FSUFILM Handbook

Category: M1

  • Credit Policies

    Overview

    This page outlines the rules and professional standards governing the presentation of titles and credits in student films, including formatting expectations and appropriate content. Screen credits are intended to recognize individuals and entities who contributed directly to the production and are expected to follow established professional conventions.

    Maintaining clear standards for titles and credits is important because credits function as an official production record and reflect the professionalism of both the film and its filmmakers. Accurate, properly formatted credits help ensure that contributors are recognized appropriately while reinforcing industry expectations surrounding presentation, attribution, and professional conduct.

    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

    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.

    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

    Overview

    This page outlines the university and college policies governing smoking, vaping, and tobacco-use during production activities and while using FSU facilities, locations, vehicles, or production spaces. These policies exist to support a safe, professional, and respectful working environment while ensuring compliance with university regulations and location requirements.

    This protocol exists to provide provisions for crewmembers who smoke/vape, 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 and vaping is prohibited anywhere on campus. Therefore, for any production that shoots on the school’s sound stages, cigarette smoking and vaping is prohibited.

    Location Shoots

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

    Overview

    The studio zone defines the geographic area within which productions are generally expected to operate without requiring additional distant-location approval procedures. The zone is based on a set driving distance from University Center A.

    Establishing a defined production zone helps the program manage transportation, equipment support, safety oversight, scheduling, faculty access, and logistical coordination more effectively. The policy also helps productions plan realistically within the operational structure and resources available through the school.

    Studio Zone Map

    Inside the Zone

    All shoots within the zone are considered “local” productions.

    All F1, F3, M1, M2, and M3 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

    All shoots outside the zone are considered “distant” productions.

    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

    Overview

    This page outlines the restrictions, approval procedures, and cleanup expectations associated with the use of water, liquids, food products, dirt, sand, paint, fake blood, debris, or other potentially messy materials on the sound stages during production activities.

    These policies exist to help protect facilities, equipment, locations, and shared production spaces from damage or unsafe conditions. Because messy production elements can create significant cleanup, safety, and operational concerns, productions are expected to plan carefully, communicate clearly, and restore spaces properly after use.

    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.

  • Lab Policies

    Overview

    This page outlines the rules, expectations, and operational procedures governing the use of computer labs, post suites, and shared post-production facilities, such as the ADR/Foley Suite and mixing stages. Violations of these policies may result in disciplinary action.

    Lab policies help ensure that shared spaces remain functional, secure, organized, and available to all students working within the program. Clear expectations also support safer working environments, protect equipment and facilities, and reinforce professional habits related to workspace stewardship and collaborative resource usage.

    General etiquette

    Computer labs and post-production facilities are work spaces. They are not spaces for hanging out and socializing, as this can be distracting to other students who are trying to work. They are also spaces with a lot of technology that needs to remain well-maintained and correctly configured.

    Each student is expected to leave a workstation in the same condition they found it, so that the next user doesn’t run into problems.

    Access

    Labs and post suites are for student-use only. This is to keep our facilities secure and to minimize potential distractions that guests may cause for other students who are trying to focus on their work. If you wish to bring a guest to a lab or the Post Hall, you must seek prior approval from FSU faculty.

    Food and drink

    Food is never permitted in the computer labs or post suites. Beverages are only permitted if in a BOTTLE WITH A SPORTS CAP. Beverages must be kept in your backpack or bag when you’re not drinking. The container must never be left on the desk or on the floor near the workstations. If you cause damage to any equipment, you will be held responsible for the full replacement costs.

    Noise and cell phones

    Keep your voice volume down so as not to disrupt or disturb others working in the space. Keep phones on silent/vibrate mode at all times. If you need to take/make a call, step out of the lab.

    Workstations

    Keep your work area reasonably clean and neat at all times. Always restore your work area to a pristine condition when you leave. Unless rendering, log out of your workstation if you plan to step away from your computer for more than 15 minutes.

    All students are responsible for proper care of the equipment. If you lose or break any equipment, you will be held responsible for the full replacement costs. Tablets, mice, and external monitors must not be removed from a workstation under any circumstances. Chairs must also not be removed from the lab.

    The downloading of illegal or potentially harmful files on the lab computers is absolutely forbidden. In particular, the FSU network or computers must never be used to download or store pirated movies, music, software, plug-ins, or any other material.

