MTH

Teradek ServePro Setup

Before arriving on set have your crew members download the free VUER app to their Android or Apple phones.

On set the Script Supervisors cart should be setup as shown below with the Directors monitor facing one way and the Script Supervisors laptop facing the other way.

In between them will be the three Teradek modules. Its a bit confusing because they are all made by the same company but they are the Bolt, the ServePro, and the Link.

The Teradek Bolt is a radio receiver which wirelessly connects to the Teradek Bolt transmitter that is mounted on the camera. This allows video from the camera to wirelessly get sent to the Script Supervisors cart.

The Teradek ServPro creates a local wifi network that allows up to 10 devices to monitor video over wifi using the VUER app.

The Teradek Link is a router which boosts the ServePros wifi signal so you can monitor from a farther distance.

The Bolt receives the video signal from the camera over radio. The video signal comes out of the Bolt and is split. One SDI goes to the ScriptE laptop and the other SDI goes to the Directors monitor. Then out of the Directors monitor the video signal is passed through over SDI to the ServPro.

Then from the ServPro the video signal is sent over wifi to the Link where the wifi is boosted and the video is sent via wifi to up to 10 phones.

Next you need to connect your phone to the Links wifi. Look on the bottom of the Link to see the wifi name and password.

Connect to to the Link wifi and enter the password.

Confirm that you are connected to the correct wifi. It is normal for it to say “No Internet Access”.

Open the VUER app and select Camera A to load a stream.

Select “Refresh” to load available streams. And the select “Encrypted Stream”.

Confirm the “Encrypted Stream” is loaded into Camera A and then select “Done”.

Enter the password which is fsufilm.

You can now monitor the camera feed over the Links local wifi hotspot.

Additional Photography Request

Production Paperwork

Instructions

This form should be used by Producers to make a request 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:

  • ESTABLISHING SHOTS OR B-ROLL
    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.
  • VFX PLATES OR ELEMENTS
    Check this box if the request is for background plates or other photographic elements that are needed to complete visual effects shots.
  • PLAYBACK CONTENT FOR SCREENS
    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.
  • PICK-UPS
    Check this box if the request is for pick-up photography. Only BTH and MTH shows may request pick-ups and the need for pick-ups will be determined with the directing and editing faculty during picture editing.
  • RESHOOTS
    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.
  • OTHER
    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.

Finally, collect the signatures at the bottom in the prescribed sequence, starting with the director’s prep faculty, followed by the Area Heads and the the Associate Dean. Leave adequate time to collect these signatures and be prepared to make adjustments to the request if any faculty members raise concerns that need to be addressed.

Contingency Protocol in the Event of an MTH 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 DR unable to work, advance to Step 6.
  2. If the 2D, 2C, SS, KY, or BE is unable to work, the AE should step into the role. If that is not viable, or if it’s the PRPDDP, 1D1CGF, or SM who’s out, then…
  3. Check to see if there’s an MFA2 (such as one of the six students in pre-production) who’s able to fill in. If not, then…
  4. Check to see if there’s a BFA3 who’s able to fill in. If not, then…
  5. Check to see if having a smaller crew and consolidating positions will work. If that is not viable, then…
  6. Postpone the show, moving any remaining shooting days into the summer and rescheduling post-production as needed.

Front Sequence Set-up

Download the Extras folder, which is located on frame.io 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.

Aspect Ratio Correction

The aspect ratio of the RED camera is 17:9 (1.90:1). Since we edit in a 16:9 (1.78:1) workspace, Media Composer will squish the image to meet that ratio. Taking the following steps will correct for this.

Go to your synced clips bin and select all the clips.

Right-click and select “Source Settings…” in the drop down menu.

In the FrameFlex tab, set Reformat to “Letterbox / Pillarbox”. Click “Apply to all” and then “OK”.

Your footage should now be presented in the correct aspect ratio. The black bars at the top and bottom are normal and intended for the RED Camera’s aspect ratio. (You may need to refresh your sequence if the change does not show immediately.)

After this process is done, if you wish to change the aspect ratio to one of the other approved aspect ratios, you can apply one of the masks from the frame.io folder.

Turnover to Sound (ProTools)

Click File > Output > Export to File.

Use Export setting “Export to Pro Tools”.

Click on “Options” button.

Make sure your Video/Data Details settings are the same as the picture below.

Click on the Audio Details tab and make sure your settings are the same as the picture below.

Click save after you have confirmed that all of the selections match these pictures.

Save your AAF.

You should wind up with a folder that looks like the one below. Upload this folder, including all the contents, to frame.io.

Open your provided ProTools template file, located on frame.io.

Import your new AAF file into ProTools by navigating to File > Import > Sessions Data…

Confirm that all of the “Import Session Data” selections match the picture below.

DVD Wrap Template

Instructions

This is the official DVD wrap template to be used in the creation of marketing materials for FSUFILM productions. Use it as your foundation for making something beautiful and compelling!

Do:

  • Make sure to install the Steel Tongs font on your computer before starting work on the wrap. This is the font for the credit block.
  • 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.
  • Take your artwork all the way to the edge of the frame. The red guide is where the wrap will be cut after printing. Keep any essential elements within the green guide, in case they are trimmed during printing. Be sure to hide the guide layer before exporting the finished wrap.
  • Adjust the color of the credits, logos, and copyright to best fit the aesthetic of your wrap concept. Be particularly mindful of the legibility of the credit block, as it can quickly become hard to read if the background is busy or if there’s not enough tonal separation between the credits and the background.

Do Not:

  • Do not adjust the dimensions or resolution of the file. It’s set up to meet the specs needed for printing.
  • Do not reposition or resize the FSU seal or FSUFILM logos.

