Author: andrew

Poster Template For Live-Action
Overview

This template provides a standardized framework for creating posters for live-action 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.

Template

Poster-Template-Prod-2025.psd Download (PSD ZIP)
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.
- 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.
September 30, 2020

MC Specs

Overview

MC projects are expected to follow a defined set of production specifications and content parameters. These guidelines are designed to establish manageable limits for production scope, including factors such as page count, shoot days, cast size, locations, visual effects, stunts, intimacy, animals, weapons, and other complex production elements.

These specifications help ensure that projects can be completed successfully within the available schedule, crew size, resources, and experience level associated with the course. The goal is not to limit creativity, but to help students learn how filmmakers shape strong stories within the practical constraints of time, safety, logistics, staffing, and available resources.

Content specs

Page count	8 pages (minimum) 12 pages (maximum)
Story runtime	9:00 (minimum) 15:00 (maximum)
Credits runtime	1:00 for credits + 0:10 for leader
Total runtime	10:10 (minimum) 16:10 (maximum)
Quantity of scenes	No limit
Quantity of locations	No limit
Quantity of characters	No limit
Children	Yes
Animals	Yes
Weapons	Yes
Stunts	Yes
Intimacy	Yes
Visual Effects	Must be approved by the Head of Visual Effects before production

Production specs

Shooting days	6 days
Length of workday	12 hours
Earliest call time	No earlier than 6:00am on the first day
Latest wrap time	No later than 12:00am (midnight) on the last day
Night shoots	Yes, with approval from Head of Production
Locations per day	No limit
Distance to location	Can make a distant location request for outside the studio zone
Pick-up days	Can request 0.5 days (not guaranteed)

Capture specs RED

Camera package	RED
Frame rate	24.000p
Sensor mode	7K FF
Capture resolution	2048 x 1080 (2K)
Capture aspect ratio	1.90:1
Approved mattes	1.37:1 • 1.66:1 • 1:85:1 2.00:1 • 2.39:1
Capture format	MOV
Codec	ProRes 4444
Gamma/color space	RWG / Log3G10
Color processing	IPP2
Output color space	Rec. 709
LUT	Choose from the available RED LUTs or make a custom LUT
Sampling	4:4:4 12-bit
Bitrate	302 Mbps (VBR)

Capture specs ARRI

Camera package	Arri
Frame rate	24.000p
Sensor mode	4K 16:9
Capture resolution	2048 x 1152 (2K)
Capture aspect ratio	16:9
Approved mattes	1.37:1 • 1.66:1 • 1:85:1 2.00:1 • 2.39:1
Capture format	MXF OP1A
Codec	ProRes 4444
Gamma/color space	LogC4
Color processing	N/A
Output color space	N/A
LUT	N/A
Sampling	4:4:4 12-bit
Bitrate	302 Mbps (VBR)

Data allocation

Pages per day	2 pages
Shooting ratio	99:1
Data rate	2.6 GB/minute
Data per page	256 GB
Data per day	512 GB
Total data	3,072 GB
Dailies per day	197 minutes
Total dailies	1,181 minutes

Post-Production

Pic edit software	Media Composer
Pic edit days	15 days
Pic edit location	Post Hall

Sound design software	ProTools
Sound design days	9 days
Sound design location	Post Hall
Sound mix days	1 day
Sound mix location	Mix A, Mix B

VFX scope	Must be approved by the Head of Visual Effects
VFX software	Must be approved by the Head of Visual Effects
VFX days	Variable, based on crew grid (upper limit of 8 weeks)
VFX location	Digital Artist Suites

Coloring software	DaVinci Resolve
Coloring days	2 days
Coloring location	Post Hall

September 30, 2020

M1 Specs

Overview

M1 projects are expected to follow a defined set of production specifications and content parameters. These guidelines are designed to establish manageable limits for production scope, including factors such as page count, shoot days, cast size, locations, visual effects, stunts, intimacy, animals, weapons, and other complex production elements.

