• University of Derby Featured Masters Courses
  • Durham University Featured Masters Courses
  • University of Glasgow Featured Masters Courses
  • Cardiff University Featured Masters Courses
  • Xi’an Jiaotong-Liverpool University Featured Masters Courses
  • Leeds Beckett University Featured Masters Courses
  • New College of the Humanities Featured Masters Courses
  • University of Glasgow Featured Masters Courses
King’s College London Featured Masters Courses
University of Greenwich Featured Masters Courses
Imperial College London Featured Masters Courses
University College London Featured Masters Courses
FindA University Ltd Featured Masters Courses
0 miles
Creative Arts & Design×

National Film & Television School, Full Time MA Degrees in Creative Arts & Design

  • Creative Arts & Design×
  • National Film & Television School×
  • MA×
  • Full Time×
  • clear all
Showing 1 to 15 of 15
Order by 
A ground-breaking MA in Games Design and Development, combining existing NFTS expertise in character creation, storytelling, design, animation, sound, and more, with input from games industry experts in games design, games art, games production and games audio. Read more
A ground-breaking MA in Games Design and Development, combining existing NFTS expertise in character creation, storytelling, design, animation, sound, and more, with input from games industry experts in games design, games art, games production and games audio.

Quick Facts:

2 Year Course
Full-time
Course runs Jan-Dec each year
Next intake: January 2017
NFTS Scholarships available for UK Students

Visit the website https://nfts.co.uk/our-courses/masters/games-design-development

APPLICATION DEADLINE: 07 JUL 2016

COURSE OVERVIEW

- Study games design and development working alongside the film and television industry’s best and brightest future prospects.
- Build up an in depth fluency in all games design and development disciplines.Develop industry contacts through conferences, event attendance, trade association involvement and visits from industry practitioners and luminaries.
- Gain a practical knowledge of games software development, and the ability to experiment with new pipelines and evolving technologies and techniques.
- Work on high profile solo and group projects, with plenty of opportunities to experiment, innovate and excel.
- Unlike other schools, production costs are met by the School.

Taught by leading games practitioners and experts in the field, our MA in Games Design and Development is a world-leading postgraduate games programme with the reputation, accreditation and alumni credits to back this up. Learning and working alongside film, television and animation practitioners, the course provides a unique opportunity for future games innovators to hone their creative and technical skills, developing fluency in all the core videogames development disciplines such as games design, code, art, animation, production, audio, interface and more. The NFTS provides MA Games students with an unrivalled creative context, as well as the inestimable collaborative opportunities presented by the course’s setting at the heart of the NFTS media development and production studios.

WHY STUDY GAMES DESIGN AND DEVELOPMENT?

Videogames are a relatively young medium, in a continual state of innovation and evolution, which means creatively there is still everything to play for. New platforms and technologies have broadened out the field, with fantastic opportunities for technical invention and artistic innovation. The NFTS Games course provides the practical skills and creative knowhow to design, devise and make games from inception to delivery, and the vision and temperament to provide creative leadership in an industry which continually strives to increase its cultural reach, broaden its audiences and create new and engaging experiences for an innovation-hungry marketplace. Games students develop projects in collaboration with students from other NFTS disciplines including sound design, composing, screenwriting, cinematography, producing, production design, digital effects, editing and production management.

*There are a number of different scholarships that support this course, including the Wellcome Trust Science Media Studentship. For more information see Scholarships and the Wellcome Trust - http://www.wellcome.ac.uk/Funding/Public-engagement/Funding-schemes/Broadcast-games-and-film-awards/Science-Media-Studentships/index.htm

CURRICULUM

In the first year students undertake a series of set projects – both group and solo – during which they also learn core games development disciplines of design, art, animation, coding and production. The modules and workshops cover 3D modelling/animation, game programming (C#/Unity), game design, character creation, producing and project management. Students also take classes in Life Drawing and theory lectures in cultural and critical studies to support their practical work. In the second year students focus on their Final Major Project, working in multi-disciplinary teams with students from other disciplines. Numerous fruitful partnerships have been formed with sound designers, composers, screenwriters, producers, production designers, cinematographers, digital effects artists and others, but the exact composition of development teams varies according to the nature of the projects. External practitioners can also be brought in on projects where needed. Early in the second year students also undertake a detailed module on commercial aspects of game development and present professional business cases for their projects to a panel of experts as a practical output.

PORTFOLIO DEVELOPMENT AND PROJECT OUTPUT

Students develop a cumulative portfolio of work throughout the course. First year output will include the following projects at minimum: ‘Hello World’ (an extensive playable 3D environment made a as a group project); ‘App Factory’ (a mobile/tablet game); ‘Synthespian’ (a player controlled interactive character performing to a set text); ‘Moments of Consequence’ (a short interactive drama). Students work in teams with other school specialisms depending on the specifics of the project. Second year output is exhibited at major shows and expos in various stages during the year, as well as at the Games Graduation Expo which takes place alongside the NFTS Graduation Film, Television and Animation screenings in February.

Students also participate in competitions, game jams and external projects throughout the course, and work is shown and shared on NFTS Games department blog (http://www.nfts-games.com) as well as on students’ own individually maintained portfolio websites. The department also actively promotes student output and activity on our well-followed social media presences.

Final Projects are as varied and diverse as our student group. We’ve proudly presented cutting edge virtual reality experiences, a playable political thriller, episodic interactive dramas, comedic ghost stories, a Dostoevsky-inspired interactive story environment, a motion-controlled playable monster, an interactive romantic comedy, to name a handful. Many more on the way.

CREATIVE COMMUNITY

Since 2012, the NFTS Games course has fed into a creative community of alumni, course contacts, indie developers, games journalists and development studio people who visit the course and follow our work. Students entering the course rapidly become part of this community through networking events, meetup groups, conference attendance and involvement with industry associations such as UKIE, Bafta Games, Creative Skillset and others. Not only does this provide a healthy exchange of ideas and knowledge, but it also provides a network of contacts for future employment, partnership opportunities and funding sources.

A significant proportion of NFTS Games grads have secured funding or distribution for projects developed on the course and have formed their own studio start-ups to make them, while others go on to work at games studios such as Sony Computer Entertainment or Reloaded. Students have also been successful in securing grant funding for projects through our partnership with the Wellcome Trust. Our alumni have also had their fair share of awards and prizes.

INDUSTRY INPUT

As well as an advisory group including members drawn from Sony, Electronic Arts, Microsoft, Media Molecule, Bossa Studios, Natural Motion, NDreams and others, we have regular workshops delivered by experienced industry practitioners. Recent visiting tutors include Siobhan Reddy (Media Molecule), Imre Jele (Bossa Studios), Tara Saunders (Sony), Andrew Oliver (Radiant Worlds), Richard Lemarchant (ex Naughy Dog), Phil Harrison (ex Microsoft), Barry Mead (Fireproof games), Mike Bithell, Jess Curry (The Chinese Room). As well as giving overview talks, where time permits guest tutors have one-to-one sessions with students and give specific input of current project work.

The course is a member of the Sony Playstation®First programme which give students access to Sony PS4 devkits and professional software development kits. We are also a Creative Skillset accredited MA course.

ENTRY REQUIREMENTS

Games design and development students at the NFTS come from a wide range of backgrounds and prior experiences, and have demonstrated an excitement, aptitude, creativity and willingness to learn new skills. We actively seek a diverse and interesting group of people who have something new to bring into the games development fold. Successful applicants have come to us with previous qualifications from across the arts, sciences and humanities; and from all walks of life as far as profession and practice is concerned. Games development experience is welcome, but by no means essential.

The NFTS games course provides a truly unique opportunity to enter one of the most exciting creative industries of the modern age.

APPLY WITH

- A critical analysis of a computer game of your choice. No more than two sides A4, typed.
- A brief outline of the kind of game project you wish to undertake
- A digital portfolio containing samples of your work.

Feel free to contact the NFTS games department via for any further information. You can also keep up to date with all our latest developments on the course blog at
http://www.nfts-games.com , our facebook page http://www.facebook.com/NFTS.Games or twitter feed @NFTS_Games.

HOW TO APPLY

You can apply directly to us at the NFTS by clicking on the link below:

APPLY FOR GAMES DESIGN & DEVELOPMENT COURSE - https://nfts.co.uk/sign-me-up/apply-now/?nid=28

You can apply online, or download a word document of the application form to submit via email
When selecting your course, please ensure that you have read the entry requirements and details of the supporting materials that should accompany your application.

TIMING YOUR APPLICATION

We are happy to receive applications 24/7 and 365 days a year up until the deadline. That said, there is no particular advantage to submitting your application very early. The important thing is that your application shows us your latest work and tell us about your most recent filmmaking experiences.

Visit the Games Blog site - http://www.nfts-games.com/

Read less
Graduates of this course win BAFTAs and multiple other awards every year. Read more
Graduates of this course win BAFTAs and multiple other awards every year. Our students have won the student section of the Los Angeles based Golden Reel Awards for best sound 13 times since 1996 (we won it again this year)! Sound Design students train in all aspects of audio post-production, developing the techniques and creative awareness required as dubbing editors, sound designers and dubbing mixers.

Quick Facts

- 2 Year Course
- Full-time
- Course runs Jan-Dec each year
- Next intake: January 2017
- NFTS Scholarships available for UK Students

- Most comprehensive course in sound available.
- Study in a collaborative filmmaking environment.
- Aesthetic and technical skills developed.
- Facilities rival professional post-production houses.
- Work on both live action and animation films.
- Unlike other schools, all production costs are met by the School.

TO APPLY CONTACT REGISTRY - https://nfts.co.uk/contact-us

Visit the website https://nfts.co.uk/our-courses/masters/sound-design-film-television

COURSE OVERVIEW

The components of the soundtrack – dialogue, atmospheres, Foleys, ADR, designed fx and music – are explored in detail using facilities rivalling those of the best audio post-production houses. With a firm emphasis on storytelling, students develop an aesthetic awareness integrated with technical expertise, encouraging them to be collaborators from an early stage in all productions and throughout the whole post-production process.

In 2016, an NFTS student won the Verna Fields Award for Best Sound Editing in the student category of the US Motion Picture Sound Editors Golden Reel Awards. This is the 13th time a graduating NFTS student has won this award in the last 20 years and, together with the demand for new graduates, demonstrates the esteem with which this course is regarded within the film and television industry.

CURRICULUM

The course represents a steady progression beginning with the basic technology and skills that underpin and support the creative process and ending with the responsibility for sound design on a range of graduation films. At each stage additional skills are added through specific workshops - e.g. music recording, to provide a comprehensive education that is of great value in understanding and communicating with other industry professionals.

Using the latest equipment and technology, students work as sound designers on fiction, documentary and animation projects developing their skills in digital tracklaying and mixing.

