Stanford University’s innovation fuels creativity at Summer Camp !

Spring has sprung here in Silicon Valley, and before you know it, the school year will come to a close. We’re thrilled about Digital Media Academy’s summer camp lineup at Stanford and hope your 6-18 year old will join us for a week or two … or more!

Digital Media Academy offers both residential sleepaway and day summer camp options on Stanford’s picturesque campus, just minutes from downtown Palo Alto, in the heart of innovative, dynamic Silicon Valley. Whether you’re local, hosting grandchildren, or bringing the family out for a visit, Stanford University is the ideal location for US summer camps to explore filmmaking, game design, web design, photography and all the creative digital arts.

While the kids are soaking in the Stanford University summer camp experience, and learning to create visual effects for future careers with Avatar 6 or World of Warcraft, you’ll have prime access to all the Bay Area has to offer – San Francisco Giants or Oakland A’s baseball, Wine Tours in Napa Valley and the Santa Cruz Mountains, and beaches in Santa Cruz, Half Moon Bay, and Marin County.

As we’re an Apple Authorized Training Center, you can explore Digital Media Academy’s adult classes at Stanford University, regardless of whether you’re a seasoned pro or avid hobbyist.

One of our Stanford University summer camp instructors, Melanie Levy, is a professional documentary filmmaker and video producer. She recently reflected on the broad diversity of previous Digital Media Academy students, and she’s excited to guide this summer’s aspiring filmmakers through the documentary process.

Simply click here:  Stanford University Summer Camps to see class availability and instructor bios at Stanford. We look forward to meeting you and teaching your child this summer!

By Melanie Levy

Last summer’s documentary course drew a broad range of students. Some hailed from careers in education, others were budding directors with documentaries of their own already in the works, and others worked with organizations that hoped to harness the power of media in order to effect social change. All had a passion for the craft of filmmaking and for understanding the tools and traditions of the documentary form.

The fascinating thing about documentary is that every background offers a unique and powerful way into the practice of making movies and new opportunities to examine the world around us. I work as a director of documentary short films, as a producer and associate producer on a variety of projects for theaters and television, and on documentaries made in order to further a particular social goal. In documentary, the breadth of possible applications offers countless possibilities on form, style and approach. Whatever the purpose however, the major questions  inevitably return to story, visual style, and character. How can we find documentary topics that tell the story we feel is most important to our vision? How do we strategically plan production in a way that allows our most compelling stories to develop in a visual way? What are the tools we have to draw upon once we figure out the story we most want to tell?

For a form that has as many various applications as documentary, breaking down the tools and approaches for development, production and post-production is a powerful way to harness the potential of media for whatever the purpose. From education through production to social action, finding the pieces that will drive your story forward is key.

This summer we’ll not only draw from real life case studies, and hands-on production exercises, but we’ll also look to the films that have broken ground in documentary in recent years and the directors who have brought true stories to life on the screen in new and surprising ways.  We’ll experiment with equipment, explore documentary topics and approaches, and collaborate on establishing the tools you need to tell the stories you most want to tell.

The bouncing ball has been a staple of animation classes for a very long time. While bouncing balls don’t become the stars of the latest animated blockbuster, their simple animation can easily add life to project, no matter what you’re making.

The bouncing ball combines so many animation elements, not to mention, how gravity affects an object.

Getting the Ball Rolling
I’m going to take you through the process of animating a bouncing ball in Maya. This basic lesson can help anyone learning to animate in Maya.

This tutorial will be in three parts.  The first part addresses the basics of setting the keyframes on the ball so that it moves through space. The second part will then take those initial keyframes and make a pretty decent generic-looking bouncing ball out of them.  Finally, the third part will take that generic-looking ball and adjust it so that it looks like something more specific, like a beach ball or a baseball.

First, let’s take a look at some examples of bouncing balls in animated short films:

Pixar’s Luxo Jr. gets playful with two types of balls on Sesame Street.

Purple and Brown, a short that ran on Nickelodeon showcases how a simple ball can make for funny animations.

The Ball Bouncing
First things first. Before we can animate a believable bouncing ball, we need to know how an actual bouncing ball reacts when it bounces. Go find a nice rubbery ball – and drop it on the floor. Watch how it reacts to gravity. You could also videotape the ball in action and play the video back frame by frame. I always encourage students to investigate real world objects they’re trying to animate – in this case, experiment with different types of balls, a tennis ball, a golf ball, etc. You might not see it now, but this will come in very handy for the second part of this tutorial when we’ll be making a ball move like it’s actually made of something besides pixels.

