Author: andrew

  • Font Usage

    Overview

    Student productions are expected to follow the program’s typography and font usage guidelines when creating titles, credits, posters, graphics, promotional materials, and other official production-related design assets. This includes using approved fonts where required and maintaining professional formatting standards across deliverables.

    Consistent font usage helps create clearer, more professional presentation materials while supporting a more unified visual identity across the program. Typography is an important part of visual communication, and following established standards helps students develop stronger design habits while ensuring that production materials remain clean, legible, and appropriate for exhibition and distribution contexts.

    Limitations on Usage

    Fonts, like music and images, are protected by intellectual property law. Their use is governed by licensing agreements, and improper usage can lead to legal complications and limit a film’s ability to be distributed. To model professional industry standards and ensure that student work respects the rights of font creators, all fonts used in student productions must be properly licensed and accompanied by a verifiable chain-of-title.

    Researching and clearing font licenses requires time from both students and faculty. On early production cycles, which operate on short post schedules, this time is better spent on core filmmaking tasks. These projects are therefore limited to vetted font sources with clear, institutionally-approved licensing. Greater flexibility is granted on capstone cycles, where students have more time and are expected to take responsibility for securing proper font rights.

    F1 • F2 • F3 • M1 • M2 • M3

    Students may only use fonts from the following sources:

    No other font sources are permitted on these projects.

    FC • MC

    Students may use fonts from any source, provided they can meet the following documentation requirements:

    • A copy of the font file(s) used.
    • A license document or purchase receipt that clearly states the usage rights and confirms permission to use the font in the film.

    All font files and documentation must be submitted with final deliverables.

  • Honors in the Major

    Overview

    Honors in the Major offers highly motivated undergraduate students the opportunity to undertake a significant independent research or creative project with the guidance of a faculty committee. The program is designed for students who wish to deepen their engagement with a topic, explore original ideas, and produce work that reflects advanced scholarship or creative practice within the moving image arts. At the College of Motion Picture Arts, Honors projects have included screenplays, documentaries, animation development, critical research, and other forms of creative inquiry.

    Over the course of their final three semesters, students complete six supplemental credit hours dedicated to the development and completion of their Honors project. Students who successfully complete the program graduate “With Honors,” a distinction recognized on their official transcript.

    Learn More

    The University Honors Program provides comprehensive information about Honors in the Major at Florida State University.

    The posts below explain how the Honors in the Major process is structured within the College of Motion Picture Arts, including its requirements, timeline, and major milestones.

    The Big Picture

    Milestones

    Honors Documents

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  • Switching Majors or Specializations

    Overview

    Requests to switch majors or specializations involve a formal review process that takes into account factors such as curriculum sequencing, available space within cohorts, faculty approval, and a student’s readiness to transition into a different area of study within the program.

    These policies exist because the program is highly structured, with tightly coordinated coursework, production assignments, faculty mentorship, and cohort sizes that are carefully balanced across disciplines. Changing majors or specializations can significantly affect scheduling, resource allocation, and a student’s ability to complete required foundational training. The review process is intended to ensure that any approved transition is both academically viable and sustainable within the larger structure of the program.

    BFA Programs

    All BFA students are admitted into their specific major—either Production or Animation—and switching between majors is not permitted.

    Should a student wish to withdraw from one major and enter the other major, they must re-apply to the other major and start fresh with the next available cohort. For example, if a student decides during their first semester that they would like to withdraw from Production and join Animation, they would need to submit a new application to the Animation program and interview for a spot. If successful, they would join the next cohort of Animation students that begins their coursework in the major the following Fall semester. There is no guarantee that a student will be admitted into the other major; the student’s application will be assessed alongside all the other applicants.

    As students progress through the program, faculty set up tracks each semester. This is principally to organize students into smaller sections and subgroups, and has no bearing on students’ choice of major.

    Towards the end of their Junior year, each student selects a capstone area within their major as a primary focus for their studies in their final year.

