Master's Degree in Visual Arts in Greater London in United Kingdom

View Masters Programs in Visual Arts 2017 in Greater London in United Kingdom

Visual Arts

A Masters degree is an academic degree awarded to individuals who successfully denote a higher level of expertise. There are two main types of Masters - taught and research.

Visual arts courses often cover skills in aesthetic arts. However, there are many applied art forms included in visual arts courses. These programs can cover graphic design, fashion design, decorative art and industrial design. These can help students prepare for a position in a particular field.  

UK, United Kingdom is more than 300 years old and comprises four constituent nations: England, Scotland, Wales, and Northern Ireland. The UK has been a centre of learning for the past 1,000 years and possesses many ancient and distinguished universities. Foreign students make up a significant proportion of the student body at UK universities.

Request Information Master's Degrees in Visual Arts in Greater London in United Kingdom 2017

Read More

Master (MA / MSc) 3D Stereoscopic Media

Ravensbourne
Campus Full time Part time 1 - 2 years August 2017 United Kingdom London + 1 more

This course takes advantage of Ravensbourne's advanced technical resources and strong industry connections to enable you to work collaboratively across disciplines in 3D stereoscopic applied [+]

MA/MSc 3D Stereoscopic Media

This course takes advantage of Ravensbourne's advanced technical resources and strong industry connections to enable you to work collaboratively across disciplines in 3D stereoscopic applied research and work with cutting-edge media technologies to develop and deliver immersive 3D media to new platforms.

The MA/MSc 3D Stereoscopic Media cuts through much of the hype and media glamour associated with 3D Stereoscopic to provide you with a grounded and deep exploration of the area. Working with industry professionals and specialist S3D technology and platform providers, the course encourages the examination of all sides of the Stereoscopic 3D story. This includes an examination of the perceptual science and human vision theory as well capture and display technologies looking at the biology, psychology and the technologies behind the current wave of innovation.... [-]


Master (MA) Visual Effects

Ravensbourne
Campus Full time Part time 1 - 2 years August 2017 United Kingdom London + 1 more

The landscape of visual effects is changing at a lightning speed. The technological advances over the last decade have brought us fast communication links ... [+]

The landscape of visual effects is changing at a lightning speed. The technological advances over the last decade have brought us fast communication links that are enabling global, cloud-based and remote workflow, opening the possibilities of a looser, more flexible network of artists based in different countries creatively collaborating on visual effects projects. This, combined with the ever increasing demand for both film and video content means that there is a growing need not just for VFX artists but also VFX producers, post-production coordinators and project managers that have a deep understanding of the whole workflow in the creation of visual effects and the post-production in general. Ravensbourne’s course reflects these changes and follows Skillset guidance on the entry skills required to meet VFX industry’s needs that encompass not only specialised industry skills but also soft skills required for a successful career in the VFX and post-production industry be it in the creative or project management spectrum. In addition six modules in the form of group tutorials are given on the whole process in the creation of VFX including pre-production meetings, VFX acquisition, scheduling, budgeting, organisation and shoot supervision. These modules also place VFX in the wider context of post-production and give an overview of the post-production workflow from brief to delivery that includes transcoding, editing and deliverables. Ravensbourne gives students access to all the necessary equipment, including cameras, the use of green screen studios with complete lighting rigs and the relevant software. Students will have the opportunity to visit a major post-production facility through Ravensbourne’s many industry partnerships. Entrants are likely to have previously studied arts, media, public relations, marketing, editing, post-production, motion graphics or 3D animation at undergraduate level. [-]

Master (MA) Moving Image

Ravensbourne
Campus Full time Part time 1 - 2 years August 2017 United Kingdom London + 1 more

MA Moving Image is designed to develop creative conceptual thinkers, who can deliver ideas across media using a variety of methods. The project work undertaken is underpinned with [+]

MA Moving Image

MA Moving Image is designed to develop creative conceptual thinkers, who can deliver ideas across media using a variety of methods. The project work undertaken is underpinned with research, analysis and evidence of strategic thinking as well as self reflection.

On this course you will be able to devise new means of attracting audiences, whether in the areas of promotion and advertising or within the exhibition and corporate sector, moving image for mobile devices, the web, and in every area of motion design and the world of moving image.

The course has been designed if you’re looking for innovative, creative and critical learning, as you will engage with video, environmental, digital editing, sound and animation to develop your creative ideas and build a strong conceptual and technical basis for your development.... [-]


Master (MA/MSc) Interactive Product Futures

Ravensbourne
Campus Full time Part time 1 - 2 years August 2017 United Kingdom London + 1 more

This is a creative, project-based course focusing on the practical and theoretical study of product design and its relationship to interaction. As an advanced product designer, this course supports [+]

MA/MSc  Interactive Product Futures

This is a creative, project-based course focusing on the practical and theoretical study of product design and its relationship to interaction. As an advanced product designer, this course supports your continued development and will refine your practice in interaction and user-centred product design.

The course explores academic theories as well as industry practice within interactive media, digital arts, entertainment and product design; and is a combination of two separate fields: product design and interactive media.

In Interactive Product Futures you will focus on user-centred design processes and research and analyse “user interaction” as your primary focus. The emphasis is on technology-mediated communication between humans and objects or spaces, allowing you to apply design and apply technological solutions to people’s infinite needs. You will also examine how technology gives personality to objects, and thereby how to ensure technology and design are more empathetic to people and their behaviours.... [-]


Master (MA) Environment Design

Ravensbourne
Campus Full time Part time 1 - 2 years August 2017 United Kingdom London + 1 more

The Ravensbourne MA Environment Design investigates spatial design in its real-virtual, and macro-micro scales. [+]

