QD2

Production Paperwork

Press-Kit-template-2021 Download (Doc)

Production Paperwork

INSTRUCTIONS

The College of Motion Picture Arts pays an annual fee to Soundsnap for the licenses to the sound effects they provide on their site. No releases need to be signed for the use of these sound effects, so long as you remain in accordance with this licensing agreement.

You are free to:

Remix or transform the sounds in any way.
Copy and transmit the sounds – but not resell them as they are originally downloaded from Soundsnap.
Use the sounds in any music, film, video game, website etc. whether commercial or not, without paying additional royalties or other fees beyond the initial membership cost.

Universal Production Music License

Production Paperwork

Killer-Tracks-License-2019-2022 Download (PDF)

INSTRUCTIONS

The College of Motion Picture Arts pays an annual fee to Universal Production Music (Killer Tracks) for the licenses to the library music they provide on their site. No releases need to be signed for the use of this music, so long as you remain in accordance with this licensing agreement.

1st AD Protocol (Cheat Sheet)

This is a streamlined “cheat sheet” for seasoned 1st ADs. Twirl open any callout and the complete description of that step will be displayed. Please remember that all GREEN CALLS are made over the radio and are repeated by the 2nd AD, while all BLUE CALLS are made to on-set crew only and are not repeated by the 2nd AD.

Daily Protocol

Morning Meeting

We are having the morning meeting

Precisely at call time, the 1D gathers the crew by the trucks for the morning meeting. The 1D goes over the logistics of the day and addresses safety concerns.
COVID: Due to the congregation of all crew members, the morning meeting should ideally be performed outside.

Work safely, everyone

This concludes the morning meeting. 1D then gathers DR, DP, SS, 2C, and goes to set.

WORKING OUT THE BLOCKING

Clear the set for blocking

If DR is ready, the 1D asks 2D to escort the actors to set, so that DR and actors can work out the blocking. During this time, 1D manages crew staging, while periodically monitoring DR.

Are we ready to mark the blocking?

If DR is ready, 1D invites DP, SS, and 2C to set and oversees the determination of coverage.

WORKING OUT THE COVERAGE

Observe the crew working out the coverage

DR and DP watch the action that’s been worked out with the actors. Together they discuss any changes. 1D watches and checks that: DP watches the coverage through a viewfinder or lens; SS watches eyelines and notes coverage plan; 2C marks the actors’ stopped positions with colored tape.

Are we ready for the New Deal?

Only when the plan is agreed upon, 1D calls:

NEW DEAL

We have a New Deal

1D confirms all department heads are present. DR shows the action.

Questions on the blocking?

DR fields queries, then shows/explains coverage.

Questions on the coverage?

DR fields questions on the plan. 1D facilitates, making sure every department is anticipating issues.

Is the plan good?

NO
Troubleshoot

YES
Proceed

BUILDING IT

OK, let's build it. Thank you, First Team.

2D escorts First Team (DR and actors) to base camp. 1D quietly gets a setup time estimate from the DP. (Note: No one else but 1D and DR need ask about time or guess how long things will take.) From this point on, 1D is quietly monitoring progress and updating department time estimates.
Ways of being helpful throughout this process include: “Let’s get the frame” … “Let’s get focus” … “Let’s get a boom line” … “Work quietly”

Are we ready for camera rehearsal?

NO
Troubleshoot

YES
Proceed

Camera Rehearsal

Camera rehearsal is up. Stand by.

2D asks DR if they wish to be present. DR either comes to set or 2D informs 1D to proceed without DR. (If DR does not come to set, 1D calls “action” and “cut” instead.)

Camera ready?

Check, or confirm by non-verbal eye contact.

Sound ready?

Check, or confirm by non-verbal eye contact.

We are going for camera rehearsal...

Action is called. Technical team runs shot.

...That's a cut on camera rehearsal

How was that for camera?

Check, or confirm by non-verbal eye contact.

How was that for sound?

Check, or confirm by non-verbal eye contact.

BAD FOR EITHER
Troubleshoot

GOOD FOR BOTH
Proceed

Camera ready for rehearsal?

Check, or confirm by non-verbal eye contact.

Sound ready for rehearsal?

