FC

Stage Reservation

Overview

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

Overview

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.

Location Damage

Overview

Location damage procedures explain what productions must do if a filming location is damaged during production activity, including how to report the issue and begin addressing responsibility for repairs or replacement.

These procedures are important because the school’s ability to film in the community depends on trust, accountability, and responsible stewardship of locations. Promptly reporting and addressing damage helps protect location owners, the production, and the school’s long-term relationships with community partners.

If damage occurs

If a crew member does cause damage to a location, that crew member should immediately notify the Producer.

The Producer should notify the location owner (or authorized agent) and the Head of Production, and then take whatever steps are necessary to repair the damage as quickly as possible and to the owner’s satisfaction.

The Producer should also ensure that an account of the damage is noted on that day’s Daily Production Report.

If an individual crew member is responsible for causing the damage, that crew member is solely responsible for paying for the cost of the repairs. If multiple crew members are responsible for causing the damage, each crew member must pay an equal portion of all repair costs. If it cannot be determined who caused the damage, the Producer and the Director must pay an equal portion of all repair costs.

Location Shooting Policies

Overview

Location shooting policies outline the responsibilities productions must follow when filming away from school facilities, including securing signed location agreements, completing location shooting plans, and properly documenting each place where the company will stage or film.

These requirements help ensure that locations are approved, expectations are clear, and productions are prepared to work safely and respectfully on property owned or managed by others. Careful location documentation protects the production, the school, and the location owner.

A Privilege to Be Earned

Location shoots are defined as any productions shot away from the immediate facilities of the College, located in University Center A.

The College relies heavily on the generosity of location owners to support our productions, so it is the responsibility of students to be good ambassadors for the College and leave location owners with a positive impression of the production.

Please note that it is not a requirement, necessity, or right for students to shoot on location. The College reserves the right to deny location shooting privileges to any production for any reason, be it safety, distance, community relations, storytelling concerns, or other factors.

Producer Responsibility

The Producer is responsible for communicating with the location owner or authorized agent all pertinent information concerning the production. Initially, this should include 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 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 authorized agent must sign these agreements prior to the start of any work at the location.

The Producer is required to complete and submit a Location Hazard Assessment checklist for each filming location prior to Production Prep. If any location hazards have been identified, then the Producer should complete a Hazard Notification Report to provide more information about the hazard and what corrective action will be taken.

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.

Local vs. Distant Locations

Overview

Local and distant location policies define whether a filming location falls inside or outside the school’s studio zone and explain how travel time affects the production day. Local productions are generally expected to remain within the studio zone, while certain productions may request approval to film at distant locations.

These distinctions matter because travel time affects safety, scheduling, crew workload, equipment logistics, and the amount of time available for filming. The policy helps productions plan realistically while giving the school a clear framework for evaluating when distant-location work is appropriate.

Local Locations

A local location is any location within the school’s studio zone.

When shooting at a local location the travel time will always be calculated from the College’s production offices in University Center A to the location base camp area, regardless of where individual crew members live.

Each day of production is allotted a penalty-free, one-way drive time of 30 minutes at the speed of the Grip Truck. Any distance from the production office to the location that exceeds 30 minutes will be considered a drive-time penalty and that additional time is subtracted from the 12-hour shooting day. Any drive-time over 30 minutes is a minute-for-minute penalty. Any unused time of distances shorter than 30 minutes may not be added to the shooting day or applied towards overtime.

All F1, F2, F3, M1, M2, and M3 productions must be shot at local locations within the studio zone.

Distant Locations

A distant location is any location outside of the school’s studio zone. 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.

F2, FC, and MC productions may request approval to shoot at distant locations outside of the studio zone.

Inquiry Letter to Location Owners

Overview

The inquiry letter provides sample language students may use when first contacting a location owner. It introduces the student production, explains the request, identifies the desired filming date or time frame, and communicates the production’s commitment to safety and professionalism.

