Author: andrew

Electronic Signature Options

Throughout the HITM process, you will often be required to secure a variety of signatures. When signatures are required, they must all be submitted on one form. Do not submit multiple PDF files, each with one signature. Also, because of how the Honors in the Major online portal reads e-signed PDFs, you should “print” the e-signed and completed form as a new PDF before submitting so that all signatures will remain visible once you have uploaded to the online portal.

Your options for securing electronic signatures include:

  • HelloSign – An e-signature platform with a free option to receive three signatures per month, or a free trial to receive unlimited signatures. Please note that if you opt for the free trial, you should choose the monthly option ($20/month) instead of the annual option ($180/year) in the event the trial ends and you are charged.
  • DocuSign – An e-signature platform free to use for FSU faculty and staff. You may either ask your faculty director to circulate a form on your behalf for signatures, or you may pay $10/month for a single user account for sending out up to five documents a month.
  • Electronic signatures on a PDF – All HITM forms have been formatted for electronic signatures. If your faculty director and committee members are able to sign a PDF electronically, you may circulate the same PDF file to each individual. 

F2 Specs

Content specs

Page count1-2 pages (assigned by faculty)
Story runtime2:30
Credits runtime1:08
Total runtime3:38
Quantity of scenes1 scene
Quantity of locations1 location
Quantity of characters2 characters
ChildrenNo
AnimalsNo
WeaponsNo
StuntsNo
IntimacyNo

Production specs

Shooting days1 day
Length of workday6 hours
Earliest call time6:00AM
Latest wrap time12:00AM
Night shootsNo
Locations per day1 location
Distance to locationLocation set by faculty
Pick-up daysNo

Capture specs

Camera packageRED
Frame rate24.000p
Sensor mode7K FF
Capture resolution2048 x 1080 (2K)
Capture aspect ratio1.90:1
Approved mattes1.37:1 • 1:85:1 • 2.39:1
Capture formatMOV
CodecProRes 4444 HQ
Gamma/color spaceRWG / Log3G10
Color processingIPP2
Output color spaceRec. 709
Output tone mapMedium Contrast
Highlight roll-offMedium
Sampling4:4:4 12-bit
Bitrate302 Mbps (VBR)

Data allocation

Pages per day2 pages
Shooting ratio20:1
Data rate2.6 GB/minute
Data per page52 GB
Data per day104 GB
Total data104 GB
Dailies per day40 minutes
Total dailies40 minutes

Post-Production

Picture Edit

Pic edit softwareMedia Composer
Pic edit days1 day
Pic edit locationThird floor labs

Sound

Production soundSingle system
Sound design softwareProTools
Sound design days1 day
Sound design locationThird floor labs
Sound mix daysNot applicable
Sound mix locationNot applicable

Visual Effects

VFX scopeNone
VFX softwareNot applicable
VFX daysNot applicable
VFX locationNot applicable

Color

Coloring softwareDaVinci Resolve
Coloring days1 day
Coloring locationThird floor labs

Prep Meetings (BTH)

Story Meeting

Required: WR/DROptional: PR/PD/DP/ED

This meeting is an opportunity for writers/directors and the Writing & Directing instructors to reflect upon the story. It’s an opportunity for the director to convey their vision and explore it with the faculty. The meeting will be primarily conceptual — more about dreaming than practical logistics — but we will touch on production elements where relevant.

  • Post the latest draft of the script to the show’s Slack channel at least 24 hours in advance.
  • Optional: Any visual references that might be helpful.
  • Optional: Any casting hopes or possibilities.

Casting & Locations Meeting

Required: DR/PDOptional: PR/DP

This meeting with the Acting & Directing instructors will begin the work of bridging the gap between dream and reality: how a mental image of a character might be brought to life through the casting of a specific actor, and how a creative vision of the story world might translate into the practical mechanics of building it. It is still an exploratory meeting, but one tailored towards how you might accomplish the grand vision — especially with regards to locations and casting possibilities.

  • Post the latest draft of the script to the show’s Slack channel at least 24 hours in advance.
  • Update the Scope Breakdown (Google Sheet) in advance of the meeting.
  • The characters:
    • Post all casting breakdowns before this meeting.
    • Bring pictures of your intentions.
    • If you’ve already cast a role: show a photo and discuss the qualities they bring to the role.
    • If you’ve not cast a role yet: share the feeling that a famous actor/artist may evoke for you, and then show your own approximation to that feeling from our own casting resources.
  • The world: 
    • Bring pictures of your intentions. For example, if Tallahassee must double for NYC, show pictures of the NYC you imagine and some possibilities in the nearby area for where you might shoot. Or, if a space ship is to be built, show some reference images and discuss how you will approach fabricating it. 
    • Address the plan for any other specifics that could be complex, such as VFX, props, make-up, costumes, etc.
    • Be prepared to also think outside of the box for alternative solutions — to enhance the storytelling, maximize production value, and/or address practical challenges.
    • Be prepared to think about how to reduce scope, if needed.

