This page outlines the restrictions, approval procedures, and cleanup expectations associated with the use of water, liquids, food products, dirt, sand, paint, fake blood, debris, or other potentially messy materials on the sound stages during production activities.
These policies exist to help protect facilities, equipment, locations, and shared production spaces from damage or unsafe conditions. Because messy production elements can create significant cleanup, safety, and operational concerns, productions are expected to plan carefully, communicate clearly, and restore spaces properly after use.
Water effects on the stages
Water must not be allowed to pool on the stage floor, or seep under set pieces or floor covers. If hoses or other connections for water lines are used on stage, lines and connections must be continually monitored for leaks, which must be repaired immediately.
There must always be an approved plan in place to immediately drain off water from a water effect. For rain effects, a gutter may be used to collect water in a small area, but for larger effects, a pool must be used or built from thick plastic and 2×4’s to form a raised edge to trap the water inside. A plan must be made and approved for removal of the water from these pools, and water that will inevitably be tracked around the stage by wet feet and equipment. A pool or other vessel of water may never be left overnight. The Stage Supervisor will monitor water effects. At any time the Stage Supervisor or Set Operations Manager may shut down the production to ensure the safety of crew, equipment and facilities.
Dirt, Sand, Paint, or other messy items
When a production intends to use loose material such as dirt, or wet material such as paint, the student production designer will be required to show preparation for protection of the area and removal of the materials before receiving approval. Dirt contains moisture, so a moisture barrier must be put on the floor, or the dirt must otherwise be kept from coming in contact with the stage floor. As dirt, peanut shells, paint, and other messy materials can be tracked into other areas of the building, plans must be made to clean feet and to prevent such tracking. Mats or drop cloths, and small brushes or brooms must be supplied so crew and cast can clean their feet before exiting the stage or work area.
This page outlines the rules, expectations, and operational procedures governing the use of computer labs, post suites, and shared post-production facilities, such as the ADR/Foley Suite and mixing stages. Violations of these policies may result in disciplinary action.
Lab policies help ensure that shared spaces remain functional, secure, organized, and available to all students working within the program. Clear expectations also support safer working environments, protect equipment and facilities, and reinforce professional habits related to workspace stewardship and collaborative resource usage.
General etiquette
Computer labs and post-production facilities are work spaces. They are not spaces for hanging out and socializing, as this can be distracting to other students who are trying to work. They are also spaces with a lot of technology that needs to remain well-maintained and correctly configured.
Each student is expected to leave a workstation in the same condition they found it, so that the next user doesn’t run into problems.
Access
Labs and post suites are for student-use only. This is to keep our facilities secure and to minimize potential distractions that guests may cause for other students who are trying to focus on their work. If you wish to bring a guest to a lab or the Post Hall, you must seek prior approval from FSU faculty.
Food and drink
Food is never permitted in the computer labs or post suites. Beverages are only permitted if in a BOTTLE WITH A SPORTS CAP. Beverages must be kept in your backpack or bag when you’re not drinking. The container must never be left on the desk or on the floor near the workstations. If you cause damage to any equipment, you will be held responsible for the full replacement costs.
Noise and cell phones
Keep your voice volume down so as not to disrupt or disturb others working in the space. Keep phones on silent/vibrate mode at all times. If you need to take/make a call, step out of the lab.
Workstations
Keep your work area reasonably clean and neat at all times. Always restore your work area to a pristine condition when you leave. Unless rendering, log out of your workstation if you plan to step away from your computer for more than 15 minutes.
All students are responsible for proper care of the equipment. If you lose or break any equipment, you will be held responsible for the full replacement costs. Tablets, mice, and external monitors must not be removed from a workstation under any circumstances. Chairs must also not be removed from the lab.
The downloading of illegal or potentially harmful files on the lab computers is absolutely forbidden. In particular, the FSU network or computers must never be used to download or store pirated movies, music, software, plug-ins, or any other material.
Rendering
Assume all projects will be rendered locally on your assigned workstation. Contact faculty if you feel you cannot complete your show’s rendering on your local workstation. If you set-up renders overnight or over lunch, leave a piece of paper on the desk to indicate that the workstation is busy rendering.
Storyboard panels and walls
You may hang project-based materials on the “storyboard” panels if you wish. Do not post inappropriate or potentially offensive materials to the storyboard panels. Keep it professional. Do not tape or pin anything to bare walls or computer monitors.
