The STUDIO will have one representative, hereafter referred to as the PRODUCER. The Producer will represent the Studio’s concerns for completion of the final project. The Producer shall also be responsible for adhering to the labor rules during any period of pre-production and/or production, and ensuring that all members of the production team do so as well. The Producer will be responsible for all negotiations with the Shop Stewards on behalf of the Studio.

The UNION will have two (2) representatives, hereafter referred to as SHOP STEWARDS. The Shop Stewards will represent the collective concerns of the crew. Together the Shop Stewards will be responsible for all negotiations with the Producer on behalf of the crew. The Shop Stewards shall be responsible for holding the Producer to the labor rules during any period of pre-production and/or production.

By default, the Shop Stewards will be the Gaffer and the Script Supervisor. If Script Supervisor is not an assigned crew position on a particular production, the second Shop Steward will be the 1st Assistant Camera.

A WORK DAY is defined as any day in which the crew is asked to work regardless of whether it is a shooting day or not. A workday begins at CALL TIME and ends at COMPANY WRAP.

CALL TIME is defined as the time by which a crew member is required to be on the job and ready to work. Call time is not arrival time. The crew is expected to get to the job-site before call time, allowing enough time to park and report to the job-site prior to the designated call time. The crew swipes or signs in at or before call time and is immediately ready to work.

COMPANY WRAP is defined as the time by which all work is finished and the crew members are ready to leave the job-site. It is not the time at which camera or sound stops recording. The time of company wrap is recorded when the last person has signed out, the doors of the grip truck are down and the truck is leaving the location.

PREP DAY – Any day in which the crew or a portion of the crew is asked to assist in preparation of shooting. Prep days may be, but are not limited to, Equipment check-out, pre-lighting, and pre-rigging. All pre-lighting or pre-rigging prep days must be approved by the Head of Production prior to being scheduled. If the work of pre-rigging or pre-lighting is to occur on the sound stages, then final approval must be given by the STAGE SUPERVISOR.

TRAVEL DAY – Any day that must be used for the crew to travel to a DISTANT LOCATION. All travel days must be approved by the Head of Production prior to being scheduled.

SHOOT DAY – Any day in which camera and/or sound are “rolling” to capture the action of the film. Shoot days may be any number of hours, depending upon the allocation of the budget, schedule, and overtime of the production. The standard shoot day is defined as one (1) twelve (12) hour day not including lunchtime. Hour one (1) begins at call time, and hour twelve (12) ends with the company wrap.

WRAP DAY – Any day in which the crew or a portion of the crew is asked to assist in the wrapping of a job. Wrap days may be, but are not limited to, Equipment check-in, lighting strike, or rigging strike. All lighting-strike or rigging-strike wrap days must be approved by the Head of Production prior to being scheduled. If the work of lighting-strike or rigging-strike is to occur on the sound stages, then final approval must be given by the STAGE SUPERVISOR.

Turnaround is defined as the period of rest guaranteed to the crew between the time of COMPANY WRAP and the next day’s CALL TIME. The guaranteed period of rest between each work day is TEN (10) HOURS.

Turnaround time is guaranteed to all members of the BTL crew except for art directors, first and second assistant directors, and unit production managers. Guarantee of turnaround also does not apply to the ATL crew of Producer, Director, Production Designer, and Director of Photography.

FORCED CALL – Whenever a producer cannot guarantee the full ten hours and must call the company to work the next day with less than ten hours of rest, it is considered a forced call. Since it is a loss of rest time, the number of minutes or hours short of the ten hours is considered OVERTIME and must be deducted from the budgeted total amount of overtime. It cannot be deducted from the workday. The total amount of a forced call can never exceed one (1) hour and is a “minute for minute” penalty for every minute of rest less than 10 hours.

Each production will be budgeted for a specific number of hours of overtime. The allotted time may be used in one single block, split in varied amounts over the production period, or applied to other penalties such as drive time, forced call, and meal penalty.

If the allotted overtime is exceeded, then the production shall be assessed an OVERTIME PENALTY. Overtime penalties are assessed in thirty-minute blocks as follows: for every portion of each exceeded thirty-minute block, the production shall be assessed one overtime penalty. Overtime penalties are cumulative with each infraction or with each exceeded thirty-minute block of time.

