FSUFILM Handbook

Category: MC

  • MC Delivery

    Overview

    Final delivery for MC 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 animation 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
    Due by 9:00am on the Thursday following production.
    To be completed by the Producer.

    Part II – Post Production Delivery
    Due by 5:00pm on Wednesday, July 8, 2026.
    To be completed by the Producer.

    Part III – Film Festival Press Materials
    Due by 5:00pm on Tuesday, July 28, 2026.
    To be completed by the Producer.

    Part I – Production

    01. Script [su_button url=”https://wkf.ms/4qEyJU1″ 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

    02. Production Schedule [su_button url=”https://wkf.ms/4r5azBJ” target=”blank” style=”flat” background=”#7da21f” color=”#000000″ size=”1″ radius=”20″ class=”deliver-button”]Deliver[/su_button]

    • Shooting Schedule
    • One Line Schedule

    03. Daily Production [su_button url=”https://wkf.ms/4bg3zxs” target=”blank” style=”flat” background=”#7da21f” color=”#000000″ size=”1″ radius=”20″ class=”deliver-button”]Deliver[/su_button]

    04. 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)

    05. 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)

    06. Crew

    ASSIGNED CREW [su_button url=”https://wkf.ms/3GVN0cU” 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]

    07. Additional Resources [su_button url=”https://wkf.ms/4nk9bdl” 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.

    08. Additional Releases [su_button url=”https://wkf.ms/3F1ZVcN” target=”blank” style=”flat” background=”#7da21f” color=”#000000″ size=”1″ radius=”20″ class=”deliver-button”]DELIVER[/su_button]

    09. 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

    01. 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.

    02. 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.

    03. Music Requirements

    MUSIC CUES & RELEASES [su_button url=”https://wkf.ms/3I9PqW9″ 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.

    04. 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!

    Part III – Marketing

    01. Film Festival Strategy [su_button url=”https://wkf.ms/4l9HxhO” target=”blank” style=”flat” background=”#7da21f” color=”#000000″ size=”1″ radius=”20″ class=”deliver-button”]Deliver[/su_button]

    • A PDF documenting the festival strategy for the film.

    02. Thumbnail Images [su_button url=”https://wkf.ms/44dVT9R” target=”blank” style=”flat” background=”#7da21f” color=”#000000″ size=”1″ radius=”20″ class=”deliver-button”]Deliver[/su_button]

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

    04. Press Kit [su_button url=”https://wkf.ms/45Tz1yM” target=”blank” style=”flat” background=”#7da21f” color=”#000000″ size=”1″ radius=”20″ class=”deliver-button”]Deliver[/su_button]

    • Press Kit – PDF file
    • Press Kit – DOC file
    • 25-word and 50-word synopses
    • ATL bios and photos
    • Cast bios and photos
    • Five production stills
    • Any other elements used in the press kit, including fonts, logos, graphics, etc.

    05. 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

  • 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.

  • Casting Breakdowns

    Overview

    Casting breakdowns are documents used to describe the characters being cast for a production, including information such as age range, character description, production details, audition information, and scheduling expectations.

    Well-prepared breakdowns are important because they shape how productions communicate with actors and talent representatives during the casting process. Clear and professional casting materials help productions attract stronger submissions, communicate expectations accurately, and conduct more organized and effective casting searches.

    Components of the breakdown

    Creating a detailed and enticing casting notice is a great way to attract the best actors and to inform them up front about the requirements of the roles.

    The casting breakdown should begin with general information about the production:

    • Title and show number.
    • Brief description or logline that includes the genre.
    • Shooting dates and times.
    • The name of the director and producer.
    • Contact information. This should always include your FSU email address, but can additionally include social media or other handles.
    • The end date for the casting call.

    It should then continue with character breakdowns for all lead and supporting roles:

    • CHARACTER NAME (in all-caps)
    • Gender (if it matters)
    • Size of the role (Lead or Supporting)
    • Age range. It is how old someone looks on camera that counts, not how old they really are. Give a range. However, the younger the person needs to be, the smaller the range should be.
    • Ethnicity (if it matters)
    • Sexuality (if it matters)
    • Pertinent facts about the character: What are the given circumstances that shape this character? This can also include physical qualities that are necessary for the part but cannot be fudged on camera, like height for a basketball player. Remember, beards, tattoos, and hair color can all be grown in, glued on, or changed.
    • Distinguishing characteristics: What makes the character special or different. What drives them as a character? Never use the words ordinary or generic!

    If the role calls for stunts, intimacy, or any other special requirements:

    • If there will be any kind of nudity or sexual intimacy, it must be stated and described.
    • If the actor must work with pets, babies, children, potential allergens, or adverse conditions, they must be described.
    • If the actor must perform any physical feat that is “out of the norm,” it must be described.

    At the end of the casting breakdown, list any smaller roles and extras. You do not need a full breakdown for bit parts or extras, and in most instances a simple list will suffice. Only include additional breakdown information when appropriate.

    Sample Casting Breakdown

    THE WIZARD OF OZ (18F1)

    Victor Fleming, dir. and Mervyn LeRoy, prod.

