FSUFILM Handbook

Tag: pre-production

  • F2 Equipment

    Overview

    This page outlines the equipment packages, checkout process, usage expectations, and operational limitations associated with F2 productions.

    Equipment policies help ensure that shared resources remain functional, compatible with the school’s production and post-production pipeline, and distributed fairly across productions. Clear procedures also help students plan more effectively, use equipment responsibly, and develop stronger professional habits related to production organization and equipment stewardship.

    Equipment Checkout

    An equipment checkout for each documentary group will be scheduled prior to production commencing. Each documentary group will be issued a standard equipment package, consisting of a Panasonic EVA1 camera package, a Canon 70D camera package, a sound recording package, a lighting package, a grip package, and expendables.

    No personal equipment may be used on F2 projects. This is both to maintain a level playing field for all students and to ensure that all media conforms to the school’s production and post-production pipeline.

    A-Camera: Panasonic EVA1

    The following procedures for the Panasonic EVA1 must be followed:

    • The EVA1 must be used as the A-camera for all photography
    • All interviews must be shot with the EVA1
    • Standard capture settings for the EVA1 must be 2K at 100mbps
    • Slow-motion photography on the EVA1 must be discussed in advance with the cinematography instructor

    Camera media cards and storage drives will be issued to each show at the final greenlight meeting.

    B-Camera: Canon 70D

    If a group or individual would like to use a two-camera setup for interviews, a Canon 70D camera and tripod is available for check-out to each group. This is the only camera to be used for this purpose.

    Grip, Electric, and Sound

    Each group will be issued with an Arri lighting kit, a flag kit, a stand kit, shot bags, expendables, and a sound accessory kit. The full package can be viewed here: Sample Manifest. No special equipment or alternate options are provided for documentary projects.

  • Production Meeting

    Overview

    Production meetings bring together key department heads and production personnel to review the status of a project, coordinate logisitics, identify concerns, and align departments prior to filming. All crew members (leadership team & below-the-line) must attend the meeting.

    These meetings are important because film productions rely heavily on communication and coordination across multiple departments working simultaneously under tight schedules. Structured production meetings help reduce misunderstandings, improve planning, and allow productions to identify and solve problems before they affect filming.

    Before the Meeting

    The Producer is responsible for the following, but may be delegated to an AD if one is assigned to pre-pro.

    • Post the latest draft of the script to the show’s Teams channel.
    • Remind all crew members of the meeting time.

    At the Meeting

    The Producer is responsible for running the meeting by doing the following:

    • Opening remarks. Welcome everyone. Go around room and state your position on the show.
    • Make sure everyone has the latest draft of the script that was posted to the Teams channel pulled up in front of them.
    • Read through the action of the script, stopping after each scene for questions & comments. Each crew member should anticipate anything that would be helpful to discuss (e.g. safety, special equipment, sound, special effects, visual effects, etc.).
    • Give overview of location(s) and production schedule.
    • If applicable, discuss safety protocols for any hazardous conditions. Reference appropriate Safety Bulletins as needed.
    • Discuss any other logistics (e.g. dietary concerns, car pooling).
    • Director’s brief comments.
    • Producer closes the meeting.

  • 1st AD/Producer 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

    • Secure each filming location by completing a Location Agreement and Shooting Plan. Make sure the location owner is clear about the nature of the production, and provide them with a Location Pamphlet.
    • Organize the Tech Scout for each location with at least the ATL. Establish where the restrooms, parking, staging, base camp and set will be. Complete a Location Hazard Assessment Checklist. If any location hazards, then also complete a Hazard Notification Report.
    • Have each actor sign a Performance Agreement.
    • Arrange for volunteers and/or extras if required.
    • Break down the script and create the Production Schedule in Scenechronize.
    • Coordinate call times with other Producers in your cycle using a Call Time Agreement to ensure 10 hr turnaround.
    • Create a Setup Schedule with the DP.
    • Prepare all scheduling information and other material required for Directors Prep.
    • Attend Directors prep and takes notes for the Director.
    • Assist the Director with any and all logistical needs to prepare for principal photography.
    • Run the Production Meeting by reading the action of the script. Answer crewmembers’ questions. Have each crew member sign a Crew Deal Memo.
    • Prepare and make copies of all the paperwork needed on set.
    • Check the weather periodically to monitor adverse conditions. Have a back-up plan.
    • Purchase Craft Services by the night before production.
    • Pre-order lunch and arrange for it to be picked up by a volunteer on the day of production.
    • Create the Call Sheet, including a map and email no later than 12hrs before call time.
    • Have a Greenlight Meeting with the Head of Production, during which you will:
      • Show all completed Location Documents
      • Follow through on any questions that were brought up in the previous Producer Meeting
      • Pick up camera & sound cards, and 2D iPad
    • Double check every logistical piece of information and make sure nothing has been forgotten.

