Author: andrew

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.

DVD Wrap Template

Instructions

This is the official DVD wrap template to be used in the creation of marketing materials for FSUFILM productions. Use it as your foundation for making something beautiful and compelling!

Do:

  • Make sure to install the Steel Tongs font on your computer before starting work on the wrap. This is the font for the credit block.
  • Keep all of your layers inside the appropriate folders, so that everything remains well-organized when you deliver the final Photoshop file. Make sure all of your layers have appropriate names, so that someone else could make sense of what each layer is.
  • Take your artwork all the way to the edge of the frame. The red guide is where the wrap will be cut after printing. Keep any essential elements within the green guide, in case they are trimmed during printing. Be sure to hide the guide layer before exporting the finished wrap.
  • Adjust the color of the credits, logos, and copyright to best fit the aesthetic of your wrap concept. Be particularly mindful of the legibility of the credit block, as it can quickly become hard to read if the background is busy or if there’s not enough tonal separation between the credits and the background.

Don’t:

  • Do not adjust the dimensions or resolution of the file. It’s set up to meet the specs needed for printing.
  • Do not reposition or resize the FSU seal or FSUFILM logos.

DVD Disc Template

Instructions

This is the official DVD disc art template to be used in the creation of marketing materials for FSUFILM productions. Use it as your foundation for making something beautiful and compelling!

Do:

  • Keep all of your layers inside the appropriate folders, so that everything remains well-organized when you deliver the final Photoshop file. Make sure all of your layers have appropriate names, so that someone else could make sense of what each layer is.
  • Take your artwork all the way to the edge of the frame. The red guide is where the art will be cut. Keep any essential elements within the green guide, in case they are trimmed. Be sure to hide the guide layer before exporting the finished art.
  • Adjust the color of the elements to best fit the aesthetic of your disc art concept. Be mindful of the legibility of any text, as it can quickly become hard to read if the background is busy or if there’s not enough tonal separation between the text and the background.

Don’t:

  • Do not adjust the dimensions or resolution of the file. It’s set up to meet the specs needed for printing.
  • Do not reposition or resize the copyright, FSU seal, or FSUFILM logo.

F1 Specs

Writing specs

Page count:3 pages
Quantity of locations:1 location
Quantity of characters:2 characters – written for specific actors 
Children:No
Animals:No
Weapons:No
Sexual intimacy:Nothing that would typically call for an intimacy coordinator
COVID restrictions:No actions that would require actors to be closer than six feet

Production specs

Locations per day:1 location
Distance to location:Must be within the studio zone
Shooting days:1 day
Pick-up days:No
Length of workday:12 hours, plus an hour for lunch
Earliest call time:6AM
Latest wrap time:12AM
Night shoots:No
COVID protocols:Yes

Data allocation

Final page count:3 pages
Shooting days:1 day
Pages per day:3 pages
Shooting ratio:20:1
Data rate:0.8 GB/minute
Max. data per page:16 GB
Max. data per day:48 GB
Max. dailies length:60 minutes
Max. dailies size:48 GB

Capture specs

Camera package:Panasonic AU-EVA1
Sensor mode:S35 MIX2.8K
Format:MOV
Resolution: 2048×1920 (2K)
Main codec:422All-Intra 100M
Frame rate:24p
Sampling:4:2:2 10-bit
Bitrate:100 Mbps (VBR)
Aspect ratio:1.37:1, 1.85:1, or 2.39:1

Editorial specs

Max. story content:3:30
Max. credits:1:00
Max. TRT:4:30
Pic edit software:Media Composer
Sound software:Media Composer
Coloring software:Media Composer
Pic edit days:7 days
Sound days:1 day
Coloring days:1 day
Titles and delivery:1 day
Visual effects:Only editorial effects that can be completed inside Media Composer

Steel Tongs Font

Instructions

Steel Tongs is the font to be used for the credit block on FSUFILM marketing materials, such as posters and DVD wraps. You’ll need to download the zip file (above) and install the font on your computer before starting work on a poster or DVD wrap, otherwise the credit block will not display correctly.

