Two-Year Accelerated
MASTER OF FINE ARTS
in CINEMATOGRAPHY
MFA Cinematography students gain hands-on experience filming as a crew using a dolly and a RED camera.
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LOCATION
LOS ANGELES, CALIFORNIA
Location is subject to change.
For start dates and tuition, please visit nyfa.edu
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MFA Cinematography
C
inematographers are the visual poets of the film industry. The cinematographer
works with the director to design a visual approach that best translates the
words written on the page into a series of compelling shots and sequences.
Using light, lenses and a variety of production and post-production tools, the
cinematographer paints the directors vision. Often, it is the powerful imagery created by
the cinematographer that touches viewers and stays with them forever.
At the New York Film Academys Master of Fine Arts (MFA) Cinematography graduate
degree program, our curriculum is designed to immerse students in both the technical
and artistic demands of shooting films, television shows, and projects for emerging
media such as web series.
Students follow a rigorous program of classroom
study, self-directed projects, instructor-led Production
Workshops, and school-facilitated collaboration that
teaches them how to work constructively with crew
members and a projects director to best realize a
story visually. As a result, students gain extensive
experience learning how to overcome the many
technical challenges they will encounter on set.
This two-year, four-semester graduate program
is designed to instruct gifted and hardworking
You make the movie through the prospective Directors of Photography in a hands-on
cinematography - it sounds quite a and professional environment. Offered exclusively at
our Los Angeles campus, the MFA in Cinematography
simple idea, but it was like a huge
program provides a unique setting for the development
revelation to me. of both the creative vision and technical mastery
- Nicolas Roeg necessary to be a professional cinematographer.
In our MFA cinematography program, students gain a working knowledge of the full range of film and digital
formats by mastering a wide range of camera systems (16mm, 35mm, HD, and RED) and professional lighting
packages used by todays working cinematographers. Upon graduation, students are able to confidently
supervise the creation of sophisticated lighting schemes and work with a variety of cameras and lenses that
are required for particular projects. Most importantly, they will be able to effectively harness the visual tools
of cinema to tell meaningful stories.
Students study under and work with the Academys award-winning faculty of professional cinematographers
who assist students not only mastering the technical and artistic skills required of a Director of Photography,
but also provide insight into the current industry trends and professional realities of the industry to best
prepare students to achieve their goals after graduation.
QUALIFIED STUDENTS HAVE THE OPTION OF COMPLETING COURSE WORK AT THE NEW YORK
FILM ACADEMY IN NEW YORK CITY IN A ONE-YEAR NON-DEGREE PROGRAM AND THEN APPLYING
THEIR COURSE WORK TO BE ACCEPTED FOR ADVANCED STANDING IN THE MFA CINEMATOGRAPHY
DEGREE PROGRAM.
Please Note: curriculum and projects are subject to change and may vary depending on location.
Students should consult the most recently published campus catalog for the most up to date course information.
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As part of their training, Cinematography students learn to
operate and shoot with 35mm professional film cameras
WHAT YOU WILL LEARN WHAT YOU WILL ACHIEVE
Upon completion of the MFA Cinematography program SEMESTER ONE
at the Academys campus in Los Angeles, students will Photograph a 35mm still photo project, two short
demonstrate the following skills and know-how: 16mm films, and an HD music project.
Crew on colleagues films as Gaffer, Camera
Demonstrated mastery of lighting techniques for both
Assistant, Key Grip and Camera Operator.
soundstage and practical locations including ability to
convey a time of day, location, and mood in service of Photograph either a Semester One Film or a
telling the story. Filmmaking Collaboration.
In-depth knowledge of post-production workflows for SEMESTER TWO
various imaging systems, including knowledge of the Photograph a showcase project using 35mm film,
elements required for final delivery. and the Sunrise/Sunset project making use of only
available light.
