FC

Goodwill Letter

Overview

This page provides a letter that students may present to participating Goodwill stores when requesting the temporary loan of items for use in a production. The letter is intended to help communicate the nature of the arrangement and verify the production’s affiliation with the program, but individual store locations retain full discretion over whether they choose to participate or loan items to a 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.

FC Production Specs

Overview

FC projects are expected to follow a defined set of production specifications and content parameters. These guidelines are designed to establish manageable limits for production scope, including factors such as page count, shoot days, cast size, locations, visual effects, stunts, intimacy, animals, weapons, and other complex production elements.

These specifications help ensure that projects can be completed successfully within the available schedule, crew size, resources, and experience level associated with the course. The goal is not to limit creativity, but to help students learn how filmmakers shape strong stories within the practical constraints of time, safety, logistics, staffing, and available resources.

Content specs

Page count	4 pages (minimum) 7 pages (maximum)
Story runtime	4:00 (minimum) 9:00 (maximum)
Credits runtime	1:00 for credits + 0:10 for leader
Total runtime	5:10 (minimum) 10:10 (maximum)
Quantity of scenes	No limit
Quantity of locations	The script can include a variety of locations as sluglines, but you should plan to be able to shoot them all at no more than three actual locations
Quantity of characters	No limit
Children	Yes
Animals	Yes
Weapons	Yes
Stunts	Yes
Intimacy	Yes
Visual Effects	Must be approved by the Head of Visual Effects before production

Production specs

Shooting days	3 days by default. Students may petition for a 2-day or 4-day shoot.
Length of workday	12 hours
Earliest call time	6:00AM
Latest wrap time	12:00AM
Night shoots	No
Locations per day	1 location by default. More than one location in a given day requires approval from Head of Production.
Distance to location	Can make a distant location request for outside the studio zone. Distant locations cannot be more than 2.5 hours from the school.
Pick-up days	Can request 0.5 days (not guaranteed)

Capture specs

Camera package	RED
Frame rate	24.000p
Sensor mode	7K FF
Capture resolution	2048 x 1080 (2K)
Capture aspect ratio	1.90:1
Approved mattes	1.37:1 • 1.66:1 • 1:85:1 2.00:1 • 2.39:1
Capture format	MOV
Codec	ProRes 4444
Gamma/color space	RWG / Log3G10
Color processing	IPP2
Output color space	Rec. 709
Output tone map	Low Contrast
Highlight roll-off	Very Soft
Sampling	4:4:4 12-bit
Bitrate	302 Mbps (VBR)
Production sound	Dual system

Data allocation

Pages per day	3 4/8 pages (two-day shoots) 2 3/8 pages (three-day shoots) 1 6/8 pages (four-day shoots)
Shooting ratio	25:1
Data rate	2.6 GB/minute
Data per page	65 GB
Total data	455 GB
Total dailies	175 minutes

Post-Production

Pic edit software	Media Composer
Pic edit days	9.5 days
Turnover days	0.5 days
Pic edit location	Post Hall

Sound design software	ProTools
Sound design days	10 days
Sound design location	Post Hall
Sound mix days	0.5 days
Sound mix location	Mix A, Mix B

VFX scope	Must be approved by Head of Visual Effects
VFX software	Must be approved by Head of Visual Effects
VFX days	Variable, based on crew grid
VFX location	Digital Artist Suites

Coloring software	DaVinci Resolve
Coloring days	2 days
Coloring location	Post Hall

RED Camera Settings

Overview

RED Digital Cinema Camera settings establish the standardized configurations used during production, including recording formats, resolution, frame rates, compression settings, color management, monitoring configurations, and other technical parameters necessary for consistent image capture workflows.

Maintaining consistent camera settings is critical because technical inconsistencies during production can create major complications later in editorial, color correction, visual effects, and final delivery. Standardized settings help ensure smoother post-production workflows while teaching students the importance of technical discipline, communication, and consistency within professional digital cinema production environments.

Format

Resolution: 7K

This refers to the amount of the sensor that will be used, not necessarily the resolution of the file being recorded. The 7K resolution ensures that our lenses will project properly onto the sensor.

Aspect Ratio: FF

The aspect ratio needs to be set to FF (Full Frame). This refers to the aspect ratio of the above resolution, and FF ensures that the recorded file will be 2K (2048×1080).

