Uncategorized

Turnover Sound and Color

Export Reference Video

For both sound and color turnover you will need to export a Reference Video from Media Composer with the name of the project and timecode burnt in.

Mount your show volume and launch your Media Composer project. Open the”Locked “Sequences” bin. Select your locked sequence and hit Command+D to duplicate the sequence. Then rename the new sequence “Show#_Locked_Refernce_Video”.

Search the Effects Pallet for “Timecode” and you will find the TimeCode Burn in Generator.

Apple the effect to track “V6/Timecode Overlay”.

Using the Effects Editor set Display 1 to Timecode and Display 2 to Sequence Name.

Under the Appearance drop down menu set the font size to 40. Then use the Position X and Y controls to move the bun ins around. Place the Sequence name centered at the top of the screen and the Timecode centered at the bottom of the screen.

You are now ready to export the entire sequence as a quicktime reference video. Select in to out for the whole sequence and activate all tracks.

Then right click bin the record window and select “Export”.


Point the export to the “Video Reference” folder under “Sound” on your show volume. Then check that the name of the export will be correct. Finally select the “Reference Video” preset. Before exporting double check he preset by click “options” and make sure the settings are exactly as shown in the example below.

When the export is complete open it in quicktime player to make sure everything is okay. After confirming taht the Reference Video is good, copy and paste it into the “Reference “Video” folder under “Color” as well, so that it is in both places.

Export AAF for ProTools

Next you will need to export an AAF from Media Composer with all of your sound tracks so that they can be translated into ProTools. ProTools will use the exact same media in the Avid Media Files Folder as Media Composer does so the AAF only needs describe the audio tracks and tell ProTools where to look for the media.

Select your locked sequence again and hit Command+D to duplicate tit. Then rename the new sequence “Show#_Locked_Sound_Turnover”. Select in to out for the whole sequence and activate all tracks. Then right click the record window and select “Export”.

Point the export to the “AAF” folder under “Sound” on your show volume. Then check that the name of the export will be correct. Finally select the “Sound Turnover” preset. Before exporting double check the preset by click “options” and make sure the settings are exactly as shown in the example below.

When the AAF is done exporting Media Composer will automatically import it back into the “Locked Sequence” bin. If you open the sequence you will see that the AAF is only translating what is on the Audio tracks which is all ProTools will need.

Export AAF for Resolve

Next you will need to export an AAF from Media Composer with all of your picture tracks so that they can be translated into Davinci Resolve. Media Composer has been working with transcoded “Offline Media” but Resolve will “Online” back to the Original Camera Files (OCF). The AAF only needs describe the picture tracks in such a way that Resolve can link back to the Camera Originals.

Select your locked sequence again and hit Command+D to duplicate tit. Then rename the new sequence “Show#_Locked_Color_Turnover”. Select in to out for the whole sequence and activate all tracks. Then right click the record window and select “Export”.

Point the export to the “AAF” folder under “Color” on your show volume. Then check that the name of the export will be correct. Finally select the “Color Turnover” preset. Before exporting double check the preset by click “options” and make sure the settings are exactly as shown in the example below.

When the AAF is done exporting Media Composer will automatically import it back into the “Locked Sequence” bin. If you open the sequence you will see that the AAF is only translating what is on the picture tracks which is all Davinci Resolve will need.

Save and close Media Composer.

Conform in Davinci Resolve

On the Post Hall Davinci Resolve is a bit different from other applications like Media Composer or ProTools in that the project file always lives locally and not on the main CMPA Server or your show volume. The project will reference media that lives on the server but the project itself will always live locally. Because of this if you ever open a Resolve project from a location on the server it will copy that project locally and then open it.

On your show volume navigate to the “Resolve Template” project as shown in the the example below. Double click on the project and it will copy to your local machine and open.

The project will named whatever the template was originally named on our show volume. To change this go to “File” and then “Save Project As”. Rename the project “Show#_Conform”.

Davinci Resolve is made up of several “pages” which you can switch between by selecting them across the bottom of th screen. To begin with select “Media”.

The Media page has a section on top that will allow you to navigate through the finder to locate any media you would like to import in. Below that is the Media Pool which already has several folders made.