    MFA Programs

    This policy governs requests by MFA Production students to switch from their originally admitted specialization (Producing, Directing, Production Design, Cinematography, Post‑Production, Visual Effects) into another specialization within the Production program. Switches between Production and Writing programs are not permitted. This policy is intended to preserve instructional integrity, cohort balance, and equitable access across MFA specializations while allowing limited flexibility when circumstances permit.

    Specialization Caps

    Each MFA Production specialization is capped at six students. Students are admitted directly into a specific specialization, and no specialization may exceed its enrollment cap.

    Eligibility to Request a Switch

    • Students may request a specialization switch only if a slot becomes available in another specialization.
    • Specialization switches are not guaranteed and are approved on a competitive and selective basis.
    • Requests are permitted only during the first semester of enrollment. After the first semester has concluded, specialization switches are not permitted.

    Notification of an Open Slot

    When a specialization slot becomes available, administration will issue a formal call to all eligible MFA students announcing the open slot. The announcement will include the specialization, submission deadline, and required materials.

    Application Requirements

    Students interested in switching must submit a one‑page letter of intent explaining:

    • Why they wish to switch specializations.
    • How their background, skills, and goals align with the new specialization.
    • Why they believe they can successfully transition despite any missed coursework.

    Late or incomplete submissions will not be considered.

    Review Process

    • The faculty admissions committee for the specialization with the open slot will review all submitted letters.
    • The committee may, at its discretion, conduct in‑person or virtual interviews with selected applicants.
    • Faculty will assess: Artistic and professional fit for the specialization; Evidence of preparation and commitment; The student’s ability to reasonably catch up on required coursework.

    Faculty Recommendation

    Following review, the specialization faculty will make one of the following recommendations to administration:

    • Approve one applicant for the open slot.
    • Decline all applications and leave the slot unfilled. Faculty are not required to fill an open slot if no applicant is deemed suitable.

    Administrative Review and Final Approval

    Administration will review the faculty’s recommendation and make a final determination. Approval is contingent on:

    • No negative academic impact to the student.
    • No disruption to program balance or cohort composition.
    • Continued compliance with specialization enrollment caps.

    Administration reserves the right to deny a switch even with a positive faculty recommendation if program‑level concerns are identified.

    Timing Considerations

    • Requests made earlier in the first semester are more likely to be approved, as there will be less coursework to catch up on.
    • Requests made later in the semester face a higher bar, as students will have missed more specialization‑specific coursework.
    • Faculty must be confident that the student can successfully remediate any missed material.

    Requests After the First Semester

    After the first semester has ended:

    • Specialization switches are not allowed.
    • Students wishing to pursue a different specialization must re‑apply to the program and, if admitted, restart the MFA program with the next year-group the following Fall semester.

    No Appeals

    Decisions regarding specialization switches are final and not subject to appeal.

  • Email Templates for Weapons Notifications

    Overview

    Productions involving prop firearms or other weapons require clear and proactive communication with faculty, staff, campus officials, property owners, law enforcement, and other relevant parties. These email templates are designed to help productions provide consistent, professional notifications when weapons-related elements are being used during filming.

    Weapons-related communication protocols exist to prioritize safety, reduce misunderstandings, and help productions operate responsibly within both university and public environments. Even clearly fictional or non-functioning prop weapons can create concern if their use is not communicated properly in advance. Standardized notification procedures help productions meet safety expectations while reinforcing the professional responsibility filmmakers have when working with sensitive production elements.

    Public Locations

    To: Local Jurisdiction Police or Sheriff’s office

    CC: ejacob@fsu.edu (FSUPD Lieutenant Edwin Jacobs) 
    CC: jstone@fsu.edu or tciarlariello@admin.fsu.edu (Head of Production)

    Subject: FSU Film School: Prop Weapon Use Acknowledgement (Public Property)

    Hello, my name is [#########]; I am a film student here at the FSU College of Motion Picture Arts. I’m producing a student short film that will be filmed on [Date] & [Dates], which will include the filming of a non-fireable prop weapon [describe weapon, and how many]. We will have an assigned student armorer managing the weapon(s) at all times, except when the actors prepare for the scene, at which point the armorer will announce and transfer the weapon to the actor. When the actor completes the scene, they will transfer the weapon back to the armorer, who will then announce that they are in possession.

