nyu scps-fall 2007

NEW YORK UNIVERSITY BULLETINSCHOOL OF CONTINUING AND PROFESSIONAL STUDIES

The following information is taken fromthe fall 2007 SCPS bulletin. Please notethat changes are made to course sched-ules, and new offerings are added on acontinuing basis. Visit our website for themost up-to-date program information:

www.scps.nyu.edu

FILM, VIDEO, AND BROADCASTINGFALL 2007

NOT SURE WHAT TO TAKE?Need advisement on a non-degree course or certificate, or need help deciding what to take?Our education advisors are available to help you by phone, by e-mail, or in person (145 Fourth Avenue).

Call: (212) 998-7171

E-mail: [email protected]

WEB: scps.nyu.edu24 HOURS A DAYPayment: Visa, MasterCard,Discover, American Express

TELEPHONE: (212) 998-7171Monday–Friday, 9. a.m.–5 p.m.*Extended hours until 7 p.m.,Monday–Thursday, September 4–27.Payment: Visa, MasterCard,Discover, American Express

FAX: (212) 995-306024 HOURS A DAYPayment: Visa, MasterCard,Discover, American Express

MAILMail registrations are accepted throughout the semester and must be postmarked at least two weeks before the course start date.Payment: Visa, MasterCard, Discover,American Express, Check

IN-PERSON REGISTRATION145 Fourth Avenue, 2nd Floor(between 13th and 14th Streets)Monday–Friday, 9 a.m.–5 p.m.*Extended hours until 7 p.m.,Monday–Thursday, September 4–27.Payment: Visa, MasterCard, Discover,American Express, Check

* Telephone and in-person registration may be suspended or altered due to holiday observance.

THAT FITS YOUR ACTIVE LIFESTYLE

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.

FALL TERMCALENDARFall Classes BeginWednesday, September 19

Columbus DayMonday, October 8All classes cancelled.

Thanksgiving EveWednesday, November 21All classes cancelled except NormanThomas and Manhattan Village Academy.

Thanksgiving RecessThursday–Sunday, November 22–25All classes cancelled.

WE WELCOMEYOUR FEEDBACKAt NYU-SCPS, students are our number one priority. That’s why we want to hear about yourexperiences with SCPS. We invite your questions,comments, and suggestions.

Call: (212) 998-7171

Web: scps.nyu.edu/feedback

FLEXIBLE REGISTRATION

NEED TO CHECK CLASS LOCATIONS OR TIMES?You can log on to your online account atscps.nyu.edu to view your course details,including class locations, room numbers,dates, and times, or call the number below.

Call: (212) 998-7200

NEED TO DROP A COURSE?You may drop a course by mail and in person(145 Fourth Avenue, 2nd Floor, New York, NY10003), by e-mail, or by fax up until one day be-fore the course start date. If you wish to withdraw from a course after the first class has met, please consult our refund policy in the Registration section of this Bulletin.

E-mail: [email protected]

Fax: (212) 995-3060

WEB SCPS.NYU.EDU | E-MAIL [email protected]

Film Production IX34.9510/$1,395

S Sec. 1: Wed. 6–10 p.m., Sept. 19–Dec. 19(13 sessions). No class Nov. 21. Marc DeRossi,producer, director, and editor of shorts, features,documentaries, and industrials.

In this introductory, practical workshop in 16mm filmmaking without sync sound,you have an opportunity to write, produce,direct, and shoot film, and edit on digitalnonlinear editing systems using Final CutPro. The class works in small productioncrews within a rotating responsibility sys-tem to help fellow students complete indi-vidual projects. In the final project, youcreate your own film with transition effects,music, and credits. Film projects are trans-ferred to digital video and provided to students. Prerequisite: Techniques andTechnologies/X34.9220, which may betaken concurrently, or equivalent knowledge.Equipment, allotted film raw stock withlaboratory processing, film-to-tape trans-fers, videotapes, and other supplies provided.

PRODUCTION

Techniques and TechnologiesX34.9220/$725

S Sec. 1: Thurs. 6.45–8.45 p.m., Sept. 20–Dec. 13 (12 sessions). No class Nov. 22.Willie Bruno, video engineer and camera operator.

S Sec. 2: Mon. 6.45–8.45 p.m., Sept. 24–Dec. 17 (12 sessions). No class Oct. 8.Morten Parker, writer, producer, director,Academy Award nominee.

In filmmaking, behind every artistic visionlies a team of technologists who are able tomake it happen. As an essential first steptoward a career in film, learn the basic the-ories of film production. From analog todigital, discover the technical side of pro-duction in a series of evening lectures anddemonstrations. Survey the techniques thatfilmmaking was built upon, then take alook at today’s emerging technologies.

Production Sound for FilmX34.9071/$695

S Sec. 1: Sat. 10 a.m.–5 p.m., Oct. 6–27 (4 sessions).

Do you want to produce high quality soundfor your film, or learn how to record soundfor production? Get hands-on training inthis intensive course, and create professionalquality sound using analog, digital recorders,and microphones. In lectures and demon-strations, delve into the crucial relationshipamong sound, camera, and action. Learntechniques to record and mix sound fordocumentaries, feature films, narration,and sound effects. Prerequisite: FilmProduction I/X34.9510 or the equivalent.

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FILM, VIDEO, AND BROADCASTING

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

FILM, VIDEO, AND BROADCASTINGLearn the craft and the business behindfilmmaking, video production, andbroadcasting. These collaborativefields offer opportunities for a variety ofprofessionals, including directors, cine-matographers, editors, producers,sound designers, and special effectsartists who work together to develop aproject. Our programs provide the tech-

nical training you need to get a foothold in this highly competitive indus-try. Join a community of like-minded professionals in an environmentthat provides plenty of hands-on training and technical support.

Our offerings in Film, Video, and Broadcasting include:

• A range of continuing education courses that provide practical trainingand knowledge of current industry practices and equipment.

• Intensive programs in Digital Video Production (page 3), Filmmaking(page 3), Cinematography (page 4), Editing (page 5), TV News Journalism(page 8), and Producing (page 8).

• Professional certificate programs: Filmmaking (page 2), Digital VideoProduction (page 2), Cinematography (page 4), Editing (page 5), SoundDesign (page 6), Special Effects (page 7), Documentary Production (page 7),Nielsen TV Audience Measurement (page 9), Entertainment MediaManagement (page 9), and Producing (page 10).

For more information visit scps.nyu.edu/film, or call (212) 998-7171.

ContentsFilm and Video 1

Production 1

Cinematography 4

Editing 5

Sound Design and Music 6

Special Effects 6

Documentary Production 7

Television and Broadcasting 8

Producing and Entertainment Management 8

Story, Theory, and Performance 10

Storyboarding 10

Film Theory 10

Performance for Film and Broadcast 10

Career nights include discussions on industry news and career opportunities, presentations on curriculum, and a chance to ask questions of facultyand staff. No RSVP is required, but please be punctual.For more information, call (212) 998-7171.

CAREER NIGHTFilm, Music, and TelevisionThursday, 6–8 p.m., August 23NYU Midtown Center11 West 42nd Street, 4th Floor

FILM AND VIDEO To make your own film, you need to understand the entire production process. In the NYU-SCPS film program, you learn all the techniques you need to become a great filmmaker,then put them to use making your first films, working either in 16mm or in digital formats(DV, 24-p).

FacultyLearn from instructors who are leaders in their fields. For SCPS faculty bios,visit scps.nyu.edu/faculty.

Click here for department website.

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.

scps.nyu.edu/film

Digital Video Production IX34.9921/$1,200

S Sec. 1: Thurs. 6–9.30 p.m., Sept. 27–Dec. 6(10 sessions). No class Nov. 22. Vladan Nikolic,writer, director, and editor of documentaries,films, and videos.

S Sec. 2: Sat. 10–5 p.m., Sept. 22–Oct. 27 (6 sessions). Erin Greenwell, award-winningindependent producer, director, and editor.

This hands-on course details basic DVcamcorder operations, elementary nonlin-ear editing with Final Cut Pro, and how toprepare a video production. Working inteams with rotating crews, you write, pro-duce, direct, and edit individual and groupprojects—ultimately demonstrating grow-ing confidence with production equipmentand professional practices. Students useSony DV cameras and Final Cut Pro eq-uipment with an allotment of videotapeand other supplies provided by the school.Prerequisite: Techniques and Technologies/X34.9220, which may be taken concur-rently, or equivalent knowledge.

Digital Video Production IIX34.9936/$1,450

S Sec. 1: Wed. 6–10 p.m., Sept. 26–Dec. 12(12 sessions). No class Nov. 21. Alonzo Speight,videographer.

Produce a short (up-to-eight minute) DVproject. Begin by pitching an idea for afestival length documentary, news feature,music video, experimental piece, or dra-matic narrative, for instructor's review.Once green lighted, students assist eachother as crew while working on individualor team projects. Tuition covers equipmentand tape allotment. This course is the cul-mination of the Certificate in Digital VideoProduction (Option 3, evening program).Prerequisite: Digital Video Production I/X34.9921 and Editing I With Final CutPro/X34.9225 or equivalent knowledge.

Directing for the ScreenX34.9959/$900

S Sec. 1: Wed. 6–9 p.m., Sept. 26–Dec. 5 (10 sessions). No class Nov. 21. Vladan Nikolic

Through lectures and demonstrations,learn how directors use the dynamic lan-guage of cinema to realize a rich visualand oral landscape. Class discussionsfocus on blocking, composition, screen di-rection, script breakdown, and directingtechniques. Participating in a series ofrecorded exercises, students work on themaster shot, two shot, and reverse angles.Prerequisite: Digital Video Production I/X34.9015 and Film Production I/X34.9510or equivalent knowledge.

Film Production IIX34.9520/$1,395

S Sec. 1: Tues. 6–10 p.m., Sept. 18–Dec. 18(14 sessions). Marc DeRossi, producer, direc-tor, and editor of dramatic shorts, features,documentaries, and industrials.

