FC

Lab Policies

Overview

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.

Production Meeting

Overview

Production meetings bring together key department heads and production personnel to review the status of a project, coordinate logisitics, identify concerns, and align departments prior to filming. All crew members (leadership team & below-the-line) must attend the meeting.

These meetings are important because film productions rely heavily on communication and coordination across multiple departments working simultaneously under tight schedules. Structured production meetings help reduce misunderstandings, improve planning, and allow productions to identify and solve problems before they affect filming.

Before the Meeting

The Producer is responsible for the following, but may be delegated to an AD if one is assigned to pre-pro.

Post the latest draft of the script to the show’s Teams channel.
Remind all crew members of the meeting time.

At the Meeting

The Producer is responsible for running the meeting by doing the following:

Opening remarks. Welcome everyone. Go around room and state your position on the show.
Make sure everyone has the latest draft of the script that was posted to the Teams channel pulled up in front of them.
Read through the action of the script, stopping after each scene for questions & comments. Each crew member should anticipate anything that would be helpful to discuss (e.g. safety, special equipment, sound, special effects, visual effects, etc.).
Give overview of location(s) and production schedule.
If applicable, discuss safety protocols for any hazardous conditions. Reference appropriate Safety Bulletins as needed.
Discuss any other logistics (e.g. dietary concerns, car pooling).
Director’s brief comments.
Producer closes the meeting.

Casting Breakdowns

Overview

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.

Sample Audition Email to Actors

Overview

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

Sample Regrets Email to Actors

Overview

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

Overview

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

Overview

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.

Toolkit For Directing Actors

Overview

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!

Animal Use

Overview

The safety of working animals and the persons working on such productions shall be of primary concern. This page outlines the policies, approval procedures, and safety expectations governing the use of animals in student productions.

Animals introduce additional safety, welfare, liability, and logistical considerations that require careful planning and oversight before filming can take place. Clear procedures help productions protect both the animal and the crew while ensuring that productions approach animal-related filming responsibly and within school guidelines.

FSU Animal Care and Use Committee

Producers are required by Florida State University policies to file a request for review of animal use by the Animal Care and Use Committee (ACUC).

This request must be submitted well in advance of the start of the production, as it will usually take a number of weeks for a request to be approved. If a production does not receive approval from the ACUC in time for production, the use of an animal is not permitted.

Animal Wrangling

Animals are unpredictable and only qualified professional trainers and/or wranglers should be allowed to work with animals on productions. Defer to the animal trainers at all times and do not feed, pet, or play with any animal without the permission and direct supervision of its trainer.

For more information on this topic, please refer to the American Humane Association’s Guidelines for the Safe Use of Animals in Filmed Media.

Communication of safety information

Notice shall be given prior to shooting, on the call sheet and safety bulletin, that animals are working.
It is the responsibility of the trainer to convey to the cast and crew specific safety concerns relative to the animals being used. The trainer shall address the cast and crew (including the parent and/or guardian of any children on the set) regarding safety precautions while animals are on the set (e.g., maintain a safe distance from wild and exotic animals, no feeding, no running, escape routes, etc.)
A “closed set” notice should be posted on all stages where animals are working and every effort should be made to maintain a closed set where animals are working on location.

Equipment safeguards

An easily accessible area shall be available for loading and unloading animals.
Equipment operated in conjunction with working animals should be in a safe operating condition as determined by the trainer and/or wrangler in conjunction with the property master.
Scenery and props should be secured. Objects (e.g., ladders, pedestals, etc.) that easily tip over can startle the animals.
All hitch rails shall be fastened in the ground in such a manner that the tugging of a frightened horse cannot pull them loose (e.g., sleeve installation). On a stage, hitch rails will be bolted or fastened in a rigid manner.
Basic animal safety equipment such as fire extinguishers, fire hoses and nets should be readily available. An easily accessible area shall be available for loading and unloading animals.
The smell of alcohol has a disquieting effect on animals. All precautions shall be taken in that regard when animals are working.

Medical safeguards

The trainer or person supplying the animal shall be responsible for obtaining all necessary inoculations, permits, licenses, and medical safeguards.
Depending on the types of animals being used, and the filming location, consideration should be given to providing onsite emergency medical transportation, with qualified medical personnel, up to and including advanced life support, as necessary.
Extreme caution should be taken when using exotic venomous reptiles. The proper antidote (anti-venom) should be selected depending upon the type of reptile. Location of the antidote shall be predetermined and printed on the call sheet.
The American Humane Association (AHA) guidelines on the treatment of animals used in film making state that a tranquilization and/or sedation on set for the sole purpose of film making is prohibited. As a safety backup, consideration should be given to the availability of tranquilizing equipment. Potentially dangerous or complicated animal action should warrant the presence of a qualified veterinarian.
The smell of alcohol has a disquieting effect on animals. All precautions shall be taken in that regard when animals are working.

