production handbook 2016 - LMU School of Film and Television

Transcription

PRODUCTION HANDBOOK 2016
a guide to making films and videos at
Loyola Marymount University
School of Film and Television
TWELFTH EDITION
© 2003-2016 Loyola Marymount University School of Film and Television
TABLE OF CONTENTS
PREFACEIII
GENERAL REGULATIONS
1
SAFETY POLICY
2
PAYING OTHER STUDENTS
3
TERMS AND CONDITIONS
4
HOPA5
STUDENT PRODUCTION OFFICE
6
CAMERA 7
CAMERA LOTTERY 11
LIGHTING & GRIP
12
LIGHTING & GRIP LOTTERY14
SCENESHOP15
STUDIO OPERATIONS
17
POST PRODUCTION
19
TELEVISION ENGINEERING
22
PRODUCTION SOUND
23
RECA26
SCOREKEEPERS MUSIC LIBRARY
THEATER SERVICES
Production Handbook 2016
31
32
TECHNICAL STANDARDS FOR DELIVERY
34
ANIMATION
35
SCREENWRITING38
OTHER SERVICES
39
SET ETIQUETTE
41
WALKIE TALKIE PROCEDURE
44
SHOOTING THE RIGHT WAY
46
SAFETY47
IN THE EVENT OF AN INJURY
68
PRODUCTION TRUCKS
71
PROP WEAPON POLICY
76
THE USE OF PROP WEAPONS
77
INSURANCE84
CERTIFICATES OF INSURANCE
87
DIALOGUE IN MOVING VEHICLES
90
STUNTS AND COORDINATORS
96
COPYRIGHTS & CLEARANCES 99
THE USE OF GENERATORS 105
THE USE OF MINORS 110
WORK HOURS OF MINORS
113
ANIMALS IN FILMS
118
CASTING 122
LA STUDIO ZONE MAP
131
LOCATIONS132
PERMITS138
HOW TO FILL OUT A FILMLA PERMIT APPLICATION
141
FILMING ON CAMPUS
149
CAMPUS LOCATION CONTACTS
153
GETTING YOUR PROJECT APPROVED
160
THE ASSISTANT DIRECTOR
170
THE CALL SHEET
180
THE PRODUCTION REPORT
184
SCRIPT SUPERVISORS
187
HOW TO SLATE AND ROLL CAMERA
189
LA CLIMATE AND DAYLIGHT HOURS 192
AFTER YOU’VE FINISHED SHOOTING
193
PREFACE
This handbook is intended to help you understand the services and facilities
available to you at LMU School of Film and Television, the regulations governing their use, and your privileges and responsibilities regarding them.
We want all of you to be successful and productive students. That means,
among other things, you have to be able to navigate the “system” efficiently
in order to use the School’s resources effectively. This handbook should
help you do that. Of course, you are actually going to have to read it for it to
be of any use at all.
As a Production major, you have access to professional equipment and
facilities. Together with your privilege to use this equipment comes the
responsibility to treat it with care and respect. We expect you to act professionally and we will treat you as “professionals in training” until you prove
us wrong.
This document is very much a “work in progress”. We strongly encourage
you to give us feedback. Let us know what works - and what doesn’t. In
particular, you need to tell us if we haven’t made a process or procedure
clear. If you have information or have had experiences that may benefit
other students, please let us know so that we may include it in future editions of this Handbook.
iii
iv
GENERAL REGULATIONS
ACCESS
YOU MUST BE CURRENTLY ENROLLED IN A SCHOOL OF FILM AND TELEVISION
PRODUCTION COURSE TO USE EQUIPMENT AND/OR FACILITIES FOR CLASS ASSIGNMENTS AND PROJECTS.
Access to SFTV Production and Post Production resources and equipment and participating in the end of the semester screenings are privileges - not rights.  The granting or
withholding of privileges is at the discretion of the Dean or his designees.
When a violation occurs, the Instructor, the appropriate Chair and HOPA will meet to determine whether and to what extent the student shall incur temporary loss of privileges,
or they may make a recommendation to the Dean for permanent loss of privileges.
TESA CARDS
You will need a TESA key card, available from Television Engineering, in order to use
facilities between 5:00 PM and 8:00 AM weekdays, anytime on weekends and on University Holidays. Public Safety (8-2893) will let you into the building during these hours.
You will be required to fill out a Card Key Request Form placing a $50 liability on yourself for each lost card key for such areas as editing rooms, sound studios, the soundstage,
and the television studio.
SECURITY IS EVERYONE’S RESPONSIBILITY
Internal security is something we must all work on together. Stolen equipment will be
missed by all of us and might not be replaced. Your watchful eyes can make a strong
contribution towards our security system. Report any suspicious persons or behavior
immediately.
THE SFTV SYSTEM
You will require the services of EIGHT tecnical offices as you move through the Production Program:
HEAD OF PRODUCTION ADMINISTRATOR (HoPA)
STUDENT PRODUCTION OFFICE (SPO)
PRODUCTION ADMINISTRATOR (Camera)
STUDIO OPERATIONS ADMINISTRATOR (Grip & Electric and Stages)
TELEVISION ENGINEERING (TV equipment and video transfers)
PRODUCTION SOUND (Location sound equipment)
RECA (Post-production sound)
POST PRODUCTION ADMINISTRATOR (Editing)
THEATER SERVICES ADMINISTRATOR (projection)
Although each office sets its own policy to protect its equipment and your right to use it,
some regulations apply to the entire production department.
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SAFETY POLICY
Since the School of Film and Television is fully committed to safety and sensible risk
management, every student will be required to adhere to all safety and risk management policies. The School considers violation of the Safety and Risk Management policies
infractions of the LMU Student Honor Code ( see current Undergraduate and Graduate
Bulletin).  Any footage that violates safety policies will be disallowed from final projects
and appropriate disciplinary action will be taken.
Granting or removal of privileges is at the discretion of the Dean or his designees.  Privileges include access to SFTV Production and Post Production resources and participating
at the end of the semester screenings.  Students in violation of the SFTV Policies risks
suspension of Privileges.
The Final Screenings are grading sessions. They are open to, and welcome, all SFTV
students, the entire SFTV community and invited guests including key crew and alumni.
There will be a special screening for friends and family at the end of the grading week.
The procedures for the end Final Screenings will be announced. In accordance with departmental policy, student projects will not be screened past the maximum length specified in the syllabus.
Students that fail to comply with the SFTV Safety, Risk, and Management Policies will
have their violations considered violations of the Academic Honor Code.  Disciplinary
measures will be taken in accordance to the standards published in the school Bulletin
and range from warnings, failure of the course, and up to expulsion from the University.
 
Any film or TV footage acquired or produced during the commission of a violation of
these policies will not be accepted for, and is ineligible for, a grade.
2
PAYING OTHER STUDENTS
The LMU School of Film and Television encourages the collaboration of students in the
production of creative projects, understanding that students with various interests represent different specialized areas of knowledge.
Your SFTV academic peers should not be charging you for their services, but instead, if
they volunteer on your project, you should recognize that their contributions are significant and deserving of on-screen credit.
You should treat every volunteer respectfully, as talent, understanding that contributions
from those outside your enrolled class are voluntary and not required. You should follow
standard practice and ask the volunteer to sign a standard contract for rights release. In
exchange for services rendered, the basic contract will establish that the volunteer receives
a mutually agreed upon screen credit and access and full rights to use any clip that best
showcases her/his contribution to your finished project.
3
TERMS AND CONDITIONS
THE CONTRACT
These terms and conditions form part of the rental contract
(the “Rental Contract”) between you and Loyola Marymount
University School of Film and Television (herein described
as LMU/SFTV), and apply to all the equipment (the “Equipment”) rented by you from the Camera, Lighting & Grip and
Sound departments.
PRE-PRODUCTION - TESTING THE EQUIPMENT
You will have an opportunity to test and examine the Equipment to determine that the Equipment is in good working
order.
YOU ASSUME ALL RISKS OF LOSS
Once you have taken delivery of the Equipment, your responsibility includes, but is not limited to, risks at LMU/SFTV premises, while in transit and at all locations named and unnamed.
WARRANTY OR GUARANTY
Equipment is rented to you without warranty or guaranty of
any kind, expressed or implied, and LMU/SFTV assumes no
responsibility unless agreed to in writing.
AS SOON AS YOU DISCOVER DEFECTIVE EQUIPMENT
You should notify LMU/SFTV of the problem and if necessary
return the Equipment to LMU/SFTV for evaluation. LMU/
SFTV will make a reasonable effort to repair or replace the
Equipment in the shortest amount of time.
INDEMNIFYING LMU/SFTV
You agree to indemnify LMU/SFTV and to hold LMU/SFTV
and its employees and agents harmless from and against any
and all losses damages, claims, demand or liability of any kind
or nature whatsoever, including legal expense arising from the
use, condition (including, without limitation, latent and other
defects) or operation of the Equipment, and by whosoever
used or operated the Equipment during the rental term(s).
This indemnification shall continue in full force and effect during and after the term of the rental for causes arising during
the term of the rental. LMU/SFTV and it’s employees will not
be responsible for any damage to, or failure to record on film
or recording media due to equipment malfunction after leaving LMU/SFTV premises.
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HOPA
LOCATION
Communication Arts Building first floor
OFFICE HOURS
Monday through Friday AM to 5PM
CONTACT
John Syrjamaki, Head of Production Administrator
CA 118B
310 338 2973
[email protected]
Debora McClune, Associate Head of Production Administrator
CA 118A
310 338 1941
[email protected]
SERVICES
The Head of Production Administrator is here to assist you in all phases of production.
We cannot help you with questions about academic issues, however. Here is a very short
list of some of the things we do:
Coordinate with the LMU Risk Management Office to get your project
“approved” and insured.
Sign off on equipment and room reservation forms.
Provide you with information about vendors and services that may be of
help to your project.
Coordinate with the technical departments (Camera, Television,
Grip&Lighting, Post and RECA) to provide you access to the School’s
facilities.
Oversee safety not only for student productions, but for the entire School
of Film and Television.
Provide shoulder to cry on - no appointment necessary.
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STUDENT PRODUCTION OFFICE
LOCATION
Communication Arts Building (CA 106)
OFFICE HOURS
School Year - Monday through Friday 10AM to 7PM
Summer
CONTACT
- Monday through Friday 10AM to 3PM
Andrea Edgely, Graduate TA
310 338 4443 phone
310 338 4471 fax
[email protected]
SERVICES
The Student Production Office provides students with:
Telephones, FAX and computers with high-speed Internet connection
Printer and copier
EP Movie Magic Scheduling and Budgeting
Microsoft Office Suite
All required production forms
Production resource material
The SFTV Production Handbook
Knowledgeable, friendly and good-looking Staff to help you
The Production Handbook and all production forms can be accessed on-line at:
http://sftv.lmu.edu/students/spo/studentproductionforms/
The Student Production Office also schedules and conducts tours for prospective students. The tour schedule is:
Monday through Friday at 12Noon and 3PM during the school year
Monday through Friday at 12Noon during the summer
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CAMERA
LOCATION
OFFICE HOURS
10:00 AM – 6:00 PM Monday through Thursday
10:00 AM – 5:00 PM Friday
(Hours of operation vary from semester to semester, check posted hours in Camera)
CONTACT
Peter Soto, Production Administrator
CA 121B
310-338-5168
[email protected]
Mike Buchbauer, Graduate TA
310 338 2768
SERVICES
You will need this office to reserve and use film/digital cameras and accessories.
TO RESERVE EQUIPMENT
Obtain a reservation form and fill it out completely. Have it signed by the Head of Production.
Reservations can be made up to two (2) weeks in advance. All reservations must be
made at least forty-eight (48) hours, two (2) days before the pick-up date. There will be
no exceptions.
Make sure to DOUBLE CHECK your reservation before the check-out date to verify that
you get the equipment you requested, as you may be “bumped” depending on the equipment priority of your class or project.
When making a reservation make sure it is date and time stamped by a Camera department employee. This information is vital in determining what equipment students will
receive since we check out equipment on a first come first serve basis as well as class
level. (See the section on “Determining Priority”.)
Do not allow friends and associates to make adjustments, modifications and/or borrow
Camera equipment under your name. You will be held responsible.
If you must cancel your equipment reservation allow at least 24-hour notice prior to your
scheduled pick-up.
TO CHECK OUT EQUIPMENT
You may check out equipment for up two (2) working days. Each night is considered
one working day. Friday, Saturday, and Sunday is considered one day but all equipment
must be returned Monday. Special arrangements can be made for students with unique
circumstances.
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Equipment can be picked up no earlier than 1pm on pick up date and no later than one
hour before closing or it will be released to others. If you fail to pick up equipment without notifying the Camera department you will be fined. Fine amount varies depending
on the type of equipment.
Prep your equipment and report any damages or missing items BEFORE you leave the
building. Once you leave the building, you will be held responsible for all equipment on
your reservation form.
All students enrolled in production classes MUST be approved for insurance before any
equipment can be released.
The Camera department may withhold any piece of equipment from a student until that
student has demonstrated a working knowledge of the item in question.
Always store equipment in a safe place. Avoid exposing equipment to extreme heat or
cold and keep free of dirt and moisture.
Equipment will only be released to the student whose name is on the reservation form
and that student must present a valid student ID.
You assume FULL RESPONSIBILITY for any loss or damage to equipment when you sign
the reservation contract. (See “Terms and Conditions” on page 4 for a further explanation.)
TO RETURN EQUIPMENT
Return all equipment on time and in the same condition as at time of check out. Equipment is due by 12:00 noon on the due date.
All components should be in the right boxes, and everything put away and organized.
Filters and other accessories must be removed from cameras and cables coiled neatly.
Messy, disorganized and dirty equipment will be assessed a cleaning fee.
It is your responsibility to report any malfunction/problem with equipment in writing
immediately so that we can make necessary repairs before the next check out. Don’t keep
it to yourself. This could ruin the shoot for the next student who checks it out. We cannot
fix it if we don’t know about the problem.
DETERMINING PRIORITY
Students who will be reserving camera gear must place their reservation no more than
two weeks in advance from the THURSDAY before the weekend they plan to shoot.
Those students that choose to place a reservation two weeks in advance are advised to
attend the CAMERA LOTTERY held every Thursday at 12:15pm in the Camera Department.. All present students wishing to make a reservation will draw numbers at this time
in order to determine the order in which their reservation is accepted (NO LINING UP
AND NO “CAMPING OUT”)
Students that submit a reservation after the drawing will still maintain their priority
based on class level but will have a later time stamp.
Priority is based on class level AND time and date of receipt. The following is a list of
classes in order of priority and camera packages that are available to each class.
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Production Courses Camera Priority List
Course Hierarchy
Priority Camera
Alternate Camera –If
available
PROD 650
RED One Package
C300, EX-3, XF100,
S16mm, 35mm
PROD 400
RED One Package
C300, XF100, S16mm,
35mm
PROD 450
Sony EX-3 Package
RED One, C300, XF100,
S16mm, 35mm
PROD 600
Canon C-300 Package
RED One, EX-3, XF100,
S16mm, 35mm
PROD 600 Documentary
Sony EX-3 Package
RED One, C300, XF100,
S16mm, 35mm
PROD 300
Canon C-300 or Sony EX-3 S16mm, 35mm,
PROD 350
Sony EX-3 Package
PROD 550
Sony EX-3 Package
C-300, XF100, S16mm,
35mm
S16mm, 35mm
PROD 500
Canon XF-100
NO Alternative
PROD 200
Canon XF-100
NO Alternative
PROD 379
Canon XF-100
NO Alternative
PROD 250
Canon XF-100
NO Alternative
(Equal with PROD 450)
(Equal with PROD 600 Doc)
The Camera Packages listed above are provided as support for production courses taught
in the School of Film and Television. If a student should choose to source or rent a
different camera – not listed above – for the completion of their course work, then the
student assumes all responsibility for camera accessories, care and any post-production
processes.
Any use of alternate camera packages (ANY NOT mentioned above) must receive approval
from the course instructor, or in the case of PROD 300/350 and 550, the approval of the
chair is also required.
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Your priority will ONLY BE HONORED on that THURSDAY, two weeks in advance of
the weekend you plan to shoot. All reservations accepted on that Thursday during business hours will be prioritized and equipment assigned at time of closing. Any reservations placed AFTER Thursday and within the two weeks prior to the weekend you plan
to shoot will be prioritized on a FIRST COME, FIRST SERVED basis regardless of class
level.
If you have been cleared to pick up camera equipment a day early (on a Wednesday instead of a Thursday) and are keeping that gear over the weekend, the earliest you can reserve camera gear for that weekend is on that Thursday two weeks prior to the weekend
you shoot. Do not come in on Wednesday and try to place a reservation as this would be
an unfair advantage over those students who are not picking up gear a day early.
Not understanding this policy is no excuse for not getting your reservation in by the
stated deadlines in order to insure priority.
For further clarification of this policy contact: Peter Soto
FINANCIAL RESPONSIBILITY
You agree to pay for or replace any lost or damaged equipment. You are responsible for a
$1,000.00 deductible on major damage resulting in an insurance claim.
You will supply your own perishables, e.g. air, lens tissue, camera and gaffer tape.
The issuing office will settle disputes as to whether equipment was damaged or simply
died of old age.
THE DEPARTMENT IS NOT RESPONSIBLE FOR ANY DAMAGE TO FILM OR VIDEO
OR PROJECTS DUE TO MALFUNCTION OF ANY EQUIPMENT ON LOAN.
FINES
You will be fined for late, damaged, missing equipment or failing to pick up your reserved equipment. Fine amount varies depending on the type of equipment and number
of days late.
Should you damage equipment due to negligence or abuse to the extent that it is out of
service for any length of time, your privileges will be suspended until the item is back in
service.
All fines will be charged to your student account.
10
CAMERA LOTTERY
Where: Camera Department (CA Building 109)
When: Every Thursday promptly at 12:15pm
Who: Only those students wishing to place a reservation the maximum of two
weeks in advance of their shooting weekend.
How: Each eligible student in attendance will draw one number from a bag in
no particular order. After every student has drawn a number a Camera
Department Technician will begin accepting completed reservation forms
starting with the lowest number drawn.
Your reservation will be time and date stamped at this time. The time and date stamp is only ONE way of determining what gear will be available to you. Please refer to the “Determining Priority” section under Camera for further information.