    Shoots Friday November 18th from 8AM to 9PM.

    The Wizard of Oz is a musical based on the book by L. Frank Baum that follows the journey of a Kansas farm girl as she and her dog Toto are swept up by a tornado to the magical Land of Oz. There she makes unlikely friends to battle the Wicked Witch of the West, expose the great Wizard, and find her way back to Kansas. There’s no place like home.

    Roles available:

    • DOROTHY GALE: Female lead, early teens. Dorothy is a well-scrubbed, polite farm girl from Kansas with an active imagination. She must balance a sweetness of temperament with a sense of justice strong enough to propel her into potentially dangerous situations. Must be comfortable working with small dogs.
    • PROFESSOR MARVEL: Male supporting, 50-70. Professor Marvel is a traveling carnival magician with a dubious past. He tries hard to mask his insecurities with bravado in the hopes he will not be discovered. He is nevertheless a kind-hearted, teddy bear of a man and means no real harm.

    Smaller roles and extras:

    • MAYOR OF MUNCHKINLAND
    • MUNCHKINS
    • FLYING MONKEYS

    Distributing Casting Notices

    You are encouraged to share your casting notices with your actor friends and on social media.

    You may also submit casting notices using this form and they will be posted on the school’s casting notices site.

  • Sample Audition Email to Actors

    Overview

    This page provides a sample email template productions may use when communicating with actors regarding audition invitations, scheduling, and related casting information.

    Professional communication with actors is important because casting often forms a performer’s first impression of a production and its organization. Clear, respectful, and well-structured communication helps productions present themselves professionally while reducing confusion during the audition process.

    Sample Messaging

    Below is a sample email to send to potential actors during the casting process. Be sure to also attach a character breakdown and a copy of the script (or sides). Also be sure to copy the show’s Producer, so that they have the email for their records.

    Dear (actor’s name),

    My name is (your name) and I am a film student at the FSU College of Motion Picture Arts. I am casting a short film entitled (film’s title) that shoots on (shooting date). It is the story of (describe the film).

    I saw your audition on our casting website and I would love it if you would consider auditioning for the role of (character name). I have attached a casting breakdown and a working copy of the script, along with the pages I would like you to prepare for the audition.

    I am hoping to hold auditions on (audition date). If you are unavailable at this time, we can schedule another time that works for you. Please call me at (your cell phone number), or reply to this email if you are interested in auditioning for the role.

    Thanks so much for your interest in working with the film school.

    Regards,

    Your full name
    Your crew position
    Your email
    Your cell phone number

  • Sample Regrets Email to Actors

    Overview

    This page provides a sample email template productions may use when informing actors that they were not selected for a role following auditions or callbacks.

    Professional follow-up communication is important because casting processes involve significant time and effort from performers. Thoughtful and respectful correspondence helps productions maintain professionalism, build stronger relationships within the acting community, and reinforce industry-standard communication practices.

    Sample Messaging

    Below is a sample email to send to actors who you auditioned but did not cast in the film. Do not send regret emails until you are sure that the actor you have cast is 100% locked for the role. Make sure you also copy the Producer of the show, so that they have the email for their records.

    Dear (actor’s name),

    Thank you so much for coming to audition for the FSU film, (title of film). We appreciate the time and effort given for this project. Unfortunately, we will not be able to use you at this time, but we hope to see you again soon as we enjoyed meeting you and seeing your work.

    Sincerely,

    Your full name
    Your crew position
    Your email
    Your cell phone number

  • Auditions

    Overview

    Auditions are the formal process through which productions evaluate actors for potential casting within a project. This process may include initial auditions, callbacks, readings, chemistry tests, or other performance evaluations used to assess suitability for specific roles.

    Careful casting is important because performances play a central role in the success of a film and significantly affect the collaborative dynamic of the production process. Well-organized auditions help productions make stronger creative decisions while allowing directors and producers to evaluate not only performance quality, but also professionalism, communication, preparation, and collaborative potential.

    Contacting actors

    To set up an audition, actors should be contacted by email (see sample email) and sent a copy of the script along with the role you would like them to read for. Five-to-seven actors per role. You should then follow-up with a phone call to make a personal connection and make sure there is no confusion about your expectations. Let them know what pages of the script you would like them to prepare for the audition.

    Selecting sides for auditions

    1. Sides should ideally have two characters, but no more than three.
    2. The best sides give the actor a chance to act and react. Therefore, exposition is not a good choice.
    3. Do not choose scenes that are primarily action. If you must see an actor move, give them an improv that is directed (called out).
    4. Sides should be no more than two minutes, preferably closer to one minute.
    5. Sides may be from a script that is not your own if it contains similar characters and situations.
    6. Sides may be specifically written for audition purposes to satisfy the recommendations above. For example, if your character does not speak, you could write an interview of that character for sides. This is a good way to verbalize how a character is feeling. Or, think about if you were making your film into a longer form piece. What scenes do you wish you could write? Write them for sides!

  • 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.