A working knowledge of the current state of the
industry in all of its permutations, including emerging Photograph a Semester Two final project using the
forms in the television and internet markets. Red Dragon digital cinema camera.
Excellent collaborative skills in working with directors SEMESTER THREE
of all experience levels. Photograph a short showcase project using the
A competitive reel demonstrating a body of work that is Arriflex Alexa camera.
of professional quality in its content and presentation. Photograph the Semester 3 film in a format of the
Demonstrate both the creative capacity to pre- students choice.
visualize a complete narrative film and the technical Crew in key position on classmates films.
ability to execute this vision consistently over the
course of a production. SEMESTER FOUR
Photograph a thesis film.
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MFA Cinematography
COURSE DESCRIPTIONS
YEAR ONE OVERVIEW
In Year One, MFA Cinematography students are immersed in a concentrated schedule of classroom
learning, teacher-supervised workshops, and outside projects. This regimen presupposes no prior
knowledge of Cinematography, but aims to have students confident in the fundamentals of exposure,
composition, set-etiquette and lighting by the end of the year.
CINEMATOGRAPHY PRACTICUM I
In this course, students test all of the camera, lighting,
SEMESTER ONE and storytelling techniques they have been learning.
Under direct faculty supervision, students will be
INTRODUCTION TO MOTION PICTURE
given the opportunity to shoot and edit several short
CAMERA TECHNIQUE
projects which may include short narratives and scenes,
In this class, students will learn best practices for commercials and music videos.
building and utilizing the cameras in the NYFA
cinematography curriculum, including the Arri-S, POST-PRODUCTION FOR CINEMATOGRAPHERS
Arri-SR, Canon 5D, and RED Scarlet cameras. This course familiarizes students with editing, post-
production workflow, and color correction in order to
FUNDAMENTALS OF LIGHTING maintain integrity of a creative vision from pre-production
Students will be introduced to the basic tools to the final release. Students learn the basics of digital
and techniques of motion picture lighting. Topics editing, color correction, image effects, and proper
including high-key vs. low-key lighting, bright and workflow for handling digital media.
dark scenes, indoor day/night, and outdoor day/
night will all be explored from both an expressive and DIRECTING FOR CINEMATOGRAPHERS
practical approach. Through lectures, discussions, in-class exercises,
outside readings, and film viewings, students will learn
about the job of the director and gain an overview
of the film production process. Emphasis will be
placed on interpreting screenplays from a Director of
Photographys perspective.
FORM & FUNCTION I
This course provides an exploration of both the technical
and artistic elements of film and digital motion picture
cinematography. Students will examine images from
different visual media as they relate to form and content.
Emphasis is placed on a rigorous critique process where
the students work is evaluated and discussed.
HISTORY OF CINEMATOGRAPHY I
This course looks at the development of the art of
cinematography, with an eye toward the progression of
the cinematographic form from early still photography
to modern digital media. Students will screen classic
films and discuss how techniques of storytelling have
changed as technology has evolved.
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Cinematography MFA
SEMESTER TWO
35MM CINEMATOGRAPHY STEADICAM AND
Students are trained in the proper use and operation of CAMERA ASSISTANT SEMINAR
35mm cameras and accessories, applying the skills they This course examines the critical and challenging
have learned in 16mm and digital photography to this classic vocations of both the Camera Assistant and Steadicam
high-resolution format. This class will demystify the process Operator. Led by experienced professionals from
of designing, shooting, and editing scenes on 35mm. both crafts, the seminar exposes students to the
best practices of the trade, including managing
ADVANCED LIGHTING
professional film and video camera checkouts,
Building upon the basic skills of exposure, composition, and
advanced focus pulling, calculating for speed ramps,
shot design learned in the first semester, students expand
and best practices for film inventory and paperwork.
both their skills and toolsets. Working with new equipment
Students learn the proper setup and operation of
such as HMI Lights and fluorescent fixtures, students will
the Steadicam system and explore the theory and
learn how to create sophisticated
practice of effectively moving the
and nuanced lighting setups that
camera in a narrative context.
