Author: andrew

Quarantine Protocols

Possible exposure

If you’ve had close contact (as defined by the CDC) with a positive individual, follow the guidance below:

If your vaccination status is:

  • Unvaccinated
  • Vaccinated with Johnson & Johnson 2+ months ago and NO BOOSTER
  • Vaccinated with both doses of Moderna or Pfizer 5+ months ago and NO BOOSTER


  • Quarantine for 5 days from exposure (required)
  • Wear a mask for an additional 5 days (required)
  • Test on Day 5 (recommended)

If your vaccination status is:

  • Vaccinated with Johnson & Johnson 2+ months ago and received a booster
  • Vaccinated with both doses of Moderna or Pfizer 5+ months ago and received a booster


  • Not required to quarantine unless symptomatic
  • Wear a mask for 10 days (required)
  • Test on Day 5 (recommended)

Testing Positive

If you test positive yourself, alert the SAFER Team immediately and follow the guidance below:

If no symptoms:

  • Isolate for 5 days (required)
  • You may return to school on Day 6
  • Wear for 5 additional days on campus (required)

If symptomatic:

  • Isolate until resolution of symptoms, including 24-hours fever-free, for up to 10 days (required)
  • Wear a mask if returning before Day 10 (required)

The SAFER Team will evaluate the details of your case and provide a return to school date. No negative tests are required unless specifically requested by SAFER or the Department of Health.

Preparing for Orientation

New student orientation for new students is held Monday August 15th through Wednesday August 17th. It’s three full days of workshops and breakout sessions, so be prepared to work!

The primary goal of orientation is to give students a preview of the creative, collaborative, hands-on culture at the film school. It’s also a “pre-flight check” to make sure that all onboarding paperwork has been squared away and that students have acquired all the correct gear they will need for a smooth start to the year.


  1. Make sure you have all the technology and production tools from the list of required personal items. You’ll need them for orientation.
  2. Make sure you have your Driver’s License and Social Security card. If you don’t have an original Social Security card, you should go ahead and apply for a duplicate card ASAP.
  3. Make sure you have accident and health insurance that is compliant with FSU policies. Proof of insurance is required before orientation (and before registration each semester). If you’ve not already done so, you must either purchase health insurance or waive the requirement by entering in your insurance information on the FSU Student Health Insurance webpage.
  4. Read the Orientation Guidebook section of the FSUFILM handbook, which includes information about our mission and values, how we schedule classes, the ownership of student films, and our Professional Code of Conduct. We will address each of these areas during orientation, but please come to orientation familiar with the policies and ready with questions.


  1. Wear sturdy closed-toe shoes. Boots are ideal. Tennis shoes are fine. Flip-flops, sandals, ballet flats, and shoes that don’t provide protection for your whole foot are not appropriate.
  2. Wear comfortable clothes that you can physically work in. Layers are good because it can get hot on the sound stages but be cold in our classrooms.
  3. Bring all the technology and production tools from the list of required personal items. This gear will be checked on the first day of orientation to ensure you have what you need for classes.
  4. Bring a bag or backpack to keep your items in, along with a pen and paper.

Required Personal Items

Each student is required to have a set of personal items for use in classes and film productions. Please acquire all these items before the start of film school orientation. You will be asked to bring these items to the orientation to ensure that you have everything you’ll need to start the semester off without a hitch.


Most of the coursework will be completed using school production equipment and computers, but there is some hardware and software that each student must own:

If you are planning to purchase a new computer or software, and would like guidance on what to buy, contact Paige Roberts for assistance.


The following items are all required for students of all majors (Production, Writing, and Animation) since everybody participates in on-set production during the first year of the program.

Click here for examples of each of these items and recommendations for optional, additional items to have in your toolkit.

Orientation Guidebook


Congratulations on earning a spot at the FSU film school! We’re very excited to see the stories you’ll be cooking up over the next few years.

The FSUFILM Handbook (which you are currently reading) serves as an information hub for the work you’ll be doing at the school. Feel free to bookmark this page, which provides guidance on matters related to orientation and onboarding. We ask that you read through all the information connected to this page, and complete all assigned tasks, before the start of orientation in August.

Getting Ready

To begin your preparation for orientation and the upcoming school year, please read these guides:

  1. Preparing for Orientation – This page provides information on how to prepare for orientation in August. A more detailed itinerary for orientation will be posted here in early August.
  2. Required Personal Items – Each student is required to have a set of personal items for use in classes and film productions. Please acquire all these items before the start of film school orientation.

At the beginning of July, please also keep an eye on your email inbox for onboarding messages that will include additional tasks for you to complete before orientation. These will include: joining the college’s Slack workspace; communicating dietary restrictions; and completing onboarding paperwork.

School Policies

Below is some information about the mission and policies of the school. All new students are required to read these policies before the start of orientation in August. To ensure that everyone is familiar with this information, there will be a quiz and and you will be asked to sign a document that you acknowledge and agree to these policies.

