FSUFILM Handbook

Category: M2

  • Animal Use Request

    Animal Use Request

    Overview

    Productions wishing to include animals in filming activities must complete an Animal Use Request describing the proposed use of the animal, the conditions under which filming will occur, and the safety and handling procedures that will be followed during production. Approval comes from the FSU Animal Care and Use Committee.

    Animals introduce additional safety, liability, scheduling, and welfare considerations that require careful review before approval is granted. The request process helps ensure that productions are planning responsibly, protecting the well-being of both the animal and the crew, and complying with university expectations regarding safe production practices.

    FSU Animal Care and Use Committee

    Producers are required by Florida State University policies to file a request for review of animal use on the production by the FSU Animal Care and Use Committee (ACUC).

    Approval is required by federal regulation, but it also enhances the relationship of FSU with the public, demonstrating to the public that the University is concerned with all use of animals by the University community.

    This request must be submitted well in advance of the start of the production, as it will usually take a number of weeks for a request to be approved. If a production does not receive approval from the ACUC in time for production, the use of an animal is not permitted.

    Instructions

    Prior to making a request for animal use, the Producer should review the relevant sections of the American Humane Association’s Guidelines for the Safe Use of Animals in Filmed Media.

    Should a production require ACUC approval, ACUC requires that the ACUC Film School Protocol Form and a PDF of the script (highlighting the parts that contain animals) be submitted at least two weeks prior to any animal use. This will permit the Committee to perform its federally mandated oversight function to ensure University compliance with Federal regulations. Students are strongly encouraged to allow for more than two-weeks of turnaround time, in case delays occur or revisions are needed. Again—if the request is not approved in time for production, the use of an animal is not permitted.

    The application is submitted to the ACUC Coordinator in the Department of Laboratory Animal Resources (LAR) office. The ACUC Coordinator then forwards a copy of the protocol to the LAR veterinarians for a pre-review. These individuals conduct a preliminary review with an eye to helping eliminate any stumbling blocks to approval by the full Committee. Suggested modifications and questions are provided to the person that has filed the protocol. The LAR staff is available for consultation and is often able to assist with locating animals suitable for the productions.

    If last minute modifications to the production are necessary following approval, students are required to contact one of the LAR Veterinarians for approval prior to making any changes. The LAR Veterinarian will then report on the modification at the next ACUC meeting.

    On occasion projects request the use of animal tissue rather than live animals. These productions/projects also must be reviewed by the FSU Animal Care and Use Committee for reasons related both to public concern over source and health reasons related to the handling of animal parts. Individuals should follow the above instructions for protocol submission. Also, individuals should be aware that certain precautions are necessary when handling animal carcasses or tissue. 

  • Call Sheet

    Overview

    A call sheet is the primary daily production document used to communicate the schedule, locations, crew call times, cast information, scenes to be filmed, logistical details, safety notes, and other operational information for an upcoming shoot day.

    Clear and accurate call sheets are essential because they serve as the central communication tool that keeps productions organized and aligned from day to day. Well-prepared call sheets help reduce confusion, improve coordination between departments, support safer production operations, and allow cast and crew to arrive properly prepared for the work ahead.

    Paperwork

    Thumbnail of the form
    Call-SheetDownload (XLSX)

    INSTRUCTIONS

    The purpose of the call sheet is to provide all the pertinent information about the next day’s production. The Second Assistant Director is responsible for distributing a PDF of each day’s call sheet to the cast, crew, faculty, and FSU police. If the production does not have a dedicated Second Assistant Director, the First Assistant Director or Producer shall assume the responsibility.

    Call sheets, along with any relevant additional information such as maps or safety bulletins, must be distributed no later than 12 hours before call time on the first day of production and no later than the previous day’s company wrap for all subsequent days. It is important to thoroughly check — and double-check — and triple-check — that all the information in the call sheet is correct before it is sent out, because the distribution of revisions can create confusion.

    MESSAGING

    Call sheets should be distributed with a subject line that follows this naming convention: 01f3-Film Title - Call Sheet - Day 1

    You may include a brief, executive summary of important information in the body of the message, but this should not be a substitute for providing all relevant information in the call sheet itself.

