FSUFILM Handbook

Category: F3

  • Meal Sign In

    Meal Sign In

    Overview

    The Meal Sign In form is used to document meals provided during production. The Producer should prepare the form in advance with as much information as possible, and the 2nd AD typically manages sign-in during lunch on set.

    Maintaining accurate meal records helps the production document that meals were provided and that cast and crew were accounted for during the workday. This supports both production organization and school oversight, while reinforcing the expectation that productions handle meal periods responsibly and consistently.

    Paperwork

    Thumbnail of the form
    Meal Sign-inDownload (PDF)
    Meal Sign-inDownload (DOC)

    Instructions

    The Producer should prepare the Meal Sign In sheets prior to production by typing in as much info as possible. Then on set during lunch, the 2nd AD will have each Cast and Crew member sign the sheet. Count the number of signatures, and enter that number at the bottom by Individuals Served.

    The Producer will also need to turn in the Meal Sign In sheets along with the Reimbursement Voucher to verify those who had eaten the food that was provided on set.

    Sample

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

    Sample of a completed form
  • Master Use License Request

    Master Use License Request

    Overview

    A Master Use License Request is used when a production wants permission to use a specific existing sound recording in a film. This permission is cleared with the record label or other owner of the recording, and is separate from the synchronization license needed for the underlying musical composition.

    This process is important because a recorded song usually involves multiple rights. Even if a production has permission to use the composition, it still needs permission to use a particular recording of that composition. Proper clearance helps ensure that the film can be exhibited and distributed without unresolved music rights issues.

    Paperwork

    Thumbnail of the letter
    Master Use License RequestDownload (DOC)

    INSTRUCTIONS

    A master use license is the right to synchronize a sound recording with your visual image. You clear this right with the record label who owns the sound recording you would like to use.

    Check the liner notes of the recording to find out which company this is. Alternatively, you can get contact information for record labels by contacting either ASCAP or BMI. You will be provided with a contact at the record label’s Business Affairs Department.

    Getting the rights could be as simple as sending letters to the publisher and record label, having them sign and return them. However, you may be required to complete their licensing agreements instead. If this is the case, make sure you have the Head of Production review the agreement before you sign it, to ensure we have the proper releases.

    You must get each license for at least:

    • Two-years
    • Film festival
    • Non-commercial
    • World rights

    Note that if you do not plan to use the original sound recording, but rather plan to reproduce a specific musical composition in your film, you need to acquire a Synchronization License instead.

    SAMPLE LETTER

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

    Sample letter
  • Location Shooting Plan Agreement

    Location Shooting Plan Agreement

    Overview

    The Location Shooting Plan Agreement documents the specific guidelines, restrictions, and conditions governing how a production may use an approved location. It’s completed with input from the location owner and addresses the finer details of the shoot, including what activities may take place and what limitations the production must follow while on site.

    This agreement helps protect the location owner, the production, and the school by making expectations clear before filming begins. Clear location rules reduce misunderstandings, support safer production planning, and help maintain positive relationships with property owners and community partners.

    Paperwork

    Thumbnail of the form
    Location Shooting PlanDownload (PDF)

    Instructions

    In addition to completing a Location Agreement with the Location Owner (or authorized agent), the Producer must also complete a Location Shooting Plan Agreement. This agreement gets into the finer details of how the location may be used and all guidelines and restrictions related to the use of the location.

    This includes information about: the quantity of crew members; arrival and departure times; parking; craft service; trash; which rooms can be used or not-used; which items can be moved or not-moved; any safety protocols the location may require; and the names/info of the students that location owners should contact during the shooting day.

    Sample

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

  • Location Hazard Assessment

    Overview

    The Location Hazard Assessment checklist is used to identify potential risks at a filming location before production takes place. These may include physical hazards, chemical hazards, biohazards, animal or plant hazards, electrical hazards, fall risks, environmental concerns, or other conditions that could affect cast, crew, equipment, or the public.

    This assessment is important because location risks are easiest to manage when they are identified early. Documenting hazards in advance allows the production and school to determine whether additional safety measures, approvals, adjustments, or alternate plans are needed before filming begins.

    Paperwork

    Location Hazard AssessmentDownload (PDF)
    Location Hazard AssessmentDownload (DOC)

    Instructions

    The Producer is responsible for conducting a thorough inspection of every shooting location and completing a separate Location Hazard Assessment form for each site. This form should be completed before the project’s tech scout or director’s prep so that any identified risks can be reviewed with faculty in advance.

    When completing the form, be specific and practical. The goal is not simply to identify hazards, but to document how the production might mitigate or manage them. If a hazard is present, clearly describe the precautions the production could take to reduce risk.

    Hazards may include:

    • Physical hazards
    • Chemical hazards
    • Biohazards
    • Animal hazards
    • Plant hazards
    • Electrical hazards
    • Falling hazards
    • Vehicular hazards
    • Fire hazards
    • Airborne hazards
    • Water hazards
    • Facility hazards
    • Societal hazards

    The assessment should reflect the actual conditions of the location at the time of scouting. Productions should revisit and update assessments if conditions significantly change prior to filming.

    Sample

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

    Sample form
  • Location Agreement

    Location Agreement

    Overview

    The Location Agreement is used with a location owner or authorized agent to secure permission for a production to use and photograph a property. It establishes the production’s right to film at the location and documents the basic terms of that access.