Check, or confirm by non-verbal eye contact.

NO
Troubleshoot

YES
Proceed

Rehearsal

Essential personnel only, please.

COVID: The set is about to become a Zone A space, so 1D clears the set of all non-essential personnel.

First Team in, please

2D brings DR and actors to set. Everything must be ready!

Everyone work quietly. First team is on set.

DR works with actors. (Note: Rehearsal moves directly into shooting. If any technical issue arise that cannot be solved immediately, 1D releases First Team until it is solved.)
COVID: Actors should ideally remain in masks during rehearsals.

Rehearsal is up. Stand by.

1D waits and confirms visually when DR is ready.

Quiet, please. We are going for rehearsal...

DR calls “action” and “cut.” This should be treated like it is a take by all set personnel. Make sure the set is locked up.

...That's a cut on rehearsal. Stand by.

While DR checks in with the actors, 1D checks in with camera and sound for feedback. 1D relays this information to DR, who chooses to rehearse again or proceed. Are we ready to shoot?

Are we ready to shoot?

NO
Call: “We are going again. Stand by.”

YES
Proceed

Last Looks

Picture is up. Last looks.

Camera ready?

Check, or confirm by non-verbal eye contact.

Sound ready?

Check, or confirm by non-verbal eye contact.

Director ready?

Check, or confirm by non-verbal eye contact.

NO
Troubleshoot

YES
Proceed

Going for picture

We are going for picture. Lock it up.

It’s GO time. Listen to ensure set is locked up. Be very sure EVERYONE is actually ready, especially DR and actors, before calling:
COVID: Actors should remove their own masks.
COVID: If hair and makeup needs to make an adjustment due to the masks, this should occur swiftly.
COVID: If DR wants to go again quickly, and actors consent, masks can stay off between takes.

Roll sound...

If sound is being recorded on a dedicated field recorder, use Cadence for Dual-System Sound.
If sound is being recorded by the camera, use Cadence for Single-System Sound.

Cadence for dual-system sound

SM calls SPEED
2C VOICE SLATES
1C rolls camera and Camera Operator calls SPEED
2C calls MARKER and clacks the sticks
Camera Operator calls FRAME
1D calls MASKS OFF (actors remove masks)
DR calls ACTION, watches take, and calls CUT
1D calls MASKS ON (actors replace masks)

Cadence for single-system sound

1C rolls camera and Camera Operator calls SPEED
2C VOICE SLATES
2C calls MARKER and clacks the sticks
Camera Operator calls FRAME
1D calls MASKS OFF (actors remove masks)
DR calls ACTION, watches take, and calls CUT
1D calls MASKS ON (actors replace masks)

That's a cut on picture. Stand by.

1D checks in with camera and sound to see if the take was good or if a technical issue may require another take.
1D relays this information to DR, and checks to see if the DR would like to go again or move on to the next set-up.

Ready to move on?

NO
Repeat

YES
Proceed

Moving on

Thank you, First Team

2D escorts the actors (and DR if desired) off set and the crew comes in to execute the next set-up.
COVID: After the First Team has left the set, 1D allows crew to re-enter the space.

We are moving on to... (describe next set-up)

Move on to the next planned set-up as indicated previously during the New Deal. 1D restates shot as previously described.
Return to BUILDING IT and proceed until all scene coverage is complete.
When the scene is complete, return to WORKING OUT THE BLOCKING for next scene.
Continue this process for the rest of the day.
During the day, if the production falls behind schedule or if any problems arise, 1D should be proactive in conferring privately with DR and/or DP on how to solve the problems. This can be done quietly and discreetly on set or during breaks, such as lunch.

Important Time-Based Items

Start of Day

First shot is off at (state time)

Recording the time of the first shot of the day (and the first shot after lunch) is an important item that is reported to the studio on the DPR.

Midday

That's lunch

At exactly the 6-hour mark after first call time Lunch must be called. If the team has already rolled on a set-up you can go into “Grace,” which means work must then be completed within 12 minutes. You cannot shoot past this or you are in meal penalty.
During lunch, 1D talks to DR and the DP about the rest of the day’s work and participates in making any adjustments to the plan and/or schedule to help make the day.
COVID: Since masks need to be off for eating, extra precaution must be taken. Eating outside is recommended.

