Reviewed by:
Current Student
Degree:
MA/MFA
Concentration:
production
Pros
Few talented people
If you're a storyteller who believes that the most important aspect of filmmaking is the story, then USC is not the right school for you.
I deeply regret choosing this school over others. The place is full of video-makers who just obsess over YouTube videos and mega-budget films. They could be interested in other kinds of films, but they don't want to make those kinds, and even if they did, they wouldn’t know how. About 90% of the students don’t care about writing. I was shocked to find that many have never even read books like Story or Save the Cat. I’m not saying these books are absolutely necessary to become a better filmmaker, but as a filmmaker, it's crazy to have never even attempted to read them.
Do you think cinematography really matters?
Audiences don’t care about lighting, glossy flares, color tones, or fancy VFX. Yes, great films need great cinematographers, but the one thing that truly matters in filmmaking is writing a good script—a genuine, unique, well-structured script.
At USC, almost no one seems to understand the importance of writing. If you attend, most of what you'll be doing is miscellaneous tasks that they call "producing." But producing isn’t something you need to learn in school, and honestly, you’ll eventually get someone else to produce your film anyway. The problem is, there’s a high chance that you’ll end up with a producer who doesn’t know what they’re doing, because most students here have only worked as PAs or 2nd ADs on random productions.
Even at the master’s level, most people in the school are irresponsible. They don’t know how to work or communicate effectively. Sure, some are talented, but not many.
To be honest, I think most film schools are a scam—but USC is the worst.
There’s no sense of community, and you won’t have enough time to focus on writing and storytelling. In screenwriting classes, students stay silent, and the professors don’t actually teach you how to write. If you’re a tech person, and totally fine with repeating every trivial exercise you did before (e.g how to set ISO), then maybe USC is for you. But if you're looking to expand your creative insight and hone your storytelling, don’t even think about USC. And as for "networking"? Please, stop believing that hype!!!!!
+Most of the faculties are also just eager to get a job in Hollywood. I requested resume counseling but none of the prof replied. They are the one who told me I can get a counseling whenever I can.
Storytelling-centric, network, and New York location
Cons
Limited equipment, limited facilities
Columbia University’s MFA Film Program has been a transformative experience for me, especially coming from UC Santa Barbara’s Film Studies program that was all theory and minimal hands-on. The focus at Columbia is simply more hands-on experience than theory, which has been a breath of fresh air. Being in New York City, I've found incredible access to the independent film scene and various festivals too.
What I appreciate most is the faculty. They are not just award-winning and currently working professionals (unlike, say, compared to UCLA) ; they genuinely invest in our growth as artists. I’ve seen students with little to no filmmaking experience come from diverse but minimal filmmaking backgrounds who blossom into talented filmmakers over the years there. This transformation is a testament to the program’s quality and the supportive environment it fosters.
Yes, the program is competitive and expensive, but the emphasis on storytelling and the extensive resources available make it worthwhile. Sure, New York University has better equipment but Columbia's story-centric approach future proofs you, as Professor Eric Mendelsohn said. Many professors even offer Masterclasses outside of regular hours, showing their dedication to our success.
What truly makes Columbia feel special is the sense of community. Students frequently collaborate with professors beyond the classroom. It's more a familial atmosphere rather than just a professional network. It’s a place where you can refine your creative vision while building meaningful connections that last well beyond graduation.
I had a friend who graduated from this institution's screenwriting MA Program and his work was used by his professor, JARED RAPPAPORT. Ideas/stories/concepts from my friend's screenplay were ultimately made into a film that debuted at the cinema titled THE SWEET LIFE (2016).
Please look up Rotten Tomatoes Indie YouTube page on the trailer of The Sweet Life (2016). YouTube Main page on the film has gone as far as to delete comments about this incident.
My friend notified the university president and Chancellor of the entire CSU system and he was ignored for 7 years from date he let them know about what happened. For over 7 years they ignored communicating with him until statute of limitations was officially over and done with. Only after the student reached out to their local assemblyman for help did the school finally manage to send out a shady explanation of what happened.
Worse is JARED RAPPAPORT currently sits as HEAD OF SCREENWRITING DEPT. How can they let a guy tied to such unethical behavior run a screenwriting program? Jared has most likely done this to past/future students. These professors and their staff are protected by university big whig attorneys and they know students can't put up a legal fight due to insane attorney fees.
Really messed up to do this to underprivileged talent that is just trying to go after their dreams. None of my friend's professors ever reached out for comment and they all went MIA on him to keep the entire incident hushed.