Steel Tongs works by displaying certain keystrokes as credit titles or logos. All uppercase letters, numerals, and basic punctuation symbols (periods, commas, quotes, dashes, ampersands) will display as normal. Lowercase letters, other punctuation symbols, and ALT key codes, however, are translated into different graphical elements of a credit block, as shown below.

Lowercase

aWRITTEN BY
bCASTING BY
cMUSIC BY
dCOSTUME DESIGNER
eEDITED BY
fPRODUCTION DESIGNER
gDIRECTOR OF PHOTOGRAPHY
hLINE PRODUCER
iCO-PRODUCED BY
jPRODUCED BY
kDIRECTED BY
lCO-DIRECTED BY
mSTORY BY
nBASED ON THE NOVEL BY
oSCREENPLAY BY
pEXECUTIVE PRODUCER
qCO-EXECUTIVE PRODUCER
rGUEST DIRECTOR
sSPECIAL EFFECTS BY
tVISUAL EFFECTS BY
u3D VISUAL EFFECTS
vASSISTANT DIRECTOR
wART DIRECTOR
xCO-EXECUTIVE PRODUCER(S)
yCREATURES DESIGNED BY
zCREATURES DESIGNER AND SUPERVISOR

Symbols

{ANIMATION PRODUCTION
|SOUND EFFECTS SUPERVISOR
}BASED ON THE CHARACTERS CREATED BY
~DIRECTOR OF GRAPHICS
\ANIMATION DIRECTOR
^WITH MUSIC FROM
_ORIGINAL MUSIC BY
£SPECIAL APPEARANCE BY
#MAKE UP ARTIST
$STUNT/FIGHT COORDINATOR
%A*
*A FILM BY*
+IN ASSOCIATION WITH
[SCREENWRITER
] KEY ANIMATION SUPERVISOR
<TECHNICAL ADVISOR
>TECHNICAL SUPERVISOR
?ASSISTANT TO CHIEF ANIMATOR
@CINEMATOGRAPHY BY
!CUSTOM LAYOUT BY
(WRITTEN AND DIRECTED BY
)ASSOCIATE PRODUCER
:PRESENTS*
;PRESENTS A*
/AND*
=PRESENTS AN*

ALT key codes

The following characters need to be accessed by holding down the ALT key while typing the character code number — e.g., hold the ALT key and type 0131, then let the ALT key go and “MECHANICAL DESIGN” will appear.

ALT+0131MECHANICAL DESIGN
ALT+0132ASSOCIATE PRODUCERS
ALT+0133PLANNING AND ORIGINAL CONCEPT BY
ALT+0134PLANNING AND COOPERATION
ALT+0135DIRECTOR OF VISUAL CONCEPT
ALT+0136COLOUR DESIGNER
ALT+0137COLOR DESIGNER
ALT+0138AN*
ALT+0139PRODUCTION*
ALT+0140FILM*
ALT+0142ASSOCIATES*
ALT+01643D CGI BY
ALT+0165ORIGINAL CONCEPT BY 
ALT+0166MATTE ARTIST
ALT+0167SPECIAL MAKE-UP
ALT+0168IN ASSOCIATION WITH*
ALT+0170MEDICAL CONSULTANT
ALT+0171MEDICAL ADVISOR
ALT+0172IN ASSOCIATION WITH**
ALT+0177MILITARY CONSULTANT
ALT+0178MILITARY ADVISOR
ALT+0179WEAPONS CONSULTANT
ALT+0180WEAPONS ADVISOR
ALT+0181VEHICLE DESIGN
ALT+0182WEAPON DESIGN
ALT+0183PROSTHETIC DESIGN
ALT+0184PROSTHESIS DESIGN
ALT+0185MOTION CAPTURE
ALT+0186STORYBOARDING
ALT+0187FILM EDITING BY
ALT+0188DIALOG COACH
ALT+0189DIALOGUE COACH
ALT+0154A**
ALT+0155AND**
ALT+0156FILM**
ALT+0158A FILM BY**
ALT+0159PRESENTS AN**
ALT+0161PRESENTS A**
ALT+0162PRESENTS**
ALT+0176ASSOCIATES**
ALT+0190AN**
ALT+0191PRODUCTION**

