The Meal Sign In form is used to document meals provided during production. The Producer should prepare the form in advance with as much information as possible, and the 2nd AD typically manages sign-in during lunch on set.
Maintaining accurate meal records helps the production document that meals were provided and that cast and crew were accounted for during the workday. This supports both production organization and school oversight, while reinforcing the expectation that productions handle meal periods responsibly and consistently.
The Producer should prepare the Meal Sign In sheets prior to production by typing in as much info as possible. Then on set during lunch, the 2nd AD will have each Cast and Crew member sign the sheet. Count the number of signatures, and enter that number at the bottom by Individuals Served.
The Producer will also need to turn in the Meal Sign In sheets along with the Reimbursement Voucher to verify those who had eaten the food that was provided on set.
Sample
Here’s a sample of what the completed form should look like:
A Master Use License Request is used when a production wants permission to use a specific existing sound recording in a film. This permission is cleared with the record label or other owner of the recording, and is separate from the synchronization license needed for the underlying musical composition.
This process is important because a recorded song usually involves multiple rights. Even if a production has permission to use the composition, it still needs permission to use a particular recording of that composition. Proper clearance helps ensure that the film can be exhibited and distributed without unresolved music rights issues.
A master use license 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. You will be provided with a contact at the record label’s Business Affairs Department.
Getting the 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.
You must get each license for at least:
Two-years
Film festival
Non-commercial
World rights
Note that if you do not plan to use the original sound recording, but rather plan to reproduce a specific musical composition in your film, you need to acquire a Synchronization License instead.
SAMPLE LETTER
Here’s a sample of what the letter should look like:
The Location Shooting Plan Agreement documents the specific guidelines, restrictions, and conditions governing how a production may use an approved location. It’s completed with input from the location owner and addresses the finer details of the shoot, including what activities may take place and what limitations the production must follow while on site.
This agreement helps protect the location owner, the production, and the school by making expectations clear before filming begins. Clear location rules reduce misunderstandings, support safer production planning, and help maintain positive relationships with property owners and community partners.
In addition to completing a Location Agreement with the Location Owner (or authorized agent), the Producer must also complete a Location Shooting Plan Agreement. This agreement gets into the finer details of how the location may be used and all guidelines and restrictions related to the use of the location.
This includes information about: the quantity of crew members; arrival and departure times; parking; craft service; trash; which rooms can be used or not-used; which items can be moved or not-moved; any safety protocols the location may require; and the names/info of the students that location owners should contact during the shooting day.
Sample
Here’s a sample of what the completed form should look like:
The Location Hazard Assessment checklist is used to identify potential risks at a filming location before production takes place. These may include physical hazards, chemical hazards, biohazards, animal or plant hazards, electrical hazards, fall risks, environmental concerns, or other conditions that could affect cast, crew, equipment, or the public.
This assessment is important because location risks are easiest to manage when they are identified early. Documenting hazards in advance allows the production and school to determine whether additional safety measures, approvals, adjustments, or alternate plans are needed before filming begins.
The Producer is responsible for conducting a thorough inspection of every shooting location and completing a separate Location Hazard Assessment form for each site. This form should be completed before the project’s tech scout or director’s prep so that any identified risks can be reviewed with faculty in advance.
When completing the form, be specific and practical. The goal is not simply to identify hazards, but to document how the production might mitigate or manage them. If a hazard is present, clearly describe the precautions the production could take to reduce risk.
Hazards may include:
Physical hazards
Chemical hazards
Biohazards
Animal hazards
Plant hazards
Electrical hazards
Falling hazards
Vehicular hazards
Fire hazards
Airborne hazards
Water hazards
Facility hazards
Societal hazards
The assessment should reflect the actual conditions of the location at the time of scouting. Productions should revisit and update assessments if conditions significantly change prior to filming.
Sample
Here’s a sample version of what the completed form should look like:
The Location Agreement is used with a location owner or authorized agent to secure permission for a production to use and photograph a property. It establishes the production’s right to film at the location and documents the basic terms of that access.
This agreement is essential because productions cannot assume permission to film on private or controlled property. Written approval protects the production, the school, and the property owner by clarifying access, usage rights, and the conditions under which the location may appear in the finished film.
The Producer should use this contract agreement with the Location Owner (or authorized agent), in order to have the right to use and photograph the interiors and exteriors of the property.
The Producer is responsible for working with the Location Owner to determine the start and end dates for when the show will have access to the location. (The Producer is additionally responsible for drafting a Location Shooting Plan Agreement with the Location Owner.)
All other clauses in the agreement must remain unchanged, unless the Producer is authorized in advance by the Head of Production to make specific amendments to the contract.
The Life Story Rights agreement is used when a production wants to use or fictionalize a person’s life story, name, likeness, statements, writings, photographs, anecdotes, acts, appearances, or voice. The Producer works with the owner of those rights to secure permission through the approved agreement.
This agreement is important because stories based on real people can involve significant personal, legal, and ethical considerations. Proper documentation helps ensure that the production has permission to use the material and that any changes to the agreement are approved in advance by the Head of Production.
The Producer should use this contract agreement with the Owner of the life story rights, in order to use and/or fictionalize the Owner’s life story, name, likeness, statements, writings, photographs, anecdotes, acts, appearances, and voices.