Masters in Visual Arts in Greater London in United Kingdom. The Ravensbourne MA Environment Design investigates spatial design in its real-virtual, and macro-micro scales. Encompassing interior, architecture, cities and natural environments the programme analyzes a series of different perspectives of theory and practice from art, science, and technology towards an understanding of a cultural sustainability. Systems - Every year the course aims to produce new research that takes forward questions inherent in Modernity. Currently focused on natural ecological systems (earthquakes, tectonic plates, deltas and shorelines), (re)contruction and war, cosmographies and cultures of outerspace, and bio-tech materials ; the course encourages you to explore your own field of research and practice. Technologies - The Environment Design operates with a multidisciplinary team where knowledge exchange is one of the core points to focus. From: applied technologies, visual effects, interactive digital media, moving image, communication design and fashion, the programme aims to deploy students with methods and techniques from different perspectives embracing new possibilities offered by new technology and the creative processes involved in designing. Modeling and simulation - with a hands on training in the use of the scientific instruments and computational tools, Ravensbourne offers you with full access to digital facilities for digital imaging and prototyping; where you will be able to experiment and innovate through technical, user and interaction workshops based upon strategies deployed by leading practitioners within the field. You will be encouraged to engage with advanced practice within a global context and explore the similarities and key differences and emphases of different centres across the world and to put your learning and design solutions into context. Here you will expand your own research and practice, by developing and managing an individual programme of enquiry and creative development in environment design culminating in the realisation of a final major project fully informed by professional and industrial contexts and multi disciplinary perspectives. [-]

European Master of Professional Photography

Spéos Paris-London Photographic Institute
Campus Full time 1 year September 2017 United Kingdom London

The European Master of Professional Photography is designed for students who wish to pursue a career in photography, with a particular emphasis on the business management of the profession. [+]

This program certified by EABHES – lasting for 14 months in total – comprises three phases: The Professional Photography in one-year Program, from September to May. The Expert Modules, from the end of May to the end of July (cf. below). The planning and elaboration of the Master project, which needs to be submitted to a jury twice: an oral defense of the pre-project allows the students to validate their professional projects’ feasibility and coherence; the final jury’s comments assess the projects’ future implementation. So as to obtain the credits necessary to validate the European Master, students need to have a Bachelor’s degree (180 ECTS, in any subject, not necessarily photography) and need to pass a foreign language test at B2 level of the Common European Framework of Reference for Languages. As for the language tests accepted: TOEIC, TOEFL, IELTS or Cambridge exams for non-native English speakers; for English natives any official language diploma at B2 level in a European language that is not their mother tongue. What are the Expert Modules? The Expert Modules aim at deepening the participants’ previous knowledge and skills in those areas that are most demanded by the professional market. They cover the subjects of business management, image management and publication, advanced studio photography and photo reportage, combining theory and practice. For 8 weeks in total, participants meet up with photography professionals from various domains, who share their experience and know-how from their respective fields of expertise. Students can enroll immediately after completing the Professional Photography in one-year Program, or return to Speos to complement their training in the following year(s). They can enroll for 1 or 2 modules, supervised by professionals within the field of photography. In July, the students equally participate for several days at the Rencontres d’Arles — a major international photography event, during which they visit exhibitions, present their portfolios and start networking. Expert Module: The Photo Business Duration: 5 weeks in two parts Different experts present the business management of all kinds of activities linked to professional photography. The module gives an overview of the photographic professions and the market, copyright legislation, marketing, accounting and financial management within the field of photography. This module also allows participants to deepen their knowledge in the domains of image management and publication, which are presented from the point of view of independent photographers, photo agencies and image banks. Participants also encounter picture researchers/image buyers working for publishing houses and advertising agencies, art directors and photo agents. Throughout the module, they acquire in-depth knowledge about the various possibilities to syndicate their own image stocks. And – last but not least – they get a practical overview of how to efficiently use social media for photographers. Expert Module: Advanced Studio Photography Duration: 3 weeks (takes place at the same time as the Expert Module Advanced Photo Reportage) Participants encounter professional work situations, preparing complex studio sets, focusing on elaborate make-up, hairdressing and accessories. The module also presents a range of expert skills used in commercial photography: shooting with integrated digital post-production, specific retouching (culinary, skin, jewelry etc.), exterior studio shooting. Several meetings will be held at professionals’ workplaces. Expert Module: Advanced Photo Reportage Duration: 3 weeks (takes place at the same time as the Expert Module Advanced Studio) Photojournalism is analyzed from the point of view of agencies, dailies, magazines, and independent photographers. Participants meet professionals working in the fields of image purchase, sales and editing within various kinds of media (print and web). Through these exchanges, they learn how to position them selves and to efficiently prepare their entry into the professional world. Several meetings will be held at professionals’ workplaces. [-]

Master Sound Design for Film and TV

NFTS - National Film and Television School
Campus Full time 2 years August 2017 United Kingdom London

The components of the soundtrack – dialogue, atmospheres, Foleys, ADR, designed fx and music – are explored in detail using facilities rivalling those of the best audio post-production houses. With a firm emphasis on storytelling, students develop an aesthetic awareness integrated with technical expertise, encouraging them to be collaborators from an early stage in all productions and throughout the whole post-production process... [+]

