African Entertainment Hub Film Academy - SYLLABUS FOR CERTIFICATE COURSE IN FILM AND TELEVISION PRODUCTION

The AFRICA ENTERTAINMENT HUB
Film Academy

SYLLABUS FOR CERTIFICATE COURSE IN FILM
AND TELEVISION PRODUCTION

AEH ADMISSIONS

2|AEH ADMISSIONS

PROGRAMME: AEH CERTIFICATE IN FILM AND Any three (3) subjects from Arts / Social / Science / Physical
TELEVISION PRODUCTION Sciences.

GOALS AND OBJECTIVES THE GRADES

THE GOAL: To lay the foundation for understanding the practical General grading of the AEH Certificate shall be the approved 4
techniques, specialized language, and unique aesthetics of motion points system for Diploma.
pictures. We will explore the expressive range of cinematic language
and how complex emotions and ideas are communicated to the Example is as follows:
viewer. Students analyse the basic elements of cinematic form as
seen through essential properties of the medium including editing, Examination Score Letter Grade Point
cinematography, production design, and sound design and gain an Grade
appreciation of film history and for the impact of culture and 80 – 100 A 3.50 – 4.00 DISTINCTION
technology on the development of the cinema. The filmmaking 60 – 79 B 3.00 – 3.49 UPPER
process and the impact of the “industry” on this collaborative art are CREDIT
also studied. 50 - 59 C 2.50 – 2.99 LOWER
CREDIT
To produce world-class, practically efficient and capable human 40 – 49 D 2.00 – 2.49 PASS
resources to meet global standards in the special arts of Film and 0 - 39 F 0.00 – 1.99 FAIL
Television production.
PROGRAMME DURATION
THE OBJECTIVES: Upon successful completion of this course,
the graduate should be able to: The AEH Film Certificate programme shall last for a minimum of
four (4) semesters or Two (2) years and a maximum of eight (8)
• Identify, assemble and operate equipment used in Film and semesters or four (4) years.
Television production.

• Produce quality films at par with world-class standards and
industry format.

• Exhibit greater fluency and skills in the Art of
cinematography, directing, producing, acting and editing.

• Design, create and apply quality make-up; Character
costume(s), cinematic lighting and Sound.

ENTRY REQUIREMENTS FOR THE AEH CERTIFICATE IN
FILM AND TELEVISION PRODUCTION

The general requirements for the programme are:

• Creative passion, talent and some level of imagination

• Post-Secondary School Leavers with 5 Credit passes in SSCE
or equivalent, who are desirous of acquiring relevant
employable skills.

• Unemployed or underemployed graduates looking for
requisite employable skills.

• Employed graduates who desire relevant or additional
working skills.

• Those out of school for a long time, in line with the
Government desire for open access to reskilling and
upskilling of the nation’s workforce as part of Life Long
Learning (LLL).

UMTE SUBJECTS

3|AEH ADMISSIONS

CURRICULUM FOR AEH CERTIFICATE IN FILM AND
TELEVISION PRODUCTION

FIRST YEAR

HARMATTAN SEMESTER

COURSE CODE TITLE

GNS 101 ENGLISH AND COMMUNICATION
SKILLS

GNS 103 ENTREPRENEURSHIP

FTP 101 INTRODUCTION TO FILM &
TELEVISION PRODUCTION

FTP 103 101 INTRODUCTION TO FILM &
TELEVISION PRODUCTION

FTP 105 HISTORY OF MOTION PICTURE

FTP 107 INTRODUCTION TO ACTING

FTP 109 PRODUCTION WORKSHOP

FTP 111 INTRODUCTION TO
POSTPRODUCTION

RAIN SEMESTER TITLE
COURSE CODE ENTREPRENEURAL STUDIES
GNS 102 USE OF ENGLISH
GNS 104 BASIC PHOTOGRAPHY
FTP 102 FUNDAMENTALS OF
FTP 104 CINEMATOGRAPHY
ACTING SKILLS AND
FTP 106 TECHNIQUES
FILM IN NIGERIA
FTP 108 PRODUCTION WORKSHOP
FTP 110 BASIC SCREEN WRITING &
FTP 112 DIRECTING
INTRODUCTION TO ADOBE
FTP 114 PREMIER