YEAR ONE:
A series of exercises focusing on sound editing and mixing techniques Workshops with Editing and Composing students:

- Abstract Film Workshop
- Without Images - a sound-only project
- Dramaturgy Workshop - focusing on script and script analysis, blocking and cover, and performance
- Editing the Scene - editing a scene to learn the basics of scene structure
- Short documentary - sound mixing
- Zen and Beyond - fiction workshop focusing on visual storytelling
- Documentary Poetry - exploring the use of non- synchronous sound and music
- Animation projects - the application of music and sound effects
- 1st year Fiction film - collaborating with all other departments
- Cross Spec - an introduction to film language and storytelling involving all departments

YEAR TWO:
- Investigative Documentary - sound post for the major 1st year Documentary production
- Remixing the 1st year Fiction film tracks
- Advanced editing, design and mixing techniques including surround sound mixing
- 2nd Year Fiction production, shot on a digital format
- Graduation films in documentary, fiction and animation

On the short films and 2nd Year films, Sound Design students work as sound supervisors, creating the track from pre-production through to the mix.

Unlike other schools, all production costs are met by the School. In addition you will be given a cash Production Budget. NFTS students are engaged in more productions as part of the curriculum than any of our competitors.

TUTORS

The course is led by Sound Designer Chris Pow. Tutors include Graham Hartstone (Aliens, Eyes Wide Shut, Die Another Day, The World is Not Enough), Paul Davies (We Need to Talk About Kevin, The Queen), Andy Kennedy (Game of Thrones, Sherlock Holmes, Harry Potter and the Half-Blood Prince), Adrian Rhodes (The Hollow Crown, Aardman's Pirates!, the Wallace and Gromit films) and Ian Morgan (Vinyl, North and South, Alien vs Predator).

ALUMNI

Sound Designers Adrian Rhodes (The Queen, Wallace & Gromit: The Curse of the Were-Rabbit), Martin Jensen (The King's Speech, Atonement, The Fades), Paul Davies (We Need to Talk About Kevin, Hunger, The Queen), Miriam Ludbrook (The League of Gentlemen's Apocalypse, Sugar Rush), Stuart Hilliker (Jane Eyre, State of Play) and Lydia Andrew (Audio Director, Electronic Arts) studied at the NFTS.

APPLY WITH

- A DVD of no more than ten minutes running time, which you have recorded and/or track laid and/or mixed. This can be from a longer work.

- Those who do not have film/video experience: a narrative sequence of photographs, pictures or cartoons, with an associated speech, music and effects soundtrack recorded on audio CD, which demonstrates the way the applicant works creatively with the audio-visual relationship

- A sound montage made by the applicant on audio CD of approximately 3 minutes running time. It should include speech, but should not be limited to speech.

HOW TO APPLY

The application deadline has now passed, however there may still be a chance to apply. Please contact registry via email stating your name, course of interest and contact details:

Read less
Digital FX are everywhere – from low budget independent movies and online digital content, to commercials, television programmes, games and Hollywood blockbusters. Read more
Digital FX are everywhere – from low budget independent movies and online digital content, to commercials, television programmes, games and Hollywood blockbusters.

Quick Facts:

2 Year Course
Full-time
Course runs Jan-Dec each year
Next intake: January 2017
NFTS Scholarships available for UK Students

Visit the website https://nfts.co.uk/our-courses/masters/digital-effects

APPLICATION DEADLINE: 07 JUL 2016

COURSE OVERVIEW

- Extensive, practical training on set, in a vfx and animation studio and in cutting-edge digital post suites.
- Work with the latest software applications and digital camera technology.
- Tutored by artists, technicians and supervisors currently working in the Industry.
- Shared modules during Year 1 across essential 2D and 3D vfx/sfx techniques.
- Specialise in Year 2 in either Compositing - Design and produce digital vfx for multiple projects or Colour - Online and colour grade multiple projects or CG 3D - Design and create 3D cg vfx for multiple projects.
- A unique bridge to the post production and vfx industries.
- A Creative Skillset-supported course.
- Unlike other schools, all production costs are met by the School.

This course commences in January each year. During this extremely practical modular course, you will spend a lot of time learning techniques “on set”, in addition to learning in front of a computer. You will work closely with students from all the other NFTS MA disciplines, creating 2D/3D VFX, CG 3D FX or Colour Grading and Onlining the entire production, on a diverse range of NFTS film and television projects – many of which go on to become international award-winners.

This course shares a common first year, allowing you to specialise in the second year in one of three areas:

COLOUR: For those who aspire to be:
Digital Film Colourists (Baselight/Nucoda/Scratch)
and/or Online Editors (AVID|DS/Symphony/Smoke)

COMPOSITING: For those who aspire to be:
VFX Artists/ 2D/3D Compositors (Nuke/Flame/Adobe CS6)

CG: For those who aspire to be:
CG 3D Artists or CG TDs (Maya modelling/lighting/texturing/rendering)

Ultimately the course will provide the backbone for a career in 2D VFX or 3D VFX or Colour Grading/Online editing.

The NFTS holds a unique position within the film and television industries, whereby it can offer an invaluable “Bridge to Industry” that attempts to help graduates establish themselves in a new career. At the time of writing, all the previous Digital FX graduates are in employment from Soho to São Paulo. Some are 3D CG TDs at Framestore, Double Negative and MPC in London, others SFX producers at Millennium FX, others 2D/3D compositors at The Mill, Cinesite and The Senate, others working in software development and as product specialists at Filmlight, Image Systems, Assimilate and The Foundry, and others as freelance conform editors and colourists.

ALUMNI

Graduate credits include: CG VFX on projects such as The First Avenger, Kick-Ass, Doctor Who, 2012, Harry Potter, Inception, Captain America and Avatar, Compositing VFX on Harry Potter and the Deathly Hallows, The Tree of Life, John Carter, Paul, Iron Man 2, War Horse, Sherlock Holmes, The Dark Knight Rises, Clash of the Titans 2 and The Pirates! In an Adventure with Scientists, conform/grading on Generation Kill, The Chronicles of Narnia, & Jack and the Giant Killer, as well as SFX on Being Human, Torchwood, Prometheus and Frankenweenie.

CURRICULUM

This unique modular course has been designed to keep pace with changes in technology and Industry practice.

You’ll control many of your own projects from start to finish. You learn by ‘doing’ as well as understanding theory, developing a variety of practical and creative skills from planning, budgeting, storyboarding and pre-visualisation through filming, CGI creation, VFX creation and finally post production and delivery.

Several modules are shared with other departments within the NFTS - such as the popular Take One Painting project - and the Digital FX students participate individually, or as teams, on many of the other NFTS students’ film and TV projects.

You learn what to do and then get a chance to do it for real. Problem solving is paramount.

Year One begins with a series of core modules shared by all three Digital FX disciplines (Compositing, Colour, CG 3D) which the whole cohort of students undertake:
The Common Agenda; The Fundamentals (inc. Motion Graphics);3D CG (Maya); Introduction to Tracking /Match Move; Take One Painting (Maya & Nuke); 2D/3D Compositing (Nuke); Previsualisation; Physical and Practical SFX.

After 9 months of common tuition, students would then choose to specialise further in one of three areas:

Compositing or Colour or CG 3D
To cement students’ choice of specialisation and to prepare them for their second year of MA studies, students would undertake one further common module on ‘Transmedia Storytelling’ and then three units related to their specialisation:

Compositing
Year 1: Motion Capture/Adv. Maya + Nuke; Transmedia storytelling; Green Screen Module (with Prod. Design)
Year 2: Compositing + Prosthetics shoot/post; Compositing + MoCo Workshop/Models/Miniatures

Colour
Year 1: Colour Management on set and in post; Transmedia storytelling; Colour Grading
Year 2: Colour Grading Prosthetics project; Online Editing and deliverables

CG 3D
Year 1: Motion Capture/Adv. Maya + Nuke; Transmedia storytelling; Prosthetics and SFX Make-Up
Year 2: CG + Prosthetics shoot/post; CG + MoCo Workshop/Models/Miniatures

As with all other MA specialisations at the NFTS the Digital FX students would complete a dissertation over the period of the course informing and reflecting on their practice, and work on the 2nd Year Graduate Film and TV Productions.

For the duration of the course, every Digital FX student has a dedicated computer workstation loaded with the latest 2D and 3D software applications including Maya, Nuke, PF Track, After Effects/Photoshop and many other specialist applications.

Working closely with Industry partners, students will also benefit from a wide range of workshops and masterclasses run by Industry professionals. Carefully selected practical work placements may also be available.
Unlike other schools, all production costs are met by the School. In addition you will be given a cash Production Budget. NFTS students are engaged in more productions as part of the curriculum than any of our competitors.

ENTRY REQUIREMENTS

The course covers such a diverse range of subjects that there is no typical candidate. Your background may be in the arts or other media or you may be a recent graduate or Industry professional looking to fast-track or switch your career.

Although not strictly necessary, you are likely to have some Industry experience or training in your chosen field and you must already understand the basic technical and operational use of computers.

An ideal candidate should have a mixture of creative and technical skills. Communication, people and management skills are also desirable.

Your application should be supported by a brief outline of your particular interests in the Compositing, Colour Grading or CG 3D fields including any relevant experience, either academic or practical.

You must indicate in your application which specialism you wish to study during the second year:

either Compositing or CG 3D or Colour.

APPLY WITH

- A critical analysis of the use of visual effects or colour grading in a film or television programme of your choice, no more than two sides A4 typed.

- A brief outline of your particular interests in the Compositing, Colour Grading or CG 3D fields including any relevant experience, either academic or practical. One side A4 maximum.

- A DVD or portfolio containing samples of your work. This need not demonstrate experience in effects. For applicants not from a film or television background, this item is optional.

HOW TO APPLY

You can apply directly to us at the NFTS by clicking on the link below:

APPLY FOR DIGITAL EFFECTS COURSE - https://nfts.co.uk/user/login?destination=node/9%3Fnid%3D5

You can apply online, or download a word document of the application form to submit via email
When selecting your course, please ensure that you have read the entry requirements and details of the supporting materials that should accompany your application.

TIMING YOUR APPLICATION

We are happy to receive applications 24/7 and 365 days a year up until the deadline. That said, there is no particular advantage to submitting your application very early. The important thing is that your application shows us your latest work and tell us about your most recent filmmaking experiences.

Read less
The NFTS trains composers in both live and electro-acoustic music for the moving image in a production context closely modelled on Industry working practices. Read more
The NFTS trains composers in both live and electro-acoustic music for the moving image in a production context closely modelled on Industry working practices.

Quick Facts:

2 Year Course
Full-time
Course runs Jan-Dec each year
Next intake: January 2017
NFTS Scholarships available for UK Students

Visit the website https://nfts.co.uk/our-courses/masters/composing-film-television

TO APPLY CONTACT REGISTRY - https://nfts.co.uk/contact-us

COURSE OVERVIEW

- Training in live and electro-acoustic music
- Students compose for wide variety of films
- Creative and technical skills developed
- Study in a collaborative, filmmaking environment
- Flexible curriculum adaptable to individual needs
- Individual music suites
- Professional standard post production facilities
- Recording sessions with live musicians Business, legal and professional skills taught
- Unlike other schools, all production costs are met by the School.

