COVID-19 Risk Factors

Page count: | 7 pages |
Quantity of locations: | No restrictions — but be mindful that no more than 3 filming locations will typically be approved during production, to avoid company moves during the pandemic |
Quantity of characters: | No restrictions |
Children: | Yes |
Animals: | Yes |
Weapons: | Yes |
Sexual intimacy: | Yes – but an intimacy coordinator may be required for certain scenes |
COVID restrictions: | No blanket restrictions on writing, but be mindful of tips for writing during a pandemic and a COVID script breakdown will be required on an early draft to anticipate safety concerns. |
Locations per day: | 1 location |
Distance to location: | May shoot outside of the studio zone with approval of a distant location request. |
Shooting days: | 3 days with full crew or 4 days with reduced crew |
Pick-up days: | May make a pick-up photography request for one half-day of additional shooting |
Length of workday: | 12 hours, plus an hour for lunch |
Call time restrictions: | No time restrictions, except for allowing 10-hour turnaround |
Night shoots: | No |
FIST agreement: | Yes |
COVID protocols: | Yes |
Final page count: | 7 pages |
Shooting days: | 3 days (shows with full crew) 4 days (shows with reduced crew) |
Pages per day: | 2 3/8 pages (full crew) 1 6/8 pages (reduced crew) |
Shooting ratio: | 20:1 |
Data rate: | 2.6 GB/minute |
Max. data per page: | 52 GB |
Max. data per day: | 121 GB (full crew) 91 GB (reduced crew) |
Max. dailies length: | 47 minutes (full crew) 35 minutes (reduced crew) |
Frame rate: | 24.000 fps |
Record file format: | ProRes 4444 HQ |
Resolution: | 2K (2048×1080) |
Video codec: | ProRes 4444 HQ |
Baked-in settings: | All image settings (Rec. 709 / SDR) |
Mode: | IPP2 |
Output color space: | Rec. 709 |
Output tone map: | Medium Contrast |
Highlight roll-off: | Medium |
Pic edit software: | Premiere Pro |
Pic edit days: | 11 days |
Max. story content: | 7:30 |
Max. credits: | 1:08 |
Max. TRT: | 8:38 |
Sound software: | ProTools |
Sound design days: | 11 days |
Sound mix days: | 0.5 days |
VFX software: | Variable |
VFX days: | Variable |
Coloring software: | DaVinci Resolve |
Coloring days: | 2 days |
Page count: | 12 pages |
Quantity of locations: | No restrictions — but be mindful that no more than 6 filming locations will typically be approved during production, to avoid company moves during the pandemic |
Quantity of characters: | No restrictions |
Children: | Yes |
Animals: | Yes |
Weapons: | Yes |
Sexual intimacy: | Yes – but an intimacy coordinator may be required for certain scenes |
COVID restrictions: | No blanket restrictions on writing, but be mindful of tips for writing during a pandemic and a COVID script breakdown will be required on an early draft to anticipate safety concerns. |
Locations per day: | 1 location |
Distance to location: | May shoot outside of the studio zone with approval of a distant location request. |
Shooting days: | 6 days with full crew or 8 days with reduced crew |
Pick-up days: | May make a pick-up photography request for one half-day of additional shooting |
Length of workday: | 12 hours, plus an hour for lunch |
Call time restrictions: | No time restrictions, except for allowing 10-hour turnaround |
Night shoots: | No |
FIST agreement: | Yes |
COVID protocols: | Yes |
Final page count: | 12 pages |
Shooting days: | 6 days (shows with full crew) 8 days (shows with reduced crew) |
Pages per day: | 2 pages (full crew) 1 4/8 pages (reduced crew) |
Shooting ratio: | 20:1 |
Data rate: | 2.4 GB/minute |
Max. data per page: | 48 GB |
Max. data per day: | 96 GB (full crew) 72 GB (reduced crew) |
Max. dailies length: | 40 minutes (full crew) 30 minutes (reduced crew) |
Frame rate: | 24.000 fps |
Record file format: | ProRes 4444 HQ |
Resolution: | 2K (2048×1080) |
Video codec: | ProRes 4444 HQ |
Baked-in settings: | All image settings (Rec. 709 / SDR) |
Mode: | IPP2 |
Output color space: | Rec. 709 |
Output tone map: | Medium Contrast |
Highlight roll-off: | Medium |
Pic edit software: | Premiere Pro |
Pic edit days: | 14 days |
Max. story content: | 12:30 |
Max. credits: | 1:08 |
Max. TRT: | 13:38 |
Sound software: | ProTools |
Sound design days: | 11 days |
Sound mix days: | 1 day |
VFX software: | Variable |
VFX days: | Variable |
Coloring software: | DaVinci Resolve |
Coloring days: | 2 days |
