BTH

Set-up Schedule

Production Paperwork

Setup ScheduleDownload (XLS)

INSTRUCTIONS

After the Director and DP have created a provisional shot list, the 1st AD will meet with the Director and DP to schedule the order of shots for each day. Using this Set-up Schedule, the shots should be listed in the order you intend to shoot them, including estimated times to set up and shoot each one.

SAMPLE SET-UP SCHEDULE

Distant Location Approval Process

Overview

F2 documentary projects, BFA capstone projects, and MFA capstone projects may request permission to shoot at a distant location outside of the studio zone.

Shooting films at distant locations adds complexity to production logistics and places added stress on both crew and equipment. It is therefore not approved automatically. It is a privilege that needs to be earned.

INSTRUCTIONS

The Producer will need to submit a Distant Location Request to the Head of Production that addresses the following:

  1. A description of the distant location.
  2. Why this location is essential to the success of the film.
  3. The schedule of travel days and drive times during the production week.
  4. A budget/plan for transporting, housing, and feeding the cast and crew for the duration of the distant shoot.
  5. A budget/plan for transporting, housing, and feeding a faculty member for the duration of the distant shoot.
  6. A plan for transporting, parking, and securing school vehicles and equipment during the distant shoot.
  7. A back-up plan if the camera or other essential equipment goes down.
  8. A schedule showing key deadlines for locking locations, securing accommodations, and any other critical plans. Permission for shooting at a distant location will be revoked if these deadlines are not hit, and the production will need to shoot locally.
  9. A local back-up plan, in case permission is not granted and/or the distant location falls through.

The request to shoot at a distant location should be made to the Head of Production as early as possible in the development/pre-production process, and no later than two weeks before the first day of production on the show. The Head of Production’s decision on whether to approve or deny a distant location request is final.

Public Domain & Creative Commons Resources

The Internet is a wonderful place for finding videos, images, motion graphics, clip art, music, and sound effects that can be used in your films. Below is a list of resources to help with finding materials that are either in the public domain or have been licensed through Creative Commons.

Beware, however, that the Internet is also a terribly unreliable place and the burden of proof will fall on Producers to document that the production has the rights to use the materials, so that there’s a clear chain of title. For works in the public domain, this can sometimes take a fair amount of research, as licensing information can be unclear, unreliable, or hard to track down. Any works published 95 years ago or earlier are now in the public domain. Any works published in the past 95 years should be assumed to be under copyright, unless otherwise confirmed. Be aware that new versions of works in the public domain — e.g., a New York Symphony Orchestra’s recent recording of Beethoven’s 9th Symphony — are copyrighted. In other words, while you could perform the composition yourself and be alright, you couldn’t use the New York Symphony Orchestra’s recording without clearing it first.

For Creative Commons work, some license types (such as “NoDerivs” and “ShareAlike”) are not compatible with the work we do. Productions are only permitted to use work licensed as “Attribution” or “Attribution-NonCommercial”.

Videos

PexelsFree videos that can be used and modified without attribution.
PixabayFree videos that can be used and modified without attribution.
Prelinger ArchivesFree public domain films that can be used and modified without attribution.
NASAFree videos that can be used and modified, if compliant with NASA’s usage guidelines.
WikimediaFree videos issued under various licenses; be sure to read the usage guidelines.
VidevoFree videos issued under various licenses; be sure to read the usage guidelines.

