FSUFILM Handbook

Author: Tony

  • M3 Delivery

    Overview

    Final delivery for M3 projects includes the submission of completed media, project files, documentation, and other required materials necessary for archiving, exhibition, festival submission, and long-term program recordkeeping. The items listed below are delivered to the Head of Production through the FSUFILM Greenlight system, which is used to track required materials and verify that projects have completed all delivery requirements in a consistent and organized manner.

    Careful delivery practices are an essential part of professional production and post-production workflows because incomplete or improperly prepared materials can create major problems for distribution, preservation, revisions, or future access to the project. The delivery process also reinforces the importance of organization, version control, and technical precision as productions move from active creation into exhibition and archival stages.

    Due Dates

    Part I – Production Delivery
    To be completed by the Producer by 5:00pm on Tuesday, July 14, 2026

    Part II – Post Production Delivery
    To be completed by the Producer by 5:00pm on Wednesday, July 29, 2026

    Part I – Production Delivery

    Script [su_button url=”https://wkf.ms/4dzhE8P” target=”blank” style=”flat” background=”#7da21f” color=”#000000″ size=”1″ radius=”20″ class=”deliver-button”]DELIVER[/su_button]

    • Final shooting script – PDF file
    • Final shooting script – Final Draft file

    Daily Production [su_button url=”https://wkf.ms/4tXrjgf” target=”blank” style=”flat” background=”#7da21f” color=”#000000″ size=”1″ radius=”20″ class=”deliver-button”]Deliver[/su_button]

    Locations

    LOCATION INFO & RELEASES [su_button url=”https://wkf.ms/4jcQ2HG” target=”blank” style=”flat” background=”#7da21f” color=”#000000″ size=”1″ radius=”20″ class=”deliver-button”]DELIVER[/su_button]

    LOCATION LIST [su_button url=”https://wkf.ms/4kzgmwe” target=”blank” style=”flat” background=”#7da21f” color=”#000000″ size=”1″ radius=”20″ class=”deliver-button”]DELIVER[/su_button]

    • After all location information has been delivered for the show, navigate to the “My Shows” view of the Location board in FSUFILM Greenlight, select all the items for the show, and click Export. Then, deliver the exported Excel file of the Location List. (instructions)

    Cast

    CAST INFO & RELEASES [su_button url=”https://wkf.ms/3PcfovZ” target=”blank” style=”flat” background=”#7da21f” color=”#000000″ size=”1″ radius=”20″ class=”deliver-button”]DELIVER[/su_button]

    CAST LIST [su_button url=”https://wkf.ms/4dxd8XH” target=”blank” style=”flat” background=”#7da21f” color=”#000000″ size=”1″ radius=”20″ class=”deliver-button”]DELIVER[/su_button]

    • After all cast information has been delivered for the show, navigate to the “My Shows” view of the Cast board in FSUFILM Greenlight, select all the items for the show, and click Export. Then, deliver the exported Excel file of the Cast List. (instructions)

    Crew

    ASSIGNED CREW [su_button url=”https://wkf.ms/3QVzZFl” target=”blank” style=”flat” background=”#7da21f” color=”#000000″ size=”1″ radius=”20″ class=”deliver-button”]DELIVER[/su_button]

    ADDITIONAL CREW [su_button url=”https://wkf.ms/3HcMV4N” target=”blank” style=”flat” background=”#7da21f” color=”#000000″ size=”1″ radius=”20″ class=”deliver-button”]DELIVER[/su_button]

    Resources [su_button url=”https://wkf.ms/4nk9bdl” target=”blank” style=”flat” background=”#7da21f” color=”#000000″ size=”1″ radius=”20″ class=”deliver-button”]DELIVER[/su_button]

    • Submit a separate form for each notable resource that was utilized by the production. This may include equipment rentals, unusual vehicles, unique props, distinctive costumes, or hired services offered by vendors such as animal wranglers, graphic designers, security firms, or portable toilet providers. Think of things that might help future students track down resources for their films.

