I’m a firm believer that everyone is capable of making really great media. So where does all the bad media come from? Limitations. People are limited by budgets, availability, time, weather, and global pandemics. The thing stopping us from making great media isn’t a lack of ability. It’s the outside pressures pulling at our attention, telling us “no”.
So how can DFA help?
We help you overcome the limitations in a number of ways. With Pre-Production, making sure you know exactly what you need and how to get it. DFA students have access to professional equipment for life. So even long after you’ve graduated you’ll still be able to use our equipment for Production, reducing budget limitations considerably. And finally through Post-Production. In response to Covid-19 DFA has made our cutting-edge computers accessible remotely online. So you can edit in Davinci Resolve, Avid, Pro-Tools, After Effects, and many other softwares from the safety of your own home, and your client can dial in and go over the project with you live, from anywhere in the world!
When you study at DFA you have every resource at your fingertips to turn yourself into a lean mean filmmaking machine. Someone who can navigate the hurdles in your way to deliver clean powerful content.
If you’d like to find out more, please join us for an Online Open House (complete the form to add your name to the guest list, then watch your inbox for the confirmation email) Thursday February 18th @ 1pm EST, or check us out online at any of the links below and see if we’re a good fit for you.
When the Digital Film Academy was founded, Avid was one of the few programs taught. Now, years later and with a much larger course selection, things came full-circle when the DFA hosted the Pro Tools 11 ACI (Avid Certified Instructor) Re-Certification Webinar/Seminar. The event was presented by Avid’s Andy Cook and Jon Connolly.
I was fortunate to be a fly on the wall during the seminar, in a room with ten ACIs (in addition to the 20 attending online). Only certified ACIs are qualified to teach Avid courses at Avid Learning Partner schools, guaranteeing that only the most up-to-date and capable instructors are teaching ALP students.
“We’re very happy to be an ALP and very proud to have been chosen to host the event,” said Patrick DiRenna, the DFA’s founder and president. “I look forward to hosting more of their events in the future and offering Avid certified courses.”
Having Guy Mor as Director of Operations certainly puts the DFA a cut above other film schools when it comes to Avid training. Mor is the only Master Pro Tools instructor in the New York/New Jersey area, and he also holds a long list of other Avid certifications.
Mor insists that “the Avid certified curriculum is the best and most complete way to learn Pro Tools.” As a former working engineer in broadcast television, Mor was already very skilled with Avid. However, it’s only been since getting certified that he realized he had “holes in (his) knowledge, holes that were plugged up by this extensive curriculum.” He now teaches these courses at the highest level, and can work faster and more efficiently than ever before. He sees his students go through the same transformation all the time.
Beyond being a master instructor, Mor is also very active in the community of Avid Certified Instructors. He was recently asked to be a moderator on Avid’s list serve. It was partially due to Mor’s relationship with Andy Cook, one of the presenters, that the re-certification event was hosted by the DFA.
According to Mark Matthews, a dedicated ACI from St. Petersburg College attending the event, the value of the certification is growing as Avid’s approach becomes “more progressive.”
As discussed at the seminar, in order to be re-certified, ACIs need to be up-to-date on the changes that come with Pro Tools 11. The presenters reviewed not only PT 11’s new capabilities (for instance, the faster-than-real-time offline bounce feature, which has many audio engineers excited), but also the reasons behind the upgrades.
Most importantly, they addressed the move to a new plug-in format, AAX.
“We needed to start from scratch (with AAX) to be able to work in the 64-bit realm,” Connolly said. The main goal was to enable greater interoperability between native and DSP environments.
Some people wonder why DSP remains necessary, what with the power of native, but Connolly discussed how DSP offers the power to handle extremely large sessions. While it might no longer be necessary for everyone, there is still high demand for it as projects continue to get bigger and more complex.
It’s often been said that, no matter how polished a movie looks, if the sound isn’t up to par, it just isn’t going to be impressive. For that reason, every filmmaker should make it a priority to find out more about Avid courses at the DFA.