Masters in Visual Arts in Greater London in United Kingdom. Sound Design for Film and TV The components of the soundtrack – dialogue, atmospheres, Foleys, ADR, designed fx and music – are explored in detail using facilities rivalling those of the best audio post-production houses. With a firm emphasis on storytelling, students develop an aesthetic awareness integrated with technical expertise, encouraging them to be collaborators from an early stage in all productions and throughout the whole post-production process. In 2011, an NFTS student won the Verna Fields Award for Best Sound Editing in the student category of the US Motion Picture Sound Editors Golden Reel Awards. This is the ninth time a graduating NFTS student has won this award in the last fourteen years and, together with the demand for new graduates, demonstrates the esteem with which this course is regarded within the film and television industry. TUTORS Head of Post Production is Award-winning Re-Recording Mixer Dean Humphreys, who has worked with many of the world's leading directors, including Roman Polanski, Ridley Scott, Luc Besson, Bernardo Bertolucci and Franco Zeffirelli. Dean has also been the Sound Supervisor or Re-Recording mixer for major television series such as Kingdom (Stephen Fry) and Primeval, in addition to films including The Pianist (for which he won a César award), Interview With The Vampire, The Ghost Writer and Donnie Brasco. Other tutors include Graham Hartstone (Aliens, Eyes Wide Shut, Die Another Day, The World is Not Enough), Paul Davies (We Need to Talk About Kevin, The Queen), Andy Kennedy (Game of Thrones, Sherlock Holmes, Harry Potter and the Half-Blood Prince), Adrian Rhodes (The Hollow Crown, Aardman's Pirates!, the Wallace and Gromit films) and Ian Morgan (Vinyl, North and South, Alien vs Predator). ALUMNI Sound Designers Adrian Rhodes (The Queen, Wallace & Gromit: The Curse of the Were-Rabbit), Martin Jensen (The King's Speech, Atonement, The Fades), Paul Davies (We Need to Talk About Kevin, Hunger, The Queen), Miriam Ludbrook (The League of Gentlemen's Apocalypse, Sugar Rush), Stuart Hilliker (Jane Eyre, State of Play) and Lydia Andrew (Audio Director, Electronic Arts) studied at the NFTS. CURRICULUM The course represents a steady progression beginning with the basic technology and skills that underpin and support the creative process and ending with the responsibility for sound design on a range of graduation films. At each stage additional skills are added through specific workshops - e.g. music recording, to provide a comprehensive education that is of great value in understanding and communicating with other industry professionals. Using the latest equipment and technology, students work as sound designers on fiction, documentary and animation projects developing their skills in digital tracklaying and mixing. YEAR ONE A series of exercises focusing on sound editing and mixing techniques Workshops with Editing and Composing students: Abstract Film Workshop Without Images - a sound-only project Dramaturgy Workshop - focusing on script and script analysis, blocking and cover, and performance Editing the Scene - editing a scene to learn the basics of scene structure Short documentary - sound mixing Zen and Beyond - fiction workshop focusing on visual storytelling Documentary Poetry - exploring the use of non- synchronous sound and music Animation projects - the application of music and sound effects 1st year Fiction film - collaborating with all other departments Cross Spec - an introduction to film language and storytelling involving all departments YEAR TWO Investigative Documentary - sound post for the major 1st year Documentary production Remixing the 1st year Fiction film tracks Advanced editing, design and mixing techniques including surround sound mixing 2nd Year Fiction production, shot on a digital format Graduation films in documentary, fiction and animation On the short films and 2nd Year films, Sound Design students work as sound supervisors, creating the track from pre-production through to the mix. Unlike other schools, all production costs are met by the School. In addition you will be given a cash Production Budget. NFTS students are engaged in more productions as part of the curriculum than any of our competitors. ENTRY REQUIREMENTS In the Post Production department, we are looking to assemble a group of students with diverse and varied backgrounds. There is no 'typical' student or perfect candidate who conforms to a mandatory list of qualifications. Applicants are likely to have some industry experience, or training in their chosen field. Your background may be in the arts or other media, you might be looking for a further professional qualification or wish to broaden your knowledge of sound production, taking you to a higher level of work. Application materials must include visual materials (video or stills) with an associated soundtrack that you have constructed; and a sound montage including speech, that you have created and post-produced. APPLY WITH A DVD of no more than twenty minutes running time, which you have recorded and/or track laid and/or mixed. This can be from a longer work. Those who do not have film/video experience: a narrative sequence of photographs, pictures or cartoons, with an associated speech, music and effects soundtrack recorded on audio CD, which demonstrates the way the applicant works creatively with the audio-visual relationship A sound montage made by the applicant on audio CD of approximately 3 minutes running time. It should include speech, but should not be limited to speech. [-]

Master Producing

NFTS - National Film and Television School
Campus Full time 2 years August 2017 United Kingdom London

Educating producers is high on the agenda at the NFTS, and the involvement of several of the UK’s leading film and television producers – NFTS Director Nik Powell, and governors Duncan Kenworthy and Simon Relph – ensures that students enjoy close links with the film and television industry... [+]

Producing Educating producers is high on the agenda at the NFTS, and the involvement of several of the UK’s leading film and television producers – NFTS Director Nik Powell, and governors Duncan Kenworthy and Simon Relph – ensures that students enjoy close links with the film and television industry. This course commences in January each year. The MA course in Producing is unique in the opportunities it gives and in its close links with the film and television industry, and provides a fast-track route into a producing career. Students develop their own relationships with successful producers through placements and a mentoring scheme. The BFI is supporting the course with development slate funding for students’ adaptation projects, which they can then take with them and develop further when they graduate from the School. The Producing department aims to train creative, independent producers able to achieve an overall vision for their projects from script development through finance and production to sales and distribution. The course covers fiction production for both film and television and also animation, with students producing at least two short live action films and one animation in their time at the School. Graduates work as producers of both film and television in the UK and other countries. New graduates typically combine first feature development with paid employment such as Assistant Producer on feature films, working in the development department of independent production companies, or producing short commissions for broadcasters. Deals struck with the BBC and other companies can see proposals from new graduates developed as feature films. TUTORS Some of the UK's leading independent producers teach at the NFTS including, Karin Bamborough (Former Channel 4 Commissioning Editor), Myf Hopkins (Tombraider II (digital animation and visual effects) and Harry Potter and the Philosopher’s Stone (Creatures Producer). The Producing department is led by Chris Auty (Stealing Beauty, Crash, In This World). The Director of the NFTS, Nik Powell (The Crying Game, Ladies in Lavender, Little Voice) also teaches on the programme. ALUMNI Producing Alumni include: Allan Niblo – CEO, Vertigo Films (Monsters) Anna Higgs – Commissioning Editor, Film4.0 Jack Arbuthnott – Head, Film Development, Scott Free Rebekah Gilbertson – (Patagonia, Edge of Love) Polly Stokes – Cannes Select (For Those in Peril) Tom Leggett – Film 4 Development Executive James Walker – BAFTA British Short Animation Winner (Sleeping With The Fishes) CURRICULUM Development skills: script analysis and script editing; developing a project from source material; collaboration with writers and directors; pitching; negotiating the deal Production skills: budgeting and scheduling; managing the production; post production techniques; editing, sound and music Business skills: publicity and marketing; sales, distribution and exhibition; co-production; financing; legal and financial (sponsored by Olswang) Television: developing a proposal to a broadcaster’s commissioning brief; the television commissioning process; financing a TV programme; multiplatform commissioning Industry placements for students are encouraged in the summer break of the First Year. Also it is intended that production schedules will allow students in the Second Year to take up work placements at the Cannes Film Festival from which they can learn how the film industry functions on an international level. Each is allocated to either a producer, a distributor or a sales company who they are able to shadow. In addition, all students are expected to choose an industry mentor who acts as a valuable contact who they can use to help them move into the industry. The NFTS provides producers with privileged access to events and screenings at the London Film Festival where they have the opportunity not only to see the latest films but also to discuss them and meet other filmmakers as well. Each year a number of outside visits are arranged for producers. Unlike other schools, all production costs are met by the School. In addition you will be given a cash Production Budget. NFTS students are engaged in more productions as part of the curriculum than any of our competitors. ENTRY REQUIREMENTS We’re looking for people with a lively and proven interest in film, television and the world about us. The ideal candidate will have a strong personality; good communication skills; a commitment to story-telling; and the ability to work collaboratively. The role of producer is a many-sided one that encompasses creative intelligence, team leadership, and problem-solving skills, and this course equips alumni to succeed equally well as producers or as successful executives in the film and television industry APPLY WITH A one-page proposal written by you for a low-budget feature film or TV drama, either original or adapted from a novel or other source. Tell us why you would like to make it and what you believe its audience appeal could be. If it is an adaptation please give us the title and author of the source material. A brief analysis of three films or television programmes that you have seen in the last 12 months. Include comments on the directorial style. One page A4 in total. An analysis of your favourite film or television programme and your personal response to it. One side A4. Choose a British or European producer (film or TV) whom you admire, explain why. One side A4. Describe briefly key lessons about producing you have learnt from any book about producing or producers that you have read (and please name the book). One side A4. [-]

