Each show will maintain a Slack channel for the duration of the project. The goal of this channel is to foster and enhance the creative/logistical efficiency of all team members and to share materials with the faculty.
Please follow these instructions for the creation and use of the channel:
No later than the beginning of a show’s pre-production time, the Producer must create a Slack channel titled “Prod#-year”. For example: 01D2-2021
Producer invites all the creative team members and all faculty associated with pre-production, production, and post-production.
Producer posts the latest version of script at the time of channel creation. This will be known as Version 1. Please relabel the document “Prod#-Script Title-Version#”. For example: 01-Flip the Script-Version#1
Producer lists all crew members and their roles.
The creative then uses the channel to share materials, in accordance with the director’s prep guidelines.
The Director’s Preps for the D2 cycle will take place primarily at the shooting location(s) in order to address the real-world, practical dimensions of shooting the film in as concrete a manner as possible. In advance of the prep, to get everyone oriented to the show, the ATL team will post materials to the show’s Slack channel. On the day of the prep, before arriving at the location, the Director will meet with Jed to discuss the creative vision for the film and the Producer will meet with Tony to review the production logistics. All of the ATL team and the prep faculty will then convene at the location to workshop the shooting plan for the show.
Slack Channel Content Requirements
In preparation for the Director’s Prep session, the ATL team should post materials to the show’s Slack channel. This will help the team and the faculty all get on the same page about the show. Posts should include:
Producer:
No later than the beginning of a show’s pre-production time, create a Slack channel titled “Prod#-year”. For example: 01D2-2021
Invite all the creative team members and all faculty associated with pre-production, production, and post-production.
Post the latest version of script at the time of channel creation. This will be known as Version 1. Please relabel the document “Prod#-Script Title-Version#”. For example: 01-Flip the Script-Version#1
List all crew members and their roles.
Provide a parking plan with directions (due no later than 2 hours before the location scout call time).
Director:
Script changes:
Ensure there is always the latest version of the script in the channel by posting new versions in the channel promptly upon completion. Use the same naming convention, for example: 01-Flip the Script-Version#2
No more versions of the script can be submitted after On-Location Prep have been completed unless faculty authorizes it.
Casting photos or audition clips for all principal actors.
No later than 12 hours before the location scout call time, the director will submit a Prelim shot list. This list is developed very generally in collaboration with the cinematographer.
Production Designer:
All the major props that are needed for the show.
All the major props that have been acquired for the show.
All wardrobe and hair/make-up looks that are intended for the show.
Any wardrobe and hair/make-up tests that have been prepared.
Important set dressings intended and/or found.
Cinematographer:
Detailed location photos, including exteriors of location and interiors of shooting areas.
Look Book (due no later than 12 hours before the location scout call time):
State the genre of the film you are shooting.
Using Shotdeck, for each slugline create a series of film stills that inspire your lighting choices. They should include contrast context, window treatments, moonlight treatment, sun orientation, tonal range, etc.
For each image explain why that image was chosen, this is for lighting only.
Luminance Plan, Color Plan and Story Plan (due no later than 12 hours before the location scout call time).
Location Scout Day
When no more than two locations have been locked for scouts, Producer will post in the channel the location/s address and time of arrival for the prep.
Director meets with Jed at the school at 2:15pm (or 75 minutes before arrival at the location).
Producer meets with Tony at the school at 2:15pm (or 75 minutes before arrival at the location).
ATL and faculty meet at first location at 3:30pm.
It is not required, but it is strongly encouraged to enlist the help of other people (cast actors, friends, family, BFA students, etc.) to stand in for actors while the scenes get blocked at the prep. If no help can be found the Producer and Production Designer will stand in as the actors.
Each department head will keep notes for ideas, concerns, etc. for each scene discussed at the location with the faculty.
If there’s a second location and time permits, the ATL and faculty move onto the second location immediately after the prep wraps at the first location.
Each student will be allocated $140 to go toward documentary production expenses. These funds can be used in the following categories:
Petty Cash (which includes production design, production supplies, music or stock image licenses). You can pay for these expenses out of pocket, then get reimbursed.