This is the capstone course of the eveningCertificate in Filmmaking in which stu-dents combine the technical experienceand aesthetic knowledge garnered fromother courses to produce an eight minute,festival length, 16 mm, live-action dra-matic film. Through lectures and demon-strations, students are guided throughscript development, pre-production, cast-ing and techniques for directing a narrativefilm with dialogue. Then students advanceto synchronization, editing and finalizationof the picture and sound using Final CutPro. If you have a script, it may be submit-ted one week prior to the first class sessionto gain a head start. Students can work together on team or individual projects. Film match back procedures are demon-strated in class. Prerequisites: Film Pro-duction I/X34.9510, Cinematography I/X34.9087, and Production Sound for Film/X34.9071, or equivalent experience.Tuition covers equipment, allotted 16 mmcolor negative raw stock, laboratory pro-cessing, and film-to-tape transfers.

WEB: SCPS.NYU.EDU E-MAIL: [email protected]


CERTIFICATE IN DIGITAL VIDEOPRODUCTION

In this hands-on program, students learnhow to direct, shoot, and edit their ownshort digital videos. The curriculum pro-vides an introduction to DVD productionand in-depth training in digital cameratechnology, lighting for digital video,digital audio recording, and non-linearusing Final Cut Pro. Students performtechnical exercises and work within asmall production crew rotating responsi-bilities and helping one another com-plete group and individual projects. Theprogram is led by a faculty of industryprofessionals who emphasize the skillsneeded to help students land their firstjob in the industry and strategies for getting their films into festivals.

Upon completion of the program, students acquire the following skills:

• Ability to write, produce, direct, edit,and shoot principal photography for adigital video focusing on documentaryand other non-fiction work.

• Planning, budgeting, and pre-production.

• Production, editing, and distribution.

• Low- and high-end digital video.

• Video-to-film transfer theory.

This certificate is awarded to studentswho successfully complete the requiredmaterial by taking Option 1, 2, or 3.Option 3 includes one elective.

REQUIRED—OPTION 1

Digital Video Production Eight-WeekIntensive/X34.9453 (page 3)

REQUIRED—OPTION 2

Digital Video Production 12-WeekIntensive/X34.9454 (page 3)

REQUIRED—OPTION 3

Techniques and Technologies/X34.9220 (page 1)

Digital Video Production I/X34.9921 (this page)

Editing I With Final CutPro/X34.9225 (page 5)

Video Lighting Techniques/X34.9540 (page 4)

Digital Video Production II/X34.9936 (this page)

ELECTIVES—OPTION 3 (Choose one)

Cinematic Structure/X34.9232 (page 10)

Introduction to Producing/X34.9509 (page 9)

Documentary Development,Research, and Financing/X34.9425 (page 7)

Make sure you qualify for your certificate! Read the schoolwide requirements on page 11.

CERTIFICATE INFILMMAKING

Begin building your professional reelwith either the daytime intensive versionof this certificate or the part-time eveningformat. This certificate provides film-makers with hands-on experience in alab-based environment. Acquire techni-cal knowledge and experiment creativelyunder the guidance of a faculty of indus-try professionals who guide you fromfirst shoot to final edit as you make your own film.

Upon completion of the program, students have attained skills in:

• Cinematography.

• Sound.

• Editing.

• Lighting.

• Writing.

• Producing.

This certificate is awarded to studentswho successfully complete the requiredmaterial by taking Option 1, 2, or 3.Option 3 includes one elective.

REQUIRED—OPTION 1

Filmmaking Eight-Week Intensive:Advanced Color and Sync Sound/X34.9523 (page 3)

REQUIRED—OPTION 2

Filmmaking 12-Week Intensive:16mm, Color, and Sync Sound/X34.9522 (page 3)

REQUIRED—OPTION 3


Film Production I/X34.9510 (page 1)

Cinematography/X34.9087 (page 4)

Production Sound for Film/X34.9071 (page 1)

Editing I With Final Cut Pro/X34.9225 (page 5)

Film Production II/X34.9520 (this page)


Cinematic Structure/X34.9232 (page 10)



3



FILMMAKING INTENSIVE PROGRAMS

WEEKS ONE THROUGH FOUR: 16MMSEPTEMBER 24–OCTOBER 19

• Techniques, technology, and craft offilm and digital (24-p) production.

• Language of film.

• Narrative techniques and the art ofediting.

• Historical approaches to staging/blocking and directorial preparation.

• Cinematography.

• Three-point lighting and lighting ratio.

• Light meters and metering techniques.

• Collaboration on group/team projects.

• Editing basics with Final Cut Pro.

• Film editing and post-production.

• Professional conventions and practices.

• Complete filmmaking projects.

WEEKS FIVE THROUGH 12:COLOR AND SYNC SOUNDOCTOBER 22–DECEMBER 20

• Visual storytelling.

•The camera as an artistic tool.

• Advanced lighting techniques.

• Color-negative film stocks and characteristics.

• Recording sync sound with Fostexfield recorders.

• Synching dailies and editing with Final Cut Pro.

• Professional sound mix demo, colorist session, and lab tour.

• Scheduling and budgeting.

• Completing an 8–10 minute film

• Getting into the business.

• Film festival preparation.

• Individual/faculty mentoring.

Instructor: Gary Gasgarth, master teacher; director, editor, and writer of feature films,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, whethershooting film or digital, get a thorough immersion in the production process withhands-on experience in all aspects of making a film. This is the film program thatlaunched the careers of Sundance Film Festival winners and Academy Award–nomi-nated directors. Acquire the technical and aesthetic skills you need to complete yourown 16mm color negative sync-sound film. In the beginning sessions, students learnthe basics of 16mm filmmaking and digital production. You will have the opportunityto collaborate on group or team projects, or write, direct, produce, shoot and edit yourown individual projects using Final Cut Pro. Next, through lectures, demonstrationsand hands-on projects shot on 16mm film or digital, you hone important filmmakingskills. You can take four, eight, or the full 12 weeks of this program, which offers thebest value and the most complete preparation for a career in film. Tuition coversequipment, allotted film raw stock with laboratory processing, professional film-to-tape transfers, videotapes, and other supplies.

REGISTER FOR FOUR, EIGHT, OR 12 WEEKS OF INTENSIVE STUDY:

Filmmaking Four-Week IntensiveX34.9066/$3,495G

S Sec. 1: Mon.–Fri. 9 a.m.–5 p.m., Sept. 24–Oct. 19 (19 sessions). No class Oct. 8.

Filmmaking Eight-Week Intensive: Advanced Color and Sync SoundX34.9523/$4,995G

S Sec. 1: Mon.–Fri. 9 a.m.–5 p.m., Oct. 22–Dec. 20 (41 sessions). No class Nov. 21–23.

Prerequisite: Filmmaking Four-Week Intensive: 16mm/X34.9066 or equivalent experience. Those applying with experience must submit work to an advisor for review by calling (212) 998-7171.

Filmmaking 12-Week Intensive: 16mm, Color, and Sync SoundX34.9522/$6,995G

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.

DIGITAL VIDEO PRODUCTION INTENSIVE PROGRAMSYou 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 othernonfiction work. In the first four weeks, students learn the basics of digital video, frompre-production to cinematography to editing. Modern documentary history, research,and story development and all aspects of producing and directing are covered. In thefinal eight weeks, students hone their skills by completing projects of greater com-plexity. Tuition covers equipment, tape, and drives.

WEEKS ONE THROUGH FOUR SEPTEMBER 24–OCTOBER 19

• Techniques, technology, and craft of digital video production.

• Collaboration on group/team projects.

• Digital video production technology.

• Complete digital video projects.

• Visual interpretation of screenplays.

• Storyboard creation.

• Principles of classic cinema: shot grammar and angle.

• Creating shooting scripts and shot lists.

• Planning production.

• On-set procedures and protocols.

• Editing basics with Final Cut Pro.

WEEKS FIVE THROUGH 12 OCTOBER 22–DECEMBER 20

• Strengthening prior technical skills acquired in digital video production.

• Expanding hands-on knowledge of documentary and nonfiction production.

• Improving upon prior technical and writing skills.

• Production management methods and techniques.

• Developing, writing, and producing longer format works.

• Completing one project working inFinal Cut Pro.

• Advanced production, cinematography, and editing.

• Completing an 8–10 minute DV project.

• Film festival preparation.

• Individual/faculty mentoring.

REGISTER FOR FOUR, EIGHT, OR 12 WEEKS OF INTENSIVE STUDY:

Digital Video Production Four-Week IntensiveX34.9450/$3,495G

S Sec. 1: Mon.–Fri. 9 a.m.–5 p.m., Sept. 24–Oct. 19 (19 sessions). No class Oct. 8.

Digital Video Production Eight-Week IntensiveX34.9453/$4,995G

S Sec. 1: Mon.–Fri. 9 a.m.–5 p.m., Oct. 22–Dec. 20 (41 sessions). No class Nov. 21–23.

Digital Video Production 12-Week IntensiveX34.9454/$6,995G

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.

The Certificate in Directing is no longer being offered to new students. Thosepresently working toward this certificate must complete the requirementswithin four years of their start date to receive the certificate. Substitutionsfor courses that have been discontinued may be made. Please call (212)998-7171 for more information.

THE ANDREAS ZAHLER SCHOLARSHIP FOR ADVANCED FILMMAKING STUDIES

Family, friends, and colleagues established this scholarship fund in the memory ofrenowned commercial film director Andreas Zahler. The award of $750 contributes to-ward tuition for one of the required production courses (Cinematography II, ProductionSound, 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 whoneed financial aid to continue their film production studies. The award is competitiveand is based on demonstrated achievement in previous SCPS filmmaking courses andon financial need.

To be eligible for consideration you must be an advanced student in the NYU-SCPSfilm program in good standing (having successfully completed at least Film Production I);submit two letters of recommendation, including one from the instructor of your mostrecent film production course; demonstrate financial need; not be the recipient of anyother grant, scholarship, or tuition assistance (either from NYU, an outside agency, oryour employer); and be a U.S. citizen or eligible noncitizen.

For application forms or more information, please call (212) 998-7171.

Advanced CinematographyX34.9107/$1,200G

S Sec. 1: Thurs. 6–10 p.m., Oct. 4–Dec. 13 (10 sessions). No class Nov. 22. Mark Raker,cinematographer.