Those students who miss the drawing may submit reservation forms up to two days before their pick up date which will be time and date stamped accordingly. All reservations accepted by end of business day on that Thursday two weeks pri
or to the shooting weekend will be prioritized and cuts made at this time. Students will be notified on the Friday after each drawing of items they requested that are not available.
Why: The lottery was conceived in order to make for a more fair process of
accepting reservation forms as well as to alleviate the burden to students
of lining up in front of each department, sometimes up to 24 hours before
reservations would be accepted.
We are always trying to improve the process in order to insure that it remains as fair and
as transparent as possible.
If you have any suggests for improvement please send to Peter Soto at [email protected].
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LIGHTING & GRIP
LOCATION
Communication Arts Building (CA 128 - Loading Dock)
OFFICE HOURS
9:00 AM – 5:00 PM Monday through Wednesday
8:00AM - 6:00PM (or later as needed)
CONTACT
Frank Hughes, Studio Operations Administrator
CA 131
310 338 5178
[email protected]
Elise Dean, Graduate TA
CA 128
310-338-3032
SERVICES
You will need this office to reserve and use grip, lighting equipment and props
LIGHTING & GRIP RENTAL POLICY
Rental period
Maximum rental period is 3 days.
For rental of more than 3 days, client must submit multiple order forms and return,
then re-check out their equipment.
[note: clients 2nd order may be different from 1st due to that weeks cuts]
Equipment must be returned by noon to avoid any late fees.
Pick up / Return
Renter shall pick-up order at approved time, and return by approved date by noon.
12
Insurance
Renter shall provide either approved insurance from LMU|LA, or supply suitable in
dustry filming insurance with minimum of 1 million dollar coverage.
[make sure if exploring 3rd party insurance that it is cleared with the LMU Business
Office.]
All insurance paperwork, or approval must be arranged prior to release of equipment.
Cancellations
We require 24 hours notice prior to pick-up time to cancel an order.
Notice less than 24 hours will result in a fee.
Liability
The Lighting & Grip Department is not responsible for any liabilities, claims, costs,
or expenses arising out of the use or possession of the equipment. All equipment is
offered for inspection and testing at the time of pick-up. (see page 4 for more details)
Damage
All equipment is rented in good condition, and must be returned in the same
condition. Any repair work necessary shall be paid by renter, or if damage
is extensive, replacement cost may be charged. TRUCKS / GENERATORS
Please note that some of our equipment requires an industry grip or electric truck with a
suitable lift gate. Some equipment also requires the use of a suitable industry generator
to operate.
Please make sure you check with the L&G staff at time of order to see if you will need a
truck or generator.
See the section in this handbook for further information about production trucks.
If you are using a generator you must have a designated generator operator and you
must have walkie-talkie communication between the generator operator and the set.
You will also need to rent a Life Guard GFCI (ground-fault circuit interruptor). See the
section in this handbook for more information on generators.
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LIGHTING & GRIP LOTTERY
The L&G Lottery works like this:
Drawings are held two weeks in advance of your shooting weekend at convo-hour
(Thursdays at 12:15) Camera department will immediately follow with their lottery at
12:25. For example, if you are shooting on the weekend of March 25th then the drawing
is on March 10th.
Drawing are for priorities to equipment, the lower the number the higher the chances of
receiving more of the equipment requested. The higher the number the less likely you are
to receive all of the equipment requested.
You may turn in an order a minimum of two days before you plan to pick up. However,
this means you have missed the lottery and you will be placed last in the queue based on
your time and date of turn in.
If you are on the non-compliance list or have an outstanding fine with L&G you can turn
in your order however, you will be placed last in the queue and you cannot check out
your order until you have been cleared on the list and/or paid your fine
Orders only go out on Thursday and must come back on Monday (before noon) unless
they get approval from Frank Hughes.
Cuts are made the Monday the week of. You will receive a call with your cuts, and you
can then determine whether a rental house is in your best interest to make up for equipment lost.
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SCENESHOP
LOCATION
HOURS
10:00 AM – 6:00 PM Monday through Thursday
CONTACT
CA 131
310 338 5178
[email protected]
Jake Sheets, Graduate TA
CA 121
215 301 8250
SERVICES
This department provides limited equipment for the construction of sets used in approved student productions. Flats and A-frames may be rented through the Sceneshop.
SCENESHOP POLICY
Access to the Sceneshop is restricted to Sceneshop Graduate Assistant, the undergraduate
employee(s) and the Technical Staff.
Students are not allowed to operated the power tools in the Sceneshop. The Graduate TA
will operate the equipment for you when available or previously arranged.
Students will be allowed to check out sanders, drills, paint rollers and trays from the
Sceneshop.
Tools borrowed from the Sceneshop must be returned immediately following your shoot.
THE SCENESHOP DOES NOT SUPPLY PLASTIC DROP CLOTHS, PAINT or BRUSHES
OR ROLLER COVERS
Students must reserve flats and A-Frames through the scene shop by placing a “HOLD”
tag on each wall desired. They may reserve flats up to two weeks prior to the construction of their sets.
Students receive flats as is. Students may not destroy flats, poke or cut holes in flat
15
walls, wallpaper or plaster set walls. Flats must be returned in the same condition they
were reneted - with the exception of paint.
Flats are not to be stacked against walls or lain on the floor of the loading dock area or
in the scenehop. If you remove a flat from the flat storage in the loading area hallway,
you must return it properly. If you remove a flat from the film soundstage flat storage,
you must return it to that area properly. A student will be fined $50.00 to their student
account if the flats are not returned properly.
Students may not paint flats in the loading dock area. All painting of flats must be done
in the sound stages with proper drop cloths. Do not use newspapers as drop cloths.
All paint brushes or rollers used will be washed thoroughly in the paintroom and discarded properly. DO NOT THROW PAINT CANS, UNWASHED BRUSHES, OR USED
ROLLERS IN THE TRASH CANS! You may leave empty cans and brushes, etc. outside
the Paintroom door.
DO NOT POUR PAINT INTO ANY SINK!
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STUDIO OPERATIONS
LOCATION
HOURS
Monday-Thursday 8AM - 5PM
Friday-8AM-4PM
CONTACT
CA 131
310 338 5178
[email protected]
SOUND STAGE FACILITIES
Production stage facilities are limited. Students can only use the sound stages by completing a reservation contract with the Studio Operations Administrator. A student can
only reserve the film sound stage after their project has been approved by the Head of
Production, John Syrjamaki.
All students will be required to provide a $250 deposit at the time of reserving the stage.
The deposit will be returned after completion of shooting if the stage is returned to its
original condition within the time frame given prior to production. This deposit can be
used to pay any fines for loss and/or damage.
Once a reservation has been made, the student (The Licensee) will be held by contract for
the date(s) to use the stage. If the Licensee cancels their shoot less than one week prior to
the start date, they will forfeit the deposit.
At the conclusion of the scheduled use of the stage, productions must be cleared by the
Studio Operations Administrator.
STAGE OPERATIONS
• All construction, painting, storage of set dressing or sets must be done inside
the stage. Loading dock area is used for other purposes such as L&G order staging area.
• All stages are rented clean and swept and must be returned clean and swept.
Upon strike, there will be an inspection of catwalks, grids, walls, stage floor and
Fire equipment. Any damaged or missing equipment will be replaced and
charged to the student who reserved the stage (The Licensee).
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• The Licensee is responsible for enforcement of fire lanes on stage. All fire
equipment, fire hydrants, fire extinguishers, fire hoses and post indicator valves,
which are painted red or yellow must be kept fully operable, clear and accessible
at all times.
• When working on a sound stage or in a building used for production, all
pedestrian doors must be unlocked and accessible. Do not block aisles, fire
lanes or exits.
• All ladders, set walls or lumber leaning against walls must be secured to walls
(tied off) when stored.
• No vehicles may be brought onto the stage unless arranged in advance with
Frank Hughes.
• Licensee shall not light fires or discharge firearms, smoke effects or
pyrotechnics on or about the licensed premises.
TRASH / RECYCLE / HAZARDOUS WASTE STORAGE & DISPOSAL
• Recyclable wastes (e.g., paper, aluminum cans, PET & HDPE plastics,
glass, etc.), with the exception of construction debris, must be deposited in
appropriate recycle bins located in the front of the building.
• Hazardous Materials (e.g., liquid waste, hard paint waste, flammable
liquids, chemicals or corrosive materials) must be stored in safety cans or
approved containers in a manner which complies with the University’s
Environmental Management Procedures and all relevant governmental
regulations. Approved hazardous materials storage containers are
available through the Studio Operations Administrator’s office at extension
85178.
• Hazardous material disposal must be coordinated through LMU’s Safety
and Environmental Department. Storage and disposal of these materials must
comply with the University’s Environmental Management Procedures and all
relevant governmental regulations. Call extension 87861 for information.
• Any allowable hazardous materials brought and/or used on site (e.g.,
flammables, corrosives, etc.) must have material safety data sheets
(MSDS) on site and available for review.
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POST PRODUCTION
LOCATION
Communications Arts Building (Basement)
OFFICE HOURS
Monday through Friday 9 AM - 5 PM
CONTACT
James Zolliecoffer, Post Production Systems Administrator
310 338 1923
[email protected]
Varun Chopra, Graduate TA
CA 020
SERVICES
You will need this office for assistance with nonlinear editing facilities including On-Line
and Color Correction.
TO RESERVE EDITING TIME
Reservations for editing facilities are made in TV Engineering in the basement of the
Communication Arts building.
Obtain an Electronic Editorial Scheduling Form from Television Engineering or
from your instructor.
Fill in your name, course number, etc.
Check the Scheduling Computer for available times, dates and rooms. Enter the
information on the Scheduling Form.
Give the form to the engineer or engineering staff person. They will enter your
name in the Scheduling Computer and give you a receipt. Do not enter the session in the time Scheduling Computer yourself.
Reservations can be made up to, but no earlier than one week in advance. If you exceed
this limit, your reservation is subject to removal.
Each student will receive a TESA access key card with the scheduled time programmed
on it. You will need this key to access the TESA locks on the edit labs and edit suites.
Sessions are booked in four (4) hour maximum blocks. You may have only two (2) sessions per 24 hours, and a four (4) hour space must be between sessions.
No more than 20 hours a week may be reserved. If you exceed this limit your excess
19
hours will be removed and another student can reserve that slot.
If you are over 15 minutes late, your editing time may be given to another student. Any
cancellations must be made 48-hours in advance of your scheduled time or it will count
as a no-show.
TWO NO-SHOWS AND YOUR EDITING PRIVILEGES WILL BE REVOKED!
Each class has a specified number of editing hours per week that a student may use. In
addition, TV Engineering may assign a maximum number of hours per day that a student may book.
Remember, obtain your keys and key contracts from Television Engineering.
THE USE OF ADVANCED EDIT FACILITIES
The use of the advanced non-linear editing systems is limited to graduate students and
senior undergraduates who have had the appropriate training on these systems and are
currently enrolled in the production program.
Advanced editing facilities are booked in Television Engineering. The advanced systems
are located in CA 005, 006, 007, 008, 009, 017, 018 in the basement of the Comm. Arts
building.
Rooms 005, 006, 007 and 008 are reserved for Graduate Thesis HD editing and HD colorcorrection unless otherwise approved.
Advanced edit facilities are block booked for the following courses:
PROD 666 PROD 366 PROD 466 Seminar Advanced Editing
Post Production I
Advanced Editing
LIABILITIES AND RESPONSIBILITIES
Assigned keys must be returned at the contracted time.
Students must have their own hard drives. Any material left on department hard drives
will be erased WITHOUT PRIOR NOTICE.
Students must back up their edit lists and project files on removable drives. The department is not responsible for any media or lists which have not been removed from the
systems after editing sessions.
If equipment does not work properly:
20
IMMEDIATELY STOP USING IT.
DO NOT FORCE OR TRY TO FIX ANYTHING.
IF YOU HAVE A PROBLEM, CALL THE POST PRODUCTION SYSTEMS ADMIN. OR ENGINEER.
UNDER NO CIRCUMSTANCES SHOULD YOU ATTEMPT TO DO YOUR OWN
REPAIRS.
Report damage or needed repairs to the Post Production Systems Administrator office
(CA 029). Forms are available in the editing areas. Please give location of malfunctioning
equipment and identify the specific problem. Leave the form with the Post Production
Sy stems staff or, if after hours, slide it under the office door.
You assume FULL financial responsibility for any loss or damage to equipment due to
negligence or abuse, either as an individual or as a member of a group, whichever the
case.
You are responsible for the reserved areas during the times scheduled on your Security
Pass. Request only the areas that you need when you need them. For your protection, do
not let others use facilities assigned to you. Remember, you will be held responsible for
their actions regardless of whether or not you were present.
It is your responsibility to clean up the area upon completion of your work.
Upon completion shut down the equipment, and switch off all lights, secure the area and
lock the door.
It is your responsibility to help maintain order in scheduling the editing facilities.
FOOD, DRINKS, AND SMOKING ARE PROHIBITED IN THE EDITING ROOMS.
Failure to return your keys on demand will result in fine.
Any infraction of these rules will result in loss of equipment privileges for the remainder of the semester.
21
TELEVISION ENGINEERING
LOCATION
Communications Arts Building 001 (Basement)
OFFICE HOURS
Monday through Thursday 9 AM - 10 PM
Friday 9AM to 5PM
CONTACT
Ron Goldshine, Television Engineer
CA 001
310 338-3020
[email protected]
SERVICES
You will need this office to reserve editing rooms. They also provide tape duplication
services (transfer).
TO REQUEST A TRANSFER TO VIDEO TAPE
You must be enrolled in a class which requires a tape-to-tape transfer.
Obtain a green VIDEO TRANSFER SERVICES form from Television Engineering. Fill out
the form completely - do not rely on verbal instructions.
Your professor must sign the authorization. Therefore, bring the completed form to your
instructor and get his/her signature.
Completed jobs are placed on the shelf marked “FINISHED TRANSFERS”.
Deliver your request as early as possible. During periods of heavy production, jobs can
take several days.
Copyrighted material cannot be transferred.
LIMIT OF LIABILITY
The University must limit its liability in connection with losses of program material or
recording stock to replacement of damaged cassettes of film with raw stock of comparable value. As to the loss of program material, the University can incur no liability of any
kind. You agree to these limitations when you submit the VIDEO TRANSFER SERVICES
form and program material.
22
PRODUCTION SOUND
LOCATION
Communications Arts Building 002 (Basement)
OFFICE HOURS
Monday through Thursday Friday
9 AM - 5 PM
10AM - 4PM
(Closed on weekends and holidays)
CONTACT
Rusty Amodeo, Production Sound Department Manager
CA 002
310 338-1830
[email protected]
Natalie Cueva, Graduate Teaching Assistant
SERVICES
Reservation and rental of production sound equipment, including:
• Studio/Field Recording & Mixing equipment, Time Code Slates & Lockit Boxes
• Wireless (RF) Microphones, Foldback, Video Monitor, Boom Poles
• Microphones - Shotguns, RF’s, Lavalieres, Hand Held,, Voice-Over, Specialty
• Boom Poles, Stands, Shock mounts & grips, Windscreens & Pop Filters, Bullhorns
• Sound Carts, Cables, Headphones, Camera Interface & Mounts, Shoulder Equip Bags
RESERVATIONS: POLICIES and PROCEDURES
• Your project must be approved and insured before checking out any equipment.
• Obtain the current PSD RESERVATION FORM that corresponds to your class number from the PSD office (Equipment may not be available to you dependent upon
your class level or expertise). We will assist you in determining your equipment and
instruction, if necessary.
• Complete and have the form signed by the Head of Production or the Associate
HoPA. Reservations for equipment can be placed in writing up to TWO (2) weeks in
advance.
• Submit the completed form to the PSD Office. (Hand delivered hard copy forms only
– no email or attachments).
• Maximum rental period is TWO (2) working days.
• The weekend, which consists of Friday, Saturday and Sunday, is considered ONE (1)
working day, however all equipment must be returned no later than 12:00 Noon on
Monday if rented over the weekend.
• Please ask us for assistance. We are here to help.
Quantities are limited, so substitutions may be made on equipment availability.
23
PRIOR to checking out any equipment, students will be required to submit a current and valid LMU ID
number, Email Address, and Telephone Number.
FIRST COME-FIRST SERVED: The Renter/Director must verify that a PSD employee has dated
and time stamped your form before you leave the office, otherwise you will fall to the back of
the queue. Please see the PSD employee for details on what equipment you are allowed, or not
allowed, to use.
POLICIES, FINES, AND PROFIENCY
Cancellations must be submitted by email, or in person, no less than 24hours in advance.
Equipment not been picked up by 4:00 p.m. the day scheduled for pickup will result in the immediate release of the equipment for another purpose.
PSD employees may require proof of proficiency from you before equipment is checked out to
you, or any of your designees. If it is apparent that there is no working knowledge of a given
piece of equipment, a PSD employee reserves the right to withhold any equipment from the
rental until satisfaction of proficiency is met.
It is the responsibility of the Renter, or designee, to verify the contents of their rental package in
front of a PSD employee when the rental is picked up. No allowance will be made for any rented
equipment or portion thereof which was claimed not to have been received.
All microphone rentals will include a mic clip and foam windscreen, unless otherwise noted.
Where appropriate, equipment will have an applicable new battery (-ies), but Renter must be sure
to supply their own fully charged batteries for their project, as well as other expendables. Supply
of media for recording is the responsibility of the Renter.
We are here to help. If YOU need assistance in the operation of any equipment, ASK!
All equipment is offered for inspection and testing at the time of pick up by the Renter.
Renter shall reimburse through their Student Account full compensation for replacement and/
or repair of equipment, accessories, or components that may be damaged, lost or stolen during
the rental period. LMU/LA invoice for replacement or repair costs is conclusive as the amount
Renter shall pay under this paragraph for repair or replacement.
FINANCIAL RESPONSIBILITY
By using our services you agree to pay all relevant fines, when applicable. You agree to pay for
the replacement of any lost, damaged or stolen equipment. You are additionally responsible for
any deductible on major damage resulting in an insurance claim.
Please note the posted fines in the PSD Office as they may change without notice. All fines will
be charged to your LMU/LA Student Account.