Ten Minutes

Ten minutes before the end of lunch the 1st AD announces this to everyone.

We're back

This call marks the official end of lunch. All crew is required to return to work. 1D should remind everyone what set-up is first up after lunch.

End of Day

This is the Abby Singer

1D alerts the crew that this is the second-to-last set up. (Be sure it actually is before announcing.) This is a morale boost as the day nears its end.

This is the martini

1D alerts the crew that this is the last set up of the day. (BE SURE it actually is before announcing.) This is a bigger morale boost as the day nears its end.

That's a day (and/or picture) wrap for
(actor's name)

Crew applauds to thank the talent for the day’s work or for their work over multiple days on the whole picture.

That's a day (and/or picture) wrap for
(production name)

Crew celebrates a hard day’s work. “Picture Wrap” can be an emotional call after weeks of work on a feature.

Company Wrap

1D talks to the DR and the DP about the next day’s work and any adjustments to the plan and/or schedule.
1D signs off on the Daily Production Report (DPR), which is sent back to production by the 2D.
COVID: 2D keeps access to location restricted until last crew member has left.

EVA1 Capture Settings

Sensor Mode – S35 MIX2.8K

(2K) 2048×1080 422All-Intra 100M 24p 4:2:2 10bit

Public Domain & Creative Commons Resources

The Internet is a wonderful place for finding videos, images, motion graphics, clip art, music, and sound effects that can be used in your films. Below is a list of resources to help with finding stuff that’s either in the Public Domain (belongs to all of us) or Creative Commons (licensed by the author for others to use).

Beware, however, that the Internet is also a terribly unreliable place and the burden of proof will fall on you to document that you actually have the rights to use any of the stuff you dig up, so that you have a clear chain of title on your film.

For works in the Public Domain, this can sometimes take a fair amount of research, as there is often unclear and unreliable information circulating about works that are supposedly in the public domain. Any works published in 1924 or earlier are now in the public domain. Any works published after 1924 should be assumed to be under copyright, unless otherwise confirmed. Also be aware that new versions of works public domain — e.g., the New York Symphony Orchestra’s recent recording of Beethoven’s 9th Symphony — are copyrighted. In other words, you could perform the composition yourself and be okay, but you couldn’t use the New York Symphony Orchestra’s recording without clearing it first.

For Creative Commons work, some license types (such as “NoDerivs” and “ShareAlike”) are not compatible with the work we do, so you would not be able to use that work in your film. Generally speaking, you’ll need to look for works that are licensed either as “Attribution” or “Attribution-NonCommercial”. (Note, however, that many authors who’ve opted for a NoDerivs or ShareAlike license may be open to giving you permission to use their work if you contact them directly. If they are willing, you’ll need to follow the usual process of acquiring a licensing agreement for a copyrighted work.)

Videos

Pexels	Free videos that can be used and modified without attribution
Pixabay	Free videos that can be used and modified without attribution
Prelinger Archives	Free public domain films that can be used and modified without attribution
NASA	Free videos that can be used and modified, if compliant with NASA’s usage guidelines
Wikimedia	Free videos issued under various licenses; be sure to read the usage guidelines
Videvo	Free videos issued under various licenses; be sure to read the usage guidelines

Images

Pexels	Free photos that can be used and modified without attribution
Pixabay	Free photos that can be used and modified without attribution
Library of Congress	Free photos to use and modify; each collection has its own rights statement on usage
Icons 8	Designers, download the design stuff for free — icons, photos, UX illustrations, and music for your videos.
Biodiversity Heritage Library	Free botanical and animal images from the largest open-access digital archive dedicated life on Earth
Burst (by Shopify)	Free stock images that can be used and modified without attribution
Freerange	Free photos and illustrations that can be used and modified without attribution the under the Creative Commons Zero license
freestocks.org	Free stock photos that can be used and modified without attribution under the under the Creative Commons Zero license
Foodies Feed	Free images of food that can be used and modified without attribution under the under the Creative Commons Zero license
Gratisography	Free “whimsical” photos that can be used and modified without attribution (see usage guidelines)
ISO Republic	Free photos that can be used and modified without attribution the under the Creative Commons Zero license
Jay Mantri	Free photos that can be used and modified without attribution the under the Creative Commons Zero license
Kaboom Pics	Free stock photography and color palettes that can be used and modified without attribution
Life of Pix
Little Visuals
MMT Stock
Morguefile
New Old Stock	Vintage photos from the public archives
Picography
Picjumbo
Pikwizard
Rawpixel
Reshot
Skitterphoto
Stocksnap.io
Stockvault
Styled Stock
Unsplash	Feminine stock photography
Vintage Stock Photos