    We’ll be filming at the [insert information on location and address], which is open to the public and/or visible from the outside. We will be posting signs alerting the public that filming is in progress.

    The 1st Assistant Director will make safety announcements involving the weapon at the start of the day and when the scene is being set up for filming.

    The Producer will contact local jurisdiction dispatch and/or Consolidated Dispatch, and FSU dispatch when the scene is within 30 minutes from being filmed.

    As per university requirements, I am attaching our Prop Weapon Authorization Request to inform your department(s) about our project and use case. It is for acknowledgement purposes for local law enforcement. It highlights the address, the filming dates, the armorer on set, and how the prop weapon will be used during filming.

    Thank you for supporting the Film School, and please let us know if you have any questions whatsoever. We appreciate your time.

    Best,

    [Name]
    Producer, [Show Number & TItle]
    [Contact Number]
    [Contact Email]

    Private Location

    To: Local Jurisdiction Police or Sheriffs office

    CC: ejacob@fsu.edu (FSUPD Lieutenant Edwin Jacobs) 
    CC: jstone@fsu.edu or tciarlariello@admin.fsu.edu (Head of Production)

    Subject: FSU Film School: Prop Weapon Use Acknowledgement (Private Property)

    Hello, my name is [#########]; I am a film student here at the FSU College of Motion Picture Arts. I’m producing a student short film that will be filmed on [Date] & [Dates], which will include the filming of a non-fireable prop weapon [describe weapon, and how many]. We will have an assigned student armorer managing the weapon(s) at all times, except when the actors prepare for the scene, at which point the armorer will announce and transfer the weapon to the actor. When the actor completes the scene, they will transfer the weapon back to the armorer, who will then announce that they are in possession.

    The 1st AD will make safety announcements involving the weapon at the start of the day and when the scene is being set up for filming.

    We’ll be filming at the (insert information on location and address), which is on private property and not visible to the public. (Update this If visible to the public.)

    The Producer will contact local jurisdiction dispatch and/or Consolidated Dispatch, and FSU dispatch when the scene is within 30 minutes from being filmed.

    As per university requirements, I am attaching our Prop Weapon Authorization Request to inform your department(s) about our project and use case. It is for acknowledgement purposes for local law enforcement. It highlights the address, the filming dates, the armorer on set, and how the prop weapon will be used during filming.

    Thank you for supporting the Film School, and please let us know if you have any questions whatsoever. We appreciate your time.

    Best,

    [Name]
    Producer, [Show Number & TItle]
    [Contact Number]
    [Contact Email]

  • Foundations of Professionalism

    Overview

    Professional expectations within the film program extend beyond creative and technical ability to include communication, reliability, preparation, accountability, collaboration, and conduct across classroom, production, and post-production environments.

    Professionalism is treated as a core part of filmmaking education because film production is inherently collaborative and depends heavily on trust, communication, and consistency. Creative talent and technical skill alone are not enough to sustain a successful career if collaborators cannot rely on someone to contribute responsibly and respectfully within a team environment. The expectations described here are intended to help students develop the habits, discipline, and interpersonal awareness necessary to function effectively in professional creative industries.

    Knowledge & Skills

    These are the craft competencies expected of an emerging professional filmmaker.

    Artistry

    • Why it matters: Purposeful creative choices elevate storytelling and distinguish projects in a competitive industry.
    • Faculty will assess: Originality, coherence, and effectiveness of creative decisions; responsiveness to feedback and notes; the ability to preserve core storytelling goals while navigating real-world challenges.

