Stage adjacent areas include the hallways, support spaces, loading areas, staging zones, exterior spaces, and other shared environments surrounding the sound stages and production facilities.
Because these spaces are shared by multiple productions, classes, staff, and facility operations, productions are expected to use them responsibly and maintain safe, organized working conditions. Clear operational expectations help reduce congestion, protect equipment and facilities, and support smoother day-to-day production activity across the program.
Policies
Stage-adjacent areas fall under the following policies:
The sound-lock area between the two stage loading doors, its storage room, the loading dock, and wood shop are not storage areas and must not be used for storage of any kind.
The sound-lock storage room is for administrative use only.
The loading dock and wood shop may be used for spillover construction only upon receiving permission from the Stage Supervisor. Clear and safe access for anyone using the building or loading dock must always be available. Nothing may ever be left in these areas for more than two hours (this would be considered storage).
These areas may not be painted in any way, whether intentionally or accidentally. If it is necessary to use these areas to paint scenery, drop cloths or other protection must be used, and all precautions taken to assure that no paint will be left on any surface in these areas.
No building scraps, materials, or sawdust may be left overnight. These areas must be completely cleaned of all building materials, scraps, and scenery before 8:00 am each day, and thoroughly cleaned and swept at the end of the designated construction period.
Productions wishing to use smoke effects, open flame, pyrotechnics, explosive effects, or similar atmospheric or special effects elements must follow strict approval and safety procedures before filming may take place.
These effects introduce elevated fire, respiratory, environmental, and physical safety risks that require careful planning, oversight, and communication. Clear procedures help productions evaluate risks appropriately, implement necessary safeguards, and maintain safer working conditions for cast, crew, facilities, and locations.
Smoke Effects
Only controlled smoke emitters – such as electrical fog machines, haze machines, dry-ice systems, cigarettes, cigars and pipes – may be used on the stages. Flash paper/smoke-powder systems, smoke bombs, fireworks, and homemade, fire-based smoke are not permitted under any circumstances. If using smoke, care must be taken for the safety and comfort of crew and performers, the smoke must be prevented from escaping into other portions of the building.
If the intent is to make a thick smoke or fog, the stage supervisor must be informed so false fire alarms may be avoided. Triggering a fire alarm may result in a fine being imposed on the College, which will in turn impose a fine on the student production designer.
Open Flame
All flame use must be discussed at the original stage reservation meeting and approved by the Stage Supervisor. Only certain kinds of flame may be used on stage. Candles, flame bars (using propane), oil lamps, and other small gas-based fires may be approved as long as proper precautions are taken.
Any flame near the floor requires a substantial barrier, such as asbestos or concrete, to keep the flame from scorching or burning the floor. If the fire is to be near set pieces, the set must be treated with a commercial flameproof solution or paint designed for the kind of material the set is built from. A flame test must be conducted after the material has been treated to ensure the set piece is truly fire resistant.
The fire must be at least six feet from any soft goods (curtains, bedspreads, etc.).
Burning a log or a piece of furniture is not allowed on the College stages, but burning small items such as paper or money, or another small, quickly consumed prop, may be acceptable upon approval from the Stage Supervisor. In these cases, the fire should be done over a container of water if possible. Otherwise, the floor must be protected, and a container (such as a metal can) present to contain the fire as it burns out.
Whenever a fire is burning a dedicated crewmember must be standing by with a charged fire extinguisher. All fires should be extinguished or turned off when not needed for shooting or rehearsal. This will result in fewer accidents and less danger to the crew. Anything that has been burning may flare up in the presence of oxygen; therefore, do not place seemingly extinguished fires out of sight or near flammable items.
The fire extinguishers on the sound stages are for emergencies. The student production designer must provide a safety fire extinguisher for fire FX and it must be of the type approved for such FX (effects). The Stage Supervisor will approve the type of extinguisher needed.
Explosives
Please reference the Weapons Policy. Only approved explosives or explosive forces (such as squibs or air cannons) may be used on the sound stage after discussion with the Stage Supervisor. FSU Police must be notified, and only a licensed operator may deploy the explosive device. The area surrounding the direction in which the explosive force will be deployed must be cleared of any obstruction, and there must be sufficient distance from any equipment or materials to avoid damage to the stage. People in the vicinity must wear eye and ear protection, and care must be taken to avoid damage to structures, set pieces, and people. The student production designer is solely responsible for any damage that may occur due to the use of explosives.
The use of vehicles on or around the sound stages is subject to specific operational restrictions, approval procedures, and safety requirements governing vehicle movement, parking, staging, and filming activity within stage facilities.
Vehicles can create significant risks related to collisions, exhaust, fire hazards, equipment damage, and pedestrian safety within enclosed production environments. Clear operational guidelines help productions use stage facilities more safely while protecting crew members, equipment, and school infrastructure.
Policies
Vehicles may only be brought onto a sound stage with prior approval from the Stage Supervisor. Because vehicles introduce fire hazards, exhaust concerns, fluid leaks, and potential facility damage, productions must follow all safety requirements whenever a vehicle is used indoors.
Vehicle Preparation Requirements
Before a vehicle may enter the stage:
The fuel tank must either be professionally removed or reduced to no more than one-quarter tank of fuel. Empty tanks are prohibited, as fuel vapors can be highly flammable.
The vehicle battery must either be removed entirely or disconnected with the terminals covered using a non-conductive material such as rubber or leather.
Once disconnected, the vehicle must be pushed onto the stage manually, without power steering or powered brakes.
The battery may not be reconnected until the vehicle has been fully removed from the building.
Supervision & Scheduling
A faculty or staff member must be present whenever a vehicle is moved into or out of the stage. Productions are responsible for coordinating vehicle movement at a time when supervision can be scheduled and approved in advance.