Travel (if traveling away from Tallahassee, can include fuel, airfare, lodging, car rental, and meals). With the exception of fuel and meals, the school needs to book these expenses directly for you in advance. Do not pay out of pocket for any of these if you plan to use the school funds. You can pay for fuel and meals out of pocket, then get reimbursed.
Services (if you need to hire someone, like a composer). The school needs to pay for services directly, and this must be initiated at least 1 week prior to services beginning.
In order for the funds to be released to you, each student will need to submit a Budget Sheet to the Head of Production showing how you intend to use those funds. Once the budget is approved, instructions will be provided on the process for using those funds depending on which category your expenses fall within.
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
Under normal circumstances, it is not uncommon for documentary filmmakers to shoot in unfamiliar or uncontrollable locations. The COVID era is of course far from normal, however, so we must pay much stricter attention to how shooting locations are scouted, prepped, and secured. One of the most important steps in this process is performing a tech scout at the location, ideally at least a day in advance of the actual shooting, so that a safety plan can be developed for how the production day will be run.
Prior to the Tech Scout
As early in the process as possible, begin to gather information about any locations you are considering. This will enable you to anticipate more things in advance of arriving at the location for the tech scout. For example:
If possible, visit the location in-person to scope it out, take photos, and make some preliminary notes about how you’ll use the location.
If it’s not possible to scope it out yourself, ask the owner or someone with access to the location to send you photos or video walkthroughs.
See if you can get hold of a floor plan and measurements, so that you can start mapping out the production zones. Looking up the street view and satellite view on Google Maps can also be helpful too.
At the tech scout
The tech scout should ideally be completed at least one day in advance of shooting at the location, with all crew members present. If that is not possible, you’ll need to get approval in advance from Tony to do a tech scout on the same day as production, and you’ll need to allow for at least one hour to complete the scout.
Treat locations as if they are infected and use PPE accordingly. Do not touch items native to the location while scouting unless absolutely necessary.
Have as much conversation outdoors as possible.
Try to maximize space and air flow when selecting spaces to shoot. Plan to film outdoors as much as possible.
Create a plan for maintaining a secure perimeter at the location for a controlled work area, free from outsiders to the production.
Create a sanitization plan for the location:
What surfaces need disinfecting?
Who will be responsible for doing this?
When and how frequently will it occur?
Map out spaces for:
Parking;
Staging equipment;
Green room (if needed);
Shooting spaces;
Outdoor mask-free zone – with room for physical distancing;
Lunch – with room for physical distancing.
Assess and determine:
If any spaces will make physical distancing difficult;
Access to bathrooms and hand-washing/sanitizing stations;
Whether any special considerations need to be made regarding air flow and/or HVAC, especially in Zone A areas.
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.
BFA and MFA thesis films may request permission to shoot at a distant location outside of the studio zone. Please note however that — due to the added complexity of shooting films at distant locations, the added wear-and-tear on school equipment, and the added stress placed on the crew — shooting at a distant location is approved automatically. It’s a privilege that needs to be earned.
The Producer will need to present a thorough plan to the faculty that addresses the following:
Why this location is essential to the success of the film.
The schedule of travel days and drive times during the production week.
A budget/plan for transporting, housing, and feeding the cast and crew for the duration of the distant shoot.
A budget/plan for transporting, housing, and feeding a faculty member for the duration of the distant shoot.
A plan for transporting, parking, and securing school vehicles and equipment during the distant shoot.
A back-up plan if the camera or other essential equipment goes down.
A schedule showing key deadlines for locking locations, securing accommodations, and any other critical plans. Permission for shooting at a distant location will be revoked if these deadlines are not hit, and the production will need to shoot locally.
A local back-up plan, in case permission is not granted and/or the distant location falls through.
The request to shoot at a distant location should be made as early as possible in the development/pre-production process, and no later than two weeks before the first day of production on the show. Approval must then be received from the following people, in this order:
