ralph Gibson
Ralph Gibson studied photography while in the US Navy and later at the
commands attention, as does his teaching and he has lectured and led
277
CONSERVATORY
WAys oF seeing i
1-Year Photography
plAy As Work
photo ii
shooting lAb
Left: Photo by Nipun Nayyar taken during NYFA photo expedition

to the Dominican Republic.
Above: Photo by Louise Wateridge taken during the photography
expedition her NYFA class took to the Dominican Republic.
278
1-Year Photography
CONSERVATORY
New York Film Academy Photography students have the option

to join a special one-week photography expedition to an exciting
locale. On a recent trip to the Dominican Republic, students
captured images of the landscapes, people, and colors of the
coastal town Las Terrenas.
The photography expedition is planned and supervised by NYFA
transportation, accommodation, and food. The trip is scheduled
optional experience, students are not required to participate.
imAging ii
vision & style ii
WAys oF seeing ii
Applied photogrAphy i
production lAb
279
A photography student takes a photo on location

during her one-week photography expedition.
280
in PhoTogrAPhY
LOCATION
First year tuition: $38,000*
Second year tuition: $32,000*
* Please note, additional equipment + lab fee: $2,000 per year.
281
CONSERVATORY
2-Year Photography
fee for the MFA Photography program.
Two-Year Photography students have the option to join a special one-week photography
Please note, participants pay for the costs of their transportation, accommodation,
and food. The trip is scheduled during a school vacation or semester break. It is
Please Note: curriculum and projects are subject to change and may vary
depending on location. Students should consult the most recently published
campus catalog for the most up to date course information.
282
2-Year Photography
COUrSE DESCriPTiONS
CONSERVATORY
WAys oF seeing iii
The first year follows the curriculum of the

One-Year Conservatory Photography Program
and the second year is comprised of the
following classes.
moving imAge i
Film photogrAphy
imAging iii
Applied photogrAphy ii
283
2-Year Photography
At NYFA we teach that a good photograph shows us

something we could not see any other way.
- Ralph Gibson
CONSERVATORY
personAl vision i
Ralph Gibson, Chair of

Contemporary Photography at NYFA,
demonstrates his extraordinary
photographic approach to students.
imAging iv
284
When I have a camera in my hand, I know no fear. - Alfred Eisenstaedt
2-Year Photography
WAys oF seeing iv
CONSERVATORY
Applied photogrAphy iii
selF-promotion
personAl vision iii
285
in CiNeMATogrAPhY
Cinematography students work with a wide array of

camera systems, dollies and accessories.
286
LOCATION
NEW YORK CITY;
287
WHAT YOU WILL LEARN
WHAT YOU WILL LEARN
288
1-Year Cinematography CONSERVATORY

grip & electric
COUrSE
DESCriPTiONS
cinemAtogrAphers crAFt
Cinematographers Craft is comprised of lectures
covering technical, aesthetic, and storytelling
Field trips and guest lectures occur throughout the
Shot
composition,
light,
lenses,
camera
and other elements that are central to the
cAmerA
on class that all cameras to be used during the
operation, camera assistant workshops, prepping
production Workshop
construction is easy to access, and it forces a
After the introduction to the foundations of moving

image photography, the class progresses to 16mm
and responsibilities are practiced and support
289
CONSERVATORY
1-Year Cinematography
trends & groundbreAkers
screen projects
290
1-Year Cinematography
still photogrAphy Workshop
CONSERVATORY
Film crAFt
cinemAtogrAphy production lAb
291
in SCreeNWriTiNg
Screenwriting
292
LOCATION
NEW YORK CITY;
293
CONSERVATORY
1-Year Screenwriting
OvErviEW
WHAT YOU WILL LEARN
offers a comprehensive look at the art of
as well as courses in film studies and
screenplay analysis.

294
CONSERVATORY
COUrSE DESCriPTiONS
FeAture Writing Workshop i & ii
Acting For Writers i & ii
cinemA studies i: genre studies

elements oF drAmAtic nArrAtive i & ii
295
CONSERVATORY
cinemA studies ii: AdAptAtion

screenplAy revision
mAstering the pitch
screenplAy AnAlysis i
television Writing Workshop i
screenplAy AnAlysis ii:

AlternAtive structures
television Writing ii:

originAl tv development
296
business oF screenWriting i:
tools oF the trAde
CONSERVATORY
digitAl cAmerA & lighting
directing For Writers
business oF screenWriting ii
editing For Writers
supervised screenWriting skill lAb
297
in DoCUMeNTArY
10 BEST
Documentary
Programs
Independent
Magazine
Documentary students shoot all around the world, either on location for their own
productions or during the yearly class expedition. Pictured here, graduate Gary Bencheghib
shooting with the Canon 5D in Bali.
298
LOCATION
NEW YORK CITY;
299
CONSERVATORY
1-Year Documentary
Students have the option to join a special one-week documentary exploration

of an exciting locale*
Students have the option to join a special
WHAT YOU WILL LEARN
snorkeling the Mesoamerican Reef with
optional experience, students are not required to participate.
300
1-Year Documentary
FILM
PROJECTS
CONSERVATORY
sociAl issue Film
observAtion Film
trAnsmediA
documentAry or unscripted
television series pitch
chArActer Film
thesis Film:
independent documentAry
301
CONSERVATORY
1-Year Documentary
COUrSE DESCriPTiONS
documentAry crAFt i & ii
Film dynAmics
Graduate, Xiaxiao Chen, shoots back home on Tiananmen Square in Beijing.

302
1-Year Documentary
cAmerA & lighting i & ii
CONSERVATORY
editing i & ii
documentAry producing i & ii

Writing For the documentAry i & ii
303
CONSERVATORY
1-Year Documentary
documentAry cinemA studies i & ii
Documentary students master the 5D in Union Square, New York City with the
assistance of instructor Arsenio Assin.
documentAry production
Workshop i & ii
304
business oF documentAry FilmmAking
1-Year Documentary
CONSERVATORY
Jaguaribara, Brazil. As his familys village reemerges from the lake that
swallowed it 12 years ago, NYFA documentary thesis student Lucas Dantes
returns to Brazil to search for the childhood home he lost.
unscripted television
Through this course, students gain a deeper knowledge of unscripted television
Students learn how to develop an idea for an unscripted television show, and
documentAry thesis
development, and planning, each student develops, produces, and directs a
story into a cohesive narrative as they hone their skills producing, shooting, and
305
in
JoUrNAliSM
Students in the 1-year Broadcast Journalism Program in the studio shooting
a segment for the New York Film Academy news broadcast.
306
LOCATION
NEW YORK CITY
307
CONSERVATORY
1-Year Broadcast Journalism
camera
[ It has often been said: The pen is mightier than the sword. ]
^
OvErviEW
T
WHAT YOU WILL LEARN
308
CONSERVATORY
REAL WORLD TRAINING
Today Show
CBS Evening News
Dateline NBC
Students in the 1-year Broadcast Journalism Program get to work on location, in front of the camera,
and behind the scenes in the New York Film Academy control room, as shown here.
AT NYFA, STUDENTS LEARN SEVEN KEY SKILLS:

1. reporting skills
fundamental building block of all news and magazineEmmy Award winning instructors, student teams
2. cAmerA skills
camcorders and DSLR cameras, they learn shot
the knowledge necessary to create powerful visual
interviewing, as well as the ability to create engaging,
309
CONSERVATORY
3. editing skills
4. on-cAmerA skills
5. Audio skills
7. cAreer building skills
6. producing skills
310
CONSERVATORY
COUrSE DESCriPTiONS
broAdcAst journAlism
hAnds-on cAmerA
311
CONSERVATORY
hAnds-on Audio
personAl journAlism
production Workshop
the business oF mediA production
production meetings
hAnds-on editing
sound design
312
CONSERVATORY
guest lectures
Writing For broAdcAst And mediA production
AdvAnced digitAl journAlism
AdvAnced hAnds-on cAmerA
313
in 3D ANiMATioN
& ViSUAl eFFeCTS
Students in the 1-year Animation Program working on complex, industry-standard animation software.
314
LOCATION
NEW YORK CITY;
* Please note, additional lab fee: $2,000 per year.
315
CONSERVATORY
1-Year 3D Animation & Visual Effects
Animation offers a medium of story telling

and visual entertainment which can bring
pleasure and information to people of all

ages everywhere in the world.
- Walt Disney
OvErviEW
T
Please Note: curriculum and projects are subject to change and may vary depending on
location. Students should consult the most recently published campus catalog for the
316
CONSERVATORY
WHAT YOU WILL LEARN & ACHIEVE

completing the program:
Modeling:
Compositing:
Animation:
image compositing, masks and mattes,

tracking and stabilization, color correction,
Rigging: Creating skeletons, attaching them to

a characters geometry and creating animation-
Dynamics:
Materials, Textures and Lighting: Creating believable

materials for all aspects of a scene, making and
MEL and Python Scripting.

Drawing and Anatomy.
One-Year Students will graduate with a 1
to 2 minute Demo Reel
COUrSE DESCriPTiONS
modeling i
grAphics essentiAls
story essentiAls
lighting And shAding i
rigging
317
CONSERVATORY
AnimAtion
drAWing & AnAtomy
lighting & shAding ii
scripting
compositing i
318

dynAmics
CONSERVATORY
motion cApture
Students have the option of using motion capture data
the mo-cap information for animating characters in
project supervision ii
modeling ii
This course focuses on both organic and
sculpture
reintegrate high polygon models into low
a variety of clays geared toward character-based
polygon environments for animation and

rendering using cutting edge methods of
armature construction, neutral and dynamic posing,
retopolization, and employing the discipline
project supervision i
students to work one-on-one or in small
individualized attention will assist students

to create a high level of work for inclusion
in their reels that will be used to help gain
compositing ii
This course is a continuation of
knowledge accrued during the
The New York Film Academy is an Autodesk
319
in gAMe DeSigN
320
LOCATION
NEW YORK CITY;
321
CONSERVATORY
1-Year Game Design
OvErviEW
an a student develop the skills

necessary to compete in the
game design job market in
one year? At NYFAs One-Year Game
Design Program, the answer is most
Chris swain
Chair of
Game design department
An industry leader for over twenty
years, Swain co-founded the
led over twenty award-winning games and products
for companies that include Microsoft, Disney, Sony,
in-demand speaker and writer on the game industry
LEARNING OBJECTIVES

322
1-Year Game Design
CONSERVATORY
COUrSE DESCriPTiONS
nArrAtive design Workshop i
Poetics
Arcadia
nArrAtive design Workshop ii
gAme design Workshop i
Dungeons and Dragons
CONSERVATORY
1-Year Game Design
gAme design Workshop ii
gAme AnAlysis: industry
3d Art & AnimAtion
gAme studio: producing
324
1-Year Game Design
CONSERVATORY
gAme studio: Agile development

gAme coding With unity
And c#, ii
Art direction For gAme designers
325
in grAPhiC DeSigN
Students in the 1-year Program get a comprehensive education in the foundation elements of Graphic Design.
326
LOCATION
NEW YORK CITY;
327
CONSERVATORY
1-Year Graphic Design
OvErviEW
Keith GOdard
Creative director
department of Graphic design
MFA Yale School of Arts and
An award-winning industry trailblazer in graphic

design for over four decades, Godard is regarded
University of Virginia, Fortune Magazine Business

Week
imagination with a broad range of new media, print,
LEARNING OBJECTIVES
328
1-Year Graphic Design
CONSERVATORY
COUrSE DESCriPTiONS
grAphic design
(type, imAge, lAyout FundAmentAls)
elements oF design
(design principles)
communicAtion design
interActive design
pre-press & print production

type (type FundAmentAls)
drAWing & imAging

(introduction to imAge-mAking)
portFolio production &

business prActices
design studio
history oF grAphic design
329
in illUSTrATioN
Students in the Academys Illustration Program are encouraged to understand and use the
traditional elements of the craft, as well as the cutting edge tools and modern technologies.
330
LOCATION
331
CONSERVATORY
1-Year Illustration
OvErviEW
LEARNING OBJECTIVES

on location. Students should consult the
most recently published campus catalog for
the most up to date course information.
332
1-Year Illustration
COUrSE DESCriPTiONS
CONSERVATORY
digitAl illustrAtion survey
drAWing: Form, spAce & perspective

As a fundamental means of articulating visual ideas,
Through direct observation, students in this class will
space, with a particular emphasis on perspective as a
means of organizing space, establishing point-of-view,
of light, depth, surface, volume, and other perceptual
text to imAge
introduction to illustrAtion:
visuAl thinking
This representational painting course introduces
students to the versatile medium of oil painting and
AnAtomicAl Figure drAWing

their fundamental knowledge of color, the elements
and principles of design, and basic understanding
of perspective in pictorial space toward compelling
illustrAtion in context:
Audience & ApplicAtion
intended recipient of visual communication, with

demographics in mind) and application (the purpose
of illustration within professional categories such as
Enhancing
student
sensitivity
to
audience
and
entrepreneuriAl business
For illustrAtors
prActices
mAteriAls & techniques For illustrAtors
of the physical properties of mark-making tools,

substrates, and the physical construction of images
of materials, tools, and processes common to imagemaking, which may include acrylics, gouache, casein,
watercolor, markers, crayons, colored pencil, pastel,
333
CONSERVATORY
1-Year Illustration
ELECTIVES
technicAl Workshop:
mixed mediA, collAge & AssemblAge
technicAl Workshop: 3d illustrAtion
introduction to typogrAphy
the illustrAtor in society
visuAlizing the sciences
334
1-Year Illustration
CONSERVATORY
series illustrAtion
sketchbooks & visuAl journAlism
pictoriAl personAe:
modes oF chArActerizAtion
hybrid imAging: science Fiction & FAntAsy

illustrAtion
335
in MUSiCAl TheATre
Students in the 1-year Musical Theatre Program performing in Spring Awakening, a New York Film Academy
Main Stage production, one of the many performance opportunities for Musical Theatre students.
336
LOCATION
337
CONSERVATORY
1-Year Musical Theatre
Theres a kid in the middle of

nowhere whos sitting there living for Tony
with the Pippins, and Wickeds, and kinkys,