A real bouncing ball can be a great resource for an animator.  

Now you’re ready to get started animating in Maya (I’m assuming you already know some of Maya’s interface – if not, then review the Autodesk Maya documentation and introductory tutorials). First, make sure you have the viewport and timeline showing. Now give yourself enough time for a decent animation, say, 60 frames. Don’t worry, if you need more, you can add it later.  Also, it will be easier if you have auto-key mode set to “on.”  The only other element you need is a ball. That’s pretty simple, just create either a polygonal or NURBS sphere. The size and placement won’t matter for this lesson.

Initial Keyframes

Step 1

Start on frame 1.  Set the viewport to the front view.  Move your sphere somewhere up (+Y) and to the left (-X), place the object “up in the air,” so to speak. Now press “S” to set a keyframe for all the attributes.

Step 2

Now, move ahead in the timeline to frame 9 (just an arbitrary choice – we’ll adjust timing later).  Move the ball down (-Y) and to the right (+X) so that it looks like it’s hitting the “ground.”  The auto-key setting should automatically set a keyframe on the changed values.

Step 3

Move ahead to frame 17 and once again move the ball upward (+Y) and to the right (+X) so that it looks like it’s in the air again.

Step 4

Move forward to frame 25 and move the ball down (-Y) and to the right (+X) so that it is on the ground again.

Step 5

Repeat the last couple steps, putting the ball in the air at frame 33 and on the ground again at frame 41.

Pause and Evaluate
Now play back the animation you’ve created. Hmmmm…it’s moving through space at the correct points, but it doesn’t look like a bouncing ball – it’s more like a floating ball.

To polish our animation, let’s use one of Maya’s tools: In our “Animation” menu set, under the “Animation” menu, there is something an option called “Create Motion Trail.” Click on the option and set it to ”line” and “show frame numbers” like below.

With the ball selected (important!), click on “Create Motion Trail” and you should see a line describing the movement of the ball through space.  You can see it makes a wavy shape, like below.

We’ve come a good way to making our bouncing ball look believable, but we need something that better resembles a bouncing shape, like a series of arches. To do that, we’ll have to open and work with animation curves in the graph editor.  That’s Part 2 of this tutorial…

Continuing the Lesson
Learning Maya isn’t as hard as you think, Digital Media Academy offers courses in Character Creation and Animation using Maya, in fact I teach some of those very courses, but you have to do your homework to create realistic animation. So what do you say, ready to move onto Part 2?

Part 2:  Learn Maya Animation

Part 3:  Learn Maya Animation

Learning Maya Animation One Step at a Time

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By Lisa Ratner, Lead Instructor

As I prepare for Summer 2010 Stanford Filmmaking Adventures Summer Camp I am reminded of the successes of 2009. The project that always yielded the most creative and witty videos was the “Commercial.” The students’ task was to select a product and sell it to their audience. (An assignment quite familiar to professionals in the media world). Yet at Digital Media Academy the demand to produce high bucks is replaced with the enjoyable pressure to create high laughs at our End of Summer Camp Film-Festival.

First, we reviewed the 4 stages of film-making: Pre-Production, Production, Post-Production, and Exhibition. This enabled the students to really plan all aspects of the project before they filmed — an essential skill. Then the brainstorming began. The costume box was transformed from neat & tidy to the delightful whirlwind of a creative mess. Debates over wide-angle shots versus close-ups competed with the sounds of furious typing at the keyboard so the script would be ready in time for the production phase.

“Camera ready?” the assistant director calls out.

“Ready!” the cinematographer answers.

“Actors Ready?”

“Ready!” pipes a lion-dressed “salesman”

A kid from the web design class sneaks in to watch the action.

“Camera Rolling”

“Action!”

To me, the most fulfilling thing about being a film instructor is seeing the kids come out of their shells. When they perform in front of the camera, even the ones who seem “too cool” or “shy” simply can’t hold back and they shine brilliantly. I can see the surprise on their parents’ faces during the film festival. It is truly exciting.

Since last summer at DMA, I’ve been producing video tours and websites for a real estate company. I’ve been itching to return to DMA to see what kind of parodies these kids can make of video tours! It’s going to be a blast!

