The majority of the experience will be through hands on learning while filming the students own projects.  This course requires significant dedication over the term of the film project. This course and the associated film projects are the main focus of the school.

Upon completion of the course, students will be awarded a Certificate of Completion.  In the event that the student does not complete the final project by the end of the second year, the student will be issued a Certificate of Attendance.  Upon completion of the Final Project, the students Certificate of Completion will be issued to the student.

LECTURES

Lecture sessions last for about one and a half hours and it is necessary for students to attend all sessions and to take careful notes. Text books will be provided, however, several of the books are on sale in the library and through local book stores. The syllabus is designed to be flexible as well as comprehensive and is naturally subject to alteration or amendment.  These lectures will be held as necessary, however, they will be secondary to practical work.

PRACTICAL WORK

Outside the formal sessions discipline is democratic. Students are expected to organize their own practical and group work and to prepare their films as if they were already professional filmmakers. All of the film projects are based on original ideas submitted by the students themselves; every student being encouraged to submit subjects for their project.  As these are the students ideas, they will remain the property of the student and anyone else whom the student grants ownership rights to.

Production units are formed by the producing student to script, cast, produce, direct, photograph and edit the films, which at all stages are discussed with, and criticized by, members of the staff and outside tutors, who are all working technicians in the industry. While tutors advise and pass on their experience to students they do not impose their ideas and all productions are genuinely the work of the students themselves. This intensifies the student's experience and he or she can consequently learn a great deal more in a much shorter time. A further advantage is that, while practicing filmmakers may not be experienced at giving formal lectures, if they act in an advisory capacity with a production unit in the midst of working through all the stages of making a film they are able to convey their knowledge and experience, in answer to the problems that arise. Good liaison with tutors is specially important and student unit producers must see to it that the whole unit attends any consultations at the correct time.

Before each film project can be shot, every member of the unit must pass tests in handling the type of camera and any other apparatus they will use. The student allocated to the job of camera operator, for instance, will naturally have to pass his camera test with flying colors. If not he may be required to change his job or repeat the term in which the equipment was taught, if he expects to use the equipment.

The core of each course is the film project, based on students' original work and carried out by them, in units usually of four to six members consisting of advanced and basic course students and if requested, staff personnel, with advice from staff and visiting tutors. Pressure of work demands much research and scripting be done in students' own time. Shooting and editing often extend beyond the normal hours and facilities are given for working before 10:00am, after 5:00pm and at weekends during the production period.

Each film projects follows a similar general pattern. The early part of the course is spent in deciding on which script to adopt and working it up into a finished form. After planning of the production, location research, set construction etc, the film is shot. There is little detailed supervision of shooting and students learn by their own initiative and performance. All film processing is done at commercial laboratories. Rushes are viewed and analyzed with staff and then editing is carried out. The progress of editing is checked at 'First Cut' and 'Fine Cut' stages, by staff tutors. Consultation with editing department staff is continuously available. When editing is complete, sound tracks are laid in preparation for mixing, which is carried out at external, commercial sound studios. The finished film is presented at end course viewings, where the assembled school and some visiting film makers analyze the results. A small proportion of films are made into 'married prints' for sending to student film festivals etc.

No expenses are supplied to cover costs of hiring props or costumes and students are advised to take this into consideration when writing their scripts.

TERM 1

The first term contains a high proportion of formal lectures and basic theory. The necessary facts are provided for the educated student who knows little of filmmaking; those with greater practical experience can refresh and consolidate their knowledge. The term is dedicated to the principle of learning how to tell a story in pictures. Attendance at lectures is very important, especially as there is a scarcity of good professional text books. There is a series of lectures on principles of cinematography, including photography, optics, laboratories etc. There are scriptwriting classes with practical work. During this term specialization is even more strongly discouraged than in later terms, as students are expected to become filmmakers in the widest possible sense.

The second term continues the program of lectures, seminars, workshops. A series of lectures is given on principles of color photography, lighting for color, laboratory procedures and principles of sound recording. There are also lectures on production management and music in film.

Term Three is the Feature Project term (this term can be starteds as soon as the previous practical work is completed. Location and story research are very important for this much longer exercise. Students are shown films by visiting lecturers and have talks on scripting for feature films films, interview techniques and commentary writing. By now a professional approach to production preparation and scripting is expected. There are lectures on tape recording sync systems, use of sync sound on location, synchronizing rushes and editing sync material. The use of music in documentaries is discussed.