Clean up
Please assist with the general upkeep of the labs. It’s a team effort. If you notice that a lab is getting messy, assist by cleaning up some of the mess, even if you weren’t responsible for it.
Casting breakdowns are documents used to describe the characters being cast for a production, including information such as age range, character description, production details, audition information, and scheduling expectations.
Well-prepared breakdowns are important because they shape how productions communicate with actors and talent representatives during the casting process. Clear and professional casting materials help productions attract stronger submissions, communicate expectations accurately, and conduct more organized and effective casting searches.
Components of the breakdown
Creating a detailed and enticing casting notice is a great way to attract the best actors and to inform them up front about the requirements of the roles.
The casting breakdown should begin with general information about the production:
Title and show number.
Brief description or logline that includes the genre.
Shooting dates and times.
The name of the director and producer.
Contact information. This should always include your FSU email address, but can additionally include social media or other handles.
The end date for the casting call.
It should then continue with character breakdowns for all lead and supporting roles:
CHARACTER NAME (in all-caps)
Gender (if it matters)
Size of the role (Lead or Supporting)
Age range. It is how old someone looks on camera that counts, not how old they really are. Give a range. However, the younger the person needs to be, the smaller the range should be.
Ethnicity (if it matters)
Sexuality (if it matters)
Pertinent facts about the character: What are the given circumstances that shape this character? This can also include physical qualities that are necessary for the part but cannot be fudged on camera, like height for a basketball player. Remember, beards, tattoos, and hair color can all be grown in, glued on, or changed.
Distinguishing characteristics: What makes the character special or different. What drives them as a character? Never use the words ordinary or generic!
If the role calls for stunts, intimacy, or any other special requirements:
If there will be any kind of nudity or sexual intimacy, it must be stated and described.
If the actor must work with pets, babies, children, potential allergens, or adverse conditions, they must be described.
If the actor must perform any physical feat that is “out of the norm,” it must be described.
At the end of the casting breakdown, list any smaller roles and extras. You do not need a full breakdown for bit parts or extras, and in most instances a simple list will suffice. Only include additional breakdown information when appropriate.
Sample Casting Breakdown
THE WIZARD OF OZ (18F1)
Victor Fleming, dir. and Mervyn LeRoy, prod.
Shoots Friday November 18th from 8AM to 9PM.
The Wizard of Oz is a musical based on the book by L. Frank Baum that follows the journey of a Kansas farm girl as she and her dog Toto are swept up by a tornado to the magical Land of Oz. There she makes unlikely friends to battle the Wicked Witch of the West, expose the great Wizard, and find her way back to Kansas. There’s no place like home.
Roles available:
DOROTHY GALE: Female lead, early teens. Dorothy is a well-scrubbed, polite farm girl from Kansas with an active imagination. She must balance a sweetness of temperament with a sense of justice strong enough to propel her into potentially dangerous situations. Must be comfortable working with small dogs.
PROFESSOR MARVEL: Male supporting, 50-70. Professor Marvel is a traveling carnival magician with a dubious past. He tries hard to mask his insecurities with bravado in the hopes he will not be discovered. He is nevertheless a kind-hearted, teddy bear of a man and means no real harm.
Smaller roles and extras:
MAYOR OF MUNCHKINLAND
MUNCHKINS
FLYING MONKEYS
Distributing Casting Notices
You are encouraged to share your casting notices with your actor friends and on social media.
You may also submit casting notices using this form and they will be posted on the school’s casting notices site.
This page provides a sample email template productions may use when communicating with actors regarding audition invitations, scheduling, and related casting information.
Professional communication with actors is important because casting often forms a performer’s first impression of a production and its organization. Clear, respectful, and well-structured communication helps productions present themselves professionally while reducing confusion during the audition process.
Sample Messaging
Below is a sample email to send to potential actors during the casting process. Be sure to also attach a character breakdown and a copy of the script (or sides). Also be sure to copy the show’s Producer, so that they have the email for their records.
Dear (actor’s name),
My name is (your name) and I am a film student at the FSU College of Motion Picture Arts. I am casting a short film entitled (film’s title) that shoots on (shooting date). It is the story of (describe the film).
I saw your audition on our casting website and I would love it if you would consider auditioning for the role of (character name). I have attached a casting breakdown and a working copy of the script, along with the pages I would like you to prepare for the audition.