Matildas, and Mormons. So we might
reassure that kid, and do something to spur
that kid, cause i promise you, all of us up
here tonight, we were that kid.
OvErviEW
- Neil Patrick Harris hosting the Tony Awards.
Students enrolling in the musical

theatre program work directly with
instructors who have starred in numerous
receive real world training on how to

educational experience few other musical
theatre programs can offer.
WHAT YOU WILL LEARN

338
COUrSE DESCriPTiONS
CONSERVATORY
bAllet i
meisner i
jAzz & theAtre dAnce i
voice studio lAb

perFormAnce lAb i
voice And speech
history oF musicAl theAtre
Showboat
as Wicked
Photo by Mayo Lantigua
339
CONSERVATORY
song interpretAtion
pop rock
comedy
shoWcAse prActicum i
perFormAnce lAb ii
music theory
340

scene study
CONSERVATORY
meisner ii
shoWcAse prActicum ii
improvisAtion i
musicAl theAtre scene study
stAge And Film combAt

proFessionAl prepArAtion
voice And speech ii
bAllet ii
jAzz & theAtre dAnce ii
Audition technique
tAp i
bAllroom
production design And crAFt
341
New York Film Academy student

performing a solo in Chess, another recent
Film Academy Main Stage production.
342
in MUSiCAl TheATre
AND FilM
LOCATION
343
CONSERVATORY
2-Year Musical Theatre & Film
OvErviEW
344
CONSERVATORY
WHAT YOU WILL LEARN
GRADUATION PACKAGE
Shakespeare
Musicals on Film
Tap Dance
Character Study
All students completing the

second year will leave with a
professionally produced voice
over demo and two of their best
songs professionally shot and
ready to be used for
video submissions
Movement
Acting for Film
Students who successfully complete the Second Year curriculum will have made advanced
mastery of Television, Film, and Voice Over acting.
pop rock ii
perFormAnce lAb iii
voice And speech iii
meisner iii
bAllet iii
345
CONSERVATORY
jAzz & theAtre dAnce iii

This course provides an advanced level of Jazz dance
movie musicAl project i

This course initiates the process of creating an
concentrate on the study of the form and content
generated from group discussion, students and the
tAp ii
a professional studio to learn now to lay down
of tap dance focused on applying the fundamental
artistic team is assembled, including a professional

composer, and the practical considerations of a
modern dAnce i
This is a beginning to intermediate level course of modern
AdvAnced Acting For musicAls

This class is designed to apply all previous
acting training to the scenes, monologues, and
students are invited to open more fully to their

authentic gifts using material well suited to their
movement
This class incorporates a variety of movement disciplines
physical awareness those forms encourage and prepares
students to launch into the physical demands of comic
invention, comic characterization, and the numerous
proFessionAl prepArAtion
(the business oF Acting)
The class will concentrate on the most up to
date business practices and provide practical
Acting For Film i
on-cAmerA Audition techniques
performances based upon shot size and angle, hitting

marks, emotional and physical continuity, and strength
essentials of a good audition and focus on the set of
in collaboration with their instructors, develop original
oriented choices and to develop strong listening skills
knowledge of the duties of everyone on a professional
AdvAnced musicAl theAtre Audition

technique
This performance workshop provides students with
Acting For television

Students learn the basics of television acting, calibrating
professional musical theatre audition settings at the

arrangements, and a complete discussion of the
Students will study acting for commercials, situation

comedies, and series dramas, learning about camera
346
course often includes industry guests for structured

movie musicAl project ii
CONSERVATORY
jAzz & theAtre dAnce iv
cast completely in house, the Film Academys
create, and complete an original movie musical

by the Department Chair and faculty, and will
be produced in tandem with other classmates,
hip hop dAnce

Musical theatre has increasingly incorporated the
dance style and movement vocabulary of hip hop, using
breaking, pop and locking, and numerous free style
and dance derivatives evolved from the specialties of
Acting For Film ii

Students learn more advanced levels of
foundational moves and specialty work that provides
including calibrating performances based

upon shot size and angle, hitting marks,
emotional and physical continuity, and
tAp iii
addition, students learn to perform a number

of film crew positions in order to broaden their
knowledge of the duties on a professional
the directors perspective

vision and way of working, there are a number
directors from the world of musicals all have
to date rehearsal procedures and provides all
the pertinent information a performer needs to
comfortably interact and collaborate with a wide
bAllet iv
Students will be guided beyond the intermediate
level of ballet training toward more advanced
mastery of the fundamentals and more advanced
347
348
Hands-on Intensive
Short-term Workshops
Filmmaking | Acting for Film | Photography | Producing
Screenwriting | Documentary | Broadcast Journalism
349
hANDS-oN
FILMMAKING WORKSHOPS
8, 6, 4, 3, 1-Week & 12, 6-Week Evening
Short-term Intensive Workshops
T
Walt Disney World
350
Filmmaking
WORKSHOPS
TOTAL IMMERSION CLASSES

The following classes are designed to be of immediate and practical use in an integrated
directors crAFt
sound recording
screenWriting
creWs
cinemAtogrAphy
production Workshop
Assignments
editing
351
WORKSHOPS
Filmmaking
FILM
PROJECTS
mise-en-scne
continuity
352
music & imAge
Filmmaking
WORKSHOPS
FinAl Film
text & subtext
We strongly recommend that students come to