    On Set

    • Start of day:
      • Arrive at set 30 minutes to an hour early.
      • Immediately establish contact with the location owner to make sure everything is still going as planned. Check back with them periodically throughout the day as needed.
      • Deliver the craft services to the 2nd AD for them to set up the craft service table.
      • Give the 2nd AD all the paperwork you prepared ahead of time for them to have completed throughout the day.
      • 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. Complete the Safety Meeting Report.
    • 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 setups and make sure departments are prepared and working ahead.
      • Verify with volunteer that lunch will be brought to set in time for 2nd AD to set it up prior to releasing for lunch.
      • During lunch on day 1, review and approve the day 2 Call Sheet with the 2nd AD.
    • End of day:
      • On day 1, have the 2nd AD distribute the day 2 Call Sheet no later than Company Wrap.
      • Approve the Daily Production Report and have 2nd AD distribute within 2 hours after Company Wrap.
      • Collect all the Daily Production Paperwork, camera cards & sound cards from the 2nd AD.
      • On day 2, once all crew has clocked out on 2D iPad and returned their walkies, then pass that iPad and the walkies on to the crew member who will be the 2D on the following day. If there is no show the following day, then the Producer should hold on to the iPad to return to the Head of Production the next day.
      • With 2nd AD, clean and secure location. Be the LAST TO LEAVE (except perhaps Art Dept).
      • Leave the location better than when you arrived.

    Post-Production

    • Turn in Camera Reports, Camera Cards & Sound Cards to the cubbie in the ingest room in the Post Hall as soon as possible after wrap.
    • Turn in 2D iPad to the Head of Production by Noon on Wednesday after production.
    • Turn in Production Delivery Paperwork via OneDrive to the Head of Production by 9am Thursday after production.

  • Producer Responsibilities

    Overview

    The producer serves as the primary organizational and managerial lead of the production, overseeing the broader coordination of the project across development, pre-production, production, post-production, and delivery. Responsibilities may include managing schedules, coordinating communication between departments, overseeing logistics, monitoring production progress, helping resolve problems, and ensuring that the production remains aligned with the practical realities of time, staffing, safety, and available resources.

    Within the collaborative structure of film production, the producer is ultimately responsible for helping guide the project to successful completion while balancing creative goals against operational limitations. Unlike roles focused primarily on on-set execution or departmental coordination, the producer maintains a wider view of the entire production process and helps ensure that all parts of the project continue moving forward cohesively. The role also helps students develop leadership, communication, organizational, and decision-making skills that are central to professional producing workflows.

    Pre-Production

    • Assist the Director in Location Scouting.
    • Secure each filming location by completing a Location Agreement and Shooting Plan. Make sure the location owner is clear about the nature of the production, and provide them with a Location Pamphlet.
    • Organize the Tech Scout for each location with at least the ATL. Establish where the restrooms, parking, staging, base camp and set will be. Complete a Location Hazard Assessment Checklist. If any location hazards, then also complete a Hazard Notification Report.
    • Have each actor sign a Performance Agreement.
    • Arrange for volunteers and/or extras if required.
    • Coordinate call times with other Producers in your cycle to ensure 10 hr turnaround.
    • Create a Setup Schedule with the Director and DP (based on the shot list put together by the Director and DP).
    • Prepare all scheduling information and other material required for ATL Prep.
    • Attend ATL prep and takes notes for the Director.
    • Assist the Director with any and all logistical needs to prepare for principal photography.
    • Run the Production Meeting by reading the action of the script. Answer crew members’ questions. Have each crew member sign a Crew Deal Memo.
    • Prepare and make copies of all the paperwork needed on set.
    • Check the weather periodically to monitor adverse conditions. Have a back-up plan.
    • Purchase craft services by the night before production.
    • Pre-order lunch and arrange for it to be picked up by a volunteer on the day of production.
    • Create the Call Sheet, including a map and set diagram, and email no later than 12 hours before call time.
    • Double check every logistical piece of information and make sure nothing has been forgotten.