Floor & Facility Protection
Protective material must be placed beneath the engine, transmission, and differential to catch potential fluid leaks. Acceptable materials include tarps or old foam-core. Solids and sound blankets may not be used for this purpose.
Fire Safety Restrictions
Open flames of any kind are prohibited while a vehicle is present on the stage.
Electrical & Practical Considerations
Any planned use of practical vehicle elements such as dashboard lights, headlights, windshield wipers, or similar powered features must be discussed and approved in advance as part of the production’s planning process.
Rigging activities on the sound stages—including overhead rigging, suspended equipment, pipe grids, lighting support systems, and other mounted production elements—must follow the program’s approval procedures and safety requirements.
Improper rigging can create serious risks involving falling equipment, structural damage, electrical hazards, and crew injury. Clear procedures help ensure that stage rigging is planned, supervised, and executed safely while protecting both personnel and school facilities.
Approvals
Rigging is dangerous and requires specific knowledge and skills. Anything to be rigged from the pods, grid, catwalks, or otherwise must be discussed with and approved by the Head of Set Operations in advance. The Head of Set Operations must inspect and give final approval of any rigging before it may be used as part of production.
Curtains, Cyclorama & Green Screen
The black curtains, the cyclorama, and the large green screen are equipment and must be requested. The curtains and cyclorama are for stage use only and may not be used on location. Both the VFX Department and cinematography instructor must be consulted and sign off on any use of the green screen.
If approved for use, the curtains, cyclorama, and large green screen will be checked out to the production by the Head of Set Operations and the ER staff. These items will be inspected on check-out and again on check-in.
The Head of Set Operations will teach the students proper care, hanging technique and folding of the curtains and cyclorama, and will also check for proper adherence to these guidelines.
The sound stages are equipped with motorized lighting and grip pods that may be used to rig overhead equipment during production. Use of the pods must be requested and approved by the Head of Set Operations, and all pod operations must follow established safety procedures and operational guidelines.
Because the pods involve suspended equipment, moving overhead systems, electrical infrastructure, and motorized operation, improper use can create serious risks for both personnel and facilities. Clear operating procedures help ensure that equipment is rigged safely, pod movements are communicated properly, and productions maintain safe working conditions whenever overhead systems are in use.
Policies
Use of the pods must be requested and approved in advance by the Head of Set Operations. If approved, the following protocols must be observed:
Proper hardware must be used for the installation of grip and lighting equipment. All cables and gels must be safely and solidly affixed prior to raising a pod.
Nobody may stand under a moving pod.
If the operator cannot see the pod or something it might hit, another student must stand where they can see the pod, the possible obstruction, and the operator, in order to assist and guide the operator.
The operator must let everyone on stage know of pod movements by speaking loudly enough to be heard by all on the stage, for example: “Pod #1 coming down!”
The operator or assisting student must make sure the cables are feeding in or out of the baskets properly, and that the winch cables are moving smoothly into the winch drum groove. If there is any suspicion that a pod may not be moving in a level fashion, or is laboring the motor as it moves, the operator must stop the pod immediately and summon the stage supervisor or set operations manager.
The pods are designed to stop 3 feet from the floor and 6 feet from the grid (ceiling). If a pod moves beyond these stops, notify the Head of Set Operations immediately.
Use of the pods for purposes other than hanging grip and lighting equipment requires approval of the Head of Set Operations at the initial stage reservation.
Load-in and load-out procedures govern how productions move equipment, scenery, props, materials, and production infrastructure into and out of stages, locations, and production spaces.
Organized load-in and load-out practices are essential because productions often involve large amounts of equipment, limited access windows, shared facilities, and tight schedules. Clear operational procedures help reduce damage, improve safety, maintain cleaner workspaces, and support more efficient production workflows.
Load-In (Set-Up)
A load-in date is set as part of the stage reservation, and the load-in date and time must be strictly followed.
Only approved sets, effects, equipment, and procedures may be loaded in.
The Stage Supervisor will check the stages to ascertain that all procedures and policies have been followed, and that all items are being set up and used as per the approved plan. Any infractions will be noted and presented to the student producer. In some cases, due to safety or damage concerns, the Stage Supervisor or the Set Operations Manager may stop the production until these concerns have been appropriately addressed. Violations in this or any sound stage policy will be treated as an “unprofessional act” and penalties assessed according to the College’s Professionalism Policy.
Load-Out (Strike)
Both strike and load-out must occur during the time allotted in the original stage reservation meeting, except as noted in the policy for holding sets for dailies.
During strike and load-out the floor must be painted back to black, and the entire reserved space returned to a cleaned and normal state.
The sound-lock, exits, loading dock and other adjacent areas must continue to be kept clear.
Stock sets and existing scenery must be returned to the designated corral, and built scenery must be stored according to the policy for holding sets for dailies.
All other items, including equipment, props, scenery, trash, and other items must be removed from the College facility.
The Stage Supervisor will check for proper adherence to these rules and will note any infractions to the student producer.
Set design involves the planning, construction, decoration, modification, and preparation of physical environments used within student productions. This includes both the creative design of the space and the practical considerations involved in building and safely operating production sets. In order to accommodate the maximum variety of sets with the least damage to the stages and related equipment, there are strict policies in place for set design.
Well-planned set design helps productions create stronger visual storytelling while also supporting safe and functional working environments for cast and crew. Clear procedures and design expectations help productions balance creative ambition against practical concerns such as safety, scheduling, facility protection, labor, and available resources.
Policies
The Stage Supervisor must approve all set construction. Details of said construction, including a set plan showing the set’s intended position on the stage, must be provided to the Stage Supervisor before construction can begin.
The College does not provide any building materials or tools, including power or hand tools. Students needing to construct a set must provide their own tools and materials.
Sets must be designed and drawn out in plan and elevation form with all dimensions.
Set plans must include all bracing and support to safely hold vertical and suspended units.