The Head of Production must approve extreme circumstances for additional overtime. This approval may be verbal between the producer and the Head of Production and must occur prior to the use of any such overtime.

Any time allotted overtime is used by the production, the producer must call the Head of Production and inform him or her either verbally or by voicemail on the approved voicemail number prior to the use of said overtime.

Meals are dedicated nourishment and rest time and not part of the work day. Therefore absolutely no work (camera, sound, or any other) may be done by any ATL or BTL personnel during the duration of any portion of the meal time.

A STANDARD MEAL must be provided at every six (6) hour interval of a workday. A standard meal break shall consist of a period of time not less than one-half (1/2) hour after the last person goes through the meal line, nor more than one (1) hour in total length regardless of the time the last person goes through the meal line. During the mealtime no work shall be done.

A standard meal does not have to be served if the crew works an interval of less than six-hours, or if the company wraps before a six hour interval expires.

A WALKING MEAL may be substituted for a second standard meal. A walking meal is defined as follows: At the second six (6) hour mark, the meal must be on set and ready. The crew is given a fifteen (15) minute break to go and get the meal. Work will resume as a walking meal fifteen minutes after the second meal is called. These fifteen minutes will be free time and not subtracted or counted against the twelve (12) hour day or overtime. A walking meal may never be substituted for the first standard meal of the day.

GRACE – Standard meal may be postponed twelve (12) minutes without penalty when used to complete a camera setup already in progress. There is no grace period for a Second Meal or a Walking Meal.

The amount of grace used must be deducted minute for minute from the work day or overtime. Grace only applies if the production has finished and “filmed” a complete setup, and does not apply if the setup is changed in any way, including but not restricted to: changing the lens or focal length, changing lighting, or re-blocking actors or camera moves.

MEAL PENALTY – If a meal is not served at the scheduled time, then the company is in meal penalty. Times for meal penalty are cumulatively deducted from the work day or overtime, and will accrue at the rate of two (2) minutes deducted for every one (1) minute of penalty until the crew is fed. The crew may continue to work during meal penalty for no more than 30 minutes, at which point all work must stop until the crew is fed.

SECOND STANDARD MEAL (Dinner) – If, at the six-hour interval from the last meal, photography or sound is still being taken, then a second meal must be provided. However, if Camera and Sound Wrap have been called and the crew is in the process of Company Wrap, and the anticipated wrap time will be less than one (1) hour, then a second meal may be waived.

The second standard meal may be offered as a walking meal if the shop stewards determine that it is acceptable, and that the estimated Company Wrap time will be no greater than two (2) additional hours from second six (6) hour work period. If the work is to proceed more than two (2) hours, then a standard meal must be provided. There is no grace period for a Second Meal or a Walking Meal.

CRAFT SERVICES – The producer also agrees to provide a craft service of assorted drinks and food appropriate to the location, environment, or weather throughout each work day.

TRAVEL TIME is defined as the time it takes to drive from the production office to the location. Travel time is always calculated from the production office to set regardless of where individual crew members live.

LOCAL LOCATION is any location within the school’s shooting zone. When shooting at a local location the travel time will always be calculated from FSU Film production office at the University Center.

DISTANT LOCATION is any location outside of the greater Leon County area. When shooting at a distant location the travel time from the production office will always be calculated from the hotel or temporary residence where the BTL crew is being accommodated.

All members of the crew are required to be on set on time and ready to work prior to call time. Driving distances to set, regardless of the length from an individual crew member’s home, does not constitute an excuse to be late or leave the set earlier than the scheduled company wrap.

Each day of production is allotted a penalty-free one-way drive time of thirty (30) minutes at the speed of the Grip Truck. Any distance from the production office to the location that exceeds thirty (30) minutes will be considered a drive time penalty and that additional time is subtracted from either the twelve (12) hour shooting day or the budgeted overtime. Any drive time over 30 minutes is a “minute for minute” penalty.

Any unused time of distances shorter than thirty (30) minutes may not be added to the shooting day or applied towards overtime.

