F1

Sound Design

Overview

Sound design for F1 projects involves the technical workflows used to build, organize, edit, and integrate the film’s audio elements throughout post-production. This includes processes related to dialogue editing, music, sound effects, ambience, session organization, track management, and preparation for mixing and final delivery.

Strong technical sound workflows are essential because creative storytelling through sound depends heavily on organization, consistency, and reliable post-production pipelines. Careful session management and audio preparation help productions avoid technical problems later in finishing while allowing sound teams to work more efficiently and creatively. The process also helps students develop professional habits related to audio workflow management, collaboration, and post-production coordination.

Set Up the Sequence

At the start of your Sound Design day duplicate your “Picture Lock” sequence. Rename the new sequence “XXF1_Picture_Lock_Sound” and move the sequence to the “Sound_Turnover” bin.

Rename the new sequence "XXF1_Picture_Lock_Sound" and move the sequence to the "Sound_Turnover" bin

Production Audio

If you haven’t already been doing this during your picture editing time, now is when you would want to make sure your production audio tracks are checkerboarded and have cross fades on everything. This is also when you may need to cut in some room tone to fill any gaps.

Before and after of checkerboarded audio clips

If you need to turn the Clip Gain up or down the easiest way is to us the “Fast Menu” to give you access to the control on the clips in the timeline.

If you need finer control use the fast menu to switch to “Volume” and then you can use keyframes to automate any volume changes.

To make this go faster use the default keyboard shortcut for adding keyframes.

Also remember that “option” key is your friend for being able to lasso and manipulate the keyframes once they are created.

For reference a normal speaking voice should hit at about “-12dB”. To monitor this you can pull up the “Audio Tool”.

If a character is yelling it would be above that and if a character was whispering it would be below that.

Music

If you need music for your F1 remember that you have access to the Universal Production Music website.

You can ask for the login username and password, and your instructor can send it to you.

When you download tracks from the website by default they will be saved in your “Downloads Folder”. DO NOT leave them there. Instead move them to the appropriate music folder in your shows audio folder as shown in the example.

The appropriate music folder in a show's audio folder.

The to import any music into Media Composer, assuming you have your “Import Settings” set properly all you have to do is drag and drop it into the proper bin and it will import it.

By default most music comes in very loud so you may want to lower the volume of audio while its still in the bin before you cut it into your sequence. To do so, select all the files you want to effect, right click and select “Apply Gain”, then you can type in “+” or “-” how much you want to turn it up or down.

Your music will need to go into one of the “stereo” tracks in your timeline so make sure its set to stereo and then cut it.

Sound FX

For sound FX for your F1 you should use the Soundly app to search through the sound FX library.

Just like with music, as long as your import settings are set properly in preferences you can simply drag and drop the sound FX you want into the proper “Sound FX” bin in Media Composer.

Also, just like with music you need to pay attention to whether the audio is stereo or not. Make any adjustments necessary and then cut it into the proper track in your sequence.

Exporting Stereo Mix

At the end of your sound design day when you done working you will need to export a stereo .wav file that will be imported into Resolve and sunc up with picture.

Mark in at the very beginning of the sequence and out at the very end of the credits. IMPORTANT include the entire front sequence not just the content. Then select all of the audio tracks.

Right click in the program monitor and select export.

Check that the name of the file is correct, that its going the proper folder and that you are using the correct export setting.

Finder directory structure for exporting

If you don’t yet have a “F1_Stereo_Audio_Export” preset make one using these settings.

When the export is complete you can listen to the .wav file to make sure it’s all there. If everything sounds good save your bins and close Media Composer.

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:

Location Hazard Assessment Form – identify any potential hazards.
Hazard Notification Form – if hazards are present, outline mitigation steps for each.
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.
Location Agreement – finalize by having the property owner sign this document as well.

Additional Photography Request

Overview

Requests for additional photography involve seeking approval for filming that takes place outside the scheduled production period. This may include inserts, establishing shots, VFX plates and elements, or any other supplemental photography needed to complete the project successfully.

Because additional photography affects scheduling, equipment access, staffing, facilities, and administrative coordination, these requests must be reviewed carefully before approval is granted. The process helps productions evaluate whether additional filming is necessary, realistically achievable, and supported by an appropriate production plan while reinforcing the importance of preparation and efficient production management during principal photography.

Paperwork

Additional Photography Request Download (PDF)

Instructions

This form should be used by Producers to make a request to the Head of Production for additional photography outside of the regularly scheduled shooting days on the crew grid. Since additional photography involves time and resources, requests will not be approved automatically. Approvals will only be granted if the time and resources are available and if students make a compelling case for why the footage cannot be shot during regular principal photography.

Indicate on the form the type of additional photography that is being requested:

ESTABLISHING SHOTS OR B-ROLL
Check this box if the request is for 2nd Unit shots that cannot easily be scheduled during regular principal photography. Typically these would be for shots that need to be shot at a discrete location without the involvement of principal actors, such as establishing shots at an inconveniently place location or B-roll of events that are occurring outside the regular production window.
VFX PLATES OR ELEMENTS
Check this box if the request is for background plates or other photographic elements that are needed to complete visual effects shots.
PLAYBACK CONTENT FOR SCREENS
Check this box if the request is for video content that would need to be shot in advance of regular principal photography in order to be played back during production.
PICK-UPS
Check this box if the request is for pick-up photography. Only FC and MC shows may request pick-ups.
RESHOOTS
Check this box if the request is for the reshooting of a scene where circumstances beyond the students’ control resulted in footage becoming unusable. Typically, trying to solve the problem through editorial fixes will need to be explored before a reshoot is approved.
OTHER
Check this box if the request is for something different than the above examples, and provide a brief description of the type of additional photography that’s being requested.