SECOND YEAR RAIN SEMESTER 4|AEH ADMISSIONS
COURSE CODE
HARMATTAN SEMESTER FTP 202 TITLE

COURSE CODE TITLE FTP 204 PRODUCTION
FTP 206 WORKSHOP(FEATURE)
FTP 201 SIWES (STUDENT INDUSTRIAL FTP 208
WORK EXPERIENCE SCHEME) FTP 210 BUSINESS OF FILMMAKING

FTP 203 PRODUCTION WORKSHOP FTP 212 INDIVIDUAL PROJECT

FTP 205 FILM ANALYSIS AND REVIEW FTP 214 ADVANCED FILM/TV EDITING

FTP 207 ADVERTISING ON TELEVISION: FTP 216 ADVANCED CINEMATOGRAPHY
THEORY AND PRACTICE FTP 218 PRACTICE
FTP 220
FTP 209 EDITING: PRINCIPLES AND ADVANCED DIRECTING
PRACTICE FTP 222 PRACTICE
GDS 224
FTP 211 CINEMATOGRAPHY: PRINCIPLES FTP 226 ADVANCED ACTING
AND PRACTICE FTP 227 TECHNIQUES

FTP 213 DIRECTING: PRINCIPLES AND PRODUCTION PLANNING II
PRACTICE
ADVANCED ART DIRECTING
FTF 215 ACTING: PRINCIPLES AND
PRACTICE ADVANCED SCREENWRITING

FTP 217 PRODUCTION PLANNING SOUND DESIGN FOR FILM AND
TELEVISION II
FTP 219 ART DIRECTING VIDEO GAME DESIGN AND
PROGRAMMING II
FTP 221 SCREENWRITING ADVANCED DOCUMENTARY
FILM-MAKING I
FTP 223 SOUND DESIGN FOR FILM AND ADVANCED DOCUMENTARY
TELEVISION FILM-MAKING II

FTP 228 SPECIAL FX AND MAKE-UP

THE COURSE DESCRIPTION This course deals with the historical survey 5|AEH ADMISSIONS
of world cinema in some details. This
GNS 101 ENGLISH AND includes the developmental stages through Film Production for practical knowledge.
COMMUNICATION SKILLS the ages. This course traces the major They will also be guided to produce group
developments within the history of cinema projects in various areas outlined above.
This course is designed to introduce from its beginnings to around 1946 Duration: 7 minutes.
students to the basic concepts of (immediately after WWII). Some of the
communication in the English Language fields to be explored include The evolution FTP 111 INTRODUCTION TO
since this is the language of of Film as a medium for storytelling, using POSTPRODUCTION
communication to be used throughout the motion pictures and sound. What
study of the students and perhaps in the transpired between the Film-maker, the The course exposes students to the basic
course of doing business within the Film and the societies that watched them? techniques of editing. They learn to apply
Nigerian Business environment. The need How did the movies’ distinguishing composing photographic images to a story
to improve the understanding of the use of features, such as the star system and genres using the principles of editing. They will
the language is the focus of this course. (Slapstick, Musicals, etc.), become part of be introduced to linear and non-linear
the institution we call classical editing; preparing as EDL, editing lists and
FTP 101 INTRODUCTION TO FILM Hollywood? How did world cinema software, sound character generation,
& TELEVISION PRODUCTION develop to American economic credits and scene transition. Using the
dominance? following;
In this course, students are introduced to
the basic techniques of film production. FTP 107 INTRODUCTION TO • Video Editing Software
The mode of instruction includes ACTING
introducing the students to the basic • Introduction to Adobe Premiere
principles underlying film; the camera and This course exposes the student to the Pro
its uses, production formats, frames, basic techniques of screen acting. In the
camera movements, visual composition, area of acting, topics such as movement, • Importing and Exporting
planning a film production project, use of the body, facial expressions, use of
beginning postproduction activity. This space, voice and spontaneous reactions GNS 102 ENTREPRENEURSHIP
course is broken down into three phases: will be examined as they affect screen
preproduction, production and acting. This course introduces students to the
postproduction. techniques of developing business ideas
FTP 109 PRODUCTION WORKSHOP and opportunities. The idea is for each
FTP 103 INTRODUCTION TO student to come up with a creative business
SCREENWRITING The course will introduce the student to idea by the end of the semester.
essential processes and understanding of
This course exposes students to techniques Film making and Television productions at FTP 102 BASIC PHOTOGRAPHY
of writing for television and film. Issues to their rudimentary stage through classroom
be studied include. Writing features, instruction. The processes involved in Students are introduced to the creative
Documentary and television scripts. The making films- e.g. short, narrative films production of images and their critical
emphasis of the course is in the production and documentaries, and how these forms study. Students train in studio,
of shooting scripts for the various genres are achieved through the basic phases of documentary, portrait and journalistic
outlined above. This course introduces production: [Preproduction Phase, forms of photography as they focus on the
students to the rudiments of the screenplay, Production and Post-Production Phase] making and interpretation of photographic
particularly in the areas of generating ideas shall be explored in this course. Television images. Topic areas may include;
for the screenplay, components of the Production will also be given equal
screenplay, techniques and formats, treatment. Students will be encouraged to • Field of View
writing a synopsis, treatment, master scene pay sufficient attention to modes of
script and shooting script. Each student productions involving Television • Exposure Triangle
must submit a well-written short-film programs- e.g. Live Presentation, News
script. Broadcasts, Talk Shows and Short • Different Types of Lenses
Tele-Dramas. Students shall be taken
FTP 105 HISTORY OF MOTION through what constitutes the similarities • Focus
PICTURE and differences between Television and
• Focal Length, Depth of Field

