#daily-production

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 27 – 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 demonstrating COVID protocols were utilized (e.g. camera 6 feet from interviewee).
  • 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.

Documentary Daily Production COVID-19 Protocols

Start of the Day

Daily Wellness Check

  • All students should monitor their own health before leaving for set, checking for any COVID symptoms, such as a fever, chills, shortness of breath, coughing, sore throat, fatigue, body aches, nausea, and loss of smell or taste.
  • Using FSU’s Daily Wellness Check app is recommended.

Transportation

  • Crew should self-drive wherever possible, especially if the crew has not formed a COVID pod for the production weeks.
  • If carpooling with anyone outside of your pod, use face-coverings.
  • If at all possible, avoid using public transit.

Prepping the Location

  • Allow for enough time to prep and secure the location at the beginning of the shoot. Be sure to address any safety concerns that were identified during the tech scout.
  • Equipment may only be handled by members of the department to which it belongs and each department is responsible for sanitizing its equipment during load in.

Morning Meeting

  • The director must confirm that everyone has a compliant mask. A disposable from the safety kit should be provided to anyone that needs one.
  • The director must take the temperature of all crew and doc subjects using the touchless forehead thermometer from the safety kit. If someone’s temperature is above 100.3°F, the individual must be sent home.
  • The director must remind all crew and doc subjects about physical distancing and mask-wearing policies:
    • Six-feet distance between individuals must be maintained wherever possible.
    • Masks must be worn indoors at all times, except for on-camera subjects while the camera is rolling.
    • Masks must be worn outdoors if physical distancing cannot be achieved at all times.
  • The director must communicate any additional COVID safety announcements for the day, as needed.

Shooting Interviews & B-Roll

Since the shooting of interviews and b-roll may involve a doc subject not wearing a mask for an extended period of time, please remember that additional safety precautions must be taken.

Setting Up

  • Avoid indoor settings if at all possible. If shooting indoors is necessary, set up in an area with as much outdoor ventilation as possible.
  • Make sure there is enough space for the crew to work while maintaining physical distancing. Crew must maintain physical distancing at all times, except for where a technical operation makes it impossible. Such moments should be kept to a bare minimum and undertaken with extreme caution.
  • Camera placement should be more than six feet away from any doc subject. Any exceptions to this need to be approved by faculty in advance.
  • The sound mixer should hand a sanitized wireless lav to each doc subject and instruct them how to secure the mic. If necessary, the sound mixer may secure the mic themselves, but the physical proximity to the doc subject should be kept to a minimum duration and an extra level of protection should be considered (such as a face-shield or a plexiglass divider).

Going For Picture

  • Any slating should be at least six feet from any doc subject. If the lens or space does not allow for that, a pan over to the slate should be used instead.
  • Immediately prior to “ACTION”, a callout for “MASKS OFF” should be added. The doc subjects should remove their own masks. If the shot doesn’t permit them to keep the mask on their person, they should put the mask into a ziploc bag with their name on it and place it in its own basket until after the setup. The director is responsible for managing the baskets.
  • Immediately after “CUT”, a callout for “MASKS ON” should be added. The director hands the ziploc bag with mask back to the doc subjects and they put their own masks back on.

Meals

  • Since masks need to be taken off for eating, extra precaution must be taken.
  • All meals should be eaten outside with a minimum of six-feet distance between each individual. Stagger the start time for meals if physical distancing is not possible at the location.
  • After lunch, the Director should make sure that high-touch surfaces at the location get a sanitizing wipe down and each department should sanitize heavily used items of equipment.

Wrap

  • Allow sufficient time (at least 60 minutes) for loading out equipment and cleaning the location. The director should not leave the location until everything has been fully wrapped, cleaned, and restored.
  • The sound mixer should instruct doc subjects on how to remove lavaliere mics. The sound mixer should then sanitize the mics.
  • Each department should clean and sanitize equipment during wrap.
  • Any Doors Down Meetings should be performed outside.