    Additional Releases [su_button url=”https://wkf.ms/3F1ZVcN” target=”blank” style=”flat” background=”#7da21f” color=”#000000″ size=”1″ radius=”20″ class=”deliver-button”]DELIVER[/su_button]

    Correspondence [su_button url=”https://wkf.ms/4kEWNCX” target=”blank” style=”flat” background=”#7da21f” color=”#000000″ size=”1″ radius=”20″ class=”deliver-button”]DELIVER[/su_button]

    • Include PDFs of all noteworthy correspondence about the production. This doesn’t need to include run-of-the-mill messages between cast and crew, but should include any documented messages with people like location owners, vendors, the Animal Care and Use Committee, and the police. Think of it as “cover your ass” correspondence—so that, when the other party forgets what they had agreed to, there’s a record of what was discussed.
    • At minimum, the delivery should include a letter of thanks to each location owner.

    Part II – Post-Production Delivery

    Show Details [su_button url=”https://wkf.ms/4l2DJyT” target=”blank” style=”flat” background=”#7da21f” color=”#000000″ size=”1″ radius=”20″ class=”deliver-button”]Deliver[/su_button]

    • Complete a form to deliver the following information about the show: total running time, tagline, logline, 25-word synopsis, 50-word synopsis, keywords, genre, content warnings, rating, aspect ratio, spoken languages, and subtitles.

    Dialogue List [su_button url=”https://wkf.ms/3G6TV2W” target=”blank” style=”flat” background=”#7da21f” color=”#000000″ size=”1″ radius=”20″ class=”deliver-button”]Deliver[/su_button]

    • Create a PDF using the Dialogue List form. Include all spoken dialogue and written text in the final film. This is to assist subtitling in foreign-language markets.

    Music Requirements

    MUSIC CUES & RELEASES [su_button url=”https://wkf.ms/4xMuppQ” target=”blank” style=”flat” background=”#7da21f” color=”#000000″ size=”1″ radius=”20″ class=”deliver-button”]Deliver[/su_button]

    • Enter a separate form for each piece of music used in the film, listing the timecode stamps and documenting the music rights.
    • If there are no music cues, use this form instead.

    MUSIC LIST [su_button url=”https://wkf.ms/40sziFd” target=”blank” style=”flat” background=”#7da21f” color=”#000000″ size=”1″ radius=”20″ class=”deliver-button”]Deliver[/su_button]

    • After all music cues and releases have been delivered for the show, navigate to the “My Shows” view of the Music board in FSUFILM Greenlight, select all the items for the show, and click Export. Then, deliver the exported Excel file of the Music List.
    • If there are no music cues, skip this step.

    Production Stills [su_button url=”https://wkf.ms/47oknzB” target=”blank” style=”flat” background=”#7da21f” color=”#000000″ size=”1″ radius=”20″ class=”deliver-button”]Deliver[/su_button]

    • Five (5) production stills from the final cut of the film (not on-set photos).

    Credits & Title Cards [su_button url=”https://wkf.ms/4n9zIdz” target=”blank” style=”flat” background=”#7da21f” color=”#000000″ size=”1″ radius=”20″ class=”deliver-button”]Deliver[/su_button]

    • A list of all credits and title cards as they appear on screen. This should be a typed list—not screenshots of the credits from the film. Double-check for accuracy!

    Student ID Cards [su_button url=”https://wkf.ms/44hAzS0″ target=”blank” style=”flat” background=”#7da21f” color=”#000000″ size=”1″ radius=”20″ class=”deliver-button”]Deliver[/su_button]

    • A good, clear scanned copy of the Director’s student ID card
    • A good, clear scanned copy of the Producer’s student ID card

  • Budgets

    Overview

    M3 productions are expected to develop and maintain production budgets that track anticipated expenses, resource allocation, departmental needs, and overall financial planning throughout pre-production and production. This page provides information about the budget allocations for each show and accounting procedures that need to be followed.

    Budgeting is a fundamental part of filmmaking because creative decisions must constantly be balanced against practical limitations such as time, labor, equipment, transportation, locations, and available funding. Developing realistic budgets helps productions plan more effectively, avoid preventable logistical problems, and better understand how financial decision-making shapes professional production workflows.

    Lunch & craft

    For each live action show, a dollar amount is provided for every assigned crew member, plus two actors and one volunteer:

    • $10.00 per head lunch catering for 20 crew members and 3 actors or volunteers (23 people total): $230.00 per day.
    • $5.00 per head craft service for 20 crew members and 3 actors or volunteers (23 people total): $115.00 per day.