A list of intended building materials must accompany the designs. This includes lumber, metal, and plastics, as well as coatings and textures. Certain organic or potentially toxic materials may be forbidden.
If building on College property, a construction schedule and list of who will be building must accompany the plans. The list of personnel must include each person’s experience and tool skills.
Sets must be made of units no larger than the area 11’8”H x 8’W x 2’D.
The total of all units must be able to be stored in an area 11’8”H x 8’W x 8’D for Stage A, 11’8”H x 4’W x 8’D for Stage B. Larger items may not be stored on stage. It is the student’s responsibility to acquire storage for such pieces.
Sets may be secured to catwalks, pods, grids, or stage walls only by permission from the stage supervisor.
Sets may be screwed to the stage floor.
If the floor is to be painted, it must be done with flat un-textured latex paint. Complicated paint schemes should be painted on masonite or other floor coverings.
Plans for the removal and disposal of the set must be established before stage use will be approved. The student may have to pay a fee for dumpster use and disposal.
College-Owned Set Pieces
There are three types of College-owned set pieces:
Existing scenery are set segments, which upon approval by the Stage Supervisor, may be modified to suit the needs of the student production
Stock sets are complete sets built for use in classes and workshops. These sets are available for checkout only when they are not in use for classes and may not be modified.
Stock pieces are separate segments of the stock sets, which may be used in conjunction with existing scenery or newly built pieces. This must be discussed, and approval secured, at the initial meeting with the Stage Supervisor.
Supporting documentation requesting use of any or all of these items must be presented to the Stage Supervisor at the initial meeting.
Use of existing scenery, stock sets, and stock pieces is not guaranteed to any production. The Stage Supervisor will monitor the proper use and care of these items.
Building on the Stage
The student production designer must present supporting documentation, including set drawings, material and crew lists, to the Stage Supervisor at the initial meeting. Drawings may need multiple revisions before approval is granted. Once approval is secured, the production will be assigned dates for construction, load-in and strike.
The Stage Supervisor, the Set Operations Manager and ER employees will periodically check the stage for cleanliness and safety. All building materials and tools must be removed from the stage at wrap.
Handing Off Sets
In the instance where a set is built for one production but is desired for use by another, the set may remain on the stage only until the dailies from the first production have been viewed. The student production designers from both productions must sign a Hand-Off Agreement, and the new production must go through the procedure for requesting a stage for a built set. A new form must be filled out, but copies of the original set drawings may be attached, and there would be no need for a building schedule or crew list.
If the second production needs the set before or immediately after dailies screening of the first production, the set may remain in its corral on stage until the second production starts its setup. When the second production is not within the time the set is scheduled to remain on stage, the student producer and production designer from the second production must acquire an offsite storage space, and remove all items from the College facility to that space. The College does not provide, or in any way take responsibility for, off-site storage.
After the hand-off, the second production becomes the party responsible for the set and the stages.
Holding Sets for Dailies
Any set constructed for use on the stages must conform to the basic set design policy. At wrap and strike, the set must be broken down into smaller units conforming to the 11’8” x 8’ x 2’ dimension requirement. These may then be stored on the stage in a predetermined area selected by the stage supervisor. Pieces that do not fit into the predetermined area must be removed and stored at an off-site location acquired by the student production designer. Only one set can be stored on each stage. Immediately after dailies, an unneeded set must be disposed of, passed to another student production (see policy for hand-off of sets), or moved to off-site storage at a facility acquired by the student production designer. The College will not store, or be responsible for storage of, any items that do not fit into the allotted storage space.
If the supervising faculty determines that re-shoots are required, the Stage Supervisor and supervising faculty will together determine how much and what pieces of the set will be needed for re-shoots. All other pieces must then be removed from the College facility as usual. On-site storage of the required pieces will be arranged, and the student production designer must move the items to that location. After re-shoots the pieces may again be stored on stage until dailies have been screened. It will continue to be the responsibility of the student production designer to move and set-up these pieces until re-shoots are deemed finished and the items are permanently removed from the College. Only removal or hand-off to another production will resolve the student’s responsibility for these set pieces.
Productions must reserve sound stages and associated facilities in advance before using them for rehearsals, construction, filming, storage, prep, or other production activity.
Because stage space is limited and shared across multiple productions, organized reservation procedures are necessary to coordinate access fairly and maintain smooth facility operations. Clear scheduling helps reduce conflicts, improve planning, and ensure that productions can use stage resources effectively within the broader production calendar.
Priority
Stages are reserved primarily for use during College classes and workshops. When the stages are not in use for course work, then students may request them for use on productions.
Reservation priority of the sound stages is in the following order:
College classes, workshops, events
MFA Production (in priority order of M3, MC, M2, M1)
BFA Productions (in priority order of FC, F3, F2, F1)
Special projects approved by the Dean or Associate Dean may reserve the stages by permission only and may not interfere with the regular curriculum and operations of the College.
The stages may not be reserved for homework assignments. Other than auditions, students are not allowed to shoot in any other College-owned spaces other than the shooting stages.
Requesting Use of the Stage
Check with the Head of Production about the availability of the stage.
Meet with Stage Supervisor to get approval of your plan.
No set:
Meet with Stage Supervisor
Read pertinent policies and sign off on having done so
Receive schedule for check-out, load-in/set up, load- out/strike, and check-in
Attend check-out meeting with Stage Supervisor
Stock set:
Meet with Stage Supervisor
Read pertinent policies and sign off on having done so
Receive schedule for check-out, load-in/set up, load-out/strike, and check-in
Attend check-out meeting with Stage Supervisor
Check out corral to gain access to stock set pieces
Walk through set up of stock set pieces
Built set:
Meet with Stage Supervisor; read pertinent policies and sign off on having done so
Receive schedule for check-out, construction/building period
Load-in/set up, load-out/strike, and check-in
Attend check-out meeting with Stage Supervisor
Check out any existing scenery or set pieces
Walk through set up of any stock set pieces
Get Location Agreement and Location Shooting Plan Agreement signed by Head of Production.