Master degree in Editing

NFTS - National Film and Television School
Campus Full time 2 years August 2017 United Kingdom London

Digital technology has transformed the editing process, yet it has also dramatically diminished the role of the assistant editor so that opportunities to learn the art of editing as an apprentice are increasingly hard to find... [+]

Masters in Visual Arts in Greater London in United Kingdom. Editing Digital technology has transformed the editing process, yet it has also dramatically diminished the role of the assistant editor so that opportunities to learn the art of editing as an apprentice are increasingly hard to find. This course commences in January each year. This course provides a thorough education in editing skills in a professional filmmaking environment. Editing students are encouraged to consider their craft as part of the whole process of film and television production and not merely as the final stage, making them true collaborators, not just efficient technicians. The emphasis of the Editing curriculum is firmly on storytelling and the relationship between editor and director. Students learn to apply their craft to the demands of fiction, documentary and animation, creating visual narratives while working with sound, music and, where appropriate, special effects. Workshops with other departments develop concepts of visual storytelling, mise-en-scène, storyboarding, sound design, music and scriptwriting. Editing graduates have a high rate of employment on feature films, shorts and television programmes. Many new graduates quickly become editors on independent productions or assistant editors on features or TV drama, while others gravitate to visual effects, promos and i-dents. One recent graduate was joint winner of the Best Young Editor Award at Broadcast Magazine's B+ Awards. Recent graduate editing credits include The Queen, Hannibal Rising, Reprise and New Moon at the cinema and Downton Abbey, Paul Merton in China, Holby City, Hustle, CSI: Crime Scene Investigation and Spooks on television. TUTORS Head of Post Production is Award-winning Re-Recording Mixer Dean Humphreys, who has worked with many of the world's leading directors, including Roman Polanski, Ridley Scott, Luc Besson, Bernardo Bertolucci and Franco Zeffirelli. Dean has also been the Sound Supervisor or Re-Recording mixer for major television series such as Kingdom (Stephen Fry) and Primeval, in addition to films including The Pianist (for which he won a César award), Interview With The Vampire, The Ghost Writer and Donnie Brasco. ALUMNI Editors Lucia Zucchetti (The Queen; Mrs Henderson Presents), Alex Mackie (Downton Abbey; St Trinian's; CSI), David Freeman (The Full Monty), Peter Lambert (A Better Life; New Moon), Nicolas Chaudeurge (Wuthering Heights; Fish Tank; Red Road), Valerio Bonelli (Hannibal Rising; Cemetery Junction; Gladiator), Nick Fenton (Submarine; The Arbor), Claire Dodgson (Minions, The Lorax, Charlie and Lola) and Ewa J Lind (Far North; The Warrior) studied here. CURRICULUM YEAR ONE With Sound Design and Composing students Abstract Film Workshop Without Images - a sound-only project Dramaturgy Workshop - focusing on script and script analysis, blocking and cover, and performance Modules and workshops include Foundation exercises for fiction and documentary editing Storyboarding workshop with Animation students Short documentary Zen and Beyond - fiction workshop focusing on visual storytelling Comedy Workshop - workshop using rushes from a feature film and focusing on editing for comedy and/or drama Animation Project - developed and produced to a soundtrack Investigative Documentary - the major first year documentary production First Year Film - the major 1st year fiction production collaborating with all other departments YEAR TWO Fiction editing exercise focusing on drama editing and co-editing using complete rushes from a feature film 2nd year fiction production, shot on a digital format Graduation films in documentary, fiction and animation Unlike other schools, all production costs are met by the School. In addition you will be given a cash Production Budget. NFTS students are engaged in more productions as part of the curriculum than any of our competitors. ENTRY REQUIREMENTS The Editing course is part of the Post Production department, where we are looking to assemble a group of students with diverse and varied backgrounds. There is no 'typical' student or perfect candidate who conforms to a mandatory list of qualifications. You are likely to have some Industry experience or training in your chosen field. Your background may be in the arts or other media, you might be looking for a further professional qualification or wish to broaden your knowledge of film and video editing, taking you to a higher level of work. APPLY WITH A DVD no more than 20 minutes running time, of material originally shot on film or video edited by you the applicant. If dialogue is not in English or the DVD does not have subtitles you should send a dialogue transcript in English via email. A creative video montage on DVD of found images (obtained from the television, the internet or another source) or existing film footage edited with a soundtrack. The montage should be between 2 and 5 minutes running time, edited by you the applicant. If you do not have access to an editing facility please create a montage of collected photographs which when laid out together tell a story. [-]

Master degree in Directing Documentary

NFTS - National Film and Television School
Campus Full time 2 years August 2017 United Kingdom London

This course commences in January each year. The goal of the course is to give our graduates the tools and the confidence to become successful members of the international documentary community. Our students have won the Grierson and Sheffield Student Awards two years running, IDFA and the Royal Television Society last year, and win prizes at the most prestigious festivals round the world: Sundance, IDFA, Hot Docs, Berlin, Sheffield and... [+]