    Therefore, the total allocation for lunch and craft service is $690.00.

    The amount of money allocated to each film is a set amount. It does not shrink if the crew gets smaller and it does not increase if you add volunteer crew or actors. This amount is allocated as part of the necessary budget the school provides, based on the scope of the production.

    Food budgets are allocated to live action productions only and are considered part of the “Provided Production Costs” because meal time is regulated and crew members are not allowed to leave set.

    You may use the total funds for food in any way you wish, as long as it goes only to catering and craft service. This is a “use-it-or-lose-it” budget.

    DEADLINES

    IMPORTANT NOTE: Due to end-of-the-fiscal-year deadlines, all Disbursement Requests for an Advance must be submitted no later than June 15. Otherwise, funds cannot be added to your card until after the start of the next fiscal year in the first week of July.

    All Production expenses must be completed no later than the last day of the Summer semester.
    This includes submitting:

    • All Reimbursement Vouchers for reimbursement
    • All receipts to reconcile any outstanding Cash Advances
    • All invoices from any open contractor’s Purchase Orders
    • All travel receipts for any open Travel Expense Reports

  • M3 Specs

    Overview

    M3 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 count3 pages (minimum)
    4 pages (maximum)
    Story runtime3:00 (minimum)
    5:00 (maximum)
    Credits runtime1:00 for credits
    + 0:10 for leader
    Total runtime4:10 (minimum)
    6:10 (maximum)
    Quantity of scenesSet by the showrunner
    Quantity of locationsSet by the showrunner. Uses virtual locations on the Torchlight VP stage.
    Quantity of charactersSet by the showrunner
    ChildrenYes
    AnimalsYes
    WeaponsYes
    StuntsYes
    IntimacyYes
    Visual EffectsMinor 2D effects only. Must be approved by the Head of Visual Effects before production.

    Production specs

    Shooting days1.5 days
    Length of workday12 hours
    Earliest call time8:00am
    Latest wrap time9:00pm
    Night shootsNo
    Locations per day1 location (Torchlight VP stage)
    Distance to locationWithin the studio zone
    Pick-up daysNo

    Capture specs

    Camera packageRED Komodo
    Frame rate24
    Sensor mode6K 17:9
    Capture resolution2048 x 1080 (2K)
    Capture aspect ratio1.90:1
    Approved mattes1.85:1
    Capture formatMOV
    CodecProRes 422 HQ
    Gamma/color spaceRWG / Log3G10
    Color processingIPP2
    Output color spaceRec. 709
    LUTNone
    Sampling4:2:2 10-bit
    Bitrate754 Mbps
    Data per day512 GB
    Total data1024 GB
    Production soundDual system

    Post-Production

    Pic edit softwareMedia Composer
    Pic edit days5 days
    Pic edit locationPost Hall
    Sound design softwareProTools
    Sound design days5 days
    Sound design locationPost Hall
    Sound mix days0.5 days
    Sound mix locationMix A, Mix B
    VFX scopeMinor 2D effects
    VFX softwareAfter Effects
    VFX days3 days
    VFX locationDigital Artist Suites
    Coloring softwareDaVinci Resolve
    Coloring days1 day
    Coloring locationPost Hall

  • Production Coordinator Responsibilities

    Overview

    The Production Coordinator supports the logistical operations of the production by helping manage communication, scheduling updates, document distribution, tracking systems, and other day-to-day organizational tasks that keep departments aligned and informed throughout the production process.

    Working under the broader organizational structure established by producers and production management, the Production Coordinator helps maintain the flow of information across the production. The role is less focused on high-level budgeting or on-set leadership and more centered on maintaining the administrative systems that support efficient collaboration. Strong coordination reduces confusion, improves communication between departments, and helps productions stay organized as projects increase in scale and complexity.

    Pre-Production

    • Primary role is to assist the Production Manager (PM) with any and all logistical needs to prepare for principal photography.
    • Assist PM with gathering information from departments heads for the Daily Prep Schedule.
    • Assist PM in securing lunches, craft services, volunteers, and extras for all days of shooting.
    • Assist PM in obtaining craft services the night before production.
    • Assist PM in preparing all the paperwork needed on set.
    • Assist PM in communicating any changes to the schedule to the 2nd AD to disseminate to the cast and crew.
    • During Equipment Check-out, check out the sustainability kit and water jugs.
    • Check the weather periodically to monitor adverse conditions. Have a back-up plan.
    • Double check every logistical piece of information and make sure nothing has been forgotten.