Electronic Signature Options

Throughout the HITM process, you will often be required to secure a variety of signatures. When signatures are required, they must all be submitted on one form. Do not submit multiple PDF files, each with one signature. Also, because of how the Honors in the Major online portal reads e-signed PDFs, you should “print” the e-signed and completed form as a new PDF before submitting so that all signatures will remain visible once you have uploaded to the online portal.

Your options for securing electronic signatures include:

  • HelloSign – An e-signature platform with a free option to receive three signatures per month, or a free trial to receive unlimited signatures. Please note that if you opt for the free trial, you should choose the monthly option ($20/month) instead of the annual option ($180/year) in the event the trial ends and you are charged.
  • DocuSign – An e-signature platform free to use for FSU faculty and staff. You may either ask your faculty director to circulate a form on your behalf for signatures, or you may pay $10/month for a single user account for sending out up to five documents a month.
  • Electronic signatures on a PDF – All HITM forms have been formatted for electronic signatures. If your faculty director and committee members are able to sign a PDF electronically, you may circulate the same PDF file to each individual. 

F2 Specs

Content specs

Page count1-2 pages (assigned by faculty)
Story runtime2:30
Credits runtime1:08
Total runtime3:38
Quantity of scenes1 scene
Quantity of locations1 location
Quantity of characters2 characters

Production specs

Shooting days1 day
Length of workday6 hours
Earliest call time6:00AM
Latest wrap time12:00AM
Night shootsNo
Locations per day1 location
Distance to locationLocation set by faculty
Pick-up daysNo

Capture specs

Camera packageRED
Frame rate24.000p
Sensor mode7K FF
Capture resolution2048 x 1080 (2K)
Capture aspect ratio1.90:1
Approved mattes1.37:1 • 1:85:1 • 2.39:1
Capture formatMOV
CodecProRes 4444 HQ
Gamma/color spaceRWG / Log3G10
Color processingIPP2
Output color spaceRec. 709
Output tone mapMedium Contrast
Highlight roll-offMedium
Sampling4:4:4 12-bit
Bitrate302 Mbps (VBR)

Data allocation

Pages per day2 pages
Shooting ratio20:1
Data rate2.6 GB/minute
Data per page52 GB
Data per day104 GB
Total data104 GB
Dailies per day40 minutes
Total dailies40 minutes


Picture Edit

Pic edit softwareMedia Composer
Pic edit days1 day
Pic edit locationThird floor labs


Production soundSingle system
Sound design softwareProTools
Sound design days1 day
Sound design locationThird floor labs
Sound mix daysNot applicable
Sound mix locationNot applicable

Visual Effects

VFX scopeNone
VFX softwareNot applicable
VFX daysNot applicable
VFX locationNot applicable


Coloring softwareDaVinci Resolve
Coloring days1 day
Coloring locationThird floor labs

Prep Meetings (BTH)

Story Meeting

Required: WR/DROptional: PR/PD/DP/ED

This meeting is an opportunity for writers/directors and the Writing & Directing instructors to reflect upon the story. It’s an opportunity for the director to convey their vision and explore it with the faculty. The meeting will be primarily conceptual — more about dreaming than practical logistics — but we will touch on production elements where relevant.

  • Post the latest draft of the script to the show’s Slack channel at least 24 hours in advance.
  • Optional: Any visual references that might be helpful.
  • Optional: Any casting hopes or possibilities.

Casting & Locations Meeting

Required: DR/PDOptional: PR/DP

This meeting with the Acting & Directing instructors will begin the work of bridging the gap between dream and reality: how a mental image of a character might be brought to life through the casting of a specific actor, and how a creative vision of the story world might translate into the practical mechanics of building it. It is still an exploratory meeting, but one tailored towards how you might accomplish the grand vision — especially with regards to locations and casting possibilities.

  • Post the latest draft of the script to the show’s Slack channel at least 24 hours in advance.
  • Update the Scope Breakdown (Google Sheet) in advance of the meeting.
  • The characters:
    • Post all casting breakdowns before this meeting.
    • Bring pictures of your intentions.
    • If you’ve already cast a role: show a photo and discuss the qualities they bring to the role.
    • If you’ve not cast a role yet: share the feeling that a famous actor/artist may evoke for you, and then show your own approximation to that feeling from our own casting resources.
  • The world: 
    • Bring pictures of your intentions. For example, if Tallahassee must double for NYC, show pictures of the NYC you imagine and some possibilities in the nearby area for where you might shoot. Or, if a space ship is to be built, show some reference images and discuss how you will approach fabricating it. 
    • Address the plan for any other specifics that could be complex, such as VFX, props, make-up, costumes, etc.
    • Be prepared to also think outside of the box for alternative solutions — to enhance the storytelling, maximize production value, and/or address practical challenges.
    • Be prepared to think about how to reduce scope, if needed.

Production Logistics Meeting

Required: PR • Optional: DR/PD/DP

This meeting with the Head of Production is a follow-up to last semester’s logistics meeting. It will focus on reviewing what’s been accomplished since the last meeting and identifying what’s left to do, setting a plan in place for tackling any unresolved logistics.