Do your kids long to be in film production?  Check out film school with Digital Media Academy this summer!

By Kevin Appel, Digital Media Academy Instructor.

*Note: I am not advocating DMA as a replacement for a college education. Rather, I am suggesting it as an appetizer, if you will, to make sure you’ll like the main course.

I’ve never been much for gambling. The prospect of taking something valuable of mine and putting it up against the unknown on the off chance that my bet paid off never seemed like a particularly savvy thing to do. Therefore, it may come as some surprise to some to learn that one of the biggest decisions I have made to date in my life was a bit of a gamble.

That decision was deciding what to study in college. The question, “what do I want to do when I grow up?” rears its ugly (hideous, even) head for everyone at some point. And one day, I’m sure that question will probably come up for me, too.

But that question’s evil little sibling of a query is “what am I going to go to school for?” I consider myself lucky, because at the tender age of I-forget-how-old-I-was-when, I saw some Saturday morning TV show that left a permanent impression on me. If I can recall correctly from my days as a second-grade terror (I think that’s when it was, at least), that show was titled “Movie Magic,” or some such. And it made a part of my weekly routine. On some network or another, every Saturday, they’d fill my little head with dreams of creating movie visual effects.

As I grew up, my experiences with computers grew. I became a nerd, and got into online gaming. I became a bigger nerd, and got into mods for those games. I became a bigger nerd still, and learned how to edit them myself. For the most part, I would edit textures on 3D models in games to change my favorite characters’ shirt, or face, or edit my face into a hockey game so I could be a bigger nerd.

Eventually, though, I came to realize that as computers got bigger and badder, 3D animation did, too. And not only that, but video games kept getting better and better, and soon games and movies were using a lot of the same 3D animation techniques. So, now-17-year-old-me thought, “I keep with this hobby, so I can work in either field when I grow up!”

And so, I made my gambit. I applied to a big fancy-shmancy school that had enough money to buy all the latest and greatest software and workstations and labs. And with big, fancy labs came big, fancy tuition.

I am happy to say that I was right. For me, the gamble paid off.  I did love 3D modeling and animation. The desire to create fantastic wonders the likes of which I’d seen in countless movies as a kid stuck with me all these years, carried through my college education, and has now brought me to DMA.

My gamble was that I chose to get an education in 3D animation (and some other stuff) without ever knowing if I’d actually like it. What if I could not grasp the software? What if it was all too complex, if I was no good at it? All of my tuition dollars would have been wasted, at least for my freshman year, after which I would have had to transfer to another major (assuming my University would have allowed it), or go to another school, or jump through any number of hoops just to try to find something else that I liked.

College is expensive, especially if you’re looking at a very technical field like 3D animation and want to have access to the newest tech. For me, it was a necessity. I didn’t have access to the software I needed, or more importantly, the know how and instruction I needed to make the sorts of crazy things I’d always dreamed of. It is possible to dig through this stuff enough to learn it on your own, eventually, but what if I had had an alternative? How much more sure of myself could I have been, coming into college, if I had had the chance to get my grubby little paws all over Maya, or 3D Studio Max, and start pushing polygons around so I could make the animation, video game level, or random abstract whimsical thing that I wanted to?

For me, the gamble paid off. I did love 3D modeling, and I could eventually make stuff like this.

I didn’t have that option – but today, Digital Media Academy offers fancy PCs, the latest software, and experienced teachers who’ll answer all the questions you can throw at them without investing in 4-5 years and many thousands of dollars.  That’s not to say a one-week summer camp takes the place of a full education.  But it helps to get a taste before committing to school. I’m proud to be one of those teachers, because my gamble paid off and I hope I can make the choice and learning curve easier for some grubby-pawed kid to make the next great animation or game for the still-nerdy, present-day version of me to enjoy.

See you this summer, everybody…but please, wash those grubby paws before you lay hands on our computers. They’re shiny. (Just a suggestion.)

The first position we will tackle while exploring careers in music, film, and digital media is Producer. The name alone just makes you sound important. Sometimes I wish credits would come up after most of life’s routine activities just so I could see my name next to that title.

