FC

Prep Meetings (FC)

Story Meeting

Required: WR/DR • Optional: PR/PD/DP/ED

This meeting is an opportunity for writers/directors and the Writing & Directing instructors to reflect upon the story. It’s an opportunity for the director to convey their vision and explore it with the faculty. The meeting will be primarily conceptual — more about dreaming than practical logistics — but we will touch on production elements where relevant.

Post the latest draft of the script to the show’s Teams channel at least 24 hours in advance.
Optional: Any visual references that might be helpful.
Optional: Any casting hopes or possibilities.

Casting & Locations Meeting

Required: DR/PD • Optional: PR/DP

This meeting with the Acting & Directing instructors will begin the work of bridging the gap between dream and reality: how a mental image of a character might be brought to life through the casting of a specific actor, and how a creative vision of the story world might translate into the practical mechanics of building it. It is still an exploratory meeting, but one tailored towards how you might accomplish the grand vision — especially with regards to locations and casting possibilities.

Post the latest draft of the script to the show’s Teams channel at least 24 hours in advance.
The characters:
- Post all casting breakdowns before this meeting.
- Bring pictures of your intentions.
- If you’ve already cast a role: show a photo and discuss the qualities they bring to the role.
- If you’ve not cast a role yet: share the feeling that a famous actor/artist may evoke for you, and then show your own approximation to that feeling from our own casting resources.
- In the meeting, show and discuss video auditions of possible actors. Make sure videos are in a playable format.
The world:
- Regarding locations, a clear, and distinct collage of pictures, frames, ideally taken by one of the ATL members. Google images may not be an accurate representative of the project.
- Bring pictures of your intentions. For example, if Tallahassee must double for NYC, show pictures of the NYC you imagine and some possibilities in the nearby area for where you might shoot. Or, if a space ship is to be built, show some reference images and discuss how you will approach fabricating it.
- Address the plan for any other specifics that could be complex, such as VFX, props, make-up, costumes, etc.
- Be prepared to also think outside of the box for alternative solutions — to enhance the storytelling, maximize production value, and/or address practical challenges.
- Be prepared to think about how to reduce scope, if needed.

Production Logistics Meeting

Required: PR • Optional: DR/PD/DP

This meeting with the Head of Production is a follow-up to last semester’s logistics meeting. It will focus on reviewing what’s been accomplished since the last meeting and identifying what’s left to do, setting a plan in place for tackling any unresolved logistics.

VFX Meeting

Required: DR/PR/VFX Supe (if applicable) • Optional: PD/DP

This meeting with the VFX instructors is only for shows that are planning visual effects. It’s a follow-up to last semester’s VFX scope meetings and will focus on the reviewing and approving of the show’s VFX breakdown.

Send the VFX breakdown to JStone at least 24 hours in advance.

Director’s Prep

Required: DR/PD/PR/DP/1D/2D/AR

This meeting with the Directing & Cine instructors will focus on the practical plan for how the holistic vision for the film will be executed. These preps will take place a few days before the start of production, so all cast and locations should be locked. The exact format of the prep will be decided upon by the faculty and the creative team of each show; it could take place at a key location or at the school. The goal is to make this a practical, productive work meeting to help the shows get prepared for the shoot (rather than a dog-and-pony show) and students will have the flexibility to present their plan in a manner that best suits their process and the priorities of the show.

In advance of the meeting, students should share prep materials for the following in the show’s Teams channel and should be prepared to discuss them at the prep session:

The latest draft of the script with numbered scenes (shared at least 24 hours in advance).
Update the Scope Breakdown (Google Sheet) in advance of the meeting.
A director’s statement: a simple, one-page document that clearly states the filmmaker’s vision.
Visual references that convey idea behind the film: e.g., mood boards, tone clips, and/or look books.
Any other materials that the director may think are helpful in conveying their vision.
Definitive casting choices. Rehearsal notes, if present.
A cinematographic plan from the perspective of both the director and their DP. Any tests would be very much appreciated.
Coverage plans for each scene: e.g., storyboards, overhead diagrams, and/or lined scripts.
The production board (header board and a strip for each scene in shooting order) and a provisional set-up schedule.

If there are any areas where there are still things that need to be figured out, students are encouraged to be candid about it so that we can use this prep time to discuss a plan of attack for those unresolved tasks.

The 1st AD will be tasked with taking notes during the prep, making certain to document faculty concerns and related resolutions. The 1st AD should have a complete understanding of any and all topics of discussion. They should be able by the end to enumerate the points made and possible alternatives after the meeting. They will also be responsible for the creation of an Action Plan to address notes, even if it means finding an alternative solution.

Contingency Protocol in the Event of an FC Crew Member Being Out

Protocol

If a crew member is unable to report to work during principal photography, they must contact the show’s Producer and the Head of Production as soon as possible, and no later than two hours before call time.