A lot of people know about what happened. Incidents like these are what stop certain people from making connections, reaching goals, etc. Faculty should be there to help their students acheive their dreams, not to take from their students' ideas/stories when their work is submitted.
Pretty clear the school makes no effort to log student intellectual property whatsoever when students submit their work in classes.
Reviewed by:
Current Student
Degree:
MA/MFA
Concentration:
Directing/ Writing
Pros
Great faculty
Classes
Alumni connections
Cons
Smaller
Less well known
I am finishing up my MFA in film and media arts at American University, and I would highly recommend it for a smaller and more intimate, social justice driven film school. I have learned a lot from world-class faculty - many of whom went to Columbia University for their MFA.
Experienced teachers, very collaborative, individual attention, positive team environment
My daughter who is a high school senior attended the IFI summer program and she was thrilled to tell me so many positive things about her experience. She said there were young filmmakers at different levels of experience, and everyone was supported in a collaborative environment that encouraged sharing of ideas freely and working together on teams. She was able to work on many film sets -- not only for her own film -- giving opportunities to work across all aspects of filmmaking. It helped her figure out what aspects of filmmaking are her strongest skills and passion. Misael is a wonderful leader and mentor, who really encouraged and inspired by daughter.
She said the dorms were a great way to get to know a wonderful group of creative people. The 5 weeks flew by and she said it was exactly the right amount of time to be able to create really meaningful projects and learn deeply about filmmaking. I can’t say enough about how this wonderful program supported my daughter's path in film, gave her access to experienced teachers, and pushed her to be her best while having lots of fun.
It is not film school anymore. Jon Wardle turned it into woke temple. Tuition fees are enormous. Especially for very poor quality of workshops, lectures, tutors. I did MA course, hoping to be at least "in the club" but I was so wrong. The school cares only about the money. Nothing more. After you pay everything and graduate, they don't care. My friend won quite prestige award with the grad film and suddenly Jon became my friend's best mate for a while. NFTS put my friend's name on every folder, flyer, fb page, etc. But when the hype was gone, he couldn't be bothered to even answer emails.
Reviewed by:
Current Student
Degree:
MA/MFA
Concentration:
Screenwriting
Pros
Great professors... IF you're lucky enough to get a class with them
Students in the program generally try to lift each other up
SCA mafia alumni network is real
Cons
Classes are first come, first served, and tend to be capped at 8 or 16 students - which means you may not get into courses you are required to take, or get into your first/second/third/fourth/even fifth choice of electives (yes, seriously)
Absolutely NO assistance whatsoever in choosing courses, getting into courses outside of your track (eg. if you're a writing student you can kiss directing goodbye)
Quality of education depends almost 100% on professors - many of whom are duds
School does not tell you who is teaching which course, so you're forced to sign up for classes blind and good luck with whoever you get!
No support, help, or even sympathy for extenuating life circumstances or financial emergencies
School is conservative and not interested in changing (POC, LGBTQ+, and international students beware)
Here's some things I wish I'd known before signing up for this program. To be clear, these specifically apply to the MFA Writing for Screen and Television program.
1. The school does not care about you.
I cannot emphasize this enough. They do not care if you're having a personal crisis, if your loved one died, if you're having trouble making rent, if you don't have food to eat today. They do not work with you to figure out disability accommodations, to help with emergency food or housing or even escaping domestic violence. They DEFINITELY don't help with anything financial - a student was slapped with an unexpected bill in the thousands because of an error on THEIR end, and when she asked them to talk to the billing office to give her some extra time to pay/give her an opportunity to work off the bill as a student worker/literally any kind of assistance that would help her work towards resolving the issue, they sent her "thoughts and prayers," and then ghosted her. Similarly: a classmate asked for assistance finding an on-campus job and was told to his face that "USC only admits the 1%. If you're having trouble paying for school, maybe you should consider transferring to a community college."
2. The quality of your education depends almost entirely on the professor you get, and the school refuses to tell you much - if anything - about who is teaching which course.
This last semester, we were all forced to sign up for required classes without knowing who was teaching us. Some of the classes didn't even have professors yet - they were scrambling to hire adjuncts even after the previous semester had ended. As a result, some of us ended up with last-minute hires who 1. only taught for 1/3 of the class time, and by "taught," I mean he didn't teach. He just told everyone their work was amazing and dismissed the class, 2. required scripts to fit an exact formula down to the page number, exact emotional beats that he wanted, etc. and if you didn't follow instructions, your work was considered subpar even if it was brilliant, or 3. assigned WAY too much work, such as watching 3 seasons of a TV show, reading 2 chapters of a textbook, and completing a 10 page story map, all in one week.