Sound stage policies establish the rules for using the school’s stages, including expectations for reservations, approvals, cleanup, food and trash disposal, facility protection, scheduling, and responsible use of shared production spaces.
These policies help keep the stages safe, clean, functional, and available for all productions. Because the stages are shared school facilities, students are expected to treat them professionally and leave them ready for the next class, crew, or production.
Policies
Stages are for use by College faculty, staff, and students and are intended solely for College classes and projects. Any other use is prohibited unless approved by the Associate Dean.
All sound stage use begins with the Sound Stage Reservation Form. The completed and signed reservation form becomes the basis for an agreement between the student production designer and the College as to how the stage and its equipment will be used. The student brings the completed form and, depending on the needs of the production, supporting documentation to the Head of Set Operations for approval. The sound stage is not reserved until the Head of Set Operations has approved and signed off on the reservation form.
Upon approval, the production is assigned use of the sound stage for specific dates, which may not be altered or exceeded without written permission of the Head of Set Operations. On the equipment check-out date, immediately prior to the reserved dates, the student Production Designer and the Head of Set Operations will inspect and “check-out” the sound stage. If multiple productions will use the sound stage prior to the next equipment check out date all student Production Designers will attend the sound stage check out and all are equally responsible for adherence to the sound stage use policies.
In general:
No changes may be made to the physical stage except by addition of approved scenic elements and standard rigging of equipment. The wood floor may be painted with a non-textured flat latex paint but must be painted back to its original flat black immediately after wrap and strike.
Only approved equipment may be used on the stage (see policies for vehicles, fire, water, and effects).
Water or other liquid may not be placed on the floor, and any spilled liquid must be cleaned immediately.
Sets, equipment, or other obstacles may not block catwalks, grid ladders, and exits.
Only standard lights and grip equipment may be rigged to the pods or grid. Other items may be used upon approval from the stage supervisor.
The student Production Designer is responsible for ensuring that no paint is spilled or dripped onto any surface, including the loading dock. Drop cloths must be used, and any drips immediately cleaned.
The scenery and sets stored on the stages are for use only upon permission. Stored scenery may not be moved without approval from the Stage Supervisor.
Students assigned the use of a sound stage must clean up after themselves at the end of each day. Food and related garbage must be disposed of properly. College trash containers may not be overfilled.
The FIST Agreement is the school’s production labor agreement, modeled on a modified low-budget IATSE contract, that establishes rules for how student sets operate. It defines expectations around workdays, call times, wrap, turnaround, meals, overtime, shop stewards, and producer responsibilities.
The agreement exists to give students a working environment that mirrors professional set practices while also supporting the school’s educational goals. Following the FIST Agreement helps protect crew members, clarify responsibilities, and teach students how labor rules shape real production workflows.
About F.I.S.T.
We shoot films. A lot of films. In keeping with our mission to train young filmmakers for the industry, the College of Motion Picture Arts employs production rules, or labor agreement, as guidelines for how our sets should run. The College uses a modified low budget IATSE labor contract as the guideline for our shooting process.
In the first semester of the program, all students will participate in set operations and below-the-line crew workshops. These workshops are designed to give each student an understanding of the core responsibilities of each crew member on set, and to provide the training to operate the equipment they use. These workshops will also emphasize the protocol of how sets operate.
At the end of these workshops, the passing student will become a member of the College union, FIST: Federation of International Student Technicians. As members of the union, you will be guaranteed a working environment that mirrors professional sets.
As student producers with deals on the College lot, you will be signatory to the union. This means that you will be required to run your sets by the rules outlined in the FIST Labor Agreement. Violation of these rules can cost you your deal and possible future deals with the studio.
Production Labor Agreement
The following shall constitute the basic agreement between The FSU College of Motion Picture Arts (the Studio) and the Federation of International Student Technicians (the Union). This agreement exists as part of an educational initiative, and shall not in any way supersede or conflict with any State of Florida statutes, laws or agreements signed and agreed to prior to the signing of this document. The scope of this agreement covers all Below-the-Line (BTL) crew members and affiliate volunteers.
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The STUDIO will have one representative, hereafter referred to as the PRODUCER. The Producer will represent the Studio’s concerns for completion of the final project. The Producer shall also be responsible for adhering to the labor rules during any period of pre-production and/or production, and ensuring that all members of the production team do so as well. The Producer will be responsible for all negotiations with the Shop Stewards on behalf of the Studio.
The UNION will have two (2) representatives, hereafter referred to as SHOP STEWARDS. The Shop Stewards will represent the collective concerns of the crew. Together the Shop Stewards will be responsible for all negotiations with the Producer on behalf of the crew. The Shop Stewards shall be responsible for holding the Producer to the labor rules during any period of pre-production and/or production.
By default, the Shop Stewards will be the Gaffer and the Script Supervisor. If Script Supervisor is not an assigned crew position on a particular production, the second Shop Steward will be the 1st Assistant Camera.
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A WORK DAY is defined as any day in which the crew is asked to work regardless of whether it is a shooting day or not. A workday begins at CALL TIME and ends at COMPANY WRAP.
CALL TIME is defined as the time by which a crew member is required to be on the job and ready to work. Call time is not arrival time. The crew is expected to get to the job-site before call time, allowing enough time to park and report to the job-site prior to the designated call time. The crew swipes or signs in at or before call time and is immediately ready to work.
COMPANY WRAP is defined as the time by which all work is finished and the crew members are ready to leave the job-site. It is not the time at which camera or sound stops recording. The time of company wrap is recorded when the last person has signed out, the doors of the grip truck are down and the truck is leaving the location.