Page count: | 1.5 pages |
Previz duration: | 72 seconds |
Max. number of assets: | 12 assets per artist |
Max. number of characters: | 3 character |
Max. number of shots: | 24 shots |
Max. seconds of motion: | 90 seconds |
Final content duration: | 90 seconds |
Credits duration: | 68 seconds |
Final TRT: | 158 seconds |
Sound software: | ProTools |
Sound design days: | 11 days |
Sound mix days: | 0.5 day |
Coloring software: | DaVinci Resolve |
Coloring days: | 2 days |
Page count: | 6 pages |
Quantity of locations: | As you write, plan for shooting at no more than two physical locations (one per shooting day). |
Quantity of characters: | No restrictions, but but be mindful of COVID safety concerns for actors. |
Children: | Yes |
Animals: | Yes |
Weapons: | Yes |
Visual effects: | Yes – but be mindful that there will only be a couple of weeks for visual effects in the schedule, so keep the scope in check. |
Sexual intimacy: | Yes – but an intimacy coordinator may be required for certain scenes. |
COVID restrictions: | No blanket restrictions on writing, but be mindful of tips for writing during a pandemic and a COVID script breakdown will be required on an early draft to anticipate safety concerns. |
Locations per day: | 1 location per day |
Distance to locations: | Must be within the studio zone |
Shooting days: | 2 days |
Pick-up days: | No |
Length of workday: | 12 hours, plus an hour for lunch |
Earliest call time: | 6:00AM |
Latest wrap time: | 12:00PM |
FIST agreement: | Yes |
COVID protocols: | Yes |
Final page count: | 6 pages |
Shooting days: | 2 days |
Pages per day: | 3 pages |
Shooting ratio: | 20:1 |
Max. dailies per day: | 60 minutes |
Data rate: | 2.6 GB/minute |
Max. data per page: | 52 GB |
Max. data per day: | 156 GB |
Max dailies length | 120 minutes |
Max dailies size | 312 GB |
Camera package: | RED |
Frame rate: | 24.000 fps |
Record file format: | ProRes 4444 HQ |
Resolution: | 2K (2048×1080) |
Video codec: | ProRes 4444 HQ |
Baked-in settings: | All image settings (Rec. 709 / SDR) |
Mode: | IPP2 |
Output color space: | Rec. 709 |
Output tone map: | Medium Contrast |
Highlight roll-off: | Medium |
Pic edit location: | Post Hall |
Pic edit software: | Media Composer |
Pic edit days: | 7 days |
Max. story content: | 6:30 |
Max. credits: | 1:00 |
Max. TRT: | 7:30 |
Sound design location: | Post Hall |
Sound design software: | ProTools |
Sound design days: | 7 days |
Sound mix: | 3 hours |
VFX software: | Variable |
VFX days: | Variable — with a maximum of two weeks for each show |
Coloring software: | DaVinci Resolve |
Coloring days: | 1 day |
Page count: | 0.5 page |
Previz duration: | 24 seconds |
Max. number of assets: | 4 assets |
Max. number of characters: | 1 character |
Max. number of shots: | 16 shots |
Max. seconds of motion: | 30 seconds |
Final content duration: | 30 seconds |
Credits duration: | 30 seconds |
Final TRT: | 60 seconds |
Development | 8 weeks |
Previz | 6 weeks |
Model | 3 weeks |
Texture | 1 week |
Animate | 4 weeks |
Light | 2 weeks |
Render | 2 weeks |
Comp | 1 week |
CBB | 1 week |
Sound Design | 1 week |
Sound Mix | 3 hours |
Page count: | 12 pages |
Quantity of locations: | No restrictions — but be mindful that no more than 7 filming locations will be approved during production, to avoid company moves during the pandemic |
Quantity of characters: | No restrictions |
Children: | Yes |
Animals: | Yes |
Weapons: | Yes |
Sexual intimacy: | Yes – but an intimacy coordinator may be required for certain scenes |
COVID restrictions: | No blanket restrictions on writing, but be mindful of tips for writing during a pandemic and a COVID script breakdown will be required on an early draft to anticipate safety concerns. |
Locations per day: | 1 location |
Distance to location: | May shoot outside of the studio zone with approval of a distant location request. |
Shooting days: | 7 days |
Pick-up days: | May make a pick-up photography request for one half-day of additional shooting |
Length of workday: | 12 hours, plus an hour for lunch |
Call time restrictions: | No time restrictions, except for allowing 10-hour turnaround |
Night shoots: | Yes |
FIST agreement: | Yes |
COVID protocols: | Yes |
Final page count: | 12 pages |
Shooting days: | 7 days |
Pages per day: | 1 6/8 pages |
Shooting ratio: | 20:1 |
Data rate: | 2.6 GB/minute |