To import most things it’s as easy as draging from the finder down to an open folder in the Media Pool. The first thing to import are the credits and titles. These should be either DPX or PNG image sequences. Resolve will display the image sequence as a single file in the finder. Drag them into the media pool Credits folder as show below.

Next import all of the OCF into the media pool. Yes this mean importing everything taht was shoot for your show into the project. The easiest way to do this is to drag the folder with your show# OCF into the media pool. Doing so will import everything inside all the folders.

Next we need to import the “Reference Video” that was exported from Media Composer. However DO NOT drag it into the Media Pool.

It needs to be imported in a special way so that it can come into Resolve as an “Offline Reference Clip”. To do that first select the “Reference” folder in the media pool so that it is open. Then right click on the Reference Video and select “Add as Offline Reference Clip”. That will add it to the media pool but as a “Offline Reference Clip”.

Finally you will need to import the AAF that was exported from Media Composer to recreate your locked sequence in Resolve. Select the “Sequences” folder and then right click inside of it and select “Import AAF”.

In the window that appears navigate to the “Color” folder on your show volume and select the AAF file.

The “Load AAF” window will appear. Fill this out carefully paying attention to the example below. Change the timeline name to your show#_Conform. Change the starting timecode to 00:59:00:00. Make sure that the options pointed out below are either select or deselected as shown.

When you select okay a window will appear asking where in the project it should look for eh media the AAF is referencing. The correct box is already checked so simply click OK.

Next the sequence will load in Resolve and all of your Front Sequence, OCF, and Credits should all be linked. You will see a Log detailing if anything from the AAF was unable to be translated. Taking a picture of this is never a bad idea as it can help you later in the conform.

In the example below it simply says that the Avid Titler Tool used for the slate in the front sequence cannot be translated so taht will be left blank. It also say the 2DMatteKey used on the widescreen matte is not supported. And finally taht the Matte itself failed to link. None of these are a problem and are normal.

Since the Matte on video track 5 failed to import you can go ahead and delete. In a moment you will reapply it another way. To clean up some of the empty tracks in Resolve right click in the darker part of a track and select “Delete Empty Tracks”.

After deleting the offline matte and cleaning up the empty tracks your timeline should look simpler like the example below.

To reapply the Matte that was deleted inside Resolve go to the top of the screen and select “Timeline” and all the way at the bottom under “Output Blanking” you can select your aspect ratio.

Next you will need to link your sequence to the “Offline Reference Clip”. In the “Edit” page right click on the sequence and select your Reference Video.

Nothing immediately will happen. In order to view the reference video simultaneously with what’s in the timeline you will need to switch from “Source” to “Offline”. This will change what is displayed on the left hand screen.

With the left hand screen set to “Offline” as you screen through the timeline both screens will play locked together. The left hand screen displaying the reference video and the right hand screen displaying what is currently in the timeline. The goal is to “conform” the timeline so that it matches the left hand screen exactly. By right clicking in the Right hand screen you can access several comparison views to make this easier.

In comparing your timeline against the reference you will notice two things that need to be fixed. One is the color of the clips on the timeline is in Log and needs the same LUT that you used set and in Media composer applied. Two the small is slightly different. This is because your OCF files are 2K (2048×1080) and the Reference file is HD (1920×1080). You will want to address both of these.

To address the color switch into the “Color” page.

You will notice that every clip has an empty node and all of the thumbnails are displaying Log images.

On the right hand screen go to the LUTs folder and navigate to the Red IPP2 709 folder and select the LUT that was originally used. For most of you this will be: Medium Contrast Medium Size.

Drag it into the node for the first clip. Then simply copy and paste that node tree into all of the other OCF clips in your timeline.

Now that the color is the same you can switch the “Difference” tool. This will overlay the reference video on top of the footage in the timeline. Anywhere it lines up perfectly will be black. This is a good tool to see differences in position and scale.

Because of the small difference between 2K and HD everything will need to be called slightly so taht it matches the reference exactly. In the example below which is a 1.85:1 aspect ratio show the zoom needed o be set from 1 to 1.026.

You do not need to do this one at a time. You can either copy and paste these attributes or you can lasso several clips at once and change them together. Go slowly through the timeline checking each shot carefully against the reference video. Play close attention to shots that you know where zoomed, repositioned, had the speed changed, or where otherwise efferent in Media Composer. If you come across any leave a marker for yourself by hitting “M” and leave a note of what seems to be the problem. The post staff can help you work out anything that you find.

