Nyu Scps-Fall 2007

NEW YORK UNIVERSITY BULLETIN
SCHOOL OF CONTINUING AND PROFESSIONAL STUDIES
FILM, VIDEO, AND BROADCASTING

FALL 2007
The following information is taken from

the fall 2007 SCPS bulletin. Please note
that changes are made to course sched-
ules, and new offerings are added on a
continuing basis. Visit our website for the
most up-to-date program information:
www.scps.nyu.edu
FLEXIBLE REGISTRATION
THAT FITS YOUR ACTIVE LIFESTYLE
WEB: scps.nyu.edu MAIL FALL TERM

24 HOURS A DAY Mail registrations are accepted throughout
Payment: Visa, MasterCard, the semester and must be postmarked at CALENDAR
Discover, American Express least two weeks before the course start date.
Payment: Visa, MasterCard, Discover, Fall Classes Begin
American Express, Check Wednesday, September 19
TELEPHONE: (212) 998-7171
Monday–Friday, 9. a.m.–5 p.m.* Columbus Day
Extended hours until 7 p.m., IN-PERSON REGISTRATION Monday, October 8
Monday–Thursday, September 4–27. 145 Fourth Avenue, 2nd Floor All classes cancelled.
Payment: Visa, MasterCard, (between 13th and 14th Streets)
Discover, American Express Monday–Friday, 9 a.m.–5 p.m.* Thanksgiving Eve
Extended hours until 7 p.m., Wednesday, November 21
Monday–Thursday, September 4–27.
All classes cancelled except Norman
FAX: (212) 995-3060 Payment: Visa, MasterCard, Discover,
American Express, Check Thomas and Manhattan Village Academy.
24 HOURS A DAY
Payment: Visa, MasterCard, Thanksgiving Recess
* Telephone and in-person registration may be
Discover, American Express suspended or altered due to holiday observance. Thursday–Sunday, November 22–25
All classes cancelled.
Register now for the best course selection and availability. You may register during the se-
mester according to the schedules and procedures in the Registration section of this Bulletin.
Courses begin throughout the term.
NOT SURE WHAT TO TAKE? WE WELCOME

Need advisement on a non-degree course or YOUR FEEDBACK
certificate, or need help deciding what to take?
At NYU-SCPS, students are our number one
Our education advisors are available to help
priority. That’s why we want to hear about your
you by phone, by e-mail, or in person
experiences with SCPS. We invite your questions,
(145 Fourth Avenue).
comments, and suggestions.
Call: (212) 998-7171
Call: (212) 998-7171
E-mail: advice.scps@nyu.edu Web: scps.nyu.edu/feedback
NEED TO CHECK CLASS NEED TO DROP A COURSE?

LOCATIONS OR TIMES? You may drop a course by mail and in person
You can log on to your online account at (145 Fourth Avenue, 2nd Floor, New York, NY
scps.nyu.edu to view your course details, 10003), by e-mail, or by fax up until one day be-
including class locations, room numbers, fore the course start date. If you wish to
dates, and times, or call the number below. withdraw from a course after the first class
has met, please consult our refund policy in
Call: (212) 998-7200 the Registration section of this Bulletin.
E-mail: scps.drop.course@nyu.edu
Fax: (212) 995-3060
WEB SCPS.NYU.EDU | E-MAIL SCPSINFO@NYU.EDU

Click here for department website. FILM, VIDEO, AND BROADCASTING
FILM, VIDEO, AND BROADCASTING CAREER NIGHT

Learn the craft and the business behind Film, Music, Career nights include discussions on industry
and Television news and career opportunities, presentations on
filmmaking, video production, and curriculum, and a chance to ask questions of faculty
Thursday, 6–8 p.m., August 23
broadcasting. These collaborative and staff. No RSVP is required, but please be punctual.
NYU Midtown Center For more information, call (212) 998-7171.
fields offer opportunities for a variety of 11 West 42nd Street, 4th Floor
professionals, including directors, cine-
matographers, editors, producers,
sound designers, and special effects
artists who work together to develop a FILM AND VIDEO
project. Our programs provide the tech-
To make your own film, you need to understand the entire production process. In the NYU-
nical training you need to get a foothold in this highly competitive indus-
SCPS film program, you learn all the techniques you need to become a great filmmaker,
try. Join a community of like-minded professionals in an environment then put them to use making your first films, working either in 16mm or in digital formats
that provides plenty of hands-on training and technical support. (DV, 24-p).
Our offerings in Film, Video, and Broadcasting include: Film Production I

PRODUCTION X34.9510/$1,395
• A range of continuing education courses that provide practical training
S Sec. 1: Wed. 6–10 p.m., Sept. 19–Dec. 19
and knowledge of current industry practices and equipment. Techniques and Technologies (13 sessions). No class Nov. 21. Marc DeRossi,
X34.9220/$725 producer, director, and editor of shorts, features,
• Intensive programs in Digital Video Production (page 3), Filmmaking S Sec. 1: Thurs. 6.45–8.45 p.m., Sept. 20– documentaries, and industrials.
(page 3), Cinematography (page 4), Editing (page 5), TV News Journalism Dec. 13 (12 sessions). No class Nov. 22. In this introductory, practical workshop
Willie Bruno, video engineer and camera in 16mm filmmaking without sync sound,
you have an opportunity to write, produce,
(page 8), and Producing (page 8). operator.
direct, and shoot film, and edit on digital
nonlinear editing systems using Final Cut
S Sec. 2: Mon. 6.45–8.45 p.m., Sept. 24–
• Professional certificate programs: Filmmaking (page 2), Digital Video
Pro. The class works in small production
Dec. 17 (12 sessions). No class Oct. 8.
Production (page 2), Cinematography (page 4), Editing (page 5), Sound
crews within a rotating responsibility sys-
Morten Parker, writer, producer, director,
tem to help fellow students complete indi-

Design (page 6), Special Effects (page 7), Documentary Production (page 7), Academy Award nominee.
In filmmaking, behind every artistic vision
vidual projects. In the final project, you
lies a team of technologists who are able to
Nielsen TV Audience Measurement (page 9), Entertainment Media
create your own film with transition effects,
make it happen. As an essential first step
music, and credits. Film projects are trans-
Management (page 9), and Producing (page 10).
toward a career in film, learn the basic the-
ferred to digital video and provided to
ories of film production. From analog to
students. Prerequisite: Techniques and
For more information visit scps.nyu.edu/film, or call (212) 998-7171.
digital, discover the technical side of pro-
Technologies/X34.9220, which may be
duction in a series of evening lectures and
taken concurrently, or equivalent knowledge.
Contents demonstrations. Survey the techniques that
Equipment, allotted film raw stock with
filmmaking was built upon, then take a
laboratory processing, film-to-tape trans-
look at today’s emerging technologies.
fers, videotapes, and other supplies provided.
Film and Video 1
Production 1
Production Sound for Film
Cinematography 4 X34.9071/$695
Editing 5 S Sec. 1: Sat. 10 a.m.–5 p.m., Oct. 6–27
(4 sessions).
Faculty
Sound Design and Music 6
Do you want to produce high quality sound
for your film, or learn how to record sound
Special Effects 6
Documentary Production 7 for production? Get hands-on training in
this intensive course, and create professional
quality sound using analog, digital recorders,
Television and Broadcasting 8 Learn from instructors who
Producing and Entertainment Management 8 and microphones. In lectures and demon-
strations, delve into the crucial relationship
are leaders in their fields.
Story, Theory, and Performance 10 among sound, camera, and action. Learn For SCPS faculty bios,
techniques to record and mix sound for
documentaries, feature films, narration,
Storyboarding 10 visit scps.nyu.edu/faculty.
Film Theory 10 and sound effects. Prerequisite: Film
Performance for Film and Broadcast 10 Production I/X34.9510 or the equivalent.
M Meets at NYU Midtown Center, 11 W. 42nd St.

S Meets in the Washington Square, Cooper Square,
Union Square vicinity.
V Meets at Manhattan Village Academy, 43 W. 22nd St.
W Meets at the Woolworth Building, 15 Barclay St.
G No discounts apply to this course.
FOR MORE INFORMATION OR TO REGISTER: (212) 998-7171 1