    Call sheets must be distributed in two ways:

    1. Post call sheets (and any relevant maps and safety bulletins) to the “Call Sheets” channel in Teams. This is for your instructors and assigned crew.
    2. Email call sheets to your cast, POL-PDSupervisors@fsu.edu (FSU Police), and any other relevant parties who need the call sheet.

    Sample Call Sheet

    Update accordingly for subsequent days. For instance, you no longer need to introduce yourself after day 1.

    _________________________________________

    SUBJECT: 01f3-Film Title – Call Sheet – Day 1

    Hello 01F3 Team!

    We hope everyone is excited to get working on, (“Film Title”), directed by (First Last Name).

    My name is (First Last) and I am the (Position) for this film. I will be sending out call sheets, location directions, and general information each day of the shoot. When you arrive on set you will sign in with me and you will check out with me at the end of your day.

    Attached are the call sheet, location info and parking instructions for tomorrow. Note, the location is approximately ## minutes away from the film school. Depending on your departure location, please plan accordingly. If you are part of a carpool, please ensure you allow extra time for pick-ups and drop-offs.

    *Please read the call sheet thoroughly for specific information.

    *Please arrive at least 15 minutes prior to your call time to ensure you have time to park and check in with me on time.

    CREW CALL: 7:00AM

    CAST CALL: See Below

    (First Last) your call time is 7:45 AM

    (First Last) your call time is 8:15 AM

    FILMING LOCATION

    Address: #### Somewhere St, City, FL, Zip

    *Insert Google Maps Link here.

    CREW/CAST PARKING

    Add VERY specific instructions for parking here.

    TRUCK PARKING

    Add VERY specific instructions for parking here.

    LOCATION NOTES

    (Sample) Please DO NOT WALK ON THE GRASS. This is a specific request from the location owner.

    (Sample) Dogs on site (they will be contained)

    (Sample) Please keep exterior noise to a minimum.

    DOCUMENTS ATTACHED TO EMAIL

    -Call Sheet

    -Location Map

    -Location Parking Diagram

    -Safety Bulletins: #5, #10

    If you have any issues getting to set, or any questions whatsoever, please do not hesitate to call my number below.

    We look forward to working with you!

    Best,

    (First Last)

    (Your Position)

    Cell: (###) ###-####

    @FSU Email

    (First Last)

    Producer

    Cell: (###) ###-####

    @FSU Email

    Sample call sheet (page one)
    Sample call sheet (page two)
    Sample map
    Sample location map

  • Information for Location Owners

    Overview

    This resource is intended for property owners and representatives considering allowing a student production to film at their location. It explains the general nature of the production process, what filming activity may involve, and how productions coordinate logistics, scheduling, insurance, and location agreements.

    Thank you for considering allowing one of our students to use your property as a filming location. Each year, our students create nearly 200 films, and your generosity makes this possible. We value your time and support, and we are committed to maintaining the highest standards of professionalism, safety, and respect for your property.

    WHAT TO EXPECT

    How many people will be on site?

    A typical student film crew includes 12-15 students, plus actors and possibly a few additional volunteers. Please feel free to ask the student for a specific headcount of crew, cast, and support personnel.

    What will they bring?

    Film productions require various equipment, including cameras, lights, sound gear, stands, cables, sandbags, rigging, dollies, and sometimes generators. Our students are trained to handle this equipment safely. They will confirm with you in advance where vehicles (trucks and cars) can be parked and where equipment can be staged.

    How long will they be here?

    A standard shoot day is up to 12 hours, plus a one-hour lunch break. Crews typically arrive about 30 minutes before the official start time and take an additional 30 minutes afterward for cleanup and packing. Students may also visit the location on separate days for planning, tech scouting, or set dressing. They will confirm with you in advance the start and end times for each prep and shoot day.

    Location agreements

    If you choose to allow the use of your property, here’s what to expect in terms of paperwork:

    Script Review

    The student will provide a copy of the script and answer any questions about the project, including sensitive content.

    Location Shooting Plan Agreement

    Together, you and the student will complete an agreement which outlines:

    • The specific spaces they will use.
    • Where vehicles may park.
    • Access times.
    • Any special conditions or restrictions you’d like to include.

    Location Agreement

    This legal document grants permission to use your property and waives your liability in the event of a student injury during production.

