FC

Reimbursement

Your expenses will most likely fall into the following three categories (Payment Requests, Travel, and Services). Here is a description of how reimbursement works for each. This applies to all funds provided by the school, as well as funds students may have raised through a Spark campaign.

Payment Requests

Most of your expenses will fall in this category. It includes food, production design, production supplies, and truck fuel. In order to be reimbursed, you must submit the following items. These will then be submitted to FSU Purchasing who will add the funds to your prepaid Visa. It may take 5-7 days for the funds to be added to your card.

Disbursement Advance

Each student may be given an advance of no more than $1000 at a time. In order to get this advance, you must submit a Disbursement Advance Request form. Then FSU Purchasing will add the money to your prepaid Visa. You will be responsible for turning in receipts showing how that money was spent (following the reimbursement instructions below). It may take 5-7 business days for the funds to be added to your card.

Reimbursement

  1. Reimbursement Voucher (RV): Download and complete a Reimbursement Voucher form in Excel, listing your receipts on page 1, and print as many copies of page 2 as you need to attach your receipts. See a sample of a completed form in the Sample RV tab.
  2. Original itemized receipts: All receipts must show the vendor’s name, date of purchase, and must be itemized (showing what was purchased). Receipts should be scotch taped (not stapled, glued, etc.) onto the Receipts page(s) in the order in which they appear on the RV form. Make sure receipts do not overlap since these receipt pages will need to be scanned. If you have a receipt that is longer than the page, you can cut the receipt (making sure you do not cut off any info) and tape them side by side on the receipt page. Do not tape over any info on the receipts, as the tape will make the text on the receipt disappear over time.
  3. Original Meal Sign-in sheets: If any of the receipts you are submitting include food (lunch, craft service, 2nd meal, etc.), you will need to submit the original meal sign-in sheets. Be sure to keep a scanned copy for your delivery. Make sure you have a signature from everyone who ate.

Some important guidelines/restrictions for reimbursement:

  • Food: You will NOT be reimbursed from petty cash for any of the following: alcohol, cigarettes, medication, vitamins, gratuity or tip.
  • Production Design: Keep in mind that all non-expendable items being reimbursed become the property of FSU and must be turned in at the end of the cycle. If there is any single item for which you are being reimbursed that is more than $50, then there is an additional inventory sheet that must be completed.
  • Production Supplies: This can include rental equipment, office supplies, cleaning supplies, etc. Again, non-expendable items become the property of FSU (including coolers, coffee makers, etc.).
  • Truck Fuel: This is only for fuel for state vehicles (the grip trucks, genie trucks and the genie). This does not include cast and crew fuel for their cars. Truck fuel expenses will not be deducted from your budgeted amount, so whoever pays for truck fuel can be reimbursed directly.

NOTE: You cannot be reimbursed from petty cash for any travel (e.g. actor airfare, gas, rental car, hotel, etc.) or services (e.g. paying a makeup artist, security guard, composer, etc.). Reimbursement for travel and services are described below.

Travel

If you are planning on using part of your budget to pay for actor travel (airfare, gas, rental car, hotel, etc.), then you must have the Film School Travel Rep book the travel using our FSU Travel Card (TCard).

  1. Flights: Find the exact flight you would like to book, including flight numbers and departure/return dates and times. You will also need the traveler’s name as it appears on their driver’s license and their birth date. Complete a TCard Agreement form. Then bring the form to our Travel Rep, who will pull up the website with you and book the flight using our TCard.
  2. Lodging:
    • Hotels: You will usually get the best rate by calling a local hotel rather than booking it online. Call the hotel and make your reservation. Be sure to get the reservation number(s). Ask them to send you a Credit Card Authorization form. Complete a TCard Agreement form. Bring the Credit Card Authorization and the TCard Agreement to our Travel Rep, who will then provide the hotel with our TCard. Note that hotels in FL will be tax exempt if we book them for you since they’re being paid directly by the state of FL.
    • Other: If you would like to book an Airbnb, VRBO, etc, then find the place you would like to book. Then submit a TCard Agreement form to the Travel Rep, who will then book it using our TCard.
  3. Rental Car: FSU has a contract with Avis/Budget Rental. If you would like to rent a car, the Travel Rep can look into the rates for the type of rental you’re looking for. Then submit a TCard Agreement form to the Travel Rep, who will then book it using our TCard.
  4. Actor fuel: If you plan to reimburse an actor for driving here, you will need to have them sign a Travel Agreement form at least 7 business days prior to travel beginning, which specifies how much you are agreeing to reimburse them. The FSU rate is $0.445 per mile. However, that is usually much higher than just paying them a flat rate for their gas expenses. So whatever you negotiate with them, it can not exceed $0.445/mi. If it is less than that, then they will also need to sign page 2 of that form stating they understand they are getting less than the state rate. You should have the actor complete this form regardless of whether you plan to have this expense come out of your budget. But if you do plan to have it come from your budget, then submit the Travel Agreement form to the Travel Rep at least 7 business days prior to travel beginning. Then after their travel is complete, FSU Travel will mail them a reimbursement check, usually within 14 days.