This workshop in advanced cinematogra-phy techniques gives you an opportunity to shoot six projects ranging from in-classexercises to fully lit location shoots. Studentsdevelop concepts and realize their artisticvision for the projects, gaining the techni-cal knowledge necessary for successful ex-ecution. Individual advice is given beforeeach shoot, and all footage is screened forreview afterward. Students receive instruc-tion in digital acquisition and can hone theirskills shooting 16mm motion picture film.Students work in teams to master the art of cinematography. Prerequisite: Cinema-tography I/X34.9087 or equivalent experience.

HD Cinematography WorkshopX34.9202/$595G

Sec. 1: Sat. Sun. 9 a.m.–5 p.m., Oct. 20–21 (2 sessions). Kenneth M. Waddel

High Definition (HD) has become morepopular as a tool, having been used in pro-jects like Superman Returns, Miami Vice,Mission: Impossible III, television cover-age of events such as the Olympics, andnumerous documentaries. For those inter-ested in working in HD on future projects,this course demystifies the technologies ofhigh definition and 24-p cinematography,the five scanning formats, recording for-mats, editing options, and delivery poten-tial. All technical aspects of Sony HDTVcameras are demonstrated to familiarizestudents with effective operational proce-dures. Students are given the opportunityto shoot tests in the field.

Video Lighting TechniquesX34.9540/$1,260G

Sec. 1: Sat. 10 a.m.–5 p.m., Nov. 3–Dec. 15 (6 sessions). No class Nov. 24. Richard Martin,lighting director.

The skilled use of lighting to create con-trast and ambience affects the quality andimpact of a recorded image. Learn how tocreate and communicate through the use oflight. In order to understand the principlesof professional lighting design, we demon-strate the behavior of light—manipulatingit, recording it, and analyzing the results.Studying lights and lighting styles, deter-mine effective low-budget lighting and ex-perience the intricacies of balancing mixedlighting sources. Prerequisite: Film Prod-uction I/X34.9510 or equivalent experience.

Art of CinematographyX34.9517/$395

S Sec. 1: Wed. 6.20–9.20 p.m., Sept. 19–Nov. 7 (8 sessions).

A skillful cinematographer brings a wholenew dimension to a director’s vision bycreating images that enhance the narrativeof a film. This survey course is for aspiringcinematographers, filmmakers, directorsand anyone interested in the art of cine-matography. By studying select examplesfrom prominent films of visual style, tone,and continuity, students learn what key elements to consider in setting up theirshots. The use of framing, composition,color, light, and shadow to create compel-ling images are among topics discussed.

CinematographyX34.9087/$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-vanced projects, this workshop aids thestudent in developing and implementingprofessional concepts and techniques infilm and digital media. Emphasizing theaesthetics of cinematography, sessionscover the role of the cinematographer, in-terpreting the script visually, working withthe director, the goals of lighting, cameraoperation, lens selection, working with acrew and a lab, exteriors and interiors, du-ties of the camera assistant, film stocks,and using exposure meters. Prerequisite:Film Production I/X34.9510 or equivalentexperience.



CERTIFICATE IN CINEMATOGRAPHY

Cinematography is the art and craft of creating visual images for the cinema. It is acreative and interpretive process that results in an original evocative work rather thanthe simple recording of a performance. The images the cinematographer brings to thescreen come from the artistic vision, imagination, and skill of the cinematographer ashe 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.

• Principles of lenses, f-stops, stocks, and lighting equipment.

• Basic types of lighting, including basic special effects and lighting that can be done in-camera.

• History and development of technology in cinematographic equipment such as dol-lies and Steadicams.

• How to compose a scene using the camera and use a photographic technique to tell a story visually.

• Aesthetics of frame composition and an in-depth survey of the classic examples of artistic cinematography.

• How to work and collaborate in a team-based environment within a production crew.

• Creation of a short film with transition effects, music, and credits. (This learning 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.


REQUIRED—OPTION 1

Cinematography Four-WeekIntensive/X34.9083 (this page)

REQUIRED—OPTION 2


Cinematography/X34.9087 (this page)

Advanced Cinematography/X34.9107 (this page)

Secrets of Special Effects/X34.9230 (page 6)

Shooting Green Screen/X34.9231 (page 6)

Art of Cinematography/X34.9517 (this page)

Note: This certificate has been restruc-tured. Students who began this certificateprior to fall 2007 have four years to com-plete their certificate according to the re-quirements in the SCPS Bulletin thesemester they began. Call an educationadvisor at (212) 998-7171 for more information.

CINEMATOGRAPHY

Cinematography—using a camera to create moving images—is key to the creation of avisual narrative. In NYU-SCPS’s film program, professional cinematographers provide rig-orous training in film and digital cinematography. Hone your technical skills through prac-tical experience with film and digital equipment, and learn how to make creative andartistic decisions in your work.

Cinematography Four-Week IntensiveX34.9083/$3,495S Sec. 1: Mon.–Fri. 9 a.m.–5 p.m., Sept. 10–Oct. 5 (19 sessions).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 thecraft of cinematography. Through lectures, demonstration, and hands-on practice, dis-cover how film stock, exposure, light, and composition affect the quality of an image.By experimenting with film and digital formats from 16 mm to 24-p, develop your eyeand learn to select the right format for any project. Knowledge of film production isrecommended but not required.

The Art of EditingX34.9622/$695

W Sec. 1: Tues. 6.20–9.50 p.m., Sept. 25–Dec. 11 (12 sessions). Amresh Sinha, filmscholar; documentary producer and director.

This class is for aspiring filmmakers, edi-tors, directors, and producers, as well asthose interested in the dynamics of editingand the editor’s art. The course aims toprovide students with knowledge of edit-ing through a comprehensive look at itstheoretical and functional aspects. Drawingfrom the films of Eisenstein, Hitchcock,Welles, Kurosawa, Ozu, Godard, Scorsese,Coppola, Tarantino, and Egoyan, signifi-cant time is devoted to the following areasof editing: continuity and discontinuityediting, cut, duration in editing, ellipticalediting, rhythmical and tonal editing,graphic match cut, jump cuts, diegetic andnondiegetic inserts, overlapping editing,and sound editing such as sound bridgesand sonic cuts.

The Craft of EditingX34.9627/$695

S Sec. 1: Wed. 6.45–9.45 p.m., Sept. 26–Dec. 19 (12 sessions). No class Nov. 21.Michael Grabowski, filmmaker.

You know how to use Final Cut Pro orAvid Xpress DV, but you’re not sure howto get started as an editor. Careers in thepost-production industry require an eye foraesthetics as well as solid technical skill.This course introduces you to the work-flow and creativity required to become asuccessful editor. Students learn about theaesthetics of editing, including traditionalHollywood continuity cutting and thenewer MTV style, and how editing, soundeffects, and visual effects influence story-telling. You not only learn the craft behindediting, but our esteemed faculty also givesyou the inside story on how to break intothe industry.

Editing I With Avid Xpress ProX34.9064/$1,075G

S Sec. 1: Mon. 6–9.30 p.m., Oct. 15–Dec. 17(10 sessions). Mark Brownstone, AVID editor.

Learn the principles, terms, and conceptsof digital nonlinear editing. Students ex-plore each step of the process: logging andorganizing footage, digitizing from anyformat, basic editing techniques, trimming,title keying, motion effects, audio mixing,media file management, and onlining afinal master. Prerequisite: Knowledgeof Mac OS. Those unfamiliar with MacOperating System should take Mac OS and Color Systems/X36.9223

Editing Documentary FootageX34.9429/$840

S Sec. 1: Sat. 10 a.m.–5 p.m., Nov. 3–Dec. 15(6 sessions). No class Nov. 25. Mridu Chandra,documentary film producer and director, ITVS/PBS, Brother Outsider: The Life of BayardRustin, Let the Church Say Amen.

This course provides an overview of theprocess, technology, and professional divi-sion of labor in documentary and televisionpost-production. Lectures, screenings, andin-class assignments with documentaryfootage introduce you to the work-flowand creativity required to oversee the post-production process. We cover edit roommanagement; budgeting for post; strategiesfor editing a documentary story from manyhours of footage; utilizing archival materi-als; designing sound, music and graphic el-ements; preparing for the final mix, all theway to onlining the project; and creatingthe final deliverables. Software introducedin class is primarily Final Cut Pro with abrief introduction to what Adobe AfterEffects and Pro Tools can do to enhanceyour production. Prerequisite: Knowledgeof Mac OS. Those unfamiliar with MacOperating System should take Mac OS and Color Systems/X36.9223

Editing I With Final Cut ProX34.9225/$1,075G

S Sec. 1: Mon. 6–9.30 p.m., Sept. 24–Dec. 3(10 sessions). No class Oct. 8. Erin Greenwell,award-winning independent video producer,director, and editor.

S Sec. 2: Thurs. 6–9.30 p.m., Sept. 27–Dec. 6(10 sessions). No class Nov. 22. Michael Furth,editor, The Ultimate Hustler with Damon Dash.

S Sec. 3: Mon.–Fri. 9 a.m.–5 p.m.,Sept. 17–21 (5 sessions).

As Apple’s leading editing software pack-age, Final Cut Pro offers a cost-effectiveyet professional desktop editing alternativefor budget-conscious filmmakers. As such,it has rapidly become a must-have applica-tion for indie filmmakers and documentari-ans. Using DV footage and Final Cut Pro,work in pairs to learn all the basics of digi-tal nonlinear editing, working from footageprovided by NYU. Through lectures,demonstrations, and hands-on exercises,focus on the skills of editing, includingcontinuity, pacing, and dramatic structure.Prerequisite: Knowledge of Mac OS.Those unfamiliar with Mac OperatingSystem should take Mac OS and ColorSystems/X36.9223.

Editing II With Final Cut ProX34.9607/$1,290

S Sec. 1: Tues. 6–9.30 p.m., Sept. 25–Nov. 27(10 sessions). Jamie Hitchings

Take a giant step in your journey to be-coming a film editor. Further your skills asan industry professional and learn the ad-vanced features of Final Cut Pro. Sharpenyour editing skills while you solve com-mon problems encountered in the post-pro-duction process. Learn advanced editorialand noneditorial features of the applica-tion, such as motion graphics and filters,and develop expert-level skills in Final CutPro. Prerequisite: Editing I With Final CutPro/X34.9225 or equivalent experience.

5



CERTIFICATE IN EDITING

This program is designed to equip students with skills in all aspects of aneditor’s role in film or television produ-ction. Learn how to assemble footagefrom various sources into a seamlessend product by manipulating plot, score,sound, and graphics. Understand therole of an editor and the equipment used.