FTP 104 FUNDAMENTALS OF
CINEMATOGRAPHY

Students are introduced to the camera for of the various on-set crew roles. Group 6|AEH ADMISSIONS
media through analysis and examination of Project Duration: 10mins.
visual aesthetics and fundamental camera FTP 201 STUDENT INDUSTRIAL
and lighting techniques as they are applied FTP 112 BASIC SCREENWRITING & WORK EXPERIENCE
in both dramatic and documentary film. DIRECTING
Students set up and operate camera and Students shall have 480 hours of industrial
lighting equipment for a working shoot. Student Filmmakers learn how to generate training. This training is embedded in the
Through practical workshops, students and analyse a script, cast the right actors, curriculum. The training shall be
become comfortable working with cameras block a vibrant, motivated scene, and undertaken in industries for which the
and learn exposure techniques. nurture a compelling performance for the Academy has signed a memorandum of
camera. Students experience the rehearsal understanding for that purpose. Facilities
FTP 106 ACTING SKILLS AND process as a collaborative tool for working for this training should be within the same
TECHNIQUES with talent to achieve their storytelling locality and possibly the same vicinity as
goals. A variety of acting methodologies the Academy. The industrial training shall
This course exposes the student to the are considered, as are improvisation and be practical and daily, and logbook
basic techniques of screen acting. In the problem-solving exercises through scene recording kept. The report shall be
area of acting, topics such as movement, work before the camera. Each student endorsed by the industry based staff.
use of the body, facial expressions, use of draws upon the multiple disciplines of
space, voice and spontaneous reactions development, shooting, and FTP 203 PRODUCTION WORKSHOP
will be examined as they affect screen post-production for the creation of a high (DOCUMENTARY)
acting. They will also be guided to produce quality
individual monologues. Duration: 1- 5 Students will be exposed to the
minutes FTP 114 INTRODUCTION TO professional techniques, equipment and
ADOBE PREMIERE AND ADOBE personnel involved in documentary
FTP 108 FILM IN NIGERIA PREMIER PRO production. They will also be guided to
produce group projects in various areas
The course will acquaint the student with This course, as the title implies, will open outlined above. Duration: 15 minutes.
the historical developments of the film in the student to the use of modern computer
Nigeria, right from its earliest beginnings software employed in today's FTP 205 FILM ANALYSES AND
to the present era. The students shall be ever-evolving Film industry. Topics will REVIEW
taken through these developments from a include;
diachronic angle: (I) The Colonial Era: the The course is designed to engage the
period of the colonization of Nigeria and • Definition of Adobe Premier students in the arts of critically thinking
her contact with the British imperialist about the films. Films made on celluloid,
before independence, (ii)The • Functions Home videos and works that go to the
Postcolonial/Independence Era which cinema will serve as case studies for the
involved the production of Nigerian Film • Uses student to acquire the skills required for
contents between the Mid-60s and 80s, (iii) reading films. Analysis of films will
The current trends in film production • Types constitute film genres, film styles, and the
formats such as new media, video film, components (camera works), locations, and
etc. • How to launch Adobe Premier. editing of shots. The course will also
instruct the student on how to critique the
FTP 110 PRODUCTION WORKSHOP • How to create a sequence. drama component inherent in films such as
story/plot, the narrative, characterization,
This course introduces students to practical • The Editing Interface dialogue and settings. Students will be
film production. It focuses on all aspects of tutored adequately will the aid of sample
location production. Students produce one • How to cut and Join clips critiques of films from newspaper reviews,
short film as a crew working with a book reviews and critical essays
professional creative team. Students will • Titles and Graphics
understand on-set procedures; further, FTP 207 ADVERTISING ON
develop technical filmmaking skills; • Effects in Adobe Premier TELEVISION: THEORY AND
demonstrate an ability to work with editing PRACTICE
software; demonstrate an ability to edit a • Special Effects in Adobe Premier
short film; demonstrate an understanding This course combines practical projects
• Key Framing with a critical examination of the impact of
advertising messages. Working from a
• Colour Grading with Adjustment solid foundation of the theories and
Layer