A clear initial inquiry helps productions make a professional first impression and gives location owners enough information to decide whether they are open to a conversation. This supports stronger communication, better community relationships, and a more respectful location-scouting process.

Sample Messaging

Below is verbiage that you may use when contacting location owners by letter or email. Replace the elements in parentheses with the specifics for your particular request. You can, of course, also use this as the basis of a script for when you talk directly with a location owner.

Dear (location owner’s name),

Hello, my name is (your name) and I am a student at the Florida State University College of Motion Picture Arts. My team and I are currently in pre-production for a short film that I’m producing. The film is a (genre) and a few of the scenes take place in (briefly describe location). During a recent location scout we noticed your (home/office/location) and felt it might be just perfect for the project. We have some flexibility on the filming date but ideally our shoot would take place on (date) and between the hours of (when to when).

If you wouldn’t mind, I would love to take a few minutes of your time to talk about our film and see if arrangements could be made to film at your (home/office/location).

Safety is of utmost concern for our team. Our film crew is well-trained and professionally advised. Our crew understands the importance of working professionally with location owners and we take this responsibility seriously.

Please feel free to email me, or call at the number below if you would be interested in discussing the possibility of hosting our film shoot.

All community support we receive comes with a special thanks credit at the end of each film.

We appreciate your time and consideration.

Sincerely,

(Your full name)
(Your crew position)
(Your email)
(Your cell)

FIST Agreement

Overview

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.

Article 1: Union Representation

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.

Article 2: Work Day

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.

Article 3: Turnaround

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.

Article 4: Overtime

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.

Article 5: Meals

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.

Article 6: Travel

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.

Article 7: Minor Labor

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.

Article 8: Principal Photography

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.

Article 9: Second Unit Photography

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.

Article 10: Pick-Up 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.

Article 11: Re-Shoots

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.

Article 12: Reporting

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:

02m2 - Time of first shot after meal was completed - 2:37pm - 2nd AD

Article 13: Wrap

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.

Article 14: Insurance

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.

Article 15: Green Light

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.

Article 16: Hazardous Work

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.

Article 17: Discrimination Or Harassment

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.

Article 18: Grievance Procedure

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.

Article 19: No Strikes or Lockout

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.

Article 20: Location Responsibilities

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.).

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.

Appendix: BFA F3 Productions

Article Two

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.

Appendix: FC Productions

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.

Appendix: MFA M1 Productions

Article Two

i) Production Days: Each Production shall have one (1) assigned day for Principal Photography.

ii) Call Time Restrictions: Odd-numbered shows will start Set Decoration at 7:00am and must Company Wrap no later than 8:00pm. Even-numbered shows will start Set Decoration at 8:00am and must Company Wrap no later than 9:00pm.

Article Four

i) No overtime is permitted on the M1 cycle.

Appendix: MFA M2 Productions

Article Two

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.

Appendix: MC Productions

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.

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.

Production Vehicles

Overview

Production vehicle policies govern the use of school vehicles for location work, including driver approval, authorized use, and the responsibilities that come with transporting equipment and supporting production logistics.

School vehicles are a privilege, not a guaranteed production resource. Clear rules help protect students, equipment, and the school while ensuring that vehicles are used safely, responsibly, and only by approved drivers.

General Policies

Each level of project will have particular parameters that govern how the project may be executed, including the size and nature of the equipment package. Some equipment packages are only to be moved in or with grip trucks, generator trucks, or specialized trailers owned or rented by the College. All such vehicles are herein referred to as production vehicles.

These vehicles are not a requirement for production but a privilege. Productions that shoot on location must have authorized, approved drivers who have been hired for the purpose of driving the production vehicles for the duration of that production. The drivers must be capable of driving the vehicles, and assume all liability for driving the vehicles.