PREP DAY – Any day in which the crew or a portion of the crew is asked to assist in preparation of shooting. Prep days may be, but are not limited to, Equipment check-out, pre-lighting, and pre-rigging. All pre-lighting or pre-rigging prep days must be approved by the Head of Production prior to being scheduled. If the work of pre-rigging or pre-lighting is to occur on the sound stages, then final approval must be given by the STAGE SUPERVISOR.
TRAVEL DAY – Any day that must be used for the crew to travel to a DISTANT LOCATION. All travel days must be approved by the Head of Production prior to being scheduled.
SHOOT DAY – Any day in which camera and/or sound are “rolling” to capture the action of the film. Shoot days may be any number of hours, depending upon the allocation of the budget, schedule, and overtime of the production. The standard shoot day is defined as one (1) twelve (12) hour day not including lunchtime. Hour one (1) begins at call time, and hour twelve (12) ends with the company wrap.
WRAP DAY – Any day in which the crew or a portion of the crew is asked to assist in the wrapping of a job. Wrap days may be, but are not limited to, Equipment check-in, lighting strike, or rigging strike. All lighting-strike or rigging-strike wrap days must be approved by the Head of Production prior to being scheduled. If the work of lighting-strike or rigging-strike is to occur on the sound stages, then final approval must be given by the STAGE SUPERVISOR.
Turnaround is defined as the period of rest guaranteed to the crew between the time of COMPANY WRAP and the next day’s CALL TIME. The guaranteed period of rest between each work day is TEN (10) HOURS.
Turnaround time is guaranteed to all members of the BTL crew except for art directors, first and second assistant directors, and unit production managers. Guarantee of turnaround also does not apply to the ATL crew of Producer, Director, Production Designer, and Director of Photography.
FORCED CALL – Whenever a producer cannot guarantee the full ten hours and must call the company to work the next day with less than ten hours of rest, it is considered a forced call. Since it is a loss of rest time, the number of minutes or hours short of the ten hours is considered OVERTIME and must be deducted from the budgeted total amount of overtime. It cannot be deducted from the workday. The total amount of a forced call can never exceed one (1) hour and is a “minute for minute” penalty for every minute of rest less than 10 hours.
Each production will be budgeted for a specific number of hours of overtime. The allotted time may be used in one single block, split in varied amounts over the production period, or applied to other penalties such as drive time, forced call, and meal penalty.
If the allotted overtime is exceeded, then the production shall be assessed an OVERTIME PENALTY. Overtime penalties are assessed in thirty-minute blocks as follows: for every portion of each exceeded thirty-minute block, the production shall be assessed one overtime penalty. Overtime penalties are cumulative with each infraction or with each exceeded thirty-minute block of time.
The Head of Production must approve extreme circumstances for additional overtime. This approval may be verbal between the producer and the Head of Production and must occur prior to the use of any such overtime.
Any time allotted overtime is used by the production, the producer must call the Head of Production and inform him or her either verbally or by voicemail on the approved voicemail number prior to the use of said overtime.
Meals are dedicated nourishment and rest time and not part of the work day. Therefore absolutely no work (camera, sound, or any other) may be done by any ATL or BTL personnel during the duration of any portion of the meal time.
A STANDARD MEAL must be provided at every six (6) hour interval of a workday. A standard meal break shall consist of a period of time not less than one-half (1/2) hour after the last person goes through the meal line, nor more than one (1) hour in total length regardless of the time the last person goes through the meal line. During the mealtime no work shall be done.
A standard meal does not have to be served if the crew works an interval of less than six-hours, or if the company wraps before a six hour interval expires.
A WALKING MEAL may be substituted for a second standard meal. A walking meal is defined as follows: At the second six (6) hour mark, the meal must be on set and ready. The crew is given a fifteen (15) minute break to go and get the meal. Work will resume as a walking meal fifteen minutes after the second meal is called. These fifteen minutes will be free time and not subtracted or counted against the twelve (12) hour day or overtime. A walking meal may never be substituted for the first standard meal of the day.
GRACE – Standard meal may be postponed twelve (12) minutes without penalty when used to complete a camera setup already in progress. There is no grace period for a Second Meal or a Walking Meal.
The amount of grace used must be deducted minute for minute from the work day or overtime. Grace only applies if the production has finished and “filmed” a complete setup, and does not apply if the setup is changed in any way, including but not restricted to: changing the lens or focal length, changing lighting, or re-blocking actors or camera moves.
MEAL PENALTY – If a meal is not served at the scheduled time, then the company is in meal penalty. Times for meal penalty are cumulatively deducted from the work day or overtime, and will accrue at the rate of two (2) minutes deducted for every one (1) minute of penalty until the crew is fed. The crew may continue to work during meal penalty for no more than 30 minutes, at which point all work must stop until the crew is fed.
SECOND STANDARD MEAL (Dinner) – If, at the six-hour interval from the last meal, photography or sound is still being taken, then a second meal must be provided. However, if Camera and Sound Wrap have been called and the crew is in the process of Company Wrap, and the anticipated wrap time will be less than one (1) hour, then a second meal may be waived.
The second standard meal may be offered as a walking meal if the shop stewards determine that it is acceptable, and that the estimated Company Wrap time will be no greater than two (2) additional hours from second six (6) hour work period. If the work is to proceed more than two (2) hours, then a standard meal must be provided. There is no grace period for a Second Meal or a Walking Meal.
CRAFT SERVICES – The producer also agrees to provide a craft service of assorted drinks and food appropriate to the location, environment, or weather throughout each work day.
TRAVEL TIME is defined as the time it takes to drive from the production office to the location. Travel time is always calculated from the production office to set regardless of where individual crew members live.
LOCAL LOCATION is any location within the school’s shooting zone. When shooting at a local location the travel time will always be calculated from FSU Film production office at the University Center.