I am hoping to hold auditions on (audition date). If you are unavailable at this time, we can schedule another time that works for you. Please call me at (your cell phone number), or reply to this email if you are interested in auditioning for the role.
Thanks so much for your interest in working with the film school.
Regards,
Your full name Your crew position Your email Your cell phone number
This page provides a sample email template productions may use when informing actors that they were not selected for a role following auditions or callbacks.
Professional follow-up communication is important because casting processes involve significant time and effort from performers. Thoughtful and respectful correspondence helps productions maintain professionalism, build stronger relationships within the acting community, and reinforce industry-standard communication practices.
Sample Messaging
Below is a sample email to send to actors who you auditioned but did not cast in the film. Do not send regret emails until you are sure that the actor you have cast is 100% locked for the role. Make sure you also copy the Producer of the show, so that they have the email for their records.
Dear (actor’s name),
Thank you so much for coming to audition for the FSU film, (title of film). We appreciate the time and effort given for this project. Unfortunately, we will not be able to use you at this time, but we hope to see you again soon as we enjoyed meeting you and seeing your work.
Sincerely,
Your full name Your crew position Your email Your cell phone number
Auditions are the formal process through which productions evaluate actors for potential casting within a project. This process may include initial auditions, callbacks, readings, chemistry tests, or other performance evaluations used to assess suitability for specific roles.
Careful casting is important because performances play a central role in the success of a film and significantly affect the collaborative dynamic of the production process. Well-organized auditions help productions make stronger creative decisions while allowing directors and producers to evaluate not only performance quality, but also professionalism, communication, preparation, and collaborative potential.
Contacting actors
To set up an audition, actors should be contacted by email (see sample email) and sent a copy of the script along with the role you would like them to read for. Five-to-seven actors per role. You should then follow-up with a phone call to make a personal connection and make sure there is no confusion about your expectations. Let them know what pages of the script you would like them to prepare for the audition.
Selecting sides for auditions
Sides should ideally have two characters, but no more than three.
The best sides give the actor a chance to act and react. Therefore, exposition is not a good choice.
Do not choose scenes that are primarily action. If you must see an actor move, give them an improv that is directed (called out).
Sides should be no more than two minutes, preferably closer to one minute.
Sides may be from a script that is not your own if it contains similar characters and situations.
Sides may be specifically written for audition purposes to satisfy the recommendations above. For example, if your character does not speak, you could write an interview of that character for sides. This is a good way to verbalize how a character is feeling. Or, think about if you were making your film into a longer form piece. What scenes do you wish you could write? Write them for sides!
Rehearsals provide actors, directors, and key collaborators with dedicated time to explore performances, blocking, character relationships, scene structure, and production planning before filming begins.
Rehearsal time is valuable because it allows productions to identify creative and logistical challenges before arriving on set under tighter time constraints. Strong rehearsal practices can improve performances, strengthen communication between actors and directors, and help productions work more efficiently during principal photography.
Preparation
Prepare to work with your actors by clarifying your choices and jotting down possible objectives and strategies (active verbs) in your script. Actors want to respect their director. After all, they must put a lot of faith and trust in them. The director is the eyes and ears of the actor. This is true much more in film than it is in theater. The easiest way to lose their respect is to be unprepared and not know what the film is about or what you want from the actors. So do your homework!
Step 1: Table Read
This is the time to share your directorial vision (and those of your creatives) and the only time you should speak intellectually about the script.
Make sure the actors know what your vision is and how the other creative elements will be handled as well as how you see them fitting in to the overall theme (spine).
Discuss backstory, motivations, objectives, obstacles, etc. with the actors and listen carefully and respectfully to their input. It is their job to contribute creatively. Ask the actors to work on preparing their roles based on this information.
Step 2: Second Rehearsal
This is the time for experimentation. Try different approaches with your actors and ask them to take risks. This is a time to try improvisation and trust exercises to build up the relationship between and with your actors. Keep an open mind. You may be surprised.
Don’t ask for film worthy performances. This will make your actors stale when they get to set and not allow them to make discoveries.
This is the time for emotional exploration and connections (relationships). It is also a time to get to know your actors and their process so that you can determine what directions and approach will work best for them. You can also identify any quirks they have that will need to be addressed on set.
Step 3: On-set Rehearsals
Forget it all and make sure your actors are listening and making connections.