Drivers must be enrolled students in the College of Motion Picture Arts and must be an assigned member of the camera, sound, grip or electric department on that production. Drivers for a location shoot may not be from any other department, and may not be the director, producer, production designer or director of photography.

All students must qualify to drive the grip trucks, even though they may not ever be assigned to drive a truck. If a student refuses or fails to qualify to drive by not meeting all the requirements listed below, the student will forfeit the opportunity for a location shoot on the next project where they act as director.

Truck-Driving Qualifications

Below is a list of the requirements that must be met in order to qualify to drive the grip trucks. These requirements will be addressed during the Driver Training Course administered by ER personnel. Meeting all of these requirements is considered completion of the Driver Training Course.

Completion of a written test administered by College ER personnel. The study guide is available from the ER and a copy is on the server.
Completion of a physical driving test administered by College ER personnel.
Valid Florida Driver’s License.
When necessary, agree to a Department of Transportation driving background check.
Sign a waiver of liability with the College of Motion Picture Arts.
Provide a copy on file of Social Security card and Drivers License.
Completion of the online application & wizard forms to become an OPS employee.
Hired as an employee of Florida State University for the purpose of driving the trucks.
All trucks driven must have a driver and passenger at all times. The producers of the shows may designate the passengers with ER personnel having final approval. Passengers do not have to be employed by Florida State University. Passengers will act to support the driver by getting out of the truck and guiding the driver whenever backing up or maneuvering into a small space.

Only students currently on the College payroll are allowed to drive. If you were not specifically told that you were hired to drive on a given show then you cannot drive the trucks on that show. The ER will assign drivers for each show, and only the designated driver may drive the truck at that time.

Please note that the College has the right to deny truck usage to any student for any reason.

Truck-Driving Insurance

The State of Florida vehicle liability insurance is in effect solely during the period of time that you are acting as an employee of the College. You are an employee only while driving the vehicle to or from a film set for which you are the assigned driver. Your status as an employee begins the moment you enter the cab of the truck, and ends the moment you leave the truck. Driving the truck as an employee of the College is completely different and separate from working on the film set as a student. Insurance coverage ceases once you have delivered the vehicle to set.

As an employee of the State of Florida, insurance covers the following:

If you are in an accident the insurance covers physical damage to the other vehicles involved
Bodily injury to the driver and passenger of the other vehicles involved
Personal injury to the driver of the College vehicle

Insurance does not cover the following:

Personal injury to the driver before or after the assigned driving duties
Damage to College property, vehicles or equipment

Any student authorized and assigned to drive production vehicles must assume all liability with regard to the condition of the vehicle. All assigned drivers must attend equipment check-out and check-in to visually inspect the vehicle and sign the vehicle out/in. Any production without authorized drivers who are willing to assume responsibility for driving a production vehicle must shoot in the College studio.

Damage caused by an accident is the sole responsibility and sole liability of the student assigned to drive the vehicle at the time of the accident, regardless of actual or perceived fault.

Production Vehicles and Studio Shoots

Productions that choose to conduct studio shoots may work from the production vehicles in their assigned parking spaces, and are not required to provide drivers or assume any liability associated with driving the production vehicles.

Additional Information

The following additional information is included for your reference as/when you are assigned to drive one of the College vehicles.

Proof of registration and liability insurance coverage is located in the glove compartment, and must be displayed upon request to appropriate law enforcement officers.
Grip/camera trucks may not drive on roads prohibiting trucks, and must stop at all highway inspection/weigh stations.
Paints, solvents and gasoline are flammable materials, and warrant the usage of the appropriate “hazardous materials” indicator signs located on the outside of the box of the truck. Failure to display the appropriate sign, or to display the wrong sign, can result in serious fines. Any fines that result are the sole responsibility of the assigned driver.
A working fire extinguisher can be found in the cab of the truck. A second fire extinguisher must be carried in the box of the truck only if flammable materials are being transported.