Motion Graphics

Pond 5
Videvo	Free motion graphics issued under various licenses; read the usage guidelines

Clip art

artvex.com
ClipArt ETC	Educational clipart
ClipartOf
clker.com
Webweaver
Vecteezy

Music

Muse Open	classical music
Free Music Archive	interactive library of high-quality, legal audio downloads directed by WFMU, the most renowned freeform radio station in America.
Free music public domain
Freesound	a collaborative database of Creative Commons Licensed sounds.
Anthony Kozar	Composer and open-source programmer
Audionautix	The music on this site is the creation of Jason Shaw.
Bensound.com	Download royalty free stock music for YouTube and your multimedia projects.
Brett Van Donsel	provides affordable music options for filmmakers, YouTubers, gamers, podcasters, advertisers and more. Most of the music is royalty free.
Filmmusic.io	Over 600 tracks, free even for commercial use, primarily with cinematic music by Sascha Ende.
Gravity Sound	Free Music and Sound Effects for Personal and Commercial Use
Incompetech	Royalty free music by Kevin MacLeod
Josh Woodward	Acoustic indie rock singer/songwriter. Creative Commons Music.
King James	Royalty free music
Kongano.com	This site contains royalty-free mp3s for you to listen, download and do whatever you want with.
Silverman Sound Studios	Background music for YouTube, videos, games, films, adverts, podcasts, anything! All totally free to download!
TechnoAXE	Royalty Free Music for your commercial/non-commercial videos or projects. This website has Techno, Dubstep, Metal, Rock or Soundtrack.
Tim Beek	Music for media
Twin Musicom	Innovative audio production
Videvo	Free music issued under various licenses; be sure to read the usage guidelines
WOWA	Free music

Sound effects

Freesound
Videvo	Free sound effects issued under various licenses; read the usage guidelines
ZapSplat	Download over 46,000 free professional sounds

EVA1 Tutorial Videos

1. Package contents

Keith reviews the contents of the EVA1 package, which includes the camera, tripod system, battery charger, and sound case. (Transcript)

2. Battery build

Keith demonstrates how to operate the battery charger module for the EVA1 camera. (Transcript)

3. Camera build

Keith demonstrates the quick-release plate for the tripod, media cards, filters, the sun shield, and the two LCD monitors. (Transcript)

4. Handheld rig

Keith demonstrates mounting the EVA to the handheld rig. (Transcript)

5. Button Layout

6. Menu operations

EVA1 User Manual

Here is the manufacturer’s user manual to the EVA1 camera:

PANASONIC-EVA1 Download

QD2 Production Delivery List

The following is a list of items students must deliver to the Head of Production via the production’s OneDrive folder. Submit one electronic version (either scanned PDF or electronic original) of all documents using the provided folder structure. Name files according to the naming conventions provided in each section (e.g. 01qd2-Script.pdf).

Always keep a backup copy and/or hard copy of all files in a production delivery binder in case a delivered file becomes corrupt or accidentally deleted.

Due Dates

Part I – Production Delivery
Due by 5:00pm on the following dates:
• Shows 01-04 – Sat, May 30
• Shows 05-07 – Sun, May 31
• Shows 08-11 – Sun, June 7
• Shows 12-15 – Mon, June 8
• Shows 16-19 – Mon, June 15
• Shows 20-23 – Tue, June 16
To be completed by the Director.

Part II – Post Production Delivery
Due by 5:00pm on Monday, June 22, 2020.
To be completed by the Director.

Part III – Film Festival Press Materials
Due by 5:00pm on Friday, September 4, 2020.
To be completed by the Director.