If the production is to include a child actor the producer must honor the State of Florida statutes, which outline a policy that is intended to, “…ensure that minors are not employed under conditions that are injurious or detrimental to their health, safety or education.” (State of Florida 61L-2.006 Employment of Minors by the Entertainment Industry)

Parental Notice and Authorization for Medical Care

Parental Notice of Terms and Conditions of Employment. Producers shall notify the minor’s parent(s), guardian, or chaperon, of the terms and conditions of employment, including the activities required of the minor, the place and duration of location work, any and all “adult oriented” material to either be performed by or viewed/heard by the child, and the names of the producer and stunt coordinator (if applicable). These terms will be spelled out in a Performance Agreement.

Authorization for Medical Care. Prior to the minor’s beginning employment, the producer shall obtain written authorization from the minor’s parent(s), guardian, or chaperon, to consent for medical treatment on behalf of the minor in case of an emergency.

Minor Labor Coordinator

The producer shall designate one (1) individual on each set where minors are employed to act as Coordinator of Child Labor. The coordinator shall respond to all communications from the Production Supervisor regarding the employment of minor(s). The employer shall provide the name of the coordinator(s) to the Production Supervisor, the minor, the minor’s parent(s), guardian, and/or chaperon.

Time Limitations

1. Work Day. The work day for a minor shall begin no earlier than 7:00 a.m. and shall end no later than 11:30 p.m.
2. Work Week. A minor shall not be required or permitted to work more than six (6) consecutive days.
3. Work Hours, and Maximum Hours at Place of Employment per Age Group. Working hours, and hours spent at the place of employment may not exceed the following time limitations in a twenty-four (24) hour period unless the Production Supervisor grants a Partial Waiver.
4. Meal Periods. All work hours are exclusive of the meal period. The work hours shall be extended by a meal period not longer than one-half (1/2) hour.
5. Rest Period After Dismissal. Twelve (12) hours must elapse between the minor’s time of dismissal and call time on the following day. The same applies for returning to school. For example, a minor returning to his regular school at 8:30 a.m. shall be dismissed from employment by 8:30 p.m. the previous evening.

Minors Under Two (2) Years

Employers of minors under two (2) years of age shall not require such minors to remain at the place of employment for more than four (4) hours per day, subject to the following limitations:

Infants Aged 15 Days to 6 Month

Infants aged 15 days to 6 months may be at the place of employment for one period of two consecutive hours, which must occur between 9:30a.m. and 11:30a.m. or between 2:30p.m. and 4:30p.m. Actual work may not exceed 20 minutes under any circumstances. Infants may not be exposed to light exceeding 100 foot-candles for more than 30 seconds at a time and no more than one (1) minute in every fifteen (15) minute period. A studio teacher and a nurse must be present for each three or fewer infants aged 15 days to six weeks. A studio teacher and a nurse must be present for each 10 or fewer infants aged six weeks to six months. A parent or guardian must always be present.

Minors Aged 6 Months to 2 Years

Minors aged 6 months to 2 years may not be exposed to camera lights for more than two (2) minutes every fifteen (15) minute period. They may be at the place of employment for up to four (4) hours, and may work up to two (2) hours. The remaining time must be reserved for the minor’s rest and recreation.

Minors Aged 2 Years to Less Than 6 years

Minors aged 2 years to less than 6 years shall not be required to remain at the place of employment more than six (6) hours per day, and shall not be required to work more than four (4) hours per day. The remaining time must be reserved for the minor’s rest and recreation.

Minors Aged 6 Years to Under 9 Years

Minors aged 6 years to under 9 years shall not be required to remain at the place of employment more than nine (9) hours, the sum of six (6) hours work, one half (1/2) hour of meal time, and two and one half (2 1/2) hours of rest and recreation.

Minors Aged 9 Years to Under 16 Years

Minors aged 9 years to under 16 years shall not be required to remain at the place of employment more than ten (10) hours, the sum of seven (7) hours work, one half (1/2) hour of meal time, and two and one half (2 1/2) hours of rest and recreation.

Minors Aged 16 Years to 18 Years

Minors aged 16 years to 18 years shall not be required to remain at the place of employment more than ten (10) hours, the sum of nine and one half (9 1/2) hours work, and one half (1/2) hour of meal time.

