#paperwork

Composer Contract

Production Paperwork

INSTRUCTIONS

The Producer should use this contract agreement with a Composer who is writing the musical score for a production. It should be used regardless of whether or not the composer is being paid for their services.

The Producer is responsible for working with the Composer to determine the due date, the compensation structure, and the screen credit in the finished film.

It is advisable to make the delivery date of the score (in Section 1 of the contract) as early as is feasible, in order to provide some padding. It is not uncommon for composers on student films to miss their deadline, so it’s better to assume that that might happen than to hope for the best. Most ideal would be setting delivery of the score for a date during the sound editing phase, so that you have a better sense of how everything’s coming together. If that’s not viable, set delivery for as many days before the mix date as your composer’s schedule will allow.

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.

Camera Report

Production Paperwork

Camera Report Download (PDF)

Camera Report Download (XLS)

INSTRUCTIONS

The 2nd AC completes the Camera Report. For the info in the top-right corner:

RDM/Roll #: A sequential numbering of each of the camera cards used. For example, the first camera card used on day 1 would be A001. The next camera card used, say on day 2, would be A002. And so on.
Sheet: A sequential numbering of Camera Reports for each camera card. For example, for camera card SSD 56, you start with Sheet 1. If you fill up Sheet 1, then you would continue on a new Camera Report, Sheet 2. And so on.
Media ID #: The ID number on the camera card.
Camera ID: The serial number that can be found on the bottom of the camera.
File Format: The file format that is set on the camera menu. Standard for Red Epic is 2K ProRes 444.
Project Frame Rate: The frame rate of the project edit timeline. Standard is 24fps.
Framing Aspect Ratio: The aspect ratio used for the camera framing guides.
LUT: The Look Up Table settings that were selected in the camera menu.

SAMPLE

Call Time Agreement

Production Paperwork

Call-Time-Agreement Download (PDF)

Call-Time-Agreement Download (DOC)

INSTRUCTIONS

This is a form for producers and directors to use when coordinating wrap times and call times for shows that shoot on consecutive days. Its purpose is to ensure that a minimum turnaround of 10 hours occurs between the company wrap on the incoming show and the call time the next day on the outgoing show.

SAMPLE

Certificate of Insurance

Production Paperwork

Authorization for Certificate of Insurance Download (PDF)

Authorization for Certificate of Insurance Download (DOC)

Instructions

The Producer of a film should submit this form to the Head of Production to request the issuance of a Certificate of Insurance by the College of Motion Picture Arts to a business or individual that has requested one.

If the College issues a Certificate of Insurance, it is solely to allow access to the facility and/or equipment that the business or individual is offering the production. The College is not liable for any damage or loss to said facility and/or equipment. The Producer and Director will be financially responsible for any damage or loss to said facility and/or equipment.

Animal Use Request

Production Paperwork

Animal Use Download (DOC)

INSTRUCTIONS

The Producer is required by Florida State University policies to file a request for review of animal use on the production by the FSU Animal Care and Use Committee (ACUC).
This request must be submitted well in advance of the start of the production, as it will usually take a number of weeks for a request to be approved.
If a production does not receive approval from the Animal Care and Use Committee in time for production, the use of an animal is not permitted.
Prior to completing the request form, review the relevant sections of the American Humane Association (AHA) Guidelines for the Safe Use of Animals.
To apply, the Producer must submit the Animal Use Request form (as a Word doc), and the most recent draft of the script (as a PDF) highlighting the parts in the script that contain animals.

Call Sheet

Production Paperwork

Call-Sheet Download (XLSX)

INSTRUCTIONS

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

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

MESSAGING

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

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

Call sheets must be distributed in two ways:

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

Sample Call Sheet

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

_________________________________________

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

Hello 01F3 Team!

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

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

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

*Please read the call sheet thoroughly for specific information.

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

CREW CALL: 7:00AM

CAST CALL: See Below

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

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

FILMING LOCATION

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

*Insert Google Maps Link here.

