#paperwork

Thumbnail Images

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.

  1. Are they in an elevated-risk demographic for COVID-19?
  2. Will they need to be maskless for interviews or b-roll?
  3. Will they need to be in close proximity with other subjects or crew members?
  4. 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.

  1. Is the shooting location interior or exterior?
  2. Is the shooting location a large, open, well-ventilated space or a cramped, closed, poorly ventilated space?
  3. Is the shooting location public or private?
  4. 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.

  1. Will any crew members be traveling outside Leon County?
  2. Will any crew members be using mass transit, such as buses or planes?
  3. Will any crew members be carpooling?
  4. 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 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 and the need for pick-ups will be determined with the directing and editing faculty during picture editing.
  • 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.

Finally, collect the signatures at the bottom in the prescribed sequence, starting with the director’s prep faculty, followed by the Area Heads and the the Associate Dean. Leave adequate time to collect these signatures and be prepared to make adjustments to the request if any faculty members raise concerns that need to be addressed.

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.

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.

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