THE PRODUCTION SOUND DEPARTMENT, THE SCHOOL OF FILM AND TELEVISION AND
LMU/LA ARE NOT RESPONSIBLE FOR ANY DAMAGE TO THE MEDIA, OR THE FINAL
OUTCOME OF THE PROJECT, DUE TO MALFUNCTION OF ANY EQUIPMENT.
24
PICK UP AND CHECKOUT
Pick up your equipment package between the hours of 1:00pm and 4:00pm from the PSD,
Room #002. Upon checkout, a PSD employee will review your reservation/rental form with
you to verify that each item you requested has been properly prepped into your package.
Signature of receipt constitutes that all equipment is present. There are No Exceptions.
RETURN OF EQUIPMENT
• A late return fee will be imposed for return of any and all equipment after 12:00noon.
• Please return all equipment in its original condition and organized in the correct cases as
was received at the time of check out.
• Missing equipment, accessories, or components upon return constitutes as a Late Return.
• Unorganized, messy, and/or dirty equipment will be assessed a Cleaning Fee.
EQUIPMENT SECURITY AND TREATMENT
Rental from the Production Sound Department is a privilege; not a right. Please be respectful
with its treatment and care. While on a project, in transit, or at home, always keep the equipment secure and stored in a safe place. Avoid exposing the equipment to extreme heat or cold,
and keep it free from dirt and moisture. It is recommended to avoid letting friends and associates make adjustments and/or modifications to the PSD equipment. Take note at pickup how
the equipment is packed; messy or unorganized equipment returns will result in a fee.
In Conclusion
Rental from the Production Sound Department is a privilege; not a right.
RESERVATIONS - In Writing
• Project approval required - in advance of checkout
• Reservations may be submitted up to two (2) weeks in advance of rental date
• 48 hours minimum before rental date
• Cancelation no less than 24 hours before rental
RENTAL PERIOD
• Two (2) working days maximum
• The weekend (Friday, Saturday and Sunday) is considered One (1) working day
PICKUP – A valid LMU Identification is required
• From 1 PM. until 4 PM, Monday thru Friday
RETURN
• From 9AM to Noon, Monday thru Thursday
• From 10AM to Noon, Friday
OFFICE HOURS: Mon thru Thurs - 9:00a.m. to 5:00p.m. Fri – 10a.m. to 4:00p.m.
We are here to help. If YOU need assistance in the operation of any equipment, ASK!
25
RECA SOUND OFFICE
LOCATION
OFFICE HOURS
Monday through Friday 10AM to 5PM
Closed Holidays, weekends and intermittently during the summer.
CONTACTS
Sound Office - RECA Engineering Staff
310 338 7368
Dusk Bennett, RECA Engineer
CA 224
310 568 6662
[email protected]
TBD, Graduate TA
310 338 7368
[email protected]
SOUND DESK SERVICES
Get assistance with audio studios and Pro Tools workstations.
Book studio time for:
• Recording Voice-overs, ADR (dialogue replacement, Foley sound effects
• Editing and Mixing film/video soundtracks
• Creating music soundtracks
• Recording and mixing live music projects
• 24/7 Access to sound effects and music library
• We do not support audio transfer services for obsolete real-time formats.
Any transfer that requires analog or digital real-time transferring (Cassettes, Micro-cassettes, LP’s, 8-tracks, ADAT, DAT, analog multi-track,
etc) cannot be handled in-house. If they are attempted they are done
at your own risk without RECA support. See RECA Engingeering for
further details.
SOUND STUDIO RESERVATION POLICIES
Sessions can be scheduled a maximum of 2 weeks in advance. Only a grand total of 4
four-hour sessions can remain on the booking record at any one time. As a student uses
up each booking they will be permitted to add more, up to the four-session limit. For
students working on multiple student projects, we will expand the booking record to accommodate an extra group of 4 four-hour bookings per project. It is up to the discretion
of a Sound Office employee to audit a students booking record at anytime to determine
26
what bookings may fall outside this window. If a student has over-reserved, all sessions
beyond the 4 four-hour maximum will be released back to the general pool for other
students to use.
Any student who schedules a sound studio and then fails to appear for their scheduled
time slot, within 15 minutes of that sessions start time, will be at risk of losing their time
without warning, especially during the “crunch periods”, to a student waiting to use that
room. No Exceptions. (“Crunch periods” are the final 3-4 weeks of the semester where
studio time is in peak demand.)
Maximum Time Allotment per studio (*depending on demand)
1- 2* hours/day: 203, 208 (The Red Room, The Blue Room)
2 - 4*hours/day: All other SFTV building Pro Tools rooms.
Burns 108/109 (Studio L) per Instructor
SOUND STUDIO USAGE POLICIES
Students (and Faculty) may not eat, drink, or smoke in our studios.
Students (and non-RECA Faculty) may not reconfigure, rewire, or cause to reconfigure or
rewire our studios unless provisions for a patchbay exist in said room.
Students may not modify computer systems, copy applications, plug-in’s, or otherwise
infringe on copyrights.
Students may not use studios over winter and summer breaks unless they are enrolled in
a class and have permission in writing from the RECA Department Chair. Additionally,
all Sound studios close by the beginning of finals week to all non-RECA projects.
Students may not access rooms without first scheduling them through the Sound Office
and obtaining a completed and stamped yellow booking form. Any student participating in any form of unauthorized access to any RECA room is subject to a fine per incident
plus the cost of any damages attributed to such access.
TESA Cards are issued solely to the student owner and may not be distributed to other
students. In the event a student distributes their TESA card to another student (intentionally or otherwise), the named student on the card will be held responsible for any violations or fines associated with that cards misuse. Please guard your TESA card carefully.
Students must be currently enrolled in SFTV and be instructor qualified to book and operate SFTV sound studios. Any student wishing to obtain a variance must speak to both
the RECA Department Chair and Chief Engineer prior to the booking.
Students must be fully prepared to vacate the rooms at the end of their reserved time. If
your time bleeds into another session and you are reported to the Sound Office you will
be fined.
Students must report all problems and damages to the Sound Office in writing. There
are Trouble Report Forms posted outside the Chief Engineer’s office, room #223, to make
reporting easy and simple. In Burns 108 use the provided online trouble report form.
Remember: if you don’t let us know there’s a problem, we can’t fix it.
27
Students must turn off the lights and shut down the computer when finished in a sound
studio or risk a fine.
RESERVING AND USING RECORDING STUDIOS
RECORDING STUDIO ACCESS
You are “qualified” to use the studio by having completed the applicable prerequisite
course, assignments, workshops, and labs; you have demonstrated a working knowledge
of the studio as attested to by the instructor, Graduate Teaching Assistant, or a designated
RECA Classroom Aide; you have a completed and stamped Booking Form; you have
procured a valid TESA Card to gain entry to the room you are scheduled to use; and you
observe all Studio Rules posted outside the Sound Office.
Studio facilities are regularly upgraded and changed at SFTV. For this reason “refresher”
workshops may be required in subsequent semesters even though you have already been
“qualified” for a given studio. If you are denied access to a studio contact your instructor
to get such a review session in order to regain your “qualified” status.
RECORDING STUDIO BOOKING PROCEDURES
To Reserve a Recording Studio:
•Go to the Sound Office counter outside CA Room 222.
•If you have not already, submit a recent CAPP report and signed RECA Contract.
•Using the RECA Online Scheduler go to http://lmureca.com to request studio time.
(See our employees for a handout on how to use this system.) Once your time has
been approved go to the Sound Office and fill out a Studio Booking Form with the
relevant booking information. Hand it to an office employee for hard copy approval.
Please Note: incomplete forms will not be honored.
•A Sound Office staff member will then cross-check your requested reservations
against the record and return to you a green stamped copy of your yellow booking
form. Keep this form with you during your session as “proof” of booking and post it
outside the studio in the plastic windows. Failure to do so may result in your ejection
from the room.
•Students without forms, or with counterfeit forms, will be ejected in favor of the
student with a proper booking record.
•TV Engineering (in the basement), not the Sound Office, will issue you a TESA Card
to access the studio(s). Lost keys are subject to a fee as determined by them. You must
return your key after your last scheduled session.
LIABILITY AND RESPONSIBILITY
Upon completion of a session, students are obligated to:
• Account for all equipment, microphones, cables and mike stands.
• “Normalize”’ the console and all equipment.
28
• Clean studio area.
• Back Up and Remove all personal data from hard drives.
• Be fully prepared to vacate the room at the end of their reserved time.
The student who books a studio has full responsibility for it, the safe and proper use of its
equipment, and for the conduct of his/her guests. Students are responsible for damages
caused by negligence, abuse or loss and/or the theft of equipment. This includes damage
and/or theft caused by your guests.
TO PROTECT YOURSELF, review the equipment list provided in the sound studio.
All equipment should be accounted for and in good condition. Should you find a discrepancy, immediately call THE SOUND STUDIO OFFICE (x 87368).
During evenings and weekends contact Public Safety. (x82893)
RECORDING STUDIO DIRECTORY AND DESCRIPTION
To reserve a sound studio you must first be “instructor qualified” by taking the pre-req
class and attending a workshop conducted by a RECA instructor or a designated RECA
Classroom Aide. Since facilities may be upgraded or changed, “refresher” workshops
may be required in subsequent semesters.
OPEN USE- NO PREREQUISITE
TASK
Workstation
ROOM
222
CAPABILITIES
SOUND FX LIBRARY, ACCESSIBLE 24/7, FIREWIRE/USB.
EDIT AND PRE-MIX SUITES– PREREQUISITE: RECA 250 or 500
TASK
ROOM
CAPABILITIES
sound edit
004
PRO TOOLS EDITING / PRE-MIXING.
sound edit
011
sound edit
012
sound edit
213
Sound Edit
214
Sound Edit
215
ADR Booth
216
V.O. BOOTH FOR USE WITH CONTROL RM 218.
Control
218
PRO TOOLS ADR / V.O. / Foley to digital picture
*(Instructor Qualified Animation Majors who have not taken RECA 250 may use Rm 213/216 to record to
ProTools.)
29
DUB STAGES AND FOLEY ROOMS – VARIOUS PRE-REQUISITES*
TASK
ROOM
Control/Booth
013/014
Dub Stage
203
(Red Room)
Dub Stage
010
Control/Dub
Stage
208
*
PRO TOOLS ADR / V.O. / FOLEY to Digital Picture.
O TOOLS HDX w/ C-24 Control Surface. 5.1 surround capability. MIX
QUALITY CHECK.
PRO TOOLS HDX. C-24 Control Surface. 5.1 Surround. EDITING /
MIXING.
210 (Blue
Room)
ADR Booth
CAPABILITIES
PRO TOOLS HDX. 5.1 SURROUND. ADR / V.O. / FOLEY / MIXING
CLASSROOM FOR SOME UPPER DIVISION RECA CLASSES.
BOOTH FOR ADR / V.O. / FOLEY (USE 210 AS A CONTROL
ROOM.)
*Please Note: Certain rooms require completed pre-requisites in order to competently operate the room. If you
attempt to
schedule a room and you have not met these requirements yet you may be asked to speak with a RECA instructor
prior to booking.
** Students concurrently enrolled in 400/500/600 level production have priority for 216/218 & 013/014.
*** Regularly scheduled classes in the Blue Room have priority; students may not book during those times.
RECA MAJORS ONLY - INSTRUCTOR QUALIFIED IN RECA 355/361
TASK
ROOM
CAPABILITIES
Music
211
PRO TOOLS HDX. 5.1 Surround. MUSIC MIXING.
Music
212
PRO TOOLS HDX. 5.1 Surround. MUSIC MIXING.
Music
015
PRO TOOLS HDX. Command 8 automation. MUSIC MIXING.
Music
Burns
109
(STUDIO L) PRO TOOLS HDX. MUSIC RECORDING & CLASSROOM.
RECA INSTRUCTORS ONLY – LECTURE ROOM - NO STUDENT ACCESS
TASK
Class
ROOM
206
CAPABILITIES
PRO TOOLS HDX. 5.1 Surround. CLASSROOM FOR LECTURES/
LABS.
Please check the Sound Office Bulletin Boards (outside Room 222) for further explanations
of each studio’s capabilities.
30
SOUND EFFECTS LIBRARY
Sound EFX are available 24/7 on the computer at the SOUND OFFICE RESERVATION
desk and on the SFTV server so you can have access to them from all sound studios and
from the room 205 lab. (From the Finder Menu, choose Go>Connect to server. In a room
with a fast connection, choose “olympia/sfx”; in room 205 choose medusa/sfx.) These
sound library effects are cleared for use in your student productions.
You may search for sound effects in three different ways: via Spotlight, the Digibase
Browser within Pro Tools, or with the free utility EasyFind. (We recommend EasyFind.)
There are currently four main libraries: BBC, Sound Ideas, Warner Bros. (cartoon effects)
and an “extra” set donated by Mark Kamps. (If you record some really good sound effects of your own, you’re encouraged to donate them, but please discuss and clear this
with our staff first.)
Effects can be auditioned using Quicktime Player and you can copy the ones you need
to your own Firewire drive. (USB flash drives can also be used for copying, but not for
playback with Pro Tools.) Since the computer station is usually not reserved but is mostly
used on a “first come, first served” basis, please manage your time and be considerate of
others who may want to use it.
SCOREKEEPERS MUSIC LIBRARY:
The ScoreKeepers Music Library is made available to students of LMU School of Film
and Television for use in school based projects. A catalogue of nearly 65,000 music tracks
can be accessed, searched and downloaded online.
1) Obtain the LMU password from the RECA Office. (A new password will be furnished
and required for access each semester)
2) Go to: www.scorekeepersvms.com
3) Click “Account Sign Up”.
4) Follow the steps to create a new account using the provided LMU password.
5) Once you complete the account sign up, your account will be active.
IMPORTANT NOTE ABOUT RIGHTS AND MUSIC LICENSING:
ScoreKeepers music catalogue is made available only for LMU student productions,
produced by students currently enrolled. Students will make best effort to supply ScoreKeepers with cue sheets for all projects. Internet and Film Festival rights are granted
in perpetuity and no further license or upgrade is required. Broadcast or distribution
outside of these specified licenses will require an additional license or upgrade.
Please contact ScoreKeepers Music for more information.
31
THEATER SERVICES
LOCATION
Communication Arts Building - Second Floor
OFFICE HOURS
Monday through Friday
9 AM - 5 PM
CONTACT
Bob Berman, Theater Services Administrator
CA 225
310 338 8840
[email protected]
Alec Baer, Graduate TA
530 919 1639
Projection Booth (CA200)
310 338 3013
SERVICES
All projection services in the School of Film and Television. This office also handles films
for the Student Archives.
MAYER THEATRE
The theatre is reserved for classes and for official organizations running film series.
No student shall film or shoot in Mayer Theater without permission from The Theater
Services Administrator.
No student shall film or shoot in the projection booth – EVER.
The theatre is also used for screening student films and video projects at the end of each
semester as a grading session by the production faculty.
FOOD AND DRINK (including bottled water) ARE STRICTLY PROHIBITED IN THE
THEATER. See the “Food and Drink Policy” on page 3 of this Handbook.
32
FINAL SCREENING PROCEDURE
Your instructor will give you a time and date to upload your finished project to the SFTV
projection server.
It is your responsibility to upload your completed project following the Theater Standards for Delivery specifications (be sure that you read the latest updated version).
The latest Theater Standards for Delivery will be posted in front of the projection booth
Comm. Arts Building Room 200.
Any project that does not follow the delivery standards or is late must be approved by
the Theater Services administrator (Bob Berman) and by your instructor to make it eligible to screen.
It is highly advisable that you do a rough cut screening some time well before the
completion of your project to confirm that it will project correctly.
Theater Services Cannot be held responsible for damage to your project due to negligence
on your part.
The project that screens for Finals will be saved in the LMU/SFTV archives it cannot be
replaced by any latter version.
Fall 2014
These are the Technical Standards of the LMU School of Film and Television for the delivery of final projects. Be aware that if you elect to deviate from these standards we may
not be able to provide technical support or screen your project at the end of the semester.
Choosing something other than these standards means that you have the responsibility
to check with your instructor and all departments below prior to shooting to make sure
your project can screen:
Camera, Post Production, Sound, Projection
Note:
Delivery standards may change.
A current “Technical Standards for Delivery” Sheet will be posted on the wall in front of
the booth.
33
Fall 2015
These are the Technical Standards of the LMU School of Film and Television for the
delivery of final projects. Be aware that if you elect to deviate from these standards we
may not be able to provide technical support or screen your project at the end of the
semester. Choosing something other than these standards means that you have the
responsibility to check with your instructor and all departments below prior to shooting
to make sure your project can screen:
*Camera, Post Production, Sound, Projection
Updated 8/8/2015 Rev.1
File format
Quicktime ProRes 422
Note: NOT HQ
File name
PROD NO _NAME_ TITLE
smstr yr class ID name title
00_00_000_0000_jdoe_ title
Format
1920X1080 psf 23.98 FPS
Depending on HD digital capture or film
transfer
Others
Need Approval
Aspect Ratio
16x9
Others Need Approval
Color grading
Broadcast Safe Whites at 235 IRE and blacks at 16 IRE
House Color Space Calibration: REC 709
Audio mix
Sound Mix in Pro Tools 24Bit .Wav 48khz .-‐20 dbfs Reference Level At standard playback level in a large theater,
pink noise at
-20 dBFS produces a loudness of 85 dB SPL
Audio levels
Audio layback
Panned correctly in FCP/AVID or other
CH 1 = Left Only edit/audio software
CH 2 = Right Only Others Need Approval
Use this file found on: Production> Post Prod Shared Media> BARS_TONE_SFTV_COUNTDOWN_FALL2014 > 2014_Color_Bars_Tone_LR_REC709
Color bars & 1KHZ tone:
LMU/SFTV Color Bars/Tone
2014_Color_Bars_Tone_LR_REC709
Black
Slug
59:32:00-59:37:00
5 Seconds
Slate
Title:
Director:
Production Number:
Semester/Year:
TRT: (total running time)
Audio: Stereo Left Only Right Only
59:37:00-‐59:47:00
10 seconds
Black
Slug 59:47:00-‐59:52:00
5 seconds
Sync mark and “pop” 2 sec. before Picture Start
59:52:00-‐1:00:00:00
8 seconds
Media Start
Student Film
1:00:00:00 – End.