    On Set

    Start of Day

    • Arrive at set 20-30 minutes before call time.
    • Immediately establish contact with the location owner to make sure everything is still going as planned. Thank them! Check back with them periodically throughout the day as needed.
    • Sign in all crew using the Crew Sign-in sheet.
    • When actors arrive, show them the set, green room, bathrooms, and craft service. Introduce them to crew; and location owner if possible.
    • At call time, have a Safety Meeting with the entire crew. Complete the Safety Meeting Report.
    • Make sure crew have a copy of the Setup Schedule.
    • Make sure actors have a copy of the script or their sides.
    • Make sure crew is staging equipment safely and preparing for the first shot.
    • Make sure the director is focused with the DP and crew on the first shot and figuring out logistical stuff.
      • Where is the camera going?
      • Where are the lights going?
      • Where is the boom operator?
      • General idea on actor blocking.
    • Make sure set dressing is happening (if necessary).
    • Give director time to focus on actors while the crew finishes set up and/or set dressing.
    • When the set is ready, give the director and actors a (5-Minute) call to blocking, rehearsal, and shooting.
    • ALWAYS KEEP ACTORS IN THE LOOP AS TO WHEN THEY MIGHT BE CALLED TO SET!!!

    Throughout shooting day

    • Run through the 1st AD Protocol for each setup.
    • Manage the time on the set by keeping up with the Setup Schedule. Adjust schedule as needed.
    • Look ahead to next setups and make sure departments are prepared and working ahead.
    • Verify with volunteer or caterer that lunch will be brought to set in time to set it up prior to releasing for lunch.
    • At 6 hours after call time, release the cast & crew for lunch. Make sure everyone who eats signs a Meal Sign-In Sheet.

    End of shooting day

    • Complete the Performers Time Report, and have the actors sign it before they are dismissed for the day.
    • Efficiently and safely wrap out equipment, load vehicles, and clean the location. Leave the location better than when you arrived.
    • Whenever possible, do a walk-thru with the location owner to verify everything is in order.
    • Sign-out all crew using the Crew Sign-In Sheet.
    • Be the last to leave (except perhaps Art Dept).
    • Make sure the director backs up all their media.
    • Create the Daily Production Report and distribute within 2 hours after Company Wrap.

    Post-Production

    • Send a Thank You Letter to the location owners.
    • Submit Reimbursement Voucher, along with original itemized receipts and Meal Sign-In sheet to the Head of Production by 5pm Thursday after production.
    • Turn in Production Delivery Paperwork via OneDrive to the Head of Production by the deadline provided.

  • 2nd AD Responsibilities

    Overview

    The 2nd Assistant Director focuses primarily on communication, paperwork management, and logistical coordination in support of the broader assistant directing team. Responsibilities typically include preparing call sheets, distributing production information, coordinating cast movement and crew communication, tracking schedules, and helping ensure that departments remain informed and organized throughout production.

    While the 1st AD concentrates on running the set and managing the shooting day on the floor, the 2nd AD supports that process by handling much of the operational coordination that happens off the floor. Strong 2nd AD work helps productions stay organized, reduces communication breakdowns, and allows the production team to operate more efficiently under demanding schedules. The role also provides important experience in the organizational and administrative systems that support professional film production.

    Pre-Production

    • Create the Call Sheet, including map and set diagram. Have 1st AD approve it. Then send it no later than 12 hours before the next day’s call time.
    • Communicate any changes to the schedule to the entire cast and crew.
    • Check the weather periodically to monitor adverse conditions. Have a back-up plan.