    Technical Proficiency

    • Why it matters: Mastery of tools, software, and workflows ensures work meets professional standards and integrates seamlessly with other departments.
    • Faculty will assess: Accuracy, efficiency, and consistency in using equipment, software, and industry-standard pipelines.

    Professional Communication

    • Why it matters: The film industry relies on specialized communication modes. Knowing when to voice ideas, whom to address, and what style to use—be it a pitch, a creative note, a crew briefing, or a call sheet—are key craft skills.
    • Faculty will assess: Clarity, tone, and timeliness of written and verbal communication; relevance and effectiveness of creative notes; audience-appropriate language across varied filmmaking contexts and crew hierarchies.

    Planning & Preparedness

    • Why it matters: Robust preparation bridges concept and execution. Each craft area follows pre-production playbooks and specialized protocols that filmmakers must master.
    • Faculty will assess: Quality and feasibility of schedules, budgets, breakdowns, and prep materials; anticipation of logistical needs; adaptability when circumstances shift.

    Production Operations

    • Why it matters: Filmmaking requires precise, disciplined coordination across departments via clear chains of command and shared protocols.
    • Faculty will assess: Adherence to production and post-production protocols; effectiveness within crew hierarchies; real-time problem-solving; adaptability when circumstances shift.

    Safety Implementation

    • Why it matters: Safeguarding cast, crew, and equipment is a legal and ethical imperative.
    • Faculty will assess: Hazard identification; documentation of compliance with school and industry guidelines; enforcement of safety procedures for equipment, vehicles, stunts, intimacy, and special effects.

    Delivery

    • Why it matters: Each department has essential specs, paperwork, and deliverables—media formats, logs, cue sheets, chain-of-title, archives—that professionals must handle with care.
    • Faculty will assess: Understanding of required specs and paperwork; accuracy and timeliness of deliverables; diligence in preventing avoidable revisions.

    Punctuality & Attendance

    • Why it matters: In an industry with virtually zero tolerance for lateness—where a single delay can derail the day’s schedule, rack up costs, and tarnish reputations—filmmakers must master their department’s scheduling and tracking systems so that their work never stalls production.
    • Faculty will assess: On-time arrival to classes and calls; adherence to production schedules; prompt completion of tasks; maintaining at least 85% field-hour attendance.

    Professional Dispositions

    This domain describes the attitudes and interpersonal behaviors that sustain a healthy, collaborative production culture.

    Reliability

    • Why it matters: Dependable collaborators build trust, boost morale, and ensure smooth operations.
    • Faculty will assess: Follow-through and consistent performance under pressure.

    Accountability

    • Why it matters: Owning outcomes drives growth and professionalism.
    • Faculty will assess: Responsibility for results; ethical conduct; transparency about mistakes; corrective action; reflective behavior change.

    Proactivity

    • Why it matters: A strong work ethic and self-growth stems from a proactive mindset—anticipating needs, seizing opportunities, and contributing beyond assigned duties.
    • Faculty will assess: Initiative; anticipation of needs; self-directed learning.

    Civility

    • Why it matters: Respectful conduct fosters trust, morale, and focus on the artistic goal.
    • Faculty will assess: Courtesy; cultural sensitivity; respect for personal and professional boundaries; tangible contributions to a positive working environment.

    Collaboration

    • Why it matters: Film thrives on mutual support, shared knowledge, and commitment to collective goals.
    • Faculty will assess: Willingness to assist peers; mentorship behavior; team contributions that boost creativity, efficiency, and spirit.

    Creative Resilience

    • Why it matters: Filmmaking demands persistence and positivity in the face of critique, setbacks, uncertainty, and change.
    • Faculty will assess: Composure under stress; willingness to confront problems; perseverance; the ability to adapt creatively without losing focus or momentum.
  • MFA Qualifying Exam

    Overview

    The MFA Qualifying Exam serves as an ongoing evaluation of a student’s progress within the graduate program, assessing both knowledge/skills and professional dispositions. MFA students are enrolled in the MFA Qualifying Exam in each of their first three semesters (Fall, Spring, and Summer). A satisfactory grade is required each semester to continue in the program and, ultimately, advance to the second year.