Equipment Loss and Damage

Overview

Equal access to well-functioning equipment and facilities is a central tenet of our level playing field philosophy and is critical to the delivery of the curriculum. Equipment loss and damage policies explain the procedures and student responsibilities that apply when school equipment is lost, damaged, or improperly maintained during production activity.

These policies are necessary because classes and productions rely on shared equipment that must remain functional across many projects and production cycles. Clear procedures help maintain accountability, support timely repair or replacement, and reinforce responsible stewardship of school resources.

Fixing or modifying equipment

Attempting to repair, modify and/or “jerry rig” College equipment is strictly prohibited. Equipment will invariably be broken in the course of a production, and many times there is a strong urge to attempt to fix the equipment on site. Serious and dangerous situations can arise when equipment is modified. This policy is in place for the protection of all cast and crew members, as well as to protect the equipment and ensure for its future use. Violation of this policy will subject the student to restriction and possible loss of ER privileges.

Equipment loss and damage fee

In the course of normal use, equipment and facilities will inevitably be damaged or get lost. To assist in the maintenance and replacement of equipment and facilities the College has enacted an Equipment Loss and Damage (ELD) Fee. This fee applies to ALL College equipment and facilities including, but not limited to, production equipment, post-production equipment, lab computers, classroom furnishings, and structural elements such as walls and ceilings. When discussing loss or damage it should be noted that the word “equipment” refers to all production and post-production equipment and all facilities and their contents.

This fee was created to accomplish the following goals:

To ensure that the College always has a fund dedicated exclusively to repairing and replacing the equipment necessary for the education of our students. This fund will protect both current and future students.
To ensure that each student maintains fiscal responsibility to the proper and safe use of the College’s equipment, while making sure that the student will not be overly harmed by the cost associated with replacing state-of-the-art equipment beyond the student’s fiscal capability.
To create an account that can carry forward unspent funds, thereby eventually creating a pool of funds capable of replacing high-end, expensive equipment.

This fund is not only for current students using the equipment, but also for the protection of the equipment for use by students from year to year. Every student enrolled in the College will pay the ELD fee each semester of enrollment, regardless of whether they are currently using the equipment or facilities. This does include students who are completing an internship in another state, or those students only enrolled in 1 credit hour a semester.

The ELD fund works exactly like an insurance policy. Every student pays into the fund each semester they are listed as a film major. Any time a student loses or damages a piece of equipment he or she will be responsible for paying a deductible of up to $1,000 for capital items (items valued at $5,000 or more) and $500 for non-capital items (items valued at less than $5,000). Any cost to replace or repair the equipment beyond the $1,000 or $500 deductible will be covered by the ELD fund. This deductible is applied to each individual piece of equipment.

For example, a student drops a lens and also breaks a filter on the lens. The cost to repair the lens (a capital item) is $1200 and the cost to replace the filter (a non-capital item) is $150. The cost to repair the lens is above the capital item deductible so the student will be responsible for the first $1,000 and the ELD fund will cover the remaining $200. The filter is below the non-capital item deductible, therefore the student will owe the entire $150. Therefore, the student will owe the College $1,150 ($1,000 for the lens, plus $150 for the filter).

If multiple students are held responsible for the loss or damage of equipment, then the cost to repair or replace will be determined for each piece of equipment and the final cost to the students will be split between all responsible parties for each piece of lost or damaged gear.

Once the fee is paid to the university and deposited into the College budget, the Dean determines the allocation of those funds. Funds not spent at the end of each semester are not refundable.

The ELD fund only covers the incidental and accidental loss or damage of equipment. Any act of gross negligence or willful destruction that results in loss or damage to equipment or facilities will not be covered by the ELD policies and the student(s) responsible will be held solely liable for the entire cost of replacement or repair, and may also be placed on probation or dismissed from the program.

