FSUFILM Handbook

Category: MC

  • 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

  • Walkaway Wraps

    Overview

    Walkaway wraps refer to situations in which production equipment remains at a shooting location overnight rather than being fully wrapped out at the end of the day. The standard expectation for location shoots is that all school equipment will be packed up and removed daily, but under limited circumstances capstone productions may request approval for a walkaway wrap.

    These restrictions exist to protect school equipment from theft, damage, or environmental exposure; to help restore the location owner’s space to normal use at the end of each shoot day; and to support the educational experience of the crew by reinforcing proper wrap procedures and equipment handling practices. Because leaving equipment overnight introduces additional risks and responsibilities, walkaway wraps require careful review and approval before they are permitted.

    Requesting a Walkaway Wrap

    On FC and MC productions only, students may request a walkaway wrap, but permission will only be granted in exceptional circumstances. Approval is at the discretion of the the Head of Set Operations, and the following conditions must be met:

    1. Requests must be made prior to the start of the show’s first day of production.
    2. Walkaway wraps may not be requested for family homes or other residential locations.
    3. Production must resume the day following the walkaway wrap. There cannot be any days off between the walkaway wrap and resuming of production.
    4. All department heads on the crew must approve the plan for the walkaway wrap.
    5. The Producer must provide a detailed description of which pieces of equipment would remain at the location and the reasons for why a walkaway wrap is being requested. Approval will only be given for rigging, where the extensiveness of the tear-down is a major factor.
    6. The Producer must provide a detailed plan for how the equipment will be secured safely at the location, to prevent theft/damage and to prevent injury to anyone who may enter the location before the crew returns.
    7. The Producer must provide a security professional to sit with the equipment overnight. The Head of Set Operations will determine whether or not a specific individual is approved for this task.

  • Pick-Up Photography

    Overview

    Pick-up photography refers to additional filming conducted after principal photography has concluded in order to capture missing material, inserts, revised coverage, or other supplemental footage needed to improve the project.

    Because additional filming affects scheduling, equipment access, staffing, locations, and administrative coordination, productions must approach pick-up photography carefully and with clear planning. The process helps ensure that additional shooting is necessary, realistically achievable, and properly coordinated within the broader production and post-production schedule.

    How It Works

    On the FC and MC cycles, students may make a request to the Head of Production for pick-up photography to improve moments in the film that were not captured successfully during principal photography. Pick-up requests may not be made for additional moments that were not part of the original shooting plan.

    No show will be approved for more than six hours of pick-up photography. And all pick-up photography will need to be completed and cut into the edit before picture lock. In some cases, this may mean that the turnaround time for pick-up photography is tight, so students will need to be diligent and proactive if they want to put in a request.

    Pick-up photography is a privilege to be earned. Since pick-up photography involves time and resources, requests will not be approved automatically. Approvals will be granted only if the time and resources are available and if students make a compelling case for the value of the pick-ups to the film (including proof that the problem cannot be adequately solved with careful editing choices).

    Pick-up request procedure

    Students will need to complete a Additional Photography Request form, in which they must provide the following details:

    • the exact nature of the subject matter to be shot;
    • the reason why it was not shot with the first unit crew during principal photography;
    • the date, times, and location of the proposed shoot;
    • the crew required for the proposed shoot, including names and signatures (you’ll need to determine how many crew members you need and you’ll need to recruit them);
    • notes on any special equipment requests;
    • notes on any budget plans;
    • any other supporting documentation.

    For MC projects, all requests must be submitted to the MFA Head of Production no later than the end of the spring semester. For FC projects, all requests must be submitted to the BFA Head of Production no later than the day of the first cut screening.

    The Head of Production’s decision on whether to approve or deny a pick-up photography request is final.


  • Budgets

    Overview

    MC 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 21 crew members and 3 actors or volunteers (24 people total ): $240.00 per day.
    • $5.00 per head craft service for 21 crew members and 3 actors or volunteers (24 people total): $120.00 per day.

    Therefore, for a 6-day shoot, the total allocated for lunch and craft service is $2,160.00.

    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 $4,000.00 of discretionary funds. The Producer should discuss with the ATL 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 Spring semester.

    All Post-Production expenses must be completed no later than June 1.

    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.

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

    Production days

    Start of day:

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

    Throughout the day:

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

    End of day:

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

  • Universal Production Music

    Decorative image of Universal Production Music

    Overview

    Universal Production Music is a production music library available to students for approved use within film projects and related productions. This resource provides information about accessing the library, searching for music, and incorporating licensed tracks into student productions under the program’s agreement.

    Using properly licensed production music is important because films intended for festival exhibition, online release, or public distribution must have clear rights documentation for all music used within the project. Access to a professional music library also helps students develop stronger practices related to music selection, licensing, and post-production workflow management.

    How it Works

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

    All the music in UPM is pre-approved for use in any of our student productions. Each track should be credited in the end titles of the finished film, but no releases need to be signed for the use of this music, so long as you remain in accordance with the licensing agreement. Simply include a copy of the license in the final paperwork delivery for the project.

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

  • Music Rights

    Overview

    Music rights refer to the legal permissions and ownership interests associated with the use of music within a film or media project. This includes rights connected to musical compositions, sound recordings, synchronization, master recordings, and other forms of music usage and licensing.

    Understanding music rights is essential because productions cannot assume that music may be used simply because it is publicly available or easy to access online. Proper rights clearance helps productions avoid legal and distribution problems while reinforcing professional practices related to copyright, licensing, and responsible media usage.

    Important Rules and Restrictions

    Unfortunately, music rights are often neglected until the very end of post-production. This is a mistake that could come back to haunt you. Acquiring music rights is often a more difficult and time-consuming process than one might realize. It is therefore in your best interest to start thinking about the music in your film early—ideally during pre-production.

    For this reason, all F1 and M1 projects are only permitted to use music from the Universal Production Music library, since the school has already licensed that music.

    Producers on all other production cycles may use the other methods of acquiring music that are described below, but they should start the process of clearing rights as early as possible.

    A show will not be permitted to mix with a piece of music if the music rights have not been 100% cleared.

    An alternate track from the Universal Production Music library should always also be prepared as a back-up—in case unanticipated issues arise with the music rights and so that an alternate, screenable version of the film remains available after any music rights may have expired.

    Working with a Composer

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

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

    Licensed Music

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

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

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

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

    Synchronization License

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

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

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

    Master Use License

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

    Library Music

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

    Sample on-screen song credit

    [su_spacer size=”15″]

    Public Domain Music

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

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

    Creative Commons

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

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

    CC-BY license
    Attribution
    CC-BY-NC license
    Attribution • Non-Commercial

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

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

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

  • Credit Policies

    Overview

    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.