Author: Tony

Thumbnail Templates

Production Paperwork

Horizontal thumbnail template

Vertical thumbnail template


Thumbnail images will be used in displays online (Vimeo, YouTube, etc). Since some websites use horizontal thumbnails (1920×1080) and some use vertical thumbnails (1200×1600), you will deliver one of each.


  • Save a flattened JPG file (maximum file size 2MB) and a layered PSD file (also deliver any custom fonts used).
  • Keep all of your layers inside the appropriate folders, so that everything remains well-organized when you deliver the final Photoshop file. Make sure all of your layers have appropriate names, so that someone else could make sense of what each layer is.

Do Not:

  • Do not adjust the dimensions or resolution of the file. It’s set up to meet the specs needed for online viewing.
  • Note these online content restrictions for the thumbnails:
    • No nudity or sexually provocative content
    • No hate speech
    • No violence
    • No harmful or dangerous content

Documentary Reporting

Project Meeting

The Director(s) of each project will have a required Zoom meeting with Valerie some time during the project’s production window. Each team should schedule those meeting times with Valerie and add them to your Production Schedule in Google sheets.

Daily Reporting

Each group must post a report in the group’s Slack channel by midnight (EST) every day from Feb 27 – Mar 18. Missing, late, or incomplete reports will result in a grade reduction for all members of the group. Directors should post on their shoot days, and anyone can post on non-shoot days.

Each day’s report should include the following information:

1. Wellness Check

  • Indicate whether everyone is feeling OK, or if anyone has any COVID symptoms, such as a fever, chills, shortness of breath, coughing, sore throat, fatigue, body aches, nausea, and loss of smell or taste.

2. What did you accomplish today?

  • A short summary of the day’s events

3. Photo of the day

  • If it was a shoot day, then include a behind-the-scenes photo demonstrating COVID protocols were utilized (e.g. camera 6 feet from interviewee).
  • If it was not a shoot day, then any photo that is indicative of the day’s events.

4. Any additional concerns

  • Any incidents, accidents, delays, equipment problems, etc.

Budget (Doc)

Each student will be allocated $140 to go toward documentary production expenses. These funds can be used in the following categories:

  • Petty Cash (which includes production design, production supplies, music or stock image licenses). You can pay for these expenses out of pocket, then get reimbursed.
  • Travel (if traveling away from Tallahassee, can include fuel, airfare, lodging, car rental, and meals). With the exception of fuel and meals, the school needs to book these expenses directly for you in advance. Do not pay out of pocket for any of these if you plan to use the school funds. You can pay for fuel and meals out of pocket, then get reimbursed.
  • Services (if you need to hire someone, like a composer). The school needs to pay for services directly, and this must be initiated at least 1 week prior to services beginning.

In order for the funds to be released to you, each student will need to submit a Budget Sheet to the Head of Production showing how you intend to use those funds. Once the budget is approved, instructions will be provided on the process for using those funds depending on which category your expenses fall within.

This is a “use-it-or-lose-it” budget.

Doc Schedule Overview

Jan 6 – Feb 26Development & Pre-Production
Feb 11-12Doc Group Production Meetings
Feb 15-19Individual Meetings
Feb 23-26Doc Group Greenlight Meetings
Feb 25-26Equipment Check-Out
Feb 27 – Mar 18Documentary Production
Mar 22Equipment Check-In
Mar 19-29Paper Edits
Mar 30 – Apr 14Post Production
Apr 18Documentary Screening

D1 Handoff Chart

Below is a chart showing the handoff of the following items from one show to the next during the D1 cycle.

  • Critchfield Keys
  • Production iPads
  • Media Cards
  • Walkies
  • Craft Service Bins
  • Director’s Viewfinders
  • Script Supervisor Laptops
  • Camera Batteries

Map to Critchfield Hall


Critchfield Hall is located approximately 10 miles northwest of the school’s main home in University Center A:

When providing directions to cast and crew, you can use the PDF above or share this link to Google Maps.

Pro tip: When heading towards Critchfield Hall, the final traffic light you hit (right after you pass the I-10 freeway) requires a complete stop on red. There’s a good chance you’ll get a ticket if you roll through on a red.