This course commences in January each year. Our emphasis on collaboration means that Composing students are informed and involved throughout the filmmaking process. In particular, composers work closely with other students in Editing and Sound Post Production, increasing their understanding of the relationship between audio and moving images.

Today’s language of screen music has shifted. While many scores still provide a musical commentary on the action, others find a way to integrate music into the fabric of the film itself, creating a seamless weave analogous to the camerawork or editing, to the assimilation of music into the sound world of the film as a whole. Sound design and music grow ever closer - in fact, the roles of sound designer and composer are becoming blurred to the extent that a close collaboration between the two processes is often essential.

The application of music to film - the choices inherent in the "when", "how" and "why" - all stem from an informed understanding of the intention of the film and the contribution music could make to it. Informed understanding, musical versatility and the fostering of an individual musical voice are the intentions of this course and these are determined by the practical and intellectual demands on composers working in the industry.

Composing graduates are qualified to take on all forms of work in film and television as well as productions in multimedia and interactive programming.

TUTORS

Acting Head of Composing is the BAFTA-nominated composer (and NFTS graduate) John Keane, whose credits include Hornblower,Mansfield Park, Tara Road, Inspector George Gently, Hideous Kinky.

ALUMNI

Recent graduate composing credits include Atonement which netted NFTS graduate Dario Marianelli an Oscar, Golden Globe and Ivor Novello in the Best Original Score category; Wallander, the television drama series, and feature film Endgame, both of which earned BAFTAs for Best Original Score for NFTS graduate Martin Phipps. Martin also received Emmy Award Nominations for his scores on Great Expectations and Sense and Sensibility. Composer Rob Lane also received Emmy nominations for his scores on Longford and HBO's John Adams, as well as winning a BAFTA for Elizabeth I (TV) and a nomination for Jane Eyre.

CURRICULUM

The Composing course is developmental and progressive. In year one, students are taught the techniques and contexts which inform writing music for the screen. The first term comprises an intensive process during which students compose to a variety of exercises, each one chosen to focus on a particular problem of film composition. These exercises are completed by each student and discussed in seminars and individually assessed. In term two, further exercises concentrate on issues having to do with scoring for live instruments, the combination of live and electro-acoustic elements and the integration a limited range of sound design into film scores. In addition, students will begin engaging with projects generated by other students at the NFTS. This process will continue and dominate the third term. Each student contribution to those films will also be assessed. Students will also participate in visits from industry professionals.

In year two, students’ activities will be dominated primarily by work generated from other parts of the school. However, lectures, seminars and the occasional workshop will be provided to clarify and expand issues arising from those projects. As in year 1, students will also participate in visits from industry professionals.

YEAR ONE

A series of composing workshops combining practical exercises and seminars:

- Basic narrative techniques
- Midi, sampling and audio
- Combining music and sound
- Narrative with dialogue
- Non-fiction scoring
- Instrumentation and orchestration
- Composing to script
- Improvisation

Ongoing analysis of feature film soundtracks and film structure Orchestration and recording with live musicians

Workshops with Sound Design and Editing students:

- Abstract Film Workshop
- Without Images - a sound-only project
- Animation exercises
- Dramaturgy Workshop – focusing on script and script analysis, blocking and cover, and performance
- Editing the Scene - editing drama rushes to learn the basics of scene structure

Productions

- Zen and Beyond - fiction workshop focusing on visual storytelling
- Documentary poetry exercise collaborating with Documentary Direction, Editing and Sound Design
- First Year Film – the major 1st year fiction production collaborating with all other departments
- Investigative Documentary - the major first year documentary production
- Cross Spec - an introduction to film language and storytelling involving all departments

YEAR TWO

- Orchestration and recording with live musicians
- Improvisation
- Continued analysis of films
- 2nd year short fiction production, shot on a digital format
- Co-composing a feature film Graduation films in documentary, fiction and animation

Unlike other schools, all production costs are met by the School. In addition you will be given a cash Production Budget. NFTS students are engaged in more productions as part of the curriculum than any of our competitors.

ENTRY REQUIREMENTS

The Composing MA course is part of the Post Production department, where we are looking to assemble a group of students with diverse and varied backgrounds. There is no 'typical' student or perfect candidate who conforms to a mandatory list of qualifications. You might have had some Industry experience in your chosen field, or a background in the arts or other media. You may now be looking for a further professional qualification, or wish to broaden your knowledge of composing for screen, taking you to a higher level of work.

Students normally have a degree in music but applicants with equivalent practical experience are also accepted; some composing experience is preferred. We look for composers with a strong personal style, a flexible approach and an intelligent feel for drama and narrative. Candidates should normally be able to notate the music they wish to be performed acoustically, have an understanding of the main historical styles and be able to communicate with others using non-musical terms. It is essential that applicants have a strong and demonstrable interest in film.

APPLY WITH

Application Criteria

On receipt of the application form, duly completed and signed, each applicant will be provided with a link and password to download two film clips. They will be asked to write music to each of these clips, and return their completed work as Quicktime video files with sound and music track, either as downloadable links or as DVD’s sent to the school.

On being accepted for interview by the school, the applicants will be invited to bring further material that may be of interest for examination at the discretion of the interviewers.

Read less
Why study Directing Animation at the NFTS? We are rated as the No.1 International Film School by The Hollywood Reporter. Quick Facts. Read more
Why study Directing Animation at the NFTS? We are rated as the No.1 International Film School by The Hollywood Reporter.

Quick Facts:

2 Year Course
Full-time
Course runs Jan-Dec each year
Next intake: January 2017
NFTS Scholarships available for UK Students

Visit the website https://nfts.co.uk/our-courses/masters/directing-animation

COURSE OVERVIEW

- A Creative Skillset-Accredited Directing Animation MA course.
- The MA course in Directing Animation offers extensive facilities for digital and traditional 2D and 3D techniques.
- Storytelling skills developed alongside technical expertise.
- Animators work with full filmmaking team.
- Studios and workspaces to make your own short graduation film.
- Unlike other schools, all production costs are met by the School.

Over 400 animation awards have been won by NFTS students including 6 Oscar Nominations- two of these in the last three years! , the first animation to win student Oscar, 7 BAFTAs, 8 RTS Awards, 7 official Cannes Selections and the first ever Student Annie Award.

It is the ONLY Animation course located in dedicated film studios.

Students have their own work space and equipment and uniquely are supported by the other disciplines of cinematography, sound design, visual effects, production design, screenwriting and others!

Students work in state of the art sound stages and post production facilities.

There is a packed first year of projects, workshops and masterclasses taught by industry professionals and animation legends.

In the second year students direct a crew of 10 of their peers from all the major filmmaking disciplines located in the School.

Our Animation course covers a broad range of techniques and media and technology continues to advance while the importance of good storytelling remains paramount.

This two year course begins in January each year. It emphasises the importance of story alongside design and visualisation. Our definition of animation is broad, covering almost any treated or stop frame technique. Many students work in a combination of techniques. Students are encouraged to push the boundaries to find a new look, a fresh approach or a different angle within the narrative structure.

Learning to build and work with a team is central to the course. Collaborative workshops with other filmmaking disciplines help animation directors understand the roles of each crew member and the skills they bring to the filmmaking process.

Our aim is to educate and prepare our graduates to go out into the Industry with a wide range of practical skills, experience and industry contacts. To achieve this in two years we have a curriculum of workshops, masterclasses, set projects and an MA dissertation.

Animation Department's website - http://www.nftsanimation.org/departments.htm

The Animation department regularly arranges open days. Please email The Registry if you would like to visit.

ALUMNI

Nick Park (Creator of Wallace & Gromit), Mark Baker (Peppa Pig, Ben and Holly's Little Kingdom) and Tony Collingwood (The Secret Show) studied at the NFTS.

CURRICULUM

Students develop their animation and storytelling skills by exploring relationships between animation, narrative and film language. Through experimenting with different techniques they will broaden and enhance their personal style.

The MA Animation course includes:

- Storyboarding
- Creating Character
- Animation performance
- Directing actors
- Pixillation workshop
- Industry project – working to a brief, developing and pitching
- Visual/animated interpretation of a soundtrack
- Dissertation
- Research and script development for the graduation film
- Graduation film – produced and post produced with students from other departments

ENTRY REQUIREMENTS

We are looking for people with a desire to tell stories, a strong visual sense and an enthusiasm for film and television culture and history. Successful applicants may have a degree in a relevant subject, such as animation, graphics, illustration or fine arts, or may have taken intensive short animation courses or may have worked in the industry and now want to develop their own work.

APPLY WITH

- A DVD with a maximum total running time of 20 minutes. This should include more than just simple exercises.
Your submission must include an animated film created by you. It should also contain a narrative or a sequence of information (eg animatic). It may also include commissioned work.
Up to five minutes of other materials may be included at the end of the disc, provided the total running time of the DVD does not exceed 20 minutes.
If dialogue is not in English, please send a dialogue transcript in English via email
DVD must be a DVD-R. Do not send Data DVDs or Data CDs

- A proposal for a one minute animation project, which is not on the DVD, to include concept and synopsis.

- A portfolio of illustrations and drawings showing your range of graphic ability, preferably including life drawing
and an optional collection of up to 10 still photographs of models and sets used in a 3D animation project.

HOW TO APPLY

You can apply directly to us at the NFTS by clicking on the link below:

APPLY FOR DIRECTING ANIMATION COURSE - https://nfts.co.uk/user/login?destination=node/9%3Fnid%3D6

You can apply online, or download a word document of the application form to submit via email
When selecting your course, please ensure that you have read the entry requirements and details of the supporting materials that should accompany your application.

TIMING YOUR APPLICATION

We are happy to receive applications 24/7 and 365 days a year up until the deadline. That said, there is no particular advantage to submitting your application very early. The important thing is that your application shows us your latest work and tell us about your most recent filmmaking experiences.

Read less
Digital technology has transformed the editing process, yet it has also dramatically diminished the role of the assistant editor so that opportunities to learn the art of editing as an apprentice are increasingly hard to find. Read more
Digital technology has transformed the editing process, yet it has also dramatically diminished the role of the assistant editor so that opportunities to learn the art of editing as an apprentice are increasingly hard to find.

Quick Facts:

2 Year Course
Full-time
Course runs Jan-Dec each year
Next intake: January 2017
NFTS Scholarships available for UK Students

Visit the website https://nfts.co.uk/our-courses/masters/editing

TO APPLY CONTACT REGISTRY - https://nfts.co.uk/contact-us

COURSE OVERVIEW

- Unique course in UK.
- Creative and technical skills developed.
- Study in a collaborative, filmmaking environment.
- Students assigned individual editing suites.
- The NFTS is an Avid Education Partner.
- Unlike other schools, all production costs are met by the School.