Black
Slug
2 Seconds SFTV COUNTDOWN
Available in Production
Folder on Isilon Server
LMU SFTV logo
Available in Production
Folder on Isilon Server
58:32:00-59:32:00
60 Seconds
5 Seconds Copyright information
© 2012 Jane Doe
End credit
This production was done in partial fulfillment of degree
requirements for a Master of Fine Arts at Loyola Marymount
University
For MFA candidates only
Single card for 6 seconds
Music Cue Sheets
See Production Handbook
Music Clearances
All music must be cleared
Deliver Quicktime to:
Class Folder
Isilon Server Projection Share
34
ANIMATION
LOCATION
3rd floor Communication Arts Building
OFFICE HOURS
Monday through Friday 10 am to 5 pm
CONTACT
Josh Morgan, Technical Services Engineer for Animation
CA 306
310 338 1889
[email protected]
Evan Romansky, Graduate TA
SERVICES
You will need the services of this office to work in the Animation facilities.
PROCEDURES AND LABS
All of the equipment checkout procedures and facilities requirements are the same for ANIMATION majors as for other PRODUCTION / RECORDING ARTS majors.
Food, drink and smoking are prohibited in all the Animation facilities.
Most Animation facilities are available to students currently enrolled in the program on a 24
hour a day, 7 days a week basis.
TESA CARDS
TESA cards are available to all Animation students and are required for entry to the various
facilities after hours and on weekends. One TESA card will be issued to each student. TESA
cards are available from TV Engineering located in the basement of the Communication Arts
building in CA 001.
ANIMATION WORKSHOP – CA 310
The traditional animation drawing room is reserved for students currently enrolled in an Animation production course. Each course has specific access determined by the instructors.
ANIMATION COMPUTERS LABS - CA 301 & 315
The animation computers are reserved for students currently enrolled in an Animation
production course. Each course has specific access determined by the instructors. The labs
primary purpose is a location for Animation courses to be taught. The general use of the labs is
to be done around the class schedules, unless permission is given by the instrucor during their
class hours.
ANIMATION FILM CRANE - CA 303A
The 35mm animation camera crane is reserved for use by students currently enrolled in an
Animation production course. Each course has specific equipment privileges and restrictions
determined by the instructors.
35
WALTER AND GRACE LANTZ ANIMATION LAB - CA 308
The specialized lab reserved for students currently enrolled in the Animation Thesis
course. This location is open 24/7 only to qualified students and does not double as a
classroom, like the other labs. Due to the limited amount of equipment for all current thesis
students, please do not monopolize a workstation when not working on a thesis project
while other students are waiting. If you leave for more than 30 minutes, please save your
work and log out so the equipment can be used by one of your fellow classmates.
ANIMATION ADVANCED COMPOSITING SUITE - CA 311
This specialized suite is available to Animation students looking to do final compositing
and advanced work, like surround sound mixing and possible stereoscopic work. This
facility must be booked through the Animation technical staff and training for proper use
is required.
ANIMATION RENDER FARM
All sequential image rendering must be sent to the dedicated network computer nodes for
completion. Rendering large sequences on a single workstation in the labs is highly discouraged. The submission process is easy and assistance by the Animation technical staff is
available.
WACOM STYLUS PENS
Stylus pens are available for checkout from the Animation Technical staff for use with the
tablets and drawing displays installed in the Animation Labs. A checkout form must be
filled out for a semester or yearlong term and lost or damage to the pens will be subject to
replacement fees.
SFTV NETWORK-ATTACHED STORAGE SERVER
The School of Film & Television has a central server available for all of its students to access and store data on to help foster collaborative work in a more professional and studiolike atmosphere. Animation students are to abide by all storage quotas and must be respectful of other student’s data. Any students caught deleting or modifying other student’s
data will be severely reprimanded and will be subject to losing access to storage space.
EXTERNAL STORAGE DEVICES FOR BACKING UP PERSONAL DATA
The SFTV NAS server can only hold so much data, so it is very important that all students
periodically backup all personal and project-based data to help eliminate problems due to
loss of data. The Animation Dept. recommends all students use a personal external storage
device to back up their data through the school year on a weekly or monthly basis. If you
need help with this process, please see the Animation technical staff for assistance.
NOTE: Due to the limited space on the SFTV server, be prepared for all student data to be
removed between each academic year. SFTV and LMU’s IT Dept. are not responsible for
backing up students’ data. Each student must take responsibility for his or her own work
to eliminate data loss.
ANIMATION FINAL PROJECT OUTPUT REQUIREMENTS
Unless stated otherwise by the instructors, all animation projects are to be delivered as a
QuickTime® movie file with the resolution of 1920 pixels by 1080 pixels at 24 frames per
second using either the Apple ProRes422 or the Avid DNxHD codec with the audio mixed
36
at a -20dB reference level. Other codec versions (i.e. H.264) may also be required by the instructors for alternative deliverables.
ANIMATION SENIOR THESIS PROJECTS - DELIVERY FOR SCREENING
Thesis projects created for Animation courses are to be delivered to the Projection Booth in the Communication Arts Building and are under the same guidelines and procedures followed by other thesis projects created
by non-animation (i.e. Production) students. Acceptable formats will be determined by the Projection Booth
and/or the instructors.
37
SCREENWRITING
Because all productions are entirely dependent of screenplays and cannot exist without
them, we urge Screenwriting students to familiarize themselves with all aspects of production, particularly as they are expressed in this Handbook.
STUDENT CONCERNS
There is a process in place to help you express any concerns or difficulties you might
have regarding Screenwriting classes. All concerns should be addressed in writing (email
is acceptable) directly to the Chair of Screenwriting, who will arrange a meeting with you
to discuss your concerns.
Jeffrey Davis, Chair, Screenwriting
Xavier 334
310 338 3035
[email protected]
If your concerns involve strictly academic issues (i.e. course sequencing) please contact
your Academic Advisor. If you are unsure who your Academic Advisor is, contact:
Linda Jorgensen, Coordinator of Academic Services
Xavier 325
310 258 8697
[email protected]
FINAL DRAFT SOFTWARE Final Draft® is installed on the computers in Com Arts 205 and in the Hannon Library.
As a Screenwriting major you should seriously consider purchasing a personal copy of
Final Draft. The company offers a very generous student discount. You can get the discount code from the Head of Production Office.
DO NOT USE THE PRINTER IN THE STUDENT PRODUCTION OFFICE TO PRINT
YOUR SCRIPTS.
SCRIPT LIBRARY
The School of Film and Television has the beginnings of a wonderful Script Library for
both film and television productions. Student workers in XAV 318 ( the Copy Room) will
help you check out scripts.
38
OTHER SERVICES
INTERNSHIPS
LOCATION
Xavier Hall 217
CONTACT
Matthew Mills, Student and Alumni Industry Relations Specialist
310-338-6048
[email protected]
SERVICES
Assistance with finding and obtaining internships within the Entertainment Industry via our career development website SFTV Career Connect, weekly notifications
of available internships through our Wednesday Wire e-mail, as well as other career
support services (resume building, interview prep, resources, etc.). E-mail [email protected] for more information.
COMMUNICATIONS
LOCATION
Xavier Hall – 3rd Floor
CONTACT
Ariane Bicho, Director of Communication and Strategic Initiatives
310-338-1670
[email protected]
Julie Porter, Communications Manager
310 338-3033
[email protected]
SERVICES
Create content for and manage SFTV’s social media assets, publish SFTV’s blog, Loglines, maintain SFTV’s website, promote SFTV events and develop media relations
programs that raise the awareness of student, faculty and alumni achievements.
Provide students with regular updates on current film festivals seeking entries, as
well as resources for information on various film festivals and submission guidelines. E-mail [email protected] for more information.
www.facebook.com/LMUSFTV
www.twitter.com/sftv.lmu
www.sftvlmu.eventbrite.com
39
EVENTS
LOCATION
Xavier Hall 236
CONTACT
Timothy O’Neill, Academic Affairs Associate
310-258-2615
[email protected]
Efuru Perkins-Flowers
310-338-7647
[email protected]
SERVICES
Production of internal and external SFTV events including the annual Film Outside the Frame Festival, Steed Symposium, FilmCraft
and weekly Monday Nights series screenings. Go to sftvlmu.eventbrite.com for a complete list of current events. To submit your ideas,
please email [email protected].
40
SET ETIQUETTE
As a beginning production student one of the best places to learn about making movies is
on other student’s sets. You can (and should) volunteer as a Production Assistant – that’s
the entry-level position. You actually don’t have to know how to do anything. Your
classmates will teach you what you need to know.
If you’ve never been on a set before – don’t worry about it – there’s a first time for everyone. The following guidelines can help you be a productive member of the team. They
can also help you develop professional work habits that will serve you well throughout
your career.
HOW TO BEHAVE
If you’ve volunteered to help a classmate with their film honor your commitment. Keep
your word and give them a full day of honest work. Treat it like a job – even though
you’re not being paid.
Arrive on time. “Call time” means the time you should be ready to begin work
– not pulling into the parking lot. Being late is the single worst thing you can do
on a production. Always arrive on set early – fifteen to thirty minutes is pretty
much industry standard practice.
Be prepared. If your job requires hand tools be sure to bring them with you. If
you’re going to be moving lights you’d better have some gloves. In general, arrive on set ready to work.
Be pleasant and enthusiastic - nobody wants to spend time with a jerk. Making
movies is tough enough without having to put up with unpleasant co-workers.
Be courteous to everyone – always. Call people by their names. Use “please”
and “thank you”. Follow the Golden Rule and treat others the way you would
like to be treated.
Pay attention. Don’t stand in front of the camera lens when the Cinematographer is trying to set up the shot. Get out of the way when the Gaffer is setting a
light.
If you need to leave the set make sure your department head knows where
you’re going; why you’re going there and when you’ll be back.
Anticipate. It will be hard at first, but the more time you spend on a set the
easier it will be to do this. The fimmaking process is highly repetetive. You’ll get
the hang of it pretty quickly. Anticipating what will be needed can save you a lot
of extra steps.
Don’t assume anything –if you are in doubt – ask.
41
Don’t play with the props. They’re not toys.
Don’t move equipment that is not your responsibility – without permission.
For example, if you’re working in the Grip department don’t move the lights. If
something is in your way ask the appropritate crew member to move it.
Work quietly. If everyone on the set is jabbering and making noise then the
people who really need to communicate about the shot can’t hear each other.
Keep your sense of humor. Days on set are long and hard. A little laughter
helps make them bearable.
Never ever say “no” or “it can’t be done”. Everything is possible (given enough
time and money). Never ever use the phrase, “it’s not my job”. As a PA you will
be asked to help all the departments. Do so willingly.
Never let ‘em see you sweat – stay calm. Things will go wrong. You can count
on it. Work your way through the problem without panic.
HOW TO DRESS
Wear proper footwear and clothing. Flip-flops and sandals are never appropriate for a
film set. Keep in mind that you are going to be on your feet for a long, long time. A good
pair of work shoes or boots is a worthwhile investment.
Make sure to bring protective equipment with you like gloves, sunglasses and a hat. It’s
not a bad idea to carry sunblock, chapstick, Visine, aspirin and the like.
The weather can change. You should carry a “set bag” with you that contains rain gear
and cold weather gear.
Avoid wearing tee shirts with offensive language or statements.
THE CHAIN OF COMMAND
On a film set the Director is the Captain of the ship. That’s where the buck stops. A Director has to make hundreds of decisions during the course of production. If each person
on the crew is coming to her with every little detail her head will explode.
So we follow the chain of command.
A film set is organized in a hiercarchical structure. It is not a democracy. As a crew member you are expected to observe proper protocol. Direct your questions and suggestions
to your direct supervisor. This is an effective way of avoiding total chaos and anarchy.
The following chart illlustrates a hypothetical shooting company. There are a varitety of
ways of organizing a set depending on the demands of the production.
42
43
Gaffer
Special Equip
Operator
Location
Manager
Electricians
Transportation
Captain
Driver
Script
Supervisor
Best Boy
(electric)
Transportation
Coordinator
2nd AC
Dolly Grip
Grip
1st AC
Camera
Operator
Best Boy
(grip)
Key Grip
Director of
Photography
Director
First Aid
Boom
Operator
Sound
Recordist
Craft
Service
Weapons
Master
Assistant
Props
Prop
Master
Production
Coordinator
Set Organization
Studio
Teacher
Production
Assistants
2nd Asst
Director
1st Asst
Director
Production
Manager
Producer
Animal
Handler
Special Efx
Supervisor
Greensman
Set Painter
Construction
Coordinator
Set
Dresser
Set
Decorator
Art Director
Production
Designer
Hair
Stylist
Makeup
Artist
Set
Costumer
Costume
Designer
WALKIE-TALKIE PROCEDURE
Two-way radios can be a very useful tool on the set. They can also be abused and very
quickly become a nuisance.
Remember that walkie-talkies are half-duplex devices. You have to push the button to
talk – and release the button to listen.
The most important thing to remember is to turn your walkie-talkie OFF when the AD
calls, “rolling” – and to turn it back ON when the Director calls, “cut”.
Make sure you are on the correct channel – ask for a “radio check”:
BOB
Radio check for Bob.
JOHN
Copy that, Bob.
Always identify yourself – don’t assume people can tell who you are by the sound of
your voice.
Always confirm that the message was received. If you aren’t sure you’ve understood the
message – ask for a repeat.
Keep the conversations short – there are other people on set who need to communicate
– don’t hog the airwaves. Here is a sample conversation:
JOHN
John for Bob.
BOB
Bob here. Go.
JOHN
We’re ready for the first team*.
BOB
Copy that. First team on the way.
The radios are for communications directly related to the production. They are not for
personal conversations.
*the FIRST TEAM are the ACTORS in the scene plus the DIRECTOR.
STAND-INS, who have been used to light the scene, are the SECOND TEAM.
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LOCKDOWNS
If you are a Production Assistant you will probably be expected to help with “locking up”
the set when it comes time to do a take.
You will be assigned a position at the perimeter of the set. It will be your responsibility to
keep everyone in your area aware of when the camera rolls and to make sure there is no
noise that will ruin the take.
When the AD calls “PICTURE UP” repeat the message in a loud, clear voice so that everyone knows that the camera is about to roll. If you’re carrying a cellphone make sure it’s
turned off.
Do the same when the AD calls “ROLLING”. At that point no one makes any noise. No
whispering. No shuffling around. Everyone on the set stands still and is absolutely
quiet. A take usually lasts seconds – a couple of minutes at most. There is absolutely no
reason the crew can’t be silent for that long.
When the camera is rolling use hand signals and pantomime to alert people approaching
the set that a “TAKE “ is in progress. Rotating your index finger in a circle is a universally understood signal for “ROLLING” – simulating the take up reel in the camera.
When the Director calls “CUT” repeat the message so people will know they can resume
working.
Production Assistants or other crew members are never permitted to control vehicular
traffic. Only designated law enforcement officers are allowed to stop or direct traffic.
If you are shooting in an area where there are “civilians” (citizens not involved with the
production) treat them with respect and politeness. Remember, the shooting company’s
presence is probably an inconvenience to them.
WRAP
Put your tools and equipment away – then help others. On a student film set there is no
room for prima donnas – everyone helps with the wrap.
Make sure you’ve filled out all the necessary paperwork before you leave the location.
Make sure you have the next day’s Call Sheet and map before you leave the location.
WHEN YOU MAKE A MISTAKE
And you will. Take responsibility for your screw up. As a beginner you are still learning
– and as a human being you are not perfect. People will still be upset that a mistake was
made, but they’ll respect you for being a stand-up person and taking the heat.
The most important thing is to learn from your mistakes – and don’t make the same one
twice.
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SHOOTING THE RIGHT WAY
One of the hardest things for beginning filmmakers to internalize is that there is a smart
way to organize a shooting day.
BLOCK
LIGHT
REHEARSE
TWEAK
SHOOT
The first item on the list is the one that most student crews have trouble internalizing
amidst all of the craziness of shooting. Faced with vanishing time and the normal confusion on any set, they often skip blocking the scene and move right to the lighting.
But any professional will tell you that the time you spend in blocking out the entire scene
— from top to bottom — in the actual location where you’re shooting, will more than
make up in time savings, any time that you spend doing the blocking.
Let the actors and the director run through the scene and find their moves. It makes
a huge difference in terms of prep if you discover that an actor is never going to exit
through a doorway. Rather than lighting the hallway outside the door, you can use all
of that saved time in extra takes, or getting more coverage. Once your sound, picture,
wardrobe, production design and assistant directors see exactly where the characters will
be moving, it becomes way easier to set up for the actual shooting.
During that time, only the actors and the director are actively working. Everybody else
— especially the department keys — are watching. They are examining how the blocking
of the scene will affect their work. If there’s a potential problem they can discuss after the
actors are released to go into wardrobe, hair and makeup.
Occasionally there will be changes that need to be made in the blocking because of
technical issues (if we shoot in that corner of the room, we’ll shoot off the side of the set;
there’s no way that the lighting crew can hang that many lights out of that window, etc.).
Everyone will decide what changes must be made, and then the director communicates
them to the actors. When the cast arrives back on set, after the lighting is done, the rehearsal can incorporate all of those changes much easier — because everyone has worked
on the original conception.
The rehearsal is also where you can do the actual fine-tuning — where the edges of frame
are set so the boom operator doesn’t invade the frame, for instance. But spending the
15-30 minutes that it will take to block out the scene ahead of time will make each of the
ensuing steps easier — including the shooting.
46
SAFETY
The goal in film and video production is to create an “illusion of reality”. The job is never
to recreate a reality – especially a dangerous one. No member of the cast or crew should
ever be put in any jeopardy for the purpose of making a shot. Given today’s tools, skills
and technology there is never a reason to risk anyone’s safety.
Nonetheless, people are injured and killed on film sets every year. The following chart
from the California Occupational Safety and Health Administration and the U.S. Department of Labor Bureau of Labor Statistics illustrates the number of people killed and
injured in the motion picture industry over the last eleven years. Keep in mind as you
look at the chart that only cases of death, amputation or an injury requiring more than 24
hours hospitalization are reported to CAL OSHA.