CREW/CAST PARKING

Add VERY specific instructions for parking here.

TRUCK PARKING

Add VERY specific instructions for parking here.

LOCATION NOTES

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

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

(Sample) Please keep exterior noise to a minimum.

DOCUMENTS ATTACHED TO EMAIL

-Call Sheet

-Location Map

-Location Parking Diagram

-Safety Bulletins: #5, #10

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

We look forward to working with you!

Best,

(First Last)

(Your Position)

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

@FSU Email

(First Last)

Producer

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

@FSU Email

Set-up Schedule

Production Paperwork

Setup Schedule Download (XLS)

INSTRUCTIONS

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

SAMPLE SET-UP SCHEDULE

RF Transmitters

Safety Bulletin

SB44-RF-Transmitters Download

Guidelines

These guidelines are intended to help cast and crew understand radio frequency exposure for equipment that is commonly used by production. RF radiation can be harmful due to the ability of RF energy to heat biological tissue faster than the body can cope with or dissipate the excessive heat. It is not presently known whether there are non-heat related effects of RF exposure.

COMMON SOURCES OF RADIOFREQUENCY

RF is continuously emitted from certain types of wireless transmitting equipment that is commonly used on cameras, audio equipment, wireless lighting controllers, and Wi-Fi hotspots. Equipment that only receives RF is not a source of RF emissions.

This bulletin is not meant to address radio transmitting facilities, satellite antenna farms, microwave installations, cellular telephone towers, and other industrial equipment that may emit radio waves. Individuals working in these areas should follow all warning signage and comply with the facility’s safety protocols and procedures.

The FCC recognizes two tiers of Maximum Permissible Exposure (MPE) limits. This bulletin follows the stricter limits of the General Population/Uncontrolled Exposure (GP/UE) guidelines.

CONSIDERATIONS FOR USE

Follow the manufacturer’s guidelines. Camera-back transmitters commonly used in the film and television industry are authorized for license-free use by the Federal Communications Committee (FCC) under Part 15 and require that all Part 15 devices be subject to FCC RF exposure guidelines.
Unless it is permissible by the manufacturer, the RF equipment should not be modified in any way. Equipment exceeding FCC unlicensed power limits or otherwise requiring a Special Temporary Authorization (STA) from the FCC should be used only by trained technicians in accordance with the FCC license. If equipment that exceeds FCC unlicensed power limits must be used, production personnel should be made aware so that the required additional safety protocols and precautions can be implemented.
Be aware of the RF output power and minimum safe operating distances from the transmitting source, i.e. antenna. Antennas may be supported by a mast that provides distance from the transmitter. These masts are not an active RF source.
Establish operating procedures that enable personnel using RF Equipment to remain at safe operating distances or provide other means of protection from excessive RF exposure.

GUIDELINES FOR SAFE OPERATION

Methods for mitigating the health effects of RF exposure include:

Hardwiring the equipment
Increasing one’s distance from the RF emitting device
Employing RF shielding or protective clothing

Related Bulletins

Camera Cranes

Camera Cranes – Power Line Distance Requirements

Drones

Gimbals

RF Transmitters

Scissor and Aerial Boom Lifts

Scissor and Aerial Boom Lifts – Power Line Distance Requirements

Free Driving

Safety Bulletin

SB43-Free-Driving Download

Guidelines

The term “Free Driving” applies to situations where the driver or a passenger of a vehicle is being photographed by cameras attached to the outside and/or inside the vehicle, or being handheld by a camera operator inside the vehicle. The term free driving also applies in situations when the camera is used to film external shots from in or on the vehicle. For example, during Free Driving the camera can be attached to the exterior of a vehicle with a door mount (hostess tray), a hood mount, or on a mechanical track system. As a result of unique vehicle configurations, equipment placement, personnel location and operations, potential risk factors may exist and should be addressed, as discussed below.