• After Effects Interface

strategies behind successful Topics may include the following: 7|AEH ADMISSIONS
advertising/branding campaigns, this
course aims to develop student’s ability to • Difference between Digital and FTF 215 ACTING: PRINCIPLES AND
devise appropriate brand narratives and Analog Cameras PRACTICE
produce powerful, persuasive messages
and creative materials. • Types of Camera (Motion and Still) The students will, in this course be further
and Formats trained in speech art as it relates to acting
FTP 209 EDITING: PRINCIPLES for the screen, including advancing their
AND PRACTICE • Camera Parts inherent abilities in speech cadence and
rhetorical art of speaking. The student will
Introduction to post-production, video and • Motion Picture Cameras further engage in putting into practice
audio post-production. Post-production basic techniques of screen acting.
elements, processes, methods, tools and • Inventors and Investors; Advent of Advanced topics in movement, use of the
personnel. Editing methods, software and the Camera body, facial expressions, and use of space,
personnel, packaging; exhibition and and spontaneous reactions will be
distribution. The students will undergo • Camera Mounts examined as they affect screen acting.
intensive hands-on- training in various
activities that make up the post-production • Monopod FTP 217 PRODUCTION PLANNING
phase for both television and film. A
concise introduction to Editing includes; • Tripod This course exposes students to set of
principles, methods and techniques for
• Understanding Editing with • Jib effective planning of objective-oriented
Camera, VHS Recorder, DV work, thereby establishing a sound basis
recorder on linear Editing machines • Track for effective scheduling, controlling and
re-planning in the management of
• Non-linear Editing and its forms • Steady Cam programs and projects within the film
business, in other words, the course
• Computer and Parts necessary to • Gimbal provides students with powerful tools that
aid Editing improve their ability to plan, organize,
• Slider implement and control activities leading to
• Understanding Graphic Cards and film production.
their Value • Ronin
FTP 219 ART DIRECTING
• O. S (Operating System) An introduction to Video and
Sound Formats will also be an A practical introduction to the profession
• Software and their Uses integral part of this course. Which of production design, with an emphasis on
will include; communicating ideas This course
FTP 211 CINEMATOGRAPHY: introduces the fundamentals of art
PRINCIPLES AND PRACTICE • Knowing Video formats - NTSC, direction. Class discussions lay out the
PAL, VCD, DVD, SDVD, duties and responsibilities of the art
Students are introduced to the camera for BLUE-RAY director, producer, and construction
media through analysis and examination of personnel. By the end of the class, students
visual aesthetics and fundamental camera • Screen Resolutions, Pixel, Pixel will be able to break down scripts, present
and lighting techniques as they are applied Resolutions, SD, HD, FHD, 2K, set design concepts, and draw up a set that
in both dramatic and documentary film. 4K, 8K as they relate to TV can be built by the construction
Students will be expected to set up and screens, Cameras, Phones and coordinator.
operate camera and lighting equipment for Adobe Premier
a working shoot. Through practical FTP 221 SCREENWRITING
workshops, students become comfortable • Encoding, Codec and types
working with cameras and learn exposure This course introduces students to the
techniques. Three-point lighting and roles • Video file types and their uses rudiments of the screenplay, particularly in
on set relevant to cinematography. the areas of generating ideas for the
FTP 213 DIRECTING: PRINCIPLES screenplay, components of the screenplay,
AND PRACTICE techniques and formats, writing a synopsis,
treatment, master scene script and shooting
Lectures, discussion, screenings, script.
assignments and class projects illuminate
the process and aesthetics of directing.
Workshop format and in-class tapings
focus on developing a directing team. Each
student selects, casts, directs, shoots and
edits a short film, while also assisting and
managing others’ projects.