Film Production II Digital Video Production I

X34.9520/$1,395 X34.9921/$1,200 CERTIFICATE IN CERTIFICATE IN
S Sec. 1: Tues. 6–10 p.m., Sept. 18–Dec. 18 S Sec. 1: Thurs. 6–9.30 p.m., Sept. 27–Dec. 6 FILMMAKING DIGITAL VIDEO
(14 sessions). Marc DeRossi, producer, direc- (10 sessions). No class Nov. 22. Vladan Nikolic,
PRODUCTION
tor, and editor of dramatic shorts, features, writer, director, and editor of documentaries, Begin building your professional reel
with either the daytime intensive version
In this hands-on program, students learn
documentaries, and industrials. films, and videos.
This is the capstone course of the evening of this certificate or the part-time evening
how to direct, shoot, and edit their own
Certificate in Filmmaking in which stu- format. This certificate provides film-
S Sec. 2: Sat. 10–5 p.m., Sept. 22–Oct. 27
short digital videos. The curriculum pro-
dents combine the technical experience makers with hands-on experience in a
(6 sessions). Erin Greenwell, award-winning
vides an introduction to DVD production
and aesthetic knowledge garnered from lab-based environment. Acquire techni-
independent producer, director, and editor.
This hands-on course details basic DV and in-depth training in digital camera
other courses to produce an eight minute, camcorder operations, elementary nonlin- cal knowledge and experiment creatively
technology, lighting for digital video,
festival length, 16 mm, live-action dra- ear editing with Final Cut Pro, and how to under the guidance of a faculty of indus-
digital audio recording, and non-linear
matic film. Through lectures and demon- prepare a video production. Working in try professionals who guide you from
using Final Cut Pro. Students perform
strations, students are guided through teams with rotating crews, you write, pro- first shoot to final edit as you make
technical exercises and work within a
script development, pre-production, cast- duce, direct, and edit individual and group your own film.
small production crew rotating responsi-
ing and techniques for directing a narrative projects—ultimately demonstrating grow- Upon completion of the program, bilities and helping one another com-
film with dialogue. Then students advance ing confidence with production equipment students have attained skills in: plete group and individual projects. The
to synchronization, editing and finalization and professional practices. Students use • Cinematography. program is led by a faculty of industry
of the picture and sound using Final Cut Sony DV cameras and Final Cut Pro eq- professionals who emphasize the skills
Pro. If you have a script, it may be submit- uipment with an allotment of videotape • Sound.
needed to help students land their first
ted one week prior to the first class session and other supplies provided by the school. • Editing. job in the industry and strategies for
to gain a head start. Students can work Prerequisite: Techniques and Technologies/ • Lighting. getting their films into festivals.
together on team or individual projects. X34.9220, which may be taken concur-
Film match back procedures are demon- • Writing. Upon completion of the program,
rently, or equivalent knowledge.
strated in class. Prerequisites: Film Pro- students acquire the following skills:
• Producing.
duction I/X34.9510, Cinematography I/ • Ability to write, produce, direct, edit,
X34.9087, and Production Sound for This certificate is awarded to students
and shoot principal photography for a
Digital Video Production II
Film/X34.9071, or equivalent experience. who successfully complete the required
digital video focusing on documentary
X34.9936/$1,450
Tuition covers equipment, allotted 16 mm material by taking Option 1, 2, or 3.
and other non-fiction work.
color negative raw stock, laboratory pro- Option 3 includes one elective.
S Sec. 1: Wed. 6–10 p.m., Sept. 26–Dec. 12
• Planning, budgeting, and
cessing, and film-to-tape transfers.
(12 sessions). No class Nov. 21. Alonzo Speight,
pre-production.
videographer. REQUIRED—OPTION 1
Produce a short (up-to-eight minute) DV
Filmmaking Eight-Week Intensive: • Production, editing, and distribution.
project. Begin by pitching an idea for a
Advanced Color and Sync Sound/
festival length documentary, news feature, • Low- and high-end digital video.
X34.9523 (page 3)
music video, experimental piece, or dra- • Video-to-film transfer theory.
matic narrative, for instructor's review.
This certificate is awarded to students
Once green lighted, students assist each
REQUIRED—OPTION 2
Filmmaking 12-Week Intensive: who successfully complete the required
other as crew while working on individual
16mm, Color, and Sync Sound/ material by taking Option 1, 2, or 3.
or team projects. Tuition covers equipment
X34.9522 (page 3) Option 3 includes one elective.
and tape allotment. This course is the cul-
mination of the Certificate in Digital Video
Production (Option 3, evening program).
REQUIRED—OPTION 3 REQUIRED—OPTION 1
Prerequisite: Digital Video Production I/ Techniques and Technologies/ Digital Video Production Eight-Week
X34.9921 and Editing I With Final Cut X34.9220 (page 1) Intensive/X34.9453 (page 3)
Pro/X34.9225 or equivalent knowledge. Film Production I/X34.9510 (page 1) REQUIRED—OPTION 2
Cinematography/X34.9087 (page 4)
Digital Video Production 12-Week
Directing for the Screen Production Sound for Film/ Intensive/X34.9454 (page 3)
X34.9959/$900 X34.9071 (page 1)
Editing I With Final Cut Pro/
S Sec. 1: Wed. 6–9 p.m., Sept. 26–Dec. 5 REQUIRED—OPTION 3
(10 sessions). No class Nov. 21. Vladan Nikolic X34.9225 (page 5) Techniques and Technologies/
Through lectures and demonstrations, X34.9220 (page 1)
Film Production II/
learn how directors use the dynamic lan- X34.9520 (this page) Digital Video Production I/
guage of cinema to realize a rich visual X34.9921 (this page)
and oral landscape. Class discussions
Editing I With Final Cut
ELECTIVES—OPTION 3 (Choose one)
focus on blocking, composition, screen di- Cinematic Structure/ Pro/X34.9225 (page 5)
rection, script breakdown, and directing X34.9232 (page 10)
techniques. Participating in a series of Video Lighting Techniques/
recorded exercises, students work on the Introduction to Producing/ X34.9540 (page 4)
master shot, two shot, and reverse angles. X34.9509 (page 9)
Digital Video Production II/
Prerequisite: Digital Video Production I/ X34.9936 (this page)
X34.9015 and Film Production I/X34.9510
Make sure you qualify for your certificate!
or equivalent knowledge.
Read the schoolwide requirements on page 11.
Cinematic Structure/
X34.9232 (page 10)
Introduction to Producing/
X34.9509 (page 9)
Documentary Development,
Research, and Financing/
X34.9425 (page 7)
2 WEB: SCPS.NYU.EDU E-MAIL: SCPSINFO@NYU.EDU

FILMMAKING INTENSIVE PROGRAMS DIGITAL VIDEO PRODUCTION INTENSIVE PROGRAMS

You can go from novice to successful practitioner in four, eight, or 12 weeks of inten-
sive study in digital video production, focusing primarily on documentary and other
Instructor: Gary Gasgarth, master teacher; director, editor, and writer of feature films,
nonfiction work. In the first four weeks, students learn the basics of digital video, from
TV commercials, documentaries, and music videos; CINE Golden Eagle and Chris awards.
If you’re serious about getting up-to-speed quickly in narrative filmmaking, whether pre-production to cinematography to editing. Modern documentary history, research,
shooting film or digital, get a thorough immersion in the production process with and story development and all aspects of producing and directing are covered. In the
hands-on experience in all aspects of making a film. This is the film program that final eight weeks, students hone their skills by completing projects of greater com-
launched the careers of Sundance Film Festival winners and Academy Award–nomi- plexity. Tuition covers equipment, tape, and drives.
nated directors. Acquire the technical and aesthetic skills you need to complete your
own 16mm color negative sync-sound film. In the beginning sessions, students learn
the basics of 16mm filmmaking and digital production. You will have the opportunity
WEEKS ONE THROUGH FOUR WEEKS FIVE THROUGH 12
to collaborate on group or team projects, or write, direct, produce, shoot and edit your
SEPTEMBER 24–OCTOBER 19 OCTOBER 22–DECEMBER 20
own individual projects using Final Cut Pro. Next, through lectures, demonstrations • Techniques, technology, and craft of • Strengthening prior technical skills
and hands-on projects shot on 16mm film or digital, you hone important filmmaking digital video production. acquired in digital video production.
skills. You can take four, eight, or the full 12 weeks of this program, which offers the • Collaboration on group/team projects. • Expanding hands-on knowledge
best value and the most complete preparation for a career in film. Tuition covers of documentary and nonfiction
• Digital video production technology.
equipment, allotted film raw stock with laboratory processing, professional film-to- production.
tape transfers, videotapes, and other supplies. • Complete digital video projects.
• Improving upon prior technical
• Visual interpretation of screenplays. and writing skills.
WEEKS ONE THROUGH FOUR: 16MM WEEKS FIVE THROUGH 12: • Storyboard creation. • Production management methods
SEPTEMBER 24–OCTOBER 19 COLOR AND SYNC SOUND • Principles of classic cinema: and techniques.
• Techniques, technology, and craft of OCTOBER 22–DECEMBER 20 shot grammar and angle. • Developing, writing, and producing
film and digital (24-p) production. • Visual storytelling. • Creating shooting scripts and shot lists. longer format works.
• Language of film. •The camera as an artistic tool. • Planning production. • Completing one project working in
• Narrative techniques and the art of • Advanced lighting techniques. • On-set procedures and protocols. Final Cut Pro.
editing. • Advanced production, cinematography,
• Color-negative film stocks and • Editing basics with Final Cut Pro.
• Historical approaches to staging/ characteristics. and editing.
blocking and directorial preparation. • Completing an 8–10 minute
• Recording sync sound with Fostex
• Cinematography. field recorders. DV project.
• Three-point lighting and lighting ratio. • Synching dailies and editing with • Film festival preparation.
• Light meters and metering techniques. Final Cut Pro. • Individual/faculty mentoring.
• Collaboration on group/team projects. • Professional sound mix demo,
colorist session, and lab tour.
REGISTER FOR FOUR, EIGHT, OR 12 WEEKS OF INTENSIVE STUDY:
• Editing basics with Final Cut Pro.
• Scheduling and budgeting.
• Film editing and post-production.
Digital Video Production Four-Week Intensive
• Completing an 8–10 minute film
• Professional conventions and practices.
X34.9450/$3,495G
• Getting into the business.
• Complete filmmaking projects.
S Sec. 1: Mon.–Fri. 9 a.m.–5 p.m., Sept. 24–Oct. 19 (19 sessions). No class Oct. 8.
• Film festival preparation.
• Individual/faculty mentoring.
Digital Video Production Eight-Week Intensive
X34.9453/$4,995G
REGISTER FOR FOUR, EIGHT, OR 12 WEEKS OF INTENSIVE STUDY: S Sec. 1: Mon.–Fri. 9 a.m.–5 p.m., Oct. 22–Dec. 20 (41 sessions). No class Nov. 21–23.
Filmmaking Four-Week Intensive Digital Video Production 12-Week Intensive

X34.9066/$3,495G X34.9454/$6,995G
S Sec. 1: Mon.–Fri. 9 a.m.–5 p.m., Sept. 24–Oct. 19 (19 sessions). No class Oct. 8. S Sec. 1: Mon.–Fri. 9 a.m.–5 p.m., Sept. 24–Dec. 20 (60 sessions). No class Oct. 8 and
Nov. 21–23.
Filmmaking Eight-Week Intensive: Advanced Color and Sync Sound
X34.9523/$4,995G
S Sec. 1: Mon.–Fri. 9 a.m.–5 p.m., Oct. 22–Dec. 20 (41 sessions). No class Nov. 21–23. THE ANDREAS ZAHLER SCHOLARSHIP
Prerequisite: Filmmaking Four-Week Intensive: 16mm/X34.9066 or equivalent FOR ADVANCED FILMMAKING STUDIES
experience. Those applying with experience must submit work to an advisor for
review by calling (212) 998-7171. Family, friends, and colleagues established this scholarship fund in the memory of
renowned commercial film director Andreas Zahler. The award of $750 contributes to-
Filmmaking 12-Week Intensive: 16mm, Color, and Sync Sound ward tuition for one of the required production courses (Cinematography II, Production
X34.9522/$6,995G Sound, Editing II With Final Cut Pro, Film Production II, or Digital Video Production II)
for advanced students who have distinguished themselves in earlier courses and who
need financial aid to continue their film production studies. The award is competitive
S Sec. 1: Mon.–Fri. 9 a.m.–5 p.m., Sept. 24–Dec. 20 (60 sessions). No class Oct. 8 and
and is based on demonstrated achievement in previous SCPS filmmaking courses and

Nov. 21–23.
on financial need.
To be eligible for consideration you must be an advanced student in the NYU-SCPS
film program in good standing (having successfully completed at least Film Production I);
The Certificate in Directing is no longer being offered to new students. Those submit two letters of recommendation, including one from the instructor of your most
recent film production course; demonstrate financial need; not be the recipient of any
other grant, scholarship, or tuition assistance (either from NYU, an outside agency, or
presently working toward this certificate must complete the requirements
within four years of their start date to receive the certificate. Substitutions your employer); and be a U.S. citizen or eligible noncitizen.
For application forms or more information, please call (212) 998-7171.
for courses that have been discontinued may be made. Please call (212)
998-7171 for more information.