Upon completion of the program, students:

• Understand the structure and responsi-bilities of a post-production team.

• Cover organizing, digitizing, anddownloading best practices for project editing.

• Know how to operate a nonlinear editing system, including generation of graphics and titling, adding soundtracks, mixing, color correction, andbasic special effects.

• Cover pre-production organization for fiction and nonfiction projects.

• Can collaborate in a team-based, production crew environment.

• Understand technical practices andstandards for film and digital video.

• Understand aesthetics and stylistic issues in editing film clips.

This certificate is awarded to studentswho successfully complete the requiredmaterial by taking Option 1 or Option 2.Option 2 includes one elective.

REQUIRED—OPTION 1

Editing Four-Week Intensive/X34.9615 (this page)

REQUIRED—OPTION 2

The Art of Editing/X34.9622 (this page)

The Craft of Editing/X34.9627 (this page)

AND

Editing I With Final Cut Pro/X34.9225 (this page)

Editing II With Final Cut Pro/X34.9607 (this page)

OR

Editing I With Avid Xpress Pro/X34.9064 (this page)

Editing II With Avid Xpress Pro/X34.9941 (2008)


Audio Production I With Pro Tools/X35.9481 (page 6)

Editing Documentary Footage/X34.9429 (this page)


EDITING

Film and video editors transform raw footage into the final cuts we see on television andin movie theaters. Editing requires technical proficiency with digital tools, an ability to an-alyze and assemble shots, and an understanding of movement as it applies to visual sto-rytelling. Students in NYU-SCPS’s editing program learn the skills necessary to break intothe industry.

Editing Four-Week IntensiveX34.9615/$3,495G

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 requires both technical expertise and artistic vision. You can’t learn this uniqueblend of skills from a book. Only expert guidance, hands-on experience, and plenty ofpractice prepare you to work in the industry. In this intensive four-week course, expe-rienced faculty guide you through a comprehensive overview of the craft, technology,and profession of film and digital post-production. Lectures and lab sessions coverboth theory and practical aspects of post-production, as you learn to use editing soft-ware including Final Cut Pro and Avid, with a brief introduction to sound design.Those unfamiliar with the Mac Operating System should take Mac OS and ColorSystems/X36.9223.

WebFor the most up-to-date course information, visit: scps.nyu.edu

Audio Production I With Pro ToolsX35.9481/$1,080

M Sec. 1: Tues. 6–9 p.m., Sept. 25–Nov. 27(10 sessions). Rick A. Van Benschoten,music producer, audio engineer,Pro Tools specialist, sound designer.

From soundtrack and music production tomultimedia and post-production applica-tions, Pro Tools offers audio engineers thecomplete digital package. The industryleader in digital audio, Pro Tools features24-bit integrated digital recording, editing,processing, and mixing tools for high-endaudio applications. Walk through everyphase of production from input to finalmaster. Use Pro Tools for nondestructiverecording and editing, digital mixing, looprecording, editing during playback, fade-ins and -outs, playlists, and customization.Students are given lab time in sound-editing suites.

Audio Production II With Pro ToolsX35.9482/$1,200

M Sec. 1: Thurs. 6–9 p.m., Sept. 20–Dec. 6(11 sessions). No class Nov. 22.Rick A. Van Benschoten

In this intermediate Pro Tools course, stu-dents expand their skills and learn in depthabout MIDI sequencing tools with the in-dustry’s leading software for sound mixingand editing. If you are interested in becom-ing a recording engineer or want to learnPro Tools for other applications—such assound mixing for film or music creation—this course offers a solid next-level learningexperience with the software to improveyour techniques. We also cover the processof importing video in the form of Quick-Time movies and synchronizing audio toon-screen video events. Our instructorhelps you master techniques for recordingdialogues and Foley and teaches you ad-vanced skills in processing, mixing, andmastering audio. Prerequisite: AudioProduction I With Pro Tools/X35.9481 or equivalent. Students are given lab time in sound-editing suites.

Reason: Electronic Music ProductionX35.9493/$660

M Sec. 1: Mon. 6–9 p.m., Nov. 12–Dec. 17 (6 sessions). Rick A. Van Benschoten, musicproducer, audio engineer, Pro Tools specialist,sound designer.

Propellerhead’s Reason is a complete elec-tronic music studio in one program, com-bining real-time and step-entry sequencers;subtractive, graintable, and sample-play-back synthesizers; a drum machine andloop player; a massive library of sounds; a built-in mixer; automation tools; and numerous signal processors. Students gainin-depth, hands-on experience with Reason,and learn about MIDI essentials and the in-tegration of Reason with Pro Tools, the in-dustry-standard digital audio workstation.

SPECIAL EFFECTS

Secrets of Special EffectsX34.9230/$395

S Sec. 1: Sat. 10 a.m.–1 p.m., Sept. 29–Nov. 17(8 sessions). Michael Antebi, art director.

Although the range of special effects that can be rendered digitally is virtuallylimitless, there is an array of cost efficienteffects that have been created during film-ing. Whether in-camera or on set usingnothing more than smoke and mirrors, gels and filters, along with CGI, discoverthe secrets behind many different types of special effects. By viewing examples in popular films and occasional visits fromindustry professionals, learn how simplysome of the most elaborate special effectswere created and how you can utilize someof those concepts in your own work.

Shooting Green ScreenX34.9231/$695

M Sec. 1: Mon. 6–9.45 p.m., Oct. 22–Nov. 26(8 sessions).

Shooting green screen allows filmmakersto create anything from flying superheroesto an ancient battle without a Hollywoodfeature budget. In this hands-on course,students shoot DV footage on a greenscreen backdrop. Explore how to captureimages separately from the backgroundand match lighting conditions, and how visually arresting images can be used laterfor compositing. This class exposes stu-dents to the technical knowledge of how toset up and shoot green screen footage in astudio and troubleshoot potential prob-lems. The course is geared toward studentswith a background in cinematography andlighting techniques and experience withDV technology. Prerequisite: Cinematogr-aphy I/X34.9087or equivalent experience.

SOUND DESIGN AND MUSIC

Whether you want to be a DJ, make musicon the computer, or design sound for film,we help you master the industry-leadingsoftware, Pro Tools, learn the music pro-duction process, and work successfullywith others in the industry.

Audioscapes: Analysis of Cinematic SoundX34.9233/$215S Sec. 1: Thurs. 6.20–9.20 p.m., Oct. 4–25 (4 sessions).

Music and sound contribute to the distinc-tive mood and feeling of a film narrative.Students in this course investigate the im-portance of music and sound to movies, in-cluding the use of scores, songs, musicalmotifs, ambient sound, as well as diegeticand nondiegetic sound. Class discussionsinclude the relationship between a directorand a composer, how soundtracks add apsychological element to a film, and howthe use of Foley enhances a sense of fantasyor realism. This course is for cinephilesand anyone interested in the dynamics of audio and visual arts.

Sound DesignX35.9492/$900M Sec. 1: Wed. 6–9 p.m., Sept. 19–Nov. 28 (10 sessions). No class Nov. 21.

Powerful sound design helps create anemotional effect on audiences by enhanc-ing a film’s pace, tone, and feel. In thiscourse, learn how to make sound effectsand tracks for a film. Through the study of effects and Foley, gain a thorough un-derstanding of what it takes to create ahigh-impact soundtrack. Gain hands-onexperience using Pro Tools and walk awayknowing how to use sound to give projectsemphasis and punch. Prerequisite: Basiccomputer literacy. Students are given labtime in sound-editing suites.

Music SupervisionX35.9491/$855S Sec. 1: Mon. 6–9 p.m., Oct. 15–Dec. 10 (9 sessions). Jeanne Da Silva, music supervi-sor, When Will I Be Loved, Dorian Blues.

Music supervisors work within all formsof audio-visual media to help set the toneof a production. Get an inside look at howmedia producers, record labels, publishingcompanies, and performance rights soci-eties all work together to incorporate musicinto today’s media. Learn about the fieldof music supervision—including how toidentify appropriate music, clear licensingrights, conduct musical research, and pro-cure material. Find out how to leverageyour skills into a career, and determinewhat it takes to break into the business.



CERTIFICATE IN SOUND DESIGN

The importance of sound design is un-derscored when it’s missing or badly executed. This certificate examines theartistry that makes good visuals great—in film, video, broadcast, interactivegaming, or on the Web. Learn how tomix and balance dialogue, sound effects,and music in post-production. Study therole of sound effects, Foley (the techni-cal process of recording or alteringsound for use in various entertainmentforms), soundtrack choices, and musicsupervision. Industry professionals teachthese courses through a combination oflectures and hands-on experience usingPro Tools in professional studio labs.

Upon completion of the program, stu-dents have attained the following skills:

• Familiarity with Pro Tools using 24-bitintegrated digital recording, editing,processing, and mixing tools.

• Understanding of every phase of production, from input to final master.

• Knowledge of Pro Tools for nonde-structive recording and editing, digitalmixing, loop recording, editing duringplayback, fade-ins and -outs, playlistsand customization.

• Ability to work effectively with col-laborators to establish tone in a piece.

• Knowledge of how to conduct master-ful music research and procure previ-ously mastered material.

• Ability to produce powerful sound-tracks and convincing sound effects.

This certificate is awarded to studentswho complete four required courses.

REQUIRED COURSES

Audio Production I With ProTools/X35.9481 (this page)

Audio Production II With ProTools/X35.9482 (this page)

Sound Design/X35.9492 (this page)

Music Supervision/X35.9491 (this page)


NEW

NEW

NEW

Career nights include discussions on industry news and career opportunities, presentations on curriculum, and a chance to ask questions of facultyand staff. No RSVP is required, but please be punctual.For more information, call (212) 998-7171.

CAREER NIGHTFilm, Music, and TelevisionThursday, 6–8 p.m., August 23NYU Midtown Center11 West 42nd Street, 4th Floor

Commercial Compositing: Live Action and AnimationX35.9462/$720

M Sec. 1: Tues. 6.20–8.20 p.m., Sept. 25–Dec. 4 (10 sessions).

