F1

F1 Sound Design

At the start of your Sound Design day duplicate your “Picture Lock” sequence. Rename the new sequence “XXF1_Picture_Lock_Sound” and move the sequence to the “Sound_Turnover” bin.

Production Audio

If you haven’t already been doing this during your picture editing time, now is when you would want to make sure your production audio tracks are checkerboarded and have cross fades on everything. This is also when you may need to cut in some room tone to fill any gaps.

If you need to turn the Clip Gain up or down the easiest way is to us the “Fast Menu” to give you access to the control on the clips in the timeline.

If you need finer control use the fast menu to switch to “Volume” and then you can use keyframes to automate any volume changes.

To make this go faster use the default keyboard shortcut for adding keyframes.

Also remember that “option” key is your friend for being able to lasso and manipulate the keyframes once they are created.

For reference a normal speaking voice should hit at about “-12dB”. To monitor this you can pull up the “Audio Tool”.

If a character is yelling it would be above that and if a character was whispering it would be below that.

Music

If you need music for your F1 remember that you have access to the Universal Production Music website.

You can ask for the login username and password and your instructor can slack it to you.

When you download tracks from the website by default they will be saved in your “Downloads Folder”. DO NOT leave them there. Instead move them to the appropriate music folder in your shows audio folder as shown in the example.

The to import any music into Media Composer, assuming you have your “Import Settings” set properly all you have to do is drag and drop it into the proper bin and it will import it.

By default most music comes in very loud so you may want to lower the volume of audio while its still in the bin before you cut it into your sequence. To do so, select all the files you want to effect, right click and select “Apply Gain”, then you can type in “+” or “-” how much you want to turn it up or down.

Your music will need to go into one of the “stereo” tracks in your timeline so make sure its set to stereo and then cut it.

Sound FX

For sound FX for your F1 you should use the Soundly app to search through the sound FX library.

Just like with music, as long as your import settings are set properly in preferences you can simply drag and drop the sound FX you want into the proper “Sound FX” bin in Media Composer.

Also, just like with music you need to pay attention to whether the audio is stereo or not. Make any adjustments necessary and then cut it into the proper track in your sequence.

Exporting Stereo Mix

At the end of your sound design day when you done working you will need to export a stereo .wav file that will be imported into Resolve and sunc up with picture.

Mark in at the very beginning of the sequence and out at the very end of the credits. IMPORTANT include the entire front sequence not just the content. Then select all of the audio tracks.

Right click in the program monitor and select export. 

Check that the name of the file is correct, that its going the proper folder and that you are using the correct export setting.

If you don’t yet have a “F1_Stereo_Audio_Export” preset make one using these settings.

When the export is complete you can listen to the .wav file to make sure it’s all there. If everything sounds good save your bins and close Media Composer.

Location Scouting

Here are some guidelines & policies as you begin location scouting for your project.

Location Searching

You can do a virtual scout through Google maps/street view. If you need to know who owns a particular property, you can do a search on the Leon County Property Appraiser site. Searching by address, or pointing to it on a map, will show you who owns the property. Then you’ll need to do some more google-sleuthing to find out their contact info.

You can also look for locations by driving around and just showing up at the location to ask in person. Be considerate of the time of day (e.g. if it’s a home, then not too early in the morning nor after dark; if it’s a restaurant, not during their lunch rush).

We do not currently have a searchable location database. If you know of a location that was used in a previous project, you can find that project in Motion and find the location info under the Location tab for that project.

COVID-19 Protocols

Be particularly vigilant about following covid protocols. Here is some more info on this in the handbook.

Safety

When showing up at someone’s home, be sure to take safety precautions. Not everyone appreciates having strangers show up at their front door. Being able to show some credentials will help identify you as a film student.

  • Here is a link to our Location Pamphlet in the handbook that you can print and hand out to them.
  • You should also have your student ID on you for further identification.
  • You can also check out from the ER a large car magnet with the FSU logo and “Location Scouting Vehicle” on it that you can put on your car door.
  • Consider going in pairs so you know someone’s got your back.

Communication

Always be professional and courteous. Remember that you’re asking them to do you a big favor. Be sure to discuss:

  • all of the logistics involved
  • the content of the script (especially if there may be anything objectionable)
  • the dates (not just production, but pre-pro also for tech scouting, set dressing, shot designing, photoboarding, etc)
  • the spaces you want to use (not just set, but also all the equipment staging areas, greenroom, craft services, parking, etc)

Location Rental fees

Historically, we have seldom had to pay to use a location. Most of the time, people have been very generous in allowing us to film without charging us anything. The exception to this may be for places that normally charge for their use (e.g. a hotel room), or that require that you pay one of their employees to be there on the shoot date (e.g. at a business). If they do want to charge you, make sure you’re clear on what the rate will be.

Documentation

While location scouting, be sure to complete a Location Hazard Assessment form. This will help you identify any hazards that may be at that location. If there are any, and you’re still planning to use that location then you must also complete a Hazard Notification form for each hazard, detailing how the production will deal with the hazard in a safe manner.

Ask the location owner the questions that are listed on the Location Shooting Plan Agreement and fill in the answers they give you. Do not give them a blank form and ask them to fill it out for you. Then have them sign on page 2 and give them a copy of this form for their reference. You will also complete and have them sign a Location Agreement.

Location Search Responsibilities

Typically on most projects, searching for locations is a team effort, led mostly by the Director and Producer, though other pre-pro crew members can certainly assist. It is fine if someone other than the Producer makes initial contact with the location owner, but the Producer should be the one who completes all of the paperwork with them.

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.

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.

Do Not:

  • 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.

Do Not:

  • 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

Content specs

Page count2 pages (minimum)
3 pages (maximum)
Story runtime2:30 (minimum)
3:30 (maximum)
Credits runtime1:08
Total runtime3:38 (minimum)
4:38 (maximum)
Quantity of scenesNo limit
Quantity of locationsThe script can include a variety of locations as sluglines, but you’ll need to plan to be able to shoot them all at one actual location
Quantity of characters2 characters
ChildrenNo
AnimalsNo
WeaponsNo
StuntsNothing that would typically call for a stunt coordinator
IntimacyNothing that would require a closed set or typically call for an intimacy coordinator

Production specs

Shooting days1 day
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 packagePanasonic AU-EVA1
Frame rate24.000p
Sensor modeS35 MIX2.8K
Capture resolution2048 x 1080 (2K)
Capture aspect ratio1.90:1
Approved mattes1.37:1 • 1:85:1 • 2.39:1
Capture formatMOV
Codec422All-Intra 100M
Gamma/color presetSCENE2 (eV-LOOK2)
Sampling4:2:2 10-bit
Bitrate100 Mbps (VBR)

Data allocation

Pages per day3 pages
Shooting ratio20:1
Data rate0.8 GB/minute
Data per page16 GB
Data per day48 GB
Total data48 GB
Dailies per day60 minutes
Total dailies60 minutes

Post-Production

Picture Edit

Pic edit softwareMedia Composer
Pic edit days7 days
Pic edit locationThird floor labs

Sound

Production soundSingle system
Sound design softwareMedia Composer/ProTools
Sound design days1 day
Sound design locationThird floor labs
Sound mix daysNot applicable
Sound mix locationNot applicable

Visual Effects

VFX scopeNo visual effects
VFX softwareNot applicable
VFX daysNot applicable
VFX locationNot applicable

Color

Coloring softwareDaVinci Resolve
Coloring days1 day
Coloring locationThird floor labs

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.