    On Set

    Start of day

    • Arrive at set FIRST, at least 30 minutes before call time.
    • Establish Base Camp.
      • Set up Checkpoint with Walkies and Production iPad, where crew will check in when they arrive.
      • Get the snacks and drinks from the Producer, and set up the craft service table.
    • As crew members arrive, check them in by taking their photo using the Timesheet Form in the FSU Greenlight app on your Phone, or the Production iPad if one is assigned.  You will also assign walkies to designated crew and notate the walkie number in the form. 

    Throughout the day

    • Maintain the craft service table throughout the day to make sure it is stocked.
    • Stay at base camp and handle the phones, paperwork and actors. Know where everything and everyone is.
    • Remain in or near the Green Room with the Actors, except to escort them to/from set at 1st AD’s request.

    Meals

    • When the Producer arrives with lunch, help set up the lunch table.
    • At lunch make sure everyone signs the Meal Sign-In Sheet.
    • Make periodic announcements on time remaining on lunch.
    • Make sure lunch does not exceed one hour.

    End of day

    • Complete the Performers Time Report, and have the actors sign it before they are dismissed for the day.
    • Make sure 2nd AC, Script Supe, and Sound Mixer meet at end of day to verify reports. Collect all reports.
    • Collect the camera card from the 2nd AC, and the sound card from the Sound Mixer, and deliver to Producer.
    • Have crew members sign out using the Production iPad and collect their walkie.
    • Organize all the of the Daily Production Paperwork for the Producer and deliver in a folder.
    • With Producer, clean and secure location. Be the LAST TO LEAVE (except perhaps Art Dept). Leave the location better than when you arrived.
    • Complete the Daily Production Report and have it approved by the 1st AD. Then distribute within 2 hours after wrap.

    Post-Production

    • Assist in wrapping production paperwork if necessary.

  • ATL Prep

    Overview

    ATL Prep refers to the planning, meetings, creative development, and coordination work conducted by key creative leadership positions prior to F1 production. During the pre-production week, each group will meet with a faculty committee to review creative, technical, and safety concerns related to the practical execution of each film.

    Strong prep work is essential because major creative and logistical decisions made before filming can significantly affect the efficiency, safety, and overall success of the production. Structured preparation helps align creative goals, clarify communication, and reduce avoidable problems once production begins.

    Prior to the prep

    Each ATL crewmember on a show is required to prepare materials to present to the faculty committee:

    1. The Director posts a PDF of the final revised screenplay to the appropriate show channel on Teams before noon on the day prior to your prep so the Filmmaking I instructors can review them. 
    2. The Director, in collaboration with their Producer and Director of Photography, creates a setup schedule and posts that document in the Teams show channel so the Faculty can access it at the prep.
    3. The Director creates visuals for their presentation, which should include: examples to show tone and key moments; headshots and casting considerations; and examples of key production design, such as the looks of settings, characters, and important props.
    4. The Producer prepares a short slide presentation outlining the logistics and status of specific aspects of the project. These would include: Set Up Schedule, Call Time Plan, Meal and craft plan, Location Status, Casting Status (meaning agreement status), and a brief safety report along with any other challenges or concerns.

    At the prep

    The projects will present in the order of production within the group. All members of the group must be present for all projects, regardless of their position on the project. Each show will present in the following order:

    1. The Director presents on the story, casting, and production design of the film, using a visual presentation on the monitor in the classroom. (10 minutes)
    2. The Producer speaks on the logistics and status of the schedule, locations, actors, safety, and discusses any other challenges, accomplishments, or concerns. (10 minutes)
    3. The faculty committee asks questions concerning any of the presentations. (10 minutes)

    The Producer of each project will be responsible for keeping notes of all concerns expressed by the faculty. From these notes the producer will create an Action Plan. The Action Plan will consist of a list of the concerns, with each followed by a description of how each concern will be addressed. All Action Plans must be posted to the shows Teams channel by 5:00pm on the day following the prep.