This course commences in January each year. This course provides a thorough education in editing skills in a professional filmmaking environment. Editing students are encouraged to consider their craft as part of the whole process of film and television production and not merely as the final stage, making them true collaborators, not just efficient technicians.

The emphasis of the Editing curriculum is firmly on storytelling and the relationship between editor and director. Students learn to apply their craft to the demands of fiction, documentary and animation, creating visual narratives while working with sound, music and, where appropriate, special effects. Workshops with other departments develop concepts of visual storytelling, mise-en-scène, storyboarding, sound design, music and scriptwriting.

Editing graduates have a high rate of employment on feature films, shorts and television programmes. Many new graduates quickly become editors on independent productions or assistant editors on features or TV drama, while others gravitate to visual effects, promos and i-dents. One recent graduate was joint winner of the Best Young Editor Award at Broadcast Magazine's B+ Awards. Recent graduate editing credits include Florence Foster Jenkins, Our Kind of Traitor, The Queen, Hannibal Rising, Reprise at the cinema and Downton Abbey, Paul Merton in China, Holby City, Hustle, CSI: Crime Scene Investigation and Spooks on television.

Tutors

Acting Head of Editing is Robin Sales, whose numerous credits include Walking On Sunshine, The Gruffalo, Miss Potter, Johnny English, Miss Brown.

Alumni

Editors Lucia Zucchetti (The Queen; Mrs Henderson Presents), Alex Mackie (Downton Abbey; St Trinian's; CSI), David Freeman (The Full Monty), Peter Lambert (A Better Life; New Moon), Nicolas Chaudeurge (Wuthering Heights; Fish Tank; Red Road), Valerio Bonelli (Hannibal Rising; Cemetery Junction; Gladiator), Nick Fenton (Submarine; The Arbor), Claire Dodgson (Minions, The Lorax, Charlie and Lola) and Ewa J Lind (Far North; The Warrior) studied here.

CURRICULUM

YEAR ONE

- With Sound Design and Composing students Abstract Film Workshop
- Without Images - a sound-only project
- Dramaturgy Workshop - focusing on script and script analysis, blocking and cover, and performance
- Modules and workshops include Foundation exercises for fiction and documentary editing
- Storyboarding workshop with Animation students Short documentary
- Zen and Beyond - fiction workshop focusing on visual storytelling
- Comedy Workshop - workshop using rushes from a feature film and focusing on editing for comedy and/or drama
- Animation Project - developed and produced to a soundtrack Investigative Documentary - the major first year documentary production First Year Film - the major 1st year fiction production collaborating with all other departments

YEAR TWO

- Fiction editing exercise focusing on drama editing and co-editing using complete rushes from a feature film
- 2nd year fiction production, shot on a digital format
- Graduation films in documentary, fiction and animation

Unlike other schools, all production costs are met by the School. In addition you will be given a cash Production Budget. NFTS students are engaged in more productions as part of the curriculum than any of our competitors.

ENTRY REQUIREMENTS

The Editing course is part of the Post Production department, where we are looking to assemble a group of students with diverse and varied backgrounds. There is no 'typical' student or perfect candidate who conforms to a mandatory list of qualifications.

You are likely to have some Industry experience or training in your chosen field. Your background may be in the arts or other media, you might be looking for a further professional qualification or wish to broaden your knowledge of film and video editing, taking you to a higher level of work.

APPLY WITH

- A DVD no more than 15 minutes running time, of material originally shot on film or video edited by you the applicant. If dialogue is not in English or the DVD does not have subtitles you should send a dialogue transcript in English via email.

- A creative video montage on DVD of found images (obtained from the television, the internet or another source) or existing film footage edited with a soundtrack. The montage should be between 2 and 5 minutes running time, edited by you the applicant. If you do not have access to an editing facility please create a montage of collected photographs which when laid out together tell a story.

Read less
The NFTS is the only UK film school where you can specialise in cinematography for 2 years at MA level. Quick Facts. 2 Year Course. Read more
The NFTS is the only UK film school where you can specialise in cinematography for 2 years at MA level.

Quick Facts:

2 Year Course
Full-time
Course runs Jan-Dec each year
Next intake: January 2017
NFTS Scholarships available for UK Students

Visit the website https://nfts.co.uk/our-courses/masters/cinematography

TO APPLY CONTACT REGISTRY - https://nfts.co.uk/contact-us

COURSE OVERVIEW

- The only specialist 2-year Cinematography course in the UK.
- Three stages, bluescreen and greenscreen facilities.
- Shoot live action and animated films.
- Students use 16mm, Super 16mm and 35mm film, digital video and HD cameras.
- Unlike other Schools, all production costs are met by the school.

This course commences in January each year. This course explores the many ways in which the cinematographer participates in the collaborative process of translating screenplays into meaningful and stimulating films. Exercises, workshops, masterclasses and productions, supported by critical and analytical study of the history and development of cinematography, give students a solid foundation in the art and craft of their future career.

The aim is to improve and expand the students' technical knowledge and skills using all of the above mentioned methods of image capture.

Cinematography graduates are in demand in the UK, Europe and the US and go on to work in both film and television. Recent new graduates have found work as 2nd Unit DoPs on feature films, and have shot commercials, episodic television series and documentaries for Channel 4, Granada and BSkyB, as well as short films and TV programmes for a variety of independent production companies.

TUTORS

The Head of department is BAFTA and BIFA-winning and EMMY-nominated cinematographer Brian Tufano BSC, whose credits include Trainspotting and Billy Elliott. Other tutors who often teach at the school include award-winning commercials cinematographer Stuart Harris, Barry Ackroyd (Riff Raff, My Name is Joe), Sean Bobbitt (Hunger, Shame), Nina Kellgren (Young Soul Rebels, Looking for Langston) and Academy Award winner Billy Williams (Gandhi).

ALUMNI

Leading Hollywood cinematographers Roger Deakins (The Man Who Wasn't There, Fargo, The Shawshank Redemption), David Tattersall (Star Wars Episodes I - III, 007: Die Another Day) Oliver Stapleton (The Proposal, How to Lose Friends and Alienate People) trained at the NFTS.

CURRICULUM

Creative expression is developed alongside technical expertise. As well as film, training in High Definition, Digital Cinema and Digital Post Production is an integral part of the course. Visual storytelling is emphasised alongside the art of creating mood and evoking emotion through the right combination of composition and lighting. Working closely with students of other specialisations, student cinematographers have a creative involvement in fiction, animation and documentary films, commercials and multicamera television, lighting and shooting several productions during their time at the School.

During the course students will be provided with tutorials, seminars, screen studies, workshops and master classes with specialist tutors and visiting professionals. All workshops and master classes are mandatory. Through Tutorials students will be guided towards finding their own criteria for self assessment and finding their own individual challenges. The aim of the tutorials is to encourage the student to get the best out of themselves through discussions and critiques with their peers and through an awareness of self. While supportive overall, tutorials will have an element of critique and challenge. They should allow the student to step back and reflect on their own work.

Seminars will deal with stylistic approaches, principles of optics and photographic and video theory. Special attention will be given to the importance of relationships and interaction with other specialisations, like directors, editors, designers, sound and post production. Also, regular seminars and lectures will be conducted on Screen Art. Screen Art is crucial to broaden students' critical understanding of the art of cinema. This need is satisfied by providing systematic screenings, special events, seminars, discussions and analysis. These happen throughout the two year course.

Workshops and Practical Exercises are designed to teach most aspects of traditional and digital cinematography - cameras, lenses, grip equipment, originating materials (film stock/tape), light meters, location lighting, studio lighting, day for night, night for night, filming in moving vehicles and also film grammar, crew roles, studio protocol, laboratory procedures and special visual effects. The aim is also to develop responsibility and professionalism. This is supported and overseen by the teaching staff, who aim to challenge and nurture the student’s talent without undermining their independence.

Production Exercises provide a valuable experience in that they enable the student to work as part of a creative team. The cinematographer is able to utilise the skills and knowledge acquired whilst taking part in Workshops and Exercises.

Unlike other Schools, all production costs are met by the school. In addition you will be given a cash Production Budget. NFTS students are engaged in more productions as part of the curriculum than any of our competitors.

ENTRY REQUIREMENTS

We are looking for people with innate talent. Therefore previous training in these areas is not mandatory but some basic technical knowledge is required. Experience gained from working in the camera department of the film and television industry is helpful but is not essential.

You must have an understanding of the role of the Director of Photography and its creative and logistical responsibilities. You would also need to be able to demonstrate good communication and collaborative skills and leadership qualities.

You must have a good understanding of “cinematic language” and demonstrate this in your submitted film material.

We would like to see examples of your work that are exclusively yours. The showreel must contain fiction filming. It should demonstrate a strong visual sensibility and an awareness of the considerations of camera operating, composition and lighting and their potential for creating mood and atmosphere. Most importantly your fiction film should have a clear element of visual narrative and show your ability to tell a story with images, using all the elements that can be brought to contribute to it. This we refer to as “cinematic language”.

Materials submitted with your application should be of a good technical standard. Provide an Authored DVD of your submission film(s) for playback in a non-commercial DVD player. We will not accept Data DVDs (no Quicktime files).

APPLY WITH

A short showreel on a DVD.

We require a continuous narrative piece of fiction storytelling of not more than 15 minutes. You should clearly identify your role on the production in the titles at the beginning and end of the piece.

- it should clearly identify you as the camera operator and also the creator of the lighting design, i.e. that you are Cinematographer/Director of Photography
- each submitted item on the DVD must have original titles and credits at the beginning and the end
- work in progress is not acceptable
- we will watch the first 15 minutes if your showreel is longer than this

Read less
The NFTS has a tradition of enabling documentary filmmakers to find a distinctive voice that both prepares them for the Industry and makes their work a force for changing it. Read more
The NFTS has a tradition of enabling documentary filmmakers to find a distinctive voice that both prepares them for the Industry and makes their work a force for changing it.

Quick Facts:

2 Year Course
Full-time
Course runs Jan-Dec each year
Next intake: January 2017
NFTS Scholarships available for UK Students

Visit the website https://nfts.co.uk/our-courses/masters/directing-documentary

TO APPLY CONTACT REGISTRY - https://nfts.co.uk/contact-us

COURSE OVERVIEW

- Develop a personal voice.
- Put storytelling at the centre of your process.
- Study in a multi-disciplinary filmmaking environment.
- Shoot on digital formats.
- Unlike other schools, all production costs are met by the School.

This course commences in January each year. The goal of the course is to give our graduates the tools and the confidence to become successful members of the international documentary community. Our students have won the Grierson and Sheffield Student Awards two years running, IDFA and the Royal Television Society last year, and win prizes at the most prestigious festivals round the world: Sundance, IDFA, Hot Docs, Berlin, Sheffield and many others. The most important thing, however, is to prepare them for life as committed documentary storytellers, wherever that may lead.