Don't get me wrong, there are some incredible professors at USC - the few that I've had have almost made it all feel worth it. But the problem is, you have to know these professors are incredible and sign up for their classes, which is a combination of asking all your seniors about each and every professor you could possibly want or need to take a class with, and sheer dumb luck. And, considering that we were recently forced to sign up for classes without any professor's names attached to them, knowing who was good and who wasn't amounted to absolutely nothing in the end.
3. As previous reviewers have said, the school is conservative and not interested in changing.
Yes, there are diverse students - my year alone has a not insignificant number of LGBTQ+, BIPOC, and international students. But when the school continues to only employ full-time old white men (the professors of color are largely adjuncts who only teach 1 or 2 classes a semester), you end up with problems such as: mispronouncing characters of color's names in scripts, students who write scripts set in cultures outside of the white American norm receiving little to no feedback on their work, and horrific treatment of LGBTQ+ students and scripts. One student was misgendered by a professor for an entire semester, with a negative personal and academic impact on the student and zero recourse for the professor. Another had a professor tell them to their face that the AIDS crisis was actually the origin of gay activism in the US and therefore a positive thing (both incredibly untrue and harmful, in case there was any doubt).
One professor was so blatantly and terribly sexist that the entire class of students petitioned for him to be removed from teaching a required course. The department finally caved to demands - only to instead assign this professor to teach an undergrad required course instead.
Just to be 100% clear: no one tells you that you can't write POC or LGBTQ+ stories. Classmates are largely supportive and many professors are, too. But the fact that there are even a few who don't - and the fact that these faculty members are tenured and teach required courses that POC and LGBTQ+ students cannot avoid taking with them - makes USC's claims at diversity and inclusion a poor mockery of real people's lives and experiences.
4. The fancy equipment they advertise? You don't get to use it.
...Unless you take specific production courses, which are largely reserved for production students (i.e. if you're in screenwriting or animation, you don't get to even exist in the same room as a school camera). The few seats that don't go to production students have to be fought for through complicated waitlists and first-come-first-serve emails and attendance in the class, even though you're still not registered, so you're showing up for three hours a week and doing homework for no credit.
Also: USC retains all copyright for works produced in these classes. Also also: USC provides NO funding for works produced in these classes. Which means, if you somehow fight your way into a production class and finally, finally get your hands on a camera... you still have to fundraise for your film, shoot it on your own time outside of class, and you don't even get to keep the copyright after it's done.
5. The quality of your classmates' work will vary.
I mean this in the kindest sense possible. Some of my classmates regularly blow my mind with their skill and ability. Others... do not. A select few - and I mean very few - seem to have been chosen just because they reminded someone on the faculty of themselves. And yes, by that I do mean straight, white, male, and vaguely racist/homophobic.
In this program, you're participating in classes structured like workshops, which means you statistically get more feedback from classmates than from your professors. If one of those classmates refuses to understand or engage with your material because you aren't writing within their narrow mindset of what the world should be, then you miss out on 1/8 of the feedback you should be getting. Which may not sound like a lot, but it adds up over the weeks, and when it comes to writing a first draft, every little bit counts.
It's incredibly sad. I was so excited to be accepted to USC. But my experiences there - both having things happen to me and watching things happen to my classmates - have left me with a bitter taste in my mouth. Save your money and go to UCLA or Chapman where you'll have a much better experience for much less student debt.
Not allowed to utilize school for productions due for homework
The best thing I can say is that for the filmmaking master's program I have truly learned. I am so grateful and gracious for the level of knowledge that has been provided here, however there are a few classes later on that feel like fillers, just to justify the cost.
The schedule, especially in the first semester is often over 40 hrs a week, sometimes weekends. If it's possible for them to make the schedule where you could have consistency or work, they simply won't meaning, you can see that there was room in the schedule to do 9-3 five days a week without change but they might have one day 9-7, the next day 12-3 and another day with a 5 hr gap between classes, for example. You have no say in your schedule. You have to take the one they give you and they don't tell you this until orientation so if you need to work, you pretty much can't with this program. If you have kids, you're going to need full time assistance with them. If you're moving prior to attending the school, I suggest doing it at least a week before or you'll have no time to catch up on jet lag and sleep.
Same classmates throughout, it's good because you get to know everyone's strengths and weaknesses when working on projects and it'll be like a family if you're a group who likes each other but you get tired of the same people and you don't meet many people outside of your class to network or from other programs.
Many mandatory productions you must do which is great but for the cost of the school, you would think they would provide something some sort of benefit. You can't use the school for anything regarding a project due for your homework, can't have a simple meeting with cast or crew, or auditions, use the school in anyway. Then they place requirements on the insurance you have to pay for and all these things quickly rack up your project costs. Part of going to school is supposed to be the benefits that you won't have once you leave it.