DISTANT LOCATION is any location outside of the greater Leon County area. When shooting at a distant location the travel time from the production office will always be calculated from the hotel or temporary residence where the BTL crew is being accommodated.
All members of the crew are required to be on set on time and ready to work prior to call time. Driving distances to set, regardless of the length from an individual crew member’s home, does not constitute an excuse to be late or leave the set earlier than the scheduled company wrap.
Each day of production is allotted a penalty-free one-way drive time of thirty (30) minutes at the speed of the Grip Truck. Any distance from the production office to the location that exceeds thirty (30) minutes will be considered a drive time penalty and that additional time is subtracted from either the twelve (12) hour shooting day or the budgeted overtime. Any drive time over 30 minutes is a “minute for minute” penalty.
Any unused time of distances shorter than thirty (30) minutes may not be added to the shooting day or applied towards overtime.
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[su_spoiler title=”Article 7: Minor Labor” style=”default” icon=”chevron”]
If the production is to include a child actor the producer must honor the State of Florida statutes, which outline a policy that is intended to, “…ensure that minors are not employed under conditions that are injurious or detrimental to their health, safety or education.” (State of Florida 61L-2.006 Employment of Minors by the Entertainment Industry)
Parental Notice and Authorization for Medical Care
Parental Notice of Terms and Conditions of Employment. Producers shall notify the minor’s parent(s), guardian, or chaperon, of the terms and conditions of employment, including the activities required of the minor, the place and duration of location work, any and all “adult oriented” material to either be performed by or viewed/heard by the child, and the names of the producer and stunt coordinator (if applicable). These terms will be spelled out in a Performance Agreement.
Authorization for Medical Care. Prior to the minor’s beginning employment, the producer shall obtain written authorization from the minor’s parent(s), guardian, or chaperon, to consent for medical treatment on behalf of the minor in case of an emergency.
Minor Labor Coordinator
The producer shall designate one (1) individual on each set where minors are employed to act as Coordinator of Child Labor. The coordinator shall respond to all communications from the Production Supervisor regarding the employment of minor(s). The employer shall provide the name of the coordinator(s) to the Production Supervisor, the minor, the minor’s parent(s), guardian, and/or chaperon.
Time Limitations
Work Day. The work day for a minor shall begin no earlier than 7:00 a.m. and shall end no later than 11:30 p.m.
Work Week. A minor shall not be required or permitted to work more than six (6) consecutive days.
Work Hours, and Maximum Hours at Place of Employment per Age Group. Working hours, and hours spent at the place of employment may not exceed the following time limitations in a twenty-four (24) hour period unless the Production Supervisor grants a Partial Waiver.
Meal Periods. All work hours are exclusive of the meal period. The work hours shall be extended by a meal period not longer than one-half (1/2) hour.
Rest Period After Dismissal. Twelve (12) hours must elapse between the minor’s time of dismissal and call time on the following day. The same applies for returning to school. For example, a minor returning to his regular school at 8:30 a.m. shall be dismissed from employment by 8:30 p.m. the previous evening.
Minors Under Two (2) Years
Employers of minors under two (2) years of age shall not require such minors to remain at the place of employment for more than four (4) hours per day, subject to the following limitations:
Infants Aged 15 Days to 6 Month
Infants aged 15 days to 6 months may be at the place of employment for one period of two consecutive hours, which must occur between 9:30a.m. and 11:30a.m. or between 2:30p.m. and 4:30p.m. Actual work may not exceed 20 minutes under any circumstances. Infants may not be exposed to light exceeding 100 foot-candles for more than 30 seconds at a time and no more than one (1) minute in every fifteen (15) minute period. A studio teacher and a nurse must be present for each three or fewer infants aged 15 days to six weeks. A studio teacher and a nurse must be present for each 10 or fewer infants aged six weeks to six months. A parent or guardian must always be present.
Minors Aged 6 Months to 2 Years
Minors aged 6 months to 2 years may not be exposed to camera lights for more than two (2) minutes every fifteen (15) minute period. They may be at the place of employment for up to four (4) hours, and may work up to two (2) hours. The remaining time must be reserved for the minor’s rest and recreation.
Minors Aged 2 Years to Less Than 6 years
Minors aged 2 years to less than 6 years shall not be required to remain at the place of employment more than six (6) hours per day, and shall not be required to work more than four (4) hours per day. The remaining time must be reserved for the minor’s rest and recreation.
Minors Aged 6 Years to Under 9 Years
Minors aged 6 years to under 9 years shall not be required to remain at the place of employment more than nine (9) hours, the sum of six (6) hours work, one half (1/2) hour of meal time, and two and one half (2 1/2) hours of rest and recreation.
Minors Aged 9 Years to Under 16 Years
Minors aged 9 years to under 16 years shall not be required to remain at the place of employment more than ten (10) hours, the sum of seven (7) hours work, one half (1/2) hour of meal time, and two and one half (2 1/2) hours of rest and recreation.
Minors Aged 16 Years to 18 Years
Minors aged 16 years to 18 years shall not be required to remain at the place of employment more than ten (10) hours, the sum of nine and one half (9 1/2) hours work, and one half (1/2) hour of meal time.
Overtime
A parent or guardian may sign a release for one (1) additional hour of work for a minor of 6 years or older in any one (1) given day.
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[su_spoiler title=”Article 8: Principal Photography” style=”default” icon=”chevron”]
PRINCIPAL PHOTOGRAPHY is defined as the scheduled shooting days to completely cover all action in the script. All scenes and all coverage must be scheduled and completed during the principal photography shooting days.
No delays, weather, equipment failure or “Acts of God” will constitute justification for the waiving of any of the rules of production. The producer and director are jointly responsible for completing their days.
