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.
The College of Motion Picture Arts pays an annual fee to Soundsnap for the licenses to the sound effects they provide on their site. No releases need to be signed for the use of these sound effects, so long as you remain in accordance with this licensing agreement.
You are free to:
- Remix or transform the sounds in any way.
- Copy and transmit the sounds – but not resell them as they are originally downloaded from Soundsnap.
- Use the sounds in any music, film, video game, website etc. whether commercial or not, without paying additional royalties or other fees beyond the initial membership cost.
The College of Motion Picture Arts pays an annual fee to Universal Production Music (Killer Tracks) for the licenses to the library music they provide on their site. No releases need to be signed for the use of this music, so long as you remain in accordance with this licensing agreement.
This agreement is to be used to document when rights have been granted to use trademarks, logos and/or other identifiable characters associated with a company or product, in order to maintain a clean chain of title.
Any fair use claims — allowing the inclusion of trademarks in the finished film without this agreement being filed — must be presented to and cleared by the Head of Production prior to picture lock.
A synchronization license is the right to reproduce a specific musical composition in your film. It must be obtained from the copyright owner of the composition, which is usually the publisher.
You can find out who the publisher is by searching by song title at either ASCAP or BMI. Almost every song is represented by one of these two companies. Songs that are not represented by ASCAP or BMI might be found at the National Music Publishers’ Association “Songfile” website (www.nmpa.org). You will be provided with a contact at the publisher’s Business Affairs or Licensing Department.
Getting the rights could be as simple as sending letters to the publisher and record label, having them sign and return them. However, you may be required to complete their licensing agreements instead. If this is the case, make sure you have the Head of Production review the agreement before you sign it, to ensure we have the proper releases.
You must get each license for at least:
- Film festival
- World rights
Note that you will need to get a synchronization license from the publisher, even if you are making your own sound recording of that song. For example, if you have your actor sing or recite lyrics, whistle or hum the tune, play the song on a musical instrument, or in any way make your own sound recording of the song, you will need to get the synchronization license from the publisher.
This form is for use by BFA script supervisors throughout the production day to log information for each take of each set-up, including:
- Scene and take numbers
- Time – i.e., duration of the take
- Note about how good/complete the take was
- Camera roll number
- Sound card number
- Shot size
- Day/Night – Interior/Exterior
- Thumbnail sketch of the shot
Script supervisors will want to keep this form to the side of the shooting script — hence the name “left hand page” — so that they can efficiently log this information and line the script throughout the day.
This form is for use by BFA script supervisors to record important information for each production day, including:
- The times of key events throughout the day: crew call, shooting call, first shot of day, meal times, first shots after meals, camera wrap, and company wrap.
- Daily progress in terms of scenes, pages, minutes, and set-ups.
- Notes about scenes covered, wild tracks, retakes, weather conditions, and other continuity concerns.
At the end of each production day, the Second Assistant Director will enter information from this report into the Daily Production Report.