NOTE: DO NOT pay for any actor travel out of pocket or with your prepaid Visa because there is no way for you to be reimbursed for this.

Services

If you are planning on paying someone for their services (composer, actor, makeup artist, stunt crew, intimacy coordinator, graphic designer, etc.) you will need to do the following:

  1. For a composer, have them complete a Composer Contract. For any other services, have them sign a Work-for-Hire Contract. Make sure this is completed before any work is done. You will need to do this regardless of whether their payment is coming out of your budget or not. If the payment is coming out of your budget, submit this form at least 10 business days prior to work beginning.
  2. After they have completed their services, they must submit an invoice to you. If the invoice looks accurate, then submit that to us. Then FSU Purchasing will mail a check to the vendor within 40 days of submission of their invoice.

NOTE: DO NOT pay for any services out of pocket or with your prepaid Visa because there is no way for you to be reimbursed for this. If the contract is not completed at least 10 business days prior to work beginning, you will not be able to use your budget to pay for this service.

FC Delivery List

The following is a list of items students must deliver to the Head of Production via the production’s OneDrive folder. Submit one electronic version (scanned PDF or electronic original) of all documents using the provided folder structure. Name files using the naming conventions provided in each section (e.g. 01fc-Script.pdf). Always keep a backup copy and/or hard copy of all files in a production delivery binder in case a delivered file becomes corrupt or accidentally deleted.

Live Action Due Dates

Part I – Production Delivery
To be completed by the Producer by 9:00am on the following dates:

  • 01fc-2026 TBD 
  • 02fc-2026 TBD 
  • 03fc-2026 TBD  
  • 04fc-2026 TBD  
  • 05fc-2026 TBD  
  • 06fc-2026 TBD  
  • 07fc-2026 TBD 
  • 08fc-2026 TBD 
  • 09fc-2026 TBD  
  • 10fc-2026 TBD 
  • 11fc-2026 TBD  
  • 12fc-2026 TBD  

Part II – Post Production Delivery
To be completed by the Producer by 5:00pm on March 28, 2025

Part III – Film Festival Press Materials
To be completed by the Director by 5:00pm on April 28, 2025

Animation Due Dates

Part I – Production Delivery (any applicable documents)
and Part II – Post Production Delivery
To be completed by the Producer by 5:00pm on March 28, 2025

Part III – Film Festival Press Materials
To be completed by the Director by 5:00pm on April 28, 2025

Part I – Production Delivery

01. Script

  • PDF file of the final shooting script
    01fc-Script.pdf
  • Final Draft file of the final shooting script
    01fc-Script.fdx

02. Production Schedule

  • PDF of final Shooting Schedule
    01fc-ShootingSchedule.pdf
  • Vertical Stripboard Report from Scenechronize
    01fc-Stripboard.pdf

03. Daily Production Paperwork

PDFs of all paperwork from each day of production:

04. Releases

PDFs of all required releases:

Plus additional releases (if applicable):

05. Correspondence

  • PDFs of all general correspondence including letters, emails, texts, etc. At the very least, this should include a thank-you letter to each location.
    01fc-Correspondence.pdf