These guidelines do not cover insert car and/or process trailer operations. For those situations, refer to Industry-Wide Labor-Management Safety Committee Safety Bulletin #8 “Guidelines for Traditional Camera Cars” and/or #8, Addendum A “Process Trailer/Towed Vehicle” for guidance. Also refer to Safety Bulletin #37 “Vehicle Restraint Systems – Seat Belts & Harnesses” and #42 “Guidelines for Alternative Driving Systems”.

Considerations Before Engaging in Free Driving

Production shall consider all available options (including camera car, process trailer, alternative driving systems, etc.) and assess and make the determination that Free Driving is an appropriate method.

Driving safely is the first priority; acting and/or getting the shot is second. When safe operation of the vehicle is not possible, alternate means should be used, such as a process trailer or a tow vehicle.

Unsecured equipment poses a particular challenge. Hand-held cameras, equipment, and crew and actor placement should be considered to ensure the equipment will not become a projectile that could cause injury.

Other considerations for safe Free Driving include:

Scene action (e.g. stunts, performance, and special effects)
The ability of the driver to simultaneously perform, drive, and remain aware of any clearance required for rigging or equipment that extends beyond the vehicle body
Controlled or uncontrolled environment (closed course versus open roads with Intermittent Traffic Control (ITC))
Location permitting requirements, such as for road closures, ITC or driving grids.
Type and condition of vehicle to be used
Intended speed and maneuvers
Operating the vehicle in close proximity to other vehicles
Route conditions (e.g. curved, incline, crown, obstacles, clearances, length, width, paved, gravel, dirt, flat, hilly, wet, or slippery)
Anticipated weather
Airbags and other automatic devices may need to be deactivated for safety, depending on the placement of personnel and equipment (e.g. cameras, lights). NOTE: Only a person who is trained, qualified, and authorized to disengage an airbag shall do so.
If airbags must be disabled, alternative safety measures will need to be implemented (e.g. restraint harnesses).
The production should consider road closures, reduced speeds, etc. prior to disengaging airbags.
Equipment weight, load capacity, center of gravity, counter balance, placement and use (e.g. camera, lighting, and props)
Limited lighting options, including placement and power
Limited visibility conditions for the driver (e.g. cameras, mounts, dust, spray, lights, restrictive covering over the windshield, smoke)
Communication system (e.g. walkie-talkies)

Prior to Operation

When vehicles are used for filming, all rigged equipment must be securely mounted. If cameras are mounted to any part of the vehicle (either inside or out), these must be securely installed with the appropriate mounts / restraints and by a member of the crew who is qualified to perform the procedure.
Mounted equipment inside or outside the vehicle should not obstruct the driver’s view or distract attention while the vehicle is in motion.
No lighting should be used within the vehicle that could impair the driver’s clarity of vision or provide distraction.
The consideration of foreseeable emergencies (e.g. deployment of vehicle airbags) must be taken into account when positioning the camera operator.
The driver must be qualified to operate the vehicle and should have an appropriate license. NOTE: A license may not be required by law. However, drivers may need special training to be qualified to drive an unfamiliar vehicle or course.
All rigging of the vehicle and equipment, including cameras and lights, is to be performed by qualified personnel in a secure area which is free of known hazards, including other vehicular traffic.
A walk-through with the driver should be conducted to familiarize them with the operational characteristics of the vehicle and controls. Always check that the driver can operate the vehicle safely while filming is taking place.
Establish communication between drivers and support vehicles (e.g. walkie-talkies).
Check the weather and road conditions; establish the route, ensure that it is clear, and allow enough time for rehearsals prior to filming.
Brief the driver regarding the proposed filming plans. Ensure that the driver is confident with the route and is aware of where the cameras will be positioned.
The driver should do a test drive of the vehicle to familiarize themself with the filming plans and where they need to drive during the scene.
After rigging cameras and other equipment, carry out a test drive in a secluded spot or private road to test that the clamps have not come loose through vibrations. This process should be carried out each time you stop as a secondary check.