These ideas will be developed and honed in
writing class.
353
WORKSHOPS
Filmmaking
8-Week FILMMAKING WORKSHOP
courses
Film projects
LOCATION
NEW YORK CITY;
ABU DHABI, UAE;
FLORENCE, ITALY
Tuition: $5,300*
* Please note, additional equipment fee: $1,000.
Students may also incur additional expenses on
their own productions. These expenses will vary
depending on the scale of the projects.
Locations, tuition, and other fees are subject to
change. For start dates, please visit www.nyfa.edu

and may vary depending on location. Students should
consult the most recently published campus catalog for the
354
Filmmaking
WORKSHOPS
courses
Film projects
LOCATION
NEW YORK CITY;
HARVARD UNIVERSITY;
FLORENCE, ITALY;
PARIS, FRANCE
Tuition: $4,200*

course information.
* Please note, additional equipment fee: $750

355
WORKSHOPS
Filmmaking
4 & 3-Week
FILMMAKING WORKSHOPS
courses
Directors Craft
Editing
Crews
Assignments
Film projects
Continuity
LOCATION
4-WEEK WORKSHOPS
NEW YORK CITY;
HARVARD UNIVERSITY;
ABU DHABI, UAE;
FLORENCE, ITALY;
PARIS, FRANCE;
BARCELONA, SPAIN
Tuition: $3,300*
3-WEEK WORKSHOPS
WALT DISNEY WoRLD RESORT, FL;
HARVARD UNIVERSITY;
KYOTO, JAPAN;
PARIS, FRANCE
Tuition: $2,750*
* Please note, additional equipment fee
$500 for 4-Week Workshop,
$375 for 3-Week Workshop.
Students may also incur additional
expenses on their own productions.
These expenses will vary depending on
the scale of the projects.
Please Note: curriculum and projects are subject to change and may vary
depending on location. Students should consult the most recently published
campus catalog for the most up to date course information.
356
Locations, tuition, and other fees are

subject to change. For start dates,
please visit www.nyfa.edu
Filmmaking
WORKSHOPS
4-Week
MUSIC VIDEO WORKSHOP
courses
Rolling Stone Magazine
LOCATION
NEW YORK CITY;
Tuition: $3,300*
* Please note, additional equipment fee: $500.

most recently published campus catalog
for the most up to date course information.
357
T
overvieW
courses
LOCATION
NEW YORK CITY;
HARVARD UNIVERSITY;
FLORENCE, ITALY;
PARIS, FRANCE;
KYOTO, JAPAN;
MOSCOW, RUSSIA;
AMSTERDAM, NETHERLANDS
Tuition: $1,500*

recently published campus catalog for the
358
Filmmaking
WORKSHOPS
12-week evening FILMMAKING WORKSHOP
LOCATION
12-WEEK EVENING WORKSHOPS
NEW YORK CITY;
Tuition: $3,300*
* Please note, additional equipment fee $500 for
12-Week Evening Workshop. Students may also incur
additional expenses on their own productions. These
expenses will vary depending on the scale of the projects.
6-WEEK EVENING WORKSHOP

ABU DHABI, UAE
Tuition: $1,900
overvieW

359
Special holiday
FILMMAKING WORKSHOP
LOCATION
NEW YORK CITY;
Tuition: $2,200*
* Please note, additional equipment fee:
$500. Students may also incur additional
expenses on their own productions.
These expenses will vary depending on
the scale of the projects.
subject to change. For start dates, please
visit www.nyfa.edu
overvieW
courses

depending on location. Students
should consult the most recently
published campus catalog for the
360
New York Film Academy & RED Digital Cinema Present
- REDUCATION: RED DRAGON 6K TRAINING -
LOCATION
3-DAY WORKSHOPS
ABU DHABI, UAE;
BEIJING, CHINA;
SYDNEY AUSTRALIA;
FLORENCE, ITALY
Tuition: $1,500
2-DAY WORKSHOPS
MUMBAI, INDIA
Tuition: $1,000

depending on location. Students should
consult the most recently published
campus catalog for the most up to date
course information.
361
hANDS-oN
ACTING FOR FILM WORKSHOPS
8,4, 1-Week & 12-Week Evening Short-term Intensive Workshops
o matter how beautiful the cinematography is or impressive the special effects
screen. On set, dozens of crew members whirl about, twelve kilowatt lights
bore into the eyes, focus tape is pulled to the actors cheek, and the actor is still
expected to give a believable and moving performance time and time again.
FormAt
362
A day without laughter is a day wasted. - Charlie Chaplin
Acting for Film
WORKSHOPS
8-Week ACTING FOR FILM WORKSHOP
he Eight-Week Acting for Film Workshop allows students interested in a

short-term course to go beyond the basics by actively honing their skills
as an actor in front of the camera.
overvieW
LOCATION
NEW YORK CITY;
FLORENCE, ITALY;
ABU DHABI, UAE

Tuition: $5,500
363
WORKSHOPS
Acting for Film
courses
LOCATION
overvieW
NEW YORK CITY;

HARVARD UNIVERSITY;
ABU DHABI, UAE;
FLORENCE, ITALY;
PARIS, FRANCE;
BARCELONA, SPAIN
Tuition: $3,800

364
Acting for Film
WORKSHOPS
T
overvieW
LOCATION

course information.
NEW YORK CITY;

HARVARD UNIVERSITY;
FLORENCE, ITALY;
PARIS; FRANCE;
MOSCOW, RUSSIA;
Tuition: $1,100
365
12-Week evening
ACTING FOR FILM
WORKSHOP
overvieW
courses
LOCATION
NEW YORK CITY; LOS ANGELES, CALIFORNIA;
Tuition: $3,300
366
Acting for Film
Special holiday
ACTING FOR FILM WORKSHOP
WORKSHOPS
courses
overvieW
LOCATION
NEW YORK CITY;
Tuition: $2,200
Locations, tuition, and other fees
are subject to change. For start
dates, please visit www.nyfa.edu

367
WORKSHOPS
Musical Theatre
4-Week hANDS-oN iNTeNSiVe
MUSICAL THEATRE WorkShoP
environment where students of musical theatre
courses
overvieW
designed for individuals with singing and movement abilities
To help students to develop the necessary skills to achieve
LOCATION
NEW YORK CITY
Tuition: $3,850
interested in enrolling in our One- or Two-Year Musical

Theatre program, but who are unsure about making a year-
Upon completion of the four-week workshop, students

will perform musical theatre pieces that demonstrate an
368

course information.
hANDS-oN
PHOTOGRAPHY WORKSHOPS
8,4-Week & 12-Week Evening Short-term Intensive Workshops
8-Week PHOTOGRAPHY WORKSHOP
OVERVIEW
No prior experience is required to enroll in the