CINEMATOGRAPHY CERTIFICATE IN CINEMATOGRAPHY

Cinematography is the art and craft of creating visual images for the cinema. It is a
Cinematography—using a camera to create moving images—is key to the creation of a
visual narrative. In NYU-SCPS’s film program, professional cinematographers provide rig- creative and interpretive process that results in an original evocative work rather than
orous training in film and digital cinematography. Hone your technical skills through prac- the simple recording of a performance. The images the cinematographer brings to the
tical experience with film and digital equipment, and learn how to make creative and screen come from the artistic vision, imagination, and skill of the cinematographer as
artistic decisions in your work. he or she works within a collaborative relationship with fellow artists.
Upon completion of the program, students have covered:
• Operation of film and DV cameras.
• Structure and job responsibilities of the camera unit of a film crew.
Cinematography Four-Week Intensive
X34.9083/$3,495
• Principles of lenses, f-stops, stocks, and lighting equipment.
• Basic types of lighting, including basic special effects and lighting that can be
S Sec. 1: Mon.–Fri. 9 a.m.–5 p.m., Sept. 10–Oct. 5 (19 sessions).
done in-camera.
Mark Raker, cinematographer.
Cinematographers, also known as directors of photography, work closely with film di-
rectors to tell stories visually. In this intensive course, learn what it takes to master the • History and development of technology in cinematographic equipment such as dol-
craft of cinematography. Through lectures, demonstration, and hands-on practice, dis- lies and Steadicams.
cover how film stock, exposure, light, and composition affect the quality of an image. • How to compose a scene using the camera and use a photographic technique to
By experimenting with film and digital formats from 16 mm to 24-p, develop your eye tell a story visually.
and learn to select the right format for any project. Knowledge of film production is
• Aesthetics of frame composition and an in-depth survey of the classic examples
recommended but not required.
of artistic cinematography.
• How to work and collaborate in a team-based environment within a production crew.
Art of Cinematography Advanced Cinematography • Creation of a short film with transition effects, music, and credits. (This learning
X34.9517/$395 X34.9107/$1,200G objective applies to Option 2 certificate only.)
This certificate is awarded to students who successfully complete the required
material by taking Option 1 or Option 2.
S Sec. 1: Wed. 6.20–9.20 p.m., Sept. 19– S Sec. 1: Thurs. 6–10 p.m., Oct. 4–Dec. 13
Nov. 7 (8 sessions). (10 sessions). No class Nov. 22. Mark Raker,
A skillful cinematographer brings a whole cinematographer.
Shooting Green Screen/
new dimension to a director’s vision by This workshop in advanced cinematogra-
REQUIRED—OPTION 1
X34.9231 (page 6)
creating images that enhance the narrative phy techniques gives you an opportunity Cinematography Four-Week
Intensive/X34.9083 (this page) Art of Cinematography/
of a film. This survey course is for aspiring to shoot six projects ranging from in-class
X34.9517 (this page)
cinematographers, filmmakers, directors exercises to fully lit location shoots. Students
and anyone interested in the art of cine- develop concepts and realize their artistic Note: This certificate has been restruc-
REQUIRED—OPTION 2
matography. By studying select examples vision for the projects, gaining the techni- Techniques and Technologies/ tured. Students who began this certificate
from prominent films of visual style, tone, cal knowledge necessary for successful ex- X34.9220 (page 1) prior to fall 2007 have four years to com-
and continuity, students learn what key ecution. Individual advice is given before Cinematography/X34.9087 (this page) plete their certificate according to the re-
elements to consider in setting up their each shoot, and all footage is screened for quirements in the SCPS Bulletin the
Advanced Cinematography/
shots. The use of framing, composition, review afterward. Students receive instruc- semester they began. Call an education
color, light, and shadow to create compel- tion in digital acquisition and can hone their advisor at (212) 998-7171 for more
ling images are among topics discussed. skills shooting 16mm motion picture film. Secrets of Special Effects/ information.
Students work in teams to master the art X34.9230 (page 6)
of cinematography. Prerequisite: Cinema-
tography I/X34.9087 or equivalent
Cinematography
Make sure you qualify for your certificate! Read the schoolwide requirements on page 11.
experience.
X34.9087/$1,395G
S Sec. 1: Tues. 6–10 p.m., Oct. 2–Dec. 18
(12 sessions). Mark Raker, cinematographer.
Through a series of six progressively ad-
HD Cinematography Workshop
Video Lighting Techniques
vanced projects, this workshop aids the
X34.9202/$595G
X34.9540/$1,260G
student in developing and implementing Sec. 1: Sat. Sun. 9 a.m.–5 p.m., Oct. 20–21
professional concepts and techniques in
Sec. 1: Sat. 10 a.m.–5 p.m., Nov. 3–Dec. 15
(2 sessions). Kenneth M. Waddel
film and digital media. Emphasizing the High Definition (HD) has become more
(6 sessions). No class Nov. 24. Richard Martin,
aesthetics of cinematography, sessions popular as a tool, having been used in pro-

lighting director.
The skilled use of lighting to create con-
cover the role of the cinematographer, in- jects like Superman Returns, Miami Vice,
trast and ambience affects the quality and
terpreting the script visually, working with Mission: Impossible III, television cover-
impact of a recorded image. Learn how to
the director, the goals of lighting, camera age of events such as the Olympics, and
create and communicate through the use of
operation, lens selection, working with a numerous documentaries. For those inter-
light. In order to understand the principles
crew and a lab, exteriors and interiors, du- ested in working in HD on future projects,
of professional lighting design, we demon-
ties of the camera assistant, film stocks, this course demystifies the technologies of
strate the behavior of light—manipulating
and using exposure meters. Prerequisite: high definition and 24-p cinematography,
it, recording it, and analyzing the results.
Film Production I/X34.9510 or equivalent the five scanning formats, recording for-
Studying lights and lighting styles, deter-
experience. mats, editing options, and delivery poten-
mine effective low-budget lighting and ex-
tial. All technical aspects of Sony HDTV
perience the intricacies of balancing mixed
cameras are demonstrated to familiarize
lighting sources. Prerequisite: Film Prod-
students with effective operational proce-
uction I/X34.9510 or equivalent experience.
dures. Students are given the opportunity
to shoot tests in the field.

EDITING CERTIFICATE IN
Film and video editors transform raw footage into the final cuts we see on television and EDITING
in movie theaters. Editing requires technical proficiency with digital tools, an ability to an-
This program is designed to equip
students with skills in all aspects of an
alyze and assemble shots, and an understanding of movement as it applies to visual sto-
editor’s role in film or television produ-
rytelling. Students in NYU-SCPS’s editing program learn the skills necessary to break into
the industry. ction. Learn how to assemble footage
from various sources into a seamless
end product by manipulating plot, score,
Editing Four-Week Intensive sound, and graphics. Understand the
X34.9615/$3,495G role of an editor and the equipment used.
Upon completion of the program,
students:
S Sec. 1: Mon.–Fri. 9 a.m.–5 p.m., Oct. 22–Nov. 16 (20 sessions). Matthew Mallinson,
writer; director; producer; editor; co-founder and leader, Avid New York Users Group (ANYUG). Editing I With Avid Xpress Pro
Editing requires both technical expertise and artistic vision. You can’t learn this unique X34.9064/$1,075G • Understand the structure and responsi-
blend of skills from a book. Only expert guidance, hands-on experience, and plenty of bilities of a post-production team.
practice prepare you to work in the industry. In this intensive four-week course, expe-
S Sec. 1: Mon. 6–9.30 p.m., Oct. 15–Dec. 17
• Cover organizing, digitizing, and
rienced faculty guide you through a comprehensive overview of the craft, technology,
(10 sessions). Mark Brownstone, AVID editor.
Learn the principles, terms, and concepts downloading best practices for
and profession of film and digital post-production. Lectures and lab sessions cover project editing.
of digital nonlinear editing. Students ex-
both theory and practical aspects of post-production, as you learn to use editing soft-
plore each step of the process: logging and • Know how to operate a nonlinear
ware including Final Cut Pro and Avid, with a brief introduction to sound design.
organizing footage, digitizing from any editing system, including generation
Those unfamiliar with the Mac Operating System should take Mac OS and Color
format, basic editing techniques, trimming, of graphics and titling, adding sound
Systems/X36.9223.
title keying, motion effects, audio mixing, tracks, mixing, color correction, and
media file management, and onlining a basic special effects.
final master. Prerequisite: Knowledge
• Cover pre-production organization
of Mac OS. Those unfamiliar with Mac
for fiction and nonfiction projects.
The Art of Editing Editing I With Final Cut Pro
X34.9622/$695 X34.9225/$1,075G Operating System should take Mac OS
and Color Systems/X36.9223 • Can collaborate in a team-based,
production crew environment.
W Sec. 1: Tues. 6.20–9.50 p.m., Sept. 25– S Sec. 1: Mon. 6–9.30 p.m., Sept. 24–Dec. 3
Dec. 11 (12 sessions). Amresh Sinha, film (10 sessions). No class Oct. 8. Erin Greenwell,
scholar; documentary producer and director. award-winning independent video producer, Editing Documentary Footage • Understand technical practices and
This class is for aspiring filmmakers, edi- director, and editor. X34.9429/$840 standards for film and digital video.
tors, directors, and producers, as well as • Understand aesthetics and stylistic
those interested in the dynamics of editing
S Sec. 2: Thurs. 6–9.30 p.m., Sept. 27–Dec. 6
issues in editing film clips.
S Sec. 1: Sat. 10 a.m.–5 p.m., Nov. 3–Dec. 15
and the editor’s art. The course aims to