Production Logistics Meeting

Required: PR • Optional: DR/PD/DP

This meeting with the Head of Production is a follow-up to last semester’s logistics meeting. It will focus on reviewing what’s been accomplished since the last meeting and identifying what’s left to do, setting a plan in place for tackling any unresolved logistics.

  • Update the Scope Breakdown (Google Sheet) in advance of the meeting.

VFX Meeting

Required: DR/PR/VFX Supe (if applicable) • Optional: PD/DP

This meeting with the VFX instructors is only for shows that are planning visual effects. It’s a follow-up to last semester’s VFX scope meetings and will focus on the reviewing and approving of the show’s VFX breakdown.

  • Slack the VFX breakdown to JStone at least 24 hours in advance.

Director’s Prep

Required: DR/PD/PR/DP/1D/2D/AR

This meeting with the Directing & Cine instructors will focus on the practical plan for how the holistic vision for the film will be executed. These preps will take place a few days before the start of production, so all cast and locations should be locked. The exact format of the prep will be decided upon by the faculty and the creative team of each show; it could take place at a key location or at the school. The goal is to make this a practical, productive work meeting to help the shows get prepared for the shoot (rather than a dog-and-pony show) and students will have the flexibility to present their plan in a manner that best suits their process and the priorities of the show.

In advance of the meeting, students should share prep materials for the following in the show’s Slack channel and should be prepared to discuss them at the prep session:

  • The latest draft of the script with numbered scenes (shared at least 24 hours in advance).
  • Update the Scope Breakdown (Google Sheet) in advance of the meeting.
  • A director’s statement: a simple, one-page document that clearly states the filmmaker’s vision.
  • Visual references that convey idea behind the film: e.g., mood boards, tone clips, and/or look books.
  • Any other materials that the director may think are helpful in conveying their vision.
  • Definitive casting choices. Rehearsal notes, if present.
  • A cinematographic plan from the perspective of both the director and their DP. Any tests would be very much appreciated.
  • Coverage plans for each scene: e.g., storyboards, overhead diagrams, and/or lined scripts. 
  • The production board (header board and a strip for each scene in shooting order) and a provisional set-up schedule.

If there are any areas where there are still things that need to be figured out, students are encouraged to be candid about it so that we can use this prep time to discuss a plan of attack for those unresolved tasks.

The 1st AD will be tasked with taking notes during the prep, making certain to document faculty concerns and related resolutions. The 1st AD should have a complete understanding of any and all topics of discussion. They should be able by the end to enumerate the points made and possible alternatives after the meeting. They will also be responsible for the creation of an Action Plan to address notes, even if it means finding an alternative solution.

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.

Key Filmmaking Principles

COVID-19 PROTOCOLS

PREPARATION

Anticipating concerns and having a robust safety plan in place for production is of critical importance. This starts with writing and development, reducing risk factors by being mindful of what will be required to actually shoot the words on the page. Tech scouts at locations will be a particularly crucial step in this process, to think through a plan for how the space will be used and how each day of production will run.

SCOPE MANAGEMENT

When we don’t keep production scope in check, we inevitably end up fighting the clock and safety measures get compromised as we scramble to make our day.

THE ZONE SYSTEM

Protecting those individuals whose job requires them to work for periods without a face-covering — our actors, most notably — is a high priority. The zone system helps with this to designate different spaces where specific activities take place:

  • ZONE A – UNMASKED-ACTOR SPACES This is a perimeter created for when performers need to work without protection. This is typically when first team comes in to shoot the scene and the set is cleared of all non-essential crew members.
  • ZONE B – ALL OTHER WORKS AREAS Anywhere else the production has a footprint is Zone B. This needs to be a controlled area with a secure perimeter that prevents non-approved people from entering the space. The only entry to this zone is through a reception checkpoint.
  • ZONE C – THE OUTSIDE WORLD This is everywhere beyond the perimeter of the production.

Program Still Template

Production Paperwork

Instructions

This is a template to ensure that the stills in the program for graduation at all formatted correctly. The instructions are pretty straightforward:

  • Once the program still has been decided, drop the still into this template
  • Make sure the image fills the entire template (edge-to-edge, no black bars)
  • Export as a .jpg file at 300ppi resolution

Slack Channels (D2)

Each show will maintain a Slack channel for the duration of the project. The goal of this channel is to foster and enhance the creative/logistical efficiency of all team members and to share materials with the faculty.

Please follow these instructions for the creation and use of the channel:

  • No later than the beginning of a show’s pre-production time, the Producer must create a Slack channel titled “Prod#-year”. For example: 01D2-2021
  • Producer invites all the creative team members and all faculty associated with pre-production, production, and post-production.
  • Producer posts the latest version of script at the time of channel creation. This will be known as Version 1. Please relabel the document “Prod#-Script Title-Version#”. For example: 01-Flip the Script-Version#1
  • Producer lists all crew members and their roles.
  • The creative then uses the channel to share materials, in accordance with the director’s prep guidelines.

