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:
If the DR unable to work, advance to Step 6.
If the 2D, 2C, SS, KY, or BE is unable to work, the AE should step into the role. If that is not viable, or if it’s the PR, PD, DP, 1D, 1C, GF, or SM who’s out, then…
Check to see if there’s an MFA2 (such as one of the six students in pre-production) who’s able to fill in. If not, then…
Check to see if there’s a BFA3 who’s able to fill in. If not, then…
Check to see if having a smaller crew and consolidating positions will work. If that is not viable, then…
Postpone the show, moving any remaining shooting days into the summer and rescheduling post-production as needed.
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 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.
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.
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 FSU seal or FSUFILM logos.
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.
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 copyright, FSU seal, or FSUFILM logo.
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
a
WRITTEN BY
b
CASTING BY
c
MUSIC BY
d
COSTUME DESIGNER
e
EDITED BY
f
PRODUCTION DESIGNER
g
DIRECTOR OF PHOTOGRAPHY
h
LINE PRODUCER
i
CO-PRODUCED BY
j
PRODUCED BY
k
DIRECTED BY
l
CO-DIRECTED BY
m
STORY BY
n
BASED ON THE NOVEL BY
o
SCREENPLAY BY
p
EXECUTIVE PRODUCER
q
CO-EXECUTIVE PRODUCER
r
GUEST DIRECTOR
s
SPECIAL EFFECTS BY
t
VISUAL EFFECTS BY
u
3D VISUAL EFFECTS
v
ASSISTANT DIRECTOR
w
ART DIRECTOR
x
CO-EXECUTIVE PRODUCER(S)
y
CREATURES DESIGNED BY
z
CREATURES 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 ALTkey and type 0131, then let the ALT key go and “MECHANICAL DESIGN” will appear.
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.
Pick-up photography is defined as any photography taken after completion of principal photography in order to enhance the narrative.
On the BFA and MFA Thesis cycles, students may make a request for pick-up photography to improve moments in the film that were not captured successfully during principal photography. Pick-up requests may not be made for additional moments or scenes that were not part of the original shooting plan. Requests for pick-up photography must include:
the exact nature of the subject matter to be shot;
the reason why it was not shot with the first unit crew during principal photography;
the date, times, and location of the proposed shoot;
a summary of the plan for the pick-up shoot, including any equipment requests and budgetary considerations;
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 other supporting documentation.
No show will be approved for more than six hours of pick-up photography. And all pick-up photography will need to be completed and cut into the edit before picture lock. In some cases, this may mean that the turnaround time for pick-up photography is tight, so students will need to be diligent and proactive if they want to put in a request.
Since pick-up 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 the value of the pick-ups to the film (including proof that you can’t solve the problem with careful editing choices). In other words, they are a privilege to be earned.