Max. data per page: | 52 GB |
Max. data per day: | 89 GB |
Max. dailies length: | 240 minutes |
Max. dailies size: | 624 GB |
Frame rate: | 24.000 fps |
Record file format: | ProRes 4444 HQ |
Resolution: | 2K (2048×1080) |
Video codec: | ProRes 4444 HQ |
Baked-in settings: | All image settings (Rec. 709 / SDR) |
Mode: | IPP2 |
Output color space: | Rec. 709 |
Output tone map: | Medium Contrast |
Highlight roll-off: | Medium |
Pic edit software: | Media Composer |
Pic edit days: | 5 days for first cut 10 days for final cut |
Max. story content: | 12:30 |
Max. credits: | 1:00 |
Max. TRT: | 13:30 |
Sound software: | ProTools |
Sound design days: | 10 days |
Sound mix days: | 2 days |
VFX software: | Variable |
VFX days: | Variable; no more than 8 weeks is available for any given artists |
Coloring software: | DaVinci Resolve |
Coloring days: | 2 days |
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. 01d1-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.
PDF file of the final shooting script | 01d1-Script.pdf |
Final Draft file of the final shooting script | 01d1-Script.fdx |
PDF of Shooting Schedule from Scenechronize | 01d1-ShootingSchedule.pdf |
PDF of Vertical Stripboard Report from Scenechronize | 01d1-Stripboard.pdf |
Call Sheet (including Safety Bulletins and Maps) | 01d1-CallSheet-Day1.pdf |
Daily Production Report | 01d1-DPR-Day1.pdf |
Meal Sign-In Sheet | 01d1-MealSignIn-Day1.pdf |
Performers Production Time Report | 01d1-PerformerTimeReport-Day1.pdf |
Safety Meeting Report | 01d1-SafetyReport-Day1.pdf |
Set-up Schedule | 01d1-SetupSchedule-Day1.pdf |
Camera Reports | 01d1-CameraReports-Day1.pdf |
Sound Reports | 01d1-SoundReports-Day1.csv |
SS-Clip Log | 01d1-ClipLog-Day1.pdf |
SS-Editor’s Log | 01d1-EditorsLog-Day1.pdf |
SS-Facing Pages | 01d1-FacingPages.pdf |
SS-Lined Script | 01d1-LinedScript.pdf |
SS-Progress Report | 01d1-ProgressReport-Day1.pdf |
Crew Deal Memos | 01d1-CrewDealMemos.pdf |
Cast Performance Agreements | 01d1-PerformanceAgreements.pdf |
Location Agreement & Shooting Plans | 01d1-LocationAgreements.pdf |
Location Hazard Assessment Checklist | 01d1-LocationHazards.pdf |
Hazard Notification Report | 01d1-HazardNotification.pdf |
Picture Vehicle Agreements | 01d1-PictureVehicleAgreements.pdf |
PDFs of all general correspondence, including letters, emails, texts, etc. At the very least, this should include a thank-you letter to each location. | 01d1-Correspondence.pdf |
Update the Crew tab in Motion with any additional crew members (e.g. volunteers). Save a PDF of the crew list and include it in this section. | 01d1-Crew.pdf |
A good, clear, scanned copy of the Director’s student ID card | 01d1-DirectorID.pdf |
A good, clear, scanned copy of the Producer’s student ID card | 01d1-ProducerID.pdf |
Update the Cast tab in Motion with info for every person who appears on screen. Include a headshot for all lead and supporting roles (headshot not needed for featured or background extras). Save a PDF of the cast list and include it in this section. | 01d1-Cast.pdf |
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. | 01d1-LocationList.pdf |
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. | 01d1-Vendors.pdf |
Update all info in the Details tab in Motion. Save a PDF of the Details tab and include it in this section. | 01d1-ProjectDetails.pdf |
Dialogue List | 01d1-DialogueList.pdf |
Music Cue Sheet | 01d1-MusicCueSheet.pdf |
Killer Tracks License | 01d1-KillerTracks.pdf |
Composer Contract | 01d1-ComposerRelease-ComposerName.pdf |
Synchronization License | 01d1-SyncLicense-SongName.pdf |
Master Use License | 01d1-MasterLicense-SongName.pdf |
PDF of Credits List form. Include title cards & credits as they appear on screen. This should be a typed list, not screenshots of the credits from the film. | 01d1-Credits.pdf |
Update the Media tab in Motion with at least five Production Stills (72dpi, jpg). Include a PDF of the Media tab in this section. | 01d1-Media.pdf |
These guidelines are intended to help cast and crew understand radio frequency exposure for equipment that is commonly used by production. RF radiation can be harmful due to the ability of RF energy to heat biological tissue faster than the body can cope with or dissipate the excessive heat. It is not presently known whether there are non-heat related effects of RF exposure.