06. Crew Information

  • Update the Crew tab in Motion with any additional crewmembers (e.g. volunteers). Save a PDF of the Crew list, and include it in this section.
    01fc-Crew.pdf

07. Cast Information

  • Update the Cast tab in Motion with info for every person who appears on screen. Include a headshot for all Lead & Supporting roles (headshot not needed for Featured/Background Extras). Save a PDF of the Cast list, and include it in this section.
    01fc-Cast.pdf

08. Location Info

  • Update the Locations tab in Motion with info and photo for each location used during production. Save a PDF of the Location list, and include it in this section.
    01fc-LocationList.pdf

09. Vendors

  • Update the Vendors tab in Motion with info on each business or individual from whom items were borrowed, rented or donated. Include in the Keywords a brief description of the items (for donations, also include the real or estimated value of the donation). Save a PDF of the Vendors list, and include it in this section. If there were none, then still include a PDF of the Vendors tab from Motion.
    01fc-Vendors.pdf

Part II – Post-Production Delivery

01. Project Details

  • Update all info in the Details tab in Motion. Save a PDF of the Details tab, and include it in this section.
    01fc-ProjectDetails.pdf

02. Dialogue List

  • PDF of a Dialogue List form. Include all spoken dialogue and written text in the final film (for subtitling in foreign language festivals).
    01fc-DialogueList.pdf

03. Music Requirements

  • PDF of Music Cue Sheet (typed), which lists the entrance and exit of all music cues
    01fc-MusicCueSheet.pdf
  • PDF of the music rights, released to the Film School

04. Credits & Title Cards

  • PDF of Credits List. Include title cards & credits as they appear on screen. This should not be screenshots of the credits from the film.
    01fc-Credits.pdf

Part III – Film Festival Press Materials

01. Press Kit

  • PDF and Word files of the Festival Press Kit, organized as follows. You may use the Press Kit template if you like.
    01fc-FestivalPressKit.pdf
    01fc-FestivalPressKit.docx
    • Title Page: The first page will have the title of the film, contact address, phone number of the FSU Film School, and the Film School logo and copyright.
    • Synopses: A 25-word, and a 40-word synopsis of the film.
    • ATL Info: Biography, filmography & headshot for each ATL crew member.
    • Cast Info: Biography, filmography & headshot for each lead cast member. Union actors should be identified as such and the union to which they belong.
    • Credits: Include credits for each cast and crew member.
    • Production Stills: A minimum of five (5) production stills with captions.
    • Director’s Statement: A brief statement from the director about the project.
    • Poster: A one-sheet of the poster.

02. Press Kit Materials

All elements used in the creation of the Press Kit including photos, fonts, logos, graphics, etc.

  • ATL Info
    • One (1) photo for each ATL crew member at minimum 1200×1500 pixels, 300dpi, jpg.
      01fc-CrewName.jpg
    • Bio for each ATL crew member saved in a Word doc.
      01fc-ATL Bios.docx
  • Cast Info
    • One (1) photo for each lead cast member at minimum 1200×1500 pixels, 300dpi, jpg.
      01fc-CastName.jpg
    • Bio for each lead cast member saved in a Word doc.
      01fc-Cast Bios.docx
  • Synopses: 25-word and 40-word synopses saved in a Word doc.
    01fc-Synopses.docx
  • Production Stills: At least five (5) at minimum 1500×1200 pixels, 300dpi, jpg.
    01fc-Still-01.jpg 01bth-Still-02.jpg …
  • Other Materials: Any other elements, including fonts, logos, graphics, etc.
    any filename that clearly identifies what it is

03. Poster

  • Poster created in Photoshop at 27”x 40”, 300dpi, using these layers: 1) Art, 2) Title, 3) Credits, 4) Logos/Copyright. Use approved Logos/Fonts as needed. Save a layered PSD file and a flattened JPG file.
    01fc-Poster.psd
    01fc-Poster.jpg

04. Thumbnail Images

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

Save a layered PSD file (also deliver any custom fonts used) and a flattened JPG file (maximum file size 2MB).