Images

PexelsFree photos that can be used and modified without attribution.
PixabayFree photos that can be used and modified without attribution.
Library of CongressFree photos to use and modify; each collection has its own rights statement on usage.
Icons 8Designers, download the design stuff for free — icons, photos, UX illustrations, and music for your videos.
Biodiversity Heritage LibraryFree botanical and animal images from the largest open-access digital archive dedicated life on Earth.
Burst (by Shopify)Free stock images that can be used and modified without attribution.
FreerangeFree photos and illustrations that can be used and modified without attribution the under the Creative Commons Zero license.
freestocks.orgFree stock photos that can be used and modified without attribution under the under the Creative Commons Zero license.
Foodies FeedFree images of food that can be used and modified without attribution under the under the Creative Commons Zero license.
GratisographyFree “whimsical” photos that can be used and modified without attribution (see usage guidelines).
ISO RepublicFree photos that can be used and modified without attribution the under the Creative Commons Zero license.
Jay MantriFree photos that can be used and modified without attribution the under the Creative Commons Zero license.
Kaboom PicsFree stock photography and color palettes that can be used and modified without attribution.
Life of PixFree high-resolution photos, no copyright restrictions for personal and commercial use.
Little VisualsFree, high resolution images. Use them anyway you want – free for commercial use.
MorguefileRoyalty Free Stock Photos and Images
Over 400,000 free stock photos for commercial use.
New Old StockVintage photos from the public archives.
PicographyHigh-Resolution, Royalty-Free, Stock Photos that you can use however you like with a free license.
PikwizardLibrary of over 1 million stock images and videos. Royalty-free and safe for commercial use, with no attribution required.
RawpixelDiscover original artworks from a library of public domain books and chromolithographs. Art prints scanned and digitally enhanced into high resolution, available to download under the CC0 license.
ReshotFree Icons & Illustrations. Design freely with instant downloads and commercial licenses.
SkitterphotoA place to find, show and share public domain photos.
Stocksnap.ioNew CC0 stock photos added daily, free from copyright restrictions.
StockvaultFree stock images. New photos, textures, and illustrations added daily.
Styled StockFree stock photos. Beautiful FEMININE styled images for your projects.
UnsplashThe internet’s source for visuals. Powered by creators everywhere.
Vintage Stock PhotosVintage Stock Photos. Free.

Motion Graphics

Pond 5Free stock videos, photos, and music.
VidevoFree motion graphics issued under various licenses; read the usage guidelines.

Clip art

artvex.comOver 10,000 original free clipart images.
ClipArt ETCEducational clipart,
ClipartOfFree clip art.
clker.comFree clip art.
WebweaverClipart, vectors and animations.
VecteezyFree vector images. Find the best royalty free vectors and illustrations for your design, with thousands of new images added every day. Download free backgrounds, graphics, clipart, drawings, icons, logos and more that are safe for commercial use.

Music

Muse OpenClassical music.
Free Music Archiveinteractive library of high-quality, legal audio downloads directed by WFMU, the most renowned freeform radio station in America.
Free music public domainRoyalty free music for home videos, Youtube videos, film & movie scores, commercial background music or personal use.
Freesounda collaborative database of Creative Commons Licensed sounds.
Anthony KozarComposer and open-source programmer.
AudionautixThe music on this site is the creation of Jason Shaw.
Bensound.comDownload royalty free stock music for YouTube and your multimedia projects.
Brett Van Donselprovides affordable music options for filmmakers, YouTubers, gamers, podcasters, advertisers and more. Most of the music is royalty free. 
Filmmusic.ioOver 600 tracks, free even for commercial use, primarily with cinematic music by Sascha Ende.
Gravity SoundFree Music and Sound Effects for Personal and Commercial Use.
IncompetechRoyalty free music by Kevin MacLeod.
Josh WoodwardAcoustic indie rock singer/songwriter. Creative Commons Music.
King JamesRoyalty free music.
Kongano.comThis site contains royalty-free mp3s for you to listen, download and do whatever you want with.
Silverman Sound StudiosBackground music for YouTube, videos, games, films, adverts, podcasts, anything! All totally free to download!
TechnoAXERoyalty Free Music for your commercial/non-commercial videos or projects. This website has Techno, Dubstep, Metal, Rock or Soundtrack.
Tim BeekMusic for media.
Twin MusicomInnovative audio production.
VidevoFree music issued under various licenses; be sure to read the usage guidelines.
WOWAFree music.

Sound effects

FreesoundFind any sound you like in a collaborative collection of 648,846 free sounds.
VidevoFree sound effects issued under various licenses; read the usage guidelines.
ZapSplatDownload over 46,000 free professional sounds.

Safety Bulletins

Safety Bulletins are researched, written, and distributed by the Industry-Wide Labor-Management Safety Committee for use by the motion picture and television industry. The Safety Committee is composed of guild, union, and management representatives active in industry safety and health programs.

