#daily-production

Contingency Protocol in the Event of a BTH Crew Member Being Out

If a crew member is unable to report to work during principal photography, they must contact the show’s Producer and the Head of Production (Tony) as soon as possible, and no later than two hours before call time. 

The Producer and the Head of Production will then work through the following steps in sequence to determine the most appropriate solution:

  1. If the Director (or double-partner) is unable to work, advance to Step 8.
  2. Call on the “standby” crew member to step in as a day player. If that is not viable, then…
  3. Check to see if having a smaller crew and consolidating positions will work. If that is not viable, then…
  4. Check to see if there is a BFA3 student who isn’t working that day and is available to fill in. If that is not viable, then…
  5. Check to see if there is a BFA2 student who isn’t working that day and is available to fill in. If that is not viable, then…
  6. Check to see if there is an MFA2 student who is available and interested in filling in. If that is not viable, then…
  7. Check to see if there is a BFA1 student who is available and interested in filling in, shuffling crew positions if the BFA1 isn’t adequately trained in the position that needs filling. If that is not viable, then…
  8. Postpone or cancel the shooting day, reworking the schedule as needed.

Contingency Protocol in the Event of a D2 Crew Member Being Out

If a crew member is unable to report to work during principal photography, they must contact the show’s Producer and the Head of Production (Tony) as soon as possible, and no later than two hours before call time. 

The Producer and the Head of Production will then work through the following steps in sequence to determine the most appropriate solution:

  1. If the Director is unable to work, advance to Step 8.
  2. Check to see if having a smaller crew and consolidating positions will work. If that is not viable, then…
  3. Call on the “standby” crew member to step in as a day player. If that is not viable, then…
  4. Check to see if there is another MFA1 student who isn’t working that day and is interested in filling in. If that is not viable, then…
  5. Check to see if there is an MFA2 student who is interested in filling in. If that is not viable, then…
  6. Check to see if there is a BFA2 student who is interested in filling in. If that is not viable, then…
  7. Check to see if there is a BFA1 student who is able and interested in filling in. If that is not viable, then…
  8. Postpone or cancel the show, reworking the schedule as needed.

Documentary Reporting

Project Meeting

The Director(s) of each project will have a required Zoom meeting with Valerie some time during the project’s production window. Each team should schedule those meeting times with Valerie and add them to your Production Schedule in Google sheets.

Daily Reporting

Each group must post a report in the group’s Slack channel by midnight (EST) every day from Feb 28 – Mar 18. Missing, late, or incomplete reports will result in a grade reduction for all members of the group. Directors should post on their shoot days, and anyone can post on non-shoot days.

Each day’s report should include the following information:

1. Wellness Check

  • Indicate whether everyone is feeling OK, or if anyone has any COVID symptoms, such as a fever, chills, shortness of breath, coughing, sore throat, fatigue, body aches, nausea, and loss of smell or taste.

2. What did you accomplish today?

  • A short summary of the day’s events

3. Photo of the day

  • If it was a shoot day, then include a behind-the-scenes photo.
  • If it was not a shoot day, then any photo that is indicative of the day’s events.

4. Any additional concerns

  • Any incidents, accidents, delays, equipment problems, etc.

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.

CONTINGENCY PROTOCOL IN THE EVENT OF AN F3 CREW MEMBER BEING OUT

If a crew member is unable to report to work during principal photography, they must contact the show’s Producer and the Head of Production (Tony) as soon as possible, and no later than two hours before call time. 

The Producer and the Head of Production will then work through the following steps in sequence to determine the most appropriate solution:

  1. If the Director is unable to work, advance to Step 7.
  2. If the “on-call” person has not yet been deployed, they step into the position. If they are already deployed, then…
  3. Check to see if there are any BFA2 Production students are not assigned to any crew positions or “days off” that day. If there are not, then…
  4. Check to see if one of the students in a “days off” slot is interested in filling in. If not, then…
  5. Check to see if a BFA3 is able to fill in. If not, then…
  6. Check to see if having a smaller crew and consolidating positions will work. If that is not viable, then…
  7. Postpone the show to an available date later in the semester.

Contingency Protocol in the Event of an MTH Crew Member Being Out

If a crew member is unable to report to work during principal photography, they must contact the show’s Producer and the Head of Production (Tony) as soon as possible, and no later than two hours before call time. 

The Producer and the Head of Production will then work through the following steps in sequence to determine the most appropriate solution:

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

D1 Handoff Chart

Below is a chart showing the handoff of the following items from one show to the next during the D1 cycle.

  • Media Cards
  • Production iPads
  • Walkies
  • Script Supervisor Laptops
  • Camera Batteries

RED Camera Settings (D1)

Format

  • Resolution: 7K
    • This refers to the amount of the sensor that will be used, not necessarily the resolution of the file being recorded. The 7K resolution ensures that our lenses will project properly onto the sensor.
  • Aspect Ratio: FF
    • The aspect ratio needs to be set to FF (Full Frame). This refers to the aspect ratio of the above resolution, and FF ensures that the recorded file will be 2K (2048×1080).

Codec

  • Record File Format: Avid DNxHD/HR
  • Resolution: 2K
    • This refers to the resolution of the recorded file. When you select 2K, confirm that the dimensions are listed as 2048×1080. If the dimensions are listed as something different, check to make sure that the aspect ratio (see above) is set to FF.
  • Video Codec: AppleProRes 444
  • Baked-In Settings: RWG/Log3G10
    • This ensures that the video file will be recorded in Log which allows a bit more leeway in color correction.