1995
1996
1997
1998
1999
2000
2001
2002
2003
2004
2005
2006
2007
2008
2009
2010
fatalities
3
7
8
0
0
7
0
0
3
5
6
5
3
3
0
4
injuries
n/a
n/a
n/a
5,800
4,100
4,400
4,800
2,900
3,700
n/a
5.600
5.400
6,900
6,700
6,800
6,000
statistics from California Occupational Safety and Health Administration U.S. Department of Labor
*injury reports to CAL OSHA are only in cases of death, amputations or injury that requires hospitalization for more than 24 hours
Any person who is responsible for a danger and does nothing to remove it is – and
always has been – subject to a charge of criminal negligence. Safety is not only a moral
obligation we have to our co-workers and ourselves – it’s the law.
Working conditions of film sets change from day-to-day especially when working on
location. The best way to prevent accidents is to be aware of the work environment and
the equipment being used.
CALL SHEETS are the best way to communicate safety information to the cast and crew.
In the case of unusual circumstances such as stunts and special effects, SAFETY MEETINGS should be held with all the involved parties.
Each member of the cast and crew has a to speak up if there is something that concerns
them as being unsafe or potentially hazardous. Encourage everyone on the set to feel free
to voice their concerns or ask questions.
GENERAL RULES
Everyone can help insure that the set is safe by encouraging and following some general
safety guidelines.
Demand good housekeeping on the set. Walkways and work areas
should be kept free of equipment and debris.
Enforce “no smoking” policies on set. Provide designated smoking areas
with butt cans.
Have fire fighting equipment (extinguishers, sprinklers, hoses, etc.) on
set and make sure it’s all in working order.
47
Make sure the departments route their cables properly and cover them
with mats and/or crossovers in traffic areas.
Don’t allow pranks or horseplay on the set. Distracting crewmembers
from their jobs could result in injury.
Make sure the crew is informed of clothing requirements (heat, cold,
rain, snow, etc.) and that protective equipment such as safety glasses or
hearing protection is available when needed.
Conduct SAFETY MEETINGS for all stunt, special effect, water or other
potentially hazardous activity.
Be aware of general location safety concerns such as extreme temperature or precipitation; terrain; nasty critters and vegetation.
CLOTHING AND PERSONAL PROTECTIVE EQUIPMENT (PPE)
The set is a work place and clothing appropriate for the work being done should be
worn. Jewelry, loose sleeves, exposed shirt tails, or other loose clothing should not be
worn around machinery in which it might become entangled. Long hair should be tied
back when working around machinery and or equipment with moving parts.
FOOT PROTECTION
Appropriate shoes should be worn where there is a risk of exposure to foot injuries from
hot surfaces, corrosive materials, hazardous substances, falling objects, crushing or penetrating actions which may cause injuries.
Flip-flops or sandals are never appropriate foot wear on set.
HAND PROTECTION
Gloves should be worn when the work involves exposure to cuts, burns, chemical agents
or electrical hazards capable of causing injury or impairments.
Hand protection should not be worn where there is a danger of it becoming entangled in
moving machinery.
Hand protection should be appropriate for the type of exposure, (e.g. porous where
exposure is to cuts; non-porous (or non-porous over porous) where exposure is to harmful chemicals). Gloves should be properly discarded if they become impregnated with
materials, which may cause dermatitis or other damaging skin conditions.
EYE AND FACE PROTECTION
Working in locations where there is a risk of receiving eye injuries, such as, punctures,
abrasions, or burns as a result of contact with flying particles, hazardous substances, projections or injurious light rays requires wearing eye or face protection.
48
FALLING
Falls are the single most common injury-producing accident on film sets. Whether it’s
tumbling from an overhead grid; slipping off a scaffold; toppling off a ladder or tripping
over a cable the result can range from minor to fatal. Often these falls are the result of
haste and/or not utilizing proper safety measures such as fall restraint systems, nets and
guardrails.
The most important thing you can do to prevent accidents of this type is to be aware of
tempo of the set. Have a sense of when things are starting to get hectic and out of control.
And when they are – slow the pace down.
Haste really does make waste. Rushing to get the shot before you go into meal penalty or
before you lose the light isn’t worth someone getting hurt or killed. If you see the crew
starting to ignore safety concerns in order to move faster you have a moral obligation to
put the brakes on.
MOTOR VEHICLES AND FILMING EQUIPMENT
Shooting on any public street, thoroughfare, road, highway or freeway; or NEAR
ENOUGH to any such roadway so as to present a “distraction and/or disturbance” is
prohibited by local, State and/or Federal law without the proper permits and safety
procedures.
Filmmakers are never empowered to control or direct traffic in any way.
The law prohibits controlling or limiting the natural flow of pedestrian or vehicular
traffic on a public thoroughfare by anyone other than authorized personnel. Budget for
adequate police assistance if necessary. The practice of having a Production Assistant or
AD control traffic for a shot is unsafe and illegal.
This article illustrates the hazards of ignoring proper policy.
FILM STUDENT CRITICAL AFTER TRAFFIC ACCIDENT
By Margo McCall
Staff Writer
LITTLEROCK – A Los Angeles film student was struck by a dump truck Monday afternoon after venturing onto Palmdale Boulevard to stop traffic to allow
filming.
Jonathan Rosen, 27, was reported in critical condition at Antelope Valley Hospital Medical Center with a broken leg, pelvis and foot and internal injuries, a
hospital spokeswoman said Monday night.
California Highway Patrol officer Charles Gilliard said the group from Los
Angeles based American Film Institute did not have a permit to film.
From the ANTELOPE VALLEY PRESS
49
WORKING IN HEAT
Ordinarily, the heat-regulating mechanisms of the body work very well. However, one
will become ill when the body is exposed to more heat energy than one can handle.
When the body gains or retains more heat than it loses, the result is called hyperthermia
or high core temperature, which can cause damage to the brain and other vital organs
and could decrease the chances of survival.
FACTORS THAT INCREASE HEAT ILLNESS:
Elevated air temperatures and humidity
Working around hot machinery
Vigorous work activity
Absence of a breeze or wind
Exposure to direct sunlight
HEAT RASH
Heat rash is a relatively minor disorder. Symptoms of heat rash include:
Reddened skin in affected area
Pain
Itching
Skin eruptions
Treatment includes:
Keep the skin clean and pores unclogged
Allow the skin to dry
Seek medical attention (i.e., set medic or medical provider)
HEAT CRAMPS
Heat cramps are a more serious disorder, caused by the loss of electrolytes in the blood
and muscle tissue through sweating. The primary symptom of heat cramps are:
Painful muscle spasms or cramping of skeletal muscles, such as the arms and leg, or
involuntary muscles such as abdominal muscles or both.
HEAT EXHAUSTION
Heat exhaustion, also called heat prostration or heat collapse, is the most common
serious illness caused by heat. Symptoms may include:
NauseaCold/wet (clammy)
DizzinessGrayish skin color
Headachedisorientation
Blurred vision
50
NOTE: Heat exhaustion may come on suddenly as syncope (fainting) and collapse. This
is especially true if the crew or cast member has been sitting or standing for long periods
of time with little movement. The pooling of blood causes a decrease in blood supplied to
the brain causing a fainting episode. The vital signs may be normal, although the pulse is
often rapid.
Treatment includes:
Removal from the heat
Seek medical attention and/or call 911
Replenish fluids; use water and Gatorade type drinks (isotonic fluids)
Rest
HEATSTROKE
Heatstroke is the least common but most serious heat illness caused by heat exposure.
It is caused by a severe disturbance in the heat regulating mechanism of the body and
is a true medical emergency. Left untreated, heatstroke may result in death.
Heatstroke normally occurs in very hot and humid weather conditions. High humid
conditions reduce the effectiveness of sweating, the evaporation of sweat, and radiation
of heat from the body. If one continues to exert themselves under these conditions the
heat will build up inside the body and cause the core temperature to soar. Symptoms
may include:
ChillsConvulsions
DisorientationDry skin
EuphoriaIrritability
Rapid shallow breathing
Red face and skin
RestlessnessSyncopal (fainting) episode
NOTE: Heatstroke left unattended will likely result in DEATH. As the body core tempeature (the temperature of the heart, lungs, and other vital organs) rises, the patient’s level
of consciousness falls. As the patient becomes unresponsive, the pulse becomes weaker
and the blood pressure falls.
Treatment includes:
Seek medical attention and/or call 911 immediately
Remove from heat
Lie on back with feet elevated
Start aggressive cooling with wet cloths, alcohol wipes or immersion into tepid
water
Transport to a medical facility
51
ULTRAVIOLET RADIATION
Another hazard is ultraviolet radiation, caused by exposure to the sun’s rays. Exposure
can cause sunburn; long term exposure can cause skin cancer.
Precautions to minimize exposure should be taken, including the use of sunscreen;
sunscreen should be applied 15 to 20 minutes prior to exposure, reapply throughout the
workday.
Chronic exposure to intense ultraviolet radiation damages the lens of your eye and can
eventually lead to cataracts; the proper pair of UV sunglasses should be used.
GENERAL PRECAUTIONS FOR HOT ENVIRONMENTS
Fluid replacement is the most important thing a person can do to prevent heatrelated illnesses; the body can lose 1 to 2 quarts of fluid per hour during vigorous
activity in a hot environment
Eight ounces of fluid replacement every 15 minutes is recommended
Alternate between water and Gatorade type drinks
Avoid alcohol and caffeine
If possible, get acclimated, this can take several days
Use sunscreen or sun block
Wear long loose sleeved shirts and pants
Wear a wide brim hat; baseball caps do not provide protection to the ears and
neck area of the body
Over head sun protection, water and/or fluid supply should be available
PHOTOGRAPHIC DUST EFFECTS
A wide variety of products are used to create photographic dust effects in motion picture
and television production.
“Fuller’s Earth” is the most common “product” used for dust. The term “Fuller’s Earth”
is usually understood to be a variety clay containing aluminum magnesium silicate.
Some of the more common organic products used to create dust effects include wheat
flour, rice flour, corn starch, coffee creamers and crushed nutshells.
POTENTIAL HEALTH EFFECTS
Common effects of exposure are eye irritation, respiratory irritation, and skin
irritation.
Anyone with allergies, asthma or other respiratory illnesses or limitations should
take appropriate precautions.
Burns as a result of ignition and flashing.
To minimize harmful or dangerous exposure when using dust effects:
Inform all cast and crew about the products being used, the necessary precau52
tions that should be taken, and the products’ potential effects.
Any combustible material which, in a finely powdered form, is suspended in the
air in sufficient quantity has the potential to flash or explode. Be aware of static
electricity, which can cause dust products to flash.
Be aware of elevated airborne concentrations during clean-up procedures. Elevated airborne concentrations increase the potential for exposure and flashing.
If the product is combustible, do not use around open flames or other potential
sources of ignition (e.g., set lighting devices).
SUMMARY
There are many different products available to create photographic dust effects. You need
to understand the specific product being used. Each has its own unique properties and
potentially adverse effects. When choosing a dust product, you should refer to the MSDS
and ask yourself the following questions:
Are you or any member of the cast or crew asthmatic, allergic or have other
medical conditions that would be affected by exposure to the product?
Is the product combustible; and will it be used on an interior set or location?
When using products to create photographic dust effects, you must take all appropriate safety precautions.
INDIGENOUS “CRITTERS”
Special safety considerations must be taken when working on locations where various
indigenous critters may be present. Although the types of critters may vary from region
to region, basic safeguards should be taken to prevent serious injury or illness to cast and
crew members.
PRE-PLANNING
Critters” awareness starts during the search for locations. The production should consider safety precautions when considering a location that may contain indigenous critters,
including identifying the type(s) of critters present and the location of nearby hospitals or
medical facilities.
It is also production’s responsibility to assure the safety of the indigenous critters in the
filming area, and to provide for the removal of wildlife from locations. Any indigenous
critters that remain on the set are subject to American Humane Association (AHA)
Guidelines and Procedures, including but not limited to:
Section 809.1 if native animals are not to remain on the set, they must be carefully removed, relocated, or properly housed and cared for, then safely returned to their habitat
after filming is complete. Only qualified and trained personnel should attempt removal
of nests or hives.
Section 809.2 a production may not intentionally harm and must take precautionary measures to protect nets, dens, caves, caverns, etc.
Section 809.3 care must be taken to ensure that non-indigenous animals are removed
from the area after the production has completed filming.
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Animal actors brought to a location can be affected by other indigenous critters: this
could range from distraction to life threatening situations or the transmittal of diseases
between critters. Notification should be provided to the professional trainer/supplier of
the animal actors.
If you have additional questions regarding the AHA’s Guidelines for the Safe Use of Animals in Filmed Media, contact the Film and Television Unit at (818) 501-0123.
GENERAL SAFETY PRECAUTIONS
While working around critters, it is advisable to wear long pants with the pant legs
tucked into socks or boots. A good boot above the ankle will provide better protection. It
is also advisable to wear a long-sleeved shirt, dress in layers and wear light colors. Generally, critters are dark in color; they are spotted easily against a light background.
Avoid heavy perfumes or after-shaves as they attract some pests. Apply repellents according to label instructions on the product. Applying repellents to clothing appears to be
most effective.
In the case of bites or stings, serious allergic reactions are possible. If you have any
known allergies, notify the production.
If you are bitten or stung by an indigenous critter, immediately contact the set medic. If
the encounter with the indigenous critter involves a life threatening situation, call “911.”
COMMON CRITTERS
The following are some of the more commonly encountered critters on locations in Southern California:
Ants:
Special precautions should be taken when working around red fire ants to keep
from being bitten.
Ticks:
If bitten, seek medical attention immediately. Ticks are known to carry many
types of diseases such as tick paralysis, Lyme disease and Rocky Mountain spotted fever.
Scorpions:
All stings are painful, however, very few are fatal.
Stinging, Flying Insects (Bees, Hornets and Wasps):
If stung, seek medical attention and notify the set medic. People who are allergic
should carry reaction medication.
Identification of Africanized killer bees is very difficult. Remember this type of
bee is very aggressive and will attack in swarms. Extreme care should be taken if
a hive is located.
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Mosquitoes and Flies
These insects can carry various types of diseases. Asian “tiger mosquitoes” have
been found in the Los Angeles area and are known to carry dengue fever.
Chiggers
Chigger bites produce blisters by irritating the skin. Use chigger bite ointment to
remove the itch and promote healing.
Black Widow Spider
They can produce painful to fatal bites.
Brown Recluse Spider
They can produce painful to fatal bites.
Pit Vipers (Rattlesnakes, Copperheads, etc.)
Pit Vipers produce painful to fatal bites and do not have to be coiled to strike. For
example, a rattlesnake can strike out for one-half of its body length.
If bitten:
Seek immediate medical attention
Attempt to note the time and area of body bitten
Immediately immobilize the body part affected
Do not apply a tourniquet, incise the wound, or attempt to suck out the venom
Do not allow the victim to engage in physical activity Always look where you are putting your feet and hands
Attempt to stay out of tall grass. Walk in cleared spots as much as possible. Step on logs, not over them so that you can first see whether there is a rattlesnake concealed below on the far side
Remember that rattlers are protectively colored (camouflaged)
Tips for Snake Avoidance:
Never reach into a hole, crevices in rock piles, under rocks, or dark places where a snake may be hiding. If you need to turn over rocks, use a stick
Be cautious when picking up equipment, coiled cables, and bags left on the ground
On hot summer days, rattlesnakes can become nocturnal and come out at night when you do not expect it. Care should be taken when working at night after a hot summer day
Rodents
Locations that may involve the use of alleyways, beneath bridges, tunnels, abandoned buildings, or other structures, may involve potential contact with rodents.
Rats, squirrels and other rodents can carry various types of diseases, which can
be contracted if bitten by one of these critters.
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ELEVATING WORK PLATFORMS
These guidelines are applicable to vertically operated elevated work platforms or “Scissors Lifts” and boom mounted, telescoping and rotating, elevating work platforms, such
as “Condors.”
Only persons trained in the safe use of elevating work platforms are authorized to
operate these devices.
Aerial/elevating equipment is designed to position employees and tools at the worksite.
Within manufacturer’s defined limits, lighting, camera and diffusion equipment may be
rigged in the basket; in such case additional training is required, and specific aerial/elevating equipment is required for this procedure.
IF THE MANUFACTURER DOES NOT PROVIDE WRITTEN GUIDELINES, DO NOT
RIG BASKET WITH THE EQUIPMENT.
Equipment shall be inspected prior to operation for satisfactory condition, damage and
defects. This shall include all operational controls, which shall be in proper functioning
condition.
Operators shall consider the job to be performed and shall evaluate the job site location
for potential hazards.
The operation of aerial devices/work platforms NEAR energized, high-voltage sources
of any sort is prohibited at all times.
Appropriate measure should be taken to ensure that the job site’s surface is stable and
will support the equipment and that there are no hazardous irregularities or accumulation of debris, which might cause a moving platform to overturn.
Wheel chocks must be used on inclined surfaces.
Personal fall protection equipment shall be securely attached to the boom basket, tub or
platform to an approved attachment point.
Objects or production equipment, which could fall from the aerial basket/platform, shall
be secured with an adequate safety lanyard.
The basket, tub or platform shall not be loaded beyond its rated capacity.
Ladders, planks or other objects shall NOT be placed in, or on top of the platform or
guardrail to gain greater height.
Employees shall NOT sit or climb on the edge of the aerial basket/platform.
Workers shall NOT work from aerial work platforms when:
Exposed to extreme weather conditions (thunderstorms, heavy rain, extreme heat
or cold) unless provisions have been made to ensure protection and safety of the
workers.
Winds exceed 25 miles per hour.
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Where moving vehicles or pedestrian traffic is present, flags, signs, traffic cones or other
means of traffic control, shall mark the work area around the aerial equipment.
Never leave this equipment unattended if you have stopped it on a ramp, grade or incline until you have chocked at least one tire.
DO NOT attempt to raise platform/basket beyond its rated maximum height or reach.
“TOWERING” (traveling with a worker in the basket) is NOT permitted.
Aerial platforms, when in operation, shall be solely under the control of the operator in
the basket. At no time shall the equipment be moved, lowered, or otherwise controlled
from the secondary (ground control) panel unless the operator in the basket makes a
request that it be done, or the operator is ill or otherwise incapacitated.
ELECTRICITY
Never take electricity, electrical appliances or lighting units for granted. Electrocution is
the fifth leading cause of workplace death from injury.  More than half of those deaths
result from the use of defective equipment or not following safe procedures. Reduce the
risk of electrical shock by keeping in mind these guidelines.