Safety Bulletins are guidelines recommended by the Safety Committee. They are not binding laws or regulations. State, federal, and/or local regulations, where applicable, override these guidelines. Modifications in these guidelines should be made, as circumstances warrant, to ensure the safety of the cast and crew.

A PDF of all relevant Safety Bulletins must be attached to Call Sheets or otherwise distributed to affected employees. All crew are required to read distributed Safety Bulletins prior to commencing the work day. Failure to do so may result in disciplinary action, including immediate dismissal from the school.

General Safety

Clothing and Personal Protective Equipment
Safety Awareness

Animals

Animal Handling Rules
Critters
Exotic Venomous Reptiles

Artificial Haze

Artificial Fog and Haze
Artificial Fog and Haze – Technical Awareness

Chemicals and Flammable Materials

Blood and Other Potentially Infectious Materials
Foamed Plastics

Electrical Safety

Basic Electrical Safety Precautions
Portable Power Distribution Systems
Portable Power Distribution Systems – 480 Volt Systems
Portable Power Distribution Systems – Common Tasks and PPE
Portable Power Distribution Systems – Portable Generators
Portable Power Distribution Systems – Power Line Distance Requirements

Environmental Concerns

Critters
Poisonous Plants
Railroads
Urban Exterior Locations
Water Hazards

Filming Equipment and Vehicles

Alternative Driving Systems
Boating and Watercraft
Camera Boom Vehicles
Camera Cars
Camera Cars – Power Line Distance Requirements
Fixed-Wing Aircraft
Fixed-Wing Aircraft – External Loads
Free Driving
Gasoline Operated Equipment
Helicopters
Helicopters – External Loads
Hot Air Balloons
Hot Air Balloons – External Loads
Motorcycles
Non-Camera Utility Vehicles
Process Trailers and Towed Vehicles
Railroads
Vehicle Restraint Systems

Stunts and Special Effects

Open Flame
Parachuting and Skydiving
Pyrotechnic Special Effects
Stunt Air Bags and Freefall Catch Systems
Stunts

Water Hazards

Boating and Watercraft
Diving Operations
Water Hazards

Weapons

Edged, Piercing and Projectile Props

Weather

Extreme Cold Temperatures
Heat Illness
Inclement or Severe Weather
Wind Chill Chart

Walkaway Wraps

A “walkaway wrap” is when equipment remains at a shooting location overnight. The standard procedure for location shoots is for all school equipment to be packed up and removed from the shooting location at the end of each day. This is to protect the equipment from theft and damage, to protect location owners, by returning their space to normalcy at the end of each shooting day, and to protect the educational experience of the below-the-line crew, so that they have the opportunity to practice wrapping equipment safely and efficiently at the end of each shooting day. Under some circumstances, thesis productions may be approved to do a walkaway wrap.

Requesting a Walkaway Wrap

On BTH and MC productions only, students may request a walkaway wrap, but permission will only be granted in exceptional circumstances. Approval is at the discretion of the the Head of Set Operations, and the following conditions must be met:

  1. Requests must be made prior to the start of the show’s first day of production.
  2. Walkaway wraps may not be requested for family homes or other residential locations.
  3. Production must resume the day following the walkaway wrap. There cannot be any days off between the walkaway wrap and resuming of production.
  4. All department heads on the crew must approve the plan for the walkaway wrap.
  5. The Producer must provide a detailed description of which pieces of equipment would remain at the location and the reasons for why a walkaway wrap is being requested. Approval will only be given for rigging, where the extensiveness of the tear-down is a major factor.
  6. The Producer must provide a detailed plan for how the equipment will be secured safely at the location, to prevent theft/damage and to prevent injury to anyone who may enter the location before the crew returns.
  7. The Producer must provide a security professional to sit with the equipment overnight. The Head of Set Operations will determine whether or not a specific individual is approved for this task.

Pick-Up Photography

Overview

Pick-up photography is defined as any photography taken after completion of principal photography in order to enhance the narrative.

On the BTH and MC cycles, students may make a request to the Head of Production for pick-up photography to improve moments in the film that were not captured successfully during principal photography. Pick-up requests may not be made for additional moments that were not part of the original shooting plan.