FTP 223 SOUND DESIGN FOR FILM including financing and the roles agents, 8|AEH ADMISSIONS
AND TELEVISION I managers, attorneys and publicists play in
representing talent, producers and writers. work through the aesthetic decisions that
The course will cater for the students’ Students are familiarized with contribute to how a story is told. Looking
acquisition of knowledge on how the entertainment law topics such as copyright; at the special advantages, particular
categories of sound: dialogue, sound option agreements; distribution limitations and collaborative possibilities
effects and music, are arranged in the agreements; music licensing; agreements of digital and film cinematography, the
suitable order to achieve believability/ for actors, directors, producers and writers; class will address issues of integrated
verisimilitude of performance and a protecting the rights of the artist; media. Exercises will include essential
progressive sense of the story/narrative. employment contracts, permits and lighting and grip equipment, colour film
Students are taken through the craft of releases; guilds and union; production and stocks, hard light vs. soft light, location
stringing together a narrative exposition of distribution revenues and expenses. shooting, colour temperature and
realism and deciding how much or how fluorescent lights, exterior lighting and
little dialogue is necessary for the film. FTP 206 INDIVIDUAL PROJECT control of natural light, covering a scene
Techniques of matching shots in and continuity from a cinematographer,
movements with film sound, reaction With instructor guidance, students form point of view, and camera and actor
timing, dialogue, cutting, creative editing individual or production teams with each choreography. While practical tests and
and building up suspense and rhythm. individual/team taking a selected idea and scenes will be shot using film/video
Techniques of sound selection and work(s) their/his/her way from cameras, extensive studies on Lighting will
combination, and screen sound recording. pre-production, production, include the following;
postproduction, completion and delivery in
Topics include the following; this hands-on course. Duration: 30mins • Effects and Purpose of Lighting