    This agreement is essential because productions cannot assume permission to film on private or controlled property. Written approval protects the production, the school, and the property owner by clarifying access, usage rights, and the conditions under which the location may appear in the finished film.

    Paperwork

    Thumbnail of the form
    Location AgreementDownload (PDF)
    Location AgreementDownload (DOC)

    Instructions

    The Producer should use this contract agreement with the Location Owner (or authorized agent), in order to have the right to use and photograph the interiors and exteriors of the property.

    The Producer is responsible for working with the Location Owner to determine the start and end dates for when the show will have access to the location. (The Producer is additionally responsible for drafting a Location Shooting Plan Agreement with the Location Owner.)

    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.

  • Life Story Rights

    Life Story Rights

    Overview

    The Life Story Rights agreement is used when a production wants to use or fictionalize a person’s life story, name, likeness, statements, writings, photographs, anecdotes, acts, appearances, or voice. The Producer works with the owner of those rights to secure permission through the approved agreement.

    This agreement is important because stories based on real people can involve significant personal, legal, and ethical considerations. Proper documentation helps ensure that the production has permission to use the material and that any changes to the agreement are approved in advance by the Head of Production.

    Paperwork

    Thumbnail of the form
    Life Story RightsDownload (PDF)
    Life Story RightsDownload (DOC)

    Instructions

    The Producer should use this contract agreement with the Owner of the life story rights, in order to use and/or fictionalize the Owner’s life story, name, likeness, statements, writings, photographs, anecdotes, acts, appearances, and voices.

    All 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.

  • Image Release

    Image Release

    Overview

    The Image Release is used when a production wants permission to use or photograph a still image, artwork, graphic, or other copyrighted visual material in a film. The Producer secures the release from the copyright holder or authorized agent.

    This form is important because images found online, in books, in archives, or in personal collections are not automatically available for use in student films. Proper releases help productions avoid rights issues during delivery, festival submission, online exhibition, or future distribution.

    Paperwork

    Thumbnail image of the form.
    Image ReleaseDownload (PDF)
    Image ReleaseDownload (DOC)

    Instructions

    The Producer should use this contract agreement with the copyright holder (or authorized agent) for the right to use and photograph the depiction of still photographs, artwork, and/or motion picture footage.

    All 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.

  • Hazard Notification

    Hazard Notification

    Overview

    The Hazard Notification form may be used by any crew member who has a concern about a potential hazard during production. The form allows the crew member to describe the hazard and identify any steps they believe may be needed to address it.

    This process is important because safety responsibility does not belong only to producers, department heads, and shop stewards. Giving any crew member a clear way to report hazards helps productions identify risks earlier, respond more responsibly, and reinforce a culture where safety concerns are taken seriously.

    Instructions

    The Hazard Notification form may be used by any crew member who has a concern about a potential hazard. Use the form to describe the hazard and to describe any corrective actions that have been taken (or could be taken). Please be as precise, objective, and factual as possible, describing only what you’ve observed first-hand.

    Submit Form

    Sample Form

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

    Sample form
  • Dialogue List

    Dialogue List

    Overview

    The Dialogue List is a delivery document that identifies and organizes all spoken dialogue and on-screen text appearing in the finished film. This is used for captions, subtitles, accessibility workflows, sound post-production reference, and final delivery documentation.

    Accurate dialogue documentation is important because downstream workflows such as captioning, subtitling, localization, accessibility compliance, and archival delivery depend on having a reliable written record of the film’s spoken content. Maintaining a clean and organized dialogue list also helps productions avoid inconsistencies or omissions during final delivery.

    Paperwork

    Thumbnail of the form
    Dialogue ListDownload (DOC)

    Instructions

    When a film is sent to a foreign language film festival, the festival will add subtitles in the local language based on this Dialogue List. The form should include all spoken dialogue and on-screen text that is in the final film, including the timecode of when each occurs.

    SAMPLE

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

    Sample of a completed form
  • Daily Production Report

    Daily Production Report

    Overview

    The Daily Production Report documents the major activities, progress, delays, incidents, scheduling information, and operational details associated with a production day. It serves as an official record of what occurred during filming and is completed at the end of each shoot day.

    Daily reporting is important because productions rely on accurate records to track progress against the schedule, communicate between departments, identify emerging issues, and maintain accountability throughout the shoot. Consistent reporting also creates a valuable reference for post-production, faculty oversight, and future review of production operations.

    Paperwork

    Thumbnail of the form
    Daily-Production-ReportDownload (XLSX)

    INSTRUCTIONS

    The Second Assistant Director is responsible for sending out a PDF of the Daily Production Report (DPR) at the end of every shooting day, no later than two hours after wrap. If the production does not have a dedicated Second Assistant Director, the First Assistant Director or Producer shall assume the responsibility.

    The purpose of the DPR is to communicate important information from the day’s production, such as number of setups, start and end times, in and out times, reports on delays, and reports on equipment problems. If an urgent problem or situation arises on set, however, do not wait until the end of day to report it; contact the appropriate individuals immediately. (Make sure it is documented on the DPR at the end of the day as well, though.)

    Post the completed DPR the “DPRs” channel on Teams. The PDF file should be formatted with production number and show title as follows: 

    01f3-DPR-Day1.pdf

    DPR Sample

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

    Sample DPR (page one)
    Sample DPR (page two)