(Appearing separately fading in and out because I hate scrolling credits)

Weekly Shopping at Trader Joe’s

Created by Hunger (a.k.a unnamed artist)

Producer – Seamus Harte
Director – Brian Raslin
Cashier – Steve Wilcot
Bagger – Amy Rolsen

Now as silly as that may seem, it actually does give us an idea into what a Producer, or even Producer for that matter, actually does. We will focus specifically on what a Music Producer or Film Producer or TV Producer does in individual blogs to come. For this one, let’s just focus on the general duties of a “Producer”

A Producer does exactly that PRODUCES. It is the producer’s job to make sure that a project gets done in a timely manner that is on budget and within the original scope of the artist’s intentions.

Let’s use the idea of me shopping at Trader Joe’s to further explore this point.

Let’s say someone hungry came up to me and said, “Yo man, I’m hungry, here’s $37.84, can you make me not hungry?” Let’s say this unnamed hungry man is the artist and him being “not hungry” is his artistic goal. He has given me artistic direction and there is a source of funding (his own $37.84) I have just become the Producer.

As the Producer I now have the goal of getting “unnamed artist” his artistic goal achieved of no longer being hungry within a budget of $37.84 and an unspoken time frame of “sooner than later”.

I have some decision to make. That is my job.

We assume I’m going to Trader Joe’s because that is what I said earlier but let’s say I just found out that the closet Trader Joe’s is 40 miles away and the closest Whole Foods Market is around the corner (arguably more expensive but equally if not superior quality of food)

I could go to TJ’s but this is going to cost me for a cab ride not too mention the time I lose traveling the 40 miles and TIME IS MONEY. As the Producer I decide to get the project rolling and save time and travel so we go to Whole Foods instead. Plus the money I save on not having to pay for transportation will make up for the mark up in price at Whole Foods. First Decision Down.

We’re in Whole Foods and it’s time to get to work. “Unnamed Artist” (who at least now get’s each word capitalized) mentioned something about sushi. I could dart for the premade California rolls by the Ready to Eat Edamame, but my artist wants to be original and so I decide to start from scratch and we will make our own rolls. Second Decision In The Bag.

Now I’m a Producer not a sushi chef so I decided to employ some outside consulting. I ask the cute girl in aisle 3 what she knows about sushi. “Nothing” she replies and points out the not so cute older boy version of her in aisle 4. Bummer. But the show must go on. “not so cute older boy version” (he doesn’t get capitalization….yet) kindly explains all of the ingredients I will need to purchase to prepare a fine California Roll and points out where to get them in the store. Third Decision. Bam.

With the freshest ingredients in hand and still under budget (total cost $32.67) I head back to the “Unnamed Artist’s” house to complete the project. Upon arriving to the “Unnamed Artist’s” pigsty of an apartment I quickly make a decision. “Do you have a girlfriend.” “Yea…” he replies in interest of inquiry. “Does her kitchen look anything like this?” “No” he exhales “her apartment is the cleanest thing I’ve ever seen.” “Good” I say, “Let’s head over there.” Fourth Decision. On The Run.

We make it to his girls place. We put together an amazing California Roll and we enjoy our meal while watching reruns of Adult Swim on Cartoon Network.

This is the life of a Producer.

I took on a project and I PRODUCED results. I didn’t know what questions would come up or what issues would need to be resolved. I rolled with the punches while keeping the end-goal insight and I produced the final product in a timely manner that was under budget and most importantly true to the artist’s vision.

If you recall in the beginning of this blog when I was imagining my name next to Producer credits, I also mentioned some other people in the production process. In a confusing step I then proceeded to explain the production process when a Producer is essentially doing everything and is the only one involved, this would typically be something you see in a low budget production. In the next blog I’ll explain the differences of a Music Producer, Film Producer, and TV Producer. Until then…

Become your own Producer when you attend “Come Together: Music and Video Production” this summer at various locations and learn how to produce your own ideas from concept to delivery.

Sign up for the classes I’m teaching in Stanford and maybe I’ll bring in some homemade California Rolls with ingredients I bought fresh from Whole Foods.

Probably not though.

But I will teach you how to Produce some cool music videos.

Introduction to Digital Photography and Photoshop Summer Camp

By TOM TUTTLE Faculty, Digital Media Academy , Digital Photography and Photoshop

Last summer’s Digital Media Academy Introduction to Digital Photography and Photoshop summer camp course was a classic. Every class seems to have an extraordinary mix of people. This past summer we had a gentleman who came from Tokoyo, two high school teachers and great mix of five high school students. Some had a little photoshop experience and some had photography experience.