serve a storytelling function. A film is never
really good
CINEMATOGRAPHY
unless the camera is an ADVANCED MOTION PICTURE
PRACTICUM II eye in the head of a poet. CAMERA TECHNIQUE
Combining together all the elements Students learn the 35mm and RED
of the second semester program - Orson Welles Epic Dragon camera systems before
in a practical hands-on workshop, they have the opportunity to use
these production exercises allow them in their individual projects.
students to shoot scenes with a NYFA Instructor serving Topics include setting up the cameras in multiple
as Director. Students rotate through crew positions, configurations, lens selection, workflow and
allowing them to cultivate real world experience with the relationship of the camera operator, dolly grip, and
35mm and RED camera packages. focus puller.
POST-PRODUCTION FOR CINEMATOGRAPHERS II FORM & FUNCTION II
Students explore the world of post-production from Continuing to function as a home room for
a cinematographers perspective by examining post- cinematography students, this course remains
production workflows for emerging formats (including the the forum for students to prepare and screen
RED Epic Dragon) as well as participating in a professional their individual projects, evaluate the work of
color correction session of their 35mm footage. Students professional cinematographers, and examine
will learn advanced techniques for color correction, and contemporary issues in the world of professional
the process for creating different looks. motion picture photography.
STAGE LIGHTING WORKSHOP HISTORY OF CINEMATOGRAPHY II
Focusing on the specific craft of set lighting, students will Continuing from the first semester, students focus
learn the fundamentals of designing shots and lighting on studying the masters of cinematography.
in a sound stage environment. Under the supervision Students will screen the work of the great DPs and
of an experienced Director of Photography, students examine how certain pivotal cinematographers
gain first-hand experience with designing daytime and have influenced the art form over the years.
nighttime interior lighting schemes inside the controlled Assignments and discussions will analyze the
environment of a soundstage. Advanced dollies are elements of visual style employed in both classic
incorporated into the workshop, expanding the students and contemporary films.
ability to move the camera.
Go Online at nyfa.edu for more information. 79
MFA Cinematography
YEAR TWO OVERVIEW
Second Year MFA candidates in Cinematography continue to strengthen their
cinematographic skills, building their reels and developing their creative voices. There is an
increased emphasis on collaboration with other filmmakers as the MFA candidate prepares
to enter the profession.
MASTERS LIGHTING
SEMESTER THREE Students continue to explore the latest
lighting technology, working with larger
FORM & FUNCTION III
lights including 10K fresnels, 4K HMI PAR
Continuing from the first two semesters, this course provides lamps, and multi-bank Maxi Brutes. They will
the central venue for preparing and screening individual be taught the safe assembly and operation
projects, examining the work of other cinematographers, of the power distribution systems required
and investigating contemporary issues in the world of for these powerful lights, including the use
professional cinematography. A rigorous critique process of of motion picture generators. Emphasis
students work forms a cornerstone of this class as students is placed on electrical safety and crew
begin their preparation to shoot thesis films in semester four. organization within the Hollywood system.
Using their own projects as templates,
REALITY TELEVISION, DOCUMENTARY,
students are encouraged to experiment and
& WEB CONTENT
plan out shooting and lighting designs for
Students apply their skills as cinematographers to upcoming projects.
the increasingly popular formats of reality television,
webisodes, and more traditional documentary productions. CINEMATOGRAPHY PRACTICUM III
Students receive formal instruction in the etiquette and Students continue photographing projects
ethics of covering real life events, fast methods for setting helmed by a member of the NYFA
up interviews, filming for the small screen and web faculty. Building upon the fundamentals
content, and techniques in covering an event with multiple of cinematography acquired in previous
cameras. Students will be able to put this training into semesters, these projects will be far more
practice by filming a documentary project and preparing a challenging and demanding. Students should
collaborative web series. expect rigorous schedules and projects that
will push them to continue growing as artists.