Students are expected to complete a project of at least 30 minutes, 16mm, color film, with sync sound, is made on location. Students work in units to be determined by the supervising student, each taking on the following responsibilities  Producer, Director, Lighting Cameraman, Camera Operator, Sound Recordist and Editor, each student taking one of these jobs for the complete exercise. Rerecording/mixing of soundtracks is carried out at professional sound studios. Students shoot their own titles on the 16mm rostrum camera.

At the end of Term Three progress of all students is reviewed before they proceed to the second year.  Students are able in this time to complete a feature film with their group.  This project can be completed early and additional projects can be started.  

TERM 4, 5 and 6

Independent Film Institute of Utah offers an indepth opportunity for students to make full length Feature Films.  Imagination is expected in the designing of sets, finding locations and it is now that students learn the practical requirements of set building and the choice of properties for set dressing. The great value of set models is stressed. A great deal can be learned of studio production organization, continuity, lighting, camera movements and the art of handling actors. Lectures and seminars are held on scripting fiction films, production design, art direction, set building, production management, continuity, studio lighting theory, studio direction and dialogue writing. Lectures on studio sound recording and 16 and/or 35mm editing are held. There is also a series on special effects.

The film exercise in these terms are treated as professional productions. Fully worked script, production schedule and budget must be prepared before work may start. Students handle the whole of the production with advice from, and consultation with, the staff. They may use whichever film gauge or video system they choose, within their proposed budget limits. The purpose is to prepare for future professional production. A substantial production allowance is required and students are encouraged to join into units to pool their resources. They are also encouraged to raise sponsorship from outside individuals and organizations. The shooting of the film may be outside the US, but all postproduction must be completed in Utah, under the supervision of the School.

Summary of Curriculum for Advanced Course

Below are the areas which the film-maker/student will experience through lectures, planning meetings and on site filming.  Advanced students are required to be prepared to manage their projects and will be given basic instruction to this end.  Much of this information will be learned while shooting their film project.

A . BASIC PRINCIPLES FOR FILMMAKERS

Film syntax: simple rules of two dimensional geography; sense of direction; crossing the line; eye lines, etc. Film vocabulary: conventions; sizes of shots; camera movements, etc. Duties and functions of members of the film unit: collective and individual contribution; interrelationships of different functions, role of the director, etc.

B. SCRIPTING AND PLANNING

Script as blueprint: basic layout; conventional stages of development, etc. Adaptation of dramatic unities to film writing; manipulation of time; construction; action; difference between literary and visual narrative, etc. Improvising situations in groups. Basic script and storyboard for films; methods of compression, etc. Scripting films with special reference to film exercise; how and when to use interior monologue; styles and conventions; construction and development of action before breaking down into shots, etc. Basic documentary scripting: the importance of thorough research; the necessity for preplanning sound as well as vision, etc. Scripting dialogue: how this differs from stage dialogue; benefits of collaboration; various methods of achieving realism; portrayal of character; advancement of plot, etc. Script conferences and discussions for film exercises. Individual and collective consultations on researching projects suitable for documentary exercise.

C. ORGANIZATION AND PRODUCTION

General organization of the film and television industries. Budget and schedule; costing and programming; paper work: breakdown, continuity, call sheets, progress reports, etc.. Organization of documentary and other short films to be shot on location

D. DIRECTING AND ACTING

Duties and functions of the director and his relationship with other members of the film unit; relationship between directing and editing, etc. The director's use of lenses, camera movements, etc. Documentary and location direction: directing nonactors; directing children and animals, etc. The director as author, as critic, as decision maker, as interpreter; his special relationship with the actors. Directing exercises. Acting/directing workshops.

E. PHOTOGRAPHY

Introduction to photochemical reactions: latent image; emulsion; grain; film base; development; fixing, etc. Exposure, development, and speed of emulsion; sensitometry; density; characteristic curve; gamma; latitude; print requirements; laboratory practices; reversal process, etc. Quality control; effective lightingratio and balance; keytone pegging, etc. Contrast in B & W; filters; spectral absorption curves; neutral density and special effect filters; day for night; filter holders; care of filters, etc. Exposure control theory and methods of light measurement; types of exposure meters; spectral sensitivity problems; spot meters and photometers, etc. Laboratory techniques, including where possible a visit to a film laboratory. How we see color; theory of color vision; methods of recording and reproducing. Modern negative/positive, subtractive motion picture films; theoretical considerations.