In the UK, getting a first commission can be a daunting task but last year, for example, Marc Williamson, made a First Cut for Channel 4 from his Sheffield student award winning graduation film which this year won him the Grierson Prize for Best Newcomer. Some use the contacts they make in the last phase of the course, to put together deals with TV production companies and non-TV source as Sam Blair did with Adidas for his brilliant feature debut about sprinters, Personal Best. Since students direct and shoot five films in different genres during the course, many progress swiftly by using their unique skills to contribute to productions throughout the industry, like James Newton who won a Grierson last year as one of the directors of The Year the Town Hall Shrank .

TUTORS

Some of the UK's leading Documentary makers teach at the School, including internationally acclaimed directors Kim Longinotto, Sean McAllister, Asher Tlalim, Nick Broomfield, vastly experienced producer/directors Riete Oord, Ros Franey, award-winning cinematographer Roger Chapman, Rory Peck award winner Rodrigo Vazquez, the founder of Dochouse, Elizabeth Wood, Exec Producer of The Act of Killing, Andre Singer, and successful younger alumni like Lara Agnew, Sandhya Suri, Simon Chambers and Dan Vernon .

The department is led by Dick Fontaine who has directed over forty films for television and the independent media, has recently had retrospectives in New York, Paris, Barcelona and Sao Paulo and was nominated last year for a Grierson Award for his latest film.

ALUMNI

Graduates include Nick Broomfield who pioneered a powerful new genre in documentary: the filmmaker-as- provocateur (The Leader, the Driver and the Driver’s Wife, Aileen: Life and Death of a Serial Killer,and, most recently, Tales from the Grim Sleeper), Grierson Lifetime Achievement Award winner, Molly Dineen (Home from the Hill, The Lie of the Land), Kim Longinotto, whose inspirational films about women are celebrated at festivals around the world (Divorce Iranian–Style, Sisters in Law, and her new film Dreamcatcher), and Sundance winner Sean McAllister (The Liberace of Baghdad, The Reluctant Revolutionary) and many others who are making striking contributions in documentary on many different platforms.

CURRICULUM

YEAR ONE

Built around a series of four practical exercises, increasing in length and complexity, informed and inspired by relevant traditions. Each exercise isolates and focuses on the techniques and content of a specific documentary genre: observation, character–led narrative, image/sound poetry and investigation. Students collaborate in various combinations with editors, cinematographers, sound designers and composers and also work alone using digital video equipment.

YEAR TWO

Includes three projects: a graduation film in which students synthesise what they have discovered in the first year, and use it to confidently challenge conventional approaches to documentary: an MA dissertation in which they reflect on a practical question that has intrigued them during the course so far and a proposal/taster tape for a project to take into the professional arena.

The final stage consists of visits to film festivals, broadcasters, independent producers and other relevant institutions, together with seminars dealing with the commissioning process, legal requirements, finance and festival potential.

Unlike other schools, all production costs are met by the School including an above-the-line cash production budget. NFTS students are engaged in more productions as part of the curriculum than any of our competitors.

ENTRY REQUIREMENTS

Students come from a wide variety of backgrounds and have usually had some previous experience of filmmaking, though this may not be at a professional level. All have a strong social awareness and a keen desire to translate that awareness into stories told with a personal voice.

APPLY WITH

- A 20-minute film, conceived and directed by the applicant (on DVD). Please note: if you wish to submit a longer film, only the first 20 minutes will be viewed. If the dialogue is not in English, you should enclose a dialogue transcript in English.

OR

- A narrative photo essay consisting of 10 20cm x 25cm stills.

AND

- A written proposal for a different film of any specified length (on no more than 4 sides of A4, typed and double-spaced) which should include the basic premise, a description of the characters and locations and, most importantly, the developing narrative.

Read less
This course provides an environment in which directors can find their individual style and their own distinctive voice. Supported by the David Lean Foundation, this is the UK’s premier MA course in directing. Read more
This course provides an environment in which directors can find their individual style and their own distinctive voice. Supported by the David Lean Foundation, this is the UK’s premier MA course in directing.

Quick Facts:

2 Year Course
Full-time
Course runs Jan-Dec each year
Next intake: January 2017
NFTS Scholarships available for UK Students

Visit the website https://nfts.co.uk/our-courses/masters/directing-fiction

TO APPLY CONTACT REGISTRY - https://nfts.co.uk/contact-us

COURSE OVERVIEW

- Unique specialist course.
- Students of all key film-making disciplines work together on productions.
- Purpose-built film and television studios.
- Industry standard post- production facilities.
- The MA Course in Directing Fiction is supported by the David Lean Foundation.
- Unlike other schools, all production costs are met by the School.

This course commences in January each year. The MA course at the NFTS provides two years in which directing students will be adding depth and understanding to their abilities whilst regularly producing work. This is an environment where they will be both challenged and supported by staff and fellow students. The tutor to student ratio is high, thus allowing the teaching to be specific to the needs of the individual director. One great advantage of having different departments within the school is not only that students gain from the practical experience of working with the other specialisations but that their thinking is informed by the various collaborative engagements that together convey an idea to the screen.

The essence of the course is the practical experience of film-making, combined with a wide-ranging series of work-shops emphasising performance, mise-en-scène and an examination of how narrative works in cinema and in television. Engagement with students of other disciplines at the NFTS is a crucial aspect of the course. The curriculum of each specialisation is designed to link with the others throughout the course, so that students work together on projects of varying scale and complexity, increasing their understanding of the various specialist roles involved in film and television programme-making. The course includes weekly sessions on film and television culture, both contemporary and historical, and opportunities to learn from the work of more established directors through masterclasses and set visits. It also involves interaction with other disciplines, ranging from visual art, literature and architecture to installation and performance art.

*There are a number of different scholarships that support this course, including the Wellcome Trust Science Media Studentship. For more information see Scholarships and the Wellcome Trust. - http://www.wellcome.ac.uk/Funding/Public-engagement/Funding-schemes/Broadcast-games-and-film-awards/Science-Media-Studentships/index.htm

TUTORS

The Fiction department is led by Lynda Myles (The Commitments) and the senior tutor is Ian Sellar (Venus Peter, Prague). Many other leading directors teach on the programme, including, Stephen Frears (The Queen, Tamara Drew, High Fidelity), Brian Gilbert (Wilde) and Udayan Prasad (Gabriel & Me, The Yellow Handkerchief).

ALUMNI

Directors David Yates (Harry Potter and the Half-Blood Prince), Beeban Kidron (Bridget Jones: The Edge of Reason), Lynne Ramsay (Ratcatcher, We need to talk about Kevin), Terence Davies (The House of Mirth, The Deep Blue Sea), Michael Radford (Il Postino), Danny Cannon (Judge Dredd, Crime Scene Investigation) and Michael Caton Jones (Memphis Belle, Rob Roy) studied at the NFTS.

CURRICULUM

In the first year, Directing Fiction students take part in a series of workshops exploring all aspects of directing, acquiring a solid understanding of current practices and technology across related specialist crafts. The workshops are supported by seminars on screen language and history, as well as individual tutorial sessions; which can guide students in self-motivated research to supplement their particular learning needs. Besides the weekly Screen Arts programme of screenings and seminars, the Directing Fiction department has regular sessions of screenings, scene by scene analysis and discussion led by tutors and students.

The Directing Fiction department workshops focus on isolating and building on skills used in collaboration with other departments. Each series of workshops culminates in a practical production exercise. Production experience is considered essential because the ability to maintain clarity of ideas and their expression within the conflicting demands of script, cast, crew and practical parameters – it is the test of the learning that has come before.

The first year work is aimed not only at developing skills, but at exposing weak areas of understanding and concept. In the final term of the first year, the directors collaborate with a team to make the First Year Film. This is a project which, apart from temporal and budgetary restrictions, gives the students considerable freedom and which encourages them to take responsibility for their work. During the first year, the student will have begun work on developing second year projects and their dissertation.

The second year of the Directing Fiction course provides more of an opportunity for the self- motivated student to develop his or her own voice through two different types of production experience. The dissertation allows for examining a particular area in depth and should be complementing and informing further work. Longer form storytelling is developed through the digital production. The primary collaboration on this production is focused on director/cinematographer/actor.

Short form storytelling and collaboration with a larger crew is developed through a film production called The Summer Fiction. Both it and the Digital Film are heavily supported by individual tutorials.
The productions also include scheduled workshops/seminars/tutorial support for casting, rehearsals, shot planning, set procedures and working with the A.D., as well as intensive and continuous viewings and critiques of rushes and edits. Editing, Sound and Music tutors also provide tutorials during post-production.

Unlike other schools, all production costs are met by the School. In addition you will be given a cash Production Budget. NFTS students are engaged in more productions as part of the curriculum than any of our competitors.

ENTRY REQUIREMENTS

Students come from a wide range of backgrounds: you may be an independent filmmaker, you might have a first degree or you may have experience of working in the Industry.

Your application must include a DVD of a short fiction piece - or an extract of a longer work - that you have directed recently and a short treatment for another narrative-based project.

APPLY WITH

- A treatment for an original film or video project of no more than 5 sides of A4 paper, typed and double spaced. This should not be a treatment for the same project as your DVD below. It should be a treatment for either a short film or a feature length project. This treatment should include:
- the basic situation,
- the characters and other elements and
- the main thrust of the story as it changes from beginning, through middle, to end

- Three copies of your film (on three separate DVDs) of up to 15 minutes’ running time, which you have directed. Please note that you can specify which 15 minutes should be viewed. The technical quality of the work submitted is not a priority in assessment. (If dialogue is not in English and the DVDs do not have English subtitles please email a dialogue transcript in English).

Read less
Educating producers is high on the agenda at the NFTS, and the involvement of several of the UK’s leading film and television producers – NFTS Director Nik Powell, and governors Duncan Kenworthy and Simon Relph – ensures that students enjoy close links with the film and television industry. Read more
Educating producers is high on the agenda at the NFTS, and the involvement of several of the UK’s leading film and television producers – NFTS Director Nik Powell, and governors Duncan Kenworthy and Simon Relph – ensures that students enjoy close links with the film and television industry.

Quick Facts

- 2 Year Course
- Full-time
- Course runs Jan-Dec each year
- Next intake: January 2017
- NFTS Scholarships available for UK Students

- Unique, fast-track route into the Industry.
- Each student produces at least three films.
- Professional standard studios.
- Working methods model Industry practice.
- Shadow a producer, distributor or sales company at the Cannes Film Festival.
- Unlike other schools, all production costs are met by the School.

Visit the website https://nfts.co.uk/our-courses/masters/producing

TO APPLY CONTACT REGISTRY - https://nfts.co.uk/contact-us

COURSE OVERVIEW

The MA course in Producing is unique in the opportunities it gives and in its close links with the film and television industry, and provides a fast-track route into a producing career. Students develop their own relationships with successful producers through placements and a mentoring scheme. The BFI is supporting the course with development slate funding for students’ adaptation projects, which they can then take with them and develop further when they graduate from the School. The Producing department aims to train creative, independent producers able to achieve an overall vision for their projects from script development through finance and production to sales and distribution. The course covers fiction production for both film and television and also animation, with students producing at least two short live action films and one animation in their time at the School.