The compositor creates the last impressionon a film, putting the finishing touches oneach shot to achieve seemingly impossibleeffects. In this class, learn the basics ofcompositing, focusing on the skills youneed for 3-D animation. Discover how tounleash the full potential of Adobe AfterEffects, as it is used by compositors. Findout how to structure a project; how to re-assemble 3-D animation in a 2-D compos-iting space; how to use color depth, frames,and fields; and how to integrate 3-D ani-mated and live-action footage. By the endof the course, you are able to create a professional-looking 3-D animation.

CombustionX35.9410/$900

M Sec. 1: Sat. 9.30 a.m.–1 p.m., Oct. 13–Dec. 15 (9 sessions). No class Nov. 25.Scott Winston, technical director,Alter Image, Edgeworx, UV Phactory.

As part of Discreet’s suite of animationproducts, Combustion is an affordablesoftware solution that has everything youneed to create motion graphics, composit-ing, and visual effects. Learn how to useits interface and extensive tool set to createpowerful scenes in 2-D and 3-D environ-ments. In class, create complex animatedscenes and visual effects similar to onesfound in broadcast, commercials, and film.Grasp the basics of compositing and creat-ing graphic sequences, and how to createstunning, professional-looking work.

ShakeX35.9461/$870G

M Sec. 1: Sat. 2–5 p.m., Oct. 13–Dec. 15 (9 sessions). No class Nov. 24.

Shake has played a crucial role in captur-ing the Academy Award for Best VisualEffects for The Lord of the Rings: TheFellowship of the Ring and more. Favoredfor its high speed in processing and manip-ulating large volumes of images, Shakemaintains the highest quality and effi-ciency. Learn Shake in order to enter theindustry or improve your skills. Shake offers a range of 2-D features for film,broadcast, interactive games, and multime-dia effects applications. In this introduc-tory course, create compelling imagery by developing proficiency in compositing,color-correction, image transformation,and special effects. Topics include alphachannels, color processing, layering, trans-formations, and animation.

Contemporary DocumentaryX34.9424/$840

S Sec. 1: Wed. 6–9 p.m., Sept. 26–Dec. 19 (12 sessions). Anthony Kaufman,writer, media critic.

Explore the roots of contemporary docu-mentary, including cinema verité masterslike Barbara Kopple, first-person essayistslike Ross McElwee, interrogators likeErrol Morris, and iconoclasts like MichaelMoore. Students survey practitioners oftraditional genres such as music, biogra-phy, and competition, as well as innovatorsand experimentalists.

Documentary Development,Research, and FinancingX34.9425/$840

S Sec. 1: Thurs. 6–9 p.m., Sept. 20–Dec. 13(12 sessions). No class Nov. 22. Thom Powers,co-owner, Sugar Pictures, a documentary production company.

This lecture-based course is designed forindividuals interested in developing andproducing documentaries. Instructor ThomPowers, newly appointed internationaldocumentary programmer for the TorontoInternational Film Festival, discusses thechallenges of producing documentaries forHBO and PBS. Students focus on honingtheir ideas into viable projects by address-ing all the issues that precede shooting, in-cluding fundraising, research, contracts,budgets, and more. Gain an understandingof the structure and economics of thescreen industries, locally and internation-ally. Guest speakers include filmmakers,lawyers, fundraisers, and others who sharecreative, legal, and financial strategies.

Documentary Distribution and MarketingX34.9427/$840G

S Sec. 1: Wed. 6.30–9.30 p.m., Sept. 26–Dec. 19 (12 sessions). Thom Powers

What do you do when your documentary isfinished? This course surveys the five mar-ketplaces for documentary distribution:theatrical, domestic television, interna-tional, DVD home video, and educational.Find out how to deal with film festivals,sales agents, publicists, self-distribution,website promotion, and more. Prereq-uisites: Documentary Research, Devel-opment, and Financing/X34.9425, orequivalent knowledge.

Master Class in AdvancedDocumentary EditingX34.9431/$280

W Sec. 1: Sat. 9.45 a.m.–5.45 p.m., Dec. 8.

In this intensive master class workshop, anaward-winning editor helps students honetheir skills in documentary editing.

7



CERTIFICATE IN DIGITALSPECIAL EFFECTS

This certificate introduces the funda-mental principles of digital special ef-fects and progresses to a familiarity witha variety of aspects of the discipline.Learn how to solve technical problemswith creative solutions using a numberof tools such as Shake, Combustion, andAfter Effects, the primary industry ap-plications. Students also become famil-iar with television and film standards of formatting.

Upon completion of the program, students have mastered the following:

• Use of storyboarding to conceive and visualize projects.

• Advanced techniques of compositing,motion design (graphics), and special effects.

• Proficiency in sound design or technical directing.

• Introduction to industry software such as Shake, Combustion, andAdobe After Effects.

This certificate is awarded to students whosuccessfully complete five courses—three required and two electives.

REQUIRED COURSES

Storyboarding Workshop/X35.9675 (page 10)

Commercial Compositing: LiveAction and Animation/X35.9462 (this page)

Sound Design/X35.9492 (page 6)

ELECTIVES (Choose two)

Shake/X35.9461 (this page)

Combustion/X35.9410 (this page)

Secrets of Special Effects/X34.9230 (page 4)

After Effects: Fundamentals/X36.9230 (scps.nyu.edu)

Note: This certificate, formerly calledthe Certificate in Visual Effects Com-positing, has been restructured. Studentswho began this certificate prior to fall2007 have four years to complete theircertificate according to the requirementsin the SCPS Bulletin the semester theybegan. Call an education advisor at(212) 998-7171 for more information.


CERTIFICATE INDOCUMENTARY PRODUCTION

In this hands-on program, students learnhow to direct and produce a documentaryfilm. The curriculum includes in-depthtraining in digital cinematography, digi-tal audio, and Final Cut Pro; and classeson modern documentary history, concep-tualizing a story, and understanding thepractical aspects of budgeting, legal is-sues, and distribution. In the final class,students direct their own short documen-tary or sample for a longer film. Theprogram is led by a faculty of industryprofessionals who emphasize the skillsneeded to attain work or produce inde-pendently in the industry today.

Upon completion of the program, students have the following:

• Ability to produce, direct, edit, andshoot principal digital photography for a documentary.

• Planning, budgeting, fundraising, production, editing, post-production,and marketing skills.

• Understanding of markets in theatrical,television, international, educational,and DVD formats.

This certificate can be completed inthree semesters. This certificate isawarded to students who successfullycomplete seven required courses.

REQUIRED COURSES

Contemporary Documentary/X34.9424 (this page)

Digital Video Production I/X34.9921 (page 2)

Documentary Development, Research,and Financing/X34.9425 (this page)

Editing Documentary Footage/X34.9429 (page 5)

Documentary Distribution andMarketing/X34.9427 (this page)

Master Class in AdvancedDocumentary Camerawork/X34.9430 (page 8)

Master Class in AdvancedDocumentary Editing/X34.9431 (this page)

Note: This certificate has been restruc-tured. Students who began this certifi-cate prior to fall 2007 have four yearsto complete their certificate accordingto the requirements in the SCPS Bulletinthe semester they began. Call an educa-tion advisor at (212) 998-7171 for moreinformation.


DOCUMENTARY PRODUCTION

The NYU-SCPS documentary program provides the skills required for shorter-format hardnews or full-length documentaries with New York City, the center for television news anda busy market for documentary film, as the backdrop.

Anchoring, Interviewing, and ReportingX34.9174/$1,065

S Sec. 1: Mon. 6.20–9.20 p.m., Sept. 24–Dec. 17 (12 sessions). No class Oct. 8.Nancy Reardon, on-camera coach; author,On Camera: Report From the Trenches,How to Report, Anchor, and Interview.

Television anchors have to maintain com-posure in extreme circumstances, whetherin the studio or out in the field. Reportersmust also be prepared to work within thestructure of new media such as video blog-ging and reports via internet streaming. Inthis course, gather the skills necessary toperform at a professional level. Gain confi-dence as you work on camera, practicevocal and physical techniques, as well asrehearsing hard and fast interviewing forstand-up reporting. It’s your chance to getpractical experience in the exciting field oftelevision and other media news.

Anchoring WorkshopX34.9036/$650G

S Sec. 1: Wed. Thurs. Fri. 9 a.m.–5 p.m.,Nov. 7–9 (3 sessions). Nancy Reardon,on-camera coach.

In an intensive session, learn what it takesto maintain composure during extreme cir-cumstances, whether in the studio or in thefield. Learn the skills necessary to performon camera. Gain confidence as you workon vocal and physical techniques, andpractice hard and fast interviewing for professionals, and stand-up reporting.Students create a final project based ontheir expectations for taking the course.

Enter the BlogosphereX34.9157/$720

V Sec. 1: Wed. 6–9 p.m., Sept. 26–Dec. 19 (10 sessions). Heath Row

Blogs have helped change the face of newsby contributing to the democratized mediathat emerged with the advent of the inter-net. They provide an excellent opportunityfor young journalists and writers to ex-press themselves independently. However,the blogosphere can be an insular andsometimes mystifying realm. This courseoffers an insider’s look at the world ofblogs, including their history, how to startyour own, and how to make money fromit. Students examine critical journalisticethics issues unique to this new mediagenre and receive instruction in how tocreate and market your own blog.

The Entertainment IndustryX34.9007/$785

S Sec. 1: Mon. 6.45–8.45 p.m., Sept. 24–Dec. 17 (12 sessions). No class Oct. 8.

Gain an overview of the film, television,music, cable, satellite, and new media en-tertainment industries. Learn how theseentertainment sectors have developed, howthey are structured, and the key businessstrategies that are used to navigate the uncertainties of constant technologicalchange. After surveying each industry separately, we map the integration of film,television, music, and new technologyfirms into major conglomerates, such asTime Warner, Viacom, News Corp., andDisney. We then focus on emerging enter-tainment technologies and business modelsand how they are shaping the future of entertainment.

Story Analysis for ProducersX34.9131/$825

S Sec. 1: Tues. 6.20–9.20 p.m., Oct. 2–Dec. 4(10 sessions). Till Schauder, filmmaker, pro-ducer, actor.