After you have gone through the project a few times and are very confident that the timeline in Resolve is an exact match of the Locked timeline from Media Composer you are done. The project is now conformed and ready for color correction.

To save your conformed project back up to your show volume select File and the Export Project.

Label the project Show#_Conform and export it to the Resolve folder on your show volume next to the Template.

Once you see your project safely on the show volume you can quiet Resolve. You are done.

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.

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.

Assistant Editing Workflow (MFA)

OFFLOAD MEDIA

At the end of each shooting day, the Assistant Editor (AE) will retrieve the RED Mini Mags (containing the video), the CF cards (containing the audio), and the camera reports. The media cards should be labelled with red tape, as shown below.

Make sure you remove all the red tape from the video and sound cards before inserting them in the card readers. Note that the RED Mini Mag can take 2 to 3 minutes to show up on the desktop.

IMPORT MEDIA INTO MEDIA COMPOSER

Open the Media Composer Project.

When setting up your project, make sure it’s 1920×1080 24p.

Keep the bin structure maintained as shown below.

Control-click on the 03_Footage > Production > Syncing bin and choose Input > Source Browser from the pop-up menu, then link to both video and audio.

Go into the Syncing bin and select all the clips. Make sure the link button to the left is selected and then press the link button in the button right corner.

Then select the production audio and press the link button in the button right corner.

Select 24 and click “Ok to All”.

SYNCHRONIZE CLIPS

The audio and video should now both be in the Syncing bin.

Select all of the audio and video, and choose AutoSync from the side menu.

Have the Source Timecode box selected.

Then everything that has the correct timecode will make a subclip. Anything that did not sync because the timecode was off will be highlighted and will need to be synced manually.

Here is an example where you can see the wild audio tracks and room tone are highlighted which makes sense as they would not create a subclip. While the clips are highlighted, set the clip color so you can identify them as clips with issues.

MANUAL SYNCING

For clips that need to be manually synchronized, first double-click on the video clip. Create an in-point on the video clip (by pressing “i”) on the frame where the clappers clack.

Make sure you have Audio Scrubbing turned on in the Toggle Digital Audio Scrub, which can be found on the Command Palettes > Play tab. The keyboard shortcut Command + 3 brings it up.

Play until you hear the clapper clack, and then use the arrow keys to move one frame at a time to find the exact frame where the clack starts. Add an in-point here.

Select both clips, then go to AutoSync and choose Inpoints.

Play back subclip to confirm it’s in sync.

If the clip is an MOS shot, rename the clip to what is on the slate and put it in the appropriate scene folder.

ORGANIZE MEDIA IN MEDIA COMPOSER

One everything is synchronized, the subclips will have the video clip name with “synced” at the end. You will need to rename the subclip to the appropriate scene and take number: e.g., 1A_1.

Never rename the video or sound files. Just subclips. An MOS shot is the only exception to this rule.

After everything has been synchronized successfully, move the production video and the production audio to the appropriate bins. To move the clips, open the bin and then drag the audio and video to the name of the tab of the open bin.

Move the wild lines and room tone clips to the production audio bin.

Manage ScriptE Data

Then you are ready to import the ScriptE data.

The first thing you will do is to open the clip bin file in a text editor and make sure it says 24. If it is set to anything else, change to 24.

Then, go to the end of the last line and add a space in order to have the last clip imported.

Save and close, then change the extension from .txt to .ale.

Import the ALE that ScriptE produced. In the bin with your subclips, go media import – ALE and click ok.

If you receive this error message click Ok.

Set the clip color so you can identify the ScriptE clips and be able to easily copy-and-paste data into fields later.

When the clips the ALE produces show up, they will be offline. Rename each subclip to the clip names based off the slate: 1A-1, etc…

Then control-click on the name and choose Sort on Column, Ascending. This will allow the clips to be lined up so you can copy-and-paste all script supervisor notes into the appropriate fields: script description, script comments, and script notes.

Save that bin view in order to pull up those fields in the future.

Save as ScriptE.

Once you are done you can trash the ScriptE clips and then move the merged subclips into the appropriate Scene bins.