Producer Responsibilities (D1)


  • Meet with the Head of Production to discuss the project you are producing.
  • Complete a Location Agreement and Shooting Plan with the Head of Production for the space(s) at Critchfield you intend to use.
  • Organize the Tech Scout of the location with the ATL. Establish where the restrooms, parking, staging, base camp and set will be. Complete a Location Hazard Assessment Checklist. If any location hazards, then also complete a Hazard Notification Report.
  • Have each actor sign a Performance Agreement.
  • Break down the script and create the Production Schedule in Scenechronize.
  • Create a Setup Schedule with the DP.
  • Prepare all scheduling information and other materials required for Directors Prep.
  • Attend Directors Prep and takes notes for the Director.
  • Assist the Director with any and all logistical needs to prepare for principal photography.
  • Run the Production Meeting by reading the action of the script. Answer crew members’ questions. Have each crew member sign a Crew Deal Memo.
  • Prepare all the paperwork needed on set.
  • Check the weather periodically to monitor adverse conditions. Have a back-up plan.
  • Pick up Craft Services by the night before production.
  • Have a Greenlight Meeting with the Head of Production, during which you will:
    • Show all completed Location Documents.
    • Follow through on any questions that were brought up in the previous Producer Meeting.
  • Following the D1 Handoff Chart, pick up the pertinent items from the Equipment Room.
  • Double check every logistical piece of information and make sure nothing has been forgotten.
  • Create the Call Sheet, including a map, and email it no later than 12hrs before call time.

On Set


  • Arrive at set FIRST, 30 minutes to an hour early.
  • Establish Base Camp.
    • Set up Zone B Checkpoint with Walkies, Production iPad, and forehead thermometer where crew will check in when they arrive.
    • Set up Craft Service table where crew will collect their snacks during check in.
  • When trucks arrive, verify they are parking in the correct place.
  • As crew members arrive, take their forehead temperature, check them in using the Production iPad, and hand them a walkie.
  • Give the Script Supe laptop to the Script Supe.
  • At call time, have a Safety Meeting with the entire crew. Complete the Safety Meeting Report.


  • Run through the 1st AD Set Procedure: Block, New Deal, Build, Rehearse, Shoot…
  • Manage the time on the set by keeping up with the Setup Schedule. Adjust schedule as needed.
  • Look ahead to next setups and make sure departments are prepared and working ahead.
  • Verify with volunteer or caterer that lunch will be brought to set in time to set it up prior to releasing for lunch.


  • Six hours after Call Time, release the cast & crew for lunch.
  • Make periodic announcements on time remaining on lunch.
  • Make sure lunch does not exceed one hour.


  • At Camera Wrap, make sure crew sanitizes equipment while wrapping safely and efficiently. Make sure to have Company Wrap on time.
  • Complete the Performers Time Report, and have the actors sign it before they are dismissed for the day.
  • Make sure 2nd AC, Script Supe, and Sound Mixer meet at end of day to verify their reports. Have them give you all reports.
  • Collect the camera card from the 2nd AC, and the sound card from the Sound Mixer.
  • Have crew members sign out using the iPad. Once all crew has clocked out and returned their walkies, plug in the iPad and walkies for the next day’s production. Monday Producers can hold on to the walkies and return them to the ER by 10am on Tuesday; and hold on to the iPad to return to the Head of Production by 10am Tuesday.
  • Once the Script Supe is finished with the SS laptop, then pass that laptop to the crew member who is the Producer in pre-pro the following day (i.e. the Friday Producer passes it to the Sunday Producer; the Saturday Producer passes it to the Monday Producer). Sunday and Monday Producers can hold on to the SS laptop to return to the ER by 10am Tuesday.
  • Clean and secure location. Be the LAST TO LEAVE (except perhaps Art Dept). Leave the location better than when you arrived.
  • Pass the key to Critchfield to the Producer for the next day’s production. Monday Producers can hold on to the key and return it to the Head of Production by 10am Tuesday.
  • Complete the Daily Production Report and distribute within 2 hours after Company Wrap.


  • Turn in Camera Reports, Camera Cards & Sound Cards to the cubbie in the ingest room in the Post Hall as soon as possible after wrap.
  • Sunday Producers turn in SS laptop, and Monday Producers turn in iPad and SS laptop to the Head of Production by 10am on Tuesday after production.
  • Turn in Production Delivery Paperwork via OneDrive to the Head of Production by 9am Thursday after production.

Crew Drills (BTH) – Fall 2021

The purpose of the crew drills is to practice working in each of the crew positions. Don’t get too caught up on trying to make the “perfect” scene. Keep it really simple. BFA3 department heads mentor those in their department, as follows:

  • 1st AD mentors both 2nd ADs
  • 1st AC mentors both 2nd ACs
  • Key Grip mentors both BBGs

Food will not be provided, so make sure you plan accordingly. You have a 1-hour lunch break, so either bring your own lunch or plan to go out nearby. Just make sure you’re back in time.