Overtime

A parent or guardian may sign a release for one (1) additional hour of work for a minor of 6 years or older in any one (1) given day.

PRINCIPAL PHOTOGRAPHY is defined as the scheduled shooting days to completely cover all action in the script. All scenes and all coverage must be scheduled and completed during the principal photography shooting days.

No delays, weather, equipment failure or “Acts of God” will constitute justification for the waiving of any of the rules of production. The producer and director are jointly responsible for completing their days.

Completing a day’s scheduled work is defined by covering the entirety of the screenplay within the allotted principal photography period.

SECOND UNIT PHOTOGRAPHY is defined as any shooting of principal photography done by a second unit crew either simultaneous to the shooting of principal or just prior to or after principal photography.

Only the Head of Production can approve second unit photography and all requests for such must be submitted in writing to the Head of Production prior to principal photography, or the producer forfeits the opportunity.

Requests for second unit photography must include: the exact nature of the subject matter to be shot, justification of why it cannot be done with the first unit crew, dates and times of the proposed shoot, the crew required, the equipment required, and the budget plans for the support of second unit photography.

PICK-UP PHOTOGRAPHY is defined as any photography taken after completion of principal photography in order to enhance the narrative.

Only the Associate Dean may approve pick-up photography, and any request must be submitted in writing prior to any consideration or approval.

Requests for pick-up photography must include: the exact nature of the subject matter to be shot, the justification of why it did not get done with the first unit crew during principal photography, the dates and times of the proposed shoot, the crew required, the equipment required, and the budget plans for support of pick-up photography.

A RE-SHOOT is defined as any photography taken after completion of principal photography in order to replace footage already shot due to technical damage to the footage.

Only the Head of Production may approve re-shoots, and any request must be submitted in writing prior to any consideration or approval.

Requests for re-shoots must include: the exact nature of the subject matter to be shot, the explanation of the technical problems that damaged the footage, the dates and times of the proposed shoot, the crew required, the equipment required, and the resources needed for the re-shoot.

The producer will be responsible for contacting the Head of Production, or instructing the 1st Assistant Director or 2nd Assistant Director to do so, in order to report the production’s progress at various points during the work day. These calls must occur within twelve (12) minutes of the completion of each event or at least twelve (12) minutes prior to the use of any overtime.

i) The Head of Production must be informed by chat in Teams of the time that each of the following events has occurred:

1. Time first shot of the day was completed
2. Time first shot after meal was completed
3. Time of Company Wrap
4. Before using any overtime
5. ANY accident or incident

ii) The proper format for reporting via Teams message only should be: show number - activity being reported - time activity happened - crew position of the person reporting For example:

CAMERA WRAP is defined as the point at which the camera has finished rolling on the last setup of the day or the completion of recording of “wild lines” by the sound department, whichever is later. Company wrap is defined as the exact time that all work has been completed, equipment has been packed, truck doors are closed and the work day ended for each member of the camera department, grip and electric department, and the sound department.

The producer is responsible for ensuring that the 1st A.D. provides adequate time for all departments to wrap the equipment in a timely, efficient, and safe manner. Some shooting scenarios may require longer or shorter wrap time. The 1st A.D. should consult with all departments on expected wrap time and discuss the time necessary prior to the end of the day to ensure wrap is safe and effective.

For each shooting day there is a mandatory minimum wrap time of 45 minutes. This amount of time must be allotted regardless of a shorter anticipated wrap time. More time must be allotted if the anticipated wrap time is longer.

The one exception to this is a WALK AWAY WRAP. A walk away wrap occurs when the company finishes its production day on one of our sound stages and begins the next day on the same soundstage. In this case the minimum wrap time is 20 minutes, wrapping only camera, sound, and tap to the truck. All other equipment is wrapped neatly to the side of the stage. Walk away wrap is generally not permitted for any other location and only the Head of Production may approve a walk away wrap.

No student on the production may at any time act as an agent of the State of Florida or may represent any matters regarding insurance except to provide proof of insurance that may be issued by the Film School Production Supervisor. No student may represent that the Film School is insured on any matter without first receiving authorization and the proper endorsements from the Film School Production Supervisor. If any accident occurs the student is to report all information regarding the incident and the parties involved to the Film School Production Supervisor immediately. The matter must be handled directly by the Film School Production Supervisor and not the student.