Before leaving the SFTV Grip & Lighting Department with electrical equipment examine
all cables for breaks or cuts in the insulation. The same examination should be made of
cables on the stages prior to connecting power. Do not use damaged cables.
Do not let your body become grounded. Many factors can put you at risk of
becoming grounded. If you are grounded, it means you have the potential
of becoming part of the electrical circuit and thus, open to having electricity pass through your body. This can be fatal.
The following is a partial list of the serious risks on both interior and exterior locations:
wet feet
wet hands
wet or damp floor or ground
wet lamps
wet cables
touching two lamps at the same time - even when conditions are dry
faulty circuits at your location
faulty wiring of your lighting equipment, appliances or cable insulation
breaks or cuts in the cable
touching electrical equipment and a grounded object any place where
water is present
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Only a licensed electrician can “tie-in” to power and disconnect power at
the location. LMU/LA School of Film and Television prohibits students
from “tieing-in” to electrical mains.
Know where the circuit breakers are at your location and DO NOT
OVERLOAD any circuit.
When selecting a location, it is required that you first use a LMU recommended testing device to check the proper grounding of ordinary threeprong household outlets. A location which shows an electrical fault as
indicated by the testing device must be rejected.
Carry, as part of your equipment, an extension cable which has a
GROUND FAULT CIRCUIT INTERRUPTER (GFCI).
Older location structures which have only the two-prong type outlets
must be avoided. If your location uses the old screw-in fuses, do not
shoot there. Consult with faculty to examine alternatives in these latter
instances.
NEVER USE ALUMINUM LADDERS or any METAL support such as
kitchen stepstools when working with electricity.
Tape down electrical cables if you must lay them across doorways. If rubber matting is available, use it over cables and tape the matting down.
NEVER TOUCH TWO LIGHTS AT THE SAME TIME
Do not reach for an electrical appliance that has fallen into water. Unplug
the device immediately.
Always hold the cable connector or plug when disconnecting a cable.
Never pull from the cable.
Examine all electrical equipment for signs of wear. Watch out for breaks
or openings in any cable, any plug or any place where the cable attaches
to a lamp.
Uncoil electrical cables before they are used. Cables must not remain
coiled while they are connected to power.
Don’t overload circuits.
Make sure equipment is properly grounded.
Keep all exits where you shoot clear of equipment and cables. Escape
routes must be understood by the cast and crew.
Keep electrical equipment away from water and dampness.
Feet and hands must be dry when doing any kind of work involving
electricity.
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Never use electrical equipment if your hands are moist, even if it’s from
perspiration, as this can mean the difference between a light shock and a
fatal shock.
If rain is imminent, stop and disconnect power before you and your
equipment get wet.
Do not charge auto batteries or use jumper cables without following the
maufacturer’s recommendation.
Do not use auto batteries to run cameras.
Permission to use a generator must be given by your faculty member and the camera section head and the Head of Production Administrator.
If someone receives a shock:
DO NOT PULL THE VICTIM AWAY WITH YOUR HANDS – you will be
shocked, too.
Use a broom, belt, towel, rope or other non-conductive material to separate the victim form the source of shock.
Try to disconnect the source of shock and call for an ambulance.
Once the victim is separated from the electrical source, begin CPR immediately and continue until the ambulance arrives.
PLUGGING AND UNPLUGGING ELECTRICAL EQUIPMENT
Visually inspect the condition of the plug, cable, and equipment for any signs of excess
wear, frayed cables or exposed current-carrying parts. DO NOT USE any equipment in
this condition. Return this equipment for repair.
All grounded equipment should be tested for continuity between the ground pin
on the plug and the metal parts of the lighting equipment before it is put into
service.
Turn off power whenever possible. Be sure that all equipment that is being
plugged and unplugged is in the off position to avoid creating an arc at the
receptacle.
Wear protective gloves to avoid getting burned from a flash created by short-circuit in the equipment.
Do not pull on the cord when unplugging equipment. This can cause the ground
wire to pull out of its termination in the plug. Always grasp the plug firmly to
unplug.
Check to be certain that you are not plugging Alternating Current (AC) to Direct
Current (DC).
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BOATS AND WATER
If working on or near water, an cast or crew member should make the Production
aware if he or she has a fear of working around water or cannot swim.
All cast and crewmembers working on or near water should wear life vests or other water safety gear when appropriate.
When using watercraft, be aware of load and rider capacity limits. Only required personnel should be on watercraft; all others should remain on land.
Safety lines, nets, watch safety personnel and/or divers should be used when filming in
rivers or other bodies of water where potentially hazardous conditions could exist (e.g.,
swift currents, thick underwater plant life, or rocks).
Know as much as you can about the body of water you’re working on or in, including its
natural hazards and animal life.
OPEN FLAMES ON SETS
The use of fire – that is any open flame – constitutes a particularly hazardous situation on
any film set.
Candles, fireplaces, campfires, cigarette lighters and the like are potentially disastrous effects and extreme care must be taken to avoid endangering yourself and/or your cast and crew.
If you are shooting on a local location (LA County or City), the Film Permit Office may require the presence of a professional Fire Safety Officer
( in fact, probably will ) if an open flame is used. If you are filming in a
“High Fire Hazard” area you will not be allowed to use an open flame.
A responsible person shall be designated for the handling, placement,
safe use and securing daily of any open flame devices.
Firmly secure all stationary open flame fixtures.
Flammables and combustibles shall be kept a safe distance from open
flames. Additionally, where required, such materials shall be kept in approved and properly labeled containers.
All gas lines in connection with the use of open flames shall be approved
in accordance with applicable building and fire codes. When using liquified petroleum gas (LPG), hoses and fittings must be of a type approved
for LPG service.
All cast and crew, including stunt performers, should be notified reasonably in advance of their involvement with open flames.
When fire is used, fire extinguishment equipment must be in close proximity and properly trained personnel should stand by.
Appropriate fire authorities should be contacted prior to the use of open
flames, whether at a studio or on location.
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The person responsible for igniting the flame should ensure he or she
maintains a clear line of sight of the flame or maintains direct communication with a designated observer.
Make sure that an adequate number of proper fire extinguishers are at
hand.
Test the extinguishers before igniting any open flame to insure that they
are in working condition.
Consider that the illusion of fire can be created with a lighting effect.
Be careful with loose clothing around open flame. Untreated fabric can
ignite quickly and cause severe injury.
GLASS
The use of locations, sets, set dressing or props which involve the handling of, or working in close proximity to, glass objects or architectural/structural glass creates a potentially hazardous situation for cast, crew and spectators.
It is advised that all architectural and/or structural glass be checked carefully to assure
that it is approved safety glass.
ALL glass doors and panels and other large areas of glass at or near ground level – or at
entryways – should be marked with large, white tape “X’s” to enhance their visibility.
Cabinet or showcase glass, glass tables, glass decorative panes or partitions, lamps or
hanging glass fixtures, glass sculptures, glass picture frames, glass or china dishes and
other hand-held glass objects need special consideration. Consider removing them and
replacing them with plastic or “candy-glass” objects.
GREENBEDS (PERMANENT SCAFFOLDING)
The Film Stage has overhead permanent stage scaffolding and greenbeds. Students using
this facility must adhere to the following guidelines:
 
Remove excess lumber on scaffolds and greenbeds and make sure the
walking surfaces are regularly maintained and kept free of debris.
Replace or repair broken floorboards immediately if any of the following
occur:
Lateral cracks or splits exist in the lumber.
Holes from previously installed ‘’green sticks’’ or chain openings exceed
1’’ in. diameter.
Sections of lumber have broken away and are missing. Floor openings
are to be covered immediately.
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Planks are missing or open space between planks exceeds 1’’ (correction
can often be completed by simply compressing the adjacent loose boards
together until an opening large enough for a new 8” wide floor board is
created.)
Hand railings must be a minimum of 42” and a maximum of 45” in
height, with a mid-rail placed approximately half way between. Vertical
posts must be no further than 8 feet apart.
Remove protruding nails from all catwalks, railings, toeboards and grids.
Check greenbeds for tripping hazards. Remove or bridge obstructions to
reduce or eliminate any potential hazard.
Saw off or remove any braces and extensions that extend above the grid
surface.  They are a tripping hazard.
Make sure lighting is adequate (a minimum of 10 candlepower is recommended along the walking surfaces - stated simply, a person should be
able to see walking surfaces well enough to avoid any tripping hazards).
Make sure all work lights placed along the permanents/grids are secured by a chain or rope capable of support the lights.
To prevent tripping hazards, make sure all ropes are tied off.  NEVER
ALLOW ROPES OR BRACES TO CROSS THE CATWALK.
To prevent tripping hazards, make sure lighting cable placed along
the “0-Zone”, part of a grid, or along walking surfaces, is adequately
grouped in-line, bundled, and tied off.
 
POWER TOOLS
Power tools are dangerous unless they are handled with care and respect. If a power tool
is treated roughly, dropped, banged around, or gets wet, the insulation may weaken and
present the possibility of a shock hazard. If the operator is standing on a wet conductive
surface, the shock can be fatal.
Power tools should never be carried by their cords and they should never be shut off by
yanking the cord from the receptacle.
Regular inspection and maintenance is important. Check the tool over before using it.
Is it clean? Is it grounded? Make sure the cord is in good condition. Check the trigger.
Make sure it works easily, that it doesn’t stick, and that the power goes off quickly when
the trigger is released.
When using power tools during construction, Ground Fault Circuit-Interrupter (GFI)
protection is required. Test the GFI device to see if it is functioning properly. Portable
GFI devices are available and should be used when operating tools while standing on an
outdoor grade or damp concrete.
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KNIVES AND SHARP-EDGED PROPS
Student films with scenes making use of knives, swords, bayonets, etc. are required to use
props made of rubber or similar material (normal eating utensils are exempted).
As with firearms, no horseplay should be permitted with these props. They should be
kept in a secure place and only taken out for rehearsal and filming.
There is rarely, if ever, a need to have a sharp-edged prop in a film. All knives, swords
and the like should have blunt edges. Points may need to be visually realistic, but still be
blunt. Keep in mind that wood, plastic or rubber weapons may be hazardous if used in a
stabbing or lunging mode - in these cases soft-tipped weapons are more appropriate.
LADDERS
Inspect all ladders before each use for broken or missing rungs, steps,
split side rails, or other defects.
Never use a metal ladder near electrical wires.
Never place ladders in doorways unless protected by barricades or
guards.
Never climb above the second rung from the top on a stepladder.
Never climb above the third rung from the top on a straight ladder.
Do not over reach on any ladder; move the ladder when needed.
Straight ladders should extend at least 3 feet above its top landing support point.
Straight ladders should be tied down as close to the top landing support
point as possible.
Always use a 4 to 1 ratio (1 foot away for every 4 feet of ladder height)
when utilizing a straight ladder.
Always face the ladder when ascending or descending and maintain a
firm grip.
If you carry tools, use a tool belt or a bucket attached to a hand line to
pull equipment up and to lower it down.
When using rolling “A” frame trestle ladders, never extend them beyond
twenty feet or manufacturer’s recommendation.
Always lock the wheels to prevent any rolling or instability.
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LADDERS (ROLLING)
Never move the ladder while on it.
Whenever possible, face the ladder and maintain three points of contact
while climbing up or down.
Avoid overreaching (the limit is one arm length either side, without leaning the body past the side rails.)
Only one person should be on a ladder at a time.
Reposition the ladder to reach new areas.  Never overreach, push, pull or
“walk” the ladder while working on it.
BUILDING SAFE SETS
Poorly designed, manufactured and built sets can present hazards to those working or
performing on and around them. Priority should be given to design considerations and
through design to manufacture and build. Safety of the overall production design is
paramount.
HAZARDS
These include:
• unsafe structures resulting from poor design;
• use of poor quality or unsuitable materials (sharp or unfinished edges, protruding nails etc);
• poor manufacture and building standards;
• increased fire risk from the use of unsuitable materials;
• hazardous substances;
• manual handling difficulties caused by heavy and bulky scenery items etc;
• trips and slips on uneven or unsuitable floor surfaces, uneven steps or stair
treads;
• falls from height caused by inadequate or unsuitable edge protection;
• failure to provide handrails;
• falling objects (eg scenery or lamps)
• inappropriately suspended or poorly rigged);
• electrical shock or burns from unsafe electrical equipment;
• entrapment and entanglement from unguarded or unprotected mechanical devices.
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RESPONSIBILITY
The producer is responsible for ensuring the overall safety of any production. In design
terms this means that a competent designer and construction team is appointed with the
specific health and safety responsibilities of each member clearly stated and understood.
The designer and construction team are responsible for ensuring that the set or scenery
is designed and manufactured to meet safety requirements and to minimize any identified risk.
CONTROL MEASURES
The following control measures can be considered:
FIRE
In order to control the risk of fire it is vital that the stage is adequately managed and
an adequate means of escape from sets and buildings is provided. All items of scenery,
including props and dressings should be either naturally fire resistant, flame- or fireproofed.
SUSPENDED SCENERY ITEMS
All sets or scenery suspended above head height should be securely suspended. Designers and the construction team should ensure suitable hanging points are provided which
are clearly identified. Hanging irons and points etc for wood structures should be bolted
through; for metal structures they should be either bolted or welded.
GLASS
The use of glass within studios and stage sets should be avoided. Where possible, use
rubber glass, sugar glass or plastics such as corbex or perspex.
SCAFFOLDING AND SUPPORTING TRUSSES
Working scaffoldings and supporting trusses, whatever their intended purpose, should
only be built by competent contractors or riggers to an approved design. Each structure
should be built to ensure it is safe for its intended purpose.
ELECTRICAL INSTALLATION, INTEGRITY AND PROTECTION
The design of sets frequently requires electrical fittings and wiring to be mounted on flats
and scenery. Only a qualified electrician should undertake the work of fixing and wiringup electrical fittings and fixtures.
FALLS FROM HEIGHTS
There are three basic ways of preventing people falling from a height (normally considered to be above 2 m), in order of preference:
• edge protection - parapet, guard rails etc;
• restraint - safety harness fixed to suitable anchorage points etc;
• by position - maintaining a safe distance from an unprotected edge.
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Safety by position, normally a distance of 3 m, will depend on a number of factors
including the type of activity taking place, the amount of space and number of people,
the prevailing environmental and weather conditions, the rake of the stage, roof etc. A
potential fall height of under 2 m may also require the precautions described above if it is
considered dangerous.
STEPS AND STAIRS
All steps and staircase risers should be of a consistent height and rise where practicable.
Anti-slip strips can be fitted to stairs where required and suitably marked. Steps or stairs
are much safer if they are properly lit.
HAZARDOUS CHEMICALS AND SUBSTANCES
Control measures should consider the information supplied by the manufacturer. Storage
and use of chemicals on a set should be carefully controlled.
MANUAL HANDLING
Much can be done at the design stage to reduce manual handling problems arising from
sets or scenery by:
• minimizing the weight of individual sections so far as practicable;
• providing handles or similar at suitable points on all bulky or heavy items;
• ensuring that heavy sets (over 50 kg) are marked as such;
• avoiding sharp edges or similar at handling points.
FIRE LANES AND FIRE EXITS
Means of escape in case of fire should be clearly identified and kept clear at all times.
Sets should not obstruct the statutory fire signage used within studios, stages or theatres.
If necessary, temporary signage should be provided if any scenery obstructs the view of
normal fire escape signs.
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THE LENGTH OF THE WORKDAY
Theatrical and television productions are budgeted for specified hours of production.
There are cost deterrents which encourage the production to be on budget and on time.
When an extended work day is necessary, the need should be identified as far in advance
as possible so that appropriate planning may occur.
The following guidelines set forth common sense measures which should be considered
when extended work days are necessitated:
Sleep deprivation, which may be caused by factors other than an extended work day,
should be identified by the employee. The American Automobile Association (AAA) cautions drivers as to the following danger signs:
Eyes closing by themselves
Difficulty in paying attention
Frequent yawning
Swerving in lane
AAA warns that drivers experiencing any of these danger signs could fall asleep at any
time. AAA recommends three basic solutions – sleep, exercise and caffeine. AAA urges
drivers who are too drowsy to drive safely to pull to the road to a safe area, lock the
doors and take a nap
Any employee who believes that he/she is too tired to drive safely should notify an authorized representative of the Producer before leaving the set. In that event, the Producer
will endeavor to find alternative means of transportation or provide a rest area or hotel
room. Such request may be made without any fear of reprisal and will not affect any
future employment opportunities.
When the production company anticipates an extended work day, the employees should
be encouraged to car pool.
When an extended work day is necessary, appropriate beverages and easily metabolized
foods should be available.
BRENT’S RULE
Brent Hershman was a 35-year-old camera assistant on New Line Cinema’s “Pleasantville”. He died in a single car accident on the Century Freeway at 1:30am on March 6,
1997 after working a succession of 18 and 19 hour days.
Brent’s death inspired a campaign for more humane working conditions – especially for
“below-the-line” employees on motion picture sets. A petition calling for a limit on the
number of hours worked in a single day gained the signatures of more than 10,000 industry professionals.
As a result of that effort IA Local 600, International Photographers Guild; The International Alliance of Theatrical and Stage Employees (IATSE); the Directors Guild of Amer67
ica (DGA) and the Screen Actors Guild (SAG) have joined together to promote BRENT’S
RULE, which would limit the hours worked on motion picture sets.
Many companies have successfully produced films under self-imposed limits of a 12 hour
shooting day. When a 12 hour day is deemed to be impractical, some companies have
offered local housing or transportation home in order to promote safety for the cast and
crew.
The LMU School of Film and Television strongly encourages its students to observe
Brent’s Rule. Limit your shooting days to 12 hours or less. To do so is in the best interest
of your cast, crew and film.
IN THE EVENT OF INJURY
As much as we may try to avoid them, accidents do happen. Therefore, it’s extremely
important to have a plan in the event of an injury on set – and that everyone knows what
the plan is. The worst thing that could happen is for the victim to lie there bleeding while
everyone panics and runs around in circles trying to figure out what to do.
YOU MUST CALL VERONICA HANSEN, RISK MANAGEMENT COORDINATOR,
IMMEDIATELY - day or night including weekends) should there be an injury on your
production.