The environment is inflexible and fairly militant in how it operates, you feel it through the halls.
Also when they say you will shoot on a studio backlot, it's only for class assignments on the same western lot with a bunch of other classes making noises while you shoot.
Don't let the fact that it's 100% acceptance fool you into thinking you won't learn much though, the education warrants an A- at the least but there are things you may want to consider before you attend this school.
I still may recommend this school for this program because you will leave with knowledge to work in the industry but those other factors can truly be a deterrent to consider.
Reviewed by:
Alumni
Degree:
BA/BS/BFA
Concentration:
Film and Media Studies
Pros
affordable to CA residents
accepts transfer students
hybrid of theory and filmmaking
Cons
department uncommunicative at times
theory-heavy at times (may be a pro to some)
I absolutely loved my time at UC Berkeley and I would not have traded doing my undergrad there even for a top spot at UCLA for a BFA in Film Production, which for many years was my dream. I ended up appreciating Cal's film department being small, being everchanging and growing, and for offering a really strong theoretical foundation that actually made my work that much more critical and strong in my filmmaking practice. Berkeley is amazing because you really have the opportunity to develop a style of your own without the pressure to conform to the standards of rigid, industrial, traditional narrative filmmaking which is often practiced at some bigger programs. As I begin my UCLA MFA this year, the only reason why I was open to it after attending Berkeley was because it seems like they're taking steps in the right direction to offer a similar sort of freedom Berkeley offered me after a long history of being a super industry-oriented school. I can't recommend the program at Cal more--this is where you go if you're a creative and need that creative freedom to explore your own style of writing and filmmaking. I don't think you can be a proper and thorough filmmaker without that foundation and I think a lot of undergrads tend to be really put off by places that aren't "BIG FANCY INDUSTRY FILM SCHOOL" because they think it's what they need to be a good filmmaker. Here to tell you that it's actually NOT what you need. That critical background will make you that much more qualified.
We have a great lab to access resources and equipment and it's actually way better than you'd expect. My only drawbacks are I wish the department was better at getting transfers more involved in departmental/campus happenings and that our DML lab (place you go to check out equipment) had more stuff in stock, but that's been growing and changing too over the years.
Graduated in December 2022.
I can answer any specific questions people may have--feel free to respond here or private message me.
I recently participated in their 10 - Week Program and I could not recommend it enough! This was the first time that I found a comprehensive film program with well qualified faculty and a cooperative environment. Even though this program was only ten weeks long, I learned more about all of the different aspects of filmmaking than in any other film course I have taken. Such an amazing group of students and faculty, thank you R.I.F.S for providing me with such an amazing opportunity!
BFA University of Colorado at Boulder BFA Film Production
Reviewed by:
Alumni
Degree:
BA/BS/BFA
Pros
Very engaged faculty
rich history in experimental film
location
diversity of courses
faculty actively creating in industry
mentorship
facilities
Cons
location
equipment check-out priority for MFA
Honest review.
CU Boulder is an interesting place to learn filmmaking. The University boasts some excellent professors who are actively making experimental film and having successes as artists. Courses are engaging and we were exposed to making short films on celluloid. The program also offers courses on alternative processes and all the theory courses—although some of the professors are stern—are really good. There is also a deep commitment to exposing students to international cinema. Professors also advocate for their students, even when you haven't taken courses with them. They are supportive and take special interest in students who come in aware of what kinds of stories they want to tell.
The school on the whole could benefit from better diversity, and the film program, while diverse in its ranks, isn't as diverse in its student body. It's no worse than the University is on the whole.
UCF Film BFA (College of Sciences - School of Communication)
Reviewed by:
Current Student
Degree:
BA/BS/BFA
Concentration:
Film - Feature/TV Writing
Pros
intimate program, close with professors
access to film equipment, soundstages, editing bays
teaches how to fund and shoot high quality short films on a microbudget
Cons
doesn't build to much of a career post-graduation
UCF's BFA program is split into 4 modalities: narrative production, documentary production, experimental production, and feature/tv writing.
I personally have had a wonderful time here being taught by member of the Academy/professional screenwriter Barry Sandler in the feature/tv writing modality. I think the benefits that UCF has is access to good equipment and a strong emphasis on independent microbudget filmmaking. The narrative track doesn't focus as much on story/character as I think it should, but the feature/tv writing track has well prepared me for the next development of my film career as I try to move more into directing. I have already got a few acceptances off of my junior year feature script and a short film that I was able to produce through the Honors Thesis program.