Content specs

Page count	1 page (minimum) 2 pages (maximum)
Story runtime	1:30 (minimum) 2:30 (maximum)
Credits runtime	0:30 for credits + 0:10 for leader
Total runtime	2:10 (minimum) 3:10 (maximum)
Quantity of scenes	Set by faculty for each cycle
Quantity of locations	Set by faculty for each cycle
Quantity of characters	Set by faculty for each cycle
Children	No
Animals	No
Weapons	No
Stunts	Nothing that would typically call for a stunt coordinator
Intimacy	Nothing that would require a closed set or typically call for an intimacy coordinator
Visual Effects	Cycle 4 & 5 only

Production specs

Shooting days	1 day
Length of workday	12 hours
Earliest call time	Set by faculty for each cycle
Latest wrap time	Set by faculty for each cycle
Night shoots	Set by faculty for each cycle
Locations per day	1 location
Distance to location	All filming takes place at Torchlight
Pick-up days	No

Capture specs

Camera package	RED
Frame rate	24.000p
Sensor mode	7K FF
Capture resolution	2048 x 1080 (2K)
Capture aspect ratio	1.90:1
Approved mattes	1:85:1
Capture format	MOV
Codec	ProRes 4444
Gamma/color space	RWG / Log3G10
Color processing	IPP2
Output color space	Rec. 709
LUT	Low Contrast / Very Soft
Sampling	4:4:4 12-bit
Bitrate	302 Mbps (VBR)

Post-Production

Pic edit software	Media Composer
Sync, Assembly, and Picture edit	Set by faculty for each cycle
Pic edit location	Post Hall

Production sound	Dual system
Music rights	Universal Production Music only
Sound design software	ProTools
Sound design days	Set by faculty for each cycle
Sound design location	Post Hall
Sound mix days	Not applicable
Sound mix location	Not applicable

VFX scope	Set by faculty for each cycle
VFX software	After Effects
VFX days	Set by faculty for each cycle
VFX location	DA Suite

Coloring software	DaVinci Resolve
Coloring days	Set by faculty for each cycle
Coloring location	Post Hall

September 27, 2020

Universal Production Music License

Overview

Universal Production Music provides licensed music resources that students may use within approved productions under the program’s educational licensing agreement. If a production features Universal Production Music on the soundtrack, the license below covers the work.

Music licensing is an important part of professional filmmaking because productions must ensure that all music used within a project is legally cleared for exhibition and distribution. Understanding how licensed production music libraries operate helps students develop stronger professional practices related to copyright, music supervision, rights management, and legal compliance within post-production and delivery workflows.

Paperwork

Florida State University College of MPA – Tallahassee 1yr Annual Agreement 8.1.2025 Renewal Download (PDF)

INSTRUCTIONS

The College of Motion Picture Arts pays an annual fee to Universal Production Music for the licenses to the library music they provide on their site. No additional releases need to be signed for the use of this music, as long as you remain in accordance with this licensing agreement.

September 13, 2020
Work for Hire Agreement

Overview

A work for hire agreement establishes that creative work, services, or materials produced by an individual for a production are being created on behalf of the project under agreed-upon terms regarding ownership and usage rights. This document is commonly used when productions involve commissioned creative contributions such as artwork, music, graphics, writing, photography, or other specialized work.

Clear ownership agreements are important because film productions often combine contributions from many collaborators across multiple creative disciplines. Proper documentation helps avoid confusion regarding intellectual property rights, future usage permissions, and distribution eligibility while reinforcing professional standards related to contracts and production legal workflows.

Paperwork

Work For Hire Agreement Download (PDF)

Work For Hire Agreement Download (DOC)

Instructions

The Producer should use this contract agreement when hiring someone to create a work-made-for-hire for a production.

The Producer is responsible for working with the Contractor to determine the services, the compensation structure, the dates of service, and the screen credit in the finished film.

All other clauses in the agreement must remain unchanged, unless the Producer is authorized in advance by the Head of Production to make specific amendments to the contract.

September 13, 2020
Weapon Authorization Request

Overview

Productions involving prop firearms or other weapons must complete an authorization process before such items may be used during filming. This request process helps productions communicate the nature of the planned weapon use, identify safety considerations, and obtain the necessary approvals prior to production activity.

Weapons-related oversight is essential because even non-functioning or simulated weapons introduce significant safety, liability, and public communication concerns within production environments. The authorization process helps ensure that productions are approaching these elements responsibly, planning appropriate safety procedures, and coordinating properly with faculty, staff, and any relevant outside parties before filming takes place.

Paperwork

Weapon Authorization Request Download (PDF)

Weapon Authorization Request Download (DOC)

September 13, 2020
Travel Card Agreement

Overview

The travel card agreement outlines the expectations, responsibilities, and usage policies associated with the use of university-issued travel cards for approved production-related expenses.