* UPPER line
** LOWER line

Useful logos

ALT+0149DVD LOGO
ALT+0150DOLBY LOGO
ALT+0151DOLBY DIGITAL
ALT+0152CLOSED CAPTION LOGO
ALT+0173CLOSED CAPTION LOGO & TEXT
ALT+0192THX LOGO
ALT+0193DTS DIGITAL SURROUND
ALT+0194DTS LOGO
ALT+0195PAL
ALT+0196NTSC
ALT+0197 thru ALT+0209Various Mono/Stereo indicator icons

Poster Template

Instructions

This is the official poster template to be used in the creation of marketing materials for FSUFILM productions. Use it as your foundation for making something beautiful and compelling!

Do:

  • Make sure to install the Steel Tongs font on your computer before starting work on the poster. This is the font for the credit block.
  • Keep all of your layers inside the appropriate folders, so that everything remains well-organized when you deliver the final Photoshop file. Make sure all of your layers have appropriate names, so that someone else could make sense of what each layer is.
  • Take your artwork all the way to the edge of the frame, but keep any essential elements at least a quarter-inch from the edge, in case they are trimmed during printing.
  • Adjust the color of the credits, logos, and copyright to best fit the aesthetic of your poster concept. Be particularly mindful of the legibility of the credit block, as it can quickly become hard to read if the background is busy or if there’s not enough tonal separation between the credits and the background.

Don’t:

  • Do not adjust the dimensions or resolution of the file. It’s set up to meet the specs needed for printing.
  • Do not reposition or resize the logos or copyright.

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:2.4 GB/minute
Max. data per page:48 GB
Max. data per day:96 GB
Max. dailies length:40 minutes
Max. dailies size:96 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 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 specs

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

Pick-Up Photography Request

Production Paperwork

Instructions

Pick-up photography is defined as any photography taken after completion of principal photography in order to enhance the narrative.

On the BFA and MFA Thesis cycles, students may make a request for pick-up photography to improve moments in the film that were not captured successfully during principal photography. Pick-up requests may not be made for additional moments or scenes that were not part of the original shooting plan. Requests for pick-up photography must include:

  • the exact nature of the subject matter to be shot;
  • the reason why it was not shot with the first unit crew during principal photography;
  • the date, times, and location of the proposed shoot;
  • a summary of the plan for the pick-up shoot, including any equipment requests and budgetary considerations;
  • the crew required for the proposed shoot, including names and signatures (you’ll need to determine how many crew members you need and you’ll need to recruit them);
  • any other supporting documentation.

No show will be approved for more than six hours of pick-up photography. And all pick-up photography will need to be completed and cut into the edit before picture lock. In some cases, this may mean that the turnaround time for pick-up photography is tight, so students will need to be diligent and proactive if they want to put in a request.

Since pick-up photography involves time and resources, requests will not be approved automatically. Approvals will only be granted if the time and resources are available and if students make a compelling case for the value of the pick-ups to the film (including proof that you can’t solve the problem with careful editing choices). In other words, they are a privilege to be earned.

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

Critchfield Hall

All of the D1 shows shoot at Critchfield Hall. Two productions shoot per day, with one show occupying the “upstairs” area and one show occupying the “downstairs” area. The floor plans below show the available interior spaces for each floor: yellow for the upstairs area and blue for the downstairs area. Please make note of the room numbers when referring to specific spaces.

The exterior space around the building is divided into numbered areas (0001-0008) to help the two productions shooting on a given day communicate with each other about their footprint. Generally speaking:

  • 0004 serves as parking for the downstairs show
  • 0005 serves as parking for the upstairs show
  • 0007 serves as overflow parking for both shows

Upstairs

Downstairs

MAP & DIRECTIONS TO CRITCHFIELD HALL

Google Map