  • Set-up Schedule

    Set-up Schedule

    Overview

    The set-up schedule outlines the planned timing and workflow for preparing and shooting each set-up throughout a given production day.

    Careful setup planning is important because productions rely on efficient coordination between departments before cameras begin rolling. Structured setup schedules help reduce delays, improve communication, support safer working conditions, and give crews a clearer understanding of how production operations are expected to unfold throughout the day.

    Paperwork

    Thumbnail of the form
    Setup ScheduleDownload (XLS)

    INSTRUCTIONS

    After the Director and DP have created a provisional shot list, the 1st AD will meet with the Director and DP to schedule the order of shots for each day. Using this Set-up Schedule, the shots should be listed in the order you intend to shoot them, including estimated times to set up and shoot each one.

    Be sure to budget adequate time load-ins, load-outs, wraps, lunch, and any company moves.

    SAMPLE SET-UP SCHEDULE

    Here’s a sample of what the completed set-up schedule should look like:

    Sample of a completed form

  • Public Domain & Creative Commons Resources

    Overview

    This resource compiles public domain and Creative Commons materials that students may use when searching for music, images, footage, sound effects, or other media assets for productions and related projects.

    Understanding public domain and Creative Commons licensing is important because productions must ensure that all third-party materials are being used legally and appropriately. Learning how to evaluate licensing terms, attribution requirements, and permitted usage helps students develop stronger professional practices related to copyright, rights clearance, and media sourcing within film production workflows.

    Some Words of Caution

    The Internet is a wonderful place for finding videos, images, motion graphics, clip art, music, and sound effects that can be used in your films.

    Beware, however, that the Internet is also a terribly unreliable place and the burden of proof will fall on Producers to document that the production has the rights to use the materials, so that there’s a clear chain of title.

    For works in the public domain, this can sometimes take a fair amount of research, as licensing information can be unclear, unreliable, or hard to track down. Any works published 95 years ago or earlier are now in the public domain. Any works published in the past 95 years should be assumed to be under copyright, unless otherwise confirmed. Be aware that new versions of works in the public domain — e.g., a New York Symphony Orchestra’s recent recording of Beethoven’s 9th Symphony — are copyrighted. In other words, while you could perform the composition yourself and be alright, you couldn’t use the New York Symphony Orchestra’s recording without clearing it first.

    For Creative Commons work, some license types (such as “NoDerivs” and “ShareAlike”) are not compatible with the work we do. Productions are only permitted to use work licensed as “Attribution” or “Attribution-NonCommercial”.

    Videos

    PexelsFree videos that can be used and modified without attribution.
    PixabayFree videos that can be used and modified without attribution.
    Prelinger ArchivesFree public domain films that can be used and modified without attribution.
    NASAFree videos that can be used and modified, if compliant with NASA’s usage guidelines.
    WikimediaFree videos issued under various licenses; be sure to read the usage guidelines.
    VidevoFree videos issued under various licenses; be sure to read the usage guidelines.

    Images

    PexelsFree photos that can be used and modified without attribution.
    PixabayFree photos that can be used and modified without attribution.
    Library of CongressFree photos to use and modify; each collection has its own rights statement on usage.
    Icons 8Designers, download the design stuff for free — icons, photos, UX illustrations, and music for your videos.
    Biodiversity Heritage LibraryFree botanical and animal images from the largest open-access digital archive dedicated life on Earth.
    Burst (by Shopify)Free stock images that can be used and modified without attribution.
    FreerangeFree photos and illustrations that can be used and modified without attribution the under the Creative Commons Zero license.
    freestocks.orgFree stock photos that can be used and modified without attribution under the under the Creative Commons Zero license.
    Foodies FeedFree images of food that can be used and modified without attribution under the under the Creative Commons Zero license.
    GratisographyFree “whimsical” photos that can be used and modified without attribution (see usage guidelines).
    ISO RepublicFree photos that can be used and modified without attribution the under the Creative Commons Zero license.
    Jay MantriFree photos that can be used and modified without attribution the under the Creative Commons Zero license.
    Kaboom PicsFree stock photography and color palettes that can be used and modified without attribution.
    Life of PixFree high-resolution photos, no copyright restrictions for personal and commercial use.
    Little VisualsFree, high resolution images. Use them anyway you want – free for commercial use.
    MorguefileRoyalty Free Stock Photos and Images
    Over 400,000 free stock photos for commercial use.
    New Old StockVintage photos from the public archives.
    PicographyHigh-Resolution, Royalty-Free, Stock Photos that you can use however you like with a free license.
    PikwizardLibrary of over 1 million stock images and videos. Royalty-free and safe for commercial use, with no attribution required.
    RawpixelDiscover original artworks from a library of public domain books and chromolithographs. Art prints scanned and digitally enhanced into high resolution, available to download under the CC0 license.
    ReshotFree Icons & Illustrations. Design freely with instant downloads and commercial licenses.
    SkitterphotoA place to find, show and share public domain photos.
    Stocksnap.ioNew CC0 stock photos added daily, free from copyright restrictions.
    StockvaultFree stock images. New photos, textures, and illustrations added daily.
    Styled StockFree stock photos. Beautiful FEMININE styled images for your projects.
    UnsplashThe internet’s source for visuals. Powered by creators everywhere.
    Vintage Stock PhotosVintage Stock Photos. Free.