Note these online content restrictions for the thumbnails:
– No nudity or sexually provocative content
– No hate speech
– No violence
– No harmful or dangerous content

  • Horizontal Thumbnail created in Photoshop at 1920×1080 pixels, 72dpi.
    01fc-HorizontalThumbnail.psd
    01fc-HorizontalThumbnail.jpg
  • Vertical Thumbnail created in Photoshop at 1200×1600 pixels, 72dpi.
    01fc-VerticalThumbnail.psd
    01fc-VerticalThumbnail.jpg

05. Media

  • Update the Media tab in Motion with at least 5 Production Stills (72dpi, jpg) and the Summary Thumbnail (Vertical Thumbnail, jpg). Include a PDF of the Media tab in this section.
    01fc-Media.pdf

06. Student IDs

  • A good, clear scanned copy of the Director’s & Producer’s student ID cards
    01fc-DirectorID.pdf
    01fc-ProducerID.pdf

07. Film Festival Strategy

  • Update the Festival Strategy form in Motion. Include a PDF of the Festival tab from Motion in this section.
    01fc-FestivalStrategy.pdf

2nd AD Responsibilities (FC)

Pre-production

  • Help 1st AD coordinate the Tech Scout. Establish where the restrooms, parking, staging, base camp and set will be.
  • Prepare Crew Deal Memos for everyone at the production meeting.
  • Assist Producer in securing lunches, craft services, volunteers, and extras for all days of shooting.
  • Assist Producer in obtaining craft services the night before production.
  • Assist the Producer in casting by scheduling and participating in auditions if necessary.
  • Prepare and make copies of all the paperwork needed on set.
  • Create the Call Sheet, including maps. Have Producer approve it and email no later than 12 hours before the next day’s call time.
  • Communicate any changes to the schedule to the entire cast and crew.
  • Check the weather periodically to monitor adverse conditions. Have a back-up plan.
  • Double check every logistical piece of information and make sure nothing has been forgotten.

Production days

Start of day:

  • Arrive at set FIRST, at least 30 minutes before call time.
  • Open and establish contact with location. Record the state and location of things, ground rules.
  • Establish Base Camp.
    • Set up Base Camp with Walkies and Production iPad where crew will check in when they arrive.
    • Get the snacks and drinks from the Producer, and set up the craft service table.
  • When Grip Van arrives, verify they are parking in the correct place.
  • As crew members arrive, check them in using the Production iPad, and hand them a walkie.

Throughout the day:

  • Maintain the craft service table throughout the day to make sure it is stocked.
  • Stay at base camp and handle the phones, paperwork and actors. Know where everything and everyone is.
  • Remain in or near the Green Room with the Actors, except to escort them to/from set at 1st AD’s request.

Meals:

  • At lunch make sure everyone signs the Meal Sign-In Sheet.
  • Make periodic announcements on time remaining on lunch.
  • Make sure lunch does not exceed one hour.

End of day:

  • Complete the Performers Time Report, and have the actors sign it before they are dismissed for the day.
  • Make sure 2nd AC and Sound Mixer meet at end of day to verify their reports. Have them give you all reports.
  • Collect the camera card from the 2nd AC, and the sound card from the Sound Mixer, and deliver to Producer.
  • Have crew members sign out using the Production iPad and collect their walkie.
  • Organize any hard copies of Daily Production Paperwork, and scan them using the OneDrive app. Deliver the scanned files and the original hard copies to the Producer.
  • With Producer, clean and secure location. Be the LAST TO LEAVE (except perhaps Art Dept). Leave the location better than when you arrived.
  • Complete the DPR and have it approved by the Producer. Then distribute within 2 hours after wrap.

Post-production

  • Assist in wrapping production paperwork if necessary.

1st AD Responsibilities

Pre-production

  • Break down the script and create the Production Schedule.
  • Organize the Tech Scout for each location with at least the ATL. Establish where the restrooms, parking, staging, base camp and set will be.
  • Run the Production Meeting by reading the action of the script. Answer crewmembers’ questions.
  • Create a Setup Schedule with the DR and DP.
  • Approve the Call Sheet and have 2nd AD distribute copies
  • Check the weather periodically to monitor adverse conditions. Have a back-up plan.
  • Double check every logistical piece of information and make sure nothing has been forgotten.