BUILD THE DAILIES SEQUENCE

For each day of production, you will build a dailies sequence that includes all of the footage shot for that day, as well as a master dailies sequence that includes all the footage shot for the entire show.

Under 01_Sequences – Dailies you will find the prebuilt sequences.

Organize the merged clips in scene order (story order) and, within each scene, place the shots in the following order:

  1. Wide shots
  2. Medium shots
  3. Close-ups
  4. Inserts
  5. Charts

Use the Title Tool to make a 5-second slate to begin the dailies sequence, and fill it out as below.

EXPORTING THE DAILIES SEQUENCE

Once the dailies sequence is fully built, place in-points and out-points on the timeline to select the entire sequence. Then click File > Output > Export to File…

Save using the naming convention of show#_Dailies_Day_#.mov — e.g., 01D1_Dailies_Day_1.mov.

Set the correct folder path for the saved file and make sure the Export Setting is “Link to Audio and Video”.

Export as MOV with the following settings:

Preset:HD 1920×1080
Codec Family:H.264
Compression:H.264
Color Depth:8 bit
Target Bit Rate:10 Mbps

Hit save and then upload the exported file to the appropriate folder on frame.io.

WRAP UP

After the final day of production the AE should ensure that everything is sync and the Media Composer project is ready for editorial to begin. Save the Project and close it.

All of the sound and camera cards used in the production should be left on the desk of the assigned edit suite. The finished editors notebook should be left on the desk as well.

F3 Specs

Live ActionAnimation

Writing specs

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.

Production specs

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

Data allocation

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 size312 GB

Capture settings

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

Picture Edit specs

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 specs

Sound design location:Post Hall
Sound design software:ProTools
Sound design days:7 days
Sound mix:3 hours

Visual Effects specs

VFX software:Variable
VFX days:Variable — with a maximum of two weeks for each show

Coloring specs

Coloring software:DaVinci Resolve
Coloring days:1 day

Project Specs

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

Production Schedule

Development8 weeks
Previz6 weeks
Model3 weeks
Texture1 week
Animate4 weeks
Light2 weeks
Render2 weeks
Comp1 week
CBB1 week
Sound Design1 week
Sound Mix3 hours
–>

MTH Specs

Writing specs

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.

Production specs

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

Data allocation

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

Capture settings

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

Picture Edit specs

Pic edit location:Post Hall
Pic edit software:Media Composer
Pic edit days:5 days for first cut
10 days for final cut
Max. story content:14:00
Max. credits:1:08
Max. TRT:15:08

Sound specs

Sound edit location:Post Hall
Sound software:ProTools
Sound design days:10 days
Sound mix days:2 days

Visual Effects specs

VFX software:Variable
VFX days:Variable; no more than 8 weeks is available for any given artists

Coloring specs

Coloring software:DaVinci Resolve
Coloring days:2 days

Delivery Test

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.

Due Dates

Part I – Production Delivery

  • To be completed by the Producer by 9:00am on the Thursday following production

Part II – Post Production Delivery

  • To be completed by the Producer by 5:00pm on Wednesday, December 9, 2020

Part I – Production Delivery

01. Script

PDF file of the final shooting script01d1-Script.pdf
Final Draft file of the final shooting script01d1-Script.fdx

02. Production Schedule

PDF of Shooting Schedule from Scenechronize01d1-ShootingSchedule.pdf
PDF of Vertical Stripboard Report from Scenechronize01d1-Stripboard.pdf

03. Daily Production Paperwork

Call Sheet (including Safety Bulletins and Maps)01d1-CallSheet-Day1.pdf
Daily Production Report01d1-DPR-Day1.pdf
Meal Sign-In Sheet01d1-MealSignIn-Day1.pdf
Performers Production Time Report01d1-PerformerTimeReport-Day1.pdf
Safety Meeting Report01d1-SafetyReport-Day1.pdf
Set-up Schedule01d1-SetupSchedule-Day1.pdf
Camera Reports01d1-CameraReports-Day1.pdf
Sound Reports01d1-SoundReports-Day1.csv
SS-Clip Log01d1-ClipLog-Day1.pdf
SS-Editor’s Log01d1-EditorsLog-Day1.pdf
SS-Facing Pages01d1-FacingPages.pdf
SS-Lined Script01d1-LinedScript.pdf
SS-Progress Report01d1-ProgressReport-Day1.pdf