I would recommend for undergraduate program, but I struggle to recommend for graduate unless you already have connections into the industry and just want the opportunity to make a feature film.
Reviewed by:
Current Student
Degree:
BA/BS/BFA
Concentration:
Film
Pros
High level of program flexibility
Resources of a large university mixed with the community of a small art school
Good faculty/peers, as of 2024 Guinevere Turner (co-writer of American Psycho) is a member of faculty
Fantastic abroad opportunties
Unique, in-depth approach to the art of filmmaking and storytelling
Exposure to different kids of media than a traditional film school (Iranian cinema, New Queer cinema etc)
Cons
Very expensive (almost $70k/year without a scholarship)
Generalist film degree means limited specialization opportunities
Lackluster alumni network
Serious lack of logistical production skills training
I'm in my last year at Syracuse University as a member of the department of Film and Media Arts, and it's been a lot of ups and downs. There's a lot to like about this program, the primary virtue being a result of its core philosophy: molding the student into a "total filmmaker" by teaching them all aspects of the production process, therefore allowing them to be more effective directors and producers. As someone who is looking to work as an independent writer/director, this was perfect for me. I learned more at Syracuse in my first year working on Senior Thesis sets than I ever did in high school, and the program's intense focus on production gives each student plenty of on-set opportunities. It's my understanding that some other film programs don't let students even touch a camera until their Junior year, and I'm grateful that Syracuse gave us a chance to start making films from day one. You continue this focus on production throughout your time at the school, culminating with each student being required to write/direct their own Senior Thesis film.
The program has been undergoing a bit of a renaissance the last few years (in 2020, long-time department chair Owen Shapiro retired, and only now in 2024 do we have a permanent new department chair, David Tarleton) and as a result it's been a little inconsistent about the curriculum and expectations for students. Prior to 2020, Syracuse was known for being pretty cutthroat, with a mandatory "Sophomore Critique" session taking place at the end of your second year, where faculty members would review your work and decide if you were allowed to continue in the program. Since the change in leadership, this culture has been walked back a lot, and the program is much more focused on fostering collaboration over competition. It's hard to tell what the biggest changes will be in the next few years, but it's safe to say that the program will be changing!
The biggest benefits of the program for me personally were the access to equipment (I work part-time at the school's rental house, which pays well and gives you good hands-on experience with professional gear) and the abroad opportunities. Syracuse has a unique partnership with FAMU in the Czech Republic, allowing students to spend the Fall or Spring semester of their Junior year in Prague shooting a short film on 35mm. If shooting on celluloid is an important factor to any prospective student, I would almost recommend attending Syracuse just for this one opportunity.
The biggest issues with the program are its cost (nearly $70k a year!), its underwhelming alumni network, and its lack of proper real-world production logistics training.
The cost is due to the fact that Syracuse maintains (or attempts to) a top-tier NCAA basketball & football team, in addition to offering an expansive, well-maintained campus and other university facilities. The unfortunate reality of this is that very little of your tuition fees will go directly towards the Film and Media Arts department, resulting in slightly outdated gear (the equipment cage offers Canon C300's and Sony FX6's, but nothing from Arri or Red) and requiring you to provide the financing for all of your class projects.
In terms of the alumni network, FMA is just too young to have any real notable alumni. One of the few exceptions is Dan Silver '01, who currently works as the head of non-fiction content for Netflix, but connecting with him and other alumni is a difficult process that isn't really facilitated by the university. Additionally, because the university is located in Syracuse, New York (barely a city in itself and four hours by car from NYC) your connections don't end up being particularly valuable outside of the niche Central NY film scene. Syracuse has one major production company, American High, which is known for producing a series of teen comedies, most notable 2019's Big Time Adolescence starring Pete Davidson. However, getting a position at this studio is nearly impossible, as you're competing with every other member of the FMA department, not to mention students in the entirely separate Communications degree at the Newhouse School. Syracuse does offer a semesterly Los Angeles program where they assist you with finding an internship, but if you're planning to go anywhere but LA when you graduate, this isn't very helpful.
Lastly, the film program really struggles to teach practical production skills to its students. A lot of my peers have learned the skills they need to write/direct, but very few of them were taught the process of running a set, resulting in unorganized shooting schedules and logistical catastrophes. I recognize that these are skills you could learn from a few months working in the industry, but I really believe that this gap is actively harming student productions and subjecting student workers to unfair treatment like 16hr+ work days. This is not only limited to students sets however, as I spent the summer working on a faculty member's feature film, which was marred by numerous incidents of unsafe behavior, ineffective prep work, and abuses of power. I don't believe the school does a very good job of teaching students the right way to run a set, and I wish the school would focus more on this.
