One of our graduates from Digital Film Academy class of 2013, Mr. Jamal Solomon, recently worked on an indie film starring one of the top female rappers in the USA.
The movie Angelfish tells a uniquely New York love story. It is set in the Bronx in the 90s; it follows two people from two very different backgrounds as they become emotionally entangled. Eva (played by Destiny Frasqueri / Princess Nokia) and Brendan (Jimi Stanton) are the star-crossed lovers.
For those who don’t recognize the name, Destiny Frasqueri is better known by her stage name Princess Nokia. She is an American rapper of Puerto Rican descent and a big name in the NYC hip hop community noted for her albums such as Honeysuckle, Metallic Butterfly and 1992 Deluxe.
The ‘Angelfish’ movie received reviews from Variety, Los Angeles Times and the Hollywood Reporter. We are particularly pleased to note that one of the articles singled out our film school graduate Jamal for his ‘sleepily gorgeous cinematography’, as they put it.
VIDEO: Jamal describes what it’s like to study at Digital Film Academy and see some clips of Princess Nokia in action
Behind The Black Panther: Film School Founder Recalls Early Days Of Chadwick Boseman
Travis Bean, Forbes Contributor
When Patrick DiRenna talks about what makes for a great performance in a film, he speaks of emotional clarity; facial expressions; screen presence; controlling the audience.
But going beyond the mere components of acting, DiRenna views a great performance as a result of great filmmaking: the camera is in sync with the actor; the characters are well- developed; the direction is dictating the performance.
At the Digital Film Academy, that’s what DiRenna hopes students will learn: filmmaking is a team effort. And with that mentality, you can go far in the industry.
“You can make it big,” says DiRenna. “That’s what Chadwick did.”
Yeah, that’s right. Patrick DiRenna, the president and founder of Digital Film Academy in New York City, is talking about that Chadwick. One of his former students, the star of Black Panther—Chadwick Boseman.
With a new slew of future filmmakers set to attend the academy this September—with a second location opening in Atlanta due to attendance growth—DiRenna is looking back on what prepped the school’s most well-known graduate for success in the film industry.
DiRenna, a mentor to Boseman at the time, taught the upcoming star of 21 Bridges “acting for directors.” DiRenna saw the confidence behind Boseman’s performance and knew he had the potential to break out.
“He came here talented, focused, sharp,” DiRenna says.
That poise would certainly take Boseman far, but DiRenna says the actor’s willingness to learn and grow as a performer while attending the academy is what set him up for success.
“Thurgood Marshall is no slouch,” DiRenna says, recalling one of the many prominent African American figures Boseman has inhabited since graduating from Digital Film Academy. On top of portraying the nation’s first black Supreme Court justice, Boseman played Jackie Robinson in 42 and James Brown in Get On Up.
“For me, from a tactical point of view, it’s about who they are,” DiRenna says. “These are three historical figures with big differences between them. If you really want to become these characters, you have to really be willing to take it on.”
Boseman’s versatility and range doesn’t surprise DiRenna, who remembers Boseman as a spot- on student. “Serious and not overly formal,” DiRenna describes Boseman, who has the range of Gary Oldman and the screen presence of Keanu Reeves. Boseman’s capacity to occupy Thurgood Marshall or James Brown goes beyond the ability to mimic those men’s gestures, movement and tone—DiRenna says it requires a quiet, steadied occupation of their being.
“I remember his face and the level of concentration in his eyes. You could see internal processes working,” DiRenna recalls. “At that time he was building himself. I could see he was putting the pieces together.”
But not everybody can find success because of their gripping screen presence. And, really, Boseman’s striking performances are benefitted by the players around him, DiRenna claims. Filmmaking is a collective experience between many professionals working together—and DiRenna’s academy strives to get all those different players ready for the industry.
“My example for all of this is The Godfather,” DiRenna explains. “Al Pacino does next to nothing in the film. But he’s got the face; and then you surround Michael Correlone with all the characters; if he’s still, the camera is moving. There’s all this activity going on.”
DiRenna believes that collective experience at the Digital Film Academy is truly what sets every student—not just Boseman—on a path towards realizing their careers. Alumni like Brad Bailey win awards for documentaries like Hale; alumni like Shaun Dawson nab managerial roles at digital platforms like Vimeo; alumni like Pavel Kercle work on visual effects for huge films like Avengers: Age of Ultron and Jurassic World.