The Producer and the Head of Production will work through the following steps in sequence to determine the most appropriate solution:

If the Director (or double-partner) is unable to work, advance to Step 8.
If the “on-call” person has not yet been deployed, they step into the position. If they are already deployed, then…
Check to see if having a smaller crew and consolidating positions will work. If that is not viable, then…
Check to see if there is a BFA3 student who isn’t working that day and is available to fill in. If that is not viable, then…
Check to see if there is a BFA2 student who isn’t working that day and is available to fill in. If that is not viable, then…
Check to see if there is an MFA2 student who is available and interested in filling in. If that is not viable, then…
Check to see if there is a BFA1 student who is available and interested in filling in, shuffling crew positions if the BFA1 isn’t adequately trained in the position that needs filling. If that is not viable, then…
Postpone or cancel the shooting day, reworking the schedule as needed.

Offloading Media Cards

The CMPAFilmPost Server is where you will offload all of the Original Camera Files (OCF) and Production Audio. Every computer the Post Hall has ShotPut Pro installed as well as a Red Mini Mag reader and a multi card reader attached.

ShotPut Pro is a software which not only copies video and audio files but will also verify the copies afterwards and make reports documenting that the offload was successful. These reports will be uploaded to Frame.io so that the production can keep track of when the media was offloaded and verify that the offload was successful .Every media card used on a production must use ShotPut Pro for offloading to the proper folder tree on CMPAFilmPost to assure the productions video and audio assets are safe.

Mounting Media Cards

The Assistant Editor (AE) will retrieve the Red Mini Mag (containing the video), the SD card (containing the audio), and the camera reports from the ingest room cubby and bring them back to their assigned suite on the post hall for offloading. Production should have applied red tape to show live media was on them and labeled them as shown.

Remove the tape and insert the cards into the corresponding readers, they will mount like an external hard drive and appear on the desktop.

Offloading Media with ShotPut Pro

After both media cards are mounted launch ShotPut Pro from the dock.

When it opens it will appear as shown below. Notice how the media cards and the Server are shown on the left of the screen.

To offload the entire contents of the Red Mini Mag drag the disk icon and drop it in the box labeled “offload from”.

Next you will need to tell ShotPut in what folder on the CPMAFilmPost Server you would like to offload to. Navigate down into the folder tree on the left hand side until you find the proper Show and Day folder for your production. Then drag the folder icon and drop it in the box labeled “offload to”.

In the field labeled “Job Identifier” fill in the information for this offload in the following format: Production#_Day#_Card#.

Before starting the offload you will need to check a few settings. First under “Verification Options” make sure the type is set to “MD5 Checksum”. This is a good balance of speed and security.

Next make “Report Preferences” and make sure that all the options are check as shown in the example below. This won’t effect the actual offload at all but it will dictate how the pdf that is generated after the offload will be formatted.

When everything looks good you can start the offload by selecting the Blue Arrow.

On the right hand side you will see the progress bar appear and you can monitor how long it will take. It will go through several phases as shown below and ho long it takes is dependent on how much media was on the card.

While the video is being offloaded you can go ahead and set the audio offloading at the same time. Just repeat the same process as you did before. To offload the entire contents of the SD Card drag the disk icon and drop it in the box labeled “offload from”.

Next navigate down into the folder tree on the left hand side until you find the proper Show and Day folder for your production. Then drag the folder icon and drop it in the box labeled “offload to”.

In the field labeled “Job Identifier” fill in the information for this offload in the following format: Production#_Day#_Card#.

You can click the blue start arrow again and it will sue up your next offload. When both media cards have finished offloading and are verified it will appear as shown below.

The media is now safely offloaded to the CMPAFilmPost Server.

Verification Reports

You can find the verification reports alongside the media in the folder that you pointed ShotPut Pro toward.

The Verification Reports should look like the examples below.

After checking the reports upload them to the appropriate show folder on Frame.io.

Wrap Up

The SD card will need to be erased after you have verification from ShotPut Pro that the data was transferred safely. Remember to empty the trash after deleting the sound card media as that is the only way to free up space on the card. You do not need to erase the Red Mini Mags as they will be reformatted the next time they are put in the camera. Return the media cards to their cases and return them to the shows cubby in the ingest room. Now that the tape has been removed production will know that they are clear to be used again.

Mounting Servers and Show Volumes

Mounting CMPAFilmPost

CMPAFilmPost or “the post hall server” should always be mounted on the desktop of your machine and will look like the example below.

If for some reason it is not mounted type “Command” + “Spacebar” on the keyboard.

This will bring up the Spotlight Search function.

Type in “cmpafilmpost”. This will find an app that will mount the server. Hit “Enter” and it mount and you will see it on the desktop.

This is the main post hall server. This is where your Original Camera files and Production Audio will live.

Mounting Show Volume

Each film will have its own individual “Show Volume”. This is where your Media Composer Project and ProTools Project will live. You will need to mount the volume specific to the film you are working on.

To do so type “Command” + “K” on the keyboard.