The bottom line is, Syracuse is not perfect, but I think if you take it for what it is, you can get a lot out of it. Unless the school changes substantially in the next few years, I would say it's a great fit for the aspiring independent writer/director/producer who wants to learn everything they can about the production process. For those who want to specialize more in a specific field, like cinematography or production design, I would not recommend Film and Media Arts and would instead push those people to find a program with better facilities and a more specific focus on that field. Additionally, you should expect to have to work on your own to fill in the gaps in the school's education when it comes to production logistics (find yourself a good producer!) and alumni networking.
If there are any current SU students or alums out there, I would love to hear your thoughts! Also, if you're a prospective student, feel free to leave a comment if you have any questions.
Reviewed by:
Alumni
Degree:
BA/BS/BFA
Concentration:
Film/Video and Theater
Pros
Very affordable
Small class sizes
Close relationships with professors
Cons
Not the best location
A lot of general education requirements
Growing alumni network
I was a student there from 2018-2022 and had a great experience. I would recommend it to anyone, especially people living within Massachusetts. It's super affordable compared to the rest of film schools in the area.
The school has a great reputation and many alum work in the local film scene. The alumni network is strong in New England and is ever-growing throughout the United States. Once I graduated, I discovered I was working the same jobs as graduates of expensive private schools in the state (minus the debt!).
The professors really care about you and are always trying to help you with your work. One of my professors even read my screenplay over their summer break when they had no obligation to do so!
The film program is special and small. You feel like you are truly a part of a community. I learned so much about myself as a creative person and found my voice as a writer. It was a great experience and I feel like it has prepared me for a career in the industry.
The equipment isn't as fancy as what you would find at a private school, but is still good. The school uses Blackmagic cameras throughout their production courses. Students learn how to edit on Avid initially, but can take courses to learn Adobe Premier and DaVinci Resolve. I specifically enjoyed the writing courses.
In terms of the rest of the university, I think that the real shinning light is the Communication department. I found my general education requirements to be tedious, especially when all I wanted to do was grow my filmmaking skills. However, I was an honors student and was limited to only one course per general education requirement. The best professors in the school are definitely found in the Comm Media Department.
Reviewed by:
Current Student
Degree:
MA/MFA
Concentration:
Screenwriting
Pros
Affordable
Small class size
Tight-knit alumni
Great mentorship
Cons
Tallahassee?
Before I get into the details, it's worth mentioning that I'm in my second year at this program and have really enjoyed my time here. I will be biased, like any FSU student would be. Getting an MFA is a big deal, I took out loans to be here. And I have not been let down, I actually think I was undersold this program. I happen to be a Florida state resident who attended film school in Chicago and New York before this. I'm really glad I didn't let my desire to return to a big city overshadow my needs from a master's program, because I would've lost out.
I'll go through my ratings.
Affordability: Like I said, I'm a Florida resident so this was obviously the most affordable option for me. However, it's still very affordable for out of state and international students. In the writing program, you get a graduate assistantship in your second year that drastically lowers the cost of tuition while giving you a stipend. Tallahassee is by far more affordable than NYC or LA.
Alumni Network: This was a huge selling point for me. I knew about the tightness of the FSU alumni but I personally haven't done much to get involved yet. They do a lot to help you connect with alumni. When you're here, you get to know the year above you, and then the year below you, and they become a big part of your network as well. Additionally, writers take an LA trip to pitch and meet with alumni and industry professionals. I'm taking my trip this summer so I can't speak on it yet. They also support students after graduation with finding work.
Campus: As writers, we have our own room in the building that is only accessible to us and faculty. Being such a small program, having a dedicated room to ourselves is really great. We don't have to search for a place to go write, and we don't have to worry about someone coming in and erasing our work on the boards. For FSU as a whole, it's a beautiful campus and it's clearly being taken care of.
Career Assistance: I spoke a little about this in alumni network. It's hard to say since I'm still a student. However, my coursework has been really helpful. From learning script coverage to a very intense and detailed TV writers room simulation class, I have learned so much that has prepared me for working in the industry.
Coursework: This is a conservatory style program. You're writing, a lot. And you're rewriting, a lot. We're constantly working on idea generation, pitching, and finding our voices. It's such thorough and purposeful work. I will be leaving here with at least four features, two and a half TV pilots, a spec script, and a short story I plan on expanding into a novel. I say at least because it's up to me if I want to do more. The professors here are incredibly supportive and personable. Their mentorship has been extraordinary. They pay a lot of attention to you, your work, your voice. They care about us personally, about us getting burned out, and help us build lasting writing habits.