    Motion Graphics

    Pond 5Free stock videos, photos, and music.
    VidevoFree motion graphics issued under various licenses; read the usage guidelines.

    Clip art

    artvex.comOver 10,000 original free clipart images.
    ClipArt ETCEducational clipart,
    ClipartOfFree clip art.
    clker.comFree clip art.
    WebweaverClipart, vectors and animations.
    VecteezyFree vector images. Find the best royalty free vectors and illustrations for your design, with thousands of new images added every day. Download free backgrounds, graphics, clipart, drawings, icons, logos and more that are safe for commercial use.

    Music

    Muse OpenClassical music.
    Free Music Archiveinteractive library of high-quality, legal audio downloads directed by WFMU, the most renowned freeform radio station in America.
    Free music public domainRoyalty free music for home videos, Youtube videos, film & movie scores, commercial background music or personal use.
    Freesounda collaborative database of Creative Commons Licensed sounds.
    Anthony KozarComposer and open-source programmer.
    AudionautixThe music on this site is the creation of Jason Shaw.
    Bensound.comDownload royalty free stock music for YouTube and your multimedia projects.
    Brett Van Donselprovides affordable music options for filmmakers, YouTubers, gamers, podcasters, advertisers and more. Most of the music is royalty free. 
    Filmmusic.ioOver 600 tracks, free even for commercial use, primarily with cinematic music by Sascha Ende.
    Gravity SoundFree Music and Sound Effects for Personal and Commercial Use.
    IncompetechRoyalty free music by Kevin MacLeod.
    Josh WoodwardAcoustic indie rock singer/songwriter. Creative Commons Music.
    King JamesRoyalty free music.
    Kongano.comThis site contains royalty-free mp3s for you to listen, download and do whatever you want with.
    Silverman Sound StudiosBackground music for YouTube, videos, games, films, adverts, podcasts, anything! All totally free to download!
    TechnoAXERoyalty Free Music for your commercial/non-commercial videos or projects. This website has Techno, Dubstep, Metal, Rock or Soundtrack.
    Tim BeekMusic for media.
    Twin MusicomInnovative audio production.
    VidevoFree music issued under various licenses; be sure to read the usage guidelines.
    WOWAFree music.

    Sound effects

    FreesoundFind any sound you like in a collaborative collection of 648,846 free sounds.
    VidevoFree sound effects issued under various licenses; read the usage guidelines.
    ZapSplatDownload over 46,000 free professional sounds.

  • Safety Bulletins

    Overview

    Safety bulletins provide guidance, procedures, and recommended practices related to specific production hazards, equipment, environments, or activities that may arise during filmmaking—and they must be included alongside call sheets when relevant.

    Because film production can involve physically demanding environments, technical equipment, transportation, electrical systems, weather exposure, stunts, weapons, animals, and other potential hazards, productions must approach safety proactively rather than reactively. Safety bulletins help crews identify risks earlier, develop safer working practices, and reinforce a culture of shared responsibility around production safety.

    How They Work

    The safety bulletins we utilize are researched, written, and distributed by the Industry-Wide Labor-Management Safety Committee for use by the motion picture industry. The committee is composed of guild, union, and management representatives active in industry safety and health programs.