This will bring up the “Connect to Server” prompt. Type in the address:
smb://cmpa-w-fs05.film.fsu.edu

This will show all the possible show volumes that are available to choose from. Select your show number and then hit OK.

It will mount on the desktop and will look like the example below.

This is the folder structure inside.

Mounting TestShare

TestShare or “the Z Drive” is the server used for VFX and Animation work. If you need to mount it type “Command” +”K”.

This will bring up the “Connect to Server” prompt. Type in the address:
smb://cmpa-w-fs04.film.fsu.edu

You will need to enter your FSU ID and Password.

After that it will let you choose “TestShare”. Click OK to mount it.

It will mount on the desktop and will look like the example below.

This is the folder structure inside.

Special Equipment Request Form

Production Paperwork

Special Equipment Request Form Download (PDF)

Program Still Template

Production Paperwork

ProgramStill-template Download (PSD)

Instructions

This is a template to ensure that the stills in the program for graduation are all formatted correctly. The instructions are pretty straightforward:

Once the program still has been decided, drop it into this template.
Make sure the image fills the entire template, edge-to-edge. Do not include any black bars in the program still.
Export as a .jpg file at 300ppi resolution.

Press Kit Template

Production Paperwork

Press-Kit-template-2021 Download (Doc)

Thumbnail Templates

Production Paperwork

Horizontal thumbnail template:

Horizontal-Thumbnail-template Download (PSD)

Vertical thumbnail template:

Vertical-Thumbnail-template Download (PSD)

Instructions

Thumbnail images will be used in displays online (Vimeo, YouTube, etc). Since some websites use horizontal thumbnails (1920×1080) and some use vertical thumbnails (1200×1600), you will deliver one of each.

Do:

Save a flattened JPG file (maximum file size 2MB) and a layered PSD file (also deliver any custom fonts used).
Keep all of your layers inside the appropriate folders, so that everything remains well-organized when you deliver the final Photoshop file. Make sure all of your layers have appropriate names, so that someone else could make sense of what each layer is.

Do Not:

Do not adjust the dimensions or resolution of the file. It’s set up to meet the specs needed for online viewing.
Note these online content restrictions for the thumbnails:
- No nudity or sexually provocative content
- No hate speech
- No violence
- No harmful or dangerous content

Additional Photography Request

Production Paperwork

Additional Photography Request Download (PDF)

Instructions

This form should be used by Producers to make a request to the Head of Production for additional photography outside of the regularly scheduled shooting days on the crew grid. Since additional photography involves time and resources, requests will not be approved automatically. Approvals will only be granted if the time and resources are available and if students make a compelling case for why the footage cannot be shot during regular principal photography.

Indicate on the form the type of additional photography that is being requested:

ESTABLISHING SHOTS OR B-ROLL
Check this box if the request is for 2nd Unit shots that cannot easily be scheduled during regular principal photography. Typically these would be for shots that need to be shot at a discrete location without the involvement of principal actors, such as establishing shots at an inconveniently place location or B-roll of events that are occurring outside the regular production window.
VFX PLATES OR ELEMENTS
Check this box if the request is for background plates or other photographic elements that are needed to complete visual effects shots.
PLAYBACK CONTENT FOR SCREENS
Check this box if the request is for video content that would need to be shot in advance of regular principal photography in order to be played back during production.
PICK-UPS
Check this box if the request is for pick-up photography. Only FC and MC shows may request pick-ups.
RESHOOTS
Check this box if the request is for the reshooting of a scene where circumstances beyond the students’ control resulted in footage becoming unusable. Typically, trying to solve the problem through editorial fixes will need to be explored before a reshoot is approved.
OTHER
Check this box if the request is for something different than the above examples, and provide a brief description of the type of additional photography that’s being requested.

Requests for additional photography must also include the following information:

the exact nature of the subject content to be shot;
the reason why it cannot be shot with the first unit crew during principal photography;
the date, times, and location of the proposed shoot;
a summary of the equipment plan for the shoot, including any requests for school equipment;
the crew required for the proposed shoot, including names and signatures (you’ll need to determine how many crew members you need and you’ll need to recruit them).
any additional supporting documentation can also be attached as needed.

Submit the completed request form to the Head of Production. Leave adequate time for the Head of Production to review the request and be prepared to make adjustments if any concerns need to be addressed. The Head of Production’s decision on whether to approve or deny the request is final.

Goodwill Letter

Production Paperwork

Goodwill Letter DOWNLOAD (PDF)

Instructions

This letter may be used as an agreement between a student and Goodwill for the borrowing of clothing or props from a Goodwill store.

Students must present a signed copy of the letter and a valid credit card at the time of pick-up. Goodwill keeps the credit card on file until all borrowed items have been returned. The credit card is only charged if items are returned in a worsened condition or if items are not brought back by the agreed upon return date. In such circumstances, students are liable for the full cost of the item.

Please note that individual Goodwill stores are not obligated to loan out items, and may choose at their discretion whether to enter into an agreement with a student.