(10 sessions). No class Nov. 22. Michael Furth, (6 sessions). No class Nov. 25. Mridu Chandra,
provide students with knowledge of edit-
editor, The Ultimate Hustler with Damon Dash. documentary film producer and director, ITVS/
who successfully complete the required
ing through a comprehensive look at its
S Sec. 3: Mon.–Fri. 9 a.m.–5 p.m., PBS, Brother Outsider: The Life of Bayard
material by taking Option 1 or Option 2.
theoretical and functional aspects. Drawing
Sept. 17–21 (5 sessions). Rustin, Let the Church Say Amen.
As Apple’s leading editing software pack- This course provides an overview of the Option 2 includes one elective.
from the films of Eisenstein, Hitchcock,
Welles, Kurosawa, Ozu, Godard, Scorsese, age, Final Cut Pro offers a cost-effective process, technology, and professional divi-
Coppola, Tarantino, and Egoyan, signifi- yet professional desktop editing alternative sion of labor in documentary and television
REQUIRED—OPTION 1
for budget-conscious filmmakers. As such, post-production. Lectures, screenings, and Editing Four-Week Intensive/
cant time is devoted to the following areas
it has rapidly become a must-have applica- in-class assignments with documentary X34.9615 (this page)
of editing: continuity and discontinuity
editing, cut, duration in editing, elliptical tion for indie filmmakers and documentari- footage introduce you to the work-flow
editing, rhythmical and tonal editing, ans. Using DV footage and Final Cut Pro, and creativity required to oversee the post- REQUIRED—OPTION 2
graphic match cut, jump cuts, diegetic and work in pairs to learn all the basics of digi- production process. We cover edit room The Art of Editing/
nondiegetic inserts, overlapping editing, tal nonlinear editing, working from footage management; budgeting for post; strategies X34.9622 (this page)
and sound editing such as sound bridges provided by NYU. Through lectures, for editing a documentary story from many The Craft of Editing/
and sonic cuts. demonstrations, and hands-on exercises, hours of footage; utilizing archival materi- X34.9627 (this page)
focus on the skills of editing, including als; designing sound, music and graphic el-
continuity, pacing, and dramatic structure. ements; preparing for the final mix, all the AND
The Craft of Editing Prerequisite: Knowledge of Mac OS. way to onlining the project; and creating Editing I With Final Cut Pro/
X34.9627/$695 Those unfamiliar with Mac Operating the final deliverables. Software introduced X34.9225 (this page)
System should take Mac OS and Color in class is primarily Final Cut Pro with a Editing II With Final Cut Pro/
Systems/X36.9223. brief introduction to what Adobe After
S Sec. 1: Wed. 6.45–9.45 p.m., Sept. 26–
Effects and Pro Tools can do to enhance
Dec. 19 (12 sessions). No class Nov. 21.
your production. Prerequisite: Knowledge OR

Michael Grabowski, filmmaker.
You know how to use Final Cut Pro or
of Mac OS. Those unfamiliar with Mac Editing I With Avid Xpress Pro/
Editing II With Final Cut Pro
Avid Xpress DV, but you’re not sure how
Operating System should take Mac OS X34.9064 (this page)
X34.9607/$1,290
to get started as an editor. Careers in the
post-production industry require an eye for
S Sec. 1: Tues. 6–9.30 p.m., Sept. 25–Nov. 27 and Color Systems/X36.9223 Editing II With Avid Xpress Pro/
aesthetics as well as solid technical skill. X34.9941 (2008)
(10 sessions). Jamie Hitchings
This course introduces you to the work- Take a giant step in your journey to be-
flow and creativity required to become a coming a film editor. Further your skills as
Web
successful editor. Students learn about the an industry professional and learn the ad- Audio Production I With Pro Tools/
aesthetics of editing, including traditional vanced features of Final Cut Pro. Sharpen X35.9481 (page 6)
Hollywood continuity cutting and the your editing skills while you solve com-
mon problems encountered in the post-pro- Editing Documentary Footage/
newer MTV style, and how editing, sound X34.9429 (this page)
duction process. Learn advanced editorial
For the most up-to-date
effects, and visual effects influence story-
telling. You not only learn the craft behind and noneditorial features of the applica- course information, visit:
editing, but our esteemed faculty also gives tion, such as motion graphics and filters,
and develop expert-level skills in Final Cut

scps.nyu.edu
you the inside story on how to break into
the industry. Pro. Prerequisite: Editing I With Final Cut
Pro/X34.9225 or equivalent experience.

Audio Production I With Pro Tools

SOUND DESIGN AND MUSIC X35.9481/$1,080
Whether you want to be a DJ, make music M Sec. 1: Tues. 6–9 p.m., Sept. 25–Nov. 27
CAREER NIGHT
on the computer, or design sound for film, (10 sessions). Rick A. Van Benschoten, Film, Music, Career nights include discussions on industry
music producer, audio engineer, news and career opportunities, presentations on
we help you master the industry-leading
Pro Tools specialist, sound designer.
and Television
From soundtrack and music production to
curriculum, and a chance to ask questions of faculty
software, Pro Tools, learn the music pro- Thursday, 6–8 p.m., August 23
multimedia and post-production applica-
and staff. No RSVP is required, but please be punctual.
duction process, and work successfully NYU Midtown Center
tions, Pro Tools offers audio engineers the
For more information, call (212) 998-7171.
with others in the industry. 11 West 42nd Street, 4th Floor
complete digital package. The industry
Audioscapes: leader in digital audio, Pro Tools features
NEW
Analysis of Cinematic Sound 24-bit integrated digital recording, editing,

X34.9233/$215 processing, and mixing tools for high-end
audio applications. Walk through every
phase of production from input to final
S Sec. 1: Thurs. 6.20–9.20 p.m., Oct. 4–25 CERTIFICATE IN SPECIAL EFFECTS
master. Use Pro Tools for nondestructive
(4 sessions).
Music and sound contribute to the distinc- recording and editing, digital mixing, loop
SOUND DESIGN
tive mood and feeling of a film narrative.
Secrets of Special Effects
NEW
recording, editing during playback, fade-
Students in this course investigate the im- The importance of sound design is un-
X34.9230/$395
ins and -outs, playlists, and customization.
portance of music and sound to movies, in- derscored when it’s missing or badly
Students are given lab time in sound-
S Sec. 1: Sat. 10 a.m.–1 p.m., Sept. 29–Nov. 17
cluding the use of scores, songs, musical executed. This certificate examines the
editing suites.
(8 sessions). Michael Antebi, art director.
motifs, ambient sound, as well as diegetic artistry that makes good visuals great— Although the range of special effects
and nondiegetic sound. Class discussions in film, video, broadcast, interactive that can be rendered digitally is virtually
include the relationship between a director Audio Production II With Pro Tools gaming, or on the Web. Learn how to limitless, there is an array of cost efficient
and a composer, how soundtracks add a X35.9482/$1,200 mix and balance dialogue, sound effects, effects that have been created during film-
psychological element to a film, and how and music in post-production. Study the ing. Whether in-camera or on set using
the use of Foley enhances a sense of fantasy role of sound effects, Foley (the techni- nothing more than smoke and mirrors,
M Sec. 1: Thurs. 6–9 p.m., Sept. 20–Dec. 6
or realism. This course is for cinephiles cal process of recording or altering gels and filters, along with CGI, discover
(11 sessions). No class Nov. 22.
and anyone interested in the dynamics sound for use in various entertainment the secrets behind many different types
Rick A. Van Benschoten
of audio and visual arts. In this intermediate Pro Tools course, stu- forms), soundtrack choices, and music
dents expand their skills and learn in depth of special effects. By viewing examples
supervision. Industry professionals teach in popular films and occasional visits from
about MIDI sequencing tools with the in- these courses through a combination of
Sound Design
dustry’s leading software for sound mixing industry professionals, learn how simply
lectures and hands-on experience using some of the most elaborate special effects
and editing. If you are interested in becom- Pro Tools in professional studio labs.
X35.9492/$900
ing a recording engineer or want to learn were created and how you can utilize some
Upon completion of the program, stu- of those concepts in your own work.
M Sec. 1: Wed. 6–9 p.m., Sept. 19–Nov. 28
Pro Tools for other applications—such as
dents have attained the following skills:
Powerful sound design helps create an sound mixing for film or music creation—
emotional effect on audiences by enhanc- this course offers a solid next-level learning • Familiarity with Pro Tools using 24-bit Shooting Green Screen
NEW
ing a film’s pace, tone, and feel. In this experience with the software to improve integrated digital recording, editing, X34.9231/$695
course, learn how to make sound effects your techniques. We also cover the process processing, and mixing tools.
and tracks for a film. Through the study of importing video in the form of Quick-
M Sec. 1: Mon. 6–9.45 p.m., Oct. 22–Nov. 26
• Understanding of every phase of
of effects and Foley, gain a thorough un- Time movies and synchronizing audio to
(8 sessions).
production, from input to final master. Shooting green screen allows filmmakers
derstanding of what it takes to create a on-screen video events. Our instructor
high-impact soundtrack. Gain hands-on helps you master techniques for recording • Knowledge of Pro Tools for nonde- to create anything from flying superheroes
experience using Pro Tools and walk away dialogues and Foley and teaches you ad- structive recording and editing, digital to an ancient battle without a Hollywood
knowing how to use sound to give projects vanced skills in processing, mixing, and mixing, loop recording, editing during feature budget. In this hands-on course,
emphasis and punch. Prerequisite: Basic mastering audio. Prerequisite: Audio playback, fade-ins and -outs, playlists students shoot DV footage on a green
computer literacy. Students are given lab Production I With Pro Tools/X35.9481 and customization. screen backdrop. Explore how to capture
time in sound-editing suites. or equivalent. Students are given lab images separately from the background
• Ability to work effectively with col-
time in sound-editing suites. and match lighting conditions, and how
laborators to establish tone in a piece.
visually arresting images can be used later
• Knowledge of how to conduct master- for compositing. This class exposes stu-
Music Supervision
X35.9491/$855 Reason: Electronic Music Production ful music research and procure previ- dents to the technical knowledge of how to
S Sec. 1: Mon. 6–9 p.m., Oct. 15–Dec. 10 X35.9493/$660 ously mastered material. set up and shoot green screen footage in a
(9 sessions). Jeanne Da Silva, music supervi- • Ability to produce powerful sound- studio and troubleshoot potential prob-
lems. The course is geared toward students
M Sec. 1: Mon. 6–9 p.m., Nov. 12–Dec. 17
sor, When Will I Be Loved, Dorian Blues. tracks and convincing sound effects.
Music supervisors work within all forms with a background in cinematography and
(6 sessions). Rick A. Van Benschoten, music
of audio-visual media to help set the tone lighting techniques and experience with
producer, audio engineer, Pro Tools specialist,
who complete four required courses.
of a production. Get an inside look at how DV technology. Prerequisite: Cinematogr-
sound designer.
Propellerhead’s Reason is a complete elec-
media producers, record labels, publishing aphy I/X34.9087or equivalent experience.
tronic music studio in one program, com-
companies, and performance rights soci-
REQUIRED COURSES
bining real-time and step-entry sequencers; Audio Production I With Pro
eties all work together to incorporate music
subtractive, graintable, and sample-play- Tools/X35.9481 (this page)
into today’s media. Learn about the field
back synthesizers; a drum machine and
of music supervision—including how to Audio Production II With Pro
loop player; a massive library of sounds;
identify appropriate music, clear licensing Tools/X35.9482 (this page)
a built-in mixer; automation tools; and
rights, conduct musical research, and pro- Sound Design/X35.9492 (this page)
numerous signal processors. Students gain
cure material. Find out how to leverage
in-depth, hands-on experience with Reason, Music Supervision/
your skills into a career, and determine
what it takes to break into the business. and learn about MIDI essentials and the in- X35.9491 (this page)
tegration of Reason with Pro Tools, the in-
dustry-standard digital audio workstation. Make sure you qualify for your certificate!