Directing Documentary This course commences in January each year. The goal of the course is to give our graduates the tools and the confidence to become successful members of the international documentary community. Our students have won the Grierson and Sheffield Student Awards two years running, IDFA and the Royal Television Society last year, and win prizes at the most prestigious festivals round the world: Sundance, IDFA, Hot Docs, Berlin, Sheffield and many others. The most important thing, however, is to prepare them for life as committed documentary storytellers, wherever that may lead. In the UK, getting a first commission can be a daunting task but last year, for example, Marc Williamson, made a First Cut for Channel 4 from his Sheffield student award winning graduation film which this year won him the Grierson Prize for Best Newcomer. Some use the contacts they make in the last phase of the course, to put together deals with TV production companies and non-TV source as Sam Blair did with Adidas for his brilliant feature debut about sprinters, Personal Best. Since students direct and shoot five films in different genres during the course, many progress swiftly by using their unique skills to contribute to productions throughout the industry, like James Newton who won a Grierson last year as one of the directors of The Year the Town Hall Shrank . TUTORS Some of the UK's leading Documentary makers teach at the School, including internationally acclaimed directors Kim Longinotto, Sean McAllister, Asher Tlalim, Nick Broomfield, vastly experienced producer/directors Riete Oord, Ros Franey, award-winning cinematographer Roger Chapman, Rory Peck award winner Rodrigo Vazquez, the founder of Dochouse, Elizabeth Wood, Exec Producer of The Act of Killing, Andre Singer, and successful younger alumni like Lara Agnew, Sandhya Suri, Simon Chambers and Dan Vernon . The department is led by Dick Fontaine who has directed over forty films for television and the independent media, has recently had retrospectives in New York, Paris, Barcelona and Sao Paulo and was nominated last year for a Grierson Award for his latest film. ALUMNI Graduates include Nick Broomfield who pioneered a powerful new genre in documentary: the filmmaker-as- provocateur (The Leader, the Driver and the Driver’s Wife, Aileen: Life and Death of a Serial Killer,and, most recently, Tales from the Grim Sleeper), Grierson Lifetime Achievement Award winner, Molly Dineen (Home from the Hill, The Lie of the Land), Kim Longinotto, whose inspirational films about women are celebrated at festivals around the world (Divorce Iranian–Style, Sisters in Law, and her new film Dreamcatcher), and Sundance winner Sean McAllister (The Liberace of Baghdad, The Reluctant Revolutionary) and many others who are making striking contributions in documentary on many different platforms. CURRICULUM YEAR ONE Built around a series of four practical exercises, increasing in length and complexity, informed and inspired by relevant traditions. Each exercise isolates and focuses on the techniques and content of a specific documentary genre: observation, character–led narrative, image/sound poetry and investigation. Students collaborate in various combinations with editors, cinematographers, sound designers and composers and also work alone using digital video equipment. YEAR TWO Includes three projects: a graduation film in which students synthesise what they have discovered in the first year, and use it to confidently challenge conventional approaches to documentary: an MA dissertation in which they reflect on a practical question that has intrigued them during the course so far and a proposal/taster tape for a project to take into the professional arena. The final stage consists of visits to film festivals, broadcasters, independent producers and other relevant institutions, together with seminars dealing with the commissioning process, legal requirements, finance and festival potential. Unlike other schools, all production costs are met by the School including an above-the-line cash production budget. NFTS students are engaged in more productions as part of the curriculum than any of our competitors. ENTRY REQUIREMENTS Students come from a wide variety of backgrounds and have usually had some previous experience of filmmaking, though this may not be at a professional level. All have a strong social awareness and a keen desire to translate that awareness into stories told with a personal voice. APPLY WITH A 20-minute film, conceived and directed by the applicant (on DVD). Please note: if you wish to submit a longer film, only the first 20 minutes will be viewed. If the dialogue is not in English, you should enclose a dialogue transcript in English. OR A narrative photo essay consisting of 10 20cm x 25cm stills. AND A written proposal for a different film of any specified length (on no more than 4 sides of A4, typed and double-spaced) which should include the basic premise, a description of the characters and locations and, most importantly, the developing narrative. [-]

Master degree in Directing Animation

NFTS - National Film and Television School
Campus Full time 2 years August 2017 United Kingdom London

Over 400 animation awards have been won by NFTS students including 6 Oscar Nominations- two of these in the last three years! , the first animation to win student Oscar, 7 BAFTAs, 8 RTS Awards, 7 official Cannes Selections and the first ever Student Annie Award. [+]

Masters in Visual Arts in Greater London in United Kingdom. Directing Animation Over 400 animation awards have been won by NFTS students including 6 Oscar Nominations- two of these in the last three years! , the first animation to win student Oscar, 7 BAFTAs, 8 RTS Awards, 7 official Cannes Selections and the first ever Student Annie Award. It is the ONLY Animation course located in dedicated film studios. Students have their own work space and equipment and uniquely are supported by the other disciplines of cinematography, sound design, visual effects, production design, screenwriting and others! Students work in state of the art sound stages and post production facilities. There is a packed first year of projects, workshops and masterclasses taught by industry professionals and animation legends. In the second year students direct a crew of 10 of their peers from all the major filmmaking disciplines located in the School. Our Animation course covers a broad range of techniques and media and technology continues to advance while the importance of good storytelling remains paramount. This two year course begins in January each year. It emphasises the importance of story alongside design and visualisation. Our definition of animation is broad, covering almost any treated or stop frame technique. Many students work in a combination of techniques. Students are encouraged to push the boundaries to find a new look, a fresh approach or a different angle within the narrative structure. Learning to build and work with a team is central to the course. Collaborative workshops with other filmmaking disciplines help animation directors understand the roles of each crew member and the skills they bring to the filmmaking process. Our aim is to educate and prepare our graduates to go out into the Industry with a wide range of practical skills, experience and industry contacts. To achieve this in two years we have a curriculum of workshops, masterclasses, set projects and an MA dissertation. ALUMNI Nick Park (Creator of Wallace & Gromit), Mark Baker (Peppa Pig, Ben and Holly's Little Kingdom) and Tony Collingwood (The Secret Show) studied at the NFTS. CURRICULUM Students develop their animation and storytelling skills by exploring relationships between animation, narrative and film language. Through experimenting with different techniques they will broaden and enhance their personal style. The MA Animation course includes: Storyboarding Creating Character Animation performance Directing actors Pixillation workshop Industry project – working to a brief, developing and pitching Visual/animated interpretation of a soundtrack Dissertation Research and script development for the graduation film Graduation film – produced and post produced with students from other departments ENTRY REQUIREMENTS We are looking for people with a desire to tell stories, a strong visual sense and an enthusiasm for film and television culture and history. Successful applicants may have a degree in a relevant subject, such as animation, graphics, illustration or fine arts, or may have taken intensive short animation courses or may have worked in the industry and now want to develop their own work. APPLY WITH A DVD with a maximum total running time of 20 minutes. This should include more than just simple exercises. Your submission must include an animated film created by you. It should also contain a narrative or a sequence of information (eg animatic). It may also include commissioned work. Up to five minutes of other materials may be included at the end of the disc, provided the total running time of the DVD does not exceed 20 minutes. If dialogue is not in English, please send a dialogue transcript in English via email DVD must be a DVD-R. Do not send Data DVDs or Data CDs A proposal for a one minute animation project, which is not on the DVD, to include concept and synopsis. A portfolio of illustrations and drawings showing your range of graphic ability, preferably including life drawing and an optional collection of up to 10 still photographs of models and sets used in a 3D animation project. [-]

