Production Paperwork
Thumbnail Templates
Production Paperwork
Horizontal thumbnail template
Vertical thumbnail template
Instructions
Thumbnail images will be used in displays online (Vimeo, YouTube, etc). Since some websites use horizontal thumbnails (1920×1080) and some use vertical thumbnails (1200×1600), you will deliver one of each.
Do:
- Save a flattened JPG file (maximum file size 2MB) and a layered PSD file (also deliver any custom fonts used).
- 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.
Do Not:
- Do not adjust the dimensions or resolution of the file. It’s set up to meet the specs needed for online viewing.
- Note these online content restrictions for the thumbnails:
- No nudity or sexually provocative content
- No hate speech
- No violence
- No harmful or dangerous content
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 28 – 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.
- 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.
Budget (Doc)
Each student will be allocated $140 to go toward documentary production expenses. These funds can be used in the following categories:
- Petty Cash (which includes production design, production supplies, music or stock image licenses). You can pay for these expenses out of pocket, then get reimbursed.
- Travel (if traveling away from Tallahassee, can include fuel, airfare, lodging, car rental, and meals). With the exception of fuel and meals, the school needs to book these expenses directly for you in advance. Do not pay out of pocket for any of these if you plan to use the school funds. You can pay for fuel and meals out of pocket, then get reimbursed.
- Services (if you need to hire someone, like a composer). The school needs to pay for services directly, and this must be initiated at least 1 week prior to services beginning.
In order for the funds to be released to you, each student will need to submit a Budget Sheet to the Head of Production showing how you intend to use those funds. Once the budget is approved, instructions will be provided on the process for using those funds depending on which category your expenses fall within.
This is a “use-it-or-lose-it” budget.
Doc Schedule Overview
| Jan 5 – Feb 25 | Development & Pre-Production |
| Feb 10 | Doc Group Logistics Meetings |
| Feb 23 | Doc Group Greenlight Meetings |
| Feb 24 | Equipment Check-Out |
| Feb 28 – Mar 18 | Documentary Production |
| Mar 22 | Equipment Check-In |
| Mar 22-31 | Paper Edits |
| Mar 31 – Apr 20 | Post Production |
| Apr 24 | Documentary Screening |
Doc Specs
Content specs
| Story runtime | 7:30 (singles) 12:30 (doubles) |
| Credits runtime | 1:08 |
| Total runtime | 8:38 (singles) 13:38 (doubles) |
| Quantity of scenes | No limit |
| Quantity of locations | No limit |
| Quantity of characters | No limit |
| Children | Yes |
| Animals | Yes |
| Weapons | No |
| Stunts | Nothing that would typically call for a stunt coordinator |
| Intimacy | Nothing that would require a closed set or typically call for an intimacy coordinator |
Production specs
| Shooting days | Three-week window for each group |
| Length of workday | 12 hours |
| Earliest call time | 6:00AM |
| Latest wrap time | 12:00AM |
| Night shoots | No |
| Locations per day | No restrictions |
| Distance to location | Can shoot anywhere the Continental United States with faculty approval |
| Pick-up days | No |
Capture specs
| Camera package | Panasonic AU-EVA1 |
| Frame rate | 24.000p |
| Sensor mode | S35 MIX2.8K |
| Capture resolution | 2048 x 1080 (2K) |
| Capture aspect ratio | 1.90:1 |
| Approved mattes | 1.37:1 • 1.66:1 • 1:85:1 2.00:1 • 2.39:1 |
| Capture format | MOV |
| Codec | 422All-Intra 100M |
| Gamma/color preset | SCENE2 (eV-LOOK2) |
| Sampling | 4:2:2 10-bit |
| Bitrate | 100 Mbps (VBR) |
Data allocation
| Data rate | 0.8 GB/minute |
| Total data | TBD |
| Total dailies | TBD |
Post-Production
Picture Edit
| Pic edit software | Media Composer |
| Pic edit days | 13 days |
| Pic edit location | Third floor labs |
Sound
| Production sound | Single system |
| Sound design software | ProTools |
| Sound design days | Included in Pic Edit days |
| Sound design location | Third floor labs |
| Sound mix days | Not applicable |
| Sound mix location | Not applicable |
Visual Effects
| VFX scope | 2D effects, simple animations and motion graphics |
| VFX software | After Effects |
| VFX days | Included in Pic Edit days |
| VFX location | Third floor labs |
Color
| Coloring software | DaVinci Resolve |
| Coloring days | Included in Pic Edit days |
| Coloring location | Third floor labs |
Additional Photography Request
Production Paperwork
Instructions
This form should be used by Producers to make a request to the Head of Production (Tony) 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:
- ESTABLISHING SHOTS OR B-ROLL
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. - VFX PLATES OR ELEMENTS
Check this box if the request is for background plates or other photographic elements that are needed to complete visual effects shots. - PLAYBACK CONTENT FOR SCREENS
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. - PICK-UPS
Check this box if the request is for pick-up photography. Only BTH and MTH shows may request pick-ups. - RESHOOTS
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. - OTHER
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.
Submit the completed request form to the Head of Production. Leave adequate time for the Head of Production to review the request and be prepared to make adjustments if any concerns need to be addressed. The Head of Production’s decision on whether to approve or deny the request is final.
Goodwill Letter
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.
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’s 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.