Inspection

Ensure the vehicle has been inspected, is roadworthy, and has been suitably maintained. Inspection items include, but are not limited to, brakes, steering, tires, engine, drive train, vehicle’s electrical system, connection points, equipment placement, and all safety equipment. Any items not functioning properly must be repaired by a qualified person before use.

Safety Meetings

A shot‐specific safety meeting should be held by the First Assistant Director for all personnel riding in or on the vehicle, including those in close proximity (e.g. stunt personnel or background performers). This meeting should discuss the following topics:

Shot sequence and route (e.g. stunt action including crossovers/head‐on or near misses, vehicle speed, number and proximity of other vehicles, crew and camera placement, background performers, and property)
The potential use of a convoy of safety buffer vehicles for a cushion zone, plus slower travel speeds
Walk‐through or dry‐run
Environmental conditions (e.g. weather, surface conditions such as cement, gravel or dirt, topography such as flat or hilly)
Possible changes due to hazards
Authority to abort, including signals to be used
Route conditions (e.g. slope, curved, incline, crown, obstacles, clearances, length and width)
Equipment considerations (e.g. rigging, cameras, lights, microphones, airbags)
Communication systems (e.g. intercom and designated channel)
Signaling system to alert personnel to the vehicle’s impending movement
Visibility
Special effects
Personal protective equipment (e.g. harnesses, seat belts, helmets, eye protection)
Traffic and pedestrian control (e.g. street closures, ITC)
Emergency plan (e.g. escape routes and contingency plan)

If there is a substantive change in the choreography, equipment, or personnel involved in the shot, the individuals involved should discuss and decide if a subsequent safety meeting and rehearsal should be held.

Operation

Depending on the road conditions, speed, weather, controlled/uncontrolled environments, etc., the following should be considered during rehearsals and filming:

Only essential personnel required for the shot should be allowed on or in the vehicle.
Equipment and personnel should not disrupt, distract the driver, or compromise the safety of the vehicle operation.
Cast and crew riding in the vehicle must be provided a safe and secure place to ride.
While filming from inside the vehicle, personnel should be restrained with suitable straps/harnesses. The camera and gear should be properly secured.
A generator, when needed, should not be positioned where the cast and crew may be exposed to the exhaust.
If using batteries with or without an inverter, the batteries must sit flat and be secured in an upright position. Batteries can get hot and should not be placed against anything combustible.
When possible, a remote ON/OFF control switch should be used to run and stop the camera when it is door or hood mounted; a camera assistant rushing to the car to turn off the camera can create a hazard.
The performer should not be tasked with “slating” if the vehicle is already in motion.
Use comms/walkies to communicate between all parties.
Driver should keep within legal speed limits and drive within the law, safely and responsibly to ensure that driving actions do not cause any hazards to oncoming traffic/drivers (if applicable).
After each run, a general inspection should be conducted to ensure all equipment is secure. If at any time a camera or other equipment is deemed to be “unsteady,” filming should cease and adjustments made accordingly.

Alternative Driving Systems

Safety Bulletin

SB42-Alternative-Driving-Systems Download

Guidelines

These guidelines are intended to give recommendations for safely working on and around Alternative Driving Systems (ADS) e.g., Pods. An ADS is typically a custom‐built device that is connected to the vehicle so that the vehicle can be driven safely without the person sitting in the normal driving position controlling the steering, accelerator, brakes, or other components. This Safety Bulletin does not address the use of wireless‐controlled vehicle systems.

ADS should only be operated to the levels for which they are designed based upon the requirements and conditions discussed between the Production and the ADS manufacturer or fabricator. The design, fabrication, and assembly of ADS are not covered in this Safety Bulletin.

Responsible Person

Production shall assign a Responsible Person or Persons. A Responsible Person is someone with both the experience and training to recognize and resolve problems relating to the configuration and operation of the ADS. The Responsible Person will have authority over all ADS operations.

