Additional Photography Request

Production Paperwork


This form should be used by Producers to make a request for additional photography outside of the regularly scheduled shooting days on the crew grid. Since additional 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 why the footage cannot be shot during regular principal photography.

Indicate on the form the type of additional photography that is being requested:

    Check this box if the request is for 2nd Unit shots that cannot easily be scheduled during regular principal photography. Typically these would be for shots that need to be shot at a discrete location without the involvement of principal actors, such as establishing shots at an inconveniently place location or B-roll of events that are occurring outside the regular production window.
    Check this box if the request is for background plates or other photographic elements that are needed to complete visual effects shots.
    Check this box if the request is for video content that would need to be shot in advance of regular principal photography in order to be played back during production.
    Check this box if the request is for pick-up photography. Only BTH and MTH shows may request pick-ups and the need for pick-ups will be determined with the directing and editing faculty during picture editing.
    Check this box if the request is for the reshooting of a scene where circumstances beyond the students’ control resulted in footage becoming unusable. Typically, trying to solve the problem through editorial fixes will need to be explored before a reshoot is approved.
    Check this box if the request is for something different than the above examples, and provide a brief description of the type of additional photography that’s being requested.

Requests for additional photography must also include the following information:

  • the exact nature of the subject content to be shot;
  • the reason why it cannot be shot with the first unit crew during principal photography;
  • the date, times, and location of the proposed shoot;
  • a summary of the equipment plan for the shoot, including any requests for school equipment;
  • 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 additional supporting documentation can also be attached as needed.

Finally, collect the signatures at the bottom in the prescribed sequence, starting with the director’s prep faculty, followed by the Area Heads and the the Associate Dean. Leave adequate time to collect these signatures and be prepared to make adjustments to the request if any faculty members raise concerns that need to be addressed.

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.

Assistant Editing Workflow (MFA)


At the end of each shooting day, the Assistant Editor (AE) will retrieve the RED Mini Mags (containing the video), the CF cards (containing the audio), and the camera reports. The media cards should be labelled with red tape, as shown below.

Make sure you remove all the red tape from the video and sound cards before inserting them in the card readers. Note that the RED Mini Mag can take 2 to 3 minutes to show up on the desktop.


Open the Media Composer Project.

When setting up your project, make sure it’s 1920×1080 24p.

Keep the bin structure maintained as shown below.

Control-click on the 03_Footage > Production > Syncing bin and choose Input > Source Browser from the pop-up menu, then link to both video and audio.

Go into the Syncing bin and select all the clips. Make sure the link button to the left is selected and then press the link button in the button right corner.

Then select the production audio and press the link button in the button right corner.

Select 24 and click “Ok to All”.


The audio and video should now both be in the Syncing bin.

Select all of the audio and video, and choose AutoSync from the side menu.

Have the Source Timecode box selected.

Then everything that has the correct timecode will make a subclip. Anything that did not sync because the timecode was off will be highlighted and will need to be synced manually.

Here is an example where you can see the wild audio tracks and room tone are highlighted which makes sense as they would not create a subclip. While the clips are highlighted, set the clip color so you can identify them as clips with issues.


For clips that need to be manually synchronized, first double-click on the video clip. Create an in-point on the video clip (by pressing “i”) on the frame where the clappers clack.

Make sure you have Audio Scrubbing turned on in the Toggle Digital Audio Scrub, which can be found on the Command Palettes > Play tab. The keyboard shortcut Command + 3 brings it up.

Play until you hear the clapper clack, and then use the arrow keys to move one frame at a time to find the exact frame where the clack starts. Add an in-point here.

Select both clips, then go to AutoSync and choose Inpoints.

Play back subclip to confirm it’s in sync.

If the clip is an MOS shot, rename the clip to what is on the slate and put it in the appropriate scene folder.


One everything is synchronized, the subclips will have the video clip name with “synced” at the end. You will need to rename the subclip to the appropriate scene and take number: e.g., 1A_1.

Never rename the video or sound files. Just subclips. An MOS shot is the only exception to this rule.

After everything has been synchronized successfully, move the production video and the production audio to the appropriate bins. To move the clips, open the bin and then drag the audio and video to the name of the tab of the open bin.