Commercial Compositing:
Live Action and Animation CERTIFICATE IN DIGITAL DOCUMENTARY PRODUCTION
X35.9462/$720 The NYU-SCPS documentary program provides the skills required for shorter-format hard
SPECIAL EFFECTS
M Sec. 1: Tues. 6.20–8.20 p.m., Sept. 25– news or full-length documentaries with New York City, the center for television news and
This certificate introduces the funda-
Dec. 4 (10 sessions). a busy market for documentary film, as the backdrop.
The compositor creates the last impression mental principles of digital special ef-
on a film, putting the finishing touches on fects and progresses to a familiarity with Contemporary Documentary
each shot to achieve seemingly impossible a variety of aspects of the discipline. CERTIFICATE IN X34.9424/$840
effects. In this class, learn the basics of Learn how to solve technical problems
compositing, focusing on the skills you with creative solutions using a number DOCUMENTARY PRODUCTION S Sec. 1: Wed. 6–9 p.m., Sept. 26–Dec. 19
need for 3-D animation. Discover how to of tools such as Shake, Combustion, and
(12 sessions). Anthony Kaufman,
unleash the full potential of Adobe After After Effects, the primary industry ap- In this hands-on program, students learn
writer, media critic.
Effects, as it is used by compositors. Find how to direct and produce a documentary Explore the roots of contemporary docu-
plications. Students also become famil-
out how to structure a project; how to re- film. The curriculum includes in-depth mentary, including cinema verité masters
iar with television and film standards
assemble 3-D animation in a 2-D compos- training in digital cinematography, digi- like Barbara Kopple, first-person essayists
of formatting.
iting space; how to use color depth, frames, tal audio, and Final Cut Pro; and classes like Ross McElwee, interrogators like
Upon completion of the program, Errol Morris, and iconoclasts like Michael
and fields; and how to integrate 3-D ani- on modern documentary history, concep-
students have mastered the following: Moore. Students survey practitioners of
mated and live-action footage. By the end tualizing a story, and understanding the
of the course, you are able to create a • Use of storyboarding to conceive practical aspects of budgeting, legal is- traditional genres such as music, biogra-
professional-looking 3-D animation. and visualize projects. sues, and distribution. In the final class, phy, and competition, as well as innovators
students direct their own short documen- and experimentalists.
• Advanced techniques of compositing,
motion design (graphics), and tary or sample for a longer film. The
program is led by a faculty of industry
Combustion
special effects. Documentary Development,
professionals who emphasize the skills
X35.9410/$900
• Proficiency in sound design Research, and Financing
needed to attain work or produce inde-
or technical directing.
M Sec. 1: Sat. 9.30 a.m.–1 p.m., Oct. 13–
pendently in the industry today.
X34.9425/$840
• Introduction to industry software
Upon completion of the program,
Scott Winston, technical director, S Sec. 1: Thurs. 6–9 p.m., Sept. 20–Dec. 13
such as Shake, Combustion, and
students have the following:
Alter Image, Edgeworx, UV Phactory. (12 sessions). No class Nov. 22. Thom Powers,
As part of Discreet’s suite of animation Adobe After Effects.
• Ability to produce, direct, edit, and
co-owner, Sugar Pictures, a documentary
products, Combustion is an affordable This certificate is awarded to students who shoot principal digital photography
production company.
software solution that has everything you successfully complete five courses— This lecture-based course is designed for
for a documentary. individuals interested in developing and
need to create motion graphics, composit- three required and two electives.
ing, and visual effects. Learn how to use • Planning, budgeting, fundraising, producing documentaries. Instructor Thom
its interface and extensive tool set to create REQUIRED COURSES production, editing, post-production, Powers, newly appointed international
powerful scenes in 2-D and 3-D environ- and marketing skills. documentary programmer for the Toronto
Storyboarding Workshop/
ments. In class, create complex animated X35.9675 (page 10) • Understanding of markets in theatrical, International Film Festival, discusses the
scenes and visual effects similar to ones television, international, educational, challenges of producing documentaries for
found in broadcast, commercials, and film. Commercial Compositing: Live HBO and PBS. Students focus on honing
and DVD formats.
Grasp the basics of compositing and creat- Action and Animation/ their ideas into viable projects by address-
X35.9462 (this page) This certificate can be completed in
ing graphic sequences, and how to create ing all the issues that precede shooting, in-
three semesters. This certificate is
stunning, professional-looking work. Sound Design/X35.9492 (page 6) cluding fundraising, research, contracts,
awarded to students who successfully
budgets, and more. Gain an understanding
complete seven required courses.
ELECTIVES (Choose two) of the structure and economics of the
Shake/X35.9461 (this page) screen industries, locally and internation-
Shake
REQUIRED COURSES
ally. Guest speakers include filmmakers,
Contemporary Documentary/
X35.9461/$870G
Combustion/X35.9410 (this page)
lawyers, fundraisers, and others who share
M Sec. 1: Sat. 2–5 p.m., Oct. 13–Dec. 15
Secrets of Special Effects/ creative, legal, and financial strategies.
Digital Video Production I/
Shake has played a crucial role in captur- X34.9230 (page 4)
X34.9921 (page 2)
ing the Academy Award for Best Visual After Effects: Fundamentals/
Documentary Development, Research,
Documentary Distribution
Effects for The Lord of the Rings: The X36.9230 (scps.nyu.edu)
Fellowship of the Ring and more. Favored and Financing/X34.9425 (this page)
and Marketing
for its high speed in processing and manip- Note: This certificate, formerly called Editing Documentary Footage/
X34.9427/$840G
ulating large volumes of images, Shake the Certificate in Visual Effects Com- X34.9429 (page 5) S Sec. 1: Wed. 6.30–9.30 p.m., Sept. 26–
maintains the highest quality and effi- positing, has been restructured. Students
Documentary Distribution and
Dec. 19 (12 sessions). Thom Powers
ciency. Learn Shake in order to enter the who began this certificate prior to fall What do you do when your documentary is
2007 have four years to complete their Marketing/X34.9427 (this page)
industry or improve your skills. Shake finished? This course surveys the five mar-
offers a range of 2-D features for film, certificate according to the requirements Master Class in Advanced ketplaces for documentary distribution:
broadcast, interactive games, and multime- in the SCPS Bulletin the semester they Documentary Camerawork/ theatrical, domestic television, interna-
dia effects applications. In this introduc- began. Call an education advisor at X34.9430 (page 8) tional, DVD home video, and educational.
tory course, create compelling imagery (212) 998-7171 for more information. Master Class in Advanced Find out how to deal with film festivals,
by developing proficiency in compositing, Documentary Editing/ sales agents, publicists, self-distribution,
color-correction, image transformation, X34.9431 (this page) website promotion, and more. Prereq-
and special effects. Topics include alpha uisites: Documentary Research, Devel-
Note: This certificate has been restruc-
channels, color processing, layering, trans- tured. Students who began this certifi- opment, and Financing/X34.9425, or
formations, and animation. cate prior to fall 2007 have four years equivalent knowledge.
to complete their certificate according
to the requirements in the SCPS Bulletin Master Class in Advanced
the semester they began. Call an educa-
tion advisor at (212) 998-7171 for more
Documentary Editing
information.
X34.9431/$280
W Sec. 1: Sat. 9.45 a.m.–5.45 p.m., Dec. 8.
Make sure you qualify for your certificate! In this intensive master class workshop, an
award-winning editor helps students hone
their skills in documentary editing.

Master Class in Advanced Anchoring, Interviewing, and Reporting

Documentary Camerawork X34.9174/$1,065 PRODUCING AND ENTERTAINMENT MANAGEMENT
X34.9430/$280 S Sec. 1: Mon. 6.20–9.20 p.m., Sept. 24– As business decision-makers in a creative industry, producers must understand the fi-
W Sec. 1: Fri. 9.45 a.m.–5.45 p.m., Dec. 7. Dec. 17 (12 sessions). No class Oct. 8.
nancial and creative aspects of filmmaking. Our program provides the skills producers
Scott Sinkler Nancy Reardon, on-camera coach; author,
Documentary camerawork differs consid- On Camera: Report From the Trenches, need to make sound decisions throughout the filmmaking process, from development to
erably from shooting scripted material. It How to Report, Anchor, and Interview. pre-production, production, post-production, and marketing.
requires a high degree of improvisation, Television anchors have to maintain com-
handheld skills, and sensitivity to the sub- posure in extreme circumstances, whether Producing One-Week Intensive
ject matter. In this all-day seminar, a vet- in the studio or out in the field. Reporters
eran documentary cinematographer shares must also be prepared to work within the
X34.9149/$995G
lessons from the field, breaks down scenes structure of new media such as video blog- M Sec. 1: Mon.–Fri. 9 a.m.–5 p.m., Nov. 12–16 (5 sessions). Steve Stockage, producer.
from films, conducts classroom exercises, ging and reports via internet streaming. In Beginning and prospective producers chart paths toward their goals in this intensive
and discusses different technologies and this course, gather the skills necessary to course. Understand producers’ core functions and responsibilities through an overview
lighting situations. Prerequisite: Basic perform at a professional level. Gain confi- of the creative, executive, and technical (line producing and production management)
knowledge of digital camera operation. dence as you work on camera, practice aspects of production and distribution. Grapple with challenging questions: how to de-
vocal and physical techniques, as well as termine a story’s artistic and financial worth; how to define the target audience; and
rehearsing hard and fast interviewing for how to accurately project production and marketing costs. Learn to analyze scripts and
TELEVISION AND stand-up reporting. It’s your chance to get stories to gauge costs; develop budgets; structure funding and raise funds; and enter
practical experience in the exciting field of into contracts with actors, executive producers, distributors, and others. Find out how
television and other media news. to get started as a producer and how to identify opportunities.
BROADCASTING
TV News Journalism Anchoring Workshop