    Production days

    Start of day

    • Arrive at set FIRST, at least 30 minutes before call time.
    • Assist PM in recording the state and location of things, ground rules.
    • Assist PM in delivering the craft services to the 2nd AD and assist them in setting up the craft service table.
    • Give the 2nd AD all the paperwork you prepared ahead of time for them to have completed throughout the day.
    • When trucks arrive, assist PM in verifying they are parking in the correct place.

    Throughout the day

    • Make sure everything is going as planned throughout the day, and troubleshoot logistics as needed.
    • Monitor and maintain the sustainability kit and water supply

    Meals

    • Assist PM in double-checking with the caterer or restaurant that lunch will be ready on time.
    • Assist PM in picking up lunch and bringing it back to set with enough time for the 2nd AD to set it up prior to releasing for lunch.

    End of day

    • Help clean and secure location. Be the LAST TO LEAVE (except perhaps Art Dept). Leave the location better than when you arrived.

    Post-Production

    • Organize and scan all the of the Daily Production Paperwork for the Producer and deliver in both hard copy and electronic form.
    • At Equipment Check-In, check in the sustainability kit.

  • Production Manager Responsibilities

    Overview

    The Production Manager oversees the logistical and operational planning of the production, with primary responsibility for scheduling coordination, resource allocation, transportation planning, paperwork oversight, and the broader infrastructure needed to support the production successfully. Working closely with producers and assistant directors, the role focuses on building and maintaining the systems that allow production to function efficiently.

    Unlike a 1st AD, who manages the execution of the shooting day on set, a Unit Production Manager focuses primarily on the larger logistical framework surrounding the production before and during filming. Strong production management helps filmmakers anticipate problems proactively, balance creative goals against available resources, and maintain realistic operational planning across departments. The role provides students with practical experience in one of the key organizational leadership positions within professional film production.

    Pre-Production

    • Assist the Producer with any and all logistical needs to prepare for principal photography.
    • Coordinate with department heads to update the Daily Prep Schedule. Then distribute to the crew by 6pm each day of pre-pro.
    • Prepare Crew Deal Memos for everyone at the production meeting.
    • Assist Producer in securing lunches, craft services, volunteers, and extras for all days of shooting.
    • Assist Producer in obtaining craft services the night before production.
    • Assist the Producer in casting by scheduling and participating in auditions if necessary.
    • Prepare and make copies of all the paperwork needed on set. Give to 2nd AD to distribute and collect.
    • Oversee the 2nd AD in the creation of the Call Sheet. Once the Production Manager and the 1st AD approve the Call Sheet, map and set diagram, have 2nd AD distribute copies.
    • Communicate any changes to the schedule to the 2nd AD to disseminate to the cast and crew.
    • Check the weather periodically to monitor adverse conditions. Have a back-up plan.
    • Double check every logistical piece of information and make sure nothing has been forgotten.

    Production days

    Start of day

    • Arrive at set FIRST, at least 30 minutes before call time.
    • Open and establish contact with location. Record the state and location of things, ground rules.
    • Deliver the craft services to the 2nd AD and assist them in setting up the craft service table.
    • Give the 2nd AD all the paperwork you prepared ahead of time for them to have completed throughout the day.
    • When trucks arrive, verify they are parking in the correct place.

    Throughout the day

    • Make sure everything is going as planned throughout the day, and troubleshoot logistics as needed.

    Meals

    • Double check with the caterer or restaurant that lunch will be ready on time.
    • Pick up lunch and bring it back to set with enough time for the 2nd AD to set it up prior to releasing for lunch.
    • During lunch, review the next day’s Call Sheet with the 2nd AD.

    End of day

    • Collect all the Daily Production Paperwork and media cards from the 2nd AD. Double check for accuracy & completion.
    • With 2nd AD, clean and secure location. Be the LAST TO LEAVE (except perhaps Art Dept). Leave the location better than when you arrived.
    • Approve the Daily Production Report and have 2nd AD distribute copies within 2 hours after company wrap.