310 338 1829 (Office)
310 261 9181 (Cell)
You should know where the nearest Trauma Center or Emergency Room is located. This
information should be on each day’s Call Sheet.
You should have a “designated driver” – an individual who will take charge of transporting the injured party to the nearest care provider.
If the person who has been hurt cannot be moved call paramedics or the Fire Department
immediately.
Have insurance information ready so there will be no delay in providing medical care
while someone determines who’s going to pay for it.
LMU’s SCIF POLICY #: 1465594-11 (the hospital or doctor will need this number)
You must file an “SFTV ACCIDENT INVESTIGATION RPORT” imediately. A sample
of the form is on the following pages. You must complete it and send it to Veronica Hansen within 8 hours of the incident.
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SFTV ACCIDENT INVESTIGATION REPORT
EMAIL TO RISK MANAGEMENT IMMEDIATELY!
PRODUCTION TITLE:
TODAY'S DATE
INJURED'S NAME:
CAST/CREW/OTHER:
DATE OF INJURY:
TIME OF INJURY:
ADDRESS OF INJURY:
TYPE OF INJURY/ILLNESS
(CHECK ALL THAT APPLY)
HEAD INJURY
BACK INJURY
BITE/STING
BURN
NECK INJURY
LACERATION
RASH
ILLNESS
* OTHER
DESCRIBE ILLNESS/OTHER *:
INJURED PART OF BODY
(CHECK ALL THAT APPLY)
LEFT
RIGHT
HEAD
CHEST
SHOULDER
WRIST
NECK
RIBS
UPPER ARM
BACK OF HAND
BACK
ABDOMEN
ELBOW
PALM OF HAND
BUTTOCKS
PELVIS
LOWER ARM
FINGER/DIGIT ________
UPPER LEG
FOOT
EYE
MOUTH
KNEE
TOE
NOSE
TOOTH
LOWER LEG
FOREHEAD
CHEEK
THROAT
ANKLE
EAR
CHIN
OTHER*
DESCRIBE OTHER*:
LOYOLA MARYMOUNT UNIVERSITY/RISK MANAGEMENT
VERONICA HANSEN/RISK MGMT COORDINATOR
CELL: 310.261.9181 EMAIL: [email protected]
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SCIF POLICY #: 1465594
PAGE 1 OF 2-CONTINUE
POLICY # 1465594
SFTV ACCIDENT INVESTIGATION REPORT
EMAIL TO RISK MANAGEMENT IMMEDIATELY!
PRODUCTION TITLE
PROFESSOR:
INJURED'S NAME:
CELL PHONE:
INJURED'S STREET ADDRESS:
CITY:
DATE OF BIRTH:
STATE:
ZIP:
SOCIAL SECURITY #:
EXPLAIN CAUSE OF ACCIDENT & NATURE OF INJURY:
CORRECTIVE ACTION TAKEN:
WITNESS:
CELL PHONE:
WITNESS:
CELL PHONE:
PROPERTY/EQUIP. DAMAGE:
STUDENT SIGNATURE:
DATE:
HOPA SIGNATURE:
DATE:
PROFESSOR SIGNATURE:
DATE:
RISK MGMT. SIGNATURE:
DATE:
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PRODUCTION TRUCKS
Many students rent trucks to haul a variety of equipment: grip, lighting, camera and
props. Here are some things you need to know about renting trucks and to help ensure
that your rental is as cost effective and trouble free as possible.
INSURANCE
LMU’s insurance does not cover motor vehicles. so you are going to have to insure the
truck through some other means.
In California all drivers must have Liability Insurance. You may provide it through your
own personal auto insurance or purchase it from the rental company.
Your personal auto insurance may cover you. However, we strongly urge you to contact
your agent and confirm coverage on the exact type of vehicle you are planning on renting. It is always best to communicate through email so you have written confirmation.
Many credit card companies offer certain types of coverage when you rent a vehicle. As
we mentioned - contact them directly and confirm the type of coverage they offer. As
them to email you a copy for proof of coverage.
Most truck rental companies will offer certain types of protection and coverage. The most
common are Loss Damage Waiver (LDW), Collision Damage Waiver (CDW) and Renter’s
Liability Insurance (RLI). Some companies may have other names for similar coverages.
LDW and CDW protect the renter for loss or damage to the vehicle. Check with the rental
company as to what is specifically covered and what is not. RLI is third party coverage.
It covers the renter should they do damage to a third party (person or property).
Many rental companies will have specific exclustions on coverage(s), i.e. overhead damage as a result of low clearance. Make sure you understand exactly what you are and are
NOT covered for before you arrive to rent the vehicle.
Most importantly, do not wait until the last minute to understand insurance as it
applies to rental vehicles. Call and speak with your insurance company or the rental
company. They both can provide you with useful information to help you make the best
decision and avoid costly problems.
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FUEL COSTS
Remember to include fuel for the truck in your production budget. Generally, a fully
loaded 26-foot truck will average about 10 miles per gallon.
WHO’S DRIVING?
Make sure that the person, who is actually going to be driving the truck, is listed on the
insurance and rental agreemet and that they have a valid driver’s license. Do not let any
unauthorized driver operate the vehicle - EVER.
Confirm with the rental company on how to properly add or change a driver. If possible
have someone with truck driving experience assist you.
LOADING AND UNLOADING
Loading a truck requires some thought and planning. Everything has to go in a certain
way. The reason for this is that you have to be able to work off of the truck, and if stuff’s
just thrown in a pile (also called ’shovel-loaded’), it’s impossible to find anything quickly
– and equipment gets damaged in transit.
The contents of the truck may shift during travel. Open all doors slowly to avoid being
hit by equipment tumbling out.
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The lift gate should be operated by only one person. The operator should give a verbal
warning, “going up” and “going down”. Crew not operating the lift gate should stand
well clear of the lift.
Use truck shelves and racks and ratchet straps to tie off equipment. Avon, for example,
has shelving available for their trucks – use them. The School does not provide ratchet
straps - you will have to purchase them.
Remember to check the jockey boxes for equipment when returning your order.
DRIVING
The first thing you and your driver need to do is to familiarize yourself with driving a
truck. Here are some helpful guidelines:
Whenever possible - and it is highly recommended - to have someone drive with you.
They can assist you with visibility and clearance. This is especially important when
changing lanes, parking or driving in a tight space.
Drive slow and take extra precaution. Always allow considerable extra travel time. Driving a truck will take longer than you expected.
Familiarize yourself with the route you will be taking. Be aware that some freeways restrict trucks by size and weight (for example, the 110 Freeway towards Pasadena). Check
with your GPS to confirm you are requesting truck routes.
Make sure your load is properly secured and evenly distributed.
Driving a truck is considerably different that driving a car. Before you hit the road, make
sure you are comfortable with the truck’s switches and gauges. It will take time, patience and experience to become a competent truck driver.
Adjust your mirrors. This is critical as visibility in a truck is limited.
Trucks are taller and wider than the vehicles most people are used to driving. Make sure
you have proper clearance at all times - if you want to avoid costly damage to the roof
and sides of the truck.
If the height and width of the vehicle is not indicated on the truck, be sure to get this
information from your rental agent- or measure it yourself.
Be careful of low bridges and tree limbs when parking on the street. Do not drive through
restaurants, gas stations and avoid underground parking. . Overhead damage is usually
NOT covered by insurance purchased from the rental agency.
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Try to drive in the center lane on city streets as much as possible to avoid tree limbs and
curb damage.
Always use your turn signals and make sure to signal well in advance. Avoid making
sudden stops or abrupt lane changes and obey all traffic signs and lights.
Use caution at intersections. Before crossing an intersection, check left, then right, then
left again. Obey all traffic signs and lights.
Use caution at intersections. Right turns can be more challenging because the rear tire can
easily come in contact with the curb - causing damage.
Trucks don’t accelerate as fast as cars. Be aware of this when you attempt to change lanes.
Additionally, sudden movements can cause your load to shift - damaging the items - for
which you will have to pay.
Driving uphill (especially with a full load) will be slow. When appropriate, use “truckonly” lanes; otherwise, stay in the right lane.
The recommended maximum speed for a loaded truck is 45 mph. Do not attempt to pass
a vehicle moving faster than 40 mph. Never pass on hills or curves.
Be aware of the height and width of your vehicle. Your truck body is often wider than the
cab meaning you have to drive more in the center of the lane. Be especially aware of this
on the freeways.
Never tailgate. Allow extra space between you and the vehicle you are following. Trucks
weigh three to ten times more than cars and must have more time and room to stop. You
must begin braking sooner, particularly when you have a load.
Always look for an area that provides “drive thru” parking spaces. Avoid backing up as
much as possible. If you must back up, have someone to direct you from the side at the
rear. Remember to REVERSE SLOWLY.
When backing up, take your time. You need to be about half the length of your truck
away from any barriers that you have to navigate between. Begin making your turn into
the space immediately at the point where you want to tires to rest when you are parked
(i.e. with enough room to open both cab doors if necessary).
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Set the hand brake (or emergency brake) every time you park. Turn the wheels away
from the curb when parking with the truck faced uphill. When parking with the truck
faced downhill, turn the wheels in toward the curb.
Finally, when returning the truck take extra caution. The rental is not over until the truck
is in the rental company’s lot. Unfortunately, many renter often relax and forget to pay
attention as soon as the truck is unloaded. Many accidents and damages occur just before
the rental truck is returned. Be aware, especially in gas stations and neighborhoods on
the way back to the rental facility.
IF AT ANY TIME DURING THE COURSE OF THE RENTAL YOU HAVE A QUESTION
OR CONCERN - TAKE THE TIME TO CALL THE RENTAL COMPANY. THEY WILL BE
HAPPY TO ANSWER ANY QUESTION OR CONCERN YOU MAY HAVE.
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PROP WEAPON POLICY
PROP GUNS MAY OBLY BE USED IN: PROD 300 / 400 /600 / 650 AND WPTV 681
PRODUCTIONS
The use of prop weapons poses significant risk to student fimmakers. Because the potential consequences can be so dire the policy on the use of prop weapons must be strictly
enforced. The penalties for failure to comply with the policy are severe.
Permission to use firearms in a student film or video must be obtained in advance and in
writing from the Head of Production.
Only non-firing (plugged barrel) replica firearms or rubber guns may be used. No prop
firearm may be used that is capable of propelling any sort of projectile.
Real guns may never be used under any circumstance.
Blanks, squibs and other pyrotechnic devices may never be used.
The prop weapon must be rented from an approved rental house – the student may not
use personal toys, models or replica firearms.
If a prop firearm is used on-campus LMU Public Safety must be notified and must sign
the “Filming Approval” form. Prior to the start of filming on the filming date, all prop
firearms are required to be inspected and approved by the Sergeant-on-Duty in the Public Safety office in Foley Annex.
If used off-campus, a Film Permit from the appropriate agency must be obtained that
specifies the use of prop firearms.
The following proper use and handling of prop firearms must be observed at all times:
1. A member of the crew shall be designated Prop Master or Weapons Handler and have responsibility for transporting, handling, control, distribution and securing all prop firearms.
2. The use of prop firearms shall be noted on the Call Sheet.
3. Before use on set an announcement will be made to cast and crew that a
prop weapon is about to be used.
4. Treat all firearms (including non-firing replicas and/or rubber guns) as
though they were loaded.
5. Never engage in horseplay with prop firearms or weapons.
6. Unless being used for rehearsal or filming, the prop must safely secured
– never leave a prop firearm unattended.
7. All city, state and federal guidelines are applicaple to LMU student use of
prop firearms.
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THE USE OF PROP WEAPONS
BEFORE YOU SHOOT
Nothing happens without planning. Endeavors as complicated as filmmaking prove this
every day. And you want to plan as much as possible before pulling guns - even fake
ones - out onto a set.
Most of the guns you see in action movies are rubber or resin props, and only a few are
functional (for close-ups).
What many people think of when they consider movie prop guns are blanks. Well, LMU
prohibits the use of blanks in student films. So that takes care of that.
How you treat your gun on set and in post will accomplish most of the job of convincing
your audience that your actor’s holding a live firearm.
CHECK WITH THE POLICE!
Fake guns that look like real guns - which is what we are talking about here - can get you
killed. It’s a felony to possess replica firearms that don’t have a bright orange tip - UNLESS you’re using them for performance (i.e. film, theatre, etc).
The guidelines given here are accurate in Los Angeles County, which has a fair amount of
regulative structure in place because so much filming happens here.
NON-FIRING REPLICAS
Carrying a replica firearm is called “brandishment”. Brandishment of weapons, even if
they’re not being fired, requires that you notify whatever authorities preside over the
location where you’re filming.
SHOOTING OFF-CAMPUS
You will need a film permit. The permit forms ask if you will be using weapons, and
there may be restrictions on your usage of the location if you are.
Brandishing weapons in a public place requires the presence of a police officer. This
means hiring an off-duty officer. (an LAPD officer gets $45.00 an hour with an 8 hour
minimum)
The key is whether you can be seen by anyone not affiliated with your shoot. If you’re
inside and the blinds are closed, you’re probably fine. If you need to have the windows
open, you should post signs on the outside of the window reading “FILMING” or “REPLICA WEAPONS IN USE”. Additionally, post someone outside the window to watch for
passers-by and to give the all-clear. Yellow caution tape can be used to block off an area
where you don’t want people passing by (this is also useful if you don’t want them crossing in front of camera in general).
If you’re outside and going to be brandishing weapons, and there is a chance that someone could see you, you must notify the police (see “Notifying the Police,” below).
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All the precautions that you take are designed to minimize the danger of someone misunderstanding what’s happening. Everything you do should be geared towards avoiding the possibility for misconception - whether it’s making sure there’s nobody around
(although it’s tough to be certain of this), posting signs or notifying the police yourself
ahead of time.
The problem with posting “FILMING” signs is that depending on where you are, there
is the potential of attracting onlookers. That’s why it’s best to have someone assigned
specifically to crowd and pedestrian control.
NOTIFYING THE POLICE
The person you should try to reach is the Watch Commander of the precinct covering
your location. For example, the Los Angeles Police Department has 18 different stations,
each covering a different area of the city (Hollywood, West LA, Van Nuys, Devonshire,
etc. – see attached list).
The Watch Commander is the officer who dispatches officers to a scene. If he knows that
you’re shooting a film with replica guns at a certain location at a certain time, and he gets
a call from a neighbor reporting it, he knows not to dispatch squad cars. Officers who
report to a scene where weapons have been reported are understandably on edge and
nervous, and it is a very dangerous situation for you to be in.
You should call at least a week before your planned date so that the station can put you
on their calendar. This way, whoever’s on duty at a particular time will be informed in
advance. Call again the day before your shoot and the day of. If you’re firing blanks you
may have to call them every time you start and stop a take. They will also tell you the
requirement, if it exists, to have an officer on-set with you.
SHOOTING ON-CAMPUS
Fill out the On-Campus Filming Form. Have Public Safety sign it. Public Safety will want
to see the prop firearm before you shoot.
Just in case you’re not convinced:
DEPUTIES KILL MAN WIELDING A FAKE GUN
From Times Staff and Wire Reports
April 4, 2007
A 29-year-old man was shot to death by Los Angeles County
sheriff’s deputies Monday after he refused to drop a toy handgun that was mistaken for a real firearm, authorities said.
The shooting occurred about 7:15 p.m. near Inglewood Avenue
and Lennox Boulevard when the man pointed a fake silver gun
at deputies, said Deputy Bill Brauberger.
The man was identified as Jaimie Flores of Lennox, said Lt. Larry
Dietz of the Los Angeles County coroner’s office.
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LOS ANGELES POLICE DEPARTMENT PRECINCT LOCATIONS
Web Site: http://lapdonline.org
Last Update : 11/07/2006
77th Street Watch Commander
7600 S Broadway
Los Angeles, CA 90003
Tel. (213) - 485 - 2389
Central Watch Commander
251 E 6th St
Tel. (213) - 972 - 1298
Devonshire Watch Commander
10250 Etiwanda Av
Northridge, CA 91325
Tel. (818) - 832 - 0633
Foothill Watch Commander
12760 Osborne
Pacoima, CA 91331
Tel. (818) - 756 - 8861
Harbor Watch Commander
221 Bayview Av
Wilmington, CA 90744
Tel. (310) - 513 - 7017
Hollenbeck Watch Commander
1936 E 1st St
Tel. (323) - 266 - 5949
Hollywood Watch Commander
1358 N Wilcox Av
Hollywood, CA 90028
Tel. (213) - 972 - 2976
Mission Watch Commander
11121 N Sepulveda Bl
Mission Hills, CA 91345
Tel. (818) - 838 - 9800
Newton Watch Commander
3400 S Central Av
Tel. (323) - 846 - 6547
North Hollywood Watch Commander
11640 Burbank Bl
North Hollywood, CA 91601
Tel. (818) - 623 - 4016
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Northeast Watch Commander
3353 San Fernando Rd
Tel. (213) - 485 - 2563
Pacific Watch Commander
12312 Culver Bl
Tel. (310) - 482 - 6334
Rampart Watch Commander
2710 W Temple St
Tel. (213) - 485 - 4061
Southeast Watch Commander
145 W 108th St
Tel. (213) - 972 - 7937
Southwest Watch Commander
1546 W Martin Luther King Bl
Tel. (213) - 485 - 2582
Van Nuys Watch Commander
6240 Sylmar Av
Van Nuys, CA 91401
Tel. (818) - 374 - 9500
West Los Angeles Watch Commander
1663 Butler Av
West Los Angeles, CA 90025
Tel. (310) - 444 - 0701
West Valley Watch Commander
19020 Vanowen St
Reseda, CA 91335
Tel. (818) - 374 - 7611
Wilshire Watch Commander
4861 Venice Bl
Tel. (213) - 473 - 0476
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PROCEDURE FOR USING PROP WEAPONS IN STUDENT FILMS AND VIDEOS
If you want to use a prop gun in your project you must do the following:
First, read the section in the Production Handbook dealing with the use of prop guns.
then
Fill out the following forms:
On-Campus Filming Form (if shooting on LMU Campus)
Film LA, Inc. Permit application (if shooting in Los Angeles)
Firearms Policy Acknowledgement (read the Policy on the Use of Prop Weapons first)
Authorization to Rent Prop Weapons
then
Meet with John Syrjamaki to have your FRAC or Advanced Project approved.
then
Obtain your filming permit
Rent your prop firearm
finally
Before filming call the LAPD Watch Commander in the precinct where you will be shooting
If you are filming on the LMU campus you must bring the prop firearm to Public Safety for them to examine.