Large animals

Under no circumstances should horse falls be accomplished by tripping or pitfalls.
Horses being used on a production shall be properly shod for the working surface (e.g., borium, rubber shoes, etc.).
There should be two handlers for each large undomesticated animal such as a large cat or carnivore (mountain lion or larger).

Safety bulletins

The Industry-Wide Labor-Management Safety Committee provides the following safety bulletins related to animal use:

6	Animal Handling Rules for the Motion Picture Industry
12	Guidelines for the Use of Venomous Reptiles
31	Safety Awareness When Working Around Indigenous Wildlife

Download the relevant bulletins for your production here.

Weapons

Overview

The use of weapons requires the utmost attention to safety protocols and special clearances from the Head of Production (HOP) and the local police. This page outlines the policies, approval procedures, and safety requirements governing the use of prop firearms or other weapons in student productions.

Weapons-related activity introduces significant safety, liability, public communication, and operational concerns that require careful oversight and planning. Strict procedures help productions reduce unnecessary risk, communicate clearly with faculty and staff, and maintain safer working environments for cast, crew, and the surrounding community.

Limitations on Use

When prop weapons are used, it involves a substantial amount of extra time and planning to ensure the safety of everyone on set.

For these reasons, the use of prop weapons is only permitted on advanced-level projects — F3, FC, M2, M3, MC — where students have sufficient time and training to acquire a weapon use authorization and coordinate the production safely.

Prop weapons are not permitted on F1 and M1 projects, or for class homework assignments.

Important Guidelines

Treat all weapons as though they are loaded and/or ready to use. Do not play with weapons and never point one at anyone, including yourself. Follow the directions of the Property Master and/or Weapons Handler regarding all weapons.

The use of firearms and other weapons may require special permits and/or operator certifications. Anyone that will be using a weapon shall know all the operating features and safety devices. All weapons must undergo thorough safety inspection, testing and cleaning on a daily basis by qualified personnel.

Anyone handling a weapon shall receive the proper training and know all operating features and safety devices.

If weapons are used in filming, the designated Weapons Handler must meet with cast and crew and inform them of the safety precautions in effect and answer any questions. Specific safety bulletins for the type of weapon being used must also be attached to call sheets.

Prop Weapons Protocol

If you are planning on using prop weapons (handgun, shotgun, rifle, etc.), you must follow this protocol:

Complete the weapon authorization request form.
Send the completed form to the HOP for review. The HOP will either require changes or will provide authorization for you to go to the next step.
Using one of the email templates for weapons notifications, email the following people about the project (and include the authorization request):
- If filming in the City of Tallahassee: Sgt. Jon Schulze of the Tallahassee PD at jonathonschulze@talgov.com. If filming outside the city, you’ll need to find the contact information for the police or sheriff’s department that has jurisdiction over the location where you plan to film.
- Lieutenant Edwin Jacob of the FSU PD at ejacob@fsu.edu (even if you’re filming outside city limits).
- The HOP for your program. BFA: jstone@fsu.edu. MFA: tciarlariello@admin.fsu.edu.
Once you have made contact with the local jurisdiction and received a response, the approval process will be determined. The PD approval may be in the form of an email. If so, you are to save a copy of the email as a PDF and include it with the Authorization Request when submitting delivery.

If you are using a weapon such as a knife or other potentially dangerous or hazardous prop, the process may be the same, but contact the HOP directly to discuss next steps.

On the Day of Filming

Announce weapon use at the top of the day safety meeting, and again when the new deal / set up for the scene involving the weapon begins.
If filming within Leon County (regardless of PD or Sheriff Jurisdiction): 30 minutes prior to camera roll on any scene involving the weapon, you must always call the CDA (Tallahassee Leon County Consolidated Dispatch Agency) at 850-606-5800. This is to inform them that the scene is about to be filmed. This must only be done when you are sure of the filming schedule. If you are filming close to campus (within a three-mile radius) please also call the FSU Non-Emergency line at 850-644-1234, and let them know you’re about to film.
If filming outside Leon County, follow the guidelines provided by the authorizing agency, which should include contacting their local dispatch or non-emergency numbers. But you should plan to ask and find out what their process is.
This process should be followed whether you’re filming in a public location or a private location, and whether filming indoors or outdoors.

Safety bulletins

The Industry-Wide Labor-Management Safety Committee provides the following safety bulletins related to weapons:

1	Recommendations For The Use Of Firearms, Blanks, And Dummy Rounds
2	Prohibitions And Special Restrictions On The Use Of Live Ammunition
30	Recommended Guidelines for Safely Working with Edged, Piercing, and Projectile Props

Download the relevant bulletins for your production here.