Every successful film begins with a goodstory and every experienced producer rec-ognizes the importance of nurturing anddeveloping the screenplay. Learn to iden-tify story structure, genre, theories of narrative, and dramatic principles that un-derlie stories presented in movies and ontelevision. Producers must also considerthe allocation of budgetary resources andmake creative, practical, decisions basedon available funds. Examine developmentprotocols, screenplay and teleplay formats,and how to adapt preexisting literary workfor the screen. Through weekly screeningsand analysis, gain the sophisticated toolsnecessary for working with writers duringthe development process and explore thestory editor’s role.

Film Marketing and DistributionX34.9088/$355

S Sec. 1: Sat. 9 a.m.–5 p.m., Nov. 3.William Thompson, senior vice president,Picturehouse.

This course explores distribution strate-gies; how distributors get films into the-aters; the advantages and disadvantages of self-distribution, cable, home video, and ancillary rights; how majors institutenational campaigns; differences betweennational circuits and local independents;specialized marketing campaigns for inde-pendent and foreign films; how theaters decide which films to play; and the inter-dependent relationship of production, marketing, distribution, and exhibition.

Entertainment and Media Business PlansX34.9126/$725

S Sec. 1: Tues. 6.20–8.20 p.m., Sept. 25–Dec. 11 (12 sessions). No class Dec. 12.Rob Gould

Getting a concept into production startswith a well-researched business plan.While creating business plans and presen-tations in class, get inside strategies onhow to raise capital, gain strategic part-ners, find distribution, and impress poten-tial board members. Develop a concreteprocess for creating a business plan, andlearn how to generate a document that gets your project noticed.

Master Class in AdvancedDocumentary CameraworkX34.9430/$280

W Sec. 1: Fri. 9.45 a.m.–5.45 p.m., Dec. 7.Scott Sinkler

Documentary camerawork differs consid-erably from shooting scripted material. Itrequires a high degree of improvisation,handheld skills, and sensitivity to the sub-ject matter. In this all-day seminar, a vet-eran documentary cinematographer shareslessons from the field, breaks down scenesfrom films, conducts classroom exercises,and discusses different technologies andlighting situations. Prerequisite: Basicknowledge of digital camera operation.

TELEVISION ANDBROADCASTING

The Broadcast Television IndustryX34.9057/$725

S Sec. 1: Tues. 6.45–8.45 p.m., Sept. 25–Dec. 11 (12 sessions). John Dispenza, directorof training and career development, ABC TV.

In this introductory course, students de-velop a well-rounded understanding ofjobs, trends, and how a broadcast TV sta-tion operates. Cover marketing and sales,programming, and creative services. Theeffect and growth of new technologies andcompetitive distribution systems are con-sidered, as are networks, cable, and PBS.



TV News Journalism One-Week IntensiveX34.9142/$995G

S Sec. 1: Mon.–Fri. 9 a.m.–5 p.m.,Nov. 5–9 (5 sessions).

Learn the art of creating and produc-ing a 60 Minutes-style news magazinebroadcast. Cover all facets of theprocess, from recognizing the ele-ments of a compelling story througheffective studio opening. Students finda story, sell it in-house, research anddevelop the story, and find the charac-ters to effectively tell it. A group ofstories are chosen for production, and production teams are assembled.Learn about writing questions, the art of the interview, what to look forwhen screening footage, how to struc-ture and tell a story, and editing andorganization of the post-productionprocess. By the end of the course, stu-dents have completed a finished piece.Prerequisite: Knowledge of Final CutPro or Avid Express Pro. Editing soft-ware and techniques are not taught.

PRODUCING AND ENTERTAINMENT MANAGEMENT As business decision-makers in a creative industry, producers must understand the fi-nancial and creative aspects of filmmaking. Our program provides the skills producersneed to make sound decisions throughout the filmmaking process, from development topre-production, production, post-production, and marketing.

Producing One-Week IntensiveX34.9149/$995G

M Sec. 1: Mon.–Fri. 9 a.m.–5 p.m., Nov. 12–16 (5 sessions). Steve Stockage, producer.

Beginning and prospective producers chart paths toward their goals in this intensivecourse. Understand producers’ core functions and responsibilities through an overviewof the creative, executive, and technical (line producing and production management)aspects of production and distribution. Grapple with challenging questions: how to de-termine a story’s artistic and financial worth; how to define the target audience; andhow to accurately project production and marketing costs. Learn to analyze scripts andstories to gauge costs; develop budgets; structure funding and raise funds; and enterinto contracts with actors, executive producers, distributors, and others. Find out howto get started as a producer and how to identify opportunities.

Entertainment Law for ProducersX34.9136/$825

S Sec. 1: Wed. 6.20–9.20 p.m., Sept. 26–Dec. 19 (12 sessions). Howard D. Leib,entertainment and intellectual property attorney; founder and CEO, Brain Camp.

Established or aspiring film and televisionproducers develop familiarity with enter-tainment law’s contracts and legal princi-ples, and learn how to find and effectivelywork with an attorney to safeguard inter-ests. We cover the basics of contract lawand intellectual property law, includingcopyrights and trademarks. Topics includecommon provisions of entertainment con-tracts, litigation and arbitration, acquisitionof rights, best practices in negotiation anddealmaking, shopping, and protecting yourproject. We also review financing, distribu-tion agreements, development deals, pro-duction contracts, merchandising, andretainer and agency agreements.

TV Programs: Developing and ProducingX34.9167/$835

S Sec. 1: Tues. 6.20–9.20 p.m., Sept. 25–Dec. 11 (12 sessions). Cathrine Kellison,producer.

How does someone with a great idea for anew program develop a successful project?This intermediate-level course is for thoseserious about developing, producing, andpitching original nonfiction content fornetwork, cable, or nonbroadcast venues.We look at everything from breakdownand budget lines to production, post-production, and marketing and promotion.Students present a professional-qualityproposal and deliver an oral pitch to indus-try professionals. You come away with aclearer understanding of the possibilitiesand realities of actualizing your project.

Finance Management for Film and TVX34.9125/$725

S Sec. 1: Mon. 6.20–8.20 p.m., Sept. 24–Dec. 17 (12 sessions). No class Oct. 8. Jon Fish,CPA, manager–production finance, HBO.

Once a film or television show is given thego-ahead for production, the managementof production costs becomes essential. Thiscourse is designed for producers, film andtelevision executives, production man-agers, department heads, finance profes-sionals, and anyone interested in control,management, and the cost reporting of filmand television production expenses. Wecover best practices, industry standards,and current trends for controlling costs,managing budgets and reporting costs andvariances to producers, studios, and fi-nance companies. Topics are taught usingcase studies, guest speakers, and real-world production and cost-control tools.

Production Company ManagementX34.9138/$825

S Sec. 1: Thurs. 6.20–9.20 p.m., Sept. 20–Dec. 13 (12 sessions). No class Nov. 22.Nelle Nugent, producer.

Gain a working knowledge of how to forma company that develops and producesproducts for film and television. Create ahandbook from coursework and handoutsthat guide you through the formation, func-tions, and operations of a development/production company. Understand the busi-ness structure for developing, producing,and distributing films. And acquire a work-ing lexicon of industry terms and terminol-ogy. Discover how to acquire properties,develop a business, and prepare successfulpitches. Learn about financing, corporatestructure (advisory team, sales, advertising,business affairs, and finance), and how towork with lawyers, agents, accountants,and talent.

Introduction to ProducingX34.9509/$725

S Sec. 1: Tues. 6.45–8.45 p.m., Sept. 25–Dec. 11 (12 sessions). No class Dec. 12.

This course provides an overview of thecore functions and responsibilities of filmproducers. Using one feature film script asa working project from week to week, stu-dents learn how the underlying principlesof film can be applied to, and adapted for,television and other entertainment media.Current and aspiring producers learn howto chart the most promising path towardachieving their goals. We cover the creative,executive, and technical (line producingand production management) responsibili-ties in all phases of production and distrib-ution. Students grapple with challengingquestions about determining the worth ofthe story, defining target audiences, andprojecting production and marketing costs.

Nielsen TV Research: The IndustryX34.9234/$855

S Sec. 1: Wed. 6.20–9.20 p.m., Sept. 19–Dec. 12 (12 sessions). Richard Zackon,consultant, Nielsen Media Research.

Receive an introduction to the current,rapidly evolving landscape of the televi-sion and advertising industries as well asthe intersection between TV programmingand commercials. Topics addressed in-clude how media time is bought, how suchmedia consumption is measured, and whatvalue this research has to programmingand advertising executives. This is the firstcourse in a three-part series to fulfill re-quirements for the Nielsen Certificate inTV Audience Measurement.

9



CERTIFICATE INENTERTAINMENT MEDIA MANAGEMENT

This certificate provides a solid under-standing of the entertainment industry,specifically in the areas of film and tele-vision or music. The program is de-signed to introduce the basics of thediscipline while also teaching the toolsof the industry. Entertainment managersliaise with directors, producers, and filmdistribution companies, and organize thebusiness development of productions.Students extensively study the variousroles of management in the entertain-ment industry, and learn how to applythis knowledge within the field.

Upon completion of the program, students have in-depth knowledge of:

• The structure of the entertainment in-dustry, including basic divisions oflabor, organizational structure, and job responsibilities/hierarchies.

• The defining characteristics of theirparticular sphere within the industry,the major venues by which new prod-ucts are bought and sold, and typicalbusiness arrangements and legal con-siderations.

• How to put together an investmentpackage—a prospectus for a project,including a business plan, analysis,and an estimated budget.

• The entrepreneurial guidelines for creating businesses in a specific industry sphere.

This certificate is awarded to students whosuccessfully complete five courses—four required and one elective.

REQUIRED COURSES

The Entertainment Industry/X34.9007 (page 8)

Entertainment and Media BusinessPlans/X34.9126 (page 8)

Finance Management for Film andTV/X34.9125 (this page)

Entertainment Law for Producers/X34.9136 (this page)

CORE ELECTIVES (Choose one)

Film Marketing and Distribution/X34.9088 (page 8)

The Broadcast Television Industry/X34.9057 (page 8)



NIELSEN CERTIFICATE IN TV AUDIENCEMEASUREMENT

In this specialized certificate program,you learn the structure of the TV indus-try and the research methodologies usedto gather and report Nielsen ratings, aswell as other TV research techniques.The intensive includes both classroomwork and internship experience atbroadcast and cable television networks.Recent students who have completedthis certificate were placed in positionsat ABC, CBS, and the WB; Viacom’schannel LOGO; and Nielsen MediaResearch.