Eight-Week Photography Workshop.
LOCATION
NEW YORK CITY; LOS ANGELES, CALIFORNIA

course information.
Tuition: $5,800*
* Please note, additional equipment + lab fee: $500. Students
may also incur additional expenses on their own productions.
369
WORKSHOPS
Photography
4-Week PHOTOGRAPHY WORKSHOP
OVERVIEW
Luigi Bo
naventura
Connie Gro
ssman
An
drew
Linga
LOCATION
NEW YORK CITY; LOS ANGELES, CALIFORNIA;
HARVARD UNIVERSITY
Tuition: $3,600*
370
Photography
WORKSHOPS
12-Week evening PHOTOGRAPHY WORKSHOP
Rahool Rajapuri
Aric Coppola
OVERVIEW
LOCATION
NEW YORK CITY;

course information.
Tuition: $3,600*
371
4-Week & 12-Week eVeNiNg hANDS-oN iNTeNSiVe
PRODUCING FOR FILM & TV WorkShoPS
courses
overvieW
LOCATION
NEW YORK CITY;
Tuition:
$3,800 (4-Week Workshop)
$3,850 (12-Week Evening Workshop)
372
Documentary
WORKSHOPS
6-Week hANDS-oN iNTeNSiVe
DOCUMENTARY WorkShoP
courses
overvieW
LOCATION
NEW YORK CITY;

and may vary depending on location. Students should consult
the most recently published campus catalog for the most up
to date course information.
Tuition: $3,950*
Students may also incur additional expenses on their
own productions. These expenses will vary depending
on the scale of the projects.
373
hANDS-oN
SCREENWRITING WORKSHOPS
8-Week & 12-Week Evening Short-term Intensive Workshops
374
overvieW
Screenwriting
WORKSHOPS
LOCATION
NEW YORK CITY;
Tuition:
$3,300 (8-Week Workshop)
$2,800 (12-Week Evening Workshop)

and may vary depending on location. Students should
consult the most recently published campus catalog for
375
WORKSHOPS
Online Screenwriting
ONliNE FEATUrE SCrEENWriTiNg
D
overvieW
rigorous curriculum
LOCATION
376
ONLINE
Tuition: $4,500
Online Screenwriting
WORKSHOPS
WriTiNg ThE OrigiNAl Tv PilOT & SEriES

Do you have a great idea for a television show?
LOCATION
ONLINE
Tuition: $1,750
Locations, tuition and other fees are
377
hANDS-oN
3D ANIMATION WORKSHOPS
4 & 3-Week Short-term Intensive Workshops
T
overvieW
378
3D Animation
Students
- Walt Disney
that
enroll
in
either
of
Its kind of fun to do the impossible.
WORKSHOPS
the
Rigging Models
Key Framing for Animation
Lighting
Rendering
LOCATION
4-WEEK WORKSHOPS
NEW YORK CITY;
HARVARD UNIVERSITY
Tuition: $4,000
3-WEEK WORKSHOP
HARVARD UNIVERSITY
Tuition: $3,000
379
WORKSHOPS
Game Coding
GAME
CODING
WORKSHOP
12-Week Hands-on
Intensive Workshop
This program provides the dedicated student with

the hard coding skills needed to kick-start a career
in the game industry.
overvieW
the 12 Weeks
WEEK 1
WEEK 2
WEEK 3
WEEK 4
WEEK 5
WEEK 6
WEEK 7
hoW it Works
WEEK 8
WEEK 9
WEEK 10
WEEK 11
WEEK 12
the technologies
LOCATION
NEW YORK CITY;
Tuition: $8,750*
* Please note, additional lab fee: $750.
Successful graduates of will leave the intensive 12 Week

Game Coding Workshop with marketable skills. Ultimately it
is up to the individual to secure employment in what is also a
demanding and competitive field.
380

most recently published campus catalog for
DIGITAL EDITING WORKSHOPS

4-Week & 12-Week Evening Short-term Intensive Workshops
overvieW
of critics - the whole eloquence of cinema is
- Orson Welles
courses
LOCATION
NEW YORK CITY; LOS ANGELES, CALIFORNIA
Tuition: $3,650
The Academy is an Avid Learning Partner, a distinction

that only 45 institutions in the country currently hold.
the end of the course.

course information.
381
hANDS-oN
BROADCAST JOURNALISM WORKSHOPS
8, 4-Week & 12-Week Evening Short-term Intensive Workshops
overvieW
382
Broadcast Journalism
WORKSHOPS
8, 4-Week & 12-Week evening

BROADCAST JOURNALISM WORKSHOPS
overvieW
projects
VO:
VOSOT WITH STAND-UP:
THE INTERVIEW:
VOSOT:
THE NEWS PACKAGE:
LOCATION
NEW YORK CITY
course information.
Tuitions: $5,800 (8-Week Workshop)*

$3,550 (4-Week Workshop)*
$3,550 (12-Week Evening Workshop)*
* Please note, additional equipment fee: $500 for 8-Week Workshop;
$250 for 4-Week Workshop and 12-Week Evening Workshop.
383
WORKSHOPS
ESL
NEW YORK FILM ACADEMY ESL PROGRAM

LEARN ENGLISH AT THE NEW YORK FILM ACADEMY
mission stAtement
ApprovAls And AFFiliAtions
The Century School of Languages is a private institution approved

to operate by the California Bureau for Private Postsecondary
Education. Approval to operate means the institution is compliant
with the minimum standards contained in the California Private
Postsecondary Education Act of 2009 (as amended) and Division
7.5 of Title 5 of the California Code of Regulations.
384
ESL
INTENSIVE ENGLISH PROGRAM
WORKSHOPS
progrAm overvieW
levels
Level 1: Beginner
Level 2: Advanced Beginner
our locAtions
Los Angeles, California
Level 3: Lower Intermediate
Level 4: Intermediate
New York City, New York
Level 5: Advanced
South Beach, Florida
Level 6: High Advanced (Pre-College)
San Jose, California
TOEFL Preparation Class
please write to
385
NYFA LA campus is located besides Warner Bros. Studios and students have
access to shoot on the Universal Studios backlot.
Walt Disney World
386
LOCATIONS
NYFA Campuses & International Locations
387
NeW York CiTY
388
New York City
Battery Place Campus
LOCATIONS
Financial District Campus
CENTRAL LOCATION
ENROLLMENT
PROGRAMS AVAILABLE
ONE-YEAR PROGRAMS
TWO-YEAR PROGRAMS
TWELVE-WEEK WORKSHOP
EIGHT-WEEK WORKSHOPS
SIX-WEEK WORKSHOP
INSTRUCTORS
FOUR-WEEK WORKSHOPS
ONE-WEEK WORKSHOPS
EVENING WORKSHOPS
DISCOUNTED TUITION WORKSHOPS
389
loS ANgeleS, CAliForNiA

ShOOTINg ON The bACklOT OF UNIverSAl STUdIOS
NYFA students on the backlot of Universal Studios.
the
Bureau for Private Postsecondary
Education (BPPE)
ENROLLMENT
390
LOCATIONS
PROGRAMS AVAILABLE
MASTER OF FINE ARTS DEGREES
MASTER OF ARTS DEGREE

BACHELOR OF FINE ARTS DEGREES
BACHELOR OF ARTS DEGREE

Media Studies
ASSOCIATE OF FINE ARTS DEGREES
THE CITY
ONE-YEAR PROGRAMS
TWELVE-WEEK WORKSHOP
SIX-WEEK WORKSHOPS
FOUR-WEEK WORKSHOPS
Music Video with Rolling Stone

