This short film is written and directed by Digital Film Academy graduate Mr. Gleb Osatinski. Gleb studied at Digital Film Academy back in 2011 and has gone on to direct and produce a series of highly well-received short films. The film was nominated in February 2020 and just won on REEL13 by PBS.
Some people are more interested in what goes on behind the scenes than others. In the film industry there are many careers and positions one might strive to achieve. Digital Film Academy based in Manhattan, New York knows what it takes to become a successful expert in multiple aspects of filmmaking including Editing, Cinematography, Lighting, Animation, Sound Production, Visual Effects and more. Digital Film Academy was established in 2001 by film producer and director Patrick DiRenna in the historic Film Center Building in Manhattan. Since that time, the school has turned countless graduates into independent filmmakers or actors with new prestigious careers.
From graduates who starred in blockbuster Marvel films, such as Chadwick Boseman, to several graduates who worked on films commissioned by Netflix, Digital Film Academy has numerous success stories. People interested in film or television can easily work on their production skills through courses at our school. Our institution is known as one of the leading art & design colleges in New York City with a focus on film. People searching for filmmaking classes online can experience and observe our courses in action and make sure it’s the right fit for them before making a commitment. Digital Film Academy has achieved global recognition and was also named ‘Best Film School in NYC’ by Village Voice.
One of the unique advantages of going to Digital Film Academy,
is that you get a head start on your career after graduation, which includes free
lifetime usage of their state-of-the-art video equipment and facilities.
The programs at Digital Film Academy do not put a strain on
students in terms of tuition and the school provides many resources to boost
the new careers of graduates. Courses include Film History, Screenwriting, Directing,
Cinematography, Video Editing, Career and Portfolio Development, Producing, and
Our instructors and students use industry-leading software to train with such as Avid Media Composer, Pro Tools, Adobe Premiere Pro, Davinci Resolve, Maya 3D Animation, and Movie Magic. Anyone with an interest in photography or filmmaking can advance their skills easily using Digital Film Academy’s refined curriculum.
Students are taken through hands-on training with the critical
theory and foundation that transforms beginner level film students into professional
filmmakers. The One-Year
Digital Filmmaking Conservatory is a popular course offered by the
university. Digital Film Academy continues to be the innovative force behind
new filmmaking professionals breaking out in the industry.
It’s great to see another success story from one of our international students! Our former film student and now graduate Kayode ’Kaykay’ Olowu was hired by Orange County Speedway in upstate New York as a Video Editor.
Orange County Fair Speedway is a 1 km oval dirt speedway in Middletown, New York. The facility holds weekly stock car races and demolition derbies during the summer months.
Our international film student worked as editor of a 10 episode documentary series about the history of car racing at the famous location. All 10 episodes premiered on FOX Sports website and as you can see here, as part of the NASCAR on Fox series.
Ready to start your engines? Vroom vrooom!
Check this out. You will NOT be disappointed.
Way back in 2016, Kaykay was kind enough to do a short video interview, describing his experiences at Digital Film Academy when he studied in our Advanced Year Program as an international student:
Great to now see how his career is progressing. Onwards and upwards, Kaykay!
TANNIA + BERLIN SCI-FI FILM FESTIVAL
Shout out to Digital Film Academy student Tannia Kustka for her acting prowess in “REWIND”.
The short film concerns a mother suppressing her fear of losing her daughter through combat through the help of futuristic technology. The film won best drama in this year’s Berlin Sci-fi Film Festival and Tannia was nominated for best actress. Proud of you, Tannia!
Digital Film Academy invites you for a free personalized experience in Cinematography at our NYC film school. Contact Us to Sign Up Now
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.”
When he was only in high school, Jimmy Zdolshek’s video production teacher encouraged him to participate in “SkillsUSA,” an organization that sponsors a competition to promote career and technical development. When the short Zdolshek completed within 6 hours as part of the contest went on to win 1st place, Zdolshek says it was one of the best moments of his entire life. The short then moved on to the National competition, where it placed 13th.
“I knew then that this is what I wanted to do for the rest of my life,” he says.
Settled on his future career, Zdolshek began to search for a school that would help take his filmmaking to the next level, without breaking the bank.
“I didn’t want to go hundreds of thousands of dollars in debt,” he laughs. “Also, I wanted real hands-on experience, freedom to work with the equipment.”
When he discovered the Digital Film Academy, it was the perfect match. The school’s low tuition, coupled with its policy of allowing students free access to all equipment needed for a shoot both during their schooling and after graduation, made it exactly what Zdolshek was looking for.