No show will be approved for more than six hours of pick-up photography. And all pick-up photography will need to be completed and cut into the edit before picture lock. In some cases, this may mean that the turnaround time for pick-up photography is tight, so students will need to be diligent and proactive if they want to put in a request.

Pick-up photography is a privilege to be earned. Since pick-up photography involves time and resources, requests will not be approved automatically. Approvals will be granted only if the time and resources are available and if students make a compelling case for the value of the pick-ups to the film (including proof that the problem cannot be adequately solved with careful editing choices).

Pick-up request procedure

Students will need to complete a Additional Photography Request form, in which they must provide the following details:

  • the exact nature of the subject matter to be shot;
  • the reason why it was not shot with the first unit crew during principal photography;
  • the date, times, and location of the proposed shoot;
  • the crew required for the proposed shoot, including names and signatures (you’ll need to determine how many crew members you need and you’ll need to recruit them);
  • notes on any special equipment requests;
  • notes on any budget plans;
  • any other supporting documentation.

For MC projects, all requests must be submitted to the MFA Head of Production no later than the end of the spring semester. For BFA Thesis, all requests must be submitted to the BFA Head of Production no later than the day of the first cut screening.

The Head of Production’s decision on whether to approve or deny a pick-up photography request is final.


Crew Drills (BTH)

This post outlines the crew responsibilities for the Producer, Director, Production Designer, Director of Photography, 1st AD, 2nd AD, and all other BTL positions. It also lists the production documents needed for crew drills.

The purpose of the crew drills is to practice working in each of the crew positions. Don’t get too caught up on trying to make the “perfect” scene. Keep it simple.

Food will not be provided, so make sure you plan accordingly. You have a 1-hour lunch break, so either bring your own lunch or plan to go out nearby. Just make sure you’re back in time.

Crew responsibilities

Producer

  • Pre-Production
    • Have the 2nd AD prepare all paperwork according to the Crew Drill Production Documents (see below).
    • Have 1st AD & DP prepare Setup Schedule w/ 1 master and 2 coverage setups.
    • Have the 2nd AD send out a call sheet and Map by 8:00pm the day before the drill; include Safety Bulletin if applicable. This information should be posted to the Call Sheets channel in Teams. Format the post title as:
      01bth-Film Title - Call Sheet - Crew Drill
  • Production
    • The production will have 90 minutes to unload the van, block, rehearse, build, shoot, and wrap.
    • The Producer will mentor the 2nd AD on set.
  • Post-Production
    • Have the 2nd AD collect and organize the paperwork according to the Crew Drill Production Documents list (see below).
    • Collect the media cards (SSD & CF) from the 2nd AD. Deliver the cards along with the Camera & Sound Reports to the designated lock box in the ER while company wrap is in progress.
    • Have the 2nd AD complete the Daily Production Report (DPR) and post in the DPRs channel in Teams as a PDF by 11:00pm that day.

Director

  • Pre-Production
    • Send your Producer a PDF of your Crew Drill Script.
    • Faculty will provide the script for the scene to be shot during the drill.
    • The 2 On-Calls will be your actors.
    • Discuss the shot design with your DP.
  • Production
    • At the beginning of the shift, briefly block with your actors on the set (keep it simple).
    • During the New Deal, have the actors demonstrate the blocking for the crew.
    • Direct your actors in the scene.

Production Designer

  • Pre-Production
    • Discuss the production design with your Director (keep it simple).
    • Acquire props, wardrobe, etc (only if absolutely necessary).
  • Production
    • Dress the set, provide props & wardrobe if necessary.
    • Mentor the Art Director

Director of Photography

  • Pre-Production
    • Discuss the shot design with your Director.
    • Create a Setup Schedule with the 1st AD w/ 1 master and 2 coverage setups.
  • Production
    • Communicate the setups to the crew.
    • Manage the Camera, Grip & Electric Departments.