Master degree in Digital Effects

NFTS - National Film and Television School
Campus Full time 2 years August 2017 United Kingdom London

This course commences in January each year. During this extremely practical modular course, you will spend a lot of time learning techniques “on set”, in addition to learning in front of a computer. You will work closely with students from all the other NFTS MA disciplines, creating 2D/3D VFX, CG 3D FX or Colour Grading and Onlining the entire production, on a diverse range of NFTS film and television projects – many of... [+]

Digital Effects This course commences in January each year. During this extremely practical modular course, you will spend a lot of time learning techniques “on set”, in addition to learning in front of a computer. You will work closely with students from all the other NFTS MA disciplines, creating 2D/3D VFX, CG 3D FX or Colour Grading and Onlining the entire production, on a diverse range of NFTS film and television projects – many of which go on to become international award-winners. This course shares a common first year, allowing you to specialise in the second year in one of three areas: COLOUR: For those who aspire to be: Digital Film Colourists (Baselight/Nucoda/Scratch) and/or Online Editors (AVID|DS/Symphony/Smoke) COMPOSITING: For those who aspire to be: VFX Artists/ 2D/3D Compositors (Nuke/Flame/Adobe CS6) CG: For those who aspire to be: CG 3D Artists or CG TDs (Maya modelling/lighting/texturing/rendering) Ultimately the course will provide the backbone for a career in 2D VFX or 3D VFX or Colour Grading/Online editing. The NFTS holds a unique position within the film and television industries, whereby it can offer an invaluable “Bridge to Industry” that attempts to help graduates establish themselves in a new career. At the time of writing, all the previous Digital FX graduates are in employment from Soho to São Paulo. Some are 3D CG TDs at Framestore, Double Negative and MPC in London, others SFX producers at Millennium FX, others 2D/3D compositors at The Mill, Cinesite and The Senate, others working in software development and as product specialists at Filmlight, Image Systems, Assimilate and The Foundry, and others as freelance conform editors and colourists. ALUMNI Graduate credits include: CG VFX on projects such as The First Avenger, Kick-Ass, Doctor Who, 2012, Harry Potter, Inception, Captain America and Avatar, Compositing VFX on Harry Potter and the Deathly Hallows, The Tree of Life, John Carter, Paul, Iron Man 2, War Horse, Sherlock Holmes, The Dark Knight Rises, Clash of the Titans 2 and The Pirates! In an Adventure with Scientists, conform/grading on Generation Kill, The Chronicles of Narnia, & Jack and the Giant Killer, as well as SFX on Being Human, Torchwood, Prometheus and Frankenweenie. CURRICULUM This unique modular course has been designed to keep pace with changes in technology and Industry practice. You’ll control many of your own projects from start to finish. You learn by ‘doing’ as well as understanding theory, developing a variety of practical and creative skills from planning, budgeting, storyboarding and pre-visualisation through filming, CGI creation, VFX creation and finally post production and delivery. Several modules are shared with other departments within the NFTS - such as the popular Take One Painting project - and the Digital FX students participate individually, or as teams, on many of the other NFTS students’ film and TV projects. You learn what to do and then get a chance to do it for real. Problem solving is paramount. ENTRY REQUIREMENTS The course covers such a diverse range of subjects that there is no typical candidate. Your background may be in the arts or other media or you may be a recent graduate or Industry professional looking to fast-track or switch your career. Although not strictly necessary, you are likely to have some Industry experience or training in your chosen field and you must already understand the basic technical and operational use of computers. An ideal candidate should have a mixture of creative and technical skills. Communication, people and management skills are also desirable. Your application should be supported by a brief outline of your particular interests in the Compositing, Colour Grading or CG 3D fields including any relevant experience, either academic or practical. You must indicate in your application which specialism you wish to study during the second year: either Compositing or CG 3D or Colour. APPLY WITH A critical analysis of the use of visual effects or colour grading in a film or television programme of your choice, no more than two sides A4 typed. A brief outline of your particular interests in the Compositing, Colour Grading or CG 3D fields including any relevant experience, either academic or practical. One side A4 maximum. A DVD or portfolio containing samples of your work. This need not demonstrate experience in effects. For applicants not from a film or television background, this item is optional. [-]

Master degree in Composing for Film and Television

NFTS - National Film and Television School
Campus Full time 2 years August 2017 United Kingdom London

Today’s language of screen music has shifted. While many scores still provide a musical commentary on the action, others find a way to integrate music into the fabric of the film itself, creating a seamless weave analogous to the camerawork or editing, to the assimilation of music into the sound world of the film as a whole. Sound design and music grow ever closer - in fact, the roles of sound designer and composer are... [+]