Codec

Record File Format: Avid DNxHD/HR

Resolution: 2K

This refers to the resolution of the recorded file. When you select 2K, confirm that the dimensions are listed as 2048×1080. If the dimensions are listed as something different, check to make sure that the aspect ratio (see above) is set to FF.

Video Codec: AppleProRes 444

Baked-In Settings: RWG/Log3G10

This ensures that the video file will be recorded in Log which allows a bit more leeway in color correction.

Image Pipeline

Mode:IPP2

This is RED’s latest, recommended color pipeline.

Output Color Space: Rec. 709
Output Tone Map: Low Contrast
Highlight Roll-Off: Very Soft

These Output Transforms convert the RED WideGamutRGB/Log3G10 image into a Rec .709 image for onset viewing and will appear correct to your eyes.

Output Summary

The output summary should appear as above. This is to confirm that the camera will not be recording a R3D file, but an Apple ProRes444 file in RWG/Log3G10.

Frame Guide

Mode: 1.85:1

The frame guide mode should be set to 1.85:1 unless you are framing for one of the other approved aspect ratios (2.39:1 Scope or 1.375:1 Academy). The frame guides ensure that — while you are recording into a 2K 2048×1080 container, which has an aspect ratio of 1.90:1 — you are actually framing for one of the approved aspect ratios.

Media Card Format

File System: UDF

The Camera Assistant should check that the RED MAG media card is set to UDF before formatting the card.

Reel Number

The Reel Number should be reset to “1” at the beginning of each show and then versioned up with every RED MAG change.

Steel Tongs Font

Overview

The Steel Tongs font is provided as an approved typography resource for building the billing block at the bottom of a film poster. Steel Tongs uses custom keystrokes for commonly used crew positions on the film production, which are describe below.

Maintaining consistent typography across official materials helps create a stronger and more unified visual identity for productions and program branding. Standardized font usage also helps students better understand the role that graphic design, typography, and visual consistency play within professional film marketing and presentation workflows.

Download the Font

SteelTongs_Font Download (ZIP)

Instructions

Steel Tongs is the font to be used for the credit block on FSUFILM marketing materials. You’ll need to download the zip file (above) and install the font on your computer before starting work, otherwise the credit block will not display correctly.

Steel Tongs works by displaying certain keystrokes as credit titles or logos.

Lowercase letters, many punctuation symbols, and ALT key codes are translated into different graphical elements of a credit block. See below for a complete list of these.
All uppercase letters, numerals, and basic punctuation symbols (periods, commas, quotes, dashes, ampersands) will display as normal. This can be helpful if a needed credit for a poster is not one of the presets, as you can type it out manually.

Lowercase

a	WRITTEN BY
b	CASTING BY
c	MUSIC BY
d	COSTUME DESIGNER
e	EDITED BY
f	PRODUCTION DESIGNER
g	DIRECTOR OF PHOTOGRAPHY
h	LINE PRODUCER
i	CO-PRODUCED BY
j	PRODUCED BY
k	DIRECTED BY
l	CO-DIRECTED BY
m	STORY BY
n	BASED ON THE NOVEL BY
o	SCREENPLAY BY
p	EXECUTIVE PRODUCER
q	CO-EXECUTIVE PRODUCER
r	GUEST DIRECTOR
s	SPECIAL EFFECTS BY
t	VISUAL EFFECTS BY
u	3D VISUAL EFFECTS
v	ASSISTANT DIRECTOR
w	ART DIRECTOR
x	CO-EXECUTIVE PRODUCER(S)
y	CREATURES DESIGNED BY
z	CREATURES DESIGNER AND SUPERVISOR

Symbols

{	ANIMATION PRODUCTION
\|	SOUND EFFECTS SUPERVISOR
}	BASED ON THE CHARACTERS CREATED BY
~	DIRECTOR OF GRAPHICS
\	ANIMATION DIRECTOR
^	WITH MUSIC FROM
_	ORIGINAL MUSIC BY
£	SPECIAL APPEARANCE BY
#	MAKE UP ARTIST
$	STUNT/FIGHT COORDINATOR
%	A*
*	A FILM BY*
+	IN ASSOCIATION WITH
[	SCREENWRITER
]	KEY ANIMATION SUPERVISOR
<	TECHNICAL ADVISOR
>	TECHNICAL SUPERVISOR
?	ASSISTANT TO CHIEF ANIMATOR
@	CINEMATOGRAPHY BY
!	CUSTOM LAYOUT BY
(	WRITTEN AND DIRECTED BY
)	ASSOCIATE PRODUCER
:	PRESENTS*
;	PRESENTS A*
/	AND*
=	PRESENTS AN*

ALT key codes

The following characters need to be accessed by holding down the ALT key while typing the character code number — e.g., hold the ALT key and type 0131, then let the ALT key go and “MECHANICAL DESIGN” will appear.