Part I – Production Delivery

01. Script

PDF file of the final shooting script
01qd2-Script.pdf
Final Draft file of the final shooting script
01qd2-Script.fdx

02. Production Schedule

PDF of final Shooting Schedule
01qd2-ShootingSchedule.pdf
Vertical Stripboard Report from Scenechronize
01qd2-Stripboard.pdf

03. Daily Production Paperwork

PDFs of all paperwork from each day of production:

Call Sheet, Maps & Safety Bulletin
01qd2-CallSheet-Day1.pdf
Daily Production Report
01qd2-DPR-Day1.pdf
Meal Sign-In Sheet
01qd2-MealSignIn-Day1.pdf
Performers Production Time Report
01qd2-PerformerTimeReport-Day1.pdf
Safety Meeting Report
01qd2-SafetyReport-Day1.pdf
Setup Schedule
01qd2-SetUpSchedule-Day1.pdf

04. Releases

PDFs of all required releases:

Cast Performance Agreements
01qd2-PerformanceAgreements.pdf
Location Documents
- Location Agreement & Shooting Plans
  01qd2-LocationAgreements.pdf
- Location Hazard Assessment Checklist
  01qd2-LocationHazards.pdf
- Hazard Notification Report (if applicable)
  01qd2-HazardNotification.pdf
Crew Deal Memos
01qd2-CrewDealMemos.pdf

Plus additional releases (if applicable):

Picture Vehicle Agreements
01qd2-PictureVehicleAgreements.pdf
Minor Labor Policy
01qd2-MinorLaborPolicies.pdf
Weapons Permit
01qd2-WeaponsPermit.pdf
Animal Use Protocol
01qd2-AnimalUseProtocol.pdf
SAG Contract
01qd2-SAGContracts.pdf

05. Correspondence

PDFs of all general correspondence including letters, emails, faxes, etc. At the very least, this should include a thank-you letter to each location.
01qd2-Correspondence.pdf

06. Crew Information

Update the Crew tab in Motion with any additional crewmembers (e.g. volunteers). Save a PDF of the Crew list, and include it in this section.
01qd2-Crew.pdf
A good, clear scanned copy of the Director’s student ID card
01qd2-DirectorID.pdf

07. Cast Information

Update the Cast tab in Motion with info for every person who appears on screen. Include a headshot for all Lead & Supporting roles (headshot not needed for Silent/Atmosphere Extras). Save a PDF of the Cast list, and include it in this section.
01qd2-Cast.pdf

08. Location Info

Update the Locations tab in Motion with info and photo for each location used during production. Save a PDF of the Location list, and include it in this section.
01qd2-LocationList.pdf

09. Vendors

Update the Vendors tab in Motion with info on each business or individual from whom items were borrowed, rented or donated. Include in the Keywords a brief description of the items (for donations, also include the real or estimated value of the donation). Save a PDF of the Vendors list, and include it in this section. If there were none, then still include a PDF of the Vendors tab from Motion.
01qd2-Vendors.pdf

Part II – Post-Production Delivery

01. Project Details

Update all info in the Details tab in Motion. Save a PDF of the Details tab, and include it in this section.
01qd2-ProjectDetails.pdf

02. Dialogue List

PDF of a Dialogue List form (typed). Include all spoken dialogue in the final film with descriptions of action seen on screen (for subtitling in foreign language festivals).
01qd2-DialogueList.pdf

03. Music Requirements

PDF of Music Cue Sheet (typed), which lists the entrance and exit of all music cues
01qd2-MusicCueSheet.pdf
PDF of the music rights, released to the Film School
- If from Killer Tracks/Universal Production Music, include PDF of the Killer Tracks License.
  01qd2-KillerTracks.pdf
- If an original score, include PDF of a Composer Contract signed by the composer.
  01qd2-ComposerRelease-ComposerName.pdf
- If licensed music, include a Synchronization License from the publisher AND a Master Use License from the record label for world, film festival, for at least 2 years
  01qd2-SyncLicense-SongName.pdf
  01qd2-MasterLicense-SongName.pdf

04. Credits & Title Cards

PDF of Credits List form (typed). Include title cards & credits as they appear on screen. This should not be screenshots of the credits from the film.
01qd2-Credits.pdf

