Production Paperwork
Program Still Template
Production Paperwork
Instructions
This is a template to ensure that the stills in the program for graduation at all formatted correctly. The instructions are pretty straightforward:
- Once the program still has been decided, drop the still into this template
- Make sure the image fills the entire template (edge-to-edge, no black bars)
- Export as a .jpg file at 300ppi resolution
Press Kit Template
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 Production Plan
Instructions
Having a smart plan for production in the COVID era is essential. Each show will need to create a production plan that addresses COVID-19 safety concerns. Getting approval for production will be contingent on presenting a satisfactory production plan at the show’s green light meeting.
Part 1: Documentary Subjects
For each subject who’ll be on camera, answer the following questions. If the answer is yes for any given question, explain how you’ll mitigate the increased safety risks.
- Are they in an elevated-risk demographic for COVID-19?
- Will they need to be maskless for interviews or b-roll?
- Will they need to be in close proximity with other subjects or crew members?
- Will they need to perform any actions that require shouting, coughing, singing, or physical exertion?
Part 2: Shooting Locations
You’ll need to develop a plan for mitigating safety risks at each shooting location. The most important part of this will come later, with a tech scout at each location. For now, answer the following questions for each shooting location that you’re considering.
- Is the shooting location interior or exterior?
- Is the shooting location a large, open, well-ventilated space or a cramped, closed, poorly ventilated space?
- Is the shooting location public or private?
- Do you anticipate any difficulties in doing a tech scout in advance of the shooting day?
Part 3: Travel and Accommodations
How you travel with your crew poses its own safety concerns. If the answer is yes for any given question, explain how you’ll mitigate the increased safety risks.
- Will any crew members be traveling outside Leon County?
- Will any crew members be using mass transit, such as buses or planes?
- Will any crew members be carpooling?
- Will any crew members be doing any overnight stays outside of Leon County, such as Airbnbs, hotels, or parents’ houses?
Part 4: Schedule
Using the Google Sheet that Tony Ciarlariello will provide, each group will need to make a comprehensive, day-by-day schedule that outlines all tech scouts, shooting activities, travel, and accommodation for all of the group’s shows.
ASSESS THE SAFETY CONCERNS
As you work on each section of the production plan, assess the level of COVID-19 safety concerns for each answer and then change the color of the answer according to the following criteria:
GREEN – Standard level of COVID-19 safety concerns
YELLOW – Warning of possibly elevated COVID-19 concerns
RED – Alert of definitely elevated COVID-19 concerns
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
Camera Continuity Log
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.
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.