FSUFILM Handbook

Author: Tony

  • M2 Delivery

    Overview

    Final delivery for M2 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 animation 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
    Due by 9:00am on the Thursday following production.
    To be completed by the Producer.

    Part II – Post Production Delivery
    Due by 5:00pm on Tuesday, July 28, 2026
    To be completed by the Producer.

    Part III – Film Festival Press Materials
    Due by 5:00pm on Tuesday, July 28, 2026
    To be completed by the Producer.

    Part I – Production

    01. Script [su_button url=”https://wkf.ms/3H6lNUQ” 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

    02. Production Schedule [su_button url=”https://wkf.ms/42XOcoH” target=”blank” style=”flat” background=”#7da21f” color=”#000000″ size=”1″ radius=”20″ class=”deliver-button”]Deliver[/su_button]

    • Shooting Schedule
    • One Line Schedule

    03. Daily Production [su_button url=”https://wkf.ms/3F5yuyQ” target=”blank” style=”flat” background=”#7da21f” color=”#000000″ size=”1″ radius=”20″ class=”deliver-button”]Deliver[/su_button]

    04. 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)

    05. 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)

    06. Crew

    ASSIGNED CREW [su_button url=”https://wkf.ms/3GVN0cU” 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]

    07. 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.

    08. 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]

    09. 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

    01. 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.

    02. 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.

    03. Music Requirements

    MUSIC CUES & RELEASES [su_button url=”https://wkf.ms/3I9PqW9″ 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.

    04. 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!

    Part III – Marketing

    01. Film Festival Strategy [su_button url=”https://wkf.ms/4l9HxhO” target=”blank” style=”flat” background=”#7da21f” color=”#000000″ size=”1″ radius=”20″ class=”deliver-button”]Deliver[/su_button]

    • A PDF documenting the festival strategy for the film.

    02. Thumbnail Images [su_button url=”https://wkf.ms/44dVT9R” target=”blank” style=”flat” background=”#7da21f” color=”#000000″ size=”1″ radius=”20″ class=”deliver-button”]Deliver[/su_button]

    • Use the thumbnail templates to create your thumbnails.
    • Final delivery requires:
      • Horizontal Thumbnail – PSD file
      • Horizontal Thumbnail – JPG file
      • Vertical Thumbnail – PSD file
      • Vertical Thumbnail – JPG file
      • Custom fonts (if applicable)

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

    04. Press Kit [su_button url=”https://wkf.ms/45Tz1yM” target=”blank” style=”flat” background=”#7da21f” color=”#000000″ size=”1″ radius=”20″ class=”deliver-button”]Deliver[/su_button]

    • Press Kit – PDF file
    • Press Kit – DOC file
    • 25-word and 50-word synopses
    • ATL bios and photos
    • Cast bios and photos
    • Five production stills
    • Any other elements used in the press kit, including fonts, logos, graphics, etc.

    05. 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

  • 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

    • Help 1st AD coordinate the Tech Scout. Establish where the restrooms, parking, staging, base camp and set will be.
    • 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.
    • Create the Call Sheet, including maps. Have 1st AD approve it and email no later than 12 hours before the next day’s call time.
    • Communicate any changes to the schedule to the entire 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.
    • Establish Base Camp.
      • Set up Base Camp with Walkies and Production iPad where crew will check in when they arrive.
      • Get the snacks and drinks from the Producer, and set up the craft service table.
    • When Grip Van arrives, verify they are parking in the correct place.
    • As crew members arrive, check them in using the Production iPad, 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:

    • At lunch make sure everyone signs the Meal Sign-In Sheet.
    • 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 and Sound Mixer meet at end of day to verify their reports. Have them give you all reports.
    • Collect the camera card from the 2nd AC, and the sound card from the Sound Mixer, and deliver to Producer.
    • Have crew members sign out using the Production iPad and collect their walkie.
    • Organize any hard copies of Daily Production Paperwork, and scan them using the OneDrive app. Deliver the scanned files and the original hard copies to the Producer.
    • With Producer, clean and secure location. Be the LAST TO LEAVE (except perhaps Art Dept). Leave the location better than when you arrived.
    • Complete the DPR and have it approved by the 1st AD. Then distribute within 2 hours after wrap.

    Post-production

    • Assist in wrapping production paperwork if necessary.

  • 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

    • Break down the script and create the Production Schedule.
    • Organize the Tech Scout for each location with at least the ATL. Establish where the restrooms, parking, staging, base camp and set will be.
    • Run the Production Meeting by reading the action of the script. Answer crewmembers’ questions.
    • Create a Setup Schedule with the DR and DP.
    • Approve the Call Sheet and have 2nd AD distribute copies
    • 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 30 minutes to an hour early.
    • Get a walkie from the 2nd AD, then go stand where the set will be and stay there. Radio 2nd AD to bring you whatever you need.
    • At call time, have a Safety Meeting with the entire crew to communicate an emergency plan, location hazards and any production safety concerns. Complete the Safety Meeting Report for each location, each day.

    Throughout the day:

    • Run through the 1st AD Set Procedure: 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:

    • Approve the Daily Production Report and have 2nd AD distribute copies within 2 hours after company wrap.
    • Approve the following day’s Call Sheet and have 2nd AD distribute copies.