All clauses in the agreement must remain unchanged, unless the Producer is authorized in advance by the Head of Production to make specific amendments to the contract.
The Image Release is used when a production wants permission to use or photograph a still image, artwork, graphic, or other copyrighted visual material in a film. The Producer secures the release from the copyright holder or authorized agent.
This form is important because images found online, in books, in archives, or in personal collections are not automatically available for use in student films. Proper releases help productions avoid rights issues during delivery, festival submission, online exhibition, or future distribution.
The Producer should use this contract agreement with the copyright holder (or authorized agent) for the right to use and photograph the depiction of still photographs, artwork, and/or motion picture footage.
All clauses in the agreement must remain unchanged, unless the Producer is authorized in advance by the Head of Production to make specific amendments to the contract.
The Hazard Notification form may be used by any crew member who has a concern about a potential hazard during production. The form allows the crew member to describe the hazard and identify any steps they believe may be needed to address it.
This process is important because safety responsibility does not belong only to producers, department heads, and shop stewards. Giving any crew member a clear way to report hazards helps productions identify risks earlier, respond more responsibly, and reinforce a culture where safety concerns are taken seriously.
Instructions
The Hazard Notification form may be used by any crew member who has a concern about a potential hazard. Use the form to describe the hazard and to describe any corrective actions that have been taken (or could be taken). Please be as precise, objective, and factual as possible, describing only what you’ve observed first-hand.
The Distant Location Request is used when a capstone production seeks permission to film outside the school’s studio zone. The Producer must present a detailed plan addressing the location’s importance, travel schedule, transportation, lodging, meals, equipment security, faculty support, contingency plans, deadlines, and a local backup option.
This process exists because distant locations add significant complexity, cost, wear on equipment, and stress on the crew. Approval is not automatic; productions must demonstrate that the location is essential, that the plan is realistic, and that the added demands can be managed responsibly within school expectations.
BFA and MFA capstone productions may request permission to film at a distant location outside the studio zone. Because distant productions place additional demands on equipment, personnel, and university resources, approval is not automatic. It is a privilege granted only to productions that demonstrate careful planning, logistical readiness, and a safe, realistic production plan.
Proposal Requirements
The Producer must submit a distant location request to the Head of Production that includes:
A description of the proposed location.
An explanation of why the location is creatively and/or logistically necessary.
A production schedule showing all travel days, drive times, and shooting days.
A transportation, lodging (if required), and meal plan and budget for the cast and crew.
A transportation, lodging (if required), and meal plan and budget for the assigned faculty member.
A plan for transporting, parking, securing, and maintaining school vehicles and equipment.
A contingency plan if critical production equipment becomes inoperable.
A production timeline showing key logistical deadlines.
A viable local backup plan if the request is denied or the location becomes unavailable.
Travel Times
As a general guideline, distant locations should be within approximately 2.5 hours (each way) of the College of Motion Picture Arts.
Travel time counts as part of the production day and reduces the available filming time in accordance with the program’s production day policies. For example: A production travels to a location that’s 90 minutes away and returns the same day. In the morning, any travel in excess of 30 minutes counts against the 12-hour work day. The same is true for the return journey at the end of day. Therefore, there’s 60 minutes in the morning and 60 minutes at the end of day (120 minutes total) that need to be deducted from the available shooting time that day.
Overnights
Depending on the travel distance and production schedule, the Head of Production may require overnight lodging for cast and crew. When overnight accommodations are required, the production is responsible for providing appropriate lodging and all required meals—including breakfast, lunch, and dinner as dictated by the approved schedule.
Expenses
The production budget should include all anticipated travel-related expenses, including fuel, parking, tolls (where applicable), drinking water, and other essential crew supplies.
All additional costs associated with an approved distant location are the responsibility of the production. The College of Motion Picture Arts does not provide funding beyond the standard production resources allocated to all productions.
Deadlines & Approvals
Requests should be submitted as early as possible during development and pre-production, and no later than two weeks before the first day of principal photography.
Distant location requests are reviewed by the Head of Production in consultation with the Head of Set Operations and the cycle faculty. The Head of Production has sole authority to approve, deny, or conditionally approve a request. Any conditions attached to an approval are mandatory, and the Head of Production’s decision is final.
Approval of a distant location does not constitute approval of the production plan. The Head of Production may require revisions to schedules, lodging, transportation, staffing, budgets, or other logistical arrangements as a condition of approval. Failure to meet the approved production timeline for the show may result in permission being revoked.
The Depiction Release is used for documentary projects when an interviewee gives the production permission to record their voice and likeness and use that material in the film.
This agreement is important because documentary subjects must clearly understand and authorize how their recorded participation may be used. Proper releases protect both the production and the interviewee while supporting ethical, professional, and legally sound documentary practice.
The Producer should use this contract agreement with an Interviewee for a documentary project, in order to have the right to record their voice and likeness and use it in the film.
The Producer is responsible for working with Interviewee to determine the screen credit in the finished film.
All other clauses in the agreement must remain unchanged, unless the Producer is authorized in advance by the Head of Production to make specific amendments to the contract.