Additionally, given his background in film, Zdolshek was able to enter the DFA’s One Year Advanced Digital Filmmaking Program. This was another factor in his decision-making.
Currently at the DFA, Zdolshek is developing two short film projects that he wrote. For the one, “Stay Your Course, Young Man,” he was thrilled to get the rights to the music of the same name by Sylvan Lacue and Jon Bellion. Getting rights to music to include in his films is a skill that he began developing even with his high school projects.
“It’s not as hard as most people think,” he says. “A lot of the bands I like are more underground. I get their emails and we work something out. Most bands are willing to compromise, especially if you’re working without a budget!”
In other areas of his career, Zdolshek has gotten to see more significant budgets at work. He just completed an internship with Market Road Films, working on National Geographic’s Explorer, the longest-running documentary series in history. While there, he got to do development and post-production work. He also got to work on Blood Antiquities, a series about ISIS trading in the Western market.
“One of my favorite things was when I got to handpick the stills from Blood Antiquities to send to the network for the IMDB page,” he says. “I got to work closely with the director.”
Just this past month, he began another high-profile internship, this time with Backroads Entertainment, which creates shows that have been featured on channels like A&E, MTV, MTV2, E!, the Travel Channel, Lifetime, and more. Recently, he got to put together a playlist for famed rapper 50 Cent.
When asked what advice he would have for filmmakers just starting out, Zdolshek says: “Just get your ideas off the ground. Sit to write, go into production, and execute it the way you want… Work as hard as you can, watch and read as many films and scripts as you can, and make as many things as you can.”
“And, oh, remember,” he adds. “Film comes first in life. Film first. Food second.”
To view the trailer to Zdolshek’s short Sleepwalker, please click here.
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!
There’s never been a better time to make short films. Not only do most film festivals have short film categories, but platforms like YouTube have made it possible to actually monetize shorts.
Particularly if you’re just beginning your film career, there’s no better way to start than making a short film. This film can become your calling card, helping you get into festivals, make connections, and find meaningful work in the film industry.
So what do you need to keep in mind when making a short film?
1. What do you have?
First, take a look at what you have. It’s extremely hard to get funding (other than what you’re putting up) for a short. This is ten times as true if it’s your first. As a result, you’re going to want to look at what you already have at your disposal. Unless some kind of cool set is available for free, set your story someplace easily accessible. Unless you have a friend who’s a special effects or make-up whiz and willing to work cheap, don’t plan for a lot of special effects. Look at what you have and be creative with how you use it. After you make it big, then you can make a film that has everything you want!
2. Tight script
What makes a short film shoot last for days and days while the budget goes through the roof? Tons of locations and tons of characters. More locations and characters mean more traveling, more set-ups, and more coverage that you need to get. If, instead, your script has one or two locations and one or two characters (and comes in under ten pages), you can get it shot in one or two days.
3. Storyboards and shot lists
Don’t think you can arrive on set and just wing it. Filmmaking is a complicated medium, and one that requires a lot of collaboration. To that end, everything will go more smoothly if everyone has the same, clear set of guidelines to follow – and if all the shots have been thought through in advance. Create storyboards to go along with the script so that everyone can visualize what you need, and top it off with a shot list listing the shots you need to get. You can check them off as you get each one and be sure not to leave the set minus what you came for.
4. Get the coverage!
It’s every filmmaker’s nightmare. You’ve spent time and money to shoot your film only to realize in the editing room that you didn’t get enough coverage. Coverage refers to getting enough shots to be able to edit the film together in a way that appears seamless. If you haven’t gotten enough coverage, you might find there’s no good way to edit together two shots without it jarring the audience. Shoot wide shots, medium shots, close-ups, and inserts of various objects – along with whatever other clever shots you come up with! That way, you’ll have lots to choose from.
5. Put it all together
Editing can be a brutal process, so make sure your footage is clearly organized so you can find what you’re looking for. This will save you from wasting lots of time. Each minute of finished film will take hours to edit, so be mentally prepared for that fact. And if you do make it to this point only to realize you didn’t get what you needed to put together a decent short film, chalk it up to a learning experience, get back out there, and shoot, shoot again!
Can’t wait to see what you come up with in your short films. If you have any other tips/suggestions, leave them in the comments!
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!
Blog by: Sara McDermott Jain
® GI Bill® Is a registered trademark of the U.S. Department of Veterans Affairs (VA). More information about education benefits by VA is available at the official U.S. government website at www.benefits.va.gov/gibill