Facilities & Equipment: This isn't really important to writers. We do have pretty nice chairs in the writers room. Five stars for that, and for having our own writers room.
Professors: I said a lot about this in the coursework category. They're very knowledgable and most are still working in the industry.
Scholarships: We have the graduate assistantship which has been phenomenal. Like I said before, it drastically lowers the price of tuition.
All in all, I love FSU. I highly recommend it. I've met lifelong collaborators here, written my best work, and grown so much not only as a writer but also in my ability to talk about myself and my work.
I'll edit this sometime after I graduate in August to give my review as an alumni
Very professional editing and cinematography students to work with
Great Location
Good Value comparing to other programs
Cons
Mixed bag of directing, writing and producing fellows.
The writing department has a rigid concept of what's accepted as a Hollywood script
Political correctness taking a toll and driving away good teachers
The project pairing process can often be disastrous
What's AFI best for?
Students who had at least couple years of industry experience. I don't mean running around and shooting shorts with your buddies. Real paying experience working as a filmmaking professional, or you'd be better off spending the time and money addressing the lack of experience, i.e. interning, working with independent crews, rather than coming to AFI. The system is fast paced and rigid. It is designed to churn out industry professionals. If you still soul searching, don't come. If you want to make friends and have a good time, don't come. If you are a politically vocal person, don't come.
You need to have a very narrow mind of focus to reap the benefit of the school, that is to make money being a film professional.
The writing, producing, and directing program have significantly lower quality of candidates than the editing and cinematography program. If you want to attend the first three programs, you need to be a mature person who knows what you want. It's very easy to get into creative disagreements in AFI because its system of pairing people up practically encourages it.
If you are mature, competent, flexible about your work, then AFI is probably the best value of all top-tier schools. It's only two years instead of three. It introduces you to the heart of Hollywood. And most people hang around for at least couple of years after graduation.
In this class, you learn the basic language of directing (ex: shot types, shot sizes, camera lenses, camera movements, mise en scene, etc.). You learn the tools directors can use to convey story and emotions through the visual medium. You learn about story beats, axis, etc. You analyze films and scenes in class to discover how the director's choices convey emotionality, story, and character's thoughts and feelings.
You create 4-5 very short films (1-5 minutes long) using whatever camera you have (iphone is acceptable) to put into practice the theory you are learning in class.
Took an online 10-week course for Feature Film 1. In this class, you learn the basics of story structure, analyze scripts, and start working on a draft of your own screenplay. Very much like a writer's group with weekly assignments and reviewing each other's work.
Great instructor, she was very knowledgable and works in the industry, but obviously the class is filled with people of all skill levels so the feedback from peers wasn't always super useful. It was a lot of "this is really good! I enjoyed reading it!" but not a ton of actionable feedback. Though there were also more advanced writers in there too that did provide better feedback.
MBA Screen Business (MSAB) . Good for Media industry managers.
Reviewed by:
Alumni
Degree:
Other
Pros
Only MBA in Australia focussing on media business
Usual group contacts (minor network as AFTRS is poor at alumni)
High level guest speakers / mentors as the Aus national film school
Flexible fulltime attendance in blocks around holidays for working folks
Good if you have a strong media startup idea already. Doubtful otherwise.
AFTRS has high reputation mostly undeserved since the early first generations Campion, Noyce, Beresford etc excelled but mediocre results since.
Cons
Chaotic organization. Course changed structure three times in two years with no consultation or warning.
Organization more interested in social justice issues than filmmaking
Few instructors (mostly technical) were excellent most were failed filmmakers or professional government media bureaucrats
MSAB almost unknown as relatively new and AFTRS just graduates and frogets.
AFTRS Alumni efforts are sites where they post propaganda and kick alumini off if you actually start using the tools they provide . No joke.
MSAB is the Schools only 'adult' course as the Head admitted to us.
It also runs intermittently and seems to be an experimental exercise by those in charge. First meeting half the class quit as they were told the promised mixed attendance (evening / weekends / holidays) had been changed without warning to fulltime blocks around school holidays. As several people had come interstate and changed work situations etc no one was impressed.
They also changed the structure again in the next semester and at the start of the next year (2 year program) without consulting or any warning again. Each time seemed astonished that students lives were impacted - every permanent staff member seemed to be a career arts bureaucrat and have zero empathy with working folks.
Structure was a standard MBA with coursework around Business planning , finances and management. Strategy and marketing. Entrepreneurship and design thinking. Some useful options on Public Policy and Growth and Change management for a growing startup.