    Safety bulletins are recommended guidelines. They are not binding laws or regulations. State, federal, and/or local regulations override these guidelines. Modifications in these guidelines should be made, as circumstances warrant, to ensure the safety of the cast and crew.

    A PDF of all relevant safety bulletins must be attached to call sheets. Be sure to download the most recent version of a safety bulletin before attaching one to a call sheet, as the Industry-Wide Labor-Management Safety Committee does update their bulletins periodically.

    All crew are required to read distributed Safety Bulletins prior to commencing the work day. Failure to do so may result in disciplinary action, including immediate dismissal from the school.

    Download Bulletins

    To download the latest versions of the safety bulletins, click here:

    List of Bulletins

    A list of all the available Industry-Wide Labor-Management Safety Committee’s safety bulletins is outlined below.

    Safety Bulletins

    1. Recommendations For The Use Of Firearms, Blanks, And Dummy Rounds
    2. Prohibitions And Special Restrictions On The Use Of Live Ammunition
    3. Guidelines Regarding the Use of Helicopters in Motion Picture Productions
      • Addendum A – Helicopter External Loads
    4. Stunts
      • Addendum A – Specialized Activities
    5. Safety Awareness
    6. Animal Handling Rules for the Motion Picture Industry
    7. Recommendations For Diving Operations
    8. Guidelines for Traditional Camera Cars
      • Addendum A – Process Trailer/Towed Vehicle
      • Addendum B – Camera Boom Vehicles
      • Addendum C – Power Line Distance Requirements
    9. Recommended Guidelines for Working In and Around Base Camps
      • Addendum A – Base Camp Inspection Checklist
    10. Guidelines Regarding the Use of Artificially Created Atmospheric Fog & Haze
      • Addendum A – Technical Awareness Sheet
    11. Guidelines Regarding the Use of Fixed-Wing Aircraft in Motion Picture Productions
      • Addendum A – External Load Guidelines
    12. Guidelines for the Use of Venomous Reptiles
    13. Recommended Guidelines When Using Combustible & Flammable Fuels and Associated Equipment
    14. Parachuting and Skydiving
    15. Guidelines for Boating/Watercraft Safety for Film Crews
    16. Recommended Guidelines for Safety with Pyrotechnic Special Effects
    17. Water Hazards
    18. Guidelines for Safe Use of Stunt Air Bags, Boxes or Other Freefall Catch Systems
    19. Recommended Guidelines for the Use of Open Flame on Production
    20. Guidelines for the Safe Use of Motorcycles
    21. Guidelines for Appropriate Clothing and Personal Protective Equipment
    22. Guidelines for the Use of Scissor Lifts (Elevating Work Platforms) and Aerial Boom Lifts (Extensible Boom Platforms)
      • Addendum A – Power Line Distance Requirements
    23. Guidelines for Working with Portable Power Distribution Systems and Other Electrical Equipment
      • Addendum A – Power Line Distance Requirements
      • Addendum B – Basic Electrical Safety Precautions for Motion Picture and Television Off Studio Lot Location Productions
      • Addendum C – Working With 480 Volt Systems
      • Addendum D – Common Motion-Picture/Television Tasks and Associated Personal Protective Equipment
      • Addendum E – Guidelines for Meeting National Electrical Code (NEC) Grounding Requirements for Portable Generators Supplying Portable Equipment in the Motion Picture and Television Industry
    24. California OSHA Safety Requirements for Handling of Blood and Other Potentially Infectious Materials
    25. Camera Cranes
      • Addendum A – Power Line Distance Requirements
    26. Preparing Urban Exterior Locations for Filming
    27. Poisonous Plants
    28. Guidelines for Railroad Safety
    29. Guidelines for Safe Use of Hot Air Balloons
      • Addendum A – External Load Guidelines
    30. Recommended Guidelines for Safely Working with Edged, Piercing, and Projectile Props
    31. Safety Awareness When Working Around Indigenous Wildlife
    32. Los Angeles County Approved Film Production Food Services
      • Addendum A – Los Angeles County Approved Film Production Food Services
    33. Special Safety Considerations when Employing Infant Actors (15 days to Six Months Old)
    34. Guidelines for Working in Extreme Cold Temperature Conditions
      • Addendum A – Wind Chill Chart
    35. Safety Considerations for the Prevention of Outdoor Heat Illness
    36. Recommended Guidelines for Safely Working Around Unmanned Aircraft Systems (UAS) a.k.a Drones
      • Appendix A – Federal Aviation Administration (FAA) Rules & Regulations
    37. Vehicle Restraint Systems – Seat Belts & Harnesses
    38. Guidelines For Inclement Or Severe Weather
      • Appendix A – Lightning Safety
    39. Safety Guidelines for Using Foam(ed) Plastics in Set and Prop Construction
    40. Guidelines for Non-Camera Utility Vehicles
    41. Recommended Guidelines for Safely Working On and Around Gimbals
    42. Guidelines for Alternative Driving Systems
    43. Recommended Guidelines for Free Driving
    44. Guidelines for Working Safely with Radiofrequency (RF) Transmitters
    45. Guidelines For Long or Successive Takes