The Entertainment Industry Film Marketing and Distribution
One-Week Intensive X34.9036/$650G
X34.9007/$785 X34.9088/$355
X34.9142/$995G S Sec. 1: Wed. Thurs. Fri. 9 a.m.–5 p.m.,
Nov. 7–9 (3 sessions). Nancy Reardon, S Sec. 1: Mon. 6.45–8.45 p.m., Sept. 24– S Sec. 1: Sat. 9 a.m.–5 p.m., Nov. 3.
S Sec. 1: Mon.–Fri. 9 a.m.–5 p.m., Dec. 17 (12 sessions). No class Oct. 8. William Thompson, senior vice president,
Gain an overview of the film, television,
on-camera coach.
In an intensive session, learn what it takes
Nov. 5–9 (5 sessions). Picturehouse.
Learn the art of creating and produc- to maintain composure during extreme cir- music, cable, satellite, and new media en- This course explores distribution strate-
ing a 60 Minutes-style news magazine cumstances, whether in the studio or in the tertainment industries. Learn how these gies; how distributors get films into the-
broadcast. Cover all facets of the field. Learn the skills necessary to perform entertainment sectors have developed, how aters; the advantages and disadvantages
process, from recognizing the ele- on camera. Gain confidence as you work they are structured, and the key business of self-distribution, cable, home video,
ments of a compelling story through on vocal and physical techniques, and strategies that are used to navigate the and ancillary rights; how majors institute
effective studio opening. Students find practice hard and fast interviewing for uncertainties of constant technological national campaigns; differences between
a story, sell it in-house, research and professionals, and stand-up reporting. change. After surveying each industry national circuits and local independents;
develop the story, and find the charac- Students create a final project based on separately, we map the integration of film, specialized marketing campaigns for inde-
ters to effectively tell it. A group of their expectations for taking the course. television, music, and new technology pendent and foreign films; how theaters
stories are chosen for production, firms into major conglomerates, such as decide which films to play; and the inter-
and production teams are assembled. Time Warner, Viacom, News Corp., and dependent relationship of production,
Learn about writing questions, the Enter the Blogosphere Disney. We then focus on emerging enter- marketing, distribution, and exhibition.
art of the interview, what to look for X34.9157/$720 tainment technologies and business models
when screening footage, how to struc- and how they are shaping the future of
ture and tell a story, and editing and entertainment.
V Sec. 1: Wed. 6–9 p.m., Sept. 26–Dec. 19 Entertainment and Media Business Plans
organization of the post-production
(10 sessions). Heath Row X34.9126/$725
Blogs have helped change the face of news
process. By the end of the course, stu-
by contributing to the democratized media
S Sec. 1: Tues. 6.20–8.20 p.m., Sept. 25–
dents have completed a finished piece.
Story Analysis for Producers
that emerged with the advent of the inter-
Dec. 11 (12 sessions). No class Dec. 12.
Prerequisite: Knowledge of Final Cut
X34.9131/$825
net. They provide an excellent opportunity
Rob Gould
Pro or Avid Express Pro. Editing soft- Getting a concept into production starts
for young journalists and writers to ex-
S Sec. 1: Tues. 6.20–9.20 p.m., Oct. 2–Dec. 4
ware and techniques are not taught. with a well-researched business plan.
press themselves independently. However,
(10 sessions). Till Schauder, filmmaker, pro-
the blogosphere can be an insular and
ducer, actor. While creating business plans and presen-
sometimes mystifying realm. This course Every successful film begins with a good tations in class, get inside strategies on
offers an insider’s look at the world of story and every experienced producer rec- how to raise capital, gain strategic part-
ognizes the importance of nurturing and ners, find distribution, and impress poten-
The Broadcast Television Industry
blogs, including their history, how to start
developing the screenplay. Learn to iden- tial board members. Develop a concrete
X34.9057/$725
your own, and how to make money from
S Sec. 1: Tues. 6.45–8.45 p.m., Sept. 25–
it. Students examine critical journalistic tify story structure, genre, theories of process for creating a business plan, and
Dec. 11 (12 sessions). John Dispenza, director
ethics issues unique to this new media narrative, and dramatic principles that un- learn how to generate a document that
of training and career development, ABC TV.
genre and receive instruction in how to derlie stories presented in movies and on gets your project noticed.
In this introductory course, students de- create and market your own blog. television. Producers must also consider
velop a well-rounded understanding of the allocation of budgetary resources and
jobs, trends, and how a broadcast TV sta- make creative, practical, decisions based
tion operates. Cover marketing and sales, on available funds. Examine development
programming, and creative services. The protocols, screenplay and teleplay formats,
effect and growth of new technologies and and how to adapt preexisting literary work
competitive distribution systems are con- for the screen. Through weekly screenings
sidered, as are networks, cable, and PBS. and analysis, gain the sophisticated tools
necessary for working with writers during
the development process and explore the
story editor’s role.

Entertainment Law for Producers Production Company Management

X34.9136/$825 X34.9138/$825 CERTIFICATE IN
S Sec. 1: Wed. 6.20–9.20 p.m., Sept. 26– S Sec. 1: Thurs. 6.20–9.20 p.m., Sept. 20– ENTERTAINMENT
Dec. 19 (12 sessions). Howard D. Leib, Dec. 13 (12 sessions). No class Nov. 22.
entertainment and intellectual property Nelle Nugent, producer. MEDIA MANAGEMENT
Gain a working knowledge of how to form
This certificate provides a solid under-
attorney; founder and CEO, Brain Camp.
Established or aspiring film and television a company that develops and produces
standing of the entertainment industry,
producers develop familiarity with enter- products for film and television. Create a
specifically in the areas of film and tele-
tainment law’s contracts and legal princi- handbook from coursework and handouts
vision or music. The program is de-
ples, and learn how to find and effectively that guide you through the formation, func-
signed to introduce the basics of the
work with an attorney to safeguard inter- tions, and operations of a development/
discipline while also teaching the tools
ests. We cover the basics of contract law production company. Understand the busi-
of the industry. Entertainment managers
and intellectual property law, including ness structure for developing, producing,
liaise with directors, producers, and film
copyrights and trademarks. Topics include and distributing films. And acquire a work-
distribution companies, and organize the
common provisions of entertainment con- ing lexicon of industry terms and terminol-
business development of productions.
NIELSEN CERTIFICATE
tracts, litigation and arbitration, acquisition ogy. Discover how to acquire properties,
Students extensively study the various
of rights, best practices in negotiation and develop a business, and prepare successful IN TV AUDIENCE
roles of management in the entertain-
dealmaking, shopping, and protecting your pitches. Learn about financing, corporate MEASUREMENT ment industry, and learn how to apply
project. We also review financing, distribu- structure (advisory team, sales, advertising,
this knowledge within the field.
tion agreements, development deals, pro- business affairs, and finance), and how to
In this specialized certificate program,
duction contracts, merchandising, and work with lawyers, agents, accountants, Upon completion of the program,
you learn the structure of the TV indus-
retainer and agency agreements. and talent. students have in-depth knowledge of:
try and the research methodologies used
to gather and report Nielsen ratings, as • The structure of the entertainment in-
TV Programs: Introduction to Producing well as other TV research techniques. dustry, including basic divisions of
The intensive includes both classroom labor, organizational structure, and
job responsibilities/hierarchies.
Developing and Producing X34.9509/$725
X34.9167/$835 work and internship experience at
broadcast and cable television networks. • The defining characteristics of their
S Sec. 1: Tues. 6.45–8.45 p.m., Sept. 25–
Recent students who have completed particular sphere within the industry,
S Sec. 1: Tues. 6.20–9.20 p.m., Sept. 25– Dec. 11 (12 sessions). No class Dec. 12.
This course provides an overview of the
this certificate were placed in positions the major venues by which new prod-
Dec. 11 (12 sessions). Cathrine Kellison,
core functions and responsibilities of film
at ABC, CBS, and the WB; Viacom’s ucts are bought and sold, and typical
producer.
How does someone with a great idea for a producers. Using one feature film script as
channel LOGO; and Nielsen Media business arrangements and legal con-
new program develop a successful project? a working project from week to week, stu-
Research. siderations.
This intermediate-level course is for those dents learn how the underlying principles
serious about developing, producing, and of film can be applied to, and adapted for, Upon completion of this certificate • How to put together an investment
pitching original nonfiction content for television and other entertainment media. program, students have knowledge of: package—a prospectus for a project,
network, cable, or nonbroadcast venues. Current and aspiring producers learn how • Basic structure and processes of the including a business plan, analysis,
We look at everything from breakdown to chart the most promising path toward TV programming and advertising and an estimated budget.
and budget lines to production, post- achieving their goals. We cover the creative, industries. • The entrepreneurial guidelines for
production, and marketing and promotion. executive, and technical (line producing creating businesses in a specific
• Technical language of TV advertising
Students present a professional-quality and production management) responsibili- industry sphere.
sales, buying, planning, and research.
proposal and deliver an oral pitch to indus- ties in all phases of production and distrib-
• Recurrent viewing patterns of the This certificate is awarded to students who
try professionals. You come away with a ution. Students grapple with challenging
TV audience. successfully complete five courses—
clearer understanding of the possibilities questions about determining the worth of
four required and one elective.
and realities of actualizing your project. the story, defining target audiences, and • Fundamental principles of social
projecting production and marketing costs. survey research. REQUIRED COURSES
Finance Management for Film and TV • Methodology used by Nielsen Media The Entertainment Industry/
Nielsen TV Research: Research to produce national and X34.9007 (page 8)
NEW
X34.9125/$725
local ratings.
Entertainment and Media Business
The Industry
• Primary data and software products
S Sec. 1: Mon. 6.20–8.20 p.m., Sept. 24–
Plans/X34.9126 (page 8)
X34.9234/$855
of Nielsen Media Research.
Dec. 17 (12 sessions). No class Oct. 8. Jon Fish,
Finance Management for Film and
CPA, manager–production finance, HBO. S Sec. 1: Wed. 6.20–9.20 p.m., Sept. 19–
Once a film or television show is given the Dec. 12 (12 sessions). Richard Zackon, • Elements of effective research TV/X34.9125 (this page)
go-ahead for production, the management charting and presentations.
Entertainment Law for Producers/
consultant, Nielsen Media Research.
of production costs becomes essential. This Receive an introduction to the current, This certificate is awarded to students X34.9136 (this page)
course is designed for producers, film and rapidly evolving landscape of the televi- who successfully complete three
television executives, production man- sion and advertising industries as well as required courses.
agers, department heads, finance profes- the intersection between TV programming
CORE ELECTIVES (Choose one)
sionals, and anyone interested in control, and commercials. Topics addressed in- Film Marketing and Distribution/
X34.9088 (page 8)
REQUIRED COURSES
management, and the cost reporting of film clude how media time is bought, how such Nielsen TV Research: The
and television production expenses. We media consumption is measured, and what The Broadcast Television Industry/
Industry/X34.9234 (this page)
cover best practices, industry standards, value this research has to programming X34.9057 (page 8)
and current trends for controlling costs, and advertising executives. This is the first Nielsen TV Research:
managing budgets and reporting costs and course in a three-part series to fulfill re- Measurement (spring 2008) Note: This certificate has been restruc-
variances to producers, studios, and fi- quirements for the Nielsen Certificate in tured. Students who began this certifi-
Nielsen TV Research: Internship and
nance companies. Topics are taught using TV Audience Measurement. cate prior to fall 2007 have four years
Advanced Topics (spring 2008)
case studies, guest speakers, and real- to complete their certificate according
world production and cost-control tools. to the requirements in the SCPS Bulletin
the semester they began. Call an educa-
tion advisor at (212) 998-7171 for more
information.