Director’s Prep (D2)

The Director’s Preps for the D2 cycle will take place primarily at the shooting location(s) in order to address the real-world, practical dimensions of shooting the film in as concrete a manner as possible. In advance of the prep, to get everyone oriented to the show, the ATL team will post materials to the show’s Slack channel. On the day of the prep, before arriving at the location, the Director will meet with Jed to discuss the creative vision for the film and the Producer will meet with Tony to review the production logistics. All of the ATL team and the prep faculty will then convene at the location to workshop the shooting plan for the show.

Slack Channel Content Requirements

In preparation for the Director’s Prep session, the ATL team should post materials to the show’s Slack channel. This will help the team and the faculty all get on the same page about the show. Posts should include:

Producer:

  • No later than the beginning of a show’s pre-production time, create a Slack channel titled “Prod#-year”. For example: 01D2-2021
  • Invite all the creative team members and all faculty associated with pre-production, production, and post-production.
  • Post the latest version of script at the time of channel creation. This will be known as Version 1. Please relabel the document “Prod#-Script Title-Version#”. For example: 01-Flip the Script-Version#1
  • List all crew members and their roles.
  • Provide a parking plan with directions (due no later than 2 hours before the location scout call time).

Director:

  • Script changes:
    • Ensure there is always the latest version of the script in the channel by posting new versions in the channel promptly upon completion. Use the same naming convention, for example: 01-Flip the Script-Version#2
    • No more versions of the script can be submitted after On-Location Prep have been completed unless faculty authorizes it.
  • Casting photos or audition clips for all principal actors.
  • No later than 12 hours before the location scout call time, the director will submit a Prelim shot list. This list is developed very generally in collaboration with the cinematographer.

Production Designer:

  • All the major props that are needed for the show.
  • All the major props that have been acquired for the show.
  • All wardrobe and hair/make-up looks that are intended for the show.
  • Any wardrobe and hair/make-up tests that have been prepared.
  • Important set dressings intended and/or found.

Cinematographer:

  • Detailed location photos, including exteriors of location and interiors of shooting areas.
  • Look Book (due no later than 12 hours before the location scout call time):
    • State the genre of the film you are shooting.
    • Using Shotdeck, for each slugline create a series of film stills that inspire your lighting choices. They should include contrast context, window treatments, moonlight treatment, sun orientation, tonal range, etc.
    • For each image explain why that image was chosen, this is for lighting only.
  • Luminance Plan, Color Plan and Story Plan (due no later than 12 hours before the location scout call time).

Location Scout Day

  • When no more than two locations have been locked for scouts, Producer will post in the channel the location/s address and time of arrival for the prep.
  • Director meets with Jed at the school at 2:15pm (or 75 minutes before arrival at the location).
  • Producer meets with Tony at the school at 2:15pm (or 75 minutes before arrival at the location).
  • ATL and faculty meet at first location at 3:30pm.
  • It is not required, but it is strongly encouraged to enlist the help of other people (cast actors, friends, family, BFA students, etc.) to stand in for actors while the scenes get blocked at the prep. If no help can be found the Producer and Production Designer will stand in as the actors.
  • Each department head will keep notes for ideas, concerns, etc. for each scene discussed at the location with the faculty.
  • If there’s a second location and time permits, the ATL and faculty move onto the second location immediately after the prep wraps at the first location.

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.

D2 Specs

Content specs

Page count5 pages
Story runtime5:30
Credits runtime1:08
Total runtime6:38
Quantity of scenesNo limit
Quantity of locations2 locations
Quantity of charactersNo limit
ChildrenYes
AnimalsYes
WeaponsYes
StuntsYes
IntimacyYes

Production specs

Shooting days2 days
Length of workday12 hours
Earliest call time6:00AM
Latest wrap time12:00AM
Night shootsNo
Locations per day1 location
Distance to locationWithin the studio zone
Pick-up daysNo

Capture specs

Camera packageRED
Frame rate24.000p
Sensor mode7K FF
Capture resolution2048 x 1080 (2K)
Capture aspect ratio1.90:1
Approved mattes1.37:1 • 1.85:1 • 2.39:1
Capture formatMOV
CodecProRes 4444 HQ
Gamma/color spaceRWG / Log3G10
Color processingIPP2
Output color spaceRec. 709
Output tone mapMedium Contrast
Highlight roll-offMedium
Sampling4:4:4 12-bit
Bitrate302 Mbps (VBR)

Data allocation

Pages per day2.5 pages
Shooting ratio20:1
Data rate2.6 GB/minute
Data per page52 GB
Data per day130 GB
Total data260 GB
Dailies per day50 minutes
Total dailies100 minutes

Post-Production

Picture Edit

Pic edit softwareMedia Composer
Pic edit days6 days
Pic edit locationPost Hall

Sound

Production soundDual system
Sound design softwareProTools
Sound design days6 days
Sound design locationPost Hall
Sound mix days0.5 days
Sound mix locationMix A, Mix B

Visual Effects

VFX scopeMinor 2D effects
VFX softwareAfter Effects
VFX days2 days
VFX locationDigital Artist Suites

Color

Coloring softwareDaVinci Resolve
Coloring days1 day
Coloring locationPost Hall