F. LENSES

Basic optics and lens geometry, design considerations, etc. Lens performance; perspective in cinema; lens tests, etc. Modern ciné lenses and their use; specifications, etc. Anamorphic and zoom lenses.

G. CAMERA

The ciné camera. Camera handling and care. Shooting procedures; newsreel shooting; current events; hand holding, etc. Special effects techniques. Composition from the point of view of an art director. Composition from the point of view of a camera operator. Familiarization with and handling of the provided cine' camera. Demonstrations and practicals on other professional ciné cameras.

H. LIGHTING AND SPECIAL EFFECTS

Film characteristics and basic problems of exposure; theory of exposure control; practical use of filters and diffusers . Exterior lighting practice. Interior lighting equipment. Interior lighting in practice. Demonstration of studio lighting and its use in practice. Lighting for interiors on location. Lighting practicals at various stages. Front and back projection. Traveling matte; split matte, etc. Special; effects (models), etc.

I. ROSTRUM CAMERA WORK AND TITLING

Practicals on 16mm and 35mm rostrum cameras. Preparation of title cards etc Photography and laboratory work for titles. Computer generated title work.

J. PROJECTION AND PRESENTATION

Introduction to projection theory; mechanisms; light sources; change overs, etc. Demonstrations and practical sessions on the use of 16mm projectors for all students. Demonstration and practicals for selected students on the 35mm projector.

K. EDITING

Outline of editing procedures for 16mm and 35mm. Assembly, splicing, assembly viewing, key number logging, etc. Procedures from first cut to fine cut; collection of effects; music, etc. Procedures for preparation; synchronization of rushes and rubber numbering. Outline of procedures from fine cut to dubbing, track laying, music and commentary recording; opticals; cue sheets, etc. Outline of post production procedures from dubbing (rerecording or mixing) to married print; optical transfers; negative cutting; grading; dupes; release prints, etc. Editing practicals at all stages on editing machines with tests. Demonstrations and workshops on nonlinear editing systems.

L. SOUND

History of sound recording and basic physics of sound. Magnetism and theory of magnetic recording; tape recorders; amplifiers. Properties and operation of microphones with practical demonstrations. Magnetic film recorders and rerecording/mixing studios. Preparing a film for dubbing. Quarter inch magnetic tape editing. Synchronous sound systems. Location sound recording. Practical sessions and test with recorders Practicals on microphone boom operation. Practicals on 35mm magnetic sound and digital sound transfer procedures. Visits to professional dubbing theaters, in preparation for dubbing students' films. Principles of stereo sound recording. Non linear editing of sound tracks.

M. MUSIC

Methods of film music composition; copyright problems, etc. Analysis of music in feature films and documentaries. Characteristics of various musical instruments. Visits to electronic music studios. Music project: practical fitting of music and sound to existing short films. Consultations with units about music for their particular films.

N. PRODUCTION DESIGN

The Art Director's job. Methods of location research and adaptation, with stills photography exercise. Details of planning and construction of sets. Frame and continuity sketches; storyboards; composition of movement within the frame; camera movements etc. Selection and procurement of properties and costumes. Special effects; models; backings; foreground; forced perspective; trick shots, etc. Use of color, with particular reference to second film exercises. Consultations in units for design film project.

O. MAKEUP AND WARDROBE

Demonstration of makeup for B & W films. Consultations for above. Demonstrations of makeup for color films. Consultations for above. General principles of dress design and importance of correct choice of costume. Consultations for above.

P. VIDEO

Lecture demonstration and practicals on Video Camera work. Lecture demonstration and practicals on video editing. If film production to be made on video  lecture demonstration of Betacam system. Demonstration/ workshops on nonlinear editing apply.

Q. MISCELLANEOUS

Visual perception: an examination of the physiological and psychological aspects of perception as applied to the visual media. The scale of these studies is dependent on the availability of suitable lecturers. Visiting lecturers and demonstrations in specialist techniques (eg. underwater photography or new types of movie cameras). Outside visits for observations or for demonstrations of equipment as and when they can be arranged. Visiting film, makers showing their films for discussion with students. Lectures on subjects not directly concerned with film making. Outside visits not directly concerned with film making.

R. WRITTEN WORK, TESTS, ETC.