Crew drills will take place on the set in Stage A.


BFA3 will complete the Crew Drill grid together as a class. There are 8 BFA3 positions for each drill. This will give each of you an opportunity to mentor the BFA2 and get to know them better. This also gives you a chance to get your hands on the gear again to reignite that muscle memory.

BFA2 will work the 3 positions (2D, 2C, BG) in pairs. One of the 2Ds and one of the 2Cs will start off as Actors for the first half of the drill. Then they will swap, and the other 2D & 2C will be the Actors. The BGs will remain working in pairs during the entire drill.


The production will have 2.5 hours to unload the van, block, rehearse, build, shoot, and wrap.

Plan on having 6 total setups. Once you have shot the first 3 setups with the first 2D/2C Actors, swap them with the other 2D/2C Actors. Have the Director modify the blocking, the 2C lay down new marks, and then reshoot the scene with the other 3 setups.

  • 1st New Deal 0:10
  • Camera on set 0:30
  • Lighting complete 0:40
  • Start Shooting 0:45
  • Swap Actors with other 2D/2C pair 1:10
  • 2nd New Deal 1:20
  • Camera Wrap 2:00
  • Company Wrap 2:30

Crew responsibilities


Before the Drill

  • You will use a scene (or part of a scene) from your BTH script for this crew drill. The script must meet the following criteria (make up a crew drill version if necessary):
    • Must be no less than 1 full page, and no more than 1 4/8 pages in length
    • Must only have 2 characters (no more, no less)
    • Must have dialog (so the Sound Mixer can practice recording it)
    • Keep it simple (no stunts, close proximity, weapons, complicated SFX, etc.)
  • The cast will consist of one of the 2D and 2C pairs, then they’ll swap half way through.
  • Discuss the shot design with the DP.

During the Drill

  • At the beginning of the shift, briefly block with the Actors on the set (keep it really simple).
  • During the New Deal, have the Actors demonstrate the blocking for the crew.
  • Direct the Actors in the scene.
  • Once you have shot the first 3 setups with the first 2D/2C Actors, swap them with the other 2D/2C Actors. Modify the blocking with them, then reshoot the scene with the other 3 setups.
Production Designer

Before the Drill

  • Discuss the production design with the Director (keep it simple).
  • Acquire props, wardrobe, etc (only if absolutely necessary).

During the Drill

  • Dress the set, provide props & wardrobe only if necessary.
Director of Photography

Before the Drill

  • Discuss the shot design with the Director.
  • Create a simple Setup Schedule with 3 setups for each of the 2D/2C Actor pairs, for a total of 6 setups. For example:
    • 1st 2D/2C Actor Pair: 3 setups (1 master + 2 singles)
    • 2nd 2D/2C Actor Pair: 3 setups (1 master + 2 singles)

During the Drill

  • Communicate the setups to the crew.
  • Manage the Camera, Grip & Electric Departments.
  • Once you have shot the first 3 setups with the first 2D/2C Actors, swap them with the other 2D/2C Actors. Have the Director modify the blocking, the 2C lay down new marks, and then reshoot the scene with the other 3 setups.
1st Assistant Director

Before the Drill

  • Get a copy of the Setup Schedule from the DP.

During the Drill

  • At call time, have a Safety Meeting with the entire crew to communicate an emergency plan, location hazards and any production safety concerns. Complete the Safety Meeting Report
  • Get the DR to quickly show the Actors the blocking, while the 2C lays down marks, then call a New Deal.
  • Run the set, making sure the crew is working safely and efficiently.
  • Keep track of your time using the Setup Schedule.
  • Once you have shot the first 3 setups with the first 2D/2C Actors, swap them with the other 2D/2C Actors. Have the Director modify the blocking, the 2C lay down new marks, then call a New Deal
  • Reshoot the scene with the remaining 3 setups.
2nd Assistant Director

During the Drill

  • At the beginning of the shift:
    • Take forehead temperature of each crew member.
    • Have crew sign in using the iPad timeclock.
    • Hand out walkies to department heads.
  • During the shift:
    • Remain in Green Room with the Actors, except to escort them to/from set at 1st AD’s request.
    • During a setup, remain outside the stage doors to make sure no one enters during a take.
  • At the end of the shift:
    • Complete the Performers Production Time Report. Have the Actors sign it.
    • Have crew sign out using the iPad timeclock.
    • Collect walkies and put them back on charger.
All Other BTL

During the Drill

  • Work with BFA3 mentors in your assigned positions.