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 28 – 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.
  • 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 5 – Feb 25Development & Pre-Production
Feb 10Doc Group Logistics Meetings
Feb 23Doc Group Greenlight Meetings
Feb 24Equipment Check-Out
Feb 28 – Mar 18Documentary Production
Mar 22Equipment Check-In
Mar 22-31Paper Edits
Mar 31 – Apr 20Post Production
Apr 24Documentary Screening

Doc Specs

Content specs

Story runtime7:30 (singles)
12:30 (doubles)
Credits runtime1:08
Total runtime8:38 (singles)
13:38 (doubles)
Quantity of scenesNo limit
Quantity of locationsNo limit
Quantity of charactersNo limit
StuntsNothing that would typically call for a stunt coordinator
IntimacyNothing that would require a closed set or typically call for an intimacy coordinator

Production specs

Shooting daysThree-week window for each group
Length of workday12 hours
Earliest call time6:00AM
Latest wrap time12:00AM
Night shootsNo
Locations per dayNo restrictions
Distance to locationCan shoot anywhere the Continental United States with faculty approval
Pick-up daysNo

Capture specs

Camera packagePanasonic AU-EVA1
Frame rate24.000p
Sensor modeS35 MIX2.8K
Capture resolution2048 x 1080 (2K)
Capture aspect ratio1.90:1
Approved mattes1.37:1 • 1.66:1 • 1:85:1
2.00:1 • 2.39:1
Capture formatMOV
Codec422All-Intra 100M
Gamma/color presetSCENE2 (eV-LOOK2)
Sampling4:2:2 10-bit
Bitrate100 Mbps (VBR)

Data allocation

Data rate0.8 GB/minute
Total dataTBD
Total dailiesTBD


Picture Edit

Pic edit softwareMedia Composer
Pic edit days13 days
Pic edit locationThird floor labs


Production soundSingle system
Sound design softwareProTools
Sound design daysIncluded in Pic Edit days
Sound design locationThird floor labs
Sound mix daysNot applicable
Sound mix locationNot applicable

Visual Effects

VFX scope2D effects, simple animations and motion graphics
VFX softwareAfter Effects
VFX daysIncluded in Pic Edit days
VFX locationThird floor labs


Coloring softwareDaVinci Resolve
Coloring daysIncluded in Pic Edit days
Coloring locationThird floor labs

Additional Photography Request

Production Paperwork


This form should be used by Producers to make a request to the Head of Production (Tony) for additional photography outside of the regularly scheduled shooting days on the crew grid. Since additional photography involves time and resources, requests will not be approved automatically. Approvals will only be granted if the time and resources are available and if students make a compelling case for why the footage cannot be shot during regular principal photography.

Indicate on the form the type of additional photography that is being requested:

    Check this box if the request is for 2nd Unit shots that cannot easily be scheduled during regular principal photography. Typically these would be for shots that need to be shot at a discrete location without the involvement of principal actors, such as establishing shots at an inconveniently place location or B-roll of events that are occurring outside the regular production window.
    Check this box if the request is for background plates or other photographic elements that are needed to complete visual effects shots.
    Check this box if the request is for video content that would need to be shot in advance of regular principal photography in order to be played back during production.
    Check this box if the request is for pick-up photography. Only BTH and MTH shows may request pick-ups.
    Check this box if the request is for the reshooting of a scene where circumstances beyond the students’ control resulted in footage becoming unusable. Typically, trying to solve the problem through editorial fixes will need to be explored before a reshoot is approved.
    Check this box if the request is for something different than the above examples, and provide a brief description of the type of additional photography that’s being requested.

Requests for additional photography must also include the following information:

  • the exact nature of the subject content to be shot;
  • the reason why it cannot be shot with the first unit crew during principal photography;
  • the date, times, and location of the proposed shoot;
  • a summary of the equipment plan for the shoot, including any requests for school equipment;
  • the crew required for the proposed shoot, including names and signatures (you’ll need to determine how many crew members you need and you’ll need to recruit them).
  • any additional supporting documentation can also be attached as needed.

Submit the completed request form to the Head of Production. Leave adequate time for the Head of Production to review the request and be prepared to make adjustments if any concerns need to be addressed. The Head of Production’s decision on whether to approve or deny the request is final.

Front Sequence Set-up

Download the Extras folder, which is located on inside the D1 folder.

In Media Composer, change the sequence starting time to 00:59:00:00.

Control-click on the Program Monitor – Sequence Report.

Import / link to the Bars and Tone video and add it to the timeline. It should run for exactly 30 seconds.

Add a 30-second slate with the title tool that includes: the title of the film; the names of the creative team; and the TRT of the film. Note: the TRT starts at the first frame of FSU leader and ends at the final frame of the copyright.

Import / link to the countdown and add it to timeline. This should run for exactly 8 seconds.

Import / link to the FSU Leader and add it to timeline. This should also run for 8 seconds.

Documentary Equipment Approval

Production Paperwork


This form must be completed and submitted to the Head of Production (Tony Ciarlariello) before a show’s greenlight meeting. The purpose of the form is to ensure that there’s a plan in place for all equipment use out in the field and to ensure that any personal gear is suitable for production.

Equipment Transportation Plan

This section is document where production will occur and the means of transportation for all school equipment. Note that the EVA1 camera and batteries cannot be checked if traveling by air and must be brought on the plane as carry-on luggage. Be prepared to any questions about the specifics of the transportation plan at the greenlight meeting.

Equipment Back-up Plan

Provide a plan for how you will continue with production if the EVA1 camera or any other essential equipment goes down while you are out in the field. This may include use of personal equipment to complete the project or, if local to Tallahassee, working with the ER to get equipment replaced or repaired. Note that the ER will not typically be able to mail equipment to another city if the show is outside the school’s studio zone.

Personal Equipment

In order to maintain consistency of image fidelity and to serve the learning outcomes of the project, the EVA1 camera should always be used as the primary camera for production. There are instances, however, where productions may wish to use a personal camera (e.g., as a b-camera or for shots that cannot be executed with the EVA1) or other, supplemental, personal equipment. Use this section to provide make/model/specs of any personal gear and an brief explanation of why this gear is needed for the film. Pay particular attention to personal camera specs to make sure that the captured media is compatible with the post-production workflow.