One of our high school students decided her passion was photography and sent me the following e-mail just last month:
“Hello Mr. Tuttle!
I just wanted to let you know that I was accepted into the school of Photographic Arts and Imaging at the Rochester Institute of Technology (RIT)…”

For those not familiar with RIT, it is one of the top three photography schools in the world.  A portion of her portfolio came from her class at Digital Media Academy. This photo was chosen as the most outstanding image of the week; selected from over 3,000 photographs taken.

Every course is different. We do a survey of what students want to learn and then mold the class to include those topics. Last summer, we covered outdoor portraiture, close-up & macro photography, architecture and special effects.

Doug Larsen is a multimedia professional hailing from Ohio. Doug spent a year on the road as a producer for the John Lennon Educational Tour Bus. When Doug was hired he had just graduated from University of Miami and his polished chops were really in the departments of songwriting and keyboards. He had no formal training in the areas of digital video production. Oh, how the times have changed.

Doug is one cool cat.

He’s also a very lucky cat.

When Doug was hired on with the Lennon Bus a couple years ago we picked him up at the very end of our tour season. This is typically in the late fall and it’s also the time period the crew spends training on all of the latest and greatest hardware and software from our many sponsors. At this point in time the Lennon Bus and Digital Media Academy had a fairly new relationship and one of our first experiences together was to train on Final Cut Pro, Motion, Logic Pro, and After Effects and become certified in these programs in just under 20 days while we stayed at a Bed and Breakfast in San Francisco.

It seems like an insane task and it was, but we all made it through. Not only did we survive but we came out with endless knowledge of the programs and freshly printed certificates to go with it.

Doug learned a lot in those 20 days. We all did.

Since then Doug has entered in two contest for Smule. He was a finalist for the “I Am T-Pain App” contest and he is currently a contender for Smule’s latest contest.

I love these videos. Not only because they are hilarious, creative, and well crafted, but they also come from a friend of mine whom I was able to watch go through the process of learning how to utilize digital media to fully express his ideas. Doug is a great songwriter, but he is also a great music video director and he may of never had explored that avenue had it not been for the DMA training we went through to polish our chops.

Help Doug by watching this video and voting for him!

Friday Night Grind: SMULE ReMix – Legendary Johnson

And be sure to check out this video that Doug did for the “I Am T-Pain App” contest. It’s a great video and it gives some insight to living on the Lennon Bus. Enjoy!
I\'m On A Bus

In 2005 I had a problem. I was enrolled at Michigan State University and I was studying Construction Management and oh, right… I was miserable. At that time I was teaching myself how to play the guitar and I was completely in love with it. I would sit in class (those that I even attended) and just wait for that hour to come when I could run home and work on another song I was writing. I hated school.

I would eventually come to realize that I didn’t hate school; I hated what I was learning. I had no interest whatsoever in Construction Management, my father had a small family construction business and picking that “Major” just seemed like the logical thing to do.

One day I had the radical thought of pursuing a career I loved. I had to think… I didn’t care for much of the classes I had enrolled for, so now what? Oh wait!

“There is that guitar that I run home to everyday after class, I mean, I could become a Rockstar” thought 2005 Seamus. “No, that’ll never work, people will be too distracted by your good looks and not love you for your music” said Seamus’ voice inside his head. “True” sighed 2005 Seamus. “So then what do I do?”

I realized that I loved songwriter, and more so just a writing, but those are rarely sole breadwinner. So I did what any modern young man does when he’s lost in the maze of adulthood.

I Googled.

I Googled “Music Production and California” and found a college that provided for me a degree and an education in what goes on behind the scenes of media. I knew all this “tech” stuff was the furthest thing from what I was comfortable with, but I also had a feeling it was the closest thing to what I wanted to accomplish – giving birth to my ideas in this big, big world.

What I have become aware of in the past 5 years has left me dumbfounded. Since graduating from Ex’pression College, working on board the Lennon Bus, and working with Digital Media Academy, I have found more avenues of work in digital media than I could have ever imagined. What’s even better for me is that whether I am working on music or video my love for writing always finds a home.