    Rendering

    Assume all projects will be rendered locally on your assigned workstation. Contact faculty if you feel you cannot complete your show’s rendering on your local workstation. If you set-up renders overnight or over lunch, leave a piece of paper on the desk to indicate that the workstation is busy rendering.

    Storyboard panels and walls

    You may hang project-based materials on the “storyboard” panels if you wish. Do not post inappropriate or potentially offensive materials to the storyboard panels. Keep it professional. Do not tape or pin anything to bare walls or computer monitors.

    Clean up

    Please assist with the general upkeep of the labs. It’s a team effort. If you notice that a lab is getting messy, assist by cleaning up some of the mess, even if you weren’t responsible for it.

  • Production Meeting

    Overview

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

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

    Before the Meeting

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

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

    At the Meeting

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

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

  • M1 Delivery

    Overview

    Final delivery for M1 projects includes the submission of completed media, project files, documentation, and other required materials necessary for archiving, exhibition, festival submission, and long-term program recordkeeping. The items listed below are delivered to the Head of Production through the FSUFILM Greenlight system, which is used to track required materials and verify that projects have completed all delivery requirements in a consistent and organized manner.

    Careful delivery practices are an essential part of professional production and post-production workflows because incomplete or improperly prepared materials can create major problems for distribution, preservation, revisions, or future access to the project. The delivery process also reinforces the importance of organization, version control, and technical precision as productions move from active creation into exhibition and archival stages.

    Due Dates

    Part I – Production Delivery
    To be completed by the Producer by 6:00pm on the Friday following production.

    Part II – Post Production Delivery
    To be completed by the Producer by 6:00pm on the last day of post-production.

    Part I – Production Delivery

    Script [su_button url=”https://wkf.ms/4kwGCqJ” target=”blank” style=”flat” background=”#7da21f” color=”#000000″ size=”1″ radius=”20″ class=”deliver-button”]DELIVER[/su_button]

    • Final shooting script – PDF file
    • Final shooting script – Final Draft file

    Daily Production [su_button url=”https://wkf.ms/44CyJtY” target=”blank” style=”flat” background=”#7da21f” color=”#000000″ size=”1″ radius=”20″ class=”deliver-button”]Deliver[/su_button]

    Locations

    LOCATION INFO & RELEASES [su_button url=”https://wkf.ms/4jcQ2HG” target=”blank” style=”flat” background=”#7da21f” color=”#000000″ size=”1″ radius=”20″ class=”deliver-button”]DELIVER[/su_button]

    LOCATION LIST [su_button url=”https://wkf.ms/4kzgmwe” target=”blank” style=”flat” background=”#7da21f” color=”#000000″ size=”1″ radius=”20″ class=”deliver-button”]DELIVER[/su_button]

    • After all location information has been delivered for the show, navigate to the “My Shows” view of the Location board in FSUFILM Greenlight, select all the items for the show, and click Export. Then, deliver the exported Excel file of the Location List. (instructions)

    Cast

    CAST INFO & RELEASES [su_button url=”https://wkf.ms/3PcfovZ” target=”blank” style=”flat” background=”#7da21f” color=”#000000″ size=”1″ radius=”20″ class=”deliver-button”]DELIVER[/su_button]

    CAST LIST [su_button url=”https://wkf.ms/4dxd8XH” target=”blank” style=”flat” background=”#7da21f” color=”#000000″ size=”1″ radius=”20″ class=”deliver-button”]DELIVER[/su_button]

    • After all cast information has been delivered for the show, navigate to the “My Shows” view of the Cast board in FSUFILM Greenlight, select all the items for the show, and click Export. Then, deliver the exported Excel file of the Cast List. (instructions)

    Crew

    ASSIGNED CREW [su_button url=”https://wkf.ms/460ofqt” target=”blank” style=”flat” background=”#7da21f” color=”#000000″ size=”1″ radius=”20″ class=”deliver-button”]DELIVER[/su_button]

    ADDITIONAL CREW [su_button url=”https://wkf.ms/3HcMV4N” target=”blank” style=”flat” background=”#7da21f” color=”#000000″ size=”1″ radius=”20″ class=”deliver-button”]DELIVER[/su_button]

    Resources [su_button url=”https://wkf.ms/465Dcrv” target=”blank” style=”flat” background=”#7da21f” color=”#000000″ size=”1″ radius=”20″ class=”deliver-button”]DELIVER[/su_button]

    • Submit a separate form for each notable resource that was utilized by the production. This may include equipment rentals, unusual vehicles, unique props, distinctive costumes, or hired services offered by vendors such as animal wranglers, graphic designers, security firms, or portable toilet providers. Think of things that might help future students track down resources for their films.