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 6.
  2. Deploy one of the students not assigned to any crew positions or “days off” that day. If that is not viable, then…
  3. Check to see if one of the students in a “days off” slot is able to work. If not, then…
  4. Check to see if a BFA3 is 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 Week 10 buffer week. If that is not viable, then….
  7. Postpone the show to the first available date in the tail end of the semester and rescheduling post-production as needed.

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.

  • Critchfield Keys
  • Production iPads
  • Media Cards
  • Walkies
  • Craft Service Bins
  • Director’s Viewfinders
  • 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
    • This file format is optimized for the post-production workflows using AVID Media Composer that we us for the D1 projects.
  • 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: Avid DNxHD/HR SQ
    • This provides s a good balance of quality and size. Pay particular attention to this setting, as your footage make be unusable if you do not set this correctly.
  • Baked-In Settings: Rec. 709/SDR
    • This ensures that the video file will be recorded with a 709 gamma curve that will yield a pleasing picture on everyone’s monitoring environment without much trouble.

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 that will be easier to work with 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 Avid DNxHD/HR SQ file in Rec. 709.

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

  • Meet with the Head of Production to discuss the project you are producing.
  • Complete a Location Agreement and Shooting Plan with the Head of Production for the space(s) at Critchfield you intend to use.
  • 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.
  • Break down the script and create the Production Schedule in Scenechronize.
  • Create a Setup Schedule with the 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.
  • Pick up Craft Services by the night before 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.
  • Double check every logistical piece of information and make sure nothing has been forgotten.
  • Create the Call Sheet, including a map, and email it no later than 12hrs before call time.

On Set

START OF DAY

  • Arrive at set FIRST, 30 minutes to an hour early.
  • Establish Base Camp.
    • Set up Zone B Checkpoint with Walkies, Production iPad, and forehead thermometer where crew will check in when they arrive.
    • Set up Craft Service table where crew will collect their snacks during check in.
  • When trucks arrive, verify they are parking in the correct place.
  • As crew members arrive, take their forehead temperature, check them in using the Production iPad, and hand them a walkie.
  • Give the Script Supe laptop to the Script Supe.
  • At call time, have a Safety Meeting with the entire crew. Complete the Safety Meeting Report.

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

  • Six hours after Call Time, 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 sanitizes equipment while wrapping safely and efficiently. Make sure to have Company Wrap on time.
  • Complete the Performers Time Report, and have the actors sign it before they are dismissed for the day.
  • Make sure 2nd AC, Script Supe, and Sound Mixer meet at end of day to verify their reports. Have them give you all reports.
  • Collect the camera card from the 2nd AC, and the sound card from the Sound Mixer.
  • Have crew members sign out using the iPad. Once all crew has clocked out and returned their walkies, plug in the iPad and walkies for the next day’s production. Monday Producers can hold on to the walkies and return them to the ER by 10am on Tuesday; and hold on to the iPad to return to the Head of Production by 10am Tuesday.
  • Once the Script Supe is finished with the SS laptop, then pass that laptop to the crew member who is the Producer in pre-pro the following day (i.e. the Friday Producer passes it to the Sunday Producer; the Saturday Producer passes it to the Monday Producer). Sunday and Monday Producers can hold on to the SS laptop to return to the ER by 10am Tuesday.
  • Clean and secure location. Be the LAST TO LEAVE (except perhaps Art Dept). Leave the location better than when you arrived.
  • Pass the key to Critchfield to the Producer for the next day’s production. Monday Producers can hold on to the key and return it to the Head of Production by 10am Tuesday.
  • Complete the Daily Production Report and distribute within 2 hours after Company Wrap.

Post-Production

  • Turn in Camera Reports, Camera Cards & Sound Cards to the cubbie in the ingest room in the Post Hall as soon as possible after wrap.
  • Sunday Producers turn in SS laptop, and Monday Producers turn in iPad and SS laptop to the Head of Production by 10am on Tuesday after production.
  • Turn in Production Delivery Paperwork via OneDrive to the Head of Production by 9am Thursday after production.