Upon completion of this certificate program, students have knowledge of:

• Basic structure and processes of theTV programming and advertising industries.

• Technical language of TV advertisingsales, buying, planning, and research.

• Recurrent viewing patterns of the TV audience.

• Fundamental principles of social survey research.

• Methodology used by Nielsen MediaResearch to produce national and local ratings.

• Primary data and software products of Nielsen Media Research.

• Elements of effective research charting and presentations.

This certificate is awarded to studentswho successfully complete three required courses.

REQUIRED COURSES

Nielsen TV Research: TheIndustry/X34.9234 (this page)

Nielsen TV Research: Measurement (spring 2008)

Nielsen TV Research: Internship andAdvanced Topics (spring 2008)


NEW

CERTIFICATE IN PRODUCING

The producer’s role is often misunder-stood. It reflects a combination of entre-preneurship, managerial skills, andcreativity in the television and film in-dustries. Step into the role of produceror assistant producer by applying the in-depth core responsibilities and functionsthat producers perform and an under-standing of the underlying principles of television and other entertainmentmedia. This certificate comprises threelevels of classes that cover the creative,executive, technical, and administrativeresponsibilities of a producer, and teachesthe skill set needed to become an effec-tive member of a producer’s unit.

Upon completion of the program, students know how to:

• Vet a script to determine budget.

• Set up a budget, identify typical expenditure areas, and track expenses during production.

• Strengthen scripts.

• Put together an investment prospectusand identify likely investors.

• Put together a winning pitch to a network, cable channel, or studio.

• Read and create basic contracts andlegal business agreements between thedifferent components of a productioncompany, the crew, and the investors.

This certificate is awarded to studentswho successfully complete six courses—four required and two electives.

REQUIRED COURSES


Finance Management for Film andTV/X34.9125 (page 9)

Entertainment Law for Producers/X34.9136 (page 9)

Production Company Management/X34.9138 (page 9)

ELECTIVES (Choose two)

Documentary Development, Research,and Financing/X34.9425 (page 7)

Film Marketing and Distribution/X34.9088 (page 8)

Story Analysis for Producers/X34.9131 (page 8)

TV Programs: Developing andProducing/X34.9167 (page 9)




10 WEB: SCPS.NYU.EDU E-MAIL: [email protected]

On Camera: Pilot Season PrepX34.9800/$580

Sec. 1: Sat. 1–4.30 p.m., Sept. 29–Nov. 17 (8 sessions). Joanna Beckson, actor; director,film, TV, and off-Broadway, includingEnsemble Studio Theatre.

The pilot, a sample episode of a televisionshow, acts as a model for new program-ming that may be chosen by networks forthe following fall’s schedule. Learn whatcasting directors look for at an audition,find the comic and dramatic opposites inyour readings, improve your spontaneity,and discover the emotional center of anyscript. Gain new skills for successful audi-tions with in film and television, and buildyour camera and auditioning skills inweekly on-camera sessions. Watch yourgrowth from week one to week eight andlearn what makes you “pop” on camera.

The Business of VoiceoverX34.8111/$600

S Sec. 1: Wed. 6.45–9.15 p.m., Sept. 26–Dec. 19 (12 sessions). No class Nov. 21.Johnna Gottlieb, consultant, voiceover talent agent.

In this course, students prepare for careersin the competitive and lucrative voiceoverindustry. Find out about different types ofvoiceover jobs and the rates that each arelikely to pay. Learn how to develop a win-ning marketing strategy, sign with the righttalent agency, and join the unions that gov-ern voiceover work. Listen to guest lecturesby leading voiceover agents, artists, castingdirectors, and producers, and receive feed-back on your readings of voiceover copyfrom these industry professionals. VisitStartrax, the prestigious studio where com-mercials, trailers, promos, documentaries,and audio books are recorded.

Voiceover TechniquesX34.9809/$1,050

Sec. 1: Wed. 6.30–9.30 p.m., Sept. 26–Dec. 5 (10 sessions).

Do you have an interesting or distinctivevoice and want to pursue being a voice-over artist? Work with an Academy Award-nominated director to learn the craft. Eachweek, you record in a top New York Citystudio with a trained sound engineer asyou prepare to make a demo, your callingcard in this lucrative industry. In additionto commercials, explore cartoon voices,narration, and industrial copy. Auditiontechniques, copy reading, articulation,breathing, accent reduction, and interpret-ing copy are some of the professionalskills that you acquire. Casting directorsvisit class. Students must have access to atape recorder or ability to create audiofiles on your computer.

FILM THEORY

The Language of FilmX34.9504/$750

W Sec. 1: Mon. 6.20–9.50 p.m., Sept. 24–Dec. 17 (12 sessions). No class Oct. 8.Amresh Sinha, published film scholar; documentary producer and director.

Critiquing and analyzing film requires acareful eye and an understanding of basicfilm structure, grammar, sign, and syntax.Examining a wide range of films—fromfeature-length narrative and documentaryto animation and experimental—studentsbegin to apply contemporary film theory to works studied in class. Directors such as Melies, Griffith, Ford, Welles, Godard,Renoir, Kurosawa, Kubrick, Scorsese, ErrolMorris, Maya Deren, and Wong Kar-Waiare among those covered. Movements infilm history, such as French new wave, filmnoir, and surrealism, are surveyed to pro-vide students with relevant perspectives on recent developments in the form.

Cinematic StructureX34.9232/$395

S Sec. 1: Mon. 6.20–9.20 p.m., Oct. 15–Dec. 3(8 sessions).

Constructing a compelling narrative in cinema is reliant on many factors. Editing,dramatic structure, and the use of cinematicspace all play an important role in a film’scinematic structure. By drawing on exam-ples of historical and contemporary cinema,this class analyzes the patterns frequentlyused to create this visual structure and ex-amines how these techniques can heightenmeaning and tell a story to its greatest ef-fect. Topics discussed include parallel ac-tion, slow disclosure, and moving versusstatic camera. Explore how the directoruses these tools to convey a story visually.

PERFORMANCE FOR FILM AND BROADCAST

Acting for Film and TV IX34.9196/$750

V Sec. 1: Tues. 6–10 p.m., Sept. 25–Dec. 11(12 sessions). Lisa Rothe, director, WNYC,HERE NYC, Yale School of Drama.

In the competitive world of professionalacting in New York City, you need to bememorable and work the camera to youradvantage so that your next audition landsyou the role. Whether you’re a theatricallytrained actor looking to make the transitionfrom stage to screen or someone new to theperforming arts, this class provides you withthe basic technique to build your confidenceworking in front of the camera. Exercisesinclude playing to the camera, preparingscenes, and fine-tuning your blocking.

STORY, THEORY, ANDPERFORMANCE

STORYBOARDING

Storyboarding WorkshopX35.9675/$540

W Sec. 1: Thurs. 6–9 p.m., Sept. 20–Nov. 29 (10 sessions). No class Nov. 22.Syr Ivan Bennett, storyboard artist,Nickelodeon.

An essential skill employed by filmmakers,designers, and animators to create com-pelling stories, storyboarding helps youthoroughly plan and visualize a project be-fore it ever reaches production. By using aseries of sketches to establish key framesand continuity, you storyboard scenes fromclassic films to learn vocabulary, iconogra-phy, and editing. Then create shot-by-shotstoryboards of your own project—whethera feature film, commercial, video game, oranimation—to lay out a ground plan forproduction. Students should bring a smalldrawing pad/notebook and a Col-Eraseblue pencil or non-photo blue pencil to the first class.

Storyboard Animatic WorkshopX35.9676/$725G

M Sec. 1: Mon. 6–9 p.m., Sept. 24–Nov. 19 (8 sessions). No class Oct. 8.

Animatic creation—the development ofcomputer-animated storyboards—is a skillthat is becoming more and more necessaryin the film and animation industry. Withthe creation of an animatic, budgets aresaved from bloating out of control, as shotsare previsualized with a moving storyboard.With the animatic, a sequence can be per-fectly timed and cut as the director judgesthe merits of a sequence before allowing itto be fully produced. By the end of class,students construct a one-minute animaticusing Flash, Photoshop, and After Effects.Prerequisites: Storyboarding Workshop/X35.9675 and basic computer skills.

Advanced Storyboarding and StorytellingX35.9009/$495

W Sec. 1: Wed. 6–9 p.m., Sept. 19–Nov. 7 (8 sessions). No class Nov. 21.

Storytelling is often a forgotten art in theworld of digital animation. In this course,professionals and aspiring digital artistsdevelop original ideas for short animatedfilm projects. Through discussion, critique,and practical application, participants learnthe art of storytelling. In-class brainstorm-ing and design, advanced storyboarding,and initial writing, combined with home-work assignments, contribute to strength-ening film concepts. By the end of thesemester, you have a completed script andstoryboards. Prerequisite: StoryboardingWorkshop/X35.9675, or basic experiencein storyboarding.

NEW

SCPS Non-DegreeCertificate Programs

Certificates are highlighted throughout thisBulletin in their respective subject areas,where the specific requirements and coursesequences are outlined. Also, a compre-hensive alphabetical listing of all certifi-cates can be found in the Index.

Most SCPS certificate programs consistof four to six non-degree courses involving100 to 200 contact hours (50-minute hours)of instruction in a specified field of study.The following rules apply:

• Students must satisfy the certificate pro-gram requirements listed in the Bulletinpublished for the term in which they register for the first course toward thecertificate.

• Students must maintain a record of suc-cessfully completed courses. Grade mail-ers can be requested at scps.nyu.edu atthe end of each term.

• Program administrators may authorize inwriting substitutions of specified coursesin individual situations (maximum of onesubstitution for a four-course certificate;two substitutions for a certificate requir-ing five or more courses).

• All courses to be applied to a given certificate must be completed, withweight grades (A, B, or C). See individ-ual listings for details.

• Certificates must be completed within a period of four academic years from initialdate of registration.

• Regular class attendance is required inorder for a course to be used toward acertificate program.

• Courses taken at SCPS may be applied tofulfilling the requirements of only oneschool certificate program. No transferwork or waiver of the total number ofcourses required is permitted.

• Students are not permitted to be enrolledin full-time intensive certificate programsat the same time that they are registeredin SCPS degree or diploma programs orin other schools of the university.