  • Update the Scope Breakdown (Google Sheet) in advance of the meeting.

VFX Meeting

Required: DR/PR/VFX Supe (if applicable) • Optional: PD/DP

This meeting with the VFX instructors is only for shows that are planning visual effects. It’s a follow-up to last semester’s VFX scope meetings and will focus on the reviewing and approving of the show’s VFX breakdown.

  • Slack the VFX breakdown to JStone at least 24 hours in advance.

Director’s Prep

Required: DR/PD/PR/DP/1D/2D/AR

This meeting with the Directing & Cine instructors will focus on the practical plan for how the holistic vision for the film will be executed. These preps will take place a few days before the start of production, so all cast and locations should be locked. The exact format of the prep will be decided upon by the faculty and the creative team of each show; it could take place at a key location or at the school. The goal is to make this a practical, productive work meeting to help the shows get prepared for the shoot (rather than a dog-and-pony show) and students will have the flexibility to present their plan in a manner that best suits their process and the priorities of the show.

In advance of the meeting, students should share prep materials for the following in the show’s Slack channel and should be prepared to discuss them at the prep session:

  • The latest draft of the script with numbered scenes (shared at least 24 hours in advance).
  • Update the Scope Breakdown (Google Sheet) in advance of the meeting.
  • A director’s statement: a simple, one-page document that clearly states the filmmaker’s vision.
  • Visual references that convey idea behind the film: e.g., mood boards, tone clips, and/or look books.
  • Any other materials that the director may think are helpful in conveying their vision.
  • Definitive casting choices. Rehearsal notes, if present.
  • A cinematographic plan from the perspective of both the director and their DP. Any tests would be very much appreciated.
  • Coverage plans for each scene: e.g., storyboards, overhead diagrams, and/or lined scripts. 
  • The production board (header board and a strip for each scene in shooting order) and a provisional set-up schedule.

If there are any areas where there are still things that need to be figured out, students are encouraged to be candid about it so that we can use this prep time to discuss a plan of attack for those unresolved tasks.

The 1st AD will be tasked with taking notes during the prep, making certain to document faculty concerns and related resolutions. The 1st AD should have a complete understanding of any and all topics of discussion. They should be able by the end to enumerate the points made and possible alternatives after the meeting. They will also be responsible for the creation of an Action Plan to address notes, even if it means finding an alternative solution.

Contingency Protocol in the Event of a BTH Crew Member Being Out

If a crew member is unable to report to work during principal photography, they must contact the show’s Producer and the Head of Production (Tony) as soon as possible, and no later than two hours before call time. 

The Producer and the Head of Production will then work through the following steps in sequence to determine the most appropriate solution:

  1. If the Director (or double-partner) is unable to work, advance to Step 8.
  2. Call on the “standby” crew member to step in as a day player. If that is not viable, then…
  3. Check to see if having a smaller crew and consolidating positions will work. If that is not viable, then…
  4. Check to see if there is a BFA3 student who isn’t working that day and is available to fill in. If that is not viable, then…
  5. Check to see if there is a BFA2 student who isn’t working that day and is available to fill in. If that is not viable, then…
  6. Check to see if there is an MFA2 student who is available and interested in filling in. If that is not viable, then…
  7. Check to see if there is a BFA1 student who is available and interested in filling in, shuffling crew positions if the BFA1 isn’t adequately trained in the position that needs filling. If that is not viable, then…
  8. Postpone or cancel the shooting day, reworking the schedule as needed.

Key Filmmaking Principles



Anticipating concerns and having a robust safety plan in place for production is of critical importance. This starts with writing and development, reducing risk factors by being mindful of what will be required to actually shoot the words on the page. Tech scouts at locations will be a particularly crucial step in this process, to think through a plan for how the space will be used and how each day of production will run.


When we don’t keep production scope in check, we inevitably end up fighting the clock and safety measures get compromised as we scramble to make our day.


Protecting those individuals whose job requires them to work for periods without a face-covering — our actors, most notably — is a high priority. The zone system helps with this to designate different spaces where specific activities take place:

  • ZONE A – UNMASKED-ACTOR SPACES This is a perimeter created for when performers need to work without protection. This is typically when first team comes in to shoot the scene and the set is cleared of all non-essential crew members.
  • ZONE B – ALL OTHER WORKS AREAS Anywhere else the production has a footprint is Zone B. This needs to be a controlled area with a secure perimeter that prevents non-approved people from entering the space. The only entry to this zone is through a reception checkpoint.
  • ZONE C – THE OUTSIDE WORLD This is everywhere beyond the perimeter of the production.

Program Still Template

Production Paperwork


This is a template to ensure that the stills in the program for graduation are all formatted correctly. The instructions are pretty straightforward:

  • Once the program still has been decided, drop the still into this template
  • Make sure the image fills the entire template (edge-to-edge, no black bars)
  • Export as a .jpg file at 300ppi resolution