ALT+0131	MECHANICAL DESIGN
ALT+0132	ASSOCIATE PRODUCERS
ALT+0133	PLANNING AND ORIGINAL CONCEPT BY
ALT+0134	PLANNING AND COOPERATION
ALT+0135	DIRECTOR OF VISUAL CONCEPT
ALT+0136	COLOUR DESIGNER
ALT+0137	COLOR DESIGNER
ALT+0138	AN*
ALT+0139	PRODUCTION*
ALT+0140	FILM*
ALT+0142	ASSOCIATES*
ALT+0164	3D CGI BY
ALT+0165	ORIGINAL CONCEPT BY
ALT+0166	MATTE ARTIST
ALT+0167	SPECIAL MAKE-UP
ALT+0168	IN ASSOCIATION WITH*
ALT+0170	MEDICAL CONSULTANT
ALT+0171	MEDICAL ADVISOR
ALT+0172	IN ASSOCIATION WITH**
ALT+0177	MILITARY CONSULTANT
ALT+0178	MILITARY ADVISOR
ALT+0179	WEAPONS CONSULTANT
ALT+0180	WEAPONS ADVISOR
ALT+0181	VEHICLE DESIGN
ALT+0182	WEAPON DESIGN
ALT+0183	PROSTHETIC DESIGN
ALT+0184	PROSTHESIS DESIGN
ALT+0185	MOTION CAPTURE
ALT+0186	STORYBOARDING
ALT+0187	FILM EDITING BY
ALT+0188	DIALOG COACH
ALT+0189	DIALOGUE COACH
ALT+0154	A**
ALT+0155	AND**
ALT+0156	FILM**
ALT+0158	A FILM BY**
ALT+0159	PRESENTS AN**
ALT+0161	PRESENTS A**
ALT+0162	PRESENTS**
ALT+0176	ASSOCIATES**
ALT+0190	AN**
ALT+0191	PRODUCTION**

* UPPER line
** LOWER line

Useful logos

ALT+0149	DVD LOGO
ALT+0150	DOLBY LOGO
ALT+0151	DOLBY DIGITAL
ALT+0152	CLOSED CAPTION LOGO
ALT+0173	CLOSED CAPTION LOGO & TEXT
ALT+0192	THX LOGO
ALT+0193	DTS DIGITAL SURROUND
ALT+0194	DTS LOGO
ALT+0195	PAL
ALT+0196	NTSC
ALT+0197 thru ALT+0209	Various Mono/Stereo indicator icons

Poster Template For Live-Action

Overview

This template provides a standardized framework for creating posters for live-action projects, helping ensure that all films are presented in a professional and visually cohesive manner across festivals, showcases, screenings, and promotional platforms. While students are encouraged to develop artwork that reflects the unique identity of their film, the template establishes baseline expectations for formatting, credits, resolution, and required information.

The goal is not to limit creativity, but to prepare students for the practical realities of professional film marketing and distribution. Poster design is often a key part of a project’s public identity, shaping first impressions for audiences, festival programmers, and industry professionals. Learning to balance artistic expression with technical specifications and marketing clarity is an important component of presenting work professionally.

Template

Poster-Template-Prod-2025.psd Download (PSD ZIP)

Instructions

This is the official poster template to be used in the creation of marketing materials for FSUFILM productions. Use it as your foundation for making something beautiful and compelling!

Do:

Make sure to install the Steel Tongs font on your computer before starting work on the poster. This is the font for the credit block.
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.
Take your artwork all the way to the edge of the frame, but keep any essential elements at least a quarter-inch from the edge, in case they are trimmed during printing.
Adjust the color of the credits, logos, and copyright to best fit the aesthetic of your poster concept. Be particularly mindful of the legibility of the credit block, as it can quickly become hard to read if the background is busy or if there’s not enough tonal separation between the credits and the background.