Completing a day’s scheduled work is defined by covering the entirety of the screenplay within the allotted principal photography period.
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[su_spoiler title=”Article 9: Second Unit Photography” style=”default” icon=”chevron”]
SECOND UNIT PHOTOGRAPHY is defined as any shooting of principal photography done by a second unit crew either simultaneous to the shooting of principal or just prior to or after principal photography.
Only the Head of Production can approve second unit photography and all requests for such must be submitted in writing to the Head of Production prior to principal photography, or the producer forfeits the opportunity.
Requests for second unit photography must include: the exact nature of the subject matter to be shot, justification of why it cannot be done with the first unit crew, dates and times of the proposed shoot, the crew required, the equipment required, and the budget plans for the support of second unit photography.
PICK-UP PHOTOGRAPHY is defined as any photography taken after completion of principal photography in order to enhance the narrative.
Only the Associate Dean may approve pick-up photography, and any request must be submitted in writing prior to any consideration or approval.
Requests for pick-up photography must include: the exact nature of the subject matter to be shot, the justification of why it did not get done with the first unit crew during principal photography, the dates and times of the proposed shoot, the crew required, the equipment required, and the budget plans for support of pick-up photography.
A RE-SHOOT is defined as any photography taken after completion of principal photography in order to replace footage already shot due to technical damage to the footage.
Only the Head of Production may approve re-shoots, and any request must be submitted in writing prior to any consideration or approval.
Requests for re-shoots must include: the exact nature of the subject matter to be shot, the explanation of the technical problems that damaged the footage, the dates and times of the proposed shoot, the crew required, the equipment required, and the resources needed for the re-shoot.
The producer will be responsible for contacting the Head of Production, or instructing the 1st Assistant Director or 2nd Assistant Director to do so, in order to report the production’s progress at various points during the work day. These calls must occur within twelve (12) minutes of the completion of each event or at least twelve (12) minutes prior to the use of any overtime.
i) The Head of Production must be informed by chat in Teams of the time that each of the following events has occurred:
Time first shot of the day was completed
Time first shot after meal was completed
Time of Company Wrap
Before using any overtime
ANY accident or incident
ii) The proper format for reporting via Teams message only should be: show number - activity being reported - time activity happened - crew position of the person reporting For example:
CAMERA WRAP is defined as the point at which the camera has finished rolling on the last setup of the day or the completion of recording of “wild lines” by the sound department, whichever is later. Company wrap is defined as the exact time that all work has been completed, equipment has been packed, truck doors are closed and the work day ended for each member of the camera department, grip and electric department, and the sound department.
The producer is responsible for ensuring that the 1st A.D. provides adequate time for all departments to wrap the equipment in a timely, efficient, and safe manner. Some shooting scenarios may require longer or shorter wrap time. The 1st A.D. should consult with all departments on expected wrap time and discuss the time necessary prior to the end of the day to ensure wrap is safe and effective.
For each shooting day there is a mandatory minimum wrap time of 45 minutes. This amount of time must be allotted regardless of a shorter anticipated wrap time. More time must be allotted if the anticipated wrap time is longer.
The one exception to this is a WALK AWAY WRAP. A walk away wrap occurs when the company finishes its production day on one of our sound stages and begins the next day on the same soundstage. In this case the minimum wrap time is 20 minutes, wrapping only camera, sound, and tap to the truck. All other equipment is wrapped neatly to the side of the stage. Walk away wrap is generally not permitted for any other location and only the Head of Production may approve a walk away wrap.
No student on the production may at any time act as an agent of the State of Florida or may represent any matters regarding insurance except to provide proof of insurance that may be issued by the Film School Production Supervisor. No student may represent that the Film School is insured on any matter without first receiving authorization and the proper endorsements from the Film School Production Supervisor. If any accident occurs the student is to report all information regarding the incident and the parties involved to the Film School Production Supervisor immediately. The matter must be handled directly by the Film School Production Supervisor and not the student.
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[su_spoiler title=”Article 15: Green Light” style=”default” icon=”chevron”]
The producer agrees to follow all procedures and paperwork as defined by the Student Handbook and/or the Production Supervisor. The student is solely responsible for understanding and completing all procedures as outlined in the student handbook, at production meetings with the Film School Production Supervisor and classes.
The FSU Film School shall not require any crew member to perform any work that the crew member reasonably considers to present a clear and present danger to his or her health and safety. The refusal to perform such work will not jeopardize the crew member’s work opportunities.
When dangerous or hazardous work is to occur, the producer must receive permission from the Head of Production and the Production Supervisor prior to said work occurring. Notice of hazardous work must appear in a SAFETY BULLETIN attached to the days call sheet and all procedures outlined in the student handbook for such work executed according to policy.
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[su_spoiler title=”Article 17: Discrimination Or Harassment” style=”default” icon=”chevron”]
It is the policy of this College of Motion Picture Arts and the policy of Florida State University that no one shall be harassed or discriminated against in any fashion whatsoever. It is your responsibility to read the policy of Florida State University on Harassment and Discrimination and familiarize yourself with it. Such behavior will not be tolerated.
Any dispute concerning the interpretation and/or application of this agreement that cannot be initially resolved by the shop stewards and the producer or the producer’s representative may be submitted to arbitration by either party for resolution The arbitrator will be the Film School Associate Dean.
The grievance must be submitted in writing to the Associate Dean and the Head of Production no later than ten days after the incident.
The arbitrator’s decision shall be final and binding on the parties. The arbitration shall take place in Tallahassee, Florida at the Film School, if not immediately and satisfactorily resolved at the time of the grievance between the producer, the shop stewards and the Associate Dean.
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[su_spoiler title=”Article 19: No Strikes or Lockout” style=”default” icon=”chevron”]
During the term of this Agreement, and as long as all work is being performed according to this agreement, there shall be no strikes, picketing, work stoppages, or other interference with work by the Union, or any lockout by the Employer.