• Properties of Sound FTP 208 ADVANCED FILM/TV • Types of Lighting Control
• Sound Recording Devices EDITING
• Types of Microphones and • Properties of Light
The course will cater for the more complex
Features theory and practice of Editing through its • Photographic Principles of Light
• Sound Generating Element functions and continuity. Students will be
• Use of Microphones on Location tutored on the functions of editing such as: • Triangle Lighting
• Use of Microphones in Studio Combine, Shorten, Correct, and Build.
Processes of Editing for Continuity such as • Colour Photography
FTP 202 PRODUCTION WORKSHOP Story Continuity, Subject Continuity,
(Narrative) Vectors and Mental Map, Screen Position • Colour Temperature
Continuity, Motion Continuity, Light and
Students will be exposed to the Colour Continuity and Sound Continuity. • Types of Lamps
professional techniques, equipment and The course will help students develop their
personnel involved in feature Narrative potentials and craft in Complexity Editing FTP 212 ADVANCED DIRECTING
production. They will also be guided to Forms such as Transition, Crossing the PRACTICE
produce group projects in various areas Vector Line, Special Effects and Montage
outlined above. Duration: 15 minutes. In this course, students develop a complete
FTP 210 ADVANCED understanding of the storyboarding process
FTP 204 BUSINESS OF CINEMATOGRAPHY PRACTICE – budding directors, in particular, will
FILMMAKING hone their “eye.” Also, students learn the
This workshop combines theoretical and fundamentals of turning a script into a
This course examines the business and practical elements of cinematography with sequence of images, as the class is
legal aspects of film production. The special emphasis on cultivating a film designed to get them comfortable with the
economic structure and history of the film sensibility. While learning techniques of all-important pre-visualizing workflow. A
industry, the job of production companies studio and location lighting, students also 3-D software system is used in creating the
and professional guilds, film festivals, study composition and coverage, and how storyboards. Additionally, the class
grant writing, as well as a full range of the movement, angles, and placement create a analyses several elite Films and their
business and legal practices of film and cinematographic style. In this class, director’s approach to storyboarding. An
television production are surveyed, students will learn the tools, hardware, and advanced course in which students direct
technology used in the industry, as well as and/or produce a studio and control
room-based short TV program they have
individually developed.

FTP 214 ADVANCED ACTING colour and texture. More importantly, they 9|AEH ADMISSIONS
TECHNIQUES will apply these practical concepts to their
projects. Students will examine how the Making games is a creative and technical
This is specialized teaching. The student visual and structural elements that make up art form. Hence, to begin this course we
will be taken through the art of acting, with cinematic form can be used to reinforce, will familiarize ourselves with the tools
emphasis on how to adapt his or her acting create and comment upon their story and and practices of game development. We
abilities to the peculiarities of the screen its underlying ideas. They will learn how will begin developing our videogames
i.e. Television/Film medium. The students others use these elements and how to using the industry-standard game
of acting will be trained to function skilfully apply them to their work. development tools, including the Unity3D
effectively within an environment crowded Game Engine and C#. At the end of the
with impersonal and confusing gear. FTP 220 ADVANCED course, students will have completed three
Furthermore, students are taught how to SCREENWRITING hands-on projects and will be able to
come to terms with audition, creative and leverage an array of game development
meticulous blocking, ability to know or In this course, students will build-up in last techniques to create their basic games.
memorize lines, understanding timing, semester’s work. Here, they are exposed to
maintaining continuity in the level of the technical aspects of the screenplay: One of the reasons we use Unity3D is its
energy and commitment to other actors and Synopsis, Treatment, Master Scene Script visual editor which makes creating
crew members. and the Shooting Script. Through constant interactive games accessible to both
exercises, the student will master the art of creative and technical individuals. In this
FTP 216 PRODUCTION PLANNING II screenplay. course, you will create your first Unity3D
project from start to finish. Using a variety
This course examines the business and Practical project: Individual Short film of graphical and audio assets and a library
legal aspects of film production. The script. of scripts, you will create a simple model
economic structure and history of the film of our solar system. By the end of the
industry, the job of production companies FTP 222 SOUND DESIGNS FOR FILM course, you should have a good
and professional guilds, film festivals, AND TELEVISION II understanding of the Unity3D editor and
grant writing, as well as a full range of the the workflow for creating games.
business and legal practices of film and Students explore the practical and aesthetic
television production are surveyed, aspects of digital audio tools and Skills to be gained from this course
including financing and the roles agents, procedures through lectures, include;
managers, attorneys and publicists play in demonstrations and hands-on exercises.
representing talent, producers and writers. All areas of audio are explored including ∙ Video Game Development
Students are familiarized with sync sound, editing, mixing, sound design,
entertainment law topics such as copyright; recording, editing dialogue, prepping for ∙ C Sharp (C#) (Programming Language)
option agreements; distribution automatic dialogue replacement (ADR)
agreements; music licensing; agreements and Foley sessions, loop groups, pre-dubs, ∙ Unity (User Interface)
for actors, directors, producers and writers; composed score, source music, print
protecting the rights of the artist; master, music and effects tracks (M&E) ∙ Game Design
employment contracts, permits and and supervising the final sound mix. The
releases; guilds and union; production and impact of sound design on storytelling in FTP 226, 227 - DOCUMENTARY
distribution revenues and expenses. films is evaluated by studying composer FILM MAKING
choices, edits, and sound effects.
FTP 218 ADVANCED ART Documentary Filmmaking is a subcategory
DIRECTING GDS 244 GAME DESIGN AND of Film and video production where the
DEVELOPMENT (FROM production crew creates a work of
This course allows the student to study the INTRODUCTION TO VIDEO) journalism rather than a fictional movie.
vast range and expressive potential of
production design. Students will study This course is for individuals interested in A Documentary Film is a non-fictional,
production design concepts through becoming Game Designers, Game Artists, motion picture intended to document
viewing and discussing feature films and or Video Game Programmers. It is mainly reality, primarily for instruction purposes,
shorts that make extensive use of for the creators of interactive education, or maintaining a historical
architectural space, costumes, props, entertainment, who love games and want record. The documentary has been
to learn how to make them. This course described as a Filmmaking practice, a
will start the students down that path. cinematic tradition, and mode of audience
reception that is continually evolving and
is without clear boundaries.