    Post-Production

    • Organize and scan all the of the Daily Production Paperwork for the Producer and deliver in both hard copy and electronic form.
  • Daily Prep Schedule

    Daily Prep Schedule

    Overview

    The daily prep schedule provides a structured framework for organizing pre-production responsibilities leading up to principal photography. By breaking larger preparation tasks into manageable daily goals, productions can track progress more effectively and reduce the likelihood of important items being overlooked as shooting approaches.

    Consistent preparation workflows are essential because successful productions depend heavily on advance planning, coordination, and communication across departments. The schedule helps students build professional habits around organization, accountability, and time management while reinforcing the understanding that strong production work is usually the result of steady preparation rather than last-minute problem-solving.

    Paperwork

    Decorative thumbnail of the form
    Daily Prep Schedule – Word DocDownload (DOC)

    Instructions

    This form is to be used to notify the crew of the schedule of tasks and events to be completed each day of pre-production. The Producer or Production Manager should check with each of the department heads to verify what items are to be added to the schedule, and then send the schedule to the crew at the end of each day of pre-production.

    Sample

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

    Sample of a completed form

  • Production Manager Responsibilities

    Overview

    The Production Manager oversees the logistical and operational side of the MC production process, helping coordinate scheduling, budgeting, staffing, paperwork, equipment planning, and communication across departments. Working closely with producers and assistant directors, the role focuses on ensuring that productions remain organized, properly resourced, and capable of executing the production plan efficiently.

    The Production Manager plays a central role in balancing creative goals against practical realities such as time, staffing, safety, transportation, and available resources. Strong production management helps prevent avoidable logistical problems and allows the creative team to focus more fully on the work of production itself. The position also provides students with experience in one of the core organizational leadership roles within professional film and television production workflows.

    Pre-Production

    • Assist the Producer with any and all logistical needs to prepare for principal photography.
    • Supervise the Production Coordinator and delegate tasks as needed.
    • Coordinate with department heads to update the Daily Prep Schedule. Then distribute to the crew by 6pm each day of pre-pro.
    • Assist the Producer and 1st AD in scheduling the Tech Scout
    • Attend the Tech Scout, clocking the crew in & out using the FSUFilm Greenlight timesheet form.
    • Prepare Crew Deal Memos for everyone at the production meeting.
    • Assist Producer in securing lunches, craft services, volunteers, and extras for all days of shooting.
    • Assist Producer in obtaining craft services the night before production.
    • Assist the Producer in casting by scheduling and participating in auditions if necessary.
    • Prepare and make copies of all the paperwork needed on set. Give to 2nd AD to distribute and collect.
    • Oversee the 2nd AD in the creation of the Call Sheet. Once the Production Manager and the 1st AD approve the Call Sheet, map and set diagram, have 2nd AD distribute copies.
    • Communicate any changes to the schedule to the 2nd AD to disseminate to the cast and crew.
    • Check the weather periodically to monitor adverse conditions. Have a back-up plan.
    • Double check every logistical piece of information and make sure nothing has been forgotten.

    Production days

    Start of day

    • Arrive at set FIRST, at least 30 minutes before call time.
    • Open and establish contact with location. Record the state and location of things, ground rules.
    • Deliver the craft services to the 2nd AD.
    • Give the 2nd AD all the paperwork you prepared ahead of time for them to have completed throughout the day.
    • When trucks arrive, verify they are parking in the correct place.

    Throughout the day

    • Make sure everything is going as planned throughout the day, and troubleshoot logistics as needed.

    Meals

    • Double check with the caterer or restaurant that lunch will be ready on time.
    • Pick up lunch and bring it back to set with enough time for the 2nd AD to set it up prior to releasing for lunch.
    • During lunch, review the next day’s Call Sheet with the 2nd AD.

    End of day

    • Collect all the Daily Production Paperwork and media cards from the 2nd AD. Double check for accuracy & completion.
    • Give paperwork to Production Coordinator for scanning, filing and delivery.
    • Help clean and secure location. Be the LAST TO LEAVE (except perhaps Art Dept). Leave the location better than when you arrived.
    • Approve the Daily Production Report and have 2nd AD distribute copies within 2 hours after company wrap.

    Post-Production

    • Assist in wrapping production paperwork if necessary.