AGREEMENTS – The Producer is responsible for getting a signed Location Agreement and Location Shooting Plan from each location where the company will be staged and/or filming. The location owner, or an authorized agent, must sign these agreements prior to the start of any work at the location.
COMMUNICATION – The Producer is responsible for communicating with the location owner or authorized agent all pertinent information concerning the production including the schedule, the use of potentially hazardous conditions (e.g. weapons, animals, open flames, smoking, etc.), and potentially objectionable content (e.g. violence, profanity, sexual situations, drug use, etc.).
The Producer should also do a walk-through of the location with the location owner or authorized agent after the company has wrapped from the location in order to make sure the location has been returned to a satisfactory condition.
DAMAGE – Each crewmember should make every effort to protect the location from any damage. If a crewmember does cause damage to the location, that crewmember should immediately notify the Producer. The Producer should notify the location owner or authorized agent, and then take whatever steps are necessary to repair the damage as quickly as possible and to the owner’s satisfaction.
If an individual crewmember is responsible for causing the damage, that crewmember is solely responsible for paying for the cost of the repairs. If multiple crewmembers are responsible for causing the damage, each crewmember must pay an equal portion of all repair costs. If it can not be determined who caused the damage, the Producer and the Director must pay an equal portion of all repair costs.
i) Production Days: Each Production shall have two (2) assigned days for Principal Photography.
ii) Call Time Restrictions: The Production may not have a call time before 6:00am, and must have Camera and Sound Wrap begin no later than 11:15pm with Company Wrap no later than 12:00am.
Article Four
i) No overtime is permitted on the F3 cycle.
ii) Overtime Penalty: For every portion of each exceeded thirty minute block, the Producer shall lose a half (1/2) letter grade from the Producing class and the Director shall lose one full letter grade from the Directing class. This grade loss will be subtracted from the final grade of each class with respect to the grade assessment of other class assignments.
Article Six
i) All filming location(s) must be within the school’s shooting zone.
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[su_spoiler title=”Appendix: FC Productions” style=”default” icon=”chevron”]
Article One
The Shop Stewards during this production cycle shall be the Gaffer and the 1st Assistant Camera.
Article Two
i) Production Days: As a baseline, each Production shall have three (3) assigned days for Principal Photography. With approval from the Head of Production, a Production may “buy” a fourth day of production or “sell” one of the three assigned days.
ii) Call Time Restrictions: The Production may not have a call time before 6:00am, and must have Camera and Sound Wrap begin no later than 11:15pm with Company Wrap no later than 12:00am.
Article Four
i) No overtime is permitted on this cycle. Overtime may only be used with prior approval from the Head of Production, and will only be granted if there were extenuating circumstances that have caused a delay.
ii) Turnaround After Overtime Use: If overtime is permitted, for each minute of overtime used, one (1) minute must be added to the Ten (10) hour turnaround. (e.g. using 60 minutes of overtime would require a turnaround of 11 hours).
iii) Overtime Penalty: For every portion of each exceeded thirty minute blocks, the Producer shall lose a half-letter from their final grade for the BFA Thesis Production course and the Director shall lose a full-letter grade from their final grade for the BFA Thesis Production course.
Article Six
i) All filming location(s) must be within the school’s shooting zone, unless distant location requests have been reviewed and approved by the Head of Production.
i) Production Days: Each Production shall have one (1) assigned day for Principal Photography.
Article Four
i) No overtime is permitted on the M1 cycle.
ii) Overtime Penalty: For every portion of each exceeded thirty minute block, the Producer shall lose a half (1/2) letter grade from the Producing class and the Director shall lose one full letter grade from the Directing class. This grade loss will be subtracted from the final grade of each class with respect to the grade assessment of other class assignments.
i) Production Days: Each Production shall have two (2) assigned days for Principal Photography.
ii) Call Time Restrictions: The Production may not have a call time before 6:00am, and must have Camera and Sound Wrap begin no later than 11:15pm with Company Wrap no later than 12:00am.
Article Four
i) No overtime is permitted on the M2 cycle. However, overtime may be used only with prior approval from the Head of Production, and will only be granted if there were extenuating circumstances that have caused a delay (e.g. inclement weather).
ii) Turnaround After Overtime Use: For each minute of overtime used, one (1) minute must be added to the Ten (10) hour turnaround. (e.g. using 60 minutes of overtime would require a turnaround of 11 hours).
iii) Overtime Penalty: For every portion of each exceeded thirty minute block, the Producer shall lose a half (1/2) letter grade from the Producing class and the Director shall lose one full letter grade from the Directing class. This grade loss will be subtracted from the final grade of each class with respect to the grade assessment of other class assignments.
Article Six
i) All filming location(s) must be within the school’s shooting zone.
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[su_spoiler title=”Appendix: MC Productions” style=”default” icon=”chevron”]
Article One
The Shop Stewards during this production cycle shall be the Gaffer and the Script Supervisor.
Article Two
Principal Photography: Each production shall have a period of 6 days in which to schedule Principal Photography, which shall begin no earlier than 6:00am on day 1 and end no later than 12:00am on day 6.
Article Four
i) Overtime Allotment: Each production will be allowed two (2) hours of overtime. No more than one (1) hour of overtime maybe used in a single day without prior approval from the Head of Production.
ii) Turnaround After Overtime Use: For each minute of overtime used, one (1) minute must be added to the Ten (10) hour turnaround. (e.g. using 60 minutes of overtime would require a turnaround of 11 hours).
iii) Overtime Penalty: For every portion of each exceeded thirty minute block, the Producer shall lose a half (1/2) letter grade from the Producing class and the Director shall lose one (1) full letter grade from the Directing class. This grade loss will be subtracted from the final grade of each class with respect to the grade assessment of other class assignments.