RF is continuously emitted from certain types of wireless transmitting equipment that is commonly used on cameras, audio equipment, wireless lighting controllers, and Wi-Fi hotspots. Equipment that only receives RF is not a source of RF emissions.
This bulletin is not meant to address radio transmitting facilities, satellite antenna farms, microwave installations, cellular telephone towers, and other industrial equipment that may emit radio waves. Individuals working in these areas should follow all warning signage and comply with the facility’s safety protocols and procedures.
The FCC recognizes two tiers of Maximum Permissible Exposure (MPE) limits. This bulletin follows the stricter limits of the General Population/Uncontrolled Exposure (GP/UE) guidelines.
Methods for mitigating the health effects of RF exposure include:
The term “Free Driving” applies to situations where the driver or a passenger of a vehicle is being photographed by cameras attached to the outside and/or inside the vehicle, or being handheld by a camera operator inside the vehicle. The term free driving also applies in situations when the camera is used to film external shots from in or on the vehicle. For example, during Free Driving the camera can be attached to the exterior of a vehicle with a door mount (hostess tray), a hood mount, or on a mechanical track system. As a result of unique vehicle configurations, equipment placement, personnel location and operations, potential risk factors may exist and should be addressed, as discussed below.
These guidelines do not cover insert car and/or process trailer operations. For those situations, refer to Industry-Wide Labor-Management Safety Committee Safety Bulletin #8 “Guidelines for Traditional Camera Cars” and/or #8, Addendum A “Process Trailer/Towed Vehicle” for guidance. Also refer to Safety Bulletin #37 “Vehicle Restraint Systems – Seat Belts & Harnesses” and #42 “Guidelines for Alternative Driving Systems”.
Production shall consider all available options (including camera car, process trailer, alternative driving systems, etc.) and assess and make the determination that Free Driving is an appropriate method.
Driving safely is the first priority; acting and/or getting the shot is second. When safe operation of the vehicle is not possible, alternate means should be used, such as a process trailer or a tow vehicle.
Unsecured equipment poses a particular challenge. Hand-held cameras, equipment, and crew and actor placement should be considered to ensure the equipment will not become a projectile that could cause injury.
Other considerations for safe Free Driving include:
Ensure the vehicle has been inspected, is roadworthy, and has been suitably maintained. Inspection items include, but are not limited to, brakes, steering, tires, engine, drive train, vehicle’s electrical system, connection points, equipment placement, and all safety equipment. Any items not functioning properly must be repaired by a qualified person before use.
A shot‐specific safety meeting should be held by the First Assistant Director for all personnel riding in or on the vehicle, including those in close proximity (e.g. stunt personnel or background performers). This meeting should discuss the following topics:
If there is a substantive change in the choreography, equipment, or personnel involved in the shot, the individuals involved should discuss and decide if a subsequent safety meeting and rehearsal should be held.
Depending on the road conditions, speed, weather, controlled/uncontrolled environments, etc., the following should be considered during rehearsals and filming:
These guidelines are intended to give recommendations for safely working on and around Alternative Driving Systems (ADS) e.g., Pods. An ADS is typically a custom‐built device that is connected to the vehicle so that the vehicle can be driven safely without the person sitting in the normal driving position controlling the steering, accelerator, brakes, or other components. This Safety Bulletin does not address the use of wireless‐controlled vehicle systems.
ADS should only be operated to the levels for which they are designed based upon the requirements and conditions discussed between the Production and the ADS manufacturer or fabricator. The design, fabrication, and assembly of ADS are not covered in this Safety Bulletin.
Production shall assign a Responsible Person or Persons. A Responsible Person is someone with both the experience and training to recognize and resolve problems relating to the configuration and operation of the ADS. The Responsible Person will have authority over all ADS operations.