Production days

Start of day:

  • Arrive at set 30 minutes to an hour early.
  • Get a walkie from the 2nd AD, then go stand where the set will be and stay there. Radio 2nd AD to bring you whatever you need.
  • At call time, have a Safety Meeting with the entire crew to communicate an emergency plan, location hazards and any production safety concerns. Complete the Safety Meeting Report for each location, each day.

Throughout the day:

  • Run through the 1st AD Set Procedure: Block, New Deal, Build, Rehearse, Shoot
  • Manage the time on the set by keeping up with the Setup Schedule. Adjust schedule as needed.
  • Look ahead to next set-ups and make sure departments are prepared and working ahead.

End of day:

  • Approve the Daily Production Report and have 2nd AD distribute copies within 2 hours after company wrap.
  • Approve the following day’s Call Sheet and have 2nd AD distribute copies.

Universal Production Music

The College of Motion Picture Arts pays an annual fee to Universal Production Music—the worlds largest music catalog—for the licenses to the library music they provide on their site.

No releases need to be signed for the use of this music, so long as you remain in accordance with the licensing agreement.

Contact the post-production staff if you need the login credentials.

Music Rights

Unfortunately, one of the most important aspects of making a film, the music, is often neglected until the very end of post-production. This is a mistake and could come back to haunt you. Therefore, it is in your best interest to start thinking about the music in your film during pre-production.

Acquiring music rights is often a more difficult and time-consuming process than one might realize. For this reason, all F1 and M1 projects are only permitted to use music from the Universal Production Music library, since the school has already licensed that music. Producers on all other production cycles may use the other methods of acquiring music that are described below, but they should start the process of clearing rights as early as possible.

A show will not be permitted to mix with a piece of music if the music rights have not been 100% cleared. If rights haven’t been cleared by the second-to-last day of the sound design period, an alternate track from the Universal Production Music library should be prepared as a back-up, in case rights on the preferred track are not cleared by the time the show mixes.

Working with a Composer

If you want your film scored, then you will want to contact several composers during pre-production. Explain to them what your story is about and ask them to send a demo reel. If you like their work, then ask them to produce a temp track based on the ideas expressed in the script. If you like the temp track, hire them to score the film. You should have them sign the School’s Composer Contract at the moment of hiring before they begin any work.

Provide them with copies of early cuts as well as the final cut of your film. The composer will then compose the score and submit it to you.

Licensed Music

If you want to use pre-existing music, then you will need to obtain the proper licenses in order to use the music in your film. You must get each license for at least:

  • Two-years
  • Film festival
  • Non-commercial
  • World rights

Getting the music rights could be as simple as sending letters to the publisher and record label, having them sign and return them. However, you may be required to complete their licensing agreements instead. If this is the case, make sure you have the Head of Production review the agreement before you sign it, to ensure we have the proper releases.

There are typically two different types of licenses that you will need to acquire:

Synchronization License

This is the right to reproduce a specific musical composition in your film. It must be obtained from the copyright owner of the composition, which is usually the publisher. You can find out who the publisher is by searching by song title at either www.ascap.com or www.bmi.com.

Almost every song is represented by one of these two companies. Songs that are not represented by ASCAP or BMI might be found at the National Music Publishers’ Association “Songfile” website (www.nmpa.org). You will be provided with a contact at the publisher’s Business Affairs or Licensing Department.

Note that you will need to get a synchronization license from the publisher, even if you are making your own sound recording of that song. For example, if you have your actor sing or recite lyrics, whistle or hum the tune, play the song on a musical instrument, or in any way make your own sound recording of the song, you will need to get the synchronization license from the publisher.

Master Use License

This is the right to synchronize a sound recording with your visual image. You clear this right with the record label who owns the sound recording you would like to use. Check the liner notes of the recording to find out which company this is. Alternatively, you can get contact information for record labels by contacting either ASCAP or BMI (see above). You will be provided with a contact at the record label’s Business Affairs Department.