DiRenna’s goal is for the Digital Film Academy to not only coach students while attending school, but set them up for the future. That way, you can find jobs and make money like Boseman did—like Bailey and Dawson and Kercle did.
“This is the only school in the world when after you graduate, you have free access to our equipment forever,” DiRenna says. “That’s how you make money. Forget filmmaking—we’re talking digital filmmaking as an industry.” “
According to Statistics and Facts About the Film Industry, the digital media industry shows healthy projections for the upcoming years. It is estimated that the film industry will increase from about $38 billion in 2016 to nearly $50 billion in 2020. From this increase in revenue, it is evident that the media industry is prospering. Those who are looking for employment within the film industry are in a good position in terms of their career choices. Before getting behind the camera and filming your soon-to-be Oscar nominated film, you must decide which film school to attend.
· How does one choose the best program?
· How much are you willing to spend?
· Do you prefer a formal education based on theory or is hands-on training more important?
These are all great questions to ask yourself.
Here are several points to consider when choosing or considering a film school:
Who are your teachers?
When universities select professors and lecturers for their institution an emphasis is placed on their academic achievement. Although these faculty members are able to provide their students with theoretical knowledge, in many cases they lack real world experience. A professor can educate his/her student about film history but not how to produce a film. If a student only has access to the theoretical aspects of film, they may never get the chance to produce their own content. A student should therefore consider investing in more practical training in digital media rather than the university option. Film training schools select their teachers and lecturers based on their industry experience. With this industry experience, teachers are able to create a curriculum that focuses more on the technical aspects of film. They are more “in-tune” with the evolution of technology, which the film industry heavily relies on.
In a world filled with endless evolving cameras, physically shooting a film is not rocket science. Lights, camera, ACTION….and hit the record button, right? Although it might appear to be this simple, practice is what allows an amateur to become a professional. When shooting a film one must consider the following: lighting, camera movement, frame rate, shutter speed, and sound recording.
Professionals from the film industry know that hands-on training is essential to a good production. Allowing students to get sufficient lab time is crucial. University students can find themselves struggling to find this practice time, while students in film training schools have the advantage of being exposed to more lab time due to small class sizes.
Unfortunately, a university education in filmmaking is usually on the pricey side. Your tuition can be as expensive as $50,000 per semester. A film training school like Digital Film Academy on the other hand, only charges students $17,995 per year, which can potentially save you from large student debt. In addition, Digital Film Academy provides its students with free access to filming tools.
Although the film industry has healthy projections for the upcoming years, the film industry currently has a competitive job market. Once students have graduated from their chosen film schools, how will they find employment? Film schools like Digital Film Academy provide students with access to a job board. Instead of waiting to graduate before finding employment, these Digital Film Academy students are eligible to apply for these jobs even during their studies.
Choosing the right film school may be an easy or difficult decision to make. It depends on the size of your pockets, the content that is being taught, and how you will use this knowledge. If you find yourself struggling to make a decision, remember that a top quality school will provide you with:
Teachers with industry experience
Digital Film Academy will provide you with all of the above.
When Andrew Rottkamp entered college at the University of Delaware, he was a finance major.
“I didn’t know what I wanted to do, so I picked finance,” he jokes. “But I had a feeling right from the beginning that it wasn’t the right program for me.”
Luckily, when his junior year rolled around, he wound up taking an art class that focused on video.
“I had so much fun. Outside of the class, I began shooting films. I felt like ‘this is what I’m supposed to do,’” he says.
He made a plan to go to film school after leaving the university and began researching his different options.
“The DFA looked like it had much better value for the money,” he says. “In some cases, it cost 50% less than other schools, and actually had better reviews than they did. When I visited, everyone was so welcoming and friendly. I learned about how it was so easy to check out equipment. I was sold!”
Rottkamp was able to enter into the Advanced Digital Filmmaking program, thanks to a motocross video he had made with friends in college just for fun. Once he began the program, he realized his favorite part of the process was directing. As an extremely visual filmmaker, he gravitated toward finding the right visual elements to express a script.
“Learning how to manipulate and break down a script in class was incredibly helpful,” he says.
He had an unforgettable filming experience while shooting his thesis film – and one he doesn’t plan to replicate anytime soon!
“In my short film, a man finds his best friend dead in the woods. A battle breaks out. In the end, you realize it was all inside a video game,” Rottkamp explains. It was a cool concept, but one that required the use of a BB gun.
“We were only using BB’s, but still, someone called the cops,” he remembers. “The police showed up and wrote us up for having a firearm. We had to go to court! The judge went easy, and there were no repercussions, but I learned a valuable lesson about getting permits to shoot.”