1st AD

  • Pre-Production
    • Create a Setup Schedule with the DP w/ 1 master and 2 coverage set-ups.
  • Production
    • Adhere strictly to the school’s 1st AD protocol.
    • As soon as you get your walkie and clock in, go to the set and stay there.
    • 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. 
    • Run the set, making sure the crew is working safely and efficiently. The production will have 90 minutes to unload the van, block, rehearse, build, shoot, and wrap.
      • New Deal 0:10
      • Camera on set 0:20
      • Rehearsals & Lighting complete 0:30
      • Start Shooting 0:30
      • Camera Wrap 1:00
      • Company Wrap 1:30
    • Keep track of your time using the Setup Schedule you created.

2nd AD

  • Pre-Production
    • Work with the Producer to prepare all paperwork according to the Crew Drill Production Documents (see below).
    • Work with the Producer to send out a call sheet and Map by 8:00pm the day before the drill; include Safety Bulletin if applicable. This information should be posted to the Call Sheets channel in Teams. Format the post title as:
      01bth-Film Title - Call Sheet - Crew Drill
  • Production
    • At the beginning of the shift:
      • Have crew sign in using the iPad timeclock.
      • Hand out walkies to department heads.
      • Have actors sign Cast Performance Agreements.
      • During the shift:
        • Remain at Base Camp, except to escort actors to/from set at 1st AD’s request.
        • Repeat 1st AD’s walkie shooting protocol to Base Camp (“Lock it up… going for picture… that’s a cut on picture… going again…”, etc.)
      • At the end of the shift:
        • Complete the Performers Production Time Report. Have the actors sign it.
        • Make sure 2nd AC and Sound Mixer meet to verify reports, then collect their reports and media cards (SSD & CF Cards).
        • Have crew sign out using the iPad timeclock.
        • Collect walkies and put them back on charger.
  • Post-Production
    • Collect and organize the paperwork according to the Crew Drill Production Documents (see below). Give the paperwork and media cards to the Producer.
    • Complete the Daily Production Report (DPR) and post to the DPRs channel in Teams as a PDF by 11:00pm that day.

All Other BTL

  • Production
    • Work with BFA3 mentors in your assigned positions.

Production documents

General

Editorial

Releases

Reimbursement

Your expenses will most likely fall into the following three categories (Payment Requests, Travel, and Services). Here is a description of how reimbursement works for each. This applies to all funds provided by the school, as well as funds students may have raised through a Spark campaign.

Payment Requests

Most of your expenses will fall in this category. It includes food, production design, production supplies, and truck fuel. In order to be reimbursed, you must submit the following items. These will then be submitted to FSU Purchasing who will add the funds to your prepaid Visa. It may take 5-7 days for the funds to be added to your card.

Disbursement Advance

Each student may be given an advance of no more than $1000 at a time. In order to get this advance, you must submit a Disbursement Advance Request form. Then FSU Purchasing will add the money to your prepaid Visa. You will be responsible for turning in receipts showing how that money was spent (following the reimbursement instructions below). It may take 5-7 business days for the funds to be added to your card.

Reimbursement

  1. Reimbursement Voucher (RV): Download and complete a Reimbursement Voucher form in Excel, listing your receipts on page 1, and print as many copies of page 2 as you need to attach your receipts. See a sample of a completed form in the Sample RV tab.
  2. Original itemized receipts: All receipts must show the vendor’s name, date of purchase, and must be itemized (showing what was purchased). Receipts should be scotch taped (not stapled, glued, etc.) onto the Receipts page(s) in the order in which they appear on the RV form. Make sure receipts do not overlap since these receipt pages will need to be scanned. If you have a receipt that is longer than the page, you can cut the receipt (making sure you do not cut off any info) and tape them side by side on the receipt page. Do not tape over any info on the receipts, as the tape will make the text on the receipt disappear over time.
  3. Original Meal Sign-in sheets: If any of the receipts you are submitting include food (lunch, craft service, 2nd meal, etc.), you will need to submit the original meal sign-in sheets. Be sure to keep a scanned copy for your delivery. Make sure you have a signature from everyone who ate.