04. Releases

Crew Deal Memos01d1-CrewDealMemos.pdf
Cast Performance Agreements01d1-PerformanceAgreements.pdf
Location Agreement & Shooting Plans01d1-LocationAgreements.pdf
Location Hazard Assessment Checklist01d1-LocationHazards.pdf
Hazard Notification Report01d1-HazardNotification.pdf
Picture Vehicle Agreements01d1-PictureVehicleAgreements.pdf

05. Correspondence

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

06. Crew Information

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 card01d1-DirectorID.pdf
A good, clear, scanned copy of the Producer’s student ID card01d1-ProducerID.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 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

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.01d1-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.01d1-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.01d1-ProjectDetails.pdf

02. Dialogue List

Dialogue List01d1-DialogueList.pdf

03. Music Requirements

Music Cue Sheet01d1-MusicCueSheet.pdf
Killer Tracks License01d1-KillerTracks.pdf
Composer Contract01d1-ComposerRelease-ComposerName.pdf
Synchronization License01d1-SyncLicense-SongName.pdf
Master Use License 01d1-MasterLicense-SongName.pdf

04. Credits & Title Cards

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

05. Media

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

RF Transmitters

Safety Bulletin

Guidelines

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.

COMMON SOURCES OF RADIOFREQUENCY

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.

CONSIDERATIONS FOR USE

  1. Follow the manufacturer’s guidelines. Camera-back transmitters commonly used in the film and television industry are authorized for license-free use by the Federal Communications Committee (FCC) under Part 15 and require that all Part 15 devices be subject to FCC RF exposure guidelines.
  2. Unless it is permissible by the manufacturer, the RF equipment should not be modified in any way. Equipment exceeding FCC unlicensed power limits or otherwise requiring a Special Temporary Authorization (STA) from the FCC should be used only by trained technicians in accordance with the FCC license. If equipment that exceeds FCC unlicensed power limits must be used, production personnel should be made aware so that the required additional safety protocols and precautions can be implemented.
  3. Be aware of the RF output power and minimum safe operating distances from the transmitting source, i.e. antenna. Antennas may be supported by a mast that provides distance from the transmitter. These masts are not an active RF source.
  4. Establish operating procedures that enable personnel using RF Equipment to remain at safe operating distances or provide other means of protection from excessive RF exposure.

GUIDELINES FOR SAFE OPERATION

Methods for mitigating the health effects of RF exposure include:

  1. Hardwiring the equipment
  2. Increasing one’s distance from the RF emitting device
  3. Employing RF shielding or protective clothing

Related Bulletins

Free Driving

Safety Bulletin

Guidelines

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”.

Considerations Before Engaging in Free Driving

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:

  • Scene action (e.g. stunts, performance, and special effects)
  • The ability of the driver to simultaneously perform, drive, and remain aware of any clearance required for rigging or equipment that extends beyond the vehicle body
  • Controlled or uncontrolled environment (closed course versus open roads with Intermittent Traffic Control (ITC))
  • Location permitting requirements, such as for road closures, ITC or driving grids.
  • Type and condition of vehicle to be used
  • Intended speed and maneuvers
  • Operating the vehicle in close proximity to other vehicles
  • Route conditions (e.g. curved, incline, crown, obstacles, clearances, length, width, paved, gravel, dirt, flat, hilly, wet, or slippery)
  • Anticipated weather
  • Airbags and other automatic devices may need to be deactivated for safety, depending on the placement of personnel and equipment (e.g. cameras, lights). NOTE: Only a person who is trained, qualified, and authorized to disengage an airbag shall do so.
  • If airbags must be disabled, alternative safety measures will need to be implemented (e.g. restraint harnesses).
  • The production should consider road closures, reduced speeds, etc. prior to disengaging airbags.
  • Equipment weight, load capacity, center of gravity, counter balance, placement and use (e.g. camera, lighting, and props)
  • Limited lighting options, including placement and power
  • Limited visibility conditions for the driver (e.g. cameras, mounts, dust, spray, lights, restrictive covering over the windshield, smoke)
  • Communication system (e.g. walkie-talkies)