  • 2nd AD Responsibilities

    Overview

    The 2nd Assistant Director focuses primarily on communication, paperwork management, and logistical coordination in support of the broader assistant directing team. Responsibilities typically include preparing call sheets, distributing production information, coordinating cast movement and crew communication, tracking schedules, and helping ensure that departments remain informed and organized throughout production.

    While the 1st AD concentrates on running the set and managing the shooting day on the floor, the 2nd AD supports that process by handling much of the operational coordination that happens off the floor. Strong 2nd AD work helps productions stay organized, reduces communication breakdowns, and allows the production team to operate more efficiently under demanding schedules. The role also provides important experience in the organizational and administrative systems that support professional film production.

    Pre-production

    • Assist the Production Manager and Producer with any pre-production tasks needed.
    • Assist 1st AD coordinate the Tech Scout (Directors Prep). Establish where the restrooms, parking, staging, base camp and set will be.
    • Attend the Team Meeting, Crew Drill, Equipment Check Out/In, and Production Meeting, and sign the crew in and out using the FSUFilm Greenlight timesheet form.
    • Get Crew Deal Memos signed by everyone at the production meeting.
    • Create the Call Sheet, including map and set diagram. Have Production Manager and 1st AD approve it. Then send it no later than 12 hours before the next day’s call time.
    • Communicate any changes to the schedule to the entire cast and crew.
    • During Equipment Check-out, check out the walkies.
    • Check the weather periodically to monitor adverse conditions. Have a back-up plan.
    • Double check every logistical piece of information and make sure nothing has been forgotten.

    Production days

    Start of day

    • Arrive at set FIRST, at least 30 minutes before call time.
    • Establish Base Camp.
      • Set up Checkpoint with Walkies where crew will check in when they arrive.
      • Get the snacks and drinks from the Production Manager, and set up the craft service table.
    • As crew members arrive, check them in using the FSUFilm Greenlight timesheet form and hand them a walkie.

    Throughout the day

    • Maintain the craft service table throughout the day to make sure it is stocked.
    • Stay at base camp and handle the phones, paperwork and actors. Know where everything and everyone is.
    • Remain in or near the Green Room with the Actors, except to escort them to/from set at 1st AD’s request.

    Meals

    • When the Production Manager arrives with lunch, help set up the lunch table.
    • At lunch make sure everyone signs the Meal Sign-In Sheet.
    • During lunch, review the next day’s Call Sheet with the Production Manager and 1st AD.
    • Make periodic announcements on time remaining on lunch.
    • Make sure lunch does not exceed one hour.

    End of day

    • Complete the Performers Time Report, and have the actors sign it before they are dismissed for the day.
    • Make sure 2nd AC, Script Supe, and Sound Mixer meet at end of day to verify reports. Collect all reports.
    • Collect the camera card from the 2nd AC, and the sound card from the Sound Mixer, and deliver to Production Manager.
    • Have crew members sign out using the FSUFilm Greenlight timesheet form and collect their walkie.
    • Organize all the of the Daily Production Paperwork for the Production Manager and deliver in a folder.
    • Help clean and secure location. Be the LAST TO LEAVE (except perhaps Art Dept). Leave the location better than when you arrived.
    • Complete the Daily Production Report and have it approved by the Production Manager and 1st AD. Then distribute within 2 hours after wrap.

    Post-Production

    • Assist in wrapping production paperwork if necessary.
    • During Equipment Check-in, check in the walkies.

  • 1st AD Responsibilities

    Overview

    The 1st Assistant Director is responsible for managing the shooting schedule and overseeing the day-to-day operation of the set during production. This includes coordinating the work of departments on set, maintaining production pace, monitoring safety concerns, communicating priorities to the crew, and helping ensure that the production remains on schedule throughout the shooting day.

    The 1st AD serves as the primary operational leader on set, balancing the creative ambitions of the director and department heads against the practical realities of time, staffing, resources, and budget. While students sometimes misunderstand the position as simply enforcing the schedule or “watching the clock,” effective assistant directing requires constant collaboration, communication, and problem-solving in support of both the film’s creative goals and the producer’s responsibility to successfully complete the day’s work. Strong 1st AD leadership helps productions remain organized, safe, efficient, and creatively focused even under demanding production conditions.