Graduates work as producers of both film and television in the UK and other countries. New graduates typically combine first feature development with paid employment such as Assistant Producer on feature films, working in the development department of independent production companies, or producing short commissions for broadcasters. Deals struck with the BBC and other companies can see proposals from new graduates developed as feature films.

CURRICULUM

Development skills: script analysis and script editing; developing a project from source material; collaboration with writers and directors; pitching; negotiating the deal

Production skills: budgeting and scheduling; managing the production; post production techniques; editing, sound and music Business skills: publicity and marketing; sales, distribution and exhibition; co-production; financing; legal and financial (sponsored by Olswang)

Television: developing a proposal to a broadcaster’s commissioning brief; the television commissioning process; financing a TV programme; multiplatform commissioning

Industry placements for students are encouraged in the summer break of the First Year. Also it is intended that production schedules will allow students in the Second Year to take up work placements at the Cannes Film Festival from which they can learn how the film industry functions on an international level. Each is allocated to either a producer, a distributor or a sales company who they are able to shadow.

In addition, all students are expected to choose an industry mentor who acts as a valuable contact who they can use to help them move into the industry.

The NFTS provides producers with privileged access to events and screenings at the London Film Festival where they have the opportunity not only to see the latest films but also to discuss them and meet other filmmakers as well. Each year a number of outside visits are arranged for producers.

Unlike other schools, all production costs are met by the School. In addition you will be given a cash Production Budget. NFTS students are engaged in more productions as part of the curriculum than any of our competitors.

The Producing course is supported by the McKenna Charitable Trust

TUTORS

Some of the UK's leading independent producers teach at the NFTS including, Karin Bamborough (Former Channel 4 Commissioning Editor), Myf Hopkins (Tombraider II (digital animation and visual effects) and Harry Potter and the Philosopher’s Stone (Creatures Producer). The Producing department is led by Chris Auty (Stealing Beauty, Crash, In This World). The Director of the NFTS, Nik Powell (The Crying Game, Ladies in Lavender, Little Voice) also teaches on the programme.

ALUMNI

Producing Alumni include:

Allan Niblo – CEO, Vertigo Films (Monsters)
Anna Higgs – Commissioning Editor, Film4.0
Jack Arbuthnott – Head, Film Development, Scott Free
Rebekah Gilbertson – (Patagonia, Edge of Love)
Polly Stokes – Cannes Select (For Those in Peril)
Tom Leggett – Film 4 Development Executive
James Walker – BAFTA British Short Animation Winner (Sleeping With The Fishes)

Read what our recent alumni have achieved (pdf file) - http://nfts.co.uk/sites/default/files/uploads/Producing%20Graduates%20Bios%202013.pdf

APPLY WITH

- A proposal written by you for a feature film or TV drama, either original or adapted from a novel or other source. Tell us why you would like to make it and what you believe its audience appeal could be. If it is an adaptation please give us the title and author of the source material (one side of A4).

- A brief analysis of three films or television programmes that you have seen in the last 12 months. Include comments on the directorial style (one side of A4).

- An analysis of your favourite film or television programme and your personal response to it (one side of A4).

- Choose a British or European producer (film or TV) whom you admire, explain why (one side of A4).

- Describe briefly key lessons about producing you have learnt from any book about producing or producers that you have read. Please name the book. (One side of A4).

HOW TO APPLY

The application deadline has now passed, however there may still be a chance to apply. Please contact registry via email stating your name, course of interest and contact details:

Read less
This unique award-winning course, which is still the only one of its kind in the world at MA level, is continually proving itself to be a fast-track into the Industry. Read more
This unique award-winning course, which is still the only one of its kind in the world at MA level, is continually proving itself to be a fast-track into the Industry. Students have sold not one but three Entertainment formats - to Warner Brothers Television and to ITV - in the last three years alone. Recently, two student graduation shows won prestigious awards at the New York Television Festival and the department won yet another RTS Award for best student Entertainment show.

Quick Facts

- 2 Year Course
- Full-time
- Course runs Jan-Dec each year
- Next intake: January 2017
- NFTS Scholarships available for UK Students

- The only Television MA course of its kind in the world
- Produce and direct entertainment programmes in our professional standard television studio.
- Be taught by top Industry professionals.
- Unlike other schools, all production costs are met by the School.
- Go on placements with BBC and ITV, and leading entertainment production companies like Hat Trick, Objective and talkbackTHAMES.
- Take a fast track into the Industry.

APPLICATION DEADLINE: 07 JUL 2016

Visit the website https://nfts.co.uk/our-courses/masters/producing-directing-television-entertainment

COURSE OVERVIEW

Entertainment shows are at the centre of UK and global television schedules. Our students and graduates are already having an impact on the highest revenue generating part of television.

On this Television MA course, students learn to develop, script, produce and direct single camera and multi-camera programmes across all entertainment genres, using the School's own television studio or out on location. Students experience the programme cycle from the brainstorming of an idea right through to transmission. The structure of the course follows the chronological steps of an entertainment television production. Injected into this, timeline will be specifically tailored modules taught by top television professionals. Students also get the chance to pitch their entertainment ideas to broadcasters like SKY and the BBC. There is a huge amount of detail to fit in to two years so it is very hard work but - it is entertainment - so it should be fun!

Students graduate with:

- the skills to direct TV studio multi-camera and single camera productions
- the know-how to produce entire entertainment shows
- a practical working knowledge of current television production methods
- the ability to generate entertainment programme ideas and formats
- the confidence and know-how to pitch those ideas to commissioning editors
- brilliant Industry contacts

CURRICULUM

Our intensely practical and pioneering Television MA course aims to train the entertainment directors and producers of tomorrow. Students are taught by NFTS staff and visiting Industry professionals and have hands-on experience of a variety of production roles. Other crucial areas covered include how to pitch original programme ideas to broadcasters and how to set up an independent production company. Students also undertake a week-long module on business and legal affairs supervised by top Industry lawyers Lee & Thompson. Placements with leading production companies like Hat Trick, Objective and Maverick or broadcasters like the BBC are an integral part of the course. By the time students graduate they have the craft, skill and confidence to produce and direct both in the studio and on location. They also have a thorough understanding of the television production process encompassing everything from the creative to the technical and the business aspects.

Unlike other schools, all production costs are met by the School. In addition you will be given a cash Production Budget. NFTS students are engaged in more productions as part of the curriculum than any of our competitors.

TUTORS

The course is led by David G Croft (Shooting Stars, Baddiel's Syndrome, Live Aid, Top of The Pops & Crystal Maze). Other tutors who often teach at the school include Richard Boden (Blackadder Goes Forth, The IT Crowd), Geoff Posner (Queen’s Diamond Jubilee Concert, Dinner Ladies, Little Britain), Michael Grade - Lew Grade Chair in Television Production, Richard Greenwood (ITV Entertainment Executive), Amanda Murphy (Executive Producer: Supernanny), Ian Russell (Multi-Camera Director: Royal Wedding, London Olympics), Graham Stuart (Executive Producer: Graham Norton).

APPLY WITH

- A short proposal for a television entertainment programme – no more than one A4 typed page

- Optional: A DVD containing samples of your work specifying your exact role in each. This work need not be in the entertainment area, as some applicants may not have a film or other programme-making background.

HOW TO APPLY

You can apply directly to us at the NFTS by clicking on the link below:

APPLY FOR PRODUCING & DIRECTING TELEVISION ENTERTAINMENT COURSE - https://nfts.co.uk/sign-me-up/apply-now/?nid=30

You can apply online, or download a word document of the application form to submit via email

When selecting your course, please ensure that you have read the entry requirements and details of the supporting materials that should accompany your application.

TIMING YOUR APPLICATION

We are happy to receive applications 24/7 and 365 days a year up until the deadline. That said, there is no particular advantage to submitting your application very early. The important thing is that your application shows us your latest work and tell us about your most recent filmmaking experiences.

Read less
The production designer plays a vital role in creating real or imagined worlds on the screen. This MA course in Production Design develops individual creativity and teaches technical skills essential for a career in film and television. Read more
The production designer plays a vital role in creating real or imagined worlds on the screen. This MA course in Production Design develops individual creativity and teaches technical skills essential for a career in film and television

Quick Facts

- 2 Year Course
- Full-time
- Course runs Jan-Dec each year
- Next intake: January 2017
- NFTS Scholarships available for UK Students

- Study in a collaborative filmmaking environment
- Design for live action shoots
- Use traditional and digital design techniques
- Work in fully-equipped design studios
- Work on both fiction and animation films
- Have opportunities and facilities for set builds
- Unlike other schools, all production costs are met by the School.

Visit the website https://nfts.co.uk/our-courses/masters/production-design

APPLICATION DEADLINE: 07 JUL 2016

COURSE OVERVIEW

Uniquely in the UK, our MA Production Design students study alongside students of other filmmaking disciplines, engaging in a series of productions where working methods replicate professional practice.

The advent of digital technology has brought in new design tools and ways of working and this course promotes a lively interface between old and new methods. 3D and 2D computer techniques and Concept Art are taught alongside traditional skills such as set sketching, orthographic draughting, design geometry and model-making. The course offers the opportunity to specialise in Concept Art, particularly in the second year. Design students apply their skills to live action and animation films, television programmes and commercials, in the studio and on location, using built sets and green screen. Relevant business and management skills are also taught, equipping students to manage a small art department, its budget, personnel and logistical schedules, studio procedures and set decorating. Studio visits and placements familiarise students with a working art department and inspire them with actual film sets.

All staff, permanent and visiting, are Industry practitioners and students develop close links with the film and television industry while they train.

CURRICULUM

Central to the philosophy of the course is the recognition of the production designer’s role as a key player in film & television production while embracing the Creative impact of computer generated imagery and digital design

YEAR ONE:
The fundamental strategy in the first year is to provide all students on the course with an intensive foundation in language and grammar for the moving image, including computer skills. The intention is also to include some practical film and video projects and workshops to be realised on screen. The notion of independent learning and research is established, as is that of collaboration and commitment.

- Take One Painting: set build and green screen workshop with Cinematography and Digital Post Production students
- Visualisation and model-making
- Character of Place – pixillation workshop with Animation and Cinematography students
- Sci-fi and Fantasy - paper design project
- Construction budgeting
- First Year Film - design, possible set build, set dressing and location work
- CAD, Photoshop, MAYA Foundation
- Measured drawing

YEAR TWO:
In the second year the 'scaffolding' or 'water wings' are removed and students, now equipped with the necessary skills, are able to undertake work of originality and individuality. The work has to be seen to be showing a progression with an increase in quality and ambition. Students must be able to generate their own briefs and identify the design challenges they pose. Since film is a ‘‘deadline’’ business, time management becomes an essential part of the learning.