Don’t:

Do not adjust the dimensions or resolution of the file. It’s set up to meet the specs needed for printing.
Do not reposition or resize the logos or copyright.

Universal Production Music License

Overview

Universal Production Music provides licensed music resources that students may use within approved productions under the program’s educational licensing agreement. If a production features Universal Production Music on the soundtrack, the license below covers the work.

Music licensing is an important part of professional filmmaking because productions must ensure that all music used within a project is legally cleared for exhibition and distribution. Understanding how licensed production music libraries operate helps students develop stronger professional practices related to copyright, music supervision, rights management, and legal compliance within post-production and delivery workflows.

Paperwork

Florida State University College of MPA – Tallahassee 1yr Annual Agreement 8.1.2025 Renewal Download (PDF)

INSTRUCTIONS

The College of Motion Picture Arts pays an annual fee to Universal Production Music for the licenses to the library music they provide on their site. No additional releases need to be signed for the use of this music, as long as you remain in accordance with this licensing agreement.

Work for Hire Agreement

Overview

A work for hire agreement establishes that creative work, services, or materials produced by an individual for a production are being created on behalf of the project under agreed-upon terms regarding ownership and usage rights. This document is commonly used when productions involve commissioned creative contributions such as artwork, music, graphics, writing, photography, or other specialized work.

Clear ownership agreements are important because film productions often combine contributions from many collaborators across multiple creative disciplines. Proper documentation helps avoid confusion regarding intellectual property rights, future usage permissions, and distribution eligibility while reinforcing professional standards related to contracts and production legal workflows.

Paperwork

Work For Hire Agreement Download (PDF)

Work For Hire Agreement Download (DOC)

Instructions

The Producer should use this contract agreement when hiring someone to create a work-made-for-hire for a production.

The Producer is responsible for working with the Contractor to determine the services, the compensation structure, the dates of service, and the screen credit in the finished film.

All other clauses in the agreement must remain unchanged, unless the Producer is authorized in advance by the Head of Production to make specific amendments to the contract.

Weapon Authorization Request

Overview

Productions involving prop firearms or other weapons must complete an authorization process before such items may be used during filming. This request process helps productions communicate the nature of the planned weapon use, identify safety considerations, and obtain the necessary approvals prior to production activity.

Weapons-related oversight is essential because even non-functioning or simulated weapons introduce significant safety, liability, and public communication concerns within production environments. The authorization process helps ensure that productions are approaching these elements responsibly, planning appropriate safety procedures, and coordinating properly with faculty, staff, and any relevant outside parties before filming takes place.

Paperwork

Weapon Authorization Request Download (PDF)

Weapon Authorization Request Download (DOC)

Travel Card Agreement

Overview

The travel card agreement outlines the expectations, responsibilities, and usage policies associated with the use of university-issued travel cards for approved production-related expenses.

Because university purchasing systems involve strict financial oversight and accountability requirements, students and productions must follow clearly defined procedures when handling institutional funds. The agreement helps ensure that purchases are documented properly, expenses remain compliant with university policies, and financial records can be tracked accurately throughout the production process.

Paperwork

Travel Card Agreement Download (PDF)

Instructions

The Producer should use this agreement for travel paid using a Florida State University Travel Card (TCard). The form must be submitted to the Head of Production prior to booking travel.

The Producer is responsible for submitting final receipts of the listed expenses to a designated staff member at the time the charges are made. The Producer agrees that these charges will be deducted from the production’s budget.

Sample

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

Trademark Use Agreement

Overview

A trademark use agreement documents permission for a production to display, reference, or incorporate protected brand names, logos, products, or other trademarked materials within a film or related promotional materials.

Trademark usage can involve important legal and distribution considerations, particularly when projects move into festival exhibition, online release, or broader public circulation. Proper documentation helps productions reduce potential legal complications while encouraging students to think carefully about intellectual property rights, clearance procedures, and professional risk management within production workflows.

Paperwork

Trademark Use Agreement Download (PDF)

Trademark Use Agreement Download (DOC)

Instructions

This agreement is to be used to document when rights have been granted to use trademarks, logos and/or other identifiable characters associated with a company or product, in order to maintain a clean chain of title.

Any fair use claims — allowing the inclusion of trademarks in the finished film without this agreement being filed — must be presented to and cleared by the Head of Production prior to picture lock.