During the shoot it is very important to make sure your actors feel safe and supported. They must feel that you are in control and since they put their trust in you, they rely on you to be their eyes and ears.
Actors need feedback! And they don’t want you to accept less than quality work. It is their face up on the screen and they want you to help them be great. You should speak with them before every take to remind them of their scene objectives and what happened the moment before. This is especially important when you shoot out of sequence. You should also give them feedback after every take even if just to say, we messed up sound so we need to do it again. Otherwise, they will think they did something wrong and spend the whole next take worrying about it. Also, let them know what the next shot is so they can relax.
The most important thing for the actor on set is for them to really listen to their partner and respond in the moment. Your job is to make sure they do that, and that they do it within the technical considerations of the shot.
This resource provides approaches, techniques, terminology, and communication strategies that directors may use when working with actors during rehearsals and production.
Directing actors requires more than simply communicating blocking or line readings; it depends heavily on trust, collaboration, emotional clarity, and effective creative communication. Developing stronger actor-director communication skills helps productions create more nuanced performances while supporting healthier and more productive collaborative environments on set.
Action Verbs
An action verb is transitive and requires an object. It is something you do to someone or something else; “to be” is never an action verb. This list is a starting off point for you to develop your own list of action verbs.
to accuse to admire to admonish to adore to amuse to annoy to apologize to appease to applaud to attack to avoid to bask to beg to belittle to bestow to boast to brag to brood to brush off to buddy up to butter up to cajole to caress to celebrate to challenge to charm to check out to coax to comfort to command to confess to confide to confront to congratulate to convince to cuddle to defend to deify to demand to destroy to dis to discard to discover
to dismiss to distract to elicit to embrace to entertain to entice to erupt to escape to examine to explode to exult to flatter to flaunt to flee to flirt to gloat to grieve to hide to idolize to ignore to impress to incite to inspect to instruct to invade to invite to lead to lure to manipulate to mimic to mock to mother to mourn to ogle to overpower to patronize to perform to persuade to pester to plead to ponder to pounce to preen
to prepare to primp to probe to protect to provoke to put down to question to reach out to reason with to reject to rescue to retreat to ridicule to savor to scold to scrutinize to search to seduce to seethe to shock to show off to sneak to soothe to stalk to startle to strut to surrender to tantalize to taunt to teach to tease to tempt to test to threaten to toss off to triumph to ward off to warn to welcome to withdraw to worship to yearn
Refer to Marina Calderone’s Actions: The Actor’s Thesaurus (book/app) for more examples.
Other Directing Strategies
Acceptable directions for actors that are not clarifying a beat objective through the use of an active verb include:
Do this scene AS IF you are __________ (e.g., in a funeral procession, on the floor of the stock market, at a prayer meeting, in a bread line, in front of a firing squad, etc.) Events are dynamic and spur the imagination, and actors’ imaginations are the best tools they have. Ask an actor to use “the magic if” and to find an event or relationship from their own lives they can connect to the character or situation imaginatively and emotionally. It is not necessary that you know it or that they share it with you.
Asking the WHO, WHAT, WHERE, WHY, HOW, and WHEN questions. These questions clarify the circumstances, the super-, scene- and beat-objectives, the motivations, and the strategies of the character in an easy-to-understand format.
Directing the actor to “Keep it simple,” “Think it, don’t show it,” or “Listen to them. Really listen.”
Use FACTS. Facts are objective and help to clarify circumstances.
Use SENSORY IMAGES (sight, sound, feel, taste, smell). Images allow the actor to use recall to make a situation real to them.
Use PHYSICAL TASKS. Physical tasks are kinetic (energy in motion) and allow the actor to create a multi-layered approach as well as provide focus.
THE MOMENT BEFORE. What just happened before this scene takes place? How does that impact what is about to take place?
Avoid
Avoid asking for moods or results from an actor. Instead, clarify objectives and give active verbs to work with.
Avoid asking an actor to “bring it up.” Instead examine whether the stakes are high enough to motivate the behavior, and if not, raise them or use the “as if” scenario.
Avoid asking an actor to “bring it down.” Instead ask them to listen to their partner and not anticipate what is coming next or to keep it simple and respond truthfully.
Avoid giving line readings to an actor. Remember, the line is unimportant. The motivation for the line is important. Make sure the actor is clear on what the motivation and objective is for the line and ask them to only think of that.