- Film Architecture - paper project with a foreign setting and in a particular period
- Design for animaiton
- Final Year Film - design, possible set build, set dressing and location work
- Personal projects - negotiated subject matter and scope
- CAD workshop
- MA Dissertation

Unlike other schools, all production costs are met by the School. In addition you will be given a cash Production Budget. NFTS students are engaged in more productions as part of the curriculum than any of our competitors.

TUTORS

The head of the production design department is Caroline Amies (In The Name Of The Father, Ladies in Lavender, Miss Julie). Other key tutors include Moira Tait (a design background with the BBC, working with Stephen Frears, Alan Bennett and Brian Tufano), John Fenner (Raiders of the Lost Ark, The Shining, Return of the Jedi), and Jamie Leonard (Mona Lisa, Lorenzo's Oil, Tom & Viv).

ALUMNI

Production Designers Tom Conroy (Legend, Vikings, West is West, Breakfast on Pluto), Paul Kirby (Untitled Bourne Sequel, Bastille Day, Kingsman: The Secret Service, Captain Phillips), and Art Director Steven Lawrence (Jungle Book, Avengers: Age Of Ultron, Paddington, The Dark Knight) studied at the NFTS.

APPLY WITH

- A comprehensive portfolio of work which demonstrates an aptitude for spatial and 3D design, awareness of architecture, design for the moving image and a personal visual language. Please submit a hard copy portfolio, which can be A4, A3, A2, A1. If you have any questions regarding the content, format or amount of work to submit, please contact the Production Design department at the NFTS or Registry.

- CAD work – printouts (optional extra submission)

HOW TO APPLY

You can apply directly to us at the NFTS by clicking on the link below:

APPLY FOR PRODUCTION DESIGN COURSE - https://nfts.co.uk/sign-me-up/apply-now/?nid=1

You can apply online, or download a word document of the application form to submit via email
When selecting your course, please ensure that you have read the entry requirements and details of the supporting materials that should accompany your application.

TIMING YOUR APPLICATION

We are happy to receive applications 24/7 and 365 days a year up until the deadline. That said, there is no particular advantage to submitting your application very early. The important thing is that your application shows us your latest work and tell us about your most recent filmmaking experiences.

Read less
The NFTS screenwriting course has produced some of the outstanding writers of our generation. The course prepares writers for work in film and television. Read more
The NFTS screenwriting course has produced some of the outstanding writers of our generation. The course prepares writers for work in film and television. Taught by working writers, producers and commissioners, the course addresses the main aspects of the profession of writing. Recent students' work has been nominated for an Oscar, a Bafta, several Royal Television Society awards and countless other awards

Quick Facts

- 2 Year Course
- Full-time
- Course runs Jan-Dec each year
- Next intake: January 2017
- NFTS Scholarships available for UK Students

TO APPLY CONTACT REGISTRY - https://nfts.co.uk/contact-us

Visit the website https://nfts.co.uk/our-courses/masters/screenwriting

COURSE OVERVIEW

Graduating screenwriters will have had the opportunity to complete a range of work for their portfolio, demonstrating their talent and unique voice. Introductions are made to literary agents, broadcasters and film and television production companies. Unlike a Screenwriting MA based in an academic institution, this course is set in a working film and television studio. It covers all aspects of screenwriting, from the development of ideas through to production and post-production. Screenwriting students have their writing work-shopped by professional directors and actors. Working with student producers and directors, they have the chance to see their writing tested in production.

The NFTS programme also includes masterclasses from eminent practitioners in all fields, and regular previews of current film releases. Screenwriting graduates have access to feature and TV project development opportunities, set up by the School in partnership with broadcasters and film companies such as BBC Films and Vertigo Films. There are also extended industry–oriented script development workshops like Regards Croisés and Writers for Europe.

*There are a number of different scholarships that support this course, including the Wellcome Trust Science Media Studentship. For more information see Scholarships and the Wellcome Trust (http://www.wellcome.ac.uk/Funding/Public-engagement/Funding-schemes/Broadcast-games-and-film-awards/Science-Media-Studentships/index.htm).

CURRICULUM

The first year of the course deals with the basic principles of storytelling, the craft of screenwriting for film and television, and the collaborative nature of production via exercises with other departments; some shorter writing assignments; and the formal groundwork for writing industry-length material. Writing for the expanding field of animation will be introduced via a series of practical collaborations. Writers also learn about writing for the stage and their short plays are performed to the school by a professional cast.

The second year is a project-based course focussing on longer writing assignments. Individual talents and interests will determine the content of the final portfolio, though this must include at least one full-length screenplay (feature film or television-hour), plus a short piece (a short fiction, animation, short stage play or sitcom). At the School’s discretion, one or more of the short pieces may be filmed. Writers may opt to write two feature screenplays. The second year will also feature specialist modules tailored to the interests of the students, e.g. comedy, horror, factual-based drama, radio. There is also an introduction to online drama and virals.

The course ends with extensive introductions to the industry with preparation on the practicalities and legalities of working. In this process, writers learn to pitch the projects in their portfolio. This has resulted in many graduating students securing agents either prior to graduation, or immediately following their studies.

The course is full time and requires a high level of dedication; a prolific output, and the ability to meet professional–style deadlines. Graduation is also based on completion of a tutored dissertation.

Unlike other schools, all production costs are met by the School. In addition you will be given a cash Production Budget. NFTS students are engaged in more productions as part of the curriculum than any of our competitors.

TUTORS

Brian Ward (The Interpreter, Death Defying Acts, Tabloid, Shoebox Zoo) is the NFTS Head of Screenwriting. Other tutors include Simon Beaufoy, Visiting Chair in Screenwriting (Slumdog Millionaire, 127 Hours, The Full Monty), Holly Phillips (Sugar Rush, As If, Trinity), Peter Berry (The Luzhin Defence, The Last Enemy, Prime Suspect), Clive Bradley (City of Vice, The Harlot’s Progress, Last Rites), Brian Ward (Death Defying Acts, Shoe Box Zoo, The Interpreter), Roger Smith (Script Consultant: My Name is Joe , Sweet Sixteen; Writer: Up The Junction), Sarah Golding (Script Consultant; Head of Development at Rainy day Films and previously at Potboiler Productions (The Constant Gardener, Brothers of the Head), Rob Ritchie (Script consultant; Writer: Who Bombed Birmingham; ex-literary manager Royal Court Theatre).

ALUMNI

Ashley Pharoah (Ashes to Ashes, Life on Mars), Shawn Slovo (A World Apart, Captain Corelli’s Mandolin), Sandy Welch (Jane Eyre, Emma), Amanda Coe (Filth, Margot), Simon van der Borgh (Script Consultant: Kidulthood), Ben Court & Caroline Ip (The Hole, Cracks, Whitechapel), Amanda Coe (Room at the Top, Elizabeth David -A Life in Recipes, Filth – The Mary Whitehouse Story), and Nick Hoare (Waterloo Road) studied at the NFTS.

APPLY WITH

- One original screenplay, typed, twenty pages in length, together with a two-page (A4) synopsis. The screenplay may be short (up to twenty pages) or the first twenty pages of a longer work. All work must be original and must not be adapted or co-authored. Uploaded or e-mail to as a Word, Final Draft or pdf document

- Optional: If your writing to date has been in a different field (other than screenplays) you may consider that you are better able to demonstrate your ability by submitting a piece of original fiction typed and double spaced, together with a two-page (A4) synopsis. This piece of fiction may be a story, novel or play. It may be a short work, up to twenty pages, or the first twenty pages of a longer work.
You must also submit the screenplay. Uploaded or e-mail to as a Word, Final Draft or pdf document.

HOW TO APPLY

The application deadline has now passed, however there may still be a chance to apply. Please contact registry via email stating your name, course of interest and contact details:

Read less
A ground-breaking new MA delivered in partnership with the BFI to prepare students to build successful careers in film exhibition, programming, criticism or archival work. Read more
A ground-breaking new MA delivered in partnership with the BFI to prepare students to build successful careers in film exhibition, programming, criticism or archival work.

Quick Facts:

2 Year Course
Full-time
Course runs Jan-Dec each year
Next intake: January 2017
NFTS Scholarships available for UK Students

Visit the website https://nfts.co.uk/our-courses/masters/film-studies-programming-and-curation

APPLICATION DEADLINE: 08 SEP 2016

COURSE OVERVIEW

- The course is delivered in partnership with the BFI (the leading body for film in the UK) who will also provide hands-on placement opportunities across a range of curatorial and critical activities.
- The course is delivered by film professionals in film exhibition and distribution, festivals, archives and film criticism, alongside academics and film makers
- Students on the course will attend film festivals.
- Students learn how to conceptualise film work in terms of idea, form and style, as well as understanding the relationship between film and audience.
- Students will learn about the practicalities of film exhibition, distribution and preservation in the changing digital landscape.
- Students will study the practice of film criticism and comment, including reviewing and critical writing about films, filmmakers and the broader culture.
- Students have the opportunity to mount festivals, pop up screenings and other events.

This course commences at the end of January each year.

The National Film and Television School’s Film Studies Programming and Curation Masters delivered in partnership with the BFI is designed for students who wish to make a career in the wider film and media culture, whether in the fields of curation, exhibition, criticism, archives, preservation or restoration. The course provides a detailed understanding of the concepts, contexts and critical thought that have shaped the production and reception of film as a basis for engagement with rapidly changing contemporary film and moving image culture. A rigorous academic framework is combined with real world applications enabling each student to develop their own skills, knowledge and understanding to provide a strong basis for a career in film and media.

The philosophy of this course is to give students a theoretical, historical and critical understanding of film, which they will apply practically in the fields of film curating and programming, distribution and archiving.

With all the resources of the National Film and Television School available to them, students on this Master’s programme benefit from working alongside a new generation of filmmakers, encouraging creative dialogue between makers and curators/critics.

CURRICULUM

Students on this course gain a thorough understanding of the process by which a film moves from a creative idea to an audience experience. They will explore the history, theory and critical contexts of film. In addition they will look at a variety of critical writing on film, to give them access to the major ideas that inform film.

Optional units and a professional placement allow a more specialised focus on industry practices in programming, curation, archives and film criticism through project work and research portfolios.

1: Conceptualising Film: Idea, Form and Style

The unit provides an introduction to key ways of conceptualising film that underpin approaches to critical, theoretical and creative practice. The main topics include:

- The Evolution of the moving image – from scientific experiment to mass entertainment and beyond
- Ways of seeing: approaches to studying film
- The development of an industry and its audience. Film and Commerce
- Film and Realism: Cinema as a Mirror of Society?
- The Subconscious Art: Dream Cinema and the language of film
- Historical movements in Cinema: Influential developments, including the early avant-garde, Italian neo-realism, the Nouvelle Vague, Third Cinema
- Contemporary and British World Cinema: approaches development and trends
- Film Forum: the evolution of film criticism and comment
- Film and Digital Media (technology, and the impact on form and style)
- Expanded cinema: Film as a gallery experience, film as a live event

The unit draws on a wide range of illustrative film examples, and explores each concept with in-depth analysis of one or more key films. Each topic will be introduced by a film and media practitioner and/or an academic.