So, for this course, instead of making up
fictional characters and creating a world of

make-believe, the Documentary ∙ Costumes 10 | A E H A D M I S S I O N S
Filmmaker’s job is to document real life
and real people by accurately and fairly ∙ Make-Up ∙ Animate combat action scenes
telling their stories.
∙ Set/Scenic Design ∙ Build your character rigs
Like other genres of film, documentaries
are created by weaving visual storytelling ∙ Lights For this course, Topics will include:
elements together. The most commonly
used storytelling elements in news and FTP 231 - INTRO TO 3D ANIMATION ∙ Navigating 3D space
Documentary Filmmaking are: AND VFX
∙ Connecting objects through hierarchies
∙ Interviews Animation refers to the basic process of
creating motion and shape-changing ∙ Modelling geometry
∙ Sequences of relevant events or action illusions by the means of rapid display of a
sequence of static images that differ from ∙ Sculpting in 3D
∙ Narration each other by very minimal contrasts. In
essence, Animation is a field of both art ∙ Creating patch-based surfaces
∙ Natural sound to go with sequences and science that can bring life and zeal to
non-living characters. ∙ Creating and applying textures and
∙ Music materials
3D Animation in the form of animation
∙ Graphics and Titles that is completely done with a computer. ∙ Rendering 3D projects
These animations are created in X, Y and
MUT 115 - MUSICAL THEATRE Z dimensional world. 3D Animation FTP 228 - SPECIAL EFFECTS AND
allows the possibility of doing things that MAKE UP
This course, as the title implies, deviates are not possible in 2D animation.
from the Film medium. It is purely an Special Effects Makeup can be defined as
elaborate art form for the live theatre Computer animation or CGI animation is the use of prosthetic sculpting, moulding,
audience. the process used for generating animated casting and painting to create advanced
images by using computer graphics. For cosmetic effects. Special Effects Makeup
Musical Theatre is a form of dramatic 3D animations, objects (models) are built can be seen in most popular TV shows and
production combining acting, singing, and on the computer monitor (modelled) and movies and even at conventions and
dancing to tell a story. We tend to call 3D figures are rigged with a virtual Halloween. It can go from scary movie
these productions musicals, or sometimes skeleton. monsters like werewolves, aliens and
Broadway musicals based on their zombies to changing someone's
preeminent venue. You'll laugh, you'll cry, Introduction to 3D Animation; appearance to look younger, older, and
you'll cheer, you'll sing; it's an artistic Prerequisites different facial features or weight. The
experience unlike any other. In the Musical most basic of applications can be used to
Theatre, songs and dance serve both to ∙ Basic computer skills, and a passion for simply hide effects mechanisms, like blood
further the narrative and to provide a break animation. Using creativity and problem tubes and incoming bullet hits. The most
from a purely dramatic presentation. solving, 3D Animators use motion to bring complex will render the actor completely
characters, vehicles and props to life in unrecognizable as a human.
As an introductory course into the Art of films, video games, and TV shows.
Musical Theatre, students will be taken In this course, students will learn how to
through the following basics; ∙ A computer that meets the minimum create illusions and visual tricks that are
recommended specifications essential to many Films and productions of
∙ Understanding the Stage today
Students will learn how to:
∙ Types of Stages Topics;
∙ Gain speed and confidence in Maya
∙ Stage Geography ∙ Station setup
∙ Set up professional animation workflows
∙ Choosing/Writing the Play/Musical ∙ Materials and products
∙ Use character rigs and create poses
∙ Directing for the Stage: Casting, ∙ Chip brush technique
Blocking, Polishing, Rehearsals. ∙ Understand the principals of animation
∙ Bruise application
∙ The Band/Orchestra ∙ Create a character run cycle
∙ Scars
∙ Acting Techniques ∙ Convey realistic weight with a character
∙ Scrapes
∙ Vocal Techniques
∙ Different kind of cuts