    The MFA Qualifying Exam exists to help faculty assess whether students are developing the competencies necessary for advanced graduate-level work within the program’s collaborative production structure. Because students move through a lock-step curriculum with increasing levels of responsibility, it is important that faculty can evaluate both individual growth and preparedness before students advance to later stages of the program. The process is intended not only as an evaluation tool, but also as a mechanism for providing students with meaningful feedback about their development.

    Knowledge & Skills

    This domain measures the craft competencies expected of an emerging professional filmmaker. Each criterion is performance-based.

    Artistry

    • Why it matters: Purposeful creative choices elevate storytelling and distinguish projects in a competitive industry.
    • Faculty will assess: Originality, coherence, and effectiveness of creative decisions; responsiveness to feedback and notes; the ability to preserve core storytelling goals while navigating real-world challenges.

    Technical Proficiency

    • Why it matters: Mastery of tools, software, and workflows ensures work meets professional standards and integrates seamlessly with other departments.
    • Faculty will assess: Accuracy, efficiency, and consistency in using equipment, software, and industry-standard pipelines.

    Professional Communication

    • Why it matters: The film industry relies on specialized communication modes. Knowing when to voice ideas, whom to address, and what style to use—be it a pitch, a creative note, a crew briefing, or a call sheet—are key craft skills.
    • Faculty will assess: Clarity, tone, and timeliness of written and verbal communication; relevance and effectiveness of creative notes; audience-appropriate language across varied filmmaking contexts and crew hierarchies.

    Planning & Preparedness

    • Why it matters: Robust preparation bridges concept and execution. Each craft area follows pre-production playbooks and specialized protocols that filmmakers must master.
    • Faculty will assess: Quality and feasibility of schedules, budgets, breakdowns, and prep materials; anticipation of logistical needs; adaptability when circumstances shift.

    Production Operations

    • Why it matters: Filmmaking requires precise, disciplined coordination across departments via clear chains of command and shared protocols.
    • Faculty will assess: Adherence to production and post-production protocols; effectiveness within crew hierarchies; real-time problem-solving; adaptability when circumstances shift.

    Safety Implementation

    • Why it matters: Safeguarding cast, crew, and equipment is a legal and ethical imperative.
    • Faculty will assess: Hazard identification; documentation of compliance with school and industry guidelines; enforcement of safety procedures for equipment, vehicles, stunts, intimacy, and special effects.

    Delivery

    • Why it matters: Each department has essential specs, paperwork, and deliverables—media formats, logs, cue sheets, chain-of-title, archives—that professionals must handle with care.
    • Faculty will assess: Understanding of required specs and paperwork; accuracy and timeliness of deliverables; diligence in preventing avoidable revisions.

    Punctuality & Attendance

    • Why it matters: In an industry with virtually zero tolerance for lateness—where a single delay can derail the day’s schedule, rack up costs, and tarnish reputations—filmmakers must master their department’s scheduling and tracking systems so that their work never stalls production.
    • Faculty will assess: On-time arrival to classes and calls; adherence to production schedules; prompt completion of tasks; maintaining at least 85% field-hour attendance.

    Professional Dispositions

    This domain describes the attitudes and interpersonal behaviors that sustain a healthy, collaborative production culture.

    Reliability

    • Why it matters: Dependable collaborators build trust, boost morale, and ensure smooth operations.
    • Faculty will assess: Follow-through and consistent performance under pressure.

    Accountability

    • Why it matters: Owning outcomes drives growth and professionalism.
    • Faculty will assess: Responsibility for results; ethical conduct; transparency about mistakes; corrective action; reflective behavior change.

    Proactivity

    • Why it matters: A strong work ethic and self-growth stems from a proactive mindset—anticipating needs, seizing opportunities, and contributing beyond assigned duties.
    • Faculty will assess: Initiative; anticipation of needs; self-directed learning.