Unfortunately, the project is abandoned until getting the proper permit. But the hold-up hasn’t held Rottkamp back in his career.
“After graduating from the DFA in December 2014, I realized I really needed to build my portfolio, so I threw myself into freelance work for a year,” Rottkamp says. “I shot weddings, too. On one of those wedding jobs, the friend I was working with had a connection with someone at HBO, and asked if I might be interested in applying for a job there. Absolutely!”
Rottkamp took on a temporary position at the popular network in January 2016, analyzing metadata for on-demand content. “I definitely feel that the DFA helped make me the right person for that position,” he says. “I knew all about transcoding, workflows. Exactly what they needed.”
Then, in June 2016, HBO offered Rottkamp an official position doing “Master Control,” where he monitors the outgoing feed for live TV. In the long run, he hopes to be involved in content creation.
Meanwhile, he creates content by continuing to make his own short videos outside of work. His favorite, a music video he’s currently wrapping up, is for a song called “Little Sister” by Terry Little, for which he created the basic storyline.
Additionally, his experience working with camera gear has inspired him to build an online store selling designer camera bags. “It’s been an incredible learn-as-you-go experience,” he confides. You can visit it here at:
Rottkamp plans to continue to grow the online store while also making more short films and staying on at HBO. His days as a finance major a thing of the past, he is now “Doing what (he’s) meant to be doing.”
What’s the biggest way in which the Digital Film Academy has affected student Ayanda Chisholm’s life?
“Definitely the WebTV class,” she says. “I had never considered doing a web series before. Now I’ve completed two episodes and plan to finish an entire first season.”
The web series, titled The Young, Black, and Gifted, focuses on a group of youths who form a coalition to fight police brutality. Just recently uploaded, the series has already begun to attract hundreds of views.
“Some of the best advice I’ve gotten at the DFA was from Patrick,” Chisholm says, referring to DFA President Patrick DiRenna. “When making a film, he says to focus on ‘Emotional complexity and clarity, with a simple production.’” This formula has served Chisholm well and inspired her to create work that lands an emotional punch but won’t break the bank production-wise.
About the series
The series was created with an all-DFA crew, with the exception of the make-up artist. “It came out almost exactly as I imagined,” Chisholm muses, a statement rarely heard in the film world where finished projects often fall short of their original concepts. “Actually, it came out better than my vision.”
You can view the first two episodes of her web series here:
This recent success aside, Chisholm was no stranger to script-writing and filmmaking prior to entering the DFA’s Advanced Digital Filmmaking program.
“I’ve always been an avid movie-watcher, movie-lover,” she says.
She began as a playwright, writing her first short play in middle school, where it was performed for her classmates. Once she got to high school, she began to transition into film. But, like most early filmmakers, she experienced her fair share of growing pains.
“I made one short that got into our school’s ‘New Works’ festival,” she remembers. “But while watching it, I realized that the girl who had done the editing hadn’t synced up the last minute of video and sound. It was really frustrating to see.”
It was around that time that Chisholm began to delve into the editing process herself. “I began editing in my sophomore year and have been obsessed with that ever since. Writing, directing, and editing.”
It was through this love of editing that Chisholm found herself joining Reel Grrls, an all-girls filmmaking group offering Adobe training. Taking the Adobe program made Chisholm eligible to apply for Adobe’s Youth Voices Scholarship, a worldwide contest granting scholarships to 25 winners to further their education.
As part of her application, Chisholm created and submitted a one-minute film entitled Black Beauty in the White Gaze. The piece dealt with society’s tendency to view beauty through the ideals of the white community, often showing disrespect to black women. The piece struck a chord with judges and Chisholm became a 2015 Adobe Creative Scholar.
At that point, Chisholm began to research different film schools in New York City, where she knew she wanted to live. When comparing schools, the DFA’s offer of free use of equipment, including a RED camera, registered as a huge perk other schools weren’t offering. Once visiting the school, Chisholm just felt it “seemed like (her) scene.” She moved from Seattle to live with her best friend and began studying at the DFA in August 2015.
Now fully immersed in her DFA courses, Chisholm talks about her professors – all industry professionals – and how their classes have resonated with her. “The cinematography instructor took our class to MoMA to study the different paintings. Once back at the school, we tried to re-create the lighting in those paintings using our equipment,” she recalls. “Also, the directing class is so much fun. Every week, we’re directing a different scene.