Some important guidelines/restrictions for reimbursement:

  • Food: You will NOT be reimbursed from petty cash for any of the following: alcohol, cigarettes, medication, vitamins, gratuity or tip.
  • Production Design: Keep in mind that all non-expendable items being reimbursed become the property of FSU and must be turned in at the end of the cycle. If there is any single item for which you are being reimbursed that is more than $50, then there is an additional inventory sheet that must be completed.
  • Production Supplies: This can include rental equipment, office supplies, cleaning supplies, etc. Again, non-expendable items become the property of FSU (including coolers, coffee makers, etc.).
  • Truck Fuel: This is only for fuel for state vehicles (the grip trucks, genie trucks and the genie). This does not include cast and crew fuel for their cars. Truck fuel expenses will not be deducted from your budgeted amount, so whoever pays for truck fuel can be reimbursed directly.

NOTE: You cannot be reimbursed from petty cash for any travel (e.g. actor airfare, gas, rental car, hotel, etc.) or services (e.g. paying a makeup artist, security guard, composer, etc.). Reimbursement for travel and services are described below.

Travel

If you are planning on using part of your budget to pay for actor travel (airfare, gas, rental car, hotel, etc.), then you must have the Film School Travel Rep book the travel using our FSU Travel Card (TCard).

  1. Flights: Find the exact flight you would like to book, including flight numbers and departure/return dates and times. You will also need the traveler’s name as it appears on their driver’s license and their birth date. Complete a TCard Agreement form. Then bring the form to our Travel Rep, who will pull up the website with you and book the flight using our TCard.
  2. Lodging:
    • Hotels: You will usually get the best rate by calling a local hotel rather than booking it online. Call the hotel and make your reservation. Be sure to get the reservation number(s). Ask them to send you a Credit Card Authorization form. Complete a TCard Agreement form. Bring the Credit Card Authorization and the TCard Agreement to our Travel Rep, who will then provide the hotel with our TCard. Note that hotels in FL will be tax exempt if we book them for you since they’re being paid directly by the state of FL.
    • Other: If you would like to book an Airbnb, VRBO, etc, then find the place you would like to book. Then submit a TCard Agreement form to the Travel Rep, who will then book it using our TCard.
  3. Rental Car: FSU has a contract with Avis/Budget Rental. If you would like to rent a car, the Travel Rep can look into the rates for the type of rental you’re looking for. Then submit a TCard Agreement form to the Travel Rep, who will then book it using our TCard.
  4. Actor fuel: If you plan to reimburse an actor for driving here, you will need to have them sign a Travel Agreement form at least 7 business days prior to travel beginning, which specifies how much you are agreeing to reimburse them. The FSU rate is $0.445 per mile. However, that is usually much higher than just paying them a flat rate for their gas expenses. So whatever you negotiate with them, it can not exceed $0.445/mi. If it is less than that, then they will also need to sign page 2 of that form stating they understand they are getting less than the state rate. You should have the actor complete this form regardless of whether you plan to have this expense come out of your budget. But if you do plan to have it come from your budget, then submit the Travel Agreement form to the Travel Rep at least 7 business days prior to travel beginning. Then after their travel is complete, FSU Travel will mail them a reimbursement check, usually within 14 days.

NOTE: DO NOT pay for any actor travel out of pocket or with your prepaid Visa because there is no way for you to be reimbursed for this.

Services

If you are planning on paying someone for their services (composer, actor, makeup artist, stunt crew, intimacy coordinator, graphic designer, etc.) you will need to do the following:

  1. For a composer, have them complete a Composer Contract. For any other services, have them sign a Work-for-Hire Contract. Make sure this is completed before any work is done. You will need to do this regardless of whether their payment is coming out of your budget or not. If the payment is coming out of your budget, submit this form at least 10 business days prior to work beginning.
  2. After they have completed their services, they must submit an invoice to you. If the invoice looks accurate, then submit that to us. Then FSU Purchasing will mail a check to the vendor within 40 days of submission of their invoice.

NOTE: DO NOT pay for any services out of pocket or with your prepaid Visa because there is no way for you to be reimbursed for this. If the contract is not completed at least 10 business days prior to work beginning, you will not be able to use your budget to pay for this service.