ONE-WEEK WORKSHOPS
EVENING WORKSHOPS
DISCOUNT TUITION WORKSHOPS
391
MiAMi, FloriDA
in
T
Floridas Commission For Independent
Education
Florida
Department of Education
392
The camera always sees the truth. - Bernardo Bertolucci
LOCATIONS
THE CITY
ENROLLMENT
DAILY SCHEDULE
Royale Miami Vice
Mary
Casino
Theres Something About
EQUIPMENT & FACILITIES
PROGRAMS AVAILABLE
MASTER OF FINE ARTS DEGREES
BACHELOR OF FINE ARTS DEGREES
393
LOCATIONS
Harvard University
hArVArD UNiVerSiTY
CAMBRIDGE AND BOSTON
PROGRAMS AVAILABLE
SIX-WEEK WORKSHOP
Filmmaking
FOUR-WEEK WORKSHOPS
THREE-WEEK WORKSHOPS
ONE-WEEK WORKSHOPS
394
Walt Disney World Resort, Florida
LOCATIONS
WAlT DisNey WorlD reSorT
FloriDA
Walt Disney World

i
Walt Disney World
HOUSING
DAILY SCHEDULE
PROGRAMS AVAILABLE
ONE-WEEK WORKSHOP
Acting for Film
All programs are solely owned and operated by

with Walt Disney World Resort.
395
LOCATIONS
Sydney & Gold Coast, Australia
SYDNeY & golD CoAST

AUSTrAliA
PROGRAMS
AVAILABLE
TWO-YEAR PROGRAMS
ONE-YEAR PROGRAMS
Screenwriting
SHORT-TERM WORKSHOPS
Reducation workshop
EVENING WORKSHOPS
STUDY ABROAD IN AUSTRALIA
SYDNEY
Mad Max The Road Warrior
396
The Great Gatsby The Matrix Stealth Babe Crocodile Dundee Wolverine
Mission Impossible II
LOCATIONS
GOLD COAST
DAILY SCHEDULE
Scooby Doo
House of Wax Pitch Black
The Chronicles of Narnia: The Voyage of the Dawn
Treader Daybreakers Fools Gold Peter Pan
Terranova
ENROLLMENT
NEW YORK FILM ACADEMY AUSTRALIA

FEE-HELP
397
LOCATIONS
Florence, Italy
FloreNCe, iTAlY
PROGRAMS
AVAILABLE
SEMESTER, ONE-YEAR, AND
INTERSESSION PROGRAMS
SIX-WEEK WORKSHOP
Filmmaking
FOUR-WEEK WORKSHOPS
Room with a View Hannibal Under the Tuscan

Sun The English Patient Inferno
ONE-WEEK WORKSHOPS
THREE-DAY WORKSHOP
REDucation
398
Florence, Italy
EDUCATION ABROAD
LOCATIONS
ENROLLMENT
INSTRUCTORS
399
NEW YORK FILM ACADEMY ABU DHABI
PROGRAMS
AVAILABLE
ONE-YEAR PROGRAMS
THE ABU DHABI AUTHORITY FOR CULTURE

& HERITAGE
FOUR-WEEK WORKSHOPS
SIX-WEEK EVENING WORKSHOPS

Filmmaking
Advanced Acting for Film
THREE-DAY WORKSHOP
REDucation
400
Abu Dhabi, UAE
ABU DHABI
A STUDY IN CONTRASTS
LOCATIONS
ENROLLMENT
Lawrence
of Arabia
EQUIPMENT
FINAL SCREENINGS & PERFORMANCES
New York Film Academy students shooting on the Abu Dhabi campus.
401
LOCATIONS
Paris, France
PAriS, FrANCe
PROGRAMS AVAILABLE
SIX-WEEK WORKSHOP
Filmmaking
FOUR-WEEK WORKSHOPS
ONE-WEEK WORKSHOPS
402
Beijing, China
LOCATIONS
ChiNA
PROGRAMS
AVAILABLE
FOUR-WEEK WORKSHOPS
Filmmaking
Acting for Film
THREE-DAY WORKSHOP
REDucation
4WEEK HD FILMMAKING WORKSHOP
House
Saturday Night Live
BEIJING
Hawaii Five-O
403
LOCATIONS
Kyoto, Japan
kYoTo,
JAPAN
CURRICULUM
FINAL SCREENING & PORTFOLIO
LANGUAGE
ENROLLMENT
PROGRAMS AVAILABLE
THREE-WEEK WORKSHOP
Filmmaking
ONE-WEEK WORKSHOP
Filmmaking
404
iNTerNATioNAl loCATioNS
ue
SEOUL, SOUTH KOREA
MUMBAI, INDIA
405
Other Information
406
Fulbright Program & NYFA | Veterans Benefits | College Credits
407
OTHER INFORMATION
Admissions Policy
MASTer ProgrAMS (MFA&MA)

ADMiSSioNS PoliCY
PROOF OF UNDERGRADUATE COMPLETION
NARRATIVE STATEMENT
LETTERS OF RECOMMENDATION
MFA CREATIVE PORTFOLIO

Writing Sample For Filmmaking, Producing & Screenwriting applicants:
REQUIRED APPLICATION
MATERIALS
Visual Sample for Filmmaking, Documentary & Cinematography

applicants:
408
Admissions Policy
For Acting for Film applicants:
OTHER INFORMATION
PROOF OF ENGLISH PROFICIENCY
* Acting for Film applicants should select roles that are age and
type appropriate.
For Photography applicants:
For 3-D Animation & Game Design applicants:
INTERVIEW
MA CREATIVE PORTFOLIO
TUITION DEPOSIT
409
OTHER INFORMATION
Admissions Policy
ADMiSSioNS PoliCY
All students pursuing an undergraduate
Bachelor of Arts (BA) or Bachelor of Fine Arts
(BFA) degree from the New York Film Academy
PROOF OF HIGH SCHOOL

COMPLETION
a high school diploma (at a minimum) or an

acceptable equivalent. In addition to the
Supporting Materials required, EACH applicant
must submit a Creative Portfolio to demonstrate
the applicants ability to take on undergraduate
level study and show a potential for success
within the profession.
REQUIRED APPLICATION MATERIALS
BA CREATIVE PORTFOLIO
NARRATIVE STATEMENT
BFA CREATIVE PORTFOLIO

LETTERS OF RECOMMENDATION
410
Writing Sample For Filmmaking, Producing &

Screenwriting applicants:
Admissions Policy
OTHER INFORMATION
Visual Sample for Filmmaking applicants:
INTERVIEW
For Photography applicants:
* Acting for Film applicants should select roles that

are age and type appropriate.
For 3-D Animation, Illustration, Game Design &
Graphic Design applicants:
MINIMUM REQUIRED SAT OR ACT

SUBJECT TEST SCORES
TUITION DEPOSIT
411
OTHER INFORMATION
Admissions Policy

ADMiSSioNS PoliCY
All students pursuing an Associate of Fine Arts
(AFA) Degree from The New York Film Academy

COMPLETION
a high school diploma (at a minimum) or an

acceptable equivalent. Applicants must also
submit a Creative Portfolio.
REQUIRED
APPLICATION MATERIALS
NARRATIVE STATEMENT
APPLICATION
APPLICATION FEE
412
LETTER OF RECOMMENDATION
Admissions Policy
CREATIVE PORTFOLIO
OTHER INFORMATION
Writing Sample For Filmmaking, Producing &

Screenwriting applicants:
Visual Sample for Filmmaking applicants:
* Acting for Film applicants should select roles that are

age and type appropriate.
For Game Design applicants:
TUITION DEPOSIT
413
NoN-Degree ProgrAMS
ADMiSSioNS PoliCY
in English and have earned a high school diploma

(at a minimum) or an acceptable equivalent.
Applicants may also submit a Creative Portfolio,
though it is not required.