Considerations for Using an ADS

Type of vehicle to which the ADS will be installed
Intended speed and maneuvers
ADS rigged vehicle operating in close proximity to other vehicles
Aircraft flown in close proximity
Scene action (e.g., stunts, performance, and special effects)
Route conditions (e.g., curved, incline, crown, obstacles, clearances, length, width, paved, gravel, dirt, flat, hilly, wet, or slippery)
Anticipated weather
Evaluation of the vehicle’s original systems and whether they should be disengaged (e.g., brakes, ignition, airbags, steering, and accelerator)
A secure area for cast and crew riding in or on the ADS vehicle
Load capacity, center of gravity, and counter‐balance
Equipment weight, placement and use (e.g., camera, lighting, and props)
Visibility conditions of ADS operator such as dust, spray, blinding lights, restrictive covering over the windshield, smoke
Emergency stop system
Communication system
Allowing time for proving/testing the system

Pre‐Rig

The capabilities and limitations of the ADS should be communicated to all applicable departments. All rigging of the ADS and equipment, including cameras and lights, is to be performed by qualified personnel in an area secured for the purpose of rigging, which is free of known hazards, including other vehicular traffic. The rigging must be discussed with the Responsible Person and the ADS operator prior to the use of the vehicle. The Responsible Person and ADS operator must inspect the vehicle after any rigging change is made to ensure that the change will not adversely affect the safe operation of the vehicle. Only authorized persons should be in the secured area. When the ADS vehicle is not in operation, steps should be taken to ensure the vehicle cannot inadvertently move.

Inspection

The connected vehicle must be inspected before and after each run. Inspection items include, but are not limited to, the ADS, brakes, steering, tires, engine, drive train, vehicle’s electrical system, connection points, towing equipment, and all safety equipment. Any items not fully functioning must be repaired by a qualified person before use.

Prior to Operation

A walk through with the performer(s) should be conducted regarding which of the vehicle’s original systems are operational and which have been disengaged.

A rehearsal should be considered to familiarize the performer with the operational characteristics of the vehicle and controls.

Safety Meetings

A shot‐specific safety meeting should be held by the First Assistant Director, Responsible Person, and Stunt Coordinator, as needed, involving all personnel riding in, on, or in close proximity (e.g., stunt personnel or background performers) to the ADS vehicle. This meeting should discuss the following topics below:

Shot sequence and route (e.g., stunt action including crossovers/head‐on or near misses, vehicle speed, number and proximity of other vehicles, crew and camera placement, background performers, and property)
Walk‐through or dry‐run
Environmental conditions (e.g., weather, surface conditions, such as cement, gravel or dirt, topography, such as flat or hilly)
Possible changes due to hazards
Authority to abort including signals to be used
Route conditions (e.g., slope, curved, incline, crown, obstacles, clearances, length and width)
Equipment considerations (e.g., rigging, exposed controls, drive systems, air bags, automatic roll bar, and fuel‐cell position)
Communication systems (e.g., intercom and designated channel)
Signaling system to alert personnel to the ADS impending movement
Visibility
Special effects
Personal protective equipment (e.g., harnesses, seat belts, helmets, and eye protection)
Traffic and pedestrian control (e.g., street closures and Intermittent Traffic Control (ITC))
Emergency plan (e.g., escape routes and contingency plan)

If for any reason there is a change in the choreography or personnel involved in the shot, a safety meeting must be held with all personnel involved to ensure everyone understands the changes.

Operation

During rehearsals and takes:

The Responsible Person and/or the ADS Operator has the authority to suspend operation of the ADS vehicle, including the ability to abort
Changes should be approved by the Responsible Person and/or ADS Operator
The ADS vehicle and equipment should be inspected after each run
Do not approach, enter, or exit the ADS without permission from the Responsible Person, First Assistant Director, or ADS Operator
Only essential personnel required for the shot should be allowed on or in the ADS vehicle
Cast and crew riding on or in the ADS vehicle must be provided a safe and secure place to ride