Avoid telling an actor how their character should be feeling or give character judgments. Remember, all characters’ actions are justified to them, even and especially, “villains”!
Avoid using adjectives or adverbs when giving directions. Always use VERBS!
Film production involves a wide range of activities, equipment, locations, and working conditions that require consistent attention to safety across all departments. This page compiles the core safety rules and expectations that apply in all production activities.
Maintaining a safe production environment depends on shared responsibility, professionalism, and consistent attention to safe working practices from everyone involved. Pranks, horseplay, and rushing at the expense of safety are unacceptable. Safety must always take precedence over expediency in production operations; never sacrifice safety considerations in the rush to get a shot.
Communication of safety information
Good communication of information is one of the most effective measures to ensure a safe set. This begins in pre-preproduction. Any production activities that require special attention from a safety perspective must be addressed at the show’s Director’s Prep. It is the Producer’s responsibility to make sure that the faculty has fully approved any such activities prior to the start of shooting.
Call sheets must contain important safety information for the next day’s shoot.
Safety bulletins must be attached to call sheets for any production day where the crew needs to be alerted to specific safety concerns. The College utilizes safety bulletins developed by the AMPTP Industry-Wide Labor-Management Safety Committee for use by the motion picture and television industry. This Safety Committee is composed of guild, union, and management representatives active in industry safety and health programs. The bulletins they provide are guidelines recommended by the Safety Committee; they are not binding laws or regulations. State, federal, and/or local regulations, where applicable, override these guidelines.
It is the Producer’s responsibility to make sure that safety meetings are conducted to brief all cast and crew members about potentially hazardous set conditions. Department heads are also responsible for conducting safety meetings for any safety issues specific to their department.
Personal safety
All crew must wear appropriate clothing and any required Personal Protective Equipment. A shirt and proper footwear should be worn at all times. Safety glasses or hearing protection must be worn when operating equipment or performing work where eye or ear damage could potentially occur.
Make sure you get the appropriate assistance when lifting or moving heavy or awkward objects. Avoid lifting such objects whenever possible by using carts, dollies, and other mechanical devices or get adequate help. Before lifting any load, check for slivers, jagged edges, burrs, rough or slippery surfaces, and protruding nails. Check your intended path for obstructions.
Medication which might interfere with your alertness or ability to perform your work should be used only under a doctor’s direction. If you feel that any medication is impairing your work, please discuss this with your supervisor. Do not work while under the influence of illegal drugs or alcoholic beverages.
Keeping work areas safe
Good housekeeping should be maintained at all times. Walkways and work areas are to be kept clear of materials, trash, equipment and debris.
All cables should be neatly routed. Cables in walkways and traffic areas should be covered with mats and/or cable crossovers.
At a minimum, a four-foot perimeter should be kept clear around the interior of the stage walls. Make sure all exit doors are unobstructed, unlocked, and capable of being opened from the inside.
Always be aware of personnel working above and below you. All overhead equipment fixtures and props should be properly secured.
Safety on location
Working conditions may change from day to day, particularly on location. To prevent accidents, you need to be aware of your work environment and the equipment being used.
Be aware of general location safety concerns, including extreme temperature conditions, physical surroundings, indigenous critters, and nasty plants.
Familiarize yourself with emergency procedures for each location. You are responsible for knowing how to react in an emergency situation. Contact your supervisor if you do not know emergency procedures.
Fire and other hazards
Fire equipment (hydrants, extinguishers, sprinklers, hoses, etc.) must be accessible at all times.
All decorative set materials should be flame retardant or made of non-combustible materials if such materials will be exposed to hot lamps, fire effects, or other ignition sources.
Obey all “No Smoking” signs. Observe designated smoking areas and always extinguish cigarettes in the appropriate containers (butt cans).
If involved in any stunt, special effect, aviation sequence, water sequence or other potentially hazardous or unusual activities, attend any additional safety meetings held for that activity.
Reporting safety concerns and accidents
If you have any questions or concerns, or notice anything you believe could be hazardous and/or unsafe to the cast and crew, please talk to the Producer, Unit Production Manager, Shop Steward, or the school’s Head of Production. You will not be penalized in any way for bringing attention to safety concerns.
Report accidents immediately to your supervisor, the school’s Head of Production, and/or medical personnel. Follow instructions given to you when referred for medical treatment for any injury and retain documentation. All injuries must be reported to the school’s Head of Production on the date of occurrence.