Because university purchasing systems involve strict financial oversight and accountability requirements, students and productions must follow clearly defined procedures when handling institutional funds. The agreement helps ensure that purchases are documented properly, expenses remain compliant with university policies, and financial records can be tracked accurately throughout the production process.

Paperwork

Travel Card Agreement Download (PDF)

Instructions

The Producer should use this agreement for travel paid using a Florida State University Travel Card (TCard). The form must be submitted to the Head of Production prior to booking travel.

The Producer is responsible for submitting final receipts of the listed expenses to a designated staff member at the time the charges are made. The Producer agrees that these charges will be deducted from the production’s budget.

Sample

Here’s a sample of what the completed form should look like:

September 13, 2020
Trademark Use Agreement

Overview

A trademark use agreement documents permission for a production to display, reference, or incorporate protected brand names, logos, products, or other trademarked materials within a film or related promotional materials.

Trademark usage can involve important legal and distribution considerations, particularly when projects move into festival exhibition, online release, or broader public circulation. Proper documentation helps productions reduce potential legal complications while encouraging students to think carefully about intellectual property rights, clearance procedures, and professional risk management within production workflows.

Paperwork

Trademark Use Agreement Download (PDF)

Trademark Use Agreement Download (DOC)

Instructions

This agreement is to be used to document when rights have been granted to use trademarks, logos and/or other identifiable characters associated with a company or product, in order to maintain a clean chain of title.

Any fair use claims — allowing the inclusion of trademarks in the finished film without this agreement being filed — must be presented to and cleared by the Head of Production prior to picture lock.

September 13, 2020
Synchronization License Request
Overview

A synchronization license request is drafted when a production wishes to reproduce a specific musical composition in a film, and needs to obtain approval from the copyright holder.

Proper music licensing is essential because copyrighted songs cannot legally be reproduced within a film intended for festival exhibition, online release, or public distribution without authorization from the rights holder. Understanding synchronization licensing helps students develop stronger professional practices related to copyright compliance, music clearance, and the legal responsibilities associated with using commercial music in film productions.

Paperwork

Synchronization License Request Download (DOC)
INSTRUCTIONS

A synchronization license is the right to reproduce a specific musical composition in your film. It must be obtained from the copyright owner of the composition, which is usually the publisher.

You can find out who the publisher is by searching by song title at either ASCAP or BMI. Almost every song is represented by one of these two companies. Songs that are not represented by ASCAP or BMI might be found at the National Music Publishers’ Association “Songfile” website (www.nmpa.org). You will be provided with a contact at the publisher’s Business Affairs or Licensing Department.

Getting the rights could be as simple as sending letters to the publisher and record label, having them sign and return them. However, you may be required to complete their licensing agreements instead. If this is the case, make sure you have the Head of Production review the agreement before you sign it, to ensure we have the proper releases.

You must get each license for at least:
- Two-years
- Film festival
- Non-commercial
- World rights
Note that you will need to get a synchronization license from the publisher, even if you are making your own sound recording of that song. For example, if you have your actor sing or recite lyrics, whistle or hum the tune, play the song on a musical instrument, or in any way make your own sound recording of the song, you will need to get the synchronization license from the publisher.
SAMPLE LETTER

Here’s a sample of what the letter should look like:
September 13, 2020
Stock Image Log Sheet

Overview

The stock image log sheet is used to document externally sourced still images incorporated into a production, including information related to image sources, licensing, permissions, usage details, and associated documentation.

Maintaining accurate image records is important because productions must be able to verify the origin and legal usage status of third-party visual materials included in a project. Organized logging practices help reduce clearance issues during delivery and distribution while reinforcing professional habits related to rights management, documentation, and media tracking.

Paperwork

Stock Image Log Sheet Download (DOC)

Instructions

The Producer uses the Stock Image Log Sheet to document the type, source, copyright holder, and rights acquired for any stock images used in the film, noting the start and end timecode for where each image falls in the finished film. This includes any stock footage, photos, and artwork.

Be particularly attentive to anything listed as being in the public domain, as misinformation about such matters is rife on the Internet. If a source claims something’s in the public domain, do your due diligence to evaluate the veracity of that source.

If you wish to make a fair use case for any item, be sure to educate yourself on fair use and discuss it in advance with the Head of Production to ensure it will be approved.

SAMPLE

Here’s a sample of what the completed form should look like:

September 13, 2020