    Additional Releases [su_button url=”https://wkf.ms/3GxpcfF” target=”blank” style=”flat” background=”#7da21f” color=”#000000″ size=”1″ radius=”20″ class=”deliver-button”]DELIVER[/su_button]

    Correspondence [su_button url=”https://wkf.ms/4kEWNCX” target=”blank” style=”flat” background=”#7da21f” color=”#000000″ size=”1″ radius=”20″ class=”deliver-button”]DELIVER[/su_button]

    • Include PDFs of all noteworthy correspondence about the production. This doesn’t need to include run-of-the-mill messages between cast and crew, but should include any documented messages with people like location owners, vendors, the Animal Care and Use Committee, and the police. Think of it as “cover your ass” correspondence—so that, when the other party forgets what they had agreed to, there’s a record of what was discussed.
    • At minimum, the delivery should include a letter of thanks to each location owner.

    Part II – Post-Production Delivery

    Show Details [su_button url=”https://wkf.ms/4l2DJyT” target=”blank” style=”flat” background=”#7da21f” color=”#000000″ size=”1″ radius=”20″ class=”deliver-button”]Deliver[/su_button]

    • Complete a form to deliver the following information about the show: total running time, tagline, logline, 25-word synopsis, 50-word synopsis, keywords, genre, content warnings, rating, aspect ratio, spoken languages, and subtitles.

    Dialogue List [su_button url=”https://wkf.ms/3G6TV2W” target=”blank” style=”flat” background=”#7da21f” color=”#000000″ size=”1″ radius=”20″ class=”deliver-button”]Deliver[/su_button]

    • Create a PDF using the Dialogue List form. Include all spoken dialogue and written text in the final film. This is to assist subtitling in foreign-language markets.

    Music Requirements

    MUSIC CUES & RELEASES [su_button url=”https://wkf.ms/4lun87a” target=”blank” style=”flat” background=”#7da21f” color=”#000000″ size=”1″ radius=”20″ class=”deliver-button”]Deliver[/su_button]

    • Enter a separate form for each piece of music used in the film, listing the timecode stamps and documenting the music rights.
    • If there are no music cues, use this form instead.

    MUSIC LIST [su_button url=”https://wkf.ms/40sziFd” target=”blank” style=”flat” background=”#7da21f” color=”#000000″ size=”1″ radius=”20″ class=”deliver-button”]Deliver[/su_button]

    • After all music cues and releases have been delivered for the show, navigate to the “My Shows” view of the Music board in FSUFILM Greenlight, select all the items for the show, and click Export. Then, deliver the exported Excel file of the Music List.
    • If there are no music cues, skip this step.

    Production Stills [su_button url=”https://wkf.ms/44iZtAK” target=”blank” style=”flat” background=”#7da21f” color=”#000000″ size=”1″ radius=”20″ class=”deliver-button”]Deliver[/su_button]

    • Five (5) production stills from the final cut of the film (not on-set photos).

    Credits & Title Cards [su_button url=”https://wkf.ms/4n9zIdz” target=”blank” style=”flat” background=”#7da21f” color=”#000000″ size=”1″ radius=”20″ class=”deliver-button”]Deliver[/su_button]

    • A list of all credits and title cards as they appear on screen. This should be a typed list—not screenshots of the credits from the film. Double-check for accuracy!

    Student ID Cards [su_button url=”https://wkf.ms/44hAzS0″ target=”blank” style=”flat” background=”#7da21f” color=”#000000″ size=”1″ radius=”20″ class=”deliver-button”]Deliver[/su_button]

    • A good, clear scanned copy of the Director’s student ID card
    • A good, clear scanned copy of the Producer’s student ID card

  • Rehearsals

    Overview

    Rehearsals provide actors, directors, and key collaborators with dedicated time to explore performances, blocking, character relationships, scene structure, and production planning before filming begins.