    Pre-Production

    • Attend the Director/DP/1st AD Prep meeting with the Directing and Cinematography instructors at the location.
    • Create a Setup Schedule with the Director and DP (based on the shot list put together by the Director and DP).

    On Set

    FIRST HALF OF THE DAY

    • The Pre-Pro crew (PR, DR, PD, DP, 1D, 2D, SS) will have 2 hours at the start of the morning to prepare for the day, including set decoration, shot designing, etc.
    • When the rest of the crew arrives, have a Safety Meeting with the entire crew. Complete the Safety Meeting Report and have a Shop Steward (GF or SS) sign it to verify it was completed.
    • Run the Tech Scout, reviewing with the crew which scenes will be filmed in each set. Be ready to answer any questions the crew may have.
    • Run the Production Meeting by reading the action of the script, making sure crewmembers’ questions are answered.
    • Get a walkie from the 2nd AD, then go stand where the first set will be and stay there. Radio 2nd AD to bring you whatever you need.
    • Oversee the staging and filming of principal photography which does not require your assigned actors.

    LUNCH

    • When it is time for lunch, release the cast & crew for lunch.
    • Make sure lunch does not exceed one hour.

    SECOND HALF OF THE DAY

    • Run through the 1st AD Set Procedure for principal photography: Block, New Deal, Build, Rehearse, Shoot
    • Manage the time on the set by keeping up with the Setup Schedule. Adjust schedule as needed.
    • Look ahead to next set-ups and make sure departments are prepared and working ahead.

    End of day:

    • At Camera Wrap, make sure crew wraps safely and efficiently. Make sure to have Company Wrap on time.
    • Approve the Daily Production Report and have 2nd AD distribute copies at the end of the day.

  • Location Scouting

    Overview

    Location scouting involves identifying, evaluating, photographing, and researching potential filming locations that support the creative and logistical needs of the production. This process includes assessing factors such as visual suitability, accessibility, sound conditions, power availability, safety concerns, permitting requirements, parking, staging space, and overall production feasibility.

    Effective location scouting is essential because the realities of a location can significantly affect scheduling, equipment needs, crew workflow, safety, and the overall success of a production. Strong scouting practices help productions anticipate challenges early, communicate more clearly across departments, and make more informed creative and logistical decisions before filming begins.

    Safety

    When showing up at someone’s home, be sure to take safety precautions. Not everyone appreciates having strangers show up at their front door.

    • Always carry your student ID for identification.
    • Check out a magnetic “Location Scouting Vehicle” sign from the ER to display on your vehicle.
    • Whenever possible, scout in pairs.
    • Evaluate safety risks at each location—consider hazards, neighborhood security, and any factors that may pose risks to your cast and crew.

    Finding Locations

    On FSUFILM productions, this task is typically led by the Producer, Director, and Production Designer, though any crew member may initiate contact with a property owner. However, only the Producer is authorized to finalize agreements and handle all official paperwork.

    Start your search virtually with Google Maps and Street View. To identify property owners, use the Leon County Property Appraiser website. From there, you may need additional online research to find their contact information.

    You can also scout in person by driving around and visiting locations directly. Be mindful of appropriate times—avoid early mornings, late evenings, or peak business hours when visiting homes or establishments.

    Communication

    Always approach property owners with professionalism and respect. Key discussion points include:

    • The production schedule, including prep days (tech scout, set dressing, photoboarding, etc.).
    • The areas you wish to use (filming spaces, staging areas, green rooms, craft services, parking, etc.).
    • The script content, especially if it includes sensitive material.
    • Any location rental fees or requirements for on-site personnel.

    Location Rental fees

    Most locations are generously provided free of charge. However, exceptions may include commercial venues (e.g., hotels) or businesses requiring a staff presence during filming. If fees are involved, confirm the exact cost upfront.

    Documentation

    When you find a location you plan to use, be sure to complete the following:

    1. Location Hazard Assessment Form – identify any potential hazards.
    2. Hazard Notification Form – if hazards are present, outline mitigation steps for each.
    3. Location Shooting Plan Agreement – personally ask the property owner the listed questions and fill out the form. Do not hand them a blank copy. After completion, have them sign Page 2 and provide them with a copy.
    4. Location Agreement – finalize by having the property owner sign this document as well.