“(As film professionals), the instructors are able to offer great insights into the industry.”
I want challenges, to be able to work in different genres
In addition to continuing with her web series, Chisholm hopes to be able to make a living doing what she loves. “I want challenges, to be able to work in different genres,” she confides. “I don’t want to get stuck in a ‘practical’ job.”
Most importantly, Chisholm has something many filmmakers just starting out don’t have: a clear mission.
“I want to explore narratives that aren’t usually told, amplify voices that are usually not heard,” she says. “Someday, if I reach that point, I want to be able to open doors and offer opportunities for others. Help film to diversify as much as possible.”
Years ago, Jose Martinez took an intensive, one-month filmmaking course. He gained filmmaking experience, but quickly realized that in order to keep the ball rolling on his career, he needed to connect with like-minded people with whom he could collaborate on future film projects.
When he found the Digital Film Academy, he knew it was the right place for building that kind of community.
“I developed a really good network at the DFA,” he says. “We all help each other out with our different projects, help to move one another forward in our careers.”
Thanks to his prior filmmaking experience, Martinez was able to enter the Advanced Digital Filmmaking Program. In addition to connecting him with a group of filmmakers at his same level, the program offered another big perk: free access to a Red camera. Martinez has been able to make good use of this, checking out the Red for shoots.
Currently, Martinez is working as both a photographer and videographer, and bringing in enough income that he no longer needs a full-time, regular job. He’s done work at weddings, parties, for restaurants, and even capturing images for business cards.
He’s also working on the completion of his thesis film for the DFA, a short about a young man’s internal struggle about whether or not to seek revenge after his brother is shot by a local gang on their walk home from school. “I love stories, and getting to see them come together during the process of shooting and editing,” he says. “My favorite things are operating the camera and editing. Magic happens there.”
Magic aside, the most challenging aspect of working on his thesis was shooting a scene at a gas station – not the easiest spot to set up a film crew in the bustling metropolis of New York City. Apart from the noise (a common on-set problem even in “quiet” locations), Martinez’s cast and crew had to be ready to go at 7a.m. on a Sunday, the only time the gas station would allow them to shoot.
Despite these occasional challenges, Martinez’s love of stories is beginning to take him places, both in his film career and literally. He recently got back from a 3-month trip throughout Central America, where he was both scouting locations for future shoots and shooting commercials for a telephone company in El Salvador.
“The company is called Claro,” Martinez says. “My cousin does administrative work there.” When his cousin heard about Claro’s need for a filmmaker, he was quick to suggest Martinez.
The gig is another valuable step towards Martinez’s future goal: developing his own home production company.
When asked what advice he would give to young filmmakers just starting out, Martinez simply says: “Keep shooting, keep uploading.”
If you work in film, you’ve most likely heard the phrase “high concept.” This is Hollywood’s ultimate buzz phrase, the Holy Grail for producers. It’s so important, 99% of producers will make a deal with a writer who has a genuine high concept, even if their writing is terrible.
Why? Because it’s easy to sell a high concept, and unless a producer can sell a film, it’s useless. Writing can always be improved, fresh drafts written… but if a high concept isn’t there to begin with, the script probably isn’t marketable.
So now that you know how important a high concept is, how do you get one?
Below are 5 keys for creating your own high concept:
It has to be unique (without being weird).
There’s a fine line between unique and weird. A true high concept needs to be something never seen before. However, it can’t be a case of “We’ve never seen chimps roller skating in space, so that’s a high concept.” It has to be a unique idea that’s both interesting and conventional enough to achieve #2 on this list, which is:
It has to appeal to a wide audience.
Again, a high concept has to be marketable. To be marketable, it needs a clear and wide audience. Could you have a unique concept about an 80-year-old woman in a rest home? Yes, but it probably wouldn’t appeal to many people. That’s not to say you couldn’t make a great niche film – but, by definition, it wouldn’t be a high concept.
When it comes to audience, clearly aim for ONE of the 4 quadrants: men over 25, men under 25, women over 25, women under 25.
You must be able to say the idea in one line and have the listener “get it.”
Again, it’s about marketability. To pitch a film, you need a logline: one sentence that sums up your story. If you have a true high concept, that one sentence gives the listener a very clear idea of the movie, from start to finish. If someone in the industry asks what your film is about, and you need a full minute to explain, it’s not a high concept. If you can say it in one sentence and see their eyes light up, it is.
Use a genre other than drama.