Strengths were a stream of visiting heads of studios, tv networks, production houses and senior media public servants who provided real world pragmatism cold water to the startup magic vibe. Also some inspiring innovators in the space (and an equal amount of less inspiring friends of staff members who spouted theory as their practical experience was obviously thin).
Also a class trip to Singapore to study a large animation studio and visit their film board etc for a week or so was valuable and fun.
The small class size (as half never came back after the first encounter) made for a tight group. Several have moved on to senior roles in the national film bodies and broadcaster and several of the other startups seem to be growing but no breakouts I've heard of.
There was much talk of alumni networks and follow up but it equalled less than nothing as when some of us started using the vaunted alumni network to communicate about media projects we got kicked off for overposting. As far as I can work out it merely exists for the school to post marketing to alumni and recruit them for events.
If you want to a business qualification in film particularly with the aim of senior management in a government film body this is the course for you. Helps if you are a diverse minority - AFTRS ran around in circles for this group.
Also if you have a business idea in the media space this gives you a couple of years to develop and document it.
Otherwise I'm not sure what point it would be.
This is a fully funded government course and a fraction of the cost of other MBAs for some reason. In Australia you can pay back student loans as your income grows so its not every onerous and frankly if you don't want to you dont have to unless you're that successful you cant hide your obligation.
Unlike the US its just not a large issue.
Affordability
5.00 star(s)
Alumni Network
3.00 star(s)
Campus
5.00 star(s)
Career Assistance
1.00 star(s)
Coursework
4.00 star(s)
Facilities & Equipment
5.00 star(s)
Professors
3.00 star(s)
Scholarships
4.00 star(s)
Anonymous is undecided about recommending this film school
Reviewed by:
Alumni
Degree:
BA/BS/BFA
Concentration:
Digital Filmmaking
Pros
Dedicated and knowledgeable Instructors
Hands on experience with television/short film production
Excellent instruction on fundamentals
No formal "Film School" application process
Cons
Inconsistencies regarding Pre-requisites
Limited equipment
Inconsistent with curriculum
Some good and some not-so-good with this program.
The Good: The Digital Filmmaking and Media studies track offers students the opportunity to gain real hands-on experience. There are several classes for the production of "The Bluffs", which is a serialized program created as a television show. There is a writing workshop for the new "Season" each Spring, a Production class the following Fall, and then and Editing and Post-production course the following Spring semester, with the final finished season presented at the conclusion of the Spring semester. UCCS also has some really amazing and talented professors who are really passionate about the craft of filmmaking. The Film Production capstone course allows EVERY student the opportunity to create a short film. The course is designed in such a way that each student is responsible for the entirety of the Pre-Production (creating a script, posting casting calls, holding auditions), Production (including shot lists, securing talent releases/waivers, crewing their productions with DP, 1stAD, 1stAc, 2ndAC, Gaffer, Sound Recordist etc.) and Post-Production (editing, color correction, etc.) for their short film projects.
The Not-So-Good: There are definitely instances where the curriculum isn't consistent from one instructor to another. The most glaring instance is the Screenwriting course. I had a wonderful (but tough) professor who emphasized the fundamentals but I know plenty of other students whose professor treated it like a high school creative writing course with no focus on structure or formatting. The department didn't really do a lot to enforce pre-requisites and as a result, we had a number of students in upper-division courses (Directing for Film and Television, for example) who had never even learned the basics. I even know of a student that was in the capstone film production course who was also taking their Intro to Film class at the same time. This led to a great disparity in terms of the knowledge and experience levels between the students in upper division courses.
Something to note... the Digital Filmmaking track falls under the Communication major. There is no formal "Film School" that you need to apply to. If you are admitted to UCCS as a Communication major, you can choose the Digital Filmmaking track.
This is a sample to show you how to enter your application into the Film School Application Database and Tracker.
MOST OF WHAT YOU POST IN YOUR APPLICATION IS HIDDEN FROM THE GENERAL WEB AND ONLY VISIBLE TO SITE MEMBERS. Any files you attach will also ONLY be accessible to site members. NOT...
For up to date Film School Acceptance Rates, including Minimum GPAs,
Minimum Test Scores, After Interview and Off-Waitlist Acceptance
Rates, Film Experience and Undergraduate degrees of accepted
applicants, Age data, and other
acceptance statistics for your film program of choice
simply navigate to the Acceptance Rates tab on each film
school's page in our
Film School Database.
This site uses cookies to help personalise content, tailor your experience and to keep you logged in if you register.
By continuing to use this site, you are consenting to our use of cookies.