    Rehearsal time is valuable because it allows productions to identify creative and logistical challenges before arriving on set under tighter time constraints. Strong rehearsal practices can improve performances, strengthen communication between actors and directors, and help productions work more efficiently during principal photography.

    Preparation

    Prepare to work with your actors by clarifying your choices and jotting down possible objectives and strategies (active verbs) in your script. Actors want to respect their director. After all, they must put a lot of faith and trust in them. The director is the eyes and ears of the actor. This is true much more in film than it is in theater. The easiest way to lose their respect is to be unprepared and not know what the film is about or what you want from the actors. So do your homework!

    Step 1: Table Read

    • This is the time to share your directorial vision (and those of your creatives) and the only time you should speak intellectually about the script.
    • Make sure the actors know what your vision is and how the other creative elements will be handled as well as how you see them fitting in to the overall theme (spine).
    • Discuss backstory, motivations, objectives, obstacles, etc. with the actors and listen carefully and respectfully to their input. It is their job to contribute creatively. Ask the actors to work on preparing their roles based on this information.

    Step 2: Second Rehearsal

    • This is the time for experimentation. Try different approaches with your actors and ask them to take risks. This is a time to try improvisation and trust exercises to build up the relationship between and with your actors. Keep an open mind. You may be surprised.
    • Don’t ask for film worthy performances. This will make your actors stale when they get to set and not allow them to make discoveries.
    • This is the time for emotional exploration and connections (relationships). It is also a time to get to know your actors and their process so that you can determine what directions and approach will work best for them. You can also identify any quirks they have that will need to be addressed on set.

    Step 3: On-set Rehearsals

    • Forget it all and make sure your actors are listening and making connections.
    • During the shoot it is very important to make sure your actors feel safe and supported. They must feel that you are in control and since they put their trust in you, they rely on you to be their eyes and ears.
    • Actors need feedback! And they don’t want you to accept less than quality work. It is their face up on the screen and they want you to help them be great. You should speak with them before every take to remind them of their scene objectives and what happened the moment before. This is especially important when you shoot out of sequence. You should also give them feedback after every take even if just to say, we messed up sound so we need to do it again. Otherwise, they will think they did something wrong and spend the whole next take worrying about it. Also, let them know what the next shot is so they can relax.
    • The most important thing for the actor on set is for them to really listen to their partner and respond in the moment. Your job is to make sure they do that, and that they do it within the technical considerations of the shot.

  • Toolkit For Directing Actors

    Overview

    This resource provides approaches, techniques, terminology, and communication strategies that directors may use when working with actors during rehearsals and production.

    Directing actors requires more than simply communicating blocking or line readings; it depends heavily on trust, collaboration, emotional clarity, and effective creative communication. Developing stronger actor-director communication skills helps productions create more nuanced performances while supporting healthier and more productive collaborative environments on set.

    Action Verbs

    An action verb is transitive and requires an object. It is something you do to someone or something else; “to be” is never an action verb. This list is a starting off point for you to develop your own list of action verbs.

    to accuse
    to admire
    to admonish
    to adore
    to amuse
    to annoy
    to apologize
    to appease
    to applaud
    to attack
    to avoid
    to bask
    to beg
    to belittle
    to bestow
    to boast
    to brag
    to brood
    to brush off
    to buddy up
    to butter up
    to cajole
    to caress
    to celebrate
    to challenge
    to charm
    to check out
    to coax
    to comfort
    to command
    to confess
    to confide
    to confront
    to congratulate
    to convince
    to cuddle
    to defend
    to deify
    to demand
    to destroy
    to dis
    to discard
    to discover    		to dismiss
    to distract
    to elicit
    to embrace
    to entertain
    to entice
    to erupt
    to escape
    to examine
    to explode
    to exult
    to flatter
    to flaunt
    to flee
    to flirt
    to gloat
    to grieve
    to hide
    to idolize
    to ignore
    to impress
    to incite
    to inspect
    to instruct
    to invade
    to invite
    to lead
    to lure
    to manipulate
    to mimic
    to mock
    to mother
    to mourn
    to ogle
    to overpower
    to patronize
    to perform
    to persuade
    to pester
    to plead
    to ponder
    to pounce
    to preen    		to prepare
    to primp
    to probe
    to protect
    to provoke
    to put down
    to question
    to reach out
    to reason with
    to reject
    to rescue
    to retreat
    to ridicule
    to savor
    to scold
    to scrutinize
    to search
    to seduce
    to seethe
    to shock
    to show off
    to sneak
    to soothe
    to stalk
    to startle
    to strut
    to surrender
    to tantalize
    to taunt
    to teach
    to tease
    to tempt
    to test
    to threaten
    to toss off
    to triumph
    to ward off
    to warn
    to welcome
    to withdraw
    to worship
    to yearn

    Refer to Marina Calderone’s Actions: The Actor’s Thesaurus (book/app) for more examples.