Library Music

The school pays an annual fee to Universal Production Music for licenses to their library music. You are free to use any and all of the music in that library and no releases need to be signed. You will need to credit the song title and composer in the finished film for each piece of music that you use. Here’s an example:

Public Domain Music

If you want to use a piece of music currently in the public domain, be careful. Know for sure that the piece of music is actually in the public domain. This can sometimes take a fair amount of research, as there is often unclear and unreliable information circulating about works that are supposedly in the public domain. All songs and musical works published in 1925 or earlier are in the public domain; anything published after 1925 should be assumed to be under copyright, unless otherwise stated. If the piece of music is in the public domain, then you can use it.

However, be aware that just because a musical composition may be in the public domain, that does not necessarily mean the sound recording of that composition is in the public domain. For example, the musical composition of Beethoven’s 9th Symphony is in the public domain, but the New York Symphony Orchestra’s recent recording of it is not. If you would like to use that particular recording in your film, you will need to get a license from the publishing company that holds the rights to that specific recording. You could, however, hire your own musicians to perform the 9th Symphony without needing to acquire a license to use the composition.

Creative Commons

Creative Commons is a community that offers an alternative copyright model for authors of creative works who would like others to be able to share, remix, sample, or build upon their work. Creative Commons provides a range of licenses that authors can attach to their creative works, giving other people greater or lesser degrees of permission to share or modify the work.

You may use Creative Commons work in your film if the original work has been licensed with one of the following license types, so long as you provide attribution in your film’s end credits:

Attribution
Attribution • Non-Commercial

Some of the Creative Commons licenses, however, do not play nicely with how we make movies. If you see licenses on works that include either of the following terms, you will most likely not be permitted to use those works:

  • NoDerivs. This license does not permit derivative works and requires that the original work is passed along unchanged and in whole, which is unlikely to happen in the context of our films.
  • ShareAlike. This license requires you to also license your work with a ShareAlike license. However, since the College owns the copyright on all student films, students are not permitted to license their films with a Creative Commons license, which makes it impossible for you to honor the original Creative Commons license.

Note, however, that many authors who’ve opted for a NoDerivs or ShareAlike license may be open to giving you permission to use their work if you contact them directly. If they are willing, you’ll need to follow the College’s usual process of acquiring a licensing agreement for a copyrighted work.

Credit Policies

Overview

At FSUFILM, we adhere to a professional standard for the presentation of credits and titles in all student films. Film credits serve the sole purpose of recognizing those who contributed directly to the production and are not a space for personal messages, jokes, or informal content. All credits must be accurate, appropriately formatted, and aligned with industry standards to maintain the integrity of the work and the professionalism of our filmmakers.

It is the responsibility of the director to make the credits for the film they directed. These credits must be delivered and cut into the Media Composer project by picture lock.

Content vs. Credits

For FSUFILM productions, title and credits are limited to a maximum of 60 seconds. This can be divided between Lead Titles and End Credits but combined together their length is not to exceed 60 seconds. This allotted time includes the Logo card and the Copyright card at the end of the credits, each of which must run for two seconds each.

Titles and credits that run over picture or audio that is not “advancing the narrative” will count toward your 60 seconds for titles and credits. Titles and credits that run over picture or audio that is “advancing the narrative” will count toward your Content time.

Remember that the primary purpose of credits is to credit that people which contributed to the creation of the film. Content time is for story, credit time is for credit. Any questions will be left to the discretion of the directing and editing faculty.

Rules

Every show must adhere to the following rules. No exceptions.

  1. There can be no visual changes made to the FSUFILM leader.  
  2. There can be no possessive credits (“A Film by Me”) or production company credits. Only FSU makes these films. 
  3. Students must use their real names and are not permitted to take their name off a film.
  4. Whenever possible, students who do more than one job should have their name listed once with all jobs in one place. 
  5. Only ATL crew, actors, and the title may have single cards. Everyone else should be in groups, listed efficiently to be legible but not lengthy. 
  6. There can be no dedicating the film to someone.
  7. A “Special Thanks” section may be added to thank individuals or businesses that helped support the production, but aren’t credited elsewhere. A few rules:
    • The list should include only formal names and/or business names. No other language is permitted.
    • Use real names—not nicknames or terms like Mom & Dad.
    • If you wish to thank faculty or staff members, rather than singling out individuals, use the more inclusive: “College of Motion Picture Arts Faculty and Staff.”
    • For production cycles that ran a Spark fundraising campaign, include a general thank you to “Spark Donors” in every film. You may additionally thank individual donors, if you have a special relationship with them and would like for them to be able to see their name on screen.
    • Thanking a deity of any sort is not permitted. The State does not hold a religious affiliation, so FSU cannot thank any God or Gods.