DVD Disc Template

Instructions

This is the official DVD disc art template to be used in the creation of marketing materials for FSUFILM productions. Use it as your foundation for making something beautiful and compelling!

Do:

  • 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.
  • Take your artwork all the way to the edge of the frame. The red guide is where the art will be cut. Keep any essential elements within the green guide, in case they are trimmed. Be sure to hide the guide layer before exporting the finished art.
  • Adjust the color of the elements to best fit the aesthetic of your disc art concept. Be mindful of the legibility of any text, as it can quickly become hard to read if the background is busy or if there’s not enough tonal separation between the text and the background.

Do Not:

  • Do not adjust the dimensions or resolution of the file. It’s set up to meet the specs needed for printing.
  • Do not reposition or resize the copyright, FSU seal, or FSUFILM logo.

Steel Tongs Font

Instructions

Steel Tongs is the font to be used for the credit block on FSUFILM marketing materials, such as posters and DVD wraps. You’ll need to download the zip file (above) and install the font on your computer before starting work on a poster or DVD wrap, otherwise the credit block will not display correctly.

Steel Tongs works by displaying certain keystrokes as credit titles or logos. All uppercase letters, numerals, and basic punctuation symbols (periods, commas, quotes, dashes, ampersands) will display as normal. Lowercase letters, other punctuation symbols, and ALT key codes, however, are translated into different graphical elements of a credit block, as shown below.

Lowercase

aWRITTEN BY
bCASTING BY
cMUSIC BY
dCOSTUME DESIGNER
eEDITED BY
fPRODUCTION DESIGNER
gDIRECTOR OF PHOTOGRAPHY
hLINE PRODUCER
iCO-PRODUCED BY
jPRODUCED BY
kDIRECTED BY
lCO-DIRECTED BY
mSTORY BY
nBASED ON THE NOVEL BY
oSCREENPLAY BY
pEXECUTIVE PRODUCER
qCO-EXECUTIVE PRODUCER
rGUEST DIRECTOR
sSPECIAL EFFECTS BY
tVISUAL EFFECTS BY
u3D VISUAL EFFECTS
vASSISTANT DIRECTOR
wART DIRECTOR
xCO-EXECUTIVE PRODUCER(S)
yCREATURES DESIGNED BY
zCREATURES DESIGNER AND SUPERVISOR

Symbols

{ANIMATION PRODUCTION
|SOUND EFFECTS SUPERVISOR
}BASED ON THE CHARACTERS CREATED BY
~DIRECTOR OF GRAPHICS
\ANIMATION DIRECTOR
^WITH MUSIC FROM
_ORIGINAL MUSIC BY
£SPECIAL APPEARANCE BY
#MAKE UP ARTIST
$STUNT/FIGHT COORDINATOR
%A*
*A FILM BY*
+IN ASSOCIATION WITH
[SCREENWRITER
] KEY ANIMATION SUPERVISOR
<TECHNICAL ADVISOR
>TECHNICAL SUPERVISOR
?ASSISTANT TO CHIEF ANIMATOR
@CINEMATOGRAPHY BY
!CUSTOM LAYOUT BY
(WRITTEN AND DIRECTED BY
)ASSOCIATE PRODUCER
:PRESENTS*
;PRESENTS A*
/AND*
=PRESENTS AN*

ALT key codes

The following characters need to be accessed by holding down the ALT key while typing the character code number — e.g., hold the ALT key and type 0131, then let the ALT key go and “MECHANICAL DESIGN” will appear.

ALT+0131MECHANICAL DESIGN
ALT+0132ASSOCIATE PRODUCERS
ALT+0133PLANNING AND ORIGINAL CONCEPT BY
ALT+0134PLANNING AND COOPERATION
ALT+0135DIRECTOR OF VISUAL CONCEPT
ALT+0136COLOUR DESIGNER
ALT+0137COLOR DESIGNER
ALT+0138AN*
ALT+0139PRODUCTION*
ALT+0140FILM*
ALT+0142ASSOCIATES*
ALT+01643D CGI BY
ALT+0165ORIGINAL CONCEPT BY 
ALT+0166MATTE ARTIST
ALT+0167SPECIAL MAKE-UP
ALT+0168IN ASSOCIATION WITH*
ALT+0170MEDICAL CONSULTANT
ALT+0171MEDICAL ADVISOR
ALT+0172IN ASSOCIATION WITH**
ALT+0177MILITARY CONSULTANT
ALT+0178MILITARY ADVISOR
ALT+0179WEAPONS CONSULTANT
ALT+0180WEAPONS ADVISOR
ALT+0181VEHICLE DESIGN
ALT+0182WEAPON DESIGN
ALT+0183PROSTHETIC DESIGN
ALT+0184PROSTHESIS DESIGN
ALT+0185MOTION CAPTURE
ALT+0186STORYBOARDING
ALT+0187FILM EDITING BY
ALT+0188DIALOG COACH
ALT+0189DIALOGUE COACH
ALT+0154A**
ALT+0155AND**
ALT+0156FILM**
ALT+0158A FILM BY**
ALT+0159PRESENTS AN**
ALT+0161PRESENTS A**
ALT+0162PRESENTS**
ALT+0176ASSOCIATES**
ALT+0190AN**
ALT+0191PRODUCTION**

* UPPER line
** LOWER line

Useful logos

ALT+0149DVD LOGO
ALT+0150DOLBY LOGO
ALT+0151DOLBY DIGITAL
ALT+0152CLOSED CAPTION LOGO
ALT+0173CLOSED CAPTION LOGO & TEXT
ALT+0192THX LOGO
ALT+0193DTS DIGITAL SURROUND
ALT+0194DTS LOGO
ALT+0195PAL
ALT+0196NTSC
ALT+0197 thru ALT+0209Various Mono/Stereo indicator icons