Prior to Operation

  • When vehicles are used for filming, all rigged equipment must be securely mounted. If cameras are mounted to any part of the vehicle (either inside or out), these must be securely installed with the appropriate mounts / restraints and by a member of the crew who is qualified to perform the procedure.
  • Mounted equipment inside or outside the vehicle should not obstruct the driver’s view or distract attention while the vehicle is in motion.
  • No lighting should be used within the vehicle that could impair the driver’s clarity of vision or provide distraction.
  • The consideration of foreseeable emergencies (e.g. deployment of vehicle airbags) must be taken into account when positioning the camera operator.
  • The driver must be qualified to operate the vehicle and should have an appropriate license. NOTE: A license may not be required by law. However, drivers may need special training to be qualified to drive an unfamiliar vehicle or course.
  • All rigging of the vehicle and equipment, including cameras and lights, is to be performed by qualified personnel in a secure area which is free of known hazards, including other vehicular traffic.
  • A walk-through with the driver should be conducted to familiarize them with the operational characteristics of the vehicle and controls. Always check that the driver can operate the vehicle safely while filming is taking place.
  • Establish communication between drivers and support vehicles (e.g. walkie-talkies).
  • Check the weather and road conditions; establish the route, ensure that it is clear, and allow enough time for rehearsals prior to filming.
  • Brief the driver regarding the proposed filming plans. Ensure that the driver is confident with the route and is aware of where the cameras will be positioned.
  • The driver should do a test drive of the vehicle to familiarize themself with the filming plans and where they need to drive during the scene.
  • After rigging cameras and other equipment, carry out a test drive in a secluded spot or private road to test that the clamps have not come loose through vibrations. This process should be carried out each time you stop as a secondary check.

Inspection

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.

Safety Meetings

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:

  • Shot sequence and route (e.g. stunt action including crossovers/head‐on or near misses, vehicle speed, number and proximity of other vehicles, crew and camera placement, background performers, and property)
  • The potential use of a convoy of safety buffer vehicles for a cushion zone, plus slower travel speeds
  • Walk‐through or dry‐run
  • Environmental conditions (e.g. weather, surface conditions such as cement, gravel or dirt, topography such as flat or hilly)
  • Possible changes due to hazards
  • Authority to abort, including signals to be used
  • Route conditions (e.g. slope, curved, incline, crown, obstacles, clearances, length and width)
  • Equipment considerations (e.g. rigging, cameras, lights, microphones, airbags)
  • Communication systems (e.g. intercom and designated channel)
  • Signaling system to alert personnel to the vehicle’s impending movement
  • Visibility
  • Special effects
  • Personal protective equipment (e.g. harnesses, seat belts, helmets, eye protection)
  • Traffic and pedestrian control (e.g. street closures, ITC)
  • Emergency plan (e.g. escape routes and contingency plan)

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.

Operation

Depending on the road conditions, speed, weather, controlled/uncontrolled environments, etc., the following should be considered during rehearsals and filming:

  • Only essential personnel required for the shot should be allowed on or in the vehicle.
  • Equipment and personnel should not disrupt, distract the driver, or compromise the safety of the vehicle operation.
  • Cast and crew riding in the vehicle must be provided a safe and secure place to ride.
  • While filming from inside the vehicle, personnel should be restrained with suitable straps/harnesses. The camera and gear should be properly secured.
  • A generator, when needed, should not be positioned where the cast and crew may be exposed to the exhaust.
  • If using batteries with or without an inverter, the batteries must sit flat and be secured in an upright position. Batteries can get hot and should not be placed against anything combustible.
  • When possible, a remote ON/OFF control switch should be used to run and stop the camera when it is door or hood mounted; a camera assistant rushing to the car to turn off the camera can create a hazard.
  • The performer should not be tasked with “slating” if the vehicle is already in motion.
  • Use comms/walkies to communicate between all parties.
  • Driver should keep within legal speed limits and drive within the law, safely and responsibly to ensure that driving actions do not cause any hazards to oncoming traffic/drivers (if applicable).
  • After each run, a general inspection should be conducted to ensure all equipment is secure. If at any time a camera or other equipment is deemed to be “unsteady,” filming should cease and adjustments made accordingly.

Related Bulletins