Masters in Visual Arts in Greater London in United Kingdom. Composing for Film and Television This course commences in January each year. Our emphasis on collaboration means that Composing students are informed and involved throughout the filmmaking process. In particular, composers work closely with other students in Editing and Sound Post Production, increasing their understanding of the relationship between audio and moving images. Today’s language of screen music has shifted. While many scores still provide a musical commentary on the action, others find a way to integrate music into the fabric of the film itself, creating a seamless weave analogous to the camerawork or editing, to the assimilation of music into the sound world of the film as a whole. Sound design and music grow ever closer - in fact, the roles of sound designer and composer are becoming blurred to the extent that a close collaboration between the two processes is often essential. The application of music to film - the choices inherent in the "when", "how" and "why" - all stem from an informed understanding of the intention of the film and the contribution music could make to it. Informed understanding, musical versatility and the fostering of an individual musical voice are the intentions of this course and these are determined by the practical and intellectual demands on composers working in the industry. Composing graduates are qualified to take on all forms of work in film and television as well as productions in multimedia and interactive programming. TUTORS Head of Post Production is Award-winning Re-Recording Mixer Dean Humphreys, who has worked with many of the world's leading directors, including Roman Polanski, Ridley Scott, Luc Besson, Bernardo Bertolucci and Franco Zeffirelli. Dean has also been the Sound Supervisor or Re-Recording mixer for major television series such as Kingdom (Stephen Fry) and Primeval, in addition to films including The Pianist (for which he won a César award), Interview With The Vampire, The Ghost Writer and Donnie Brasco. ALUMNI Recent graduate composing credits include Atonement which netted NFTS graduate Dario Marianelli an Oscar, Golden Globe and Ivor Novello in the Best Original Score category; Wallander, the television drama series, and feature film Endgame, both of which earned BAFTAs for Best Original Score for NFTS graduate Martin Phipps. Martin also received Emmy Award Nominations for his scores on Great Expectations and Sense and Sensibility. Composer Rob Lane also received Emmy nominations for his scores on Longford and HBO's John Adams, as well as winning a BAFTA for Elizabeth I (TV) and a nomination for Jane Eyre. CURRICULUM The Composing course is developmental and progressive. In year one, students are taught the techniques and contexts which inform writing music for the screen. The first term comprises an intensive process during which students compose to a variety of exercises, each one chosen to focus on a particular problem of film composition. These exercises are completed by each student and discussed in seminars and individually assessed. In term two, further exercises concentrate on issues having to do with scoring for live instruments, the combination of live and electro-acoustic elements and the integration a limited range of sound design into film scores. In addition, students will begin engaging with projects generated by other students at the NFTS. This process will continue and dominate the third term. Each student contribution to those films will also be assessed. Students will also participate in visits from industry professionals. In year two, students’ activities will be dominated primarily by work generated from other parts of the school. However, lectures, seminars and the occasional workshop will be provided to clarify and expand issues arising from those projects. As in year 1, students will also participate in visits from industry professionals. YEAR ONE A series of composing workshops combining practical exercises and seminars: Basic narrative techniques Midi, sampling and audio Combining music and sound Narrative with dialogue Non-fiction scoring Instrumentation and orchestration Composing to script Improvisation Ongoing analysis of feature film soundtracks and film structure Orchestration and recording with live musicians Workshops with Sound Design and Editing students: Abstract Film Workshop Without Images - a sound-only project Animation exercises Dramaturgy Workshop – focusing on script and script analysis, blocking and cover, and performance Editing the Scene - editing drama rushes to learn the basics of scene structure Productions Zen and Beyond - fiction workshop focusing on visual storytelling Documentary poetry exercise collaborating with Documentary Direction, Editing and Sound Design First Year Film – the major 1st year fiction production collaborating with all other departments Investigative Documentary - the major first year documentary production Cross Spec - an introduction to film language and storytelling involving all departments YEAR TWO Orchestration and recording with live musicians Improvisation Continued analysis of films 2nd year short fiction production, shot on a digital format Co-composing a feature film Graduation films in documentary, fiction and animation Unlike other schools, all production costs are met by the School. In addition you will be given a cash Production Budget. NFTS students are engaged in more productions as part of the curriculum than any of our competitors. ENTRY REQUIREMENTS The Composing MA course is part of the Post Production department, where we are looking to assemble a group of students with diverse and varied backgrounds. There is no 'typical' student or perfect candidate who conforms to a mandatory list of qualifications. You might have had some Industry experience in your chosen field, or a background in the arts or other media. You may now be looking for a further professional qualification, or wish to broaden your knowledge of composing for screen, taking you to a higher level of work. Students normally have a degree in music but applicants with equivalent practical experience are also accepted; some composing experience is preferred. We look for composers with a strong personal style, a flexible approach and an intelligent feel for drama and narrative. Candidates should normally be able to notate the music they wish to be performed acoustically, have an understanding of the main historical styles and be able to communicate with others using non-musical terms. It is essential that applicants have a strong and demonstrable interest in film. APPLY WITH Application Criteria On receipt of the application form, duly completed and signed, each applicant will be provided with a link and password to download two film clips. They will be asked to write music to each of these clips, and return their completed work as Quicktime video files with sound and music track, either as downloadable links or as DVD’s sent to the school. On being accepted for interview by the school, the applicants will be invited to bring further material that may be of interest for examination at the discretion of the interviewers. [-]

Master degree in Cinematography

NFTS - National Film and Television School
Campus Full time 1 year August 2017 United Kingdom London

Cinematography graduates are in demand in the UK, Europe and the US and go on to work in both film and television. Recent new graduates have found work as 2nd Unit DoPs on feature films, and have shot commercials, episodic television series and documentaries for Channel 4, Granada and BSkyB, as well as short films and TV programmes for a variety of independent production companies... [+]

