Author: andrew

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.

BTH Specs

SinglesDoublesAnimation

Writing specs

Page count:7 pages
Quantity of locations:No restrictions — but be mindful that no more than 3 filming locations will typically be approved during production, to avoid company moves during the pandemic
Quantity of characters:No restrictions
Children:Yes
Animals:Yes
Weapons:Yes
Sexual intimacy:Yes – but an intimacy coordinator may be required for certain scenes
COVID restrictions:No blanket restrictions on writing, but be mindful of tips for writing during a pandemic and a COVID script breakdown will be required on an early draft to anticipate safety concerns.

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:3 days with full crew or 4 days with reduced crew
Pick-up days:May make a pick-up photography request for one half-day of additional shooting
Length of workday:12 hours, plus an hour for lunch
Call time restrictions:No time restrictions, except for allowing 10-hour turnaround
Night shoots:No
FIST agreement:Yes
COVID protocols:Yes

Data allocation

Final page count:7 pages
Shooting days:3 days (shows with full crew)
4 days (shows with reduced crew)
Pages per day:2 3/8 pages (full crew)
1 6/8 pages (reduced crew)
Shooting ratio:20:1
Data rate:2.6 GB/minute
Max. data per page:52 GB
Max. data per day:121 GB (full crew)
91 GB (reduced crew)
Max. dailies length:47 minutes (full crew)
35 minutes (reduced crew)

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:Premiere Pro
Pic edit days:11 days
Max. story content:7:30
Max. credits:1:08
Max. TRT:8:38

Sound specs

Sound software:ProTools
Sound design days:11 days
Sound mix days:0.5 days

Visual Effects specs

VFX software:Variable
VFX days:Variable

Coloring specs

Coloring software:DaVinci Resolve
Coloring days:2 days

Writing specs

Page count:12 pages
Quantity of locations:No restrictions — but be mindful that no more than 6 filming locations will typically be approved during production, to avoid company moves during the pandemic
Quantity of characters:No restrictions
Children:Yes
Animals:Yes
Weapons:Yes
Sexual intimacy:Yes – but an intimacy coordinator may be required for certain scenes
COVID restrictions:No blanket restrictions on writing, but be mindful of tips for writing during a pandemic and a COVID script breakdown will be required on an early draft to anticipate safety concerns.

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:6 days with full crew or 8 days with reduced crew
Pick-up days:May make a pick-up photography request for one half-day of additional shooting
Length of workday:12 hours, plus an hour for lunch
Call time restrictions:No time restrictions, except for allowing 10-hour turnaround
Night shoots:No
FIST agreement:Yes
COVID protocols:Yes

Data allocation

Final page count:12 pages
Shooting days:6 days (shows with full crew)
8 days (shows with reduced crew)
Pages per day:2 pages (full crew)
1 4/8 pages (reduced crew)
Shooting ratio:20:1
Data rate:2.4 GB/minute
Max. data per page:48 GB
Max. data per day:96 GB (full crew)
72 GB (reduced crew)
Max. dailies length:40 minutes (full crew)
30 minutes (reduced crew)

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:Premiere Pro
Pic edit days:14 days
Max. story content:12:30
Max. credits:1:08
Max. TRT:13:38

Sound specs

Sound software:ProTools
Sound design days:11 days
Sound mix days:1 day

Visual Effects specs

VFX software:Variable
VFX days:Variable

Coloring specs

Coloring software:DaVinci Resolve
Coloring days:2 days

Project Specs

Page count:1.5 pages
Previz duration:72 seconds
Max. number of assets:12 assets per artist
Max. number of characters:3 character
Max. number of shots:24 shots
Max. seconds of motion:90 seconds
Final content duration:90 seconds
Credits duration:68 seconds
Final TRT:158 seconds

Sound specs

Sound software:ProTools
Sound design days:11 days
Sound mix days:0.5 day

Coloring specs

Coloring software:DaVinci Resolve
Coloring days:2 days

Front Sequence Set-up

Download the Extras folder, which is located on frame.io inside the D1 folder.

In Media Composer, change the sequence starting time to 00:59:00:00.

Control-click on the Program Monitor – Sequence Report.

Import / link to the Bars and Tone video and add it to the timeline. It should run for exactly 30 seconds.

Add a 30-second slate with the title tool that includes: the title of the film; the names of the creative team; and the TRT of the film. Note: the TRT starts at the first frame of FSU leader and ends at the final frame of the copyright.

Import / link to the countdown and add it to timeline. This should run for exactly 8 seconds.

Import / link to the FSU Leader and add it to timeline. This should also run for 8 seconds.

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.

Documentary Equipment Approval

Production Paperwork

Instructions

This form must be completed and submitted to the Head of Production (Tony Ciarlariello) before a show’s greenlight meeting. The purpose of the form is to ensure that there’s a plan in place for all equipment use out in the field and to ensure that any personal gear is suitable for production.

Equipment Transportation Plan

This section is document where production will occur and the means of transportation for all school equipment. Note that the EVA1 camera and batteries cannot be checked if traveling by air and must be brought on the plane as carry-on luggage. Be prepared to any questions about the specifics of the transportation plan at the greenlight meeting.

Equipment Back-up Plan

Provide a plan for how you will continue with production if the EVA1 camera or any other essential equipment goes down while you are out in the field. This may include use of personal equipment to complete the project or, if local to Tallahassee, working with the ER to get equipment replaced or repaired. Note that the ER will not typically be able to mail equipment to another city if the show is outside the school’d studio zone.

Personal Equipment

In order to maintain consistency of image fidelity and to serve the learning outcomes of the project, the EVA1 camera should always be used as the primary camera for production. There are instances, however, where productions may wish to use a personal camera (e.g., as a b-camera or for shots that cannot be executed with the EVA1) or other, supplemental, personal equipment. Use this section to provide make/model/specs of any personal gear and an brief explanation of why this gear is needed for the film. Pay particular attention to personal camera specs to make sure that the captured media is compatible with the post-production workflow.