Part III – Film Festival Press Materials

01. Press Kit

PDF and Word files of the Festival Press Kit, organized as follows. You may use the Press Kit template if you like.
01qd2-FestivalPressKit.pdf
01qd2-FestivalPressKit.docx
- Title Page: The first page will have the title of the film, contact address, phone number of the FSU Film School, and the Film School logo and copyright.
- Synopses: A 25-word, and a 40-word synopsis of the film.
- ATL Info: Biography, filmography & headshot for each ATL crew member.
- Cast Info: Biography, filmography & headshot for each lead cast member. Union actors should be identified as such and the union to which they belong.
- Credits: Include credits for each cast and crew member.
- Production Stills: A minimum of five (5) production stills with captions.
- Director’s Statement: A brief statement from the director about the project.
- Poster: A one-sheet of the poster.

02. Press Kit Materials

All elements used in the creation of the Press Kit including photos, fonts, logos, graphics, etc.

One (1) photo for each ATL crew member at 300dpi, jpg.
01qd2-CrewName.jpg
Bio for each ATL crew member saved in a Word doc.
01qd2-ATL Bios.docx
Cast Info: One (1) photo for each lead cast member at 300dpi, jpg.
01qd2-CastName.jpg
Bio for each lead cast member saved in a Word doc.
01qd2-Cast Bios.docx
Synopses: 25-word and 40-word synopses saved in a Word doc.
01qd2-Synopses.docx
Production Stills: At least five (5) at 300dpi, jpg
01qd2-Still-01.jpg 01qd2-Still-02.jpg …
Other Materials: Any other elements, including fonts, logos, graphics, etc.
any filename that clearly identifies what it is

03. Poster

Poster created in Photoshop at 27”x 40”, 300dpi, using these layers: 1) Art, 2) Title, 3) Credits, 4) Logos/Copyright. Use approved Logos/Fonts as needed. Save a layered PSD file and a flattened JPG file.
01qd2-Poster.psd
01qd2-Poster.jpg
Save a copy of your poster as a 72dpi, 450×663 pixels, flattened jpg to use as a Summary Thumbnail.
01qd2-SummaryThumbnail.jpg

04. DVD Artwork [OPTIONAL]

You are welcome, but not required, to include DVD artwork for this project.

DVD case cover created in Photoshop at 10.75” x 7.25”, 300dpi, using these layers: 1) Art, 2) Title/Synopsis, 3) Credits, 4) Logos/Copyright. Save a layered PSD file and a flattened JPG.
01qd2-DVDcover.psd
01qd2-DVDcover.jpg
DVD disc label created in Photoshop at 118mm Ø, center hole 20mm Ø, 300dpi, using these layers: 1) Art, 2) Title/Synopsis, 3) Credits, 4) Logos/Copyright. Save a layered PSD file and a flattened JPG.
01qd2-DVDlabel.psd
01qd2-DVDlabel.jpg

05. Media

Update the Media tab in Motion with at least 5 Production Stills (72dpi, jpg) and the Summary Thumbnail (Poster at 72dpi, 450×663 pixels, jpg – you must set it to this size or it will not upload). Include a PDF of the Media tab in this section.
01qd2-Media.pdf

06. Film Festival Strategy

Update the Festival Strategy form in Motion. Include a PDF of the Festival tab from Motion in this section.
01qd2-FestivalStrategy.pdf

Safety Bulletins

Safety Bulletins are researched, written, and distributed by the Industry-Wide Labor-Management Safety Committee for use by the motion picture and television industry. The Safety Committee is composed of guild, union, and management representatives active in industry safety and health programs.

Safety Bulletins are guidelines recommended by the Safety Committee. They are not binding laws or regulations. State, federal, and/or local regulations, where applicable, override these guidelines. Modifications in these guidelines should be made, as circumstances warrant, to ensure the safety of the cast and crew.

A PDF of all relevant Safety Bulletins must be attached to Call Sheets or otherwise distributed to affected employees. All crew are required to read distributed Safety Bulletins prior to commencing the work day. Failure to do so may result in disciplinary action, including immediate dismissal from the school.