Most parents look at the Music and Film industry and don’t see many career options. They look and they see movie stars and they see rock stars. And let’s be honest, that’s what most of the kids see too. But once you take a look closer you’ll find there is a lot going on behind those Hollywood curtains.

Here are some of the many high-end creative jobs that are involved with the music and film industry (this does not include the 100’s of other jobs done by other skilled crew and staff):

Executive Producer
Producer
Director
Assistant Director
Director of Photography
Editor
Assistant Editor
Sound Editor
Sound Mixer
Sound Designer
Visual Effects
Art Design
Makeup
Audio Engineer
Audio Producer
Songwriter

I have had the pleasure of learning many of these positions over the past 5 years and I’m going to spend the next few blog entries to go into some of these in depth and share with you the many creative outlets and career openings there are in such positions. And if you have any questions about something I didn’t add, just shoot and I’d be glad to go over it.

When I was at Michigan State I was unhappy. But I was unhappy because I was oblivious. I was oblivious to all the opportunities available in the world that could truly benefit from my talents. Once I opened up my eyes just a peep a whole flood of insight came pouring in and I realized I could find a career in what I loved to do. Sometimes it takes one opportunity, one moment, one summer camp to realize your dreams don’t have to be something that happen with your eyes closed.

These are not just positions available in the film and music industry but also experiences you’re introduced to as a participant in one of the DMA Summer Courses or even the Pro Courses. Who knows you could be an aspiring Director that falls in love with editing, or you could be a young student that learns their eye is behind the lens.

Stay tuned to learn more about the positions and be sure to enroll for you’re class before March 31st to save on DMA’s Spring Special!

By Ben Jaffe, Digital Media Academy Instructor

It seems like every year, all the major software companies come out with new versions of their software.  Usually the companies tout the new revolutionary features in the latest version, and though the features seem useful and exciting, it is often tempting to ignore those companies and choose not upgrade.  After all, it means spending money on the upgrade, and devoting your time to learn the new features.  Several non-upgrades later, many people suddenly find themselves way behind the curve.  Their skill set becomes more and more outdated, and the learning curve on the latest and greatest version is steeper than ever before.  This happens all the time to people who have been in their industry for years. 

Although buying every single software upgrade may break the bank, it is definitely important to at least be aware of new features and workflows as they are introduced.  Especially in technological fields, it’s important to remain informed; technological fields are unique in how rapidly they change.   Just as skipping the latest upgrade is tempting for you because of money and time concerns, it is often even more tempting for training centers to skip.  In fact, some training centers still train on Flash and Dreamweaver MX 2004!  Those versions were released when Macromedia still owned Flash, many, many years ago!   Those centers haven’t paid for new software in years, but their training is becoming more outdated and useless to the students with every new version.  Ultimately, if your training center is not up to date, you can’t be either. 

 As an instructor, I have always been impressed by Digital Media Academy’s policy on software.  They definitely understand the importance of developing their courses around the latest versions.  For example, back when Final Cut Studio 2 was announced only two months before Digital Media Academy’s summer camp started, Digital Media Academy coordinated with Apple to get versions of the new software in time for their summer Adult, Teen, and Adventures camps.  Everyone who took DMA’s video courses that summer got trained on software that most video editing houses didn’t even have yet!  With Digital Media Academy, you can be sure you are getting up-to-date training on the latest versions of the software. In fact, having the latest version ensures that the instructors are up-to-date as well. Digital Media Academy only hires proficient instructors with real-world experience for their courses.  This definitely raises the bar above other camps, and keeps the bar raised high from year to year. 

 From an instructors viewpoint, it is impressive and reassuring that Digital Media Academy has such a reliable and responsible outlook on software upgrades.  Even if you don’t personally upgrade to each new version, spending a week or two at Digital Media Academy with the latest versions of the software will certainly keep your brain up-to-date and help you excel.

Heading off to training?  Check out Digital Media Academy’s Training Centers for Adults

Digital Media Academy offers training for adults at Stanford University, University of Texas at Austin, University of California San Diego, and Harvard University, as well as the Silicone Valley training location.  Current training opportunities include Final Cut Pro 100, Final Cut Pro 101, Final Cut Pro 300 Advanced Editing, Documentary Filmmaking, Flash 11, Certification Programs, and more.  As a Certified Apple Pro Aps Training Center, Digital Media Academy offers the training you need to suceed. 

What about kids summer camp?  Read more here:  Summer Camps