    Civility

    • Why it matters: Respectful conduct fosters trust, morale, and focus on the artistic goal.
    • Faculty will assess: Courtesy; cultural sensitivity; respect for personal and professional boundaries; tangible contributions to a positive working environment.

    Collaboration

    • Why it matters: Film thrives on mutual support, shared knowledge, and commitment to collective goals.
    • Faculty will assess: Willingness to assist peers; mentorship behavior; team contributions that boost creativity, efficiency, and spirit.

    Creative Resilience

    • Why it matters: Filmmaking demands persistence and positivity in the face of critique, setbacks, uncertainty, and change.
    • Faculty will assess: Composure under stress; willingness to confront problems; perseverance; the ability to adapt creatively without losing focus or momentum.

    Assessment Process

    Each student is evaluated by a three‑member faculty panel comprised of the program’s Assistant Dean, a faculty member from the student’s area of specialization, and one additional faculty member. The evaluation is based on the Grading Rubrics for Knowledge & Skills and Professional Dispositions.

    Mid‑Semester Check‑In

    • Around the semester’s midpoint, a member of the faculty panel meets one‑on‑one with the student to review their progress so far and, if needed, to outline corrective actions to be completed before the final assessment at the end of the semester.

    End‑of‑Semester Review

    • The full MFA faculty convenes to share observations on each student’s coursework, performance, and professional conduct.
    • Each student’s faculty panel then applies the Knowledge & Skills and Professional Dispositions rubrics, and assigns a final grade for the Qualifying Exam based on the grading outcomes below.
    • A representative of the faculty panel then meets with the student to communicate rubric scores and the overall grade and to discuss goals for the upcoming semester. In instances of remediation or dismissal, the Assistant Dean of the program will also attend this meeting to review the terms of the disciplinary action.

    Grading Rubrics

    Grading Outcomes

    Satisfactory

    If the student earns Satisfactory marks for all of the assessment criteria in Knowledge & Skills and Professional Dispositions, they receive a Satisfactory grade for the Qualifying Exam and advance automatically to the next semester.

    • Exemplary: If the student scores “Exemplary” in any of the rubric criteria, the faculty panel records a commendation in the student’s file. Commendations are factored in when merit scholarships are awarded.
    • Proficient: If the student scores “Proficient” in any of the rubric criteria, the student is on track and performing satisfactorily.
    • Needs Improvement: If the student scores “Needs Improvement” in any of the rubric criteria, the faculty will communicate the areas of concern to the student and develop strategies for improvement. This may include the creation of an official remediation plan to address the concerns. Failure to satisfy the expectations of the remediation plan may result in dismissal from the program.

    Unsatisfactory

    If the student earns an Unsatisfactory mark in one or more of the assessment criteria in Knowledge & Skills or Professional Dispositions, they receive an Unsatisfactory grade for the Qualifying Exam and do not continue on in the program.

    Accommodations

    Students with approved OAS accommodations will receive appropriate modifications to the assessment.

    Appeals

    Any appeals for the MFA Qualifying Exam follow FSU’s General Academic Appeals Process.

  • Poster Template for Animation

    Overview

    This template provides a standardized framework for creating posters for animation projects, helping ensure that all films are presented in a professional and visually cohesive manner across festivals, showcases, screenings, and promotional platforms. While students are encouraged to develop artwork that reflects the unique identity of their film, the template establishes baseline expectations for formatting, credits, resolution, and required information.

    The goal is not to limit creativity, but to prepare students for the practical realities of professional film marketing and distribution. Poster design is often a key part of a project’s public identity, shaping first impressions for audiences, festival programmers, and industry professionals. Learning to balance artistic expression with technical specifications and marketing clarity is an important component of presenting work professionally.

    Instructions

    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. Note: Steel Tongs does not contain shortcuts for all the credits needed for animated films, so some of the credits in the billing block have been hand-crafted.
    • 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.