Cinematography This course commences in January each year. This course explores the many ways in which the cinematographer participates in the collaborative process of translating screenplays into meaningful and stimulating films. Exercises, workshops, masterclasses and productions, supported by critical and analytical study of the history and development of cinematography, give students a solid foundation in the art and craft of their future career. The aim is to improve and expand the students' technical knowledge and skills using all of the above mentioned methods of image capture. Cinematography graduates are in demand in the UK, Europe and the US and go on to work in both film and television. Recent new graduates have found work as 2nd Unit DoPs on feature films, and have shot commercials, episodic television series and documentaries for Channel 4, Granada and BSkyB, as well as short films and TV programmes for a variety of independent production companies. TUTORS The Head of department is BAFTA and BIFA-winning and EMMY-nominated cinematographer Brian Tufano BSC, whose credits include Trainspotting and Billy Elliott. Other tutors who often teach at the school include award-winning commercials cinematographer Stuart Harris, Barry Ackroyd (Riff Raff, My Name is Joe), Sean Bobbitt (Hunger, Shame), Nina Kellgren (Young Soul Rebels, Looking for Langston) and Academy Award winner Billy Williams (Gandhi). ALUMNI Leading Hollywood cinematographers Roger Deakins (The Man Who Wasn't There, Fargo, The Shawshank Redemption), David Tattersall (Star Wars Episodes I - III, 007: Die Another Day) Oliver Stapleton (The Proposal, How to Lose Friends and Alienate People) trained at the NFTS. CURRICULUM Creative expression is developed alongside technical expertise. As well as film, training in High Definition, Digital Cinema and Digital Post Production is an integral part of the course. Visual storytelling is emphasised alongside the art of creating mood and evoking emotion through the right combination of composition and lighting. Working closely with students of other specialisations, student cinematographers have a creative involvement in fiction, animation and documentary films, commercials and multicamera television, lighting and shooting several productions during their time at the School. During the course students will be provided with tutorials, seminars, screen studies, workshops and master classes with specialist tutors and visiting professionals. All workshops and master classes are mandatory. Through Tutorials students will be guided towards finding their own criteria for self assessment and finding their own individual challenges. The aim of the tutorials is to encourage the student to get the best out of themselves through discussions and critiques with their peers and through an awareness of self. While supportive overall, tutorials will have an element of critique and challenge. They should allow the student to step back and reflect on their own work. Seminars will deal with stylistic approaches, principles of optics and photographic and video theory. Special attention will be given to the importance of relationships and interaction with other specialisations, like directors, editors, designers, sound and post production. Also, regular seminars and lectures will be conducted on Screen Art. Screen Art is crucial to broaden students' critical understanding of the art of cinema. This need is satisfied by providing systematic screenings, special events, seminars, discussions and analysis. These happen throughout the two year course. Workshops and Practical Exercises are designed to teach most aspects of traditional and digital cinematography - cameras, lenses, grip equipment, originating materials (film stock/tape), light meters, location lighting, studio lighting, day for night, night for night, filming in moving vehicles and also film grammar, crew roles, studio protocol, laboratory procedures and special visual effects. The aim is also to develop responsibility and professionalism. This is supported and overseen by the teaching staff, who aim to challenge and nurture the student’s talent without undermining their independence. Production Exercises provide a valuable experience in that they enable the student to work as part of a creative team. The cinematographer is able to utilise the skills and knowledge acquired whilst taking part in Workshops and Exercises. Unlike other Schools, all production costs are met by the school. In addition you will be given a cash Production Budget. NFTS students are engaged in more productions as part of the curriculum than any of our competitors. ENTRY REQUIREMENTS We are looking for people with innate talent. Therefore previous training in these areas is not mandatory but some basic technical knowledge is required. Experience gained from working in the camera department of the film and television industry is helpful but is not essential. You must have an understanding of the role of the Director of Photography and its creative and logistical responsibilities. You would also need to be able to demonstrate good communication and collaborative skills and leadership qualities. You must have a good understanding of “cinematic language” and demonstrate this in your submitted film material. We would like to see examples of your work that are exclusively yours. The showreel must contain fiction filming. It should demonstrate a strong visual sensibility and an awareness of the considerations of camera operating, composition and lighting and their potential for creating mood and atmosphere. Most importantly your fiction film should have a clear element of visual narrative and show your ability to tell a story with images, using all the elements that can be brought to contribute to it. This we refer to as “cinematic language”. Materials submitted with your application should be of a good technical standard. Provide an Authored DVD of your submission film(s) for playback in a non-commercial DVD player. We will not accept Data DVDs (no Quicktime files). APPLY WITH A short showreel on a DVD. We require a continuous narrative piece of fiction storytelling of not more than 15 minutes. You should clearly identify your role on the production in the titles at the beginning and end of the piece. it should clearly identify you as the camera operator and also the creator of the lighting design, i.e. that you are Cinematographer/Director of Photography each submitted item on the DVD must have original titles and credits at the beginning and the end work in progress is not acceptable we will watch the first 15 minutes if your showreel is longer than this [-]

Master in Printmaking (MA)

Middlesex University London
Campus Full time Part time 1 - 2 years October 2017 United Kingdom London + 1 more

With state-of-the-art facilities and expert guidance from some of the UK's leading academics and technical specialists, our course will enable you to explore both experimental and traditional approaches to Printmaking. [+]

Masters in Visual Arts in Greater London in United Kingdom. Why study MA Printmaking at Middlesex University? At Middlesex we take a highly practical approach to Printmaking that enables you to explore your interests and enhance your skills through experimentation, research and critical analysis. Flexibly designed to meet the ambitions of students from a wide range of creative backgrounds, including illustration, fine art, and design, our course will equip you with the advanced skills, contemporary knowledge and industry insights you need to develop your own practice to a professional standard. Based in our £80 million Art and Design School and taught by a diverse range of Printmaking academics and industry professionals, our course features world-class facilities and specialist workshops fitted with both new and traditional equipment. With opportunities to build industry contacts and exhibit your work off-site, you'll also gain the employability skills, exposure and experiences you need to navigate a successful career path in today's competitive creative industries. Course highlights - Our facilities are among the best in the UK with etching, intaglio, lino, letterpress, stone lithography, screenprinting, ceramic decal and glaze transfers available in a dedicated print workshop with specialist technical support - Access to innovative software and equipment across the School of Art and Design including a 3D printer, large format digital printer, dark rooms, photographic studios, laser cutters and metalwork workshops - An exhibition of your work in central London to create networking opportunities and build industry contacts in a professional environment - Direct access to London's art world with valuable industry links to a range of galleries, printmakers, businesses, libraries and collections that will enhance your research and inform your practice - Access to networking opportunities, world-leading research and expertise through the Art & Design Research Institute (ADRI) on campus - As a student of this course you'll receive a free electronic textbook for every module. [-]