High concepts are almost never dramas. That’s because dramas are more about execution than they are about concept. In essence, they are the epitome of a “low concept:” a story more concerned with subtlety and character development.
Try to think of a successful drama in the past ten years that was a hit. Most at least partially fall under another genre, like comedy. If you think of a recent hit that was pure drama, chances are, its logline doesn’t sound very unique, even though its execution was great. Dramas are generally serious and/or depressing. That doesn’t make for an exciting-sounding idea that has producers come running.
You need a story – not just a hook!
If you come up with an amazing ‘hook’ – a cool idea that’s not yet a story – people will be interested. But a hook by itself isn’t enough to be a high concept. It’s only the beginning of one.
To really flesh it out into a high concept, it needs some kind of story. For instance, the movie Saw was a huge hit and a high concept. But the logline couldn’t say: “A serial killer makes victims torture themselves to survive.” Ok, it’s interesting, it’s a great hook… but it’s also vague. Where does it go from there?
Look what happens when it changes to: “After two men wake to find themselves chained in a filthy basement, they realize they’ve been kidnapped by a gruesome serial killer and will have to torture themselves if they want to live.” Now it’s a high concept! We can see the whole story: beginning (waking up), middle (figuring out they were kidnapped by a serial killer and what he wants them to do), and end (deciding whether or not they’ll torture themselves). The genre is a clear horror/thriller, and it’s also clear that this will work for a wide audience. A producer can sell this.
Now that you know how to create a real high concept, start brainstorming ideas! A concept that fits all of the above criteria isn’t easy to come by, but if you do – it’s money in the bank.
What movies did you think were genuine high concepts? Let us know in the comments!
When Joe Rodman first entered the Digital Film Academy, he planned to become a director. It was only through the hands-on experience he got filmmaking that he realized his true calling was editing. “I fell in love with editing. You get to really see the story take shape in the editing room,” he says.
It’s a realization that has served him well. Since graduating from the Advanced Digital Filmmaking program in June 2015, Rodman’s editing has opened up multiple career opportunities – including work on the 59-minute film Grave-Digger, a selection of the upcoming 2016 Madrid Film Festival and recent award-winner for Best Supporting Actor at France’s Nice Film Festival.
Rodman also received a standing ovation for his work at the film’s premiere in Tribeca.
The film was shot using four different cameras, including the DFA’s Red camera, courtesy of Rodman. (The school’s policy of allowing students free lifetime access to equipment after their graduation helps them land jobs and get more experience, and also benefits their employers.)
Rodman knew early on that he wanted to have a career in film. While in high school, he began shooting 1 to 2 minute films, his favorite of which remains Starbound, a Star Wars parody shot entirely with a green screen. He also became certified in Adobe Premiere CS6 and mastered After Effects. After graduating and having a brief summer job at the Sagamore on Lake George, he continued his film education at the DFA.
In Rodman’s words, “coming (to the DFA) opened my eyes to so much more.” In addition to gaining a deeper understanding of cinematography, he also learned about screenwriting, film budgeting, scheduling a shoot, and sound. Perhaps his most painful lesson came when, while shooting his thesis film, he didn’t bother to slate – AKA, click those sticks together at the beginning of each take. The end result was hours spent trying to sync his image and sound.
“It was painful, but the benefit is – I’ll never skip slating again!” he jokes.
At least he found a silver lining in the people he worked with on the film, particularly fellow students Lindsay Watson and A.J. Rodin. Watson was Rodman’s 1st A.C. and Rodin, his Director of Photography. “They were my left and right hand,” Rodman says.
It was also while shooting his thesis film that Rodman connected with Chris Cohen, the actor who would land the lead role in Rodman’s short and later write, direct, and star in Grave-Digger. The two developed a great working relationship, and Rodman lived with Cohen and his girlfriend for a month at the beach while editing the movie.
“I didn’t care about going to the beach at all,” he laughs. “In fact, I didn’t go once. I was so engrossed in the editing process.”
The film was actually Rodman’s first time using Avid to edit.
Rodman always has a film job in the works. As a consultant at the New York Presbyterian Hospital, he shot two weeks’ worth of conferences. Until recently, he was completing an internship with Emmy Award-winning producer Linda Yellen, where he edited the trailer for The Last Film Festival, the final film of the late Dennis Hopper. He also worked on the feature film Broken Ones, which had a budget of $200,000.
Next up on his list? A trip to Madrid, to see Grave-Digger at the Madrid Film Festival… but knowing Rodman, this won’t be an excuse for a vacation.