∙ Using Transfers

∙ Gunshot they relate to camera controls and shooting 11 | A E H A D M I S S I O N S
conditions. Technical workshops, studio
∙ Prosthetic materials lectures, group learning activities and ∙ Customize Browser Column and
individual studio time. Interface.
∙ Adhesive types
On completion, the student must be able ∙ Import and Export associated file types.
∙ Preparation phase to:
∙ Reconnect offline media.
∙ Prosthetic application ∙ Properly open the application and save
the file project to the appropriate folder. ∙ Work with audio including viewing
∙ Silicon application waveforms, adjusting levels, and working
∙ To set the proper scratch disk before an with sync.
∙ Teeth application edit session.
∙ Mix audio using both the mixer and key
∙ Adding blood ∙ Change the sequence presents to the frames.
proper digital format.
∙ Hair and nails ∙ Apply transitions to both audio and video
∙ Customize the preferences including tracks.
∙ Tears and crying techniques window layout.
∙ Render transitions and saving them to the
∙ Sweat effect ∙ Understand the following window favourites folder.
layouts: Browser, Viewer, Canvas,
∙ Chopped lips Timeline, Tool Palette, and Audio Meter. ∙ Create a soundtrack.

∙ Frozen look ∙ Capture Audio and Video from a digital ∙ Apply audio, video, and Corrective
source using the Log and Capture filters.
∙ Dead look Window.
∙ Composite clips and animate using key
∙ Teeth application ∙ Adjust the Timeline frames.

∙ Sunburn ∙ Play a clip in the viewer. ∙ Change clip speed in both constant and
variable motion.
FTP 117 - DIGITAL EDITING ∙ Mark a clip
∙ Add text and graphics with generators
The camera has become the ubiquitous ∙ Prepare an edit. and add motion effects.
imaging tool of contemporary culture.
Ranging from the built-in camera of the ∙ Assemble a sequence in the timeline ∙ Create an animated title.
mobile phone through to the using the following types of edits: Insert,
interchangeable lens DSLR, these have Overwrite, fit to Fill and Superimpose. ∙ Finish and output a project to tape and
become very sophisticated tools. Still, its digital format.
full potential is often not utilised, because ∙ Add audio to the timeline.
the understanding of the controls and ∙ Save a project correctly and quit the
software editing is limited. ∙ Manipulate clips in the Timeline. application.

This course aims to develop an ∙ Edit in the Timeline Through demonstrations and exercises,
understanding of editing digital videos students will be introduced to the basics
using state of the art computer-based ∙ Edit a sound bite principals of the camera, and learn the
digital editing systems. To become terminology and its application and how to
competent in the use of a professional ∙ Delete clips and gaps use the camera effectively under a variety
digital video editing computer application of conditions.
including interface layout and basic editing ∙ Trim a clip using a razor and rippling
functions. tools

Students will learn how to transfer images ∙ Extend an edit in the Timeline
and video from the camera and be
introduced to software tools for managing ∙ Trim to edit points
an archive of media, editing and
manipulating both photos and video. ∙ Use the slip, slide, and roll edit tool.
Through in-class discussion of images,
students will learn how to analyse the ∙ Utilize the Trim Edit Window.
formal properties of an image and how
∙ Work with Master Clips, Sub clips, and
Markers.