COMPLETION
REQUIRED APPLICATION
MATERIALS
APPLICATION
APPLICATION FEE
414
Admissions Policy
CREATIVE PORTFOLIO
OTHER INFORMATION
PROOF OF ENGLISH
PROFICIENCY
Filmmaking, Cinematography, Producing, Screenwriting,

Documentary, Photography and Journalism
Writing Sample may include any ONE of the following:
Visual Sample may include any ONE of the following:
Acting for Film and Musical Theatre applicants
3-D Animation, Illustration, Game Design & Graphic

Design applicants
TUITION DEPOSIT
* and short-term musical theatre program applicants.
415
OTHER INFORMATION
Audition Requirements
AUDiTioN reqUireMeNTS
ACTiNg & MUSiCAl TheATre ProgrAMS
ACTING FOR FILM STUDENTS
MUSICAL THEATRE STUDENTS
Please prepare two contemporary, contrasting monologues

of approximately 60-90 seconds per monologue.
If an in-person audition is not possible,

applicants may submit an audition on DVD
or via private YouTube links. Please make
sure your name, the program name and start
date for which you are applying is written on
the DVD.
416
International Students
OTHER INFORMATION
iNTerNATioNAl STUDeNTS
Across our New York City and Los Angeles campuses, our students represent over 77
STUDENT VISAS
ESTIMATED LIVING COSTS
ADDITIONAL VISA INFORMATION

Status
417
OTHER INFORMATION
Transfer Students
TrANSFer STUDeNTS
The New York Film Academy welcomes students who wish to transfer from their current institution
TRANSFER CREDITS
CREDIT FOR NONTRADITIONAL EXPERIENCE:
TRANSFER
OF
INTERNATIONAL
CREDITS:
CREDIT TRANSFER POLICY

Decisions regarding the award of credit rest with
awarded, the length and/or requirements of the program
may be adjusted.
TRANSFER CREDIT AFTER MATRICULATION:
When a transfer course does not have the

same credit value as its closest NYFA equivalent course,
OTHER COURSE WORK:
program requirement.
418
Financial Aid
OTHER INFORMATION
FiNANCiAl AiD
at
NEEDS BASED TUITION

DISCOUNT
Needs
Discount
Based
FEDERAL GRANTS
Tuition
FEDERAL STUDENT AID

PROGRAMS
FEDERAL LOANS
419
STUDeNT hoUSiNg oPTioNS
housingNY@nyfa.edu
LIVING COSTS
SUMMER LOCATIONS
HOUSING DISCLAIMER:
NEW YORK CITY
STUDENT RESIDENCE
APARTMENT LIVING
420
LAhousing@nyfa.edu
Student Housing Options
OTHER INFORMATION
LOS ANGELES, CA
AVA Burbank
AVA Burbank Parc Pointe

Apartments Oakwood Toluca Hills Archstone
Studio City
Madison Toluca Apartments
WALT DISNEY WORLD RESORT
PARIS, FRANCE
2015 PRICES
2015 PRICES
FLORENCE, ITALY
HARVARD UNIVERSITY
2015 PRICES
2015 PRICES
421
OTHER INFORMATION
Insurance & Ownership Policy
iNSUrANCe
International Students
oWNerShiP
PoliCY
The New York Film Academy reserves the right
to make copies of students work to use for
422
SUMMER FILM
& ACTING
CAMPS
For High School
Students Ages 14-17
ince 1996, the New York Film Academy has built a
For students who want to continue studying

that they make in the New York Film Academys
material for their admissions portfolio when
applying to the Film Academy or other
university programs for their undergraduate
participants bring the discipline, commitment, patience,

inevitably enrich their future educational and
workshops challenge the students creative, physical, and
The summer camps at the Film Academy are
to the creative and technical demands of telling stories with
AVAILABLE IN
production positions including director of photography,
The safety and well-being of our high school students is

Our workshops are staffed by full-time instructors and
New York City

Walt Disney World Resort, Florida
Harvard University
Florence, Italy
Paris, France
For more information, please visit our web site: http://www.nyfa.edu/summer_camp
423
OTHER INFORMATION
Taking a Gap Year
TAkiNg A gAP YeAr
he Gap Year has a long history in

England and Europe where young
people took a year before going to
WHY TAKE A GAP YEAR?
WHEN TO TAKE A GAP YEAR?
424
Frequently Asked Questions
OTHER INFORMATION
FreqUeNTlY
ASkeD
qUeSTioNS
425
OTHER INFORMATION
STEAM Education Initiatives
STeAM
eDUCATioN
iNiTiATiVeS
At the New York Film Academy we

continually emphasize education based on
Rajiv Uttamchandani,
Director of STEAM Education Initiatives
PROJECTS
to Northop Grumman facilities as part of NYFAs collaboration with NASA.
426
Fulbright Program & NYFA
OTHER INFORMATION
ProgrAM & NYFA
T
NYFA Director of Fulbright Initiatives, Miguel Cruz.
The Body
NYFA Fulbright Scholars Ismelda Mojica and Oliver Olivo.
Impressions
Kattuka
NYFA Fulbright Scholar Ishani Jayamaha works hands-on
with a RED camera on set.
For further information visit:
427
MILITARY AND VETERANS BENEFITS
the honorable Colonel Jack

Jacobs, Medal of Honor recipient and on-air military
strategists for NBC/MSNBC, who serves as the Chair of the
NYFA Veterans Advancement Program.
or dependents to study at the New York Film Academy please
428
Colonel Jack Jacobs speaks to a room full

of NYFA veteran students about achieving
their professional goals.
COLONEL JACK JACOBS