    Procedural Guidelines

    1. Special Procedures For Minors Performing Physical Activities

    Informational Fact Sheets

    1. General Code of Safe Practices for Production
    2. Extended or Successive Takes
    3. Guidelines for Handling Freshly Painted or Printed Backdrops and Other Graphic Arts
    4. Photographic Dust Effects
    5. Guidelines for Reducing the Spread of Influenza-Like Illness
    6. Protection from Wildfire Smoke
    7. Lithium-Ion Battery Safety
    8. Indoor Heat Illness Prevention: California

  • 1st AD Responsibilities

    Overview

    The 1st Assistant Director is responsible for managing the shooting schedule and overseeing the day-to-day operation of the set during production. This includes coordinating the work of departments on set, maintaining production pace, monitoring safety concerns, communicating priorities to the crew, and helping ensure that the production remains on schedule throughout the shooting day.

    The 1st AD serves as the primary operational leader on set, balancing the creative ambitions of the director and department heads against the practical realities of time, staffing, resources, and budget. While students sometimes misunderstand the position as simply enforcing the schedule or “watching the clock,” effective assistant directing requires constant collaboration, communication, and problem-solving in support of both the film’s creative goals and the producer’s responsibility to successfully complete the day’s work. Strong 1st AD leadership helps productions remain organized, safe, efficient, and creatively focused even under demanding production conditions.

    Pre-Production

    • Break down the script and create the Production Schedule in Movie Magic Scheduling.
    • Organize and run the Tech Scout for each location. Establish where the restrooms, parking, staging, base camp and set will be.
    • Run the Production Meeting.
    • Meet with the Producer to discuss the schedule.
    • 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.

    On Set

    • Start of day:
      • Arrive at set 30 minutes before call time.
      • 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. Complete the Safety Meeting Report.
    • 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 setups 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.

  • Producer Responsibilities

    Overview

    The producer serves as the primary organizational and managerial lead of the production, overseeing the broader coordination of the project across development, pre-production, production, post-production, and delivery. Responsibilities may include managing schedules, coordinating communication between departments, overseeing logistics, monitoring production progress, helping resolve problems, and ensuring that the production remains aligned with the practical realities of time, staffing, safety, and available resources.

    Within the collaborative structure of film production, the producer is ultimately responsible for helping guide the project to successful completion while balancing creative goals against operational limitations. Unlike roles focused primarily on on-set execution or departmental coordination, the producer maintains a wider view of the entire production process and helps ensure that all parts of the project continue moving forward cohesively. The role also helps students develop leadership, communication, organizational, and decision-making skills that are central to professional producing workflows.

    Pre-Production

    • Do a script breakdown and production schedule using Movie Magic Scheduling. Update as needed.
    • Complete a budget for the film using Movie Magic Budgeting. Update as needed.
    • Make sure the show’s channel in Teams is kept up to date with the latest draft of the script, as well as updates on casting, locations, and other logistical elements.
    • Work on Location Scouting to find potential shooting locations. Complete a Location Hazard Assessment Checklist. If any location hazards, then also complete a Hazard Notification Report.
    • Secure each filming location by completing a Location Agreement and Shooting Plan. Make sure the location owner is clear about the nature of the production.
    • Have each actor sign a Performance Agreement.
    • Arrange for volunteers and/or extras if required.
    • Prepare all scheduling information and other material required for the Tech Scout.
    • Assist the Director with any and all logistical needs to prepare for principal photography.
    • Attend the Production Meeting. Discuss any logistics and answer crewmembers’ questions.
    • Check the weather periodically to monitor adverse conditions. Have a back-up plan.
    • Meet with the 1st AD to discuss the schedule.
    • Purchase Craft Services by the night before production.
    • Pre-order lunch and arrange for it to be picked up by a volunteer on the day of production.
    • Have a Greenlight Meeting with the Head of Production.
    • Double check every logistical piece of information and make sure nothing has been forgotten.