The producer agrees to follow all procedures and paperwork as defined by the Student Handbook and/or the Production Supervisor. The student is solely responsible for understanding and completing all procedures as outlined in the student handbook, at production meetings with the Film School Production Supervisor and classes.

The FSU Film School shall not require any crew member to perform any work that the crew member reasonably considers to present a clear and present danger to his or her health and safety. The refusal to perform such work will not jeopardize the crew member’s work opportunities.

When dangerous or hazardous work is to occur, the producer must receive permission from the Head of Production and the Production Supervisor prior to said work occurring. Notice of hazardous work must appear in a SAFETY BULLETIN attached to the days call sheet and all procedures outlined in the student handbook for such work executed according to policy.

It is the policy of this College of Motion Picture Arts and the policy of Florida State University that no one shall be harassed or discriminated against in any fashion whatsoever. It is your responsibility to read the policy of Florida State University on Harassment and Discrimination and familiarize yourself with it. Such behavior will not be tolerated.

Any dispute concerning the interpretation and/or application of this agreement that cannot be initially resolved by the shop stewards and the producer or the producer’s representative may be submitted to arbitration by either party for resolution The arbitrator will be the Film School Associate Dean.

The grievance must be submitted in writing to the Associate Dean and the Head of Production no later than ten days after the incident.

The arbitrator’s decision shall be final and binding on the parties. The arbitration shall take place in Tallahassee, Florida at the Film School, if not immediately and satisfactorily resolved at the time of the grievance between the producer, the shop stewards and the Associate Dean.

During the term of this Agreement, and as long as all work is being performed according to this agreement, there shall be no strikes, picketing, work stoppages, or other interference with work by the Union, or any lockout by the Employer.

AGREEMENTS – The Producer is responsible for getting a signed Location Agreement and Location Shooting Plan from each location where the company will be staged and/or filming. The location owner, or an authorized agent, must sign these agreements prior to the start of any work at the location.

COMMUNICATION – The Producer is responsible for communicating with the location owner or authorized agent all pertinent information concerning the production including the schedule, the use of potentially hazardous conditions (e.g. weapons, animals, open flames, smoking, etc.), and potentially objectionable content (e.g. violence, profanity, sexual situations, drug use, etc.).

The Producer should also do a walk-through of the location with the location owner or authorized agent after the company has wrapped from the location in order to make sure the location has been returned to a satisfactory condition.

DAMAGE – Each crewmember should make every effort to protect the location from any damage. If a crewmember does cause damage to the location, that crewmember should immediately notify the Producer. The Producer should notify the location owner or authorized agent, and then take whatever steps are necessary to repair the damage as quickly as possible and to the owner’s satisfaction.

If an individual crewmember is responsible for causing the damage, that crewmember is solely responsible for paying for the cost of the repairs. If multiple crewmembers are responsible for causing the damage, each crewmember must pay an equal portion of all repair costs. If it can not be determined who caused the damage, the Producer and the Director must pay an equal portion of all repair costs.

Article Two

i) Production Days: Each Production shall have two (2) assigned days for Principal Photography.

ii) Call Time Restrictions: The Production may not have a call time before 6:00am, and must have Camera and Sound Wrap begin no later than 11:15pm with Company Wrap no later than 12:00am.

Article Four

i) No overtime is permitted on the F3 cycle.

ii) Overtime Penalty: For every portion of each exceeded thirty minute block, the production shall lose one (1) day of picture edit time subtracted from the beginning of the editing cycle. In addition the Producer shall lose a half (1/2) letter grade from the Producing class and the Director shall lose one full letter grade from the Directing class. This grade loss will be subtracted from the final grade of each class with respect to the grade assessment of other class assignments.

Article Six

i) All filming location(s) must be within the school’s shooting zone.

Article One

The Shop Stewards during this production cycle shall be the Gaffer and the 1st Assistant Camera.