Productions involving minors or infants must follow specific approval procedures, supervision requirements, scheduling limitations, and safety guidelines before filming may take place.
Working with children introduces additional legal, ethical, safety, and welfare responsibilities that require careful planning and oversight. Clear procedures help ensure that productions protect the well-being of minors while complying with school expectations and maintaining safe, professionally managed production environments.
Production Cycle Limitations
Working with minors and infants requires additional protections and restrictions, in accordance with child labor laws and the school’s FIST agreement. This requires a substantial amount of extra planning, to both ensure the safety of the minor and to plan production days with reduced work hours for the performer.
For these reasons, the casting of minors and infants is only permitted on advanced-level projects—F3, FC, M2, M3, MC—where students have sufficient time and training to coordinate the work of child actors.
Minors and infants are not permitted on F1 and M1 productions.
Minor Labor Agreement
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)
Coordinator of Child Labor
The Producer shall designate one individual on each set where minors are employed to act as Coordinator of Child Labor. The coordinator shall respond to all communications from the Head of Production regarding the employment of minor(s). The employer shall provide the name of the coordinator(s) to the Head of Production, the minor, the minor’s parent(s), guardian, and/or chaperon.
PARENTAL NOTICE OF TERMS 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 the Performance Agreement, the Minor Labor Policy Agreement, and, if applicable, the Minor Labor Policy Exemption Request.
AUTHORIZATION FOR MEDICAL CARE
Prior to the minor’s beginning employment, the Producer shall obtain written authorization from the minor’s parent(s) or legal guardian to consent for medical treatment on behalf of the minor in case of an emergency. This must be signed and documented on page two of the Minor Labor Policy Agreement.
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 UNDER 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.
SAFETY
If minors under the age of 18 years-old are involved in the production as cast or crew, the production should perform an initial review of their physical activity prior to rehearsal or filming. This should include:
the age, height, weight and maturity of the minor;
the physical fitness, coordination, expertise in the planned activity, and film experience of the minor;
the amount of additional information and movement the minor will be asked to consider (e.g., camera positions, acting, looking over shoulder, waving arms, etc.);
how wardrobe or props will affect the actions and/or vision of the minor;
the amount of rehearsal and preparation time which has been provided;
the appropriate amount of protective gear or equipment necessary to safely perform the activity;
the area around the minor during the activity;
any other factors affecting the minor.
Prior to rehearsal or filming the physical activity, key production personnel, such as the Director, First Assistant Director, Stunt Coordinator and safety professional, should confer with the minor and the minor’s parent/legal guardian to review and discuss the activity.
Rehearsals and filming of the physical activity should take place with the parent/legal guardian and the First Assistant Director present. If the situation warrants, a stunt coordinator or a person qualified to administer medical assistance on an emergency basis must be present (or readily available) at the rehearsal and filming of the activity.
If any aspect of the activity changes, a new discussion and/or meeting should be held and a new rehearsal should be considered.
If a consensus regarding the physical activity is not established, the minor, the minor’s parent or guardian, the stunt coordinator, the First Assistant Director, or the safety professional may request a re-evaluation of the activity in its entirety. If the planned activity is determined to be safe, but the minor expresses apprehension about performing the planned activity, he/she may refuse to do it.
Infant actors
Special safety precautions must be taken for infant actors who are fifteen-days to six-months old:
Hands should be washed before and after handling infants and after changing diapers.
Applicable laws and regulations pertaining to tobacco smoke must be followed.
When using special effects smokes the producer should take steps to prevent exposure of the infant to the smoke.
When substances are used for altering an infant’s appearance, provisions should be made for bathing the infant.
Foods which commonly cause allergic reactions should not be used to alter the appearance of the infant’s skin, unless their use is specifically approved by a medical doctor.
Once wardrobe and props have been issued by the production for use on/with an infant, the wardrobe and props should not be reissued for another infant without laundering wardrobe and disinfecting props.
Infant accessories should not be exchanged from one infant to another without first having been sanitized. Bottles, nipples and pacifiers should not be exchanged between infants.
Safety bulletins
The Industry-Wide Labor-Management Safety Committee provides the following safety bulletins related to minors and infants:
33
Special Safety Considerations when Employing Infant Actors (15 days to Six Months Old)
PG1
Special Procedures For Minors Performing Physical Activities
Download the relevant bulletins for your production here.