When Joseph Perez was honorably discharged from the Navy in 2011, following a five-year stint in Japan as a mechanical engineer, he wasn’t sure what would come next. It was pure luck that he had a friend working as a Production Manager at Chloe Productions who, when he heard of Perez’s return, offered him a two-week gig chauffeuring producers around town.
Quickly, due to Perez’s winning attitude and work ethic, that two-week gig blossomed into much more. He was soon given the responsibility of picking up celebrities, including Stevie Wonder, John Travolta, and the entire cast of Welcome Back, Kotter as part of their TVLand Awards appearance. The first time Perez got the chance to step onto a set and see all the equipment, he was hooked.
“With my background as a mechanical engineer, it was all the equipment that really got me excited,” Perez says. Determined to learn what he could about the technical aspects of filmmaking, his early education consisted of learning from apps like the Grip App.
His job driving celebrities and producers led to on-set opportunities, and Perez soon found himself working on such notable shows as Love & Hip Hop Atlanta and New York for VH1, the MTV Awards, and MTV’s World Stage with the Black Eyed Peas. He was racking up experience in reality television, but found himself yearning for something more cinematic.
When asked about working in reality TV, Perez laughs. “It’s not scripted, but it is staged. Most people don’t recognize the difference,” he explains. “Something may have happened earlier in the day, and then the stars will sit down and be told to re-enact it.”
Wanting to work in a film medium was part of what drove Perez to consider film school. Additionally, he wanted to learn the lingo of filmmaking and gain a better understanding of the art-form. “I didn’t know what blocking was until I came to the DFA,” he remarks. When he learned his GI Bill would pay for film school, he was sold.
When Perez found the Digital Film Academy, he was eager to take part in such a personal program, where students receive one-on-one guidance from teachers who are also industry professionals. He initially signed on for the One Year Digital Filmmaking Conservatory, and has currently gone into One Year Advanced Digital Filmmaking.
In addition to completing a short film that will be released at the end of the month, Perez has spent the past year amassing countless hours of footage for his Cure of Violence documentary, a passion project that grew out of his interest in two of his friends’ work as “violence interrupters” in the Cure Violence Project.
“If they see young kids getting into trouble, they intervene,” Perez says, explaining how the “violence interrupting” concept works. This unique approach to addressing street violence and teaching kids better ways to resolve their issues has been credited with having saved thousands of lives and having restored faith in public health strategies.
When asked about his long-term goals, Perez notes that he wants to start his own production company and become a member of the Director’s Guild of America. He also wants to do more screenwriting. Perhaps harkening back to his days in the military, Perez has developed a clear strategy for reaching his goals.
From his time in the Navy, to working in reality television, to film school, Perez has come a long way and lived a fascinating life. We can’t wait to see what he does next!
When the National Minority Business Council recently asked Digital Film Academy to record the award ceremony at the 11th Annual Women’s Business Leadership Conference, we were honored to film the proceedings. The NMBC is a non-profit corporation which dates back to 1972. They are very active throughout the tri-state area and across the USA, providing business assistance, educational opportunities, and seminars to hundreds of businesses with a particular focus on those minority-owned and women-owned. As part of Women’s History Month, the NMBC chose to honor Randy Joy Epstein with the Muriel Seibert Award for her work as a business consultant and growth strategist.
A little background on The Muriel Siebert Leadership Award: This award is named after Muriel ‘Mickie’ Seibert, the First Woman of Finance and the first woman to own a seat on the New York Stock Exchange. Siebert was an outspoken advocate for women and minorities in industry. Sadly, she passed away in 2013.
So, who better to carry on the legacy of women in business than Randy Joy Epstein, a business strategy and planning consultant, expert speaker, and writer. Randy is also the producer of the TEDx Times Square event. You can view the keynote speech below, filmed live at BNY Mellon in downtown Manhattan by our own Digital Film Academy graduates, Mr. Richard Lanzillotto and Ms. Shaun Dawson. In addition to NMBC President John Robinson and members of the board Dawn Henning and Ben Jones, the event was attended by a roomful of female CEOs and leaders of women-owned companies, running the gamut from general contractors (Armada Building Services) to crowd-funding experts (Plum Alley) to media production companies (GingersnapNYC). New York City government was also in attendance, with Ophelia Gabrino, Executive Director of Corporate Partnerships and Education, representing the City’s Business Development Division.
Digital Film Academy would like to congratulate NMBC on their 11th Annual Women’s Business Leadership Conference – and well done to Randy on receiving this very special award!