Article Two

i) Production Days: Each Single Production shall have three (3) assigned days for Principal Photography. Each Double Production shall have six (6) assigned days for Principal Photography.

ii) Call Time Restrictions: The Production may not have a call time before 6:00am, and must have Camera and Sound Wrap begin no later than 11:15pm with Company Wrap no later than 12:00am.

Article Four

i) No overtime is permitted on this cycle. Overtime may only be used with prior approval from Faculty Supervisor or Head of Production, and will only be granted if there were extenuating circumstances that have caused a delay (e.g. inclement weather).

ii) Turnaround After Overtime Use: If overtime is permitted, for each minute of overtime used, one (1) minute must be added to the Ten (10) hour turnaround. (e.g. using 60 minutes of overtime would require a turnaround of 11 hours).

iii) Overtime Penalty: For every portion of each exceeded thirty minute blocks, the production shall lose one (1) day of picture edit time subtracted from the beginning of the editing cycle. In addition the Producer shall lose a half (1/2) letter grade from the Producing class and the Director shall lose one full letter grade from the Directing class. This grade loss will be subtracted from the final grade of each class with respect to the grade assessment of other class assignments.

Article Six

i) All filming location(s) must be within the school’s shooting zone, unless faculty approves otherwise.

Article Two

i) Production Days: Each Production shall have one (1) assigned day for Principal Photography.

ii) Call Time Restrictions: Odd-numbered shows will start Set Decoration at 7:00am and must Company Wrap no later than 8:00pm. Even-numbered shows will start Set Decoration at 8:00am and must Company Wrap no later than 9:00pm.

Article Four

i) No overtime is permitted on the M1 cycle.

ii) Overtime Penalty: For every portion of each exceeded thirty minute block, the production shall lose one (1) day of picture edit time subtracted from the beginning of the editing cycle. In addition the Producer shall lose a half (1/2) letter grade from the Producing class and the Director shall lose one full letter grade from the Directing class. This grade loss will be subtracted from the final grade of each class with respect to the grade assessment of other class assignments.

Article Two

i) Production Days: Each Production shall have two (2) assigned days for Principal Photography.

ii) Call Time Restrictions: The Production may not have a call time before 6:00am, and must have Camera and Sound Wrap begin no later than 11:15pm with Company Wrap no later than 12:00am.

Article Four

i) No overtime is permitted on the M2 cycle. However, overtime may be used only with prior approval from Faculty Supervisor or Head of Production, and will only be granted if there were extenuating circumstances that have caused a delay (e.g. inclement weather).

ii) Turnaround After Overtime Use: For each minute of overtime used, one (1) minute must be added to the Ten (10) hour turnaround. (e.g. using 60 minutes of overtime would require a turnaround of 11 hours).

iii) Overtime Penalty: For every portion of each exceeded thirty minute block, the production shall lose one (1) day of picture edit time subtracted from the beginning of the editing cycle. In addition the Producer shall lose a half (1/2) letter grade from the Producing class and the Director shall lose one full letter grade from the Directing class. This grade loss will be subtracted from the final grade of each class with respect to the grade assessment of other class assignments.

Article Six

i) All filming location(s) must be within the school’s shooting zone.

Article One

The Shop Stewards during this production cycle shall be the Gaffer and the Script Supervisor.

Article Two

Principal Photography: Each production shall have a period of 6 days in which to schedule Principal Photography, which shall begin no earlier than 6:00am on day 1 and end no later than 10:00pm on day 6.

Article Four

i) Overtime Allotment: Each production will be allowed two (2) hours of overtime. No more than one (1) hour of overtime maybe used in a single day without prior approval from the Head of Production.

ii) Turnaround After Overtime Use: For each minute of overtime used, one (1) minute must be added to the Ten (10) hour turnaround. (e.g. using 60 minutes of overtime would require a turnaround of 11 hours).

iii) Overtime Penalty: For every portion of each exceeded thirty minute block, the production shall lose one (1) day of picture edit time subtracted from the beginning of the editing cycle. In addition the Producer shall lose a half (1/2) letter grade from the Producing class and the Director shall lose one (1) full letter grade from the Directing class. This grade loss will be subtracted from the final grade of each class with respect to the grade assessment of other class assignments.