The capabilities and limitations of the ADS should be communicated to all applicable departments. All rigging of the ADS and equipment, including cameras and lights, is to be performed by qualified personnel in an area secured for the purpose of rigging, which is free of known hazards, including other vehicular traffic. The rigging must be discussed with the Responsible Person and the ADS operator prior to the use of the vehicle. The Responsible Person and ADS operator must inspect the vehicle after any rigging change is made to ensure that the change will not adversely affect the safe operation of the vehicle. Only authorized persons should be in the secured area. When the ADS vehicle is not in operation, steps should be taken to ensure the vehicle cannot inadvertently move.
The connected vehicle must be inspected before and after each run. Inspection items include, but are not limited to, the ADS, brakes, steering, tires, engine, drive train, vehicle’s electrical system, connection points, towing equipment, and all safety equipment. Any items not fully functioning must be repaired by a qualified person before use.
A walk through with the performer(s) should be conducted regarding which of the vehicle’s original systems are operational and which have been disengaged.
A rehearsal should be considered to familiarize the performer with the operational characteristics of the vehicle and controls.
A shot‐specific safety meeting should be held by the First Assistant Director, Responsible Person, and Stunt Coordinator, as needed, involving all personnel riding in, on, or in close proximity (e.g., stunt personnel or background performers) to the ADS vehicle. This meeting should discuss the following topics below:
If for any reason there is a change in the choreography or personnel involved in the shot, a safety meeting must be held with all personnel involved to ensure everyone understands the changes.
During rehearsals and takes:
These guidelines are intended to give recommendations for safely working on and around gimbals. Gimbals are generally one-of-a-kind, purpose-built devices designed to simulate real-world movement. Challenging environments, such as an airplane in flight, a ship in a storm, and many others may be simulated through the use of a gimbal. Gimbals are typically used to move cast, crew, and sets through a number of programmed or choreographed motions. Gimbals can range in complexity from small-scale, seesaw-type devices moved by simple leverage to complex, multi-axis powered motion bases controlled by computer.
Gimbals are typically designed for specific applications and short duration operation. Gimbals should only operate to the level for which they are designed. Design and assembly of the gimbal is not covered in this Safety Bulletin. This Bulletin assumes that the gimbal has been properly assembled and is fully operational with a clearly defined Exclusion Zone (e.g., marked with tape, barricades, etc.). The Exclusion Zone is the immediate area surrounding a gimbal where only authorized cast and crew are allowed.
Production shall assign a Responsible Person for the safe configuration and operation of the gimbal. A Responsible Person is defined as someone with both the experience and training to recognize and resolve problems relating to the safe operation of the gimbal.
The Responsible Person will have the ultimate authority over all gimbal operations, including, but not limited to:
Make crew and applicable department heads aware of the designated Responsible Person, Exclusion Zone parameters, gimbal limitations, work procedures, emergency procedures, and individuals authorized to be inside the Exclusion Zone.
All items included in Set Construction and Pre-Rig should be reevaluated throughout the production as conditions change.
Representatives from all applicable departments shall be included in conducting inspections of their equipment on or around the gimbal, prior to operation.
The Responsible Person should:
Reevaluate the Exclusion Zone and communicate to all cast and crew (size and operation of the gimbal will dictate).
Please follow Inspection and Testing items 1–6 above.
Inspect and test other production-related equipment on or around the gimbal.
The First Assistant Director shall, along with the Responsible Person, conduct a safety meeting with all cast and crew, including, when necessary, a stunt coordinator, prior to working on or around the gimbal.
Safety meeting topics may include, but are not limited to:
The Responsible Person should be notified of any changes or concerns in the use of the gimbal, action of the cast or crew, or placement of equipment in order to determine whether an additional safety meeting is necessary.
The Responsible Person or his/her designee shall conduct a test of all controls at least prior to the gimbal being used during each work shift and upon returning to the gimbal from breaks.
Production Management and the Responsible Person shall take the following into consideration and address with the appropriate personnel:
These guidelines address non-camera utility vehicles used for production support, such as ATVs, golf carts, snowmobiles and utility vehicles with small engines and/or electric powered. Vehicle operators must observe all applicable rules and regulations. In order to provide a safe workplace, the following vehicle guidelines have been established regardless of the type of vehicle used:
Using and working safely around non-camera utility vehicles requires the full attention and care of the entire crew. Horseplay and excessive speed are the primary causes of accidents and injuries. Extreme caution should be used when operating these vehicles.
Operators are responsible to follow these safety guidelines, employer guidelines and manufacturer operating manuals for the safe operation of these types of vehicles.