On Camera: Pilot Season Prep

CERTIFICATE STORY, THEORY, AND FILM THEORY X34.9800/$580
IN PRODUCING PERFORMANCE Sec. 1: Sat. 1–4.30 p.m., Sept. 29–Nov. 17
The Language of Film (8 sessions). Joanna Beckson, actor; director,
The producer’s role is often misunder-
X34.9504/$750 film, TV, and off-Broadway, including
stood. It reflects a combination of entre-
STORYBOARDING W Sec. 1: Mon. 6.20–9.50 p.m., Sept. 24– Ensemble Studio Theatre.
preneurship, managerial skills, and Dec. 17 (12 sessions). No class Oct. 8. The pilot, a sample episode of a television
creativity in the television and film in- Storyboarding Workshop Amresh Sinha, published film scholar; show, acts as a model for new program-
dustries. Step into the role of producer X35.9675/$540 documentary producer and director. ming that may be chosen by networks for
or assistant producer by applying the in- Critiquing and analyzing film requires a the following fall’s schedule. Learn what
depth core responsibilities and functions careful eye and an understanding of basic casting directors look for at an audition,
W Sec. 1: Thurs. 6–9 p.m., Sept. 20–
that producers perform and an under- film structure, grammar, sign, and syntax. find the comic and dramatic opposites in
Nov. 29 (10 sessions). No class Nov. 22.
standing of the underlying principles Examining a wide range of films—from your readings, improve your spontaneity,
Syr Ivan Bennett, storyboard artist,
of television and other entertainment feature-length narrative and documentary and discover the emotional center of any
Nickelodeon.
An essential skill employed by filmmakers, to animation and experimental—students
media. This certificate comprises three script. Gain new skills for successful audi-
designers, and animators to create com- begin to apply contemporary film theory
levels of classes that cover the creative, tions with in film and television, and build
pelling stories, storyboarding helps you to works studied in class. Directors such
executive, technical, and administrative your camera and auditioning skills in
thoroughly plan and visualize a project be- as Melies, Griffith, Ford, Welles, Godard,
responsibilities of a producer, and teaches weekly on-camera sessions. Watch your
fore it ever reaches production. By using a Renoir, Kurosawa, Kubrick, Scorsese, Errol
the skill set needed to become an effec- growth from week one to week eight and
series of sketches to establish key frames Morris, Maya Deren, and Wong Kar-Wai
tive member of a producer’s unit. learn what makes you “pop” on camera.
and continuity, you storyboard scenes from are among those covered. Movements in
Upon completion of the program, classic films to learn vocabulary, iconogra- film history, such as French new wave, film
students know how to: phy, and editing. Then create shot-by-shot noir, and surrealism, are surveyed to pro-
The Business of Voiceover
• Vet a script to determine budget. storyboards of your own project—whether vide students with relevant perspectives X34.8111/$600
a feature film, commercial, video game, or on recent developments in the form.
• Set up a budget, identify typical
animation—to lay out a ground plan for
S Sec. 1: Wed. 6.45–9.15 p.m., Sept. 26–
expenditure areas, and track
production. Students should bring a small
expenses during production.
drawing pad/notebook and a Col-Erase
NEW Cinematic Structure Johnna Gottlieb, consultant, voiceover
• Strengthen scripts. blue pencil or non-photo blue pencil to
X34.9232/$395 talent agent.
In this course, students prepare for careers
• Put together an investment prospectus the first class.
in the competitive and lucrative voiceover
S Sec. 1: Mon. 6.20–9.20 p.m., Oct. 15–Dec. 3
and identify likely investors. industry. Find out about different types of
(8 sessions).
Constructing a compelling narrative in
• Put together a winning pitch to a Storyboard Animatic Workshop
cinema is reliant on many factors. Editing, voiceover jobs and the rates that each are
network, cable channel, or studio. X35.9676/$725G dramatic structure, and the use of cinematic likely to pay. Learn how to develop a win-
• Read and create basic contracts and space all play an important role in a film’s ning marketing strategy, sign with the right
talent agency, and join the unions that gov-
M Sec. 1: Mon. 6–9 p.m., Sept. 24–Nov. 19
legal business agreements between the cinematic structure. By drawing on exam-
ern voiceover work. Listen to guest lectures
(8 sessions). No class Oct. 8.
different components of a production Animatic creation—the development of ples of historical and contemporary cinema,
company, the crew, and the investors. this class analyzes the patterns frequently by leading voiceover agents, artists, casting
computer-animated storyboards—is a skill
used to create this visual structure and ex- directors, and producers, and receive feed-
This certificate is awarded to students that is becoming more and more necessary
amines how these techniques can heighten back on your readings of voiceover copy
who successfully complete six courses— in the film and animation industry. With
meaning and tell a story to its greatest ef- from these industry professionals. Visit
four required and two electives. the creation of an animatic, budgets are
fect. Topics discussed include parallel ac- Startrax, the prestigious studio where com-
saved from bloating out of control, as shots
tion, slow disclosure, and moving versus mercials, trailers, promos, documentaries,
are previsualized with a moving storyboard.
static camera. Explore how the director and audio books are recorded.
REQUIRED COURSES
Introduction to Producing/ With the animatic, a sequence can be per-
uses these tools to convey a story visually.
X34.9509 (page 9) fectly timed and cut as the director judges
the merits of a sequence before allowing it
Finance Management for Film and
Voiceover Techniques
to be fully produced. By the end of class,
TV/X34.9125 (page 9) PERFORMANCE FOR X34.9809/$1,050
students construct a one-minute animatic
Entertainment Law for Producers/ using Flash, Photoshop, and After Effects.
Sec. 1: Wed. 6.30–9.30 p.m., Sept. 26–
FILM AND BROADCAST
X34.9136 (page 9) Prerequisites: Storyboarding Workshop/
Dec. 5 (10 sessions).
Do you have an interesting or distinctive
Production Company Management/ X35.9675 and basic computer skills.
voice and want to pursue being a voice-
Acting for Film and TV I
X34.9138 (page 9) X34.9196/$750 over artist? Work with an Academy Award-
Advanced Storyboarding nominated director to learn the craft. Each
week, you record in a top New York City
V Sec. 1: Tues. 6–10 p.m., Sept. 25–Dec. 11
ELECTIVES (Choose two) and Storytelling
Documentary Development, Research, studio with a trained sound engineer as
(12 sessions). Lisa Rothe, director, WNYC,
and Financing/X34.9425 (page 7)

X35.9009/$495
you prepare to make a demo, your calling
HERE NYC, Yale School of Drama.
In the competitive world of professional
Film Marketing and Distribution/ acting in New York City, you need to be card in this lucrative industry. In addition
W Sec. 1: Wed. 6–9 p.m., Sept. 19–Nov. 7
X34.9088 (page 8) memorable and work the camera to your to commercials, explore cartoon voices,
Storytelling is often a forgotten art in the narration, and industrial copy. Audition
Story Analysis for Producers/ world of digital animation. In this course, advantage so that your next audition lands
you the role. Whether you’re a theatrically techniques, copy reading, articulation,
X34.9131 (page 8) professionals and aspiring digital artists
trained actor looking to make the transition breathing, accent reduction, and interpret-
TV Programs: Developing and develop original ideas for short animated ing copy are some of the professional
from stage to screen or someone new to the
Producing/X34.9167 (page 9) film projects. Through discussion, critique, skills that you acquire. Casting directors
performing arts, this class provides you with
and practical application, participants learn visit class. Students must have access to a
the basic technique to build your confidence
Note: This certificate has been restruc- the art of storytelling. In-class brainstorm-
working in front of the camera. Exercises tape recorder or ability to create audio
tured. Students who began this certifi- ing and design, advanced storyboarding, include playing to the camera, preparing files on your computer.
cate prior to fall 2007 have four years and initial writing, combined with home- scenes, and fine-tuning your blocking.
to complete their certificate according work assignments, contribute to strength-
to the requirements in the SCPS Bulletin ening film concepts. By the end of the
the semester they began. Call an educa- semester, you have a completed script and
tion advisor at (212) 998-7171 for more storyboards. Prerequisite: Storyboarding
information. Workshop/X35.9675, or basic experience
in storyboarding.