Image Pipeline

  • Mode: IPP2
    • This is RED’s latest, recommended color pipeline.
  • Output Color Space: Rec. 709
    Output Tone Map: Medium Contrast
    Highlight Roll-Off: Medium
    • These Output Transforms convert the RED WideGamutRGB/Log3G10 image into a Rec .709 image for onset viewing and will appear correct to your eyes.
  • Output Summary
    • The output summary should appear as above. This is to confirm that the camera will not be recording a R3D file, but an Apple ProRes444 file in RWG/Log3G10.

Frame Guide

  • Mode: 1.85:1
    • The frame guide mode should be set to 1.85:1 unless you are framing for one of the other approved aspect ratios (2.39:1 Scope or 1.375:1 Academy). The frame guides ensure that — while you are recording into a 2K 2048×1080 container, which has an aspect ratio of 1.90:1 — you are actually framing for one of the approved aspect ratios.

Media Card Format

  • File System: UDF
    • The Camera Assistant should check that the RED MAG media card is set to UDF before formatting the card.
  • Reel Number
    • The Reel Number should be reset to “1” at the beginning of each show and then versioned up with every RED MAG change.

Map to Critchfield Hall

DIRECTIONS

Critchfield Hall is located approximately 10 miles northwest of the school’s main home in University Center A:

When providing directions to cast and crew, you can use the PDF above or share this link to Google Maps.

Pro tip: When heading towards Critchfield Hall, the final traffic light you hit (right after you pass the I-10 freeway) requires a complete stop on red. There’s a good chance you’ll get a ticket if you roll through on a red.

Producer Responsibilities (D1)

Pre-Production

  • Assist the Director in Location Scouting.
  • Secure each filming location by completing a Location Agreement and Shooting Plan. Make sure the location owner is clear about the nature of the production, and provide them with a Location Pamphlet.
  • Organize the Tech Scout of the location with the ATL. Establish where the restrooms, parking, staging, base camp and set will be. Complete a Location Hazard Assessment Checklist. If any location hazards, then also complete a Hazard Notification Report.
  • Have each actor sign a Performance Agreement.
  • Arrange for volunteers and/or extras if required.
  • Break down the script and create the Production Schedule in Scenechronize.
  • Create a Setup Schedule with the Director and DP (based on the shot list put together by the Director and DP).
  • Prepare all scheduling information and other materials required for Directors Prep.
  • Attend Directors Prep and takes notes for the Director.
  • Assist the Director with any and all logistical needs to prepare for principal photography.
  • Run the Production Meeting by reading the action of the script. Answer crew members’ questions. Have each crew member sign a Crew Deal Memo.
  • Prepare all the paperwork needed on set.
  • Check the weather periodically to monitor adverse conditions. Have a back-up plan.
  • Purchase Craft Services by the night before production.
  • Pre-order lunch and arrange for it to be picked up by a volunteer on the day of production.
  • Have a Greenlight Meeting with the Head of Production, during which you will:
    • Show all completed Location Documents.
    • Follow through on any questions that were brought up in the previous Producer Meeting.
  • Following the D1 Handoff Chart, pick up the pertinent items from the Equipment Room.
  • Create the Call Sheet, including a map and set diagram, and email it no later than 12 hours before call time.
  • Double check every logistical piece of information and make sure nothing has been forgotten.

On Set

START OF DAY

  • Arrive at set FIRST, at least 30 minutes before call time.
  • Immediately establish contact with the location owner to make sure everything is still going as planned. Check back with them periodically throughout the day as needed.
  • Deliver the craft services to the 2nd AD for them to set up the craft service table.
  • Give the 2nd AD all the paperwork you prepared ahead of time for them to have completed throughout the day.
  • At call time, have a Safety Meeting with the entire crew. Complete the Safety Meeting Report and have a Shop Steward sign it to verify it was completed.

THROUGHOUT THE DAY

  • Run through the 1st AD Set Procedure: Block, New Deal, Build, Rehearse, Shoot…
  • Manage the time on the set by keeping up with the Setup Schedule. Adjust schedule as needed.
  • Look ahead to next setups and make sure departments are prepared and working ahead.
  • Verify with volunteer or caterer that lunch will be brought to set in time to set it up prior to releasing for lunch.

MEALS

  • When it is time for lunch, release the cast & crew for lunch.
  • Make periodic announcements on time remaining on lunch.
  • Make sure lunch does not exceed one hour.

END OF DAY

  • At Camera Wrap, make sure crew wraps safely and efficiently. Make sure to have Company Wrap on time.
  • Collect all the Daily Production Paperwork and Camera Card from the 2nd AD.
  • With 2nd AD, clean and secure location. Be the LAST TO LEAVE (except perhaps Art Dept).
  • Whenever possible, do a walk-thru with the location owner to verify everything is in order.
  • Leave the location better than when you arrived.
  • Approve the Daily Production Report and have 2nd AD distribute copies at the end of the day.

Post-Production

  • Turn in Camera Reports and Camera Card to the cubby in the ingest room in the Post Hall as soon as possible after wrap. Be sure to scan a copy of the Camera Report first for your delivery.
  • Turn in Production Delivery Paperwork via OneDrive to the Head of Production by 9am Thursday after production.