• Only one certificate may be issued in agiven semester.

• The name printed on the certificate willmatch the name on the student’s NYUtranscript.

• To receive a certificate, students mustsubmit a request in writing or electroni-cally to SCPS Office of Student Enroll-ment Services within one year of programcompletion. See the Certificate RequestForm 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 morestringent requirements for their programs.Check individual listings for details.

The refund schedule is as follows.

For non-degree courses (X numbers)and seminars (R--.7999 and below):

1. Prior to the first session—100 percent refund.

2. Student withdraws after one or two sessions of a course with six or more sessions—75 percent refund. No refundthereafter.

3. Student withdraws after one or two sessions of a four- to five-sessioncourse—60 percent refund. No refundthereafter.

4. Student withdraws after more than twosessions of a four-session course—no refund.

5. Student has attended any session of aone- to three-session course—no refund.

For seminars and conferences (desig-nated as R--.8000 and above or begin-ning with SCPS): Procedures and policiesfor refunds vary by department.

For online courses: Refunds for onlinecourses are calculated differently from on-site courses. Students are eligible for a 100percent tuition refund if they withdrawfrom the course before the official startdate. Students are eligible for a 60 percenttuition refund if they withdraw from thecourse before having logged into thecourse four times or within the first twoweeks of the course. After the fourth login,or the second week, students are not eligi-ble to receive any tuition refund forcourses taken through SCPS.

Non-Degree Registration Fees

For non-degree courses (designated withan X number), the registration fee is either$10 or $20, depending on the total cost ofthe course or courses for which you apply.If the total of your tuition is $99 or less,your registration fee is $10. If the total ofyour tuition is $100 or more, the fee is $20.The maximum $20 registration fee is pay-able only once each semester, no matterhow many times you add courses. Regis-tration fees are nonrefundable.

For conferences and seminars (desig-nated with an R number), the cost for reg-istration services is included in the tuition.

Note: This fee schedule does not applyto the programs requiring CreditRegistration.

Non-degree Changes,Withdrawals, and Refunds

Additions (added courses) to your non-degree program may be made by tele-phone, fax, mail, online, or in person.

Program changes (drop/adds) may bemade via the Web, in person, or by fax.

Withdrawals. Students who wish towithdraw from or for any reason find itimpossible to complete a non-degreecourse should officially withdraw.Requests to withdraw (drops only) fromnon-degree courses can be made at anytime via the Web at scps.nyu.edu; bymail, Office of Student EnrollmentServices, NYU School of Continuing andProfessional Studies, P.O. Box 1206,Stuyvesant Station, New York, NY10009-9988; by e-mail,[email protected]; byfax, (212) 995-3060; or in person, 145 Fourth Avenue, 2nd Floor.

Merely ceasing to attend a class doesnot constitute official withdrawal, nordoes notification to the instructor.Cancellation of payment does not consti-tute withdrawal, nor does it reduce indebt-edness to the university; in this case, apenalty of $25 for late payment and $10for stop-payment (subject to change with-out notice) must be charged. Students ofany other NYU school must withdrawfrom SCPS courses through SCPS.

Refund Policy. Refunds are computedbased on the date and time the written orelectronic notice of withdrawal is receivedby the Office of Student EnrollmentServices. In addition, refunds for non-de-gree courses and seminars are based on the number of class sessions for the coursethat have met between the time of registra-tion and withdrawal.

Withdrawal does not necessarily entitle astudent to a refund—nor to a cancellationof tuition still due.

Advisement

Wondering What to Take?Not sure what type of course best suitsyour needs? Having trouble navigating thisBulletin? Preregistration advisement isavailable over the phone, in person, or viae-mail. To reach an education advisor, call(212) 998-7171 and press 5, or e-mail [email protected].

Other numbers to call:• Outside New York City, (888) 998-7204.• For course availability, schedules, and

class locations, call (212) 998-7200.

Information Service

The SCPS information lines are open Mon.–Fri., 9 a.m.–5 p.m. to help you findthe program that suits your needs. Call(212) 998-7171 for education advisement.(Hours are extended during registrationand the first week of continuing educationclasses.) Our advisors are available to an-swer inquiries about the school and itsprograms or to direct calls to the appropri-ate offices. If you would like to be addedto our mailing list for future Bulletins, callthe Office of Student Enrollment Servicesat (212) 998-7200 and leave your nameand address with our 24-hour automated attendant.

You may also obtain schoolwidegeneral information or request a Bulletinby visiting our website at scps.nyu.edu, ore-mailing your name and address [email protected].

To receive information about the schoolin person, visit the Office of StudentEnrollment Services, 145 Fourth Avenue,Room 214, Mon.–Fri., 9 a.m.–5 p.m. Pleaserefer to the inside front cover for extendedhours.

11

GENERAL INFORMATION


GENERAL INFORMATION FEES AND PAYMENT

R E G I S T R A T I O N F O R M

USE THIS FORM TO REGISTER.REGISTER EARLY FOR THE BEST SELECTION OF COURSES.WEBYou can register online with NYU’s Student Information System via the Internet. Visit scps.nyu.edu to access the Web-based registration and information system at NYU. Online registration requires payment by credit card. Consult the inside front cover for complete information.

MAIL OR FAX1 Use the Registration Form to register for non-degree courses with course numbers beginning with the

prefix “X” and for seminars beginning with the prefix “R.” Do not use this form to register for creditcourses (prefix “Y” or “Z”), conferences (prefix “SCPS”), or for courses of the American LanguageInstitute (ESL courses).

2 Find the course(s) you want to register for and note:• Course title. • Course number and section.• Days and hours of the course. • Course fee.

Transfer this information to the registration form.

3 Type or write clearly and make sure you copy your credit card information accurately.Mistakes can delay your registration.

4 Be sure to include your phone number and e-mail address so that we may contact you if there are anyquestions.

5 Place the registration form in the postage-paid envelope provided or fax the form to (212) 995-3060.

TELEPHONE1 For your convenience and to have a written record for yourself, fill out the course information section of

the registration form before you call.

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 educationadvisor.

HERE ARE ANSWERS TO SOME COMMONLY ASKED QUESTIONS.WHAT INFORMATION DO I NEED TO REGISTER BY PHONE?• Course title, course number, and course section.• Your mailing address, e-mail address, and telephone number.• Your credit card (Visa®, MasterCard®, American Express®, or Discover® cards).

WHAT ABOUT LATE FEES?There are no late fees for non-degree courses. But remember, register early for best course selection andavailability.

HOW DO I DROP OR ADD COURSES?You may drop a course by phone (212-998-7171), by mail and in person (145 Fourth Avenue, 2nd Floor, NewYork, NY 10003), by e-mail ([email protected]), or by fax (212-995-3060) up until one day beforethe course start date. If you call, we must have a written request to process your withdrawal. Please consultour refund policy in the Registration section of this Bulletin for drops made after the start of class. You mayadd a course by telephone, fax, the Web, or in person.

MAY I USE A COMPANY VOUCHER TO PAY FOR MY CLASS?Yes, as long as your company does not qualify payment based upon completion of coursework with a passing grade. We accept purchase orders, vouchers, and letters of authorization as payment for tuition in credit and non-degree courses. Please send the voucher with your registration.

CAN I SPEAK TO AN ADVISOR BEFORE I REGISTER?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 [email protected].

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.

TUITION + REGISTRATION FEE=TOTAL

COURSE/SEMINARNUMBER I ENCLOSE CHECK OR MONEY ORDER FOR TOTAL SHOWN I HEREBY AUTHORIZE USE OF MY CREDIT CARD

SIGNATURE _________________________________________________________________________________________________________

NO._______________________________________________________________________________________________________________

Discover® CARDS MASTERCARD® VISA® AMERICAN EXPRESS® EXPIRES __________________________________________MONTH YEAR

SECTIONNUMBER TITLE OF COURSE/SEMINAR (ABBREVIATE) TUITION AND FEES DAYS HOURS

Would you also answer these optional questions about your place of business so we may keep you informed of corporate and free events?YOUR NAME _______________________________________________________________________________________________________

YOUR TITLE _______________________________________________________________________________________________________

YOUR DIVISION OR DEPARTMENT________________________________________________________________________________________

COMPANY NAME____________________________________________________________________________________________________

COMPANY ADDRESS _________________________________________________________________________________________________

CITY___________________________________________________________STATE ______________ZIP ___________________________

DAYTIME TELEPHONE NUMBER ( )______________________________________________________________________________

FAX NUMBER ( ) _________________________________ E-MAIL___________________________________________________

TYPE OF BUSINESS _______________________________________________________ NUMBER OF EMPLOYEES _____________________

DOES YOUR COMPANY OFFER TUITION REIMBURSEMENT? _____________________________________________________________________

FULL PARTIAL CHECK ANY RESTRICTIONS THAT APPLY:

MUST BE JOB-RELATED CREDIT ONLY OTHER ______________________________________________________________

NYU STUDENT ID NO. BIRTH DATE FIRST ATTENDANCE IN SCPS?

YES NO

N IF NO, DATE LAST ATTENDED

HIGHEST EDUCATIONAL LEVEL (CHECK ONE)

HIGH SCHOOL ATTENDED COLLEGE FOUR-YEAR COLLEGE GRADUATE GRADUATE STUDIES

COUNTRY OF CITIZENSHIP U.S. OTHER (PLEASE SPECIFY) __________________________________________________________

DO YOU PLAN TO PURSUE A PROFESSIONAL CERTIFICATE? YES NO

WHAT CERTIFICATE ARE YOU PLANNING TO PURSUE?_________________________________________________________________________

PRINT NAME (LAST) (FIRST) (MIDDLE INITIAL)

MR.MS. ________________________________________________________________________________________________________

HOME ADDRESS (STREET) ________________________________________________________________ APT. NO. ________________

CITY ________________________________________________ STATE __________________ ZIP ____________________________

E-MAIL ________________________________________________________________________________________________________

HOME TELEPHONE ( ) _____________________________ WORK TELEPHONE ( ) _________________________________

Note: Students must provide an e-mail address and/or a telephone number so that SCPS can notify you regarding room location or class changes.

Please check this box if you do not want your e-mail address or telephone number used for marketing purposes.

*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.

nyu scps-fall 2007

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