Budgets (BTH)

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 14 crew members and 3 actors or volunteers (17 people total ): $170.00 per day.
  • $5.00 per head craft service for 14 crew members and 3 actors or volunteers (17 people total): $85.00 per day.
TYPESHOOTING DAYSTOTAL BUDGET
Single3 days$765.00
Double6 days$1,530.00

The amount of money allocated to each film is a set amount. 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.

Spark funds

Each cohort of thesis students is permitted to run a collective, “friends-and-family” fundraising campaign for supplemental expenses on thesis productions. All funds raised through Spark will be distributed evenly amongst each student in the class.

All messaging in the fundraising campaign must be approved by the Dean. Students are expressly forbidden from soliciting directly from existing donors to the school. If in doubt, check with the Dean’s Office first before reaching out to the individual. 

The school reserves the right to shut down the Spark campaign if any of these policies are violated.

BTH Delivery List

The following is a list of items students must deliver to the Head of Production via the production’s OneDrive folder. Submit one electronic version (scanned PDF or electronic original) of all documents using the provided folder structure. Name files using the naming conventions provided in each section (e.g. 01bth-Script.pdf). Always keep a backup copy and/or hard copy of all files in a production delivery binder in case a delivered file becomes corrupt or accidentally deleted.

Live Action Due Dates

Part I – Production Delivery
To be completed by the Producer by 9:00am on the following dates:

  • 01bth-2025 9/13/24 
  • 02bth-2025 9/23/24
  • 03bth-2025 9/25/24 
  • 04bth-2025 10/05/24 
  • 05bth-2025 3/28/25 
  • 06bth-2025 10/17/24 
  • 07bth-2025 10/19/24
  • 08bth-2025 10/28/24
  • 09bth-2025 11/07/24 
  • 10bth-2025 11/09/24
  • 11bth-2025 11/19/24 
  • 12bth-2025 11/21/24 
  • 13bth-2025 12/02/24 
  • 14bth-2025 12/06/24
  • 15bth-2025 12/13/24

Part II – Post Production Delivery
To be completed by the Producer by 5:00pm on March 28, 2025

Part III – Film Festival Press Materials
To be completed by the Director by 5:00pm on April 28, 2025

Animation Due Dates

Part I – Production Delivery (any applicable documents)
and Part II – Post Production Delivery
To be completed by the Producer by 5:00pm on March 28, 2025

Part III – Film Festival Press Materials
To be completed by the Director by 5:00pm on April 28, 2025

Part I – Production Delivery

01. Script

  • PDF file of the final shooting script
    01bth-Script.pdf
  • Final Draft file of the final shooting script
    01bth-Script.fdx

02. Production Schedule

  • PDF of final Shooting Schedule
    01bth-ShootingSchedule.pdf
  • Vertical Stripboard Report from Scenechronize
    01bth-Stripboard.pdf

03. Daily Production Paperwork

PDFs of all paperwork from each day of production:

04. Releases

PDFs of all required releases:

Plus additional releases (if applicable):

05. Correspondence

  • PDFs of all general correspondence including letters, emails, texts, etc. At the very least, this should include a thank-you letter to each location.
    01bth-Correspondence.pdf

06. Crew Information

  • Update the Crew tab in Motion with any additional crewmembers (e.g. volunteers). Save a PDF of the Crew list, and include it in this section.
    01bth-Crew.pdf

07. Cast Information

  • Update the Cast tab in Motion with info for every person who appears on screen. Include a headshot for all Lead & Supporting roles (headshot not needed for Featured/Background Extras). Save a PDF of the Cast list, and include it in this section.
    01bth-Cast.pdf

08. Location Info

  • Update the Locations tab in Motion with info and photo for each location used during production. Save a PDF of the Location list, and include it in this section.
    01bth-LocationList.pdf

09. Vendors

  • Update the Vendors tab in Motion with info on each business or individual from whom items were borrowed, rented or donated. Include in the Keywords a brief description of the items (for donations, also include the real or estimated value of the donation). Save a PDF of the Vendors list, and include it in this section. If there were none, then still include a PDF of the Vendors tab from Motion.
    01bth-Vendors.pdf

Part II – Post-Production Delivery

01. Project Details

  • Update all info in the Details tab in Motion. Save a PDF of the Details tab, and include it in this section.
    01bth-ProjectDetails.pdf