Requests for additional photography must also include the following information:

the exact nature of the subject content to be shot;
the reason why it cannot be shot with the first unit crew during principal photography;
the date, times, and location of the proposed shoot;
a summary of the equipment plan for the shoot, including any requests for school equipment;
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).
any additional supporting documentation can also be attached as needed.

Submit the completed request form to the Head of Production. Leave adequate time for the Head of Production to review the request and be prepared to make adjustments if any concerns need to be addressed. The Head of Production’s decision on whether to approve or deny the request is final.

Goodwill Letter

Overview

This page provides a letter that students may present to participating Goodwill stores when requesting the temporary loan of items for use in a production. The letter is intended to help communicate the nature of the arrangement and verify the production’s affiliation with the program, but individual store locations retain full discretion over whether they choose to participate or loan items to a production.

Paperwork

Goodwill Letter DOWNLOAD (PDF)

Instructions

This letter may be used as an agreement between a student and Goodwill for the borrowing of clothing or props from a Goodwill store.

Students must present a signed copy of the letter and a valid credit card at the time of pick-up. Goodwill keeps the credit card on file until all borrowed items have been returned. The credit card is only charged if items are returned in a worsened condition or if items are not brought back by the agreed upon return date. In such circumstances, students are liable for the full cost of the item.

Please note that individual Goodwill stores are not obligated to loan out items, and may choose at their discretion whether to enter into an agreement with a student.

F1 Specs

Overview

F1 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	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	No limit
Quantity of locations	No limit
Quantity of characters	2 principal characters 2 featured extras (maximum)
Minors	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	No

Production specs

Shooting days	1 day
Length of workday	12 hours
Earliest call time	6:00AM
Latest wrap time	12:00AM
Night shoots	No
Locations per day	No limit
Distance to location	Within the studio zone
Pick-up days	No

Capture specs

Camera package	Panasonic AU-EVA1
Frame rate	24.000p
Sensor mode	S35 MIX2.8K
Capture resolution	2048 x 1080 (2K)
Capture aspect ratio	1.90:1
Approved mattes	1:85:1
Capture format	MOV
Codec	422All-Intra 100M
Gamma/color preset	SCENE2 (eV-LOOK2)
Sampling	4:2:2 10-bit
Bitrate	100 Mbps (VBR)
Production sound	Single system

Data allocation

Pages per day	2 pages
Shooting ratio	25:1
Data rate	0.8 GB/minute
Data per page	20 GB
Data per day	40 GB
Total data	40 GB
Dailies per day	50 minutes
Total dailies	50 minutes

Post-Production

Pic edit software	Media Composer
Pic edit days	6 days
Pic edit location	Third floor labs

Production sound	Single system
Music rights	Universal Production Music only
Sound design software	Media Composer/ProTools
Sound design days	1 day
Sound design location	Third floor labs
Sound mix days	Not applicable
Sound mix location	Not applicable

VFX scope	No visual effects
VFX software	Not applicable
VFX days	Not applicable
VFX location	Not applicable

Coloring software	DaVinci Resolve
Coloring days	1 day
Coloring location	Third floor labs

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.

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.

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.

Safety Meeting Report

Overview

The safety meeting report documents the safety discussions, procedures, identified risks, and production-specific concerns reviewed with cast and crew before filming activities take place.

Formal safety documentation is important because film productions often involve physical activity, equipment, environmental hazards, transportation, and other situations that require clear communication and shared awareness among the crew. Maintaining written safety records helps reinforce accountability, supports safer production practices, and encourages students to approach production planning with a stronger understanding of risk management and on-set responsibility.

Paperwork

Safety Meeting Report Download (PDF)

Safety Meeting Report Download (DOC)

INSTRUCTIONS

The Safety Meeting Report is to be completed by a Shop Steward to document what was covered in the morning safety meeting. It can also be used by the Assistant Director as a cheat sheet for what needs to be addressed in the meeting.

SAMPLE

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

Reimbursement Voucher

Overview

A reimbursement voucher is used when a student or production seeks repayment for approved out-of-pocket expenses made on behalf of a production or related project activity. This process typically requires documentation such as receipts, purchase records, and supporting information verifying that the expense complied with approved production or university guidelines.

Because university funds and production budgets require careful financial oversight, reimbursement requests must be documented accurately and submitted according to established procedures. Maintaining organized reimbursement records helps ensure accountability, supports accurate financial tracking, and reinforces professional habits related to production expense management.

Paperwork

Reimbursement Voucher Download (XLS)

Instructions

Students should submit this log to the Film School Accountant for reimbursements for meals, production design, production supplies, and/or truck fuel that were used on a production.

FSU does not allow for film school funds to be used on tips. Therefore, make sure you only list the subtotal BEFORE any tip amount is added.

Tape receipts on supplemental sheets, ensuring that each receipt is taped at both the top and the bottom edge of the receipt.

Sample

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