Smoking on Set

This protocol exists to provide provisions for crewmembers who smoke, whilst also protecting locations and other people from cigarette smoke. The PRODUCER on a show is responsible for making sure that these protocols are followed. In all cases, the production shall defer to any local or municipality laws regarding smoking, such as the Smoking Regulations for the State of Florida.

Sound Stage Shoots

Cigarette smoking is prohibited anywhere on campus. Therefore, for any production that shoots on the school’s sound stages, cigarette smoking is prohibited.

Location Shoots

During pre-production, the Producer is responsible for requesting permission from the location owner for crewmembers to smoke during the production.

If the location owner agrees to smoking occurring at (or nearby) the location, the Producer and location owner will agree to a set of parameters about where smoking can and cannot occur. Under no circumstances can smoking occur within 150-feet of camera, craft services, video village, production vehicles, or any other work area.

During production:

  • The Producer is responsible for providing a cigarette can.
  • The Producer is also responsible for making sure that crewmembers are aware of, and are following, the smoking agreement at the location. This information should be included on the call sheet.
  • If a BTL crewmember would like to request a smoking break during the day, it must be approved by the department head. If a department head would like to request a smoking break, it must be approved by the 1st Assistant Director.
  • At the end of day, the Producer is responsible for making sure that there is no remaining cigarette waste at the location.

If a location owner does not agree to smoking occurring at or nearby the location, smoking is prohibited at that location.

Studio Zone

The College of Motion Picture Arts has an established “studio zone” for local productions. The zone is based on a set driving distance from University Center A. All shoots within the zone are considered “local” productions. All shoots outside the zone are considered “distant” productions.

Studio Zone Map

Inside the Zone

All F1, F3, M1, and M2 productions must shoot within the studio zone. This restriction is in place for a number of reasons: to make it possible for faculty and staff to visit locations during preps and shoots; to reduce wear and tear on production vehicles; and, for safety reasons, to place a cap on driving times for cast and crew.

Outside the Zone

Under some circumstances, BFA and MFA Capstone productions are permitted to shoot outside of the studio zone. Shooting outside the studio zone causes additional stress on personnel and equipment, so approval is only granted when any and all concerns have been addressed satisfactorily. Permission must be attained in advance by submitting a Distant Location Request to the Head of Production, who has final say on whether a distant location shoot will be approved.

F2 productions are also permitted to shoot outside of the zone. Permission must be attained in advance from the F2 instructor.

Water & Messy Items

Water effects on the stages

Water must not be allowed to pool on the stage floor, or seep under set pieces or floor covers. If hoses or other connections for water lines are used on stage, lines and connections must be continually monitored for leaks, which must be repaired immediately.

There must always be an approved plan in place to immediately drain off water from a water effect. For rain effects, a gutter may be used to collect water in a small area, but for larger effects, a pool must be used or built from thick plastic and 2×4’s to form a raised edge to trap the water inside. A plan must be made and approved for removal of the water from these pools, and water that will inevitably be tracked around the stage by wet feet and equipment. A pool or other vessel of water may never be left overnight. The Stage Supervisor will monitor water effects. At any time the Stage Supervisor or Set Operations Manager may shut down the production to ensure the safety of crew, equipment and facilities.

Dirt, Sand, Paint, or other messy items

When a production intends to use loose material such as dirt, or wet material such as paint, the student production designer will be required to show preparation for protection of the area and removal of the materials before receiving approval. Dirt contains moisture, so a moisture barrier must be put on the floor, or the dirt must otherwise be kept from coming in contact with the stage floor. As dirt, peanut shells, paint, and other messy materials can be tracked into other areas of the building, plans must be made to clean feet and to prevent such tracking. Mats or drop cloths, and small brushes or brooms must be supplied so crew and cast can clean their feet before exiting the stage or work area.