02. Dialogue List

  • PDF of a Dialogue List form. Include all spoken dialogue and written text in the final film (for subtitling in foreign language festivals).
    01bth-DialogueList.pdf

03. Music Requirements

  • PDF of Music Cue Sheet (typed), which lists the entrance and exit of all music cues
    01bth-MusicCueSheet.pdf
  • PDF of the music rights, released to the Film School

04. Credits & Title Cards

  • PDF of Credits List. Include title cards & credits as they appear on screen. This should not be screenshots of the credits from the film.
    01bth-Credits.pdf

Part III – Film Festival Press Materials

01. Press Kit

  • PDF and Word files of the Festival Press Kit, organized as follows. You may use the Press Kit template if you like.
    01bth-FestivalPressKit.pdf
    01bth-FestivalPressKit.docx
    • Title Page: The first page will have the title of the film, contact address, phone number of the FSU Film School, and the Film School logo and copyright.
    • Synopses: A 25-word, and a 40-word synopsis of the film.
    • ATL Info: Biography, filmography & headshot for each ATL crew member.
    • Cast Info: Biography, filmography & headshot for each lead cast member. Union actors should be identified as such and the union to which they belong.
    • Credits: Include credits for each cast and crew member.
    • Production Stills: A minimum of five (5) production stills with captions.
    • Director’s Statement: A brief statement from the director about the project.
    • Poster: A one-sheet of the poster.

02. Press Kit Materials

All elements used in the creation of the Press Kit including photos, fonts, logos, graphics, etc.

  • ATL Info
    • One (1) photo for each ATL crew member at minimum 1200×1500 pixels, 300dpi, jpg.
      01bth-CrewName.jpg
    • Bio for each ATL crew member saved in a Word doc.
      01bth-ATL Bios.docx
  • Cast Info
    • One (1) photo for each lead cast member at minimum 1200×1500 pixels, 300dpi, jpg.
      01bth-CastName.jpg
    • Bio for each lead cast member saved in a Word doc.
      01bth-Cast Bios.docx
  • Synopses: 25-word and 40-word synopses saved in a Word doc.
    01bth-Synopses.docx
  • Production Stills: At least five (5) at minimum 1500×1200 pixels, 300dpi, jpg.
    01bth-Still-01.jpg 01bth-Still-02.jpg …
  • Other Materials: Any other elements, including fonts, logos, graphics, etc.
    any filename that clearly identifies what it is

03. Poster

  • Poster created in Photoshop at 27”x 40”, 300dpi, using these layers: 1) Art, 2) Title, 3) Credits, 4) Logos/Copyright. Use approved Logos/Fonts as needed. Save a layered PSD file and a flattened JPG file.
    01bth-Poster.psd
    01bth-Poster.jpg

04. Thumbnail Images

Thumbnail images will be used in displays online (Vimeo, YouTube, etc). Since some websites use vertical thumbnails and some horizontal, you will deliver one of each.

Save a layered PSD file (also deliver any custom fonts used) and a flattened JPG file (maximum file size 2MB).

Note these online content restrictions for the thumbnails:
– No nudity or sexually provocative content
– No hate speech
– No violence
– No harmful or dangerous content

  • Horizontal Thumbnail created in Photoshop at 1920×1080 pixels, 72dpi.
    01bth-HorizontalThumbnail.psd
    01bth-HorizontalThumbnail.jpg
  • Vertical Thumbnail created in Photoshop at 1200×1600 pixels, 72dpi.
    01bth-VerticalThumbnail.psd
    01bth-VerticalThumbnail.jpg

05. Media

  • Update the Media tab in Motion with at least 5 Production Stills (72dpi, jpg) and the Summary Thumbnail (Vertical Thumbnail, jpg). Include a PDF of the Media tab in this section.
    01bth-Media.pdf

06. Student IDs

  • A good, clear scanned copy of the Director’s & Producer’s student ID cards
    01bth-DirectorID.pdf
    01bth-ProducerID.pdf

07. Film Festival Strategy

  • Update the Festival Strategy form in Motion. Include a PDF of the Festival tab from Motion in this section.
    01bth-FestivalStrategy.pdf