New York Film Academys Chair of
Veterans Advancement Program
There is nothing like military service

that gives young people authority and
responsibility at an early age. If there
is anybody prepared to lead, it is the
veteran. I didnt hesitate to sign on with
the New York Film Academy because I
want to support our countrys service
members in getting the best film
and media arts education possible
training that leads to interesting and
creative careers.
- Colonel Jack Jacobs
429
OTHER INFORMATION
College Credits
College CreDiTS
CONDITIONS FOR THE AWARDING OF CREDITS
CREDIT TRANSFER POLICY
SEMESTER CREDIT UNIT DEFINITION
Transcripts and college credits are processed and issued solely by the New York
Film Academy in los Angeles, California.
430
College Credits
OTHER INFORMATION
NEW YORK FILM ACADEMY - LOS ANGELES
NEW YORK FILM ACADEMY - NEW YORK CITY
PROGRAM
CREDIT
PROGRAM
CREDIT
For the most up-to-date credit information, please consult the Course Catalog.
431

The below is only a partial listing
The New York Film Academy is:
National
Association of Schools of Art and Design (NASAD)
Bureau for Private Postsecondary
Education (BPPE)
Bureau of Proprietary Schools
The New School St. Johns University

Fundacao Armando Alvares Penteado (FAAP) Santa
Monica College San Diego City College Regents
College London
Fulbright Film Festival
TEDxFulbright
Supervision (BPSS)
FULBRIGHTLASPAU
Florida Commission for
AMIDEAST
Independent Eduction (FCIE)

National College Credit
Recommendation Service (NCCRS)
UNESCO
(BSMP)
ORGANIZATION OF AMERICAN
Australian Skills Quality
STATES (OAS)
Special
Caribbean
Authority (ASQA)
Scholarships Program (SPECAF)
Australian Commonwealth Register of

Institutions and Courses for Overseas Students (CRICOS)
Government of Tuscany
Tuscan Film Commission
Saudi Arabia
Government of Iraq
Iceland
Sweden
Macedonia
Colombia
Spain
Ecuador
Panama
Kazakhstan
America & Caribbean
Finland
Tuscany Film Commission

National Association for College
Admission Counseling (NACAC)
Brazil
Mexico
Fulbright Program
the
Latin
IIE Network
EducationUSA Program
Association of
International Educators (NAFSA)
432
Generation Study Abroad

International Education (IIE)
Institute of
International Associations of University

Presidents (IAUP)
US Department of Commerce
International Trade Association
U.S. Department of Defense
Abu Dhabi Authority of Culture &
Australian Cinematographers Society (ACS)

Australian Directors Guild (ADG)
Yellow
Ribbon Program for U.S. Military Servicemembers
Tourism (ADACT)
Banca Nazionale del Lavoro First
International Student Award.
Avid Learning Partner
Top Military Friendly School.

Producers Guild of America
(PGA)
National
Aeronautics and Space Administration Goddard Space
Flight Center (NASA GSFC) James Webb Space Telescope
(JWST) California State University Northridge (CSUN)
Tufts University Caltech
Radiant Zemax
Globo Industries
CCTV
The
New York Jets Football Organization SONY Animation
Ciudad De La Luz
Final Draft
The New York Film Academy believes in giving back

to communities:
People to People Student
Ambassador Program
Free Arts for Abused Kids
(LAUSD)
Lincoln
Center Metropolitan Museum of Art Guggenheim Museum
Whitney Museum
Cultural Ministry of the Vatican
British Academy of
Film and Television Arts (BAFTA)
VIACOM Al Jazeera Rolling Stone Magazine NBC

Sports Time Warner Cable Sports
Time Warner
Cable Deportes, CBS Corporation
Shakespeare Ensemble, Arts for LA, Silver Lake

Conservatory of Music,
Free Arts Organization, NYC Parks
RED Digital Cinema Camera

B&H Camera and Video
National Aeronautics and
Space Administration (NASA)
For more information about New York Film Academys

programs and locations, please visit www.nyfa.edu.
please visit www.nyfa.edu/ged.
433
New York City

York, NY 10004
Tel: 212.674.4300 Fax: 212.344.4434

17 Battery Place
New York, NY 10004
CHANGE SERVICE REQUESTED

Tel: 818.333.3558 Fax: 818.333.3557
Florence, Italy
Piazza San lorenzo, 2, 50123 Florence
Abu Dhabi, UAE

Next to Abu Dhabi TV and Sky News Arabia, Abu Dhabi, UAe
Tel: 971.2.446.6442 Fax: 971.2.443.1676
Sydney, Australia
level 4, 127 liverpool Street, (Cnr of Pitt St) Sydney 2000
Gold Coast, Australia

Village roadshow Studios
entertainment road,
oxenford, gold Coast, qlD Australia 4210
New York Film Academy students

shooting with Canon 5D in
THE MOST HANDS-ON INTENSIVE PROGRAMS IN THE WORLD

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Table of Contents

All of our programs are

Hands-on Experience From Day One

produce good work will be of immeasurable value to them as directors, actors,

Guest Speakers at the New York Film Academy

Sir Ben Kingsley

Lou Diamond Phillips

The most hands-on intensive programs in the world.

Guest Speakers at the New York Film Academy

Jamie Lee Curtis

Billy Dee Williams

Mary Kay Place

Go Online at nyfa.edu for more information.

What Former Students

-- Ruben Baeten, The Netherlands

-- Cindy St. Vil, New York City

-- Kris Swinnen, Belgium

The most hands-on intensive programs in the world.

-- Wyndham Price, London, England

-- Allen J. Redwing, Boston

-- Helena Smith, Stockholm, Sweden

Go Online at nyfa.edu for additional student testimonials.

Critical Film Studies

Grant recipient Indelible

Todays Man, Romeo,

Senior Executive Vice President

Making Media Work

Filmmaking Chair, New York

Saturday Night Live

Acting Chair, New York

Miami Vice, 21 Jump Street

MELANIE WILLIAMS ORAM

Screenwriting Chair, New York

Harry Potter and the

Maupins Further Tales of the City

mental ray for

Master Editing Lecturer

Creative Director, Musical Theatre

Meisner Technique, Acting for Film

Jazz & Theatre Dance

THOM CHRISTOPHER WARREN

History of Musical Theatre

Animation Chair, Los Angeles

Valentino: The Last Emperor

Law and Order Harrys Law The

For the complete faculty list, visit www.nyfa.edu/about/faculty/nyc-academic.php

Who Sends Their Sons &

Jean-Claude Van Damme

Stephen Frears (The Queen)

Charles Gassot (The Taste of Others)

AND ALL WHO HAVE A PASSION FOR FILM

Master of Fine Arts

MASTer oF FiNe ArTS

each Master of Fine Arts Filmmaking

WHAT YOU WILL ACHIEVE

Demonstrate an understanding of advanced

Showcase proper use of critical analysis and

Demonstrate knowledge of professional conduct

SEMESTER FOUR (OPTION B)

SEMESTER FIVE (OPTION A)

SEMESTER FIVE (OPTION B)

SEMESTER SIX (OPTION A)

SEMESTER SIX (OPTION B)