Students will write an essay in order to explore one of the key concepts.

2: Identifying the Audience: The Practice of Cinema from Idea to Exhibition

This unit looks at the changing sites and forms of film viewing, providing a detailed exploration of the cultural, economic and technological contexts that structure the processes and pathways by which films reach an audience. Whilst primary examples will largely be drawn from Europe and the USA, these will be considered in a global context.

- Audiences: bringing people together to watch films: who, why and how, from fairground attraction to movie palace to pop-up and online.
- The relationship between production and audiences: creativity, development journeys, film finance and funding.
- Contemporary patterns of distribution: buying and selling films in a multi-platform world; from conglomeration and globalisation to independence and self-distribution
- The business of contemporary exhibition: the ‘majors’ and the alternatives; the digital revolution
- Cultural cinema in the UK and Europe; the status of ‘specialised cinema’, including repertory and archive film
- Film Festivals and markets: cultural and economic impact; models of programming;
- Programming for diverse audiences
- Programming beyond the single screen: event cinema, alternative content, installation and on-line platforms
- Marketing and promotion: identifying, reaching and developing audiences
- Critics and criticism in the age of the internet and social media: continuity and change
- Reception: case studies

In addition to regular lectures and seminars by NFTS tutors, the teaching programme includes a wide range of talks by cinema and festival directors and programmers; industry executives working in exhibition, distribution, sales and marketing; venue and event managers; filmmakers and critics.

Students will prepare and present a case study one of the subject areas.

3: Programming Film & Cultural Events and Film Preservation and Restoration

This unit is broken into two strands with students participating in both.

Informed by the study in Parts A and B, there will be in-depth sessions on programming, including researching programme and event ideas, developing themes, selecting work to meet cultural and commercial imperatives, copywriting and devising marketing strategies. Practical issues regarding rights and availability, projection and technical presentation, producing publicity materials and on-stage introductions and Q&A hosting will all be covered.

The film preservation and restoration strand will cover understanding film materials, the impact of digitization on film preservation, and its limits; sessions will also explore issues of curatorial practice with regard both to collecting and exhibiting work and will consider the presentation and reception of archive material across a range of exhibition platforms. Students will also have the opportunity to visit archives, a specialised film collection, film laboratory or digital media centre.

During this part of the course students will attend the London Film Festival

4: Dissertation

As part of the dissertation module a number of specialised workshops will be arranged to enable students to explore a strand related to their dissertation in greater detail.

The dissertation may take the form of an extended piece of film criticism or an original exploration of aspects of film culture, genre or cinema history.

5: Graduation Project

The Graduation Project will be both a theoretical and practical exploration of their chosen subject and specialist areas. For example if a student wishes to explore sites and forms of cinema they will organise a pop-up cinema experience and deliver a written or video essay that explores the themes and concepts.

6: Professional Placement

During the process of developing the graduation portfolio each student will also undertake a 1-2 month professional placement.

7: Meet The Industry

A series of familiarisation visits to venues and projects with a variety of curatorial and critical approaches, to help provide students with a further sense of possible career options.

METHODS

In addition to a wide range of screenings and seminars, the course provides hands-on approach to teaching and learning through workshops, group projects, field trips, personal research, portfolio as well as professional placements (at Festivals, Cinemas etc). For example, students work in small groups to develop portfolios (e.g. promotional strategy for a film) and workshops (e.g. peer review in film criticism).

ENTRY REQUIREMENTS

This course invites applications from students with a BA (Hons) degree (or equivalent) in arts, humanities or science. Film and media related degrees, while welcome, are not essential for admission.

Applicants without a first degree but with professional experience may also be considered for admission. In these cases an appropriate piece of written work will be required, along with details of professional qualifications. The application will then be referred to the NFTS concessions committee for consideration.

APPLY WITH

- Please submit a brief essay on either a) The preservation of film culture, through archiving, exhibition and restoration
Or b) Discuss the changing forms of cinema distribution and exhibition.

- Write a review of either: a) A contemporary film that has impressed you, or, b) an earlier film that you believe to be of artistic or historical importance. The review should not exceed 1,000 words.

- Choose a movement in cinema or one particular national cinema that is important to you. Briefly discuss your personal response to it. This should not exceed 1,000 words

- Discuss one author or film critic, or one book of critical writing on film that has influenced you. Discuss why you have found this author/book of value to you.

HOW TO APPLY

You can apply directly to us at the NFTS by clicking on the link below:

APPLY FOR FILM STUDIES PROGRAMMING & CURATION COURSE - https://nfts.co.uk/sign-me-up/apply-now/?nid=1857

You can apply online, or download a word document of the application form to submit via email
When selecting your course, please ensure that you have read the entry requirements and details of the supporting materials that should accompany your application.

TIMING YOUR APPLICATION

We are happy to receive applications 24/7 and 365 days a year up until the deadline. That said, there is no particular advantage to submitting your application very early. The important thing is that your application shows us your latest work and tell us about your most recent filmmaking experiences.

Read less
A unique course, the only one of its kind in the UK, designed to fast track you into the industry. Quick Facts. 2 Year Course. Full-time. Read more
A unique course, the only one of its kind in the UK, designed to fast track you into the industry.

Quick Facts:

2 Year Course
Full-time
Course runs Jan-Dec each year
Next intake: January 2017
NFTS Scholarships available for UK Students

Visit the website https://nfts.co.uk/our-courses/masters/directing-producing-science-natural-history

APPLICATION DEADLINE: 13 OCT 2016

COURSE OVERVIEW

New technology and a greater variety of formats are challenging the traditional boundaries of Science and Natural History Programming and driving greater audience demand. British production companies are at the forefront of leading innovation in formats and high-end content, with growing opportunities to work with North American and international broadcasters.

This course will give you:

- The skills to direct science and natural history productions.
- The know-how to produce entire shows.
- A practical working knowledge of current science and natural history television production methods.
- The ability to generate science and natural history programme ideas and formats.
- Knowledge of how the business works and current trends, including co-productions etc.
- The confidence and know-how to pitch those ideas to commissioning editors.
- Brilliant industry contacts and relevant skills for building a sustainable career as a Producer/Director.
- Access to NFTS's Masterclasses lead by major creative figures from film, television and games.

The National Film and Television School’s Science and Natural History Masters* focuses on developing Producers and Directors. Therefore, as part of the course students will be exposed to the development and production challenges of specialist factual genres, such as Landmark and Blue Chip (interchangeable terms for high budget, high production value programming mainly used in a pure wildlife context), mini landmarks, Children’s, People and Nature, Live, Expedition films, Magazine formats, Obs-doc etc. In addition there will be a focus on promoting cross-genre ideas to foster creativity.

Editorial policy and standards, together with codes of practice relating to science and the filming of animals, and Health and Safety will be fully explored.

Students will gain practical experience in both the research and development of programming of this type whilst also developing a body of work that showcases their practical film making skills and innovation within the genre.

* Subject to Validation

CURRICULUM

Below is an indicative list of the topics covered on the course:

- Audiences, and the genres of science and natural history films: differences and overlaps
- Editorial and production values in science and natural history programmes
- The documentary tradition
- Principles of storytelling and film narrative
- Finding stories: research
- Story Development
- Treatments and Proposal Writing / Pitching and packaging the concept
- The film process, from script to screen
- Writing techniques
- Wildlife Behaviour
- Finding and working with Talent and Presenters
- Guidelines for Filming Animals
- Editorial Policy and Standards
- Digital Content and Social Media Extensions
- Formatting
- Short form storytelling
- Directing the camera to capture a ‘scene’
- Working with graphics and VFX
- Pitch Reel / Sizzle Reels
- Outside Broadcasts
- Production and Post Production Workflow (logging, DITs etc)
- Health and Safety
- The History of Science and Wildlife Filmmaking
- The Business: how programmes are financed. International co-production
- International Markets and Programming
- Marketplace trends
- Managing a career

In addition, students will be exposed to specialist science and natural history filming techniques, such as: thermal, Slow Motion, underwater, Macro & Micro filming, drones, timelapse, rigs etc.

There is a strong emphasis on professional practice. This means that student projects will be expected to measure up to scientific scrutiny, as well as exhibition and broadcast standards.

The structure of the course follows the chronological steps of a Science or Natural History Television production. Injected into this timeline will be specifically tailored modules taught by top television professionals, with experience of different subgenres or appropriate specialist techniques, eg cinematography or VFX. Students also get the chance to pitch their Science and Natural History programme ideas to broadcasters like the BBC, National Geographic and Discovery.

NFTS students are engaged in more productions as part of the curriculum than any of our competitors. Unlike other schools, all production costs are met by the School and productions are given cash production budgets.

PLACEMENT

Each student will complete a minimum of 10 days work experience.

NFTS BENEFITS

Science & Natural History course participants will have full access to the NFTS’ optional creative stimulus strands, including: Cinema Club, Screen Arts and NFTS Masterclasses - these strands see major creative figures from film, television and games screening their work and discussing with students in the campus cinema. Recent speakers include David Fincher (Director, Seven, Gone Girl), Graham Linehan (The IT Crowd, Father Ted), Abi Morgan (Suffragette, The Hour), Christopher Nolan (Interstellar, The Dark Knight) and Hamish Hamilton (Director, Super Bowl XLVIII).

ENTRY REQUIREMENTS

If you are lively and imaginative, then this is the course for you! Applicants must be able to demonstrate their passion, commitment and talent for developing a career in Television.

Typically applicants will have a proven interest in science and natural history, which, typically, may involve a background in Physics, Chemistry, combined Natural Sciences, Zoology, Biology, Psychology, Mathematics etc.

APPLY WITH

- A short proposal for a science or natural history television programme – no more than one A4 typed page
- Optional: A DVD containing samples of your work specifying your exact role in each. This work need not be in the science and natural history area, as some applicants may not have a film or other programme-making background.

HOW TO APPLY

You can apply directly to us at the NFTS by clicking on the link below:

APPLY FOR DIRECTING & PRODUCING SCIENCE & NATURAL HISTORY COURSE - https://nfts.co.uk/user/login?destination=node/9%3Fnid%3D2023

You can apply online, or download a word document of the application form to submit via email
When selecting your course, please ensure that you have read the entry requirements and details of the supporting materials that should accompany your application.

TIMING YOUR APPLICATION

We are happy to receive applications 24/7 and 365 days a year up until the deadline. That said, there is no particular advantage to submitting your application very early. The important thing is that your application shows us your latest work and tell us about your most recent filmmaking experiences.

Read less

  • 1
Show 10 15 30 per page



Cookie Policy    X