Move the wild lines and room tone clips to the production audio bin.

Manage ScriptE Data

Then you are ready to import the ScriptE data.

The first thing you will do is to open the clip bin file in a text editor and make sure it says 24. If it is set to anything else, change to 24.

Then, go to the end of the last line and add a space in order to have the last clip imported.

Save and close, then change the extension from .txt to .ale.

Import the ALE that ScriptE produced. In the bin with your subclips, go media import – ALE and click ok.

If you receive this error message click Ok.

Set the clip color so you can identify the ScriptE clips and be able to easily copy-and-paste data into fields later.

When the clips the ALE produces show up, they will be offline. Rename each subclip to the clip names based off the slate: 1A-1, etc…

Then control-click on the name and choose Sort on Column, Ascending. This will allow the clips to be lined up so you can copy-and-paste all script supervisor notes into the appropriate fields: script description, script comments, and script notes.

Save that bin view in order to pull up those fields in the future.

Save as ScriptE.

Once you are done you can trash the ScriptE clips and then move the merged subclips into the appropriate Scene bins.


For each day of production, you will build a dailies sequence that includes all of the footage shot for that day, as well as a master dailies sequence that includes all the footage shot for the entire show.

Under 01_Sequences – Dailies you will find the prebuilt sequences.

Organize the merged clips in scene order (story order) and, within each scene, place the shots in the following order:

  1. Wide shots
  2. Medium shots
  3. Close-ups
  4. Inserts
  5. Charts

Use the Title Tool to make a 5-second slate to begin the dailies sequence, and fill it out as below.


Once the dailies sequence is fully built, place in-points and out-points on the timeline to select the entire sequence. Then click File > Output > Export to File…

Save using the naming convention of show#_Dailies_Day_#.mov — e.g., 01D1_Dailies_Day_1.mov.

Set the correct folder path for the saved file and make sure the Export Setting is “Link to Audio and Video”.

Export as MOV with the following settings:

Preset:HD 1920×1080
Codec Family:H.264
Color Depth:8 bit
Target Bit Rate:10 Mbps

Hit save and then upload the exported file to the appropriate folder on frame.io.


After the final day of production the AE should ensure that everything is sync and the Media Composer project is ready for editorial to begin. Save the Project and close it.

All of the sound and camera cards used in the production should be left on the desk of the assigned edit suite. The finished editors notebook should be left on the desk as well.

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

Ingest Media

The Script Supervisor / Editor will collect the media cards and camera reports at the end of the shooting day at Critchfield Hall.

Back at school use suites 11 and 12 on the post hall to offload the media to the server. You can access the post hall through the lobby, going up the stairs and turning left. Once on the post hall the suites are all the way down on the right. Those two suites have been set aside for D1 ingesting and no one else will be using them.

Track 1 Editors should use suite 11.

Track 2 Editors should use Suite 12.

Use the attached card readers to offload camera and sound media to the server in the appropriate show folder. Please remove the tape from the cards indicating that media is present on them before inserting them into the readers.

Once the media is safely on the server the Editor should also copy it to there own personal hard drive so they will have it for when they sync and edit at home.

Finally, once the media is on the server AND on your own hard drive upload the media to frame.io using the frame.io transfer application so the Director can access it remotely as well.

You also need to upload the sound report and camera report to your frame.io project as well. The sound report is a .csv file and can be found in the in the folder you offloaded from the sound card. Uploaded it to the Reports folder.

The camera report is paper so to upload it to frame.io simply take legible picture of it, rename the file your show#_Camera_Report and then upload that to the reports folder on frame.io as well.

The Script Supervisor will have already uploaded those reports to frame.io so when everything is up it will look like this.

When your all done please leave the media cards in the cases on the desk in the suite. The Post Staff will collect them and return the now empty cards to the Head of Production.

On Tuesdays all the Script Supervisors / Editors from the previous week will sync dailies on their own computers. Ian will meet with you over zoom to walk you through the process remotely. Track 1 will met with Ian at 2:15pm and Track 2 will meet with Ian at 9:00am.

RED Camera Settings (D1)


  • 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).


  • 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.