    On Set

    • Start of day:
      • Arrive at set at least 30 minutes early.
      • Immediately establish contact with the location owner to make sure everything is still going as planned. Check back with them periodically throughout the day as needed.
    • Throughout the day:
      • Make sure everything is going as planned throughout the day, and troubleshoot logistics as needed.
      • Be another set of eyes at the tap monitor to make sure all is going as planned.
    • End of day:
      • With 2nd AD, clean and secure location. Be the LAST TO LEAVE (except perhaps Art Dept).
      • Whenever possible, do a walk-thru with the location owner to verify everything is in order.
      • Leave the location better than when you arrived.
      • Drop off the camera reports, camera cards & sound cards in the ER dropbox.

    Post-Production

    • Turn in Production Delivery Paperwork via OneDrive to the Head of Production by 9am Thursday after production.
    • Turn in the hard copy originals of the Reimbursement Voucher, itemized receipts, and Meal Sign In Sheet to the Film School Accountant by 9am Thursday after production.

  • Budgets

    Overview

    M2 productions are expected to develop and maintain production budgets that track anticipated expenses, resource allocation, departmental needs, and overall financial planning throughout pre-production and production. This page provides information about the budget allocations for each show and accounting procedures that need to be followed.

    Budgeting is a fundamental part of filmmaking because creative decisions must constantly be balanced against practical limitations such as time, labor, equipment, transportation, locations, and available funding. Developing realistic budgets helps productions plan more effectively, avoid preventable logistical problems, and better understand how financial decision-making shapes professional production workflows.

    Lunch & craft

    For each live action show, a dollar amount is provided for every assigned crew member, plus two actors and one volunteer:

    • $10.00 per head lunch catering for 17 crew members and 3 actors or volunteers (20 people total): $200.00 per day.
    • $5.00 per head craft service for 17 crew members and 3 actors or volunteers (20 people total): $100.00 per day.

    Therefore, the total allocation for lunch and craft service is $600.00.

    The amount of money allocated to each film is a set amount. It does not shrink if the crew gets smaller and it does not increase if you add volunteer crew or actors. This amount is allocated as part of the necessary budget the school provides, based on the scope of the production.

    Food budgets are allocated to live action productions only and are considered part of the “Provided Production Costs” because meal time is regulated and crew members are not allowed to leave set.

    You may use the total funds for food in any way you wish, as long as it goes only to catering and craft service. This is a “use-it-or-lose-it” budget.

    DISCRETIONARY FUNDS

    Each production is allocated an additional $600.00 of discretionary funds. The Producer should discuss with the their department heads the best use of those funds. Then using the budget form provided by the Head of Production, the Producer should enter the budgeted amounts into the appropriate budget categories.

    BUDGET FORM

    The Producer must submit the completed Budget Form to the Head of Production for review and approval. Once the budget has been approved, further revisions must be approved by the Head of Production.

    DEADLINES

    All Production expenses must be completed no later than the last day of the Summer semester.
    This includes submitting:

    • All Reimbursement Vouchers for reimbursement
    • All receipts to reconcile any outstanding Cash Advances
    • All invoices from any open contractor’s Purchase Orders
    • All travel receipts for any open Travel Expense Reports

  • Reimbursement

    Overview

    Production expenses generally fall into one of three categories: Payment Requests, Travel, or Services. This page outlines the procedures and documentation requirements students must follow when seeking reimbursement for approved production or university-related expenses paid out-of-pocket. This applies to all funds provided by the school, as well as funds students may have raised through a Spark campaign.

    Because reimbursements involve university financial systems and oversight requirements, requests must be submitted accurately and with appropriate supporting documentation. Clear procedures help reduce delays, improve accountability, and ensure that reimbursements can be processed efficiently and in compliance with university policies.

    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.