MASTERS CAMERA TECHNIQUE
Emphasis is placed on the students ability to
Building on their knowledge of digital cinema cameras, pre-visualize a look for the project, and then
students work with cutting-edge camera technology. They execute this look during the workshop.
complete shooting tests to compare numerous professional
cameras and formats, as well as the latest developments in CINEMA STUDIES
lenses and filters. Additionally, the students are introduced This class challenges students to examine a
to advanced camera movement devices including jibs, film by studying its formal content, historical
cranes, and remote hot head control systems. Students context, narrative form, and larger directorial
use geared heads and advanced dollies, constructing leitmotifs. Students will be introduced to the
intricate camera moves that require precise camera main contemporary themes and lexicon in the
operating. Intensive class exercises will prepare students Cinema Studies discipline. While addressing
to apply these skills in a narrative context on their future the core issues in the field, the course will also
projects. Through a greater understanding of both camera investigate the place of the cinematographer
and grip equipment, cinematography students will be in film history. Each student completes a final
further prepared to fulfill their role in production. paper and oral presentation.
80 The most hands-on intensive programs in the world.
Cinematography MFA
SEMESTER FOUR NAVIGATING THE INDUSTRY
As students prepare for their transition from the academic
THESIS DEVELOPMENT WORKSHOP environment, this course provides practical guidance on
This course focuses on preparing the student the different ways that cinematographers function in the
to shoot the thesis project. Students serve as a entertainment industry. Students build their professional skill
cinematographer on a NYFA MFA Filmmaking set, addressing topics including promotion and networking
or Producing students Thesis film or on a self- (traditional and social media/web presence), career advice,
produced project. Students research, plan and etiquette in collaboration, and emerging opportunities in new
present their thesis preparation process, and media. This course includes guest lectures, as well as guidance
shoot and screen photographic tests for their in preparing a final reel for emerging cinematographers to
upcoming thesis projects. The look book detailing use in beginning their careers.
every visual dimension of the Thesis will be
researched and critiqued in this forum and in CINEMATOGRAPHY PRACTICUM IV
Thesis Committee meetings. Towards the end of Building on their experiences from previous semesters,
their graduate program, students will be critiqued students will now be expected to work at a professional
on their reels and websites. level. Projects are designed to challenge talented
cinematographers. Students must plan on working with
HISTORY OF CINEMATOGRAPHY III demanding directors at a fast pace. Work should be of a
This course explores the cinematography in high photographic quality and provide material that can be
films outside the traditional canon. Short films, used on a students reel.
documentaries, low-budget, and experimental
films will be studied, each one paired with a OPTICS OF LENSES AND CAMERAS
more prominent movie that was informed by This course explores the practical applications of
their aesthetic. Students will engage with this mathematics in cinematography. The nature of light is
broader palette of films, providing a breadth of thoroughly discussed along with the important fields of
techniques and narrative forms to add to their photometry and radiometry. Various formulae used in
repertoire. Informed by the Cinema Studies cinematography, such as those used to calculate focal
class, students will analyze a film of their choice length, f-stop, thin lens formula, depth of field, circle
for their final written paper. of confusion, and others, are all investigated in detail
and fully derived to ensure the students thorough
CINEMATOGRAPHY FOR DIGITAL EFFECTS understanding of these fundamental concepts. Laboratory
Designing and integrating production photography exercises involving Lens Design software and practical
with CGI elements is becoming more essential to investigations of cameras and lenses are also integrated
the modern cinematographer. Students will design within the course.
lighting and compositions for integration with
multiple layers of computer graphics, and address
how to photograph green screens in a variety
of situations including moving shots. Students
explore the history of visual effects photography up
through modern digital practices.
Topics include lighting for
miniatures, special lighting
effects such as fire and
lightning, and creating
professional visual effects on
a restricted budget.