Payment for lost or damaged equipment

At the end of each production cycle, all responsible parties will be identified and assessed charges for any lost or damaged gear. This process is done as close to the industry standard as possible. A Loss/Damage Report will be generated for each production and delivered to the Producer. In addition, an invoice for all missing and damaged equipment from that specific show will be generated and delivered to the Producer and the responsible party/parties.

Payment will be required in a timely fashion and a receipt will be given. All checks are to be made payable to Florida State University and delivered to the Equipment Room Manager. A payment plan option or other contingency payment options may be available and must be arranged with the Equipment Room Manager. Failure to pay for any lost and/or damaged equipment may result in probation or dismissal from the program.

Normal wear-and-tear

It is understood that, during use, equipment may become damaged in minor ways. This is viewed as normal wear-and-tear. Therefore, students will not be responsible for the cost to repair damage that is classified as normal wear and tear. The Equipment Room Manager will be responsible for classifying the damage as normal wear-and-tear, lost, or damaged.

In-Field Equipment Transfer

Overview

In-field equipment transfers govern the process of transferring responsibility for school equipment between productions while equipment is off campus or actively in use during production activity.

Because productions often operate across multiple locations and shooting days, equipment responsibility must remain clearly documented at all times. Formal transfer procedures help maintain accountability, reduce confusion about custody of equipment, and protect both students and the school in the event of loss, damage, or missing items.

How It Works

Due to the constant productions at the College, students will sometimes be required to hand off the truck and its contents from one show to another without going through the ER as an intermediary, thereby sharing the use and responsibility of the gear equally across productions. This is the most misunderstood yet most important aspect of the check-out/check-in process. It is crucial to understand the ramifications.

Each equipment package (grip, lighting, camera, etc.) has a check-out department head/team and a check-in department head/team. In the field, the check-out department head/team hands over the Equipment Check-out Manifest to the next show’s department head/team responsible for the equipment. Each of these department heads/teams signs the equipment manifest. The second show’s students use the gear on the assigned production, use it responsibly, maintain its order, and ensure it is returned safely to the truck.

Check-out

The check-out head/team signs the manifest at check-out. This signature is an acknowledgement that the check-out head/team has thoroughly checked through every piece of gear on the manifest and verifies that it is in working order. If there was equipment missing from the manifest it should be either replaced or noted on the manifest itself. Once this manifest is agreed upon by the ER and the department head/team, and is signed by the department head, all the equipment becomes the responsibility of the department head/team that signed it.

In-Field Transfer

When the check-out head/team is finished with the production, s/he gives the truck, equipment, and its contents, along with the manifest, over to the check-in department head/team. This is done in the field and not under the supervision of the ER. At this point, the check-in department head/team becomes partners with the check-out department head/team. It is at this time that equipment damage should be communicated from the first show to the second show. If there was any missing or damaged equipment on the first show, the check-out department head/team must communicate this damage to the check in department head/team by noting it on the equipment manifest.

Failure to complete this crucial step will not release any students from fiscal responsibility for lost or damaged equipment.

Check-in

After the second show, during equipment check-in, the check-in head/team signs the manifest. This signature is an acknowledgement that the check-in person has thoroughly checked through every piece of gear on the manifest and verifies that if there is missing/damaged gear it has been noted on the manifest and the responsible parties have been noted. Once signed, the check-in person agrees with the ER regarding the accuracy of the equipment count and the state of the gear.

Disputes

If there is a dispute about which production had the missing/damaged equipment, then both department heads/teams will be assessed and will split the cost of repair or replacement. The deliberation of any grievances related to responsibility of loss or damage, or any arbitration of the policy governed herein, will lie solely with the Associate Dean. Any grievance must follow the chain of command prior to being brought to the desk of the Associate Dean.

Chain of Command:

Level 1 – Equipment Room Personnel
Level 2 – Equipment Room Manager
Level 3 – Head of Production
Final Word – Associate Dean

Any grievances regarding equipment or policies must be submitted in writing within five business days after the incident or notification of the incident.