    Other Directing Strategies

    Acceptable directions for actors that are not clarifying a beat objective through the use of an active verb include:

    1. Do this scene AS IF you are __________ (e.g., in a funeral procession, on the floor of the stock market, at a prayer meeting, in a bread line, in front of a firing squad, etc.) Events are dynamic and spur the imagination, and actors’ imaginations are the best tools they have. Ask an actor to use “the magic if” and to find an event or relationship from their own lives they can connect to the character or situation imaginatively and emotionally. It is not necessary that you know it or that they share it with you.
    2. Asking the WHO, WHAT, WHERE, WHY, HOW, and WHEN questions. These questions clarify the circumstances, the super-, scene- and beat-objectives, the motivations, and the strategies of the character in an easy-to-understand format.
    3. Directing the actor to “Keep it simple,” “Think it, don’t show it,” or “Listen to them. Really listen.”
    4. Use FACTS. Facts are objective and help to clarify circumstances.
    5. Use SENSORY IMAGES (sight, sound, feel, taste, smell). Images allow the actor to use recall to make a situation real to them.
    6. Use PHYSICAL TASKS. Physical tasks are kinetic (energy in motion) and allow the actor to create a multi-layered approach as well as provide focus.
    7. THE MOMENT BEFORE. What just happened before this scene takes place? How does that impact what is about to take place?

    Avoid

    1. Avoid asking for moods or results from an actor. Instead, clarify objectives and give active verbs to work with.
    2. Avoid asking an actor to “bring it up.” Instead examine whether the stakes are high enough to motivate the behavior, and if not, raise them or use the “as if” scenario.
    3. Avoid asking an actor to “bring it down.” Instead ask them to listen to their partner and not anticipate what is coming next or to keep it simple and respond truthfully.
    4. Avoid giving line readings to an actor. Remember, the line is unimportant. The motivation for the line is important. Make sure the actor is clear on what the motivation and objective is for the line and ask them to only think of that.
    5. Avoid telling an actor how their character should be feeling or give character judgments. Remember, all characters’ actions are justified to them, even and especially, “villains”!
    6. Avoid using adjectives or adverbs when giving directions. Always use VERBS!

  • 2nd AD Responsibilities

    Overview

    The 2nd Assistant Director focuses primarily on communication, paperwork management, and logistical coordination in support of the broader assistant directing team. Responsibilities typically include preparing call sheets, distributing production information, coordinating cast movement and crew communication, tracking schedules, and helping ensure that departments remain informed and organized throughout production.

    While the 1st AD concentrates on running the set and managing the shooting day on the floor, the 2nd AD supports that process by handling much of the operational coordination that happens off the floor. Strong 2nd AD work helps productions stay organized, reduces communication breakdowns, and allows the production team to operate more efficiently under demanding schedules. The role also provides important experience in the organizational and administrative systems that support professional film production.

    Pre-Production

    • Create the Call Sheet, including map and set diagram. Have 1st AD approve it. Then send it 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.

    On Set

    Start of day

    • Arrive at set FIRST, at least 30 minutes before call time.
    • Establish Base Camp.
      • Set up Checkpoint 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.
    • As crew members arrive, check them in by taking their photo using the Timesheet Form in the FSU Greenlight app on your Phone, or the Production iPad if one is assigned.  You will also assign walkies to designated crew and notate the walkie number in the form. 

    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

    • When the Producer arrives with lunch, help set up the lunch table.
    • 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, Script Supe, and Sound Mixer meet at end of day to verify reports. Collect 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 all the of the Daily Production Paperwork for the Producer and deliver in a folder.
    • 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 Daily Production Report and have it approved by the 1st AD. Then distribute within 2 hours after wrap.

    Post-Production

    • Assist in wrapping production paperwork if necessary.