GENERAL INFORMATION
GENERAL INFORMATION FEES AND PAYMENT

The refund schedule is as follows.
For non-degree courses (X numbers)
SCPS Non-Degree Advisement Non-degree Changes,
Certificate Programs Wondering What to Take?
Withdrawals, and Refunds and seminars (R--.7999 and below):
Certificates are highlighted throughout this Not sure what type of course best suits Additions (added courses) to your non- 1. Prior to the first session—
Bulletin in their respective subject areas, your needs? Having trouble navigating this degree program may be made by tele- 100 percent refund.
where the specific requirements and course Bulletin? Preregistration advisement is phone, fax, mail, online, or in person. 2. Student withdraws after one or two
sequences are outlined. Also, a compre- available over the phone, in person, or via Program changes (drop/adds) may be sessions of a course with six or more
hensive alphabetical listing of all certifi- e-mail. To reach an education advisor, call made via the Web, in person, or by fax. sessions—75 percent refund. No refund
cates can be found in the Index. (212) 998-7171 and press 5, or e-mail Withdrawals. Students who wish to thereafter.
Most SCPS certificate programs consist advice.scps@nyu.edu. withdraw from or for any reason find it
of four to six non-degree courses involving 3. Student withdraws after one or two
Other numbers to call: impossible to complete a non-degree sessions of a four- to five-session
100 to 200 contact hours (50-minute hours) • Outside New York City, (888) 998-7204. course should officially withdraw.
of instruction in a specified field of study. course—60 percent refund. No refund
• For course availability, schedules, and Requests to withdraw (drops only) from thereafter.
The following rules apply: class locations, call (212) 998-7200. non-degree courses can be made at any
• Students must satisfy the certificate pro- time via the Web at scps.nyu.edu; by 4. Student withdraws after more than two
gram requirements listed in the Bulletin mail, Office of Student Enrollment sessions of a four-session course—
published for the term in which they Information Service Services, NYU School of Continuing and no refund.
register for the first course toward the Professional Studies, P.O. Box 1206, 5. Student has attended any session of a
certificate. The SCPS information lines are open Stuyvesant Station, New York, NY one- to three-session course—no refund.
• Students must maintain a record of suc- Mon.–Fri., 9 a.m.–5 p.m. to help you find 10009-9988; by e-mail,
the program that suits your needs. Call For seminars and conferences (desig-
cessfully completed courses. Grade mail- scps.drop.course@nyu.edu; by
(212) 998-7171 for education advisement. nated as R--.8000 and above or begin-
ers can be requested at scps.nyu.edu at fax, (212) 995-3060; or in person,
(Hours are extended during registration ning with SCPS): Procedures and policies
the end of each term. 145 Fourth Avenue, 2nd Floor.
and the first week of continuing education for refunds vary by department.
• Program administrators may authorize in Merely ceasing to attend a class does
writing substitutions of specified courses classes.) Our advisors are available to an- not constitute official withdrawal, nor For online courses: Refunds for online
in individual situations (maximum of one swer inquiries about the school and its does notification to the instructor. courses are calculated differently from on-
substitution for a four-course certificate; programs or to direct calls to the appropri- Cancellation of payment does not consti- site courses. Students are eligible for a 100
two substitutions for a certificate requir- ate offices. If you would like to be added tute withdrawal, nor does it reduce indebt- percent tuition refund if they withdraw
ing five or more courses). to our mailing list for future Bulletins, call edness to the university; in this case, a from the course before the official start
• All courses to be applied to a given the Office of Student Enrollment Services penalty of $25 for late payment and $10 date. Students are eligible for a 60 percent
certificate must be completed, with at (212) 998-7200 and leave your name for stop-payment (subject to change with- tuition refund if they withdraw from the
weight grades (A, B, or C). See individ- and address with our 24-hour automated out notice) must be charged. Students of course before having logged into the
ual listings for details. attendant. any other NYU school must withdraw course four times or within the first two
• Certificates must be completed within a You may also obtain schoolwide from SCPS courses through SCPS. weeks of the course. After the fourth login,
period of four academic years from initial general information or request a Bulletin or the second week, students are not eligi-
by visiting our website at scps.nyu.edu, or Refund Policy. Refunds are computed
date of registration. ble to receive any tuition refund for
e-mailing your name and address to based on the date and time the written or
• Regular class attendance is required in courses taken through SCPS.
scpsinfo@nyu.edu. electronic notice of withdrawal is received
order for a course to be used toward a by the Office of Student Enrollment
certificate program. To receive information about the school
in person, visit the Office of Student Services. In addition, refunds for non-de-
• Courses taken at SCPS may be applied to gree courses and seminars are based on
Non-Degree Registration Fees
fulfilling the requirements of only one Enrollment Services, 145 Fourth Avenue,
Room 214, Mon.–Fri., 9 a.m.–5 p.m. Please the number of class sessions for the course For non-degree courses (designated with
school certificate program. No transfer that have met between the time of registra-
refer to the inside front cover for extended an X number), the registration fee is either
work or waiver of the total number of tion and withdrawal.
hours. $10 or $20, depending on the total cost of
courses required is permitted.
Withdrawal does not necessarily entitle a the course or courses for which you apply.
• Students are not permitted to be enrolled
student to a refund—nor to a cancellation If the total of your tuition is $99 or less,
in full-time intensive certificate programs
of tuition still due. your registration fee is $10. If the total of
at the same time that they are registered
your tuition is $100 or more, the fee is $20.
in SCPS degree or diploma programs or
The maximum $20 registration fee is pay-
in other schools of the university.
able only once each semester, no matter
• Only one certificate may be issued in a
how many times you add courses. Regis-
given semester.
tration fees are nonrefundable.
• The name printed on the certificate will
For conferences and seminars (desig-
match the name on the student’s NYU
nated with an R number), the cost for reg-
transcript.
istration services is included in the tuition.
• To receive a certificate, students must
Note: This fee schedule does not apply
submit a request in writing or electroni-
to the programs requiring Credit
cally to SCPS Office of Student Enroll-
Registration.
ment Services within one year of program
completion. See the Certificate Request
Form above.
• Approval for exception to any of the ab-
ove requirements must be obtained in ad-
vance in writing from the program office.
Note: Departments may establish more
stringent requirements for their programs.
Check individual listings for details.

R E G I S T R A T I O N F O R M
Registration, Fall Term, 2007. MAIL TO: SCPS Office of Student Enrollment Services, New York University, P.O. Box 1206, Stuyvesant Station,
New York, NY 10009-9988. FAX: (212) 995-3060. Mail and fax registrations are accepted throughout the semester for late starting courses;
mail registrations must be postmarked two weeks before the course start date. REGISTER EARLY FOR BEST COURSE SELECTION.
PRINT NAME (LAST) (FIRST) (MIDDLE INITIAL) NYU STUDENT ID NO. BIRTH DATE FIRST ATTENDANCE IN SCPS?
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*Registration fee for courses beginning with the prefix “X”: $10 on $99 total tuition, $20 on totals of $100 and above (regardless of number of courses for which you are registering).
Do not include courses beginning with an “R” in calculating your fee; “R” courses are exempt.
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REGISTER EARLY FOR THE BEST SELECTION OF COURSES. COMMONLY ASKED QUESTIONS.
WEB WHAT INFORMATION DO I NEED TO REGISTER BY PHONE?
You can register online with NYU’s Student Information System via the Internet. Visit scps.nyu.edu • Course title, course number, and course section.
to access the Web-based registration and information system at NYU. Online registration requires • Your mailing address, e-mail address, and telephone number.
payment by credit card. Consult the inside front cover for complete information. • Your credit card (Visa®, MasterCard®, American Express®, or Discover® cards).
MAIL OR FAX WHAT ABOUT LATE FEES?

There are no late fees for non-degree courses. But remember, register early for best course selection and
1 Use the Registration Form to register for non-degree courses with course numbers beginning with the
availability.
prefix “X” and for seminars beginning with the prefix “R.” Do not use this form to register for credit
courses (prefix “Y” or “Z”), conferences (prefix “SCPS”), or for courses of the American Language HOW DO I DROP OR ADD COURSES?
Institute (ESL courses).
You may drop a course by phone (212-998-7171), by mail and in person (145 Fourth Avenue, 2nd Floor, New
2 Find the course(s) you want to register for and note: York, NY 10003), by e-mail (scps.drop.course@nyu.edu), or by fax (212-995-3060) up until one day before
• Course title. • Course number and section. the course start date. If you call, we must have a written request to process your withdrawal. Please consult
• Days and hours of the course. • Course fee. our refund policy in the Registration section of this Bulletin for drops made after the start of class. You may
Transfer this information to the registration form. add a course by telephone, fax, the Web, or in person.
3 Type or write clearly and make sure you copy your credit card information accurately. MAY I USE A COMPANY VOUCHER TO PAY FOR MY CLASS?
Mistakes can delay your registration.
Yes, as long as your company does not qualify payment based upon completion of coursework with a passing
4 Be sure to include your phone number and e-mail address so that we may contact you if there are any grade. We accept purchase orders, vouchers, and letters of authorization as payment for tuition in credit and
questions. non-degree courses. Please send the voucher with your registration.
5 Place the registration form in the postage-paid envelope provided or fax the form to (212) 995-3060.
CAN I SPEAK TO AN ADVISOR BEFORE I REGISTER?
TELEPHONE Yes. If you need help deciding what to take or whether you need a course or certificate, our education
advisors are available over the phone at (212) 998-7171 (press 5), or via e-mail at advice.scps@nyu.edu.
1 For your convenience and to have a written record for yourself, fill out the course information section of
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2 Have your credit card handy.
3 Note the code in the upper right corner of the registration form; the registration operator will ask you for it.
4 Dial (212) 998-7171 and press 3 for express registration, if you know the course you would like to take.
If you have questions about course curriculum or your registration, press 5 to speak with an education
advisor.

Nyu Scps-Fall 2007

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NEW YORK UNIVERSITY BULLETIN

SCHOOL OF CONTINUING AND PROFESSIONAL STUDIES

FILM, VIDEO, AND BROADCASTING

The following information is taken from

WEB: scps.nyu.edu MAIL FALL TERM

NOT SURE WHAT TO TAKE? WE WELCOME

NEED TO CHECK CLASS NEED TO DROP A COURSE?

WEB SCPS.NYU.EDU | E-MAIL SCPSINFO@NYU.EDU

FILM, VIDEO, AND BROADCASTING CAREER NIGHT

Our offerings in Film, Video, and Broadcasting include: Film Production I

tem to help fellow students complete indi-

M Meets at NYU Midtown Center, 11 W. 42nd St.

FOR MORE INFORMATION OR TO REGISTER: (212) 998-7171 1

Film Production II Digital Video Production I

2 WEB: SCPS.NYU.EDU E-MAIL: SCPSINFO@NYU.EDU

FILMMAKING INTENSIVE PROGRAMS DIGITAL VIDEO PRODUCTION INTENSIVE PROGRAMS

Filmmaking Four-Week Intensive Digital Video Production 12-Week Intensive

and is based on demonstrated achievement in previous SCPS filmmaking courses and

FOR MORE INFORMATION OR TO REGISTER: (212) 998-7171 3

CINEMATOGRAPHY CERTIFICATE IN CINEMATOGRAPHY

aesthetics of cinematography, sessions popular as a tool, having been used in pro-

4 WEB: SCPS.NYU.EDU E-MAIL: SCPSINFO@NYU.EDU

and the editor’s art. The course aims to

your production. Prerequisite: Knowledge OR

and develop expert-level skills in Final Cut

FOR MORE INFORMATION OR TO REGISTER: (212) 998-7171 5

Audio Production I With Pro Tools

Analysis of Cinematic Sound 24-bit integrated digital recording, editing,

6 WEB: SCPS.NYU.EDU E-MAIL: SCPSINFO@NYU.EDU

their skills in documentary editing.

FOR MORE INFORMATION OR TO REGISTER: (212) 998-7171 7

Master Class in Advanced Anchoring, Interviewing, and Reporting

TV News Journalism Anchoring Workshop

8 WEB: SCPS.NYU.EDU E-MAIL: SCPSINFO@NYU.EDU

Entertainment Law for Producers Production Company Management

FOR MORE INFORMATION OR TO REGISTER: (212) 998-7171 9

On Camera: Pilot Season Prep

and Financing/X34.9425 (page 7)

10 WEB: SCPS.NYU.EDU E-MAIL: SCPSINFO@NYU.EDU

GENERAL INFORMATION FEES AND PAYMENT

FOR MORE INFORMATION OR TO REGISTER: (212) 998-7171 11

Discover® CARDS MASTERCARD® VISA® AMERICAN EXPRESS® EXPIRES __________________________________________

TUITION + REGISTRATION FEE=TOTAL

YOUR TITLE _______________________________________________________________________________________________________ FAX NUMBER ( ) _________________________________ E-MAIL___________________________________________________

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COMPANY NAME____________________________________________________________________________________________________ DOES YOUR COMPANY OFFER TUITION REIMBURSEMENT? _____________________________________________________________________

CITY___________________________________________________________STATE ______________ZIP ___________________________ MUST BE JOB-RELATED CREDIT ONLY OTHER ______________________________________________________________

USE THIS FORM TO REGISTER. HERE ARE ANSWERS TO SOME

MAIL OR FAX WHAT ABOUT LATE FEES?

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YOUR TITLE _______________________________________________________________________________________ FAX NUMBER ( ) _ E-MAIL___________________________________

YOUR DIVISION OR DEPARTMENT______________________________________________________ TYPE OF BUSINESS _ NUMBER OF EMPLOYEES _

COMPANY NAME________________________________ DOES YOUR COMPANY OFFER TUITION REIMBURSEMENT? _

CITY_____________________________________________STATE ZIP _ MUST BE JOB-RELATED CREDIT ONLY OTHER ________________________________________________