As of 2012 LMU DPS policy requires a Public Safety Officer with you on set if the prop firearm is “brandished” in public on campus. You will have to pay the Officer $35.00 an hour with a 4-hour minimum.
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FIREARMS POLICY ACKNOWLEDGEMENT
The Director of the project,hereby acknowledges that LMU School of Film and Television policy prohibits the use of any firearms,
hazardous or explosive materials.
The Director further acnowledges that any use of prop or simulated firearms, including toys,
must be fully coordinated with the appropriate city or county agency (e.g., Permit Office, Police/
Fire Department, etc.) by the production and the appropriate paperwork provided.
Further, the Director acknowledges that any prop firearm must have a plugged barrel and that no
prop, toy or simulated weapon may under any circumstance be fired (including blanks, pellets,
air or any projective whatsoever).
The Director further acknowledge that hazardous materials include knives and edged-weapons
or any item reasonably considered hazardous, and that suitable noninjurious items must be substituted.
Director (print name)
Signature
Date
Project Title
Production number
8/04
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AUTHORIZATION TO RENT PROP WEAPONS
Date
The student named herein has been authorized by Loyola Marymount University School
of Film and Television to rent the prop weapon(s) listed below for use in the authorized
student production named below.
Student:
Production Title:
Production Number :
Type of Prop Weapon(s) Authorized:
To be used during filming at the following date(s) and location(s):
Pick-up Date: Return Date:
Person(s) authorized to pick up and return prop weapon(s) on behalf of above named
student:
John Syrjamaki
Head of Production Administrator
Rev 8/04
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INSURANCE
The following is a brief overview on the insurance coverage provided by LMU. There are
three types of insurance that are provided to you and your project:
General Commercial Liability (GCL)
Property Damage and Liability (PL)
Worker’s Compensation (WC)
GENERAL COMMERCIAL LIABILITY
This is a policy that covers activities, actions and damage from those circumstances not
directly related to filming that would normally be resolved by litigation. It covers all
the people and property directly involved with an accident you may have that was not
directly related to filming.
For example, if you were filming at a private residence and your equipment truck accidentally backed into the neighbor’s fence – that would be an incident covered by General
Liability.
Another example might be if a neighbor slipped and fell due to your having not secured
or maintained your set properly.
PROPERTY DAMAGE AND LIABILITY
This insurance refers to the specific property that you may rent from an off-campus vendor and covers accidental damage or loss for that equipment. This insurance only covers
damage to the specific property that you rented for filming. (Remember that leaving
equipment unsecured or unattended is considered negligence and any resulting loss or
damage would not be covered by LMU’s insurance.)
WORKER’S COMPENSATION
This is insurance for the members of your cast or crew that may be injured on the set
while working on the project.
The LMU Worker’s Compensation coverage is only for those projects filming in California. The Risk Management Office should be consulted for out of state/out of country
projects.
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WHAT’S NOT COVERED BY LMU INSURANCE
Here is a list of the most common exceptions:
Pets are not covered. You may, however, use trained, working animal
performers in your film or video, but you must have an animal wrangler and a copy of the wrangler’s insurance. You may not use “exotic”
animals (lions, tigers, bears, etc.)
Damage or injury, which resulted due to an insured’s Gross Negligence
Motor vehicles. The University does not cover student rental or use of
any type of motor vehicle. Check with your personal auto insurance
carrier for possible coverage. (Towed generators are considered vehicles
and are not covered while in transit. They are covered once on location
and functioning as a power plant.)
Skydiving, the use of planes or watercraft, scuba diving, parasailing,
trains or railroads, major stunts, extreme sports or any other similar
“hazardous” activity.
You, your cast/crew in another state or foreign country. (Property insurance, however, is extended to projects shooting outside the state of California. Equipment valued over $10,000 must have the Risk Manager’s
approval before leaving the United States.)
PYROTECHNICS of any sort.
Our insurance does not cover the use of any type of DRONE aircraft.
LMU insurance coverage does not provide Errors & Omission insurance.
This list is not comprehensive. Our insurance brokers may decline to
cover a project for any number of reasons. Before you begin writing your
script you may want to check with the Head of Production to see if there
are any red flags.
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CERTIFICATES OF INSURANCE
Some vendors – companies you are renting from – or property owners may want to
see some proof that you are actually covered by insurance. On the following page is a
sample “CERTIFICATE OF INSURANCE” – proof that you are, indeed, insured.
Once your project has been approved you can request the LMU Risk Management Office
to send a Certificate of Insurance to whoever needs one.
However, before the LMU Risk Management Office will issue a Certificate of Insurance
to anyone (permit office, vendor, property owner, etc.) you must submit a copy of your
permit application to Veronica Hansen (UHall 4900).
A permit application will get you proof of insurance for any City, State or Federal gov’t
(to get a permit) but it will not get you property insurance or equipment released. You
must submit your permit prior to shooting, not after. Once your permit is received in
Risk Management vendor letters and location certs will be issued.
So, if you are going to need Certificates of Insurance you must first apply for a filming
permit from the appropriate permit office. This should be the first thing you do once
you receive notification from the Risk Management Office that your project has been approved.
The most important thing to remember is that this is all going to take time. The permit
offices will require several days to issue your permit and it will take several days to get
a Certificate of Insurance from the Risk Management Office. Plan ahead and get started
early.
Failure to get a filming permit (when required) will render your LMU insurance null and
void. That means if anything is lost, stolen, broken or damaged – or if anyone gets hurt
– you will be responsible for the expense. That is not a situation you want to be in.
At the end of filming (two (2) days following the completion of principle photography)
you are still required to submit to the Risk Management Office (UHall 4900) Xerox copies
of your film permits, Worker Compensation forms and Hours Worked.
If you have any questions, please come and see John Syrjamaki in Communication Arts
118B or call him at 310 338 2973.
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CLAIMS REPORTING
If something happens you should follow these very important steps:
PROPERTY DAMAGE
CALL the Risk Management Office immediately (310) 338-1829. If no
one is there leave a message with what happened, who you are and how
can you be reached. Do not wait a day or two to report injuries or property damage,
If the property damage is major, STOP FILMING.
All witnesses should WRITE DOWN all the details of what happened
and who saw it or was involved as soon as possible. Do it while it is
fresh in your mind. Copies of these reports should be submitted to both
HoPA and Risk Mangement.
A Risk Management Office staff member will contact you and let you
know what to do. An evaluation will be made of what happened to determine if continuing will cause another accident. If there are no problems, you will be allowed to continue shooting.
INJURY
Get appropriate medical care. Always offer medical care, even if you
think it’s really minor. Let a medical professional take a look if a person
is hurt. Keep your cast and crew members “New Employee’s Guide to
Workers’ Compensation” and “Pre-Designation Forms” handy at all
times so you may check which physician or chiropractor has been elected
for treatment.
Contact the Risk Management Office. Again, if no one is there leave
a detailed message with your name and number. If it is an emergency
contact the Risk Management Office Specialist at:
310 261 9181 (cell)
STOP FILMING. We want to make sure that you are not doing something that is adding undue risk to the cast or crew.
Someone will contact you and give you further instructions.
There is one exception for the stopping of a film and that is for minor
property damage. If the item broken is clearly under your $1000 deductible (i.e. a filter, a lightbulb, etc.), then simply leave Risk Management
a message and let us know that you are going to replace it. THIS IS
IMPORTANT!
Please do not assume that telling Camera/Sound or Grip/Lighting is the same
as calling the Risk Management Office – it is not.
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OTHER SOURCES OF INSURANCE
There are a number of insurance brokers listed in LA411. Here are a few vendors, who provide
short term insurance coverage.
Truman VanDyke Company
6767 Forest Lawn Drive
DeWitt Stern
4605 Lankershim Bl
ABACUS
12300 Wilshire Bl
Suite 301#600Suite 100
323 883 0012
818 623 1170
310 207 5432
fax 323 883 0024
fax 818 623 1180
fax 310 207 8526
Risk Management can also put you in contact with LMU’s insurance broker and they can offer
a separate policy to you. This will be the same as contacting any of the above but they are
entertainment brokers specializing in your field.
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DIALOGUE IN MOVING VEHICLES
We see a lot of student scripts that have scenes involving dialogue between characters inside a
moving vehicle. Scenes like this are difficult to shoot. Even MOS shots inside a car in motion
present serious challenges – especially to the novice filmmaker.
The first question that has to be asked is, “Why is this scene taking place inside a moving car?”
Is there something inherent in the setting that is crucial to telling the story? If the answer is
“no” then our suggestion is to restage the scene in a location that is easier to control. If, however, the answer is “yes” – having the scene take place inside a moving vehicle is essential to the
story – the filmmaker has several options for achieving the shot.
The second issue to keep in mind when you are using vehicles is that LMU’s insurance does not
cover vehicles – of any kind. That means you will have to purchase a short-term policy from a
broker to cover the use of the car and any other vehicles used on the project. These policies are
not very expensive by normal standards, but on a student film they may represent a significant
portion of the budget.
The following insurance agents can provide you with a quote:
Truman VanDyke Company
DeWitt Stern
ABACUS
6767 Forest Lawn Drive
4605 Lankershim Bl
12300 Wilshire Bl
Suite 301#600Suite 100
323 883 0012
818 623 1170
310 207 5432
fax 323 883 0024
fax 818 623 1180
fax 310 207 8526
You should expect to pay between $500 and $1500 for a short-term vehicle policy.
TOW SHOTS
This is the industry-standard method for filming interior moving car scenes. Towing the picture
vehicle affords the greatest amount of control for the filmmaker. Camera angles and lighting
can be controlled – and since the engine is not running, the sound quality is good.
Standard practice is to use an “insert car” (sometimes called “camera car”) specially engineered
for the mounting of cameras and other equipment for the primary purpose of photographing a
moving vehicle to tow a picture car or process trailer. The actor(s) sit in the picture car and are
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pulled along by the insert car. The actor “pretends” to drive while performing. Sometimes the picture car is mounted on a “process trailer” and this is towed. Lights and
other equipment still may be attached to the picture car and it is critical that this work be
done by a qualified person – in most cases a Grip from IATSE Local 80.
Coordinating and running a tow shot is a complex activity. The First Assistant Director
has to work out communication and control with the insert car driver and traffic control
officers. This meeting should include a “walk-thru” or “dry-run” with the driver and all
of the persons involved in the event. An understanding of the intended action, possible
deviations, and authority to abort should be made clear.
No more than nine people (including the driver of the insert car ) should ever ride on an
insert car. Additional equipment and support as needed (such as makeup, hair, wardrobe, grip, electric, etc) can travel in a “follow vehicle” – usually a van that tags along
behind.
It’s important to have enough walkie-talkies on set to maintain communication with the:
First AD
Insert car driver
Traffic control officers
Director Actors
Chase vehicle
Tow shots at night are especially nasty as it is cold as well as difficult to see and communicate. The secret is not to rush. Take your time, be methodical and pay attention to the
details.
Even for highly skilled professionals, tow shots present a serious challenge. They involve
a lot of people and equipment. It takes a long time to rig a camera car and picture car for
a tow. These shots are complex and difficult to organize as well as being time-consuming
to execute – and, as a result, they are expensive.
Because of the concern for safety, there is no “cheap” way to do a tow shot. There are
no shortcuts. There is no room for half-baked “guerilla” filmmaking when the physical
safety of your cast and crew - as well as the public - is in question.
Here are the steps involved in doing a tow shot for a student project at LMU/SFTV:
1. Your professor must agree – in advance and in writing – to your doing
a tow shot.
2. You must use an established and reputable camera car company.
3. You must enlist the services of a professional grip (Local 80 or
equivalent) to rig the car and camera.
4. You must have a filming permit from the jurisdiction in which you will
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be shooting – giving you permission to do a tow shot.
5. The permit will require traffic control. In the city of LA this means
motorcycle officers. You will need two officers to control traffic in front
and behind the rig.
6. You must enlist the services of a qualified Assistant Director (DGA or
equivalent) to run the shot.
7. You will need to rent walkie-talkies for communication (Director to
actors; AD to motor officers, etc.).
8. You will need to purchase vehicle insurance since LMU’s insurance
does not cover any vehicles. You must provide the LMU Business Affairs
Office with a Certificate of Insurance naming LMU as “additionally
insured”.
Here is the shopping list of the things needed for a tow shot:
Camera car
Camera car Driver
Car mounts (hood mount – side mount)
Key Grip (to rig the car mounts)
First Assistant Director (to run the shot)
2 Motorcycle Officers 2 Motorcycles (rented from the Officers)
Walkie-talkies (min 6)
1 chase vehicle (optional – to carry support personnel)
$400/day
$450/day
$100/day
$550/day
$950/day
$44/hr (8hr min)
$50/day
$20/day each
PROS: best control of performance, picture, lighting and sound.
CONS: complex and expensive – requires skill and knowledge to do well
COST: about $3,500/day
This is the only way to do a tow shot at LMU/SFTV. Neither the University, the School
of Film and Television or the Head of Production Administrator will tolerate any bogus,
“guerilla filmmaking” jerry-rigged option.
HOOD MOUNTS / SIDE MOUNTS
This is the technique of attaching lights as well as cameras to the picture vehicle using
pipe rigs and ratchet straps. Occasionally “moving” shots are done with the actor actually
driving the picture car to which the camera and lights have been attached with mounts.
This is a dicey proposition. It is a rare individual who can act and drive a car at the same
time – and do both well. Either their acting is going to suffer – or their driving is. In either
case, it’s a sure bet the film suffers.
Other considerations are – where is the Director while filming? In the back seat? What
about the sound recordist? The cinematographer? Obviously no one is looking through
the lens during the shot. This could be a big problem when shooting film without a video
tap.
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Because the engine is running during the shot, sound quality suffers. Cutting between
different angles can be a dialogue editor’s nightmare. The sound may be so bad that
ADR is required.
Safety is a big concern when using this technique. If driving in heavy traffic, the actor’s
vision is impaired by the hood mount. Additionally, their attention is not completely
directed towards driving – they are trying to remember their lines and deliver them with
the appropriate emotion. Side mounts are frequently knocked off as the actor drives too
close to other vehicles or buildings – resulting in severe damage to the camera.
PROS:inexpensive
CONS: very little control over the elements – potentially dangerous
COST: $100/day
HANDHELD
This technique works best with small digital video cameras. Attempting it with larger
film cameras becomes problematical – and increasingly so when shooting 35mm. Since
the engine is running, sound quality is not very good.
A skilled handheld camera operator can produce outstanding visuals. An inexperienced
operator can produce shaky, wobbly camera movement that detracts from the viewer’s
experience.
Space inside the vehicle becomes an issue. Not only the actor, but a camera operator,
the Director and maybe a sound recordist have to find someplace to be. Camera angles
become limited (to avoid photographing all those extra people in the car).
Safe execution requires that all persons inside the car wear their seatbelts when the vehicle is in motion.
PROS: inexpensive, fast
CONS: limited control – can produce unsteady image, poor sound
COST:nothing
“POORMAN’S PROCESS”
Simulates the look of moving when the car is actually standing still – “poor man’s process photography” is an almost forgotten technique designed to create the illusion that a
static vehicle is moving through an environment. Poor Man’s can be done on a stage, in a
garage or even a parking lot (with black hung around the car to block extraneous light).
Poor Man’s can be done for day shots, but normally it’s done at night and the procedure
is fairly standard. Some “drive by lights” - a couple of headlight units in the rear, a high
mounted street light rig on the side and sometimes a red tail light in the front. Multiple
units give it some variety. Each unit is operated by an electrician and it calls some artistry to mix it up and make it look real. Some rain on the windshield is a huge plus as is
a little bit of smoke driven by a quiet fan (an E-fan if you have one). Also a grip giving
the car a little shaking motion.
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The headlights behind are usually something like a 1K baby mounted on a low stand, so
they can be swept across the rear window occasionally. The biggest mistake is to do the
sweeps too often and too regular.
The technique totally convincing (if done right) but once you learn to spot it, you will see
it done even in big studio productions(for example, “The Road to Perdition” shot by Conrad Hall and “Frailty” shot by Bill Butler).
PROS: inexpensive, good control of the elements, excellent sound
CONS: works best for night shots shooting towards the windshield
COST: virtually nothing
A. Headlights mounted on rolling stands, with black cloth draped between them, serve as cars. Crew
members hide behind the draping and slowly move these lights back and forth. To create the illusion
of depth, smaller flashlights are used on the rear carts. Next to them, a separate cart with red lights
simulate tail lights.
C. Two stands set back from the car hold an amber lamp pointed at an angled, rotating mirror. At
timed intervals they’d turn on, and cast moving light on the faces of the actors. They create the impression of passing street lamps.
D. The car itself is surrounded by white foam core (G.) which reflected powerful lamps on either
side of the car. The grips manipulating those lamps start turned away from the car, their light off.
The lamps are turned on, and they pass the beam over the foam core. The bounced light creates the
impression of a passing light source, such as a store. Once the beam reaches the rear end of the foam
core, the lamp is turned off.
E. Cameras pointed at the car.
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F. A long piece of wood is place under the rear axle of the car, then run over a wedge behind the
bumper. One grip’s job is to drape himself over this lever, ducked down so as to not be seen by the
camera, and slightly bounce the car at random intervals.
H. A light on a jib arm, suspended 15 feet above. The arm can rotate back and forth, passing the light
length-wise over the car. A large diffusion box attached to the front of the light. The grip on the jib
arm starts with the light off, held in front of the car. The light turns on, and he rotates the light in a
wide arc over then past the car. At the end of the arc, the light turns off, and returns to its original
position. This creates the impression of street lamps passing overhead.
I. Not illustrated here, but there can be a small light inside the car, illuminating the actors.
GREENSCREEN
The modern equivalent of “rear-projection”. Requires skill in lighting the greenscreen
and the car in front of it. The background is filmed separately and composited in at a
later date using computer software. This is a very time-consuming process and the results are dependent on the skill of the people doing the work.
PROS: good control, good sound
CONS: mixed results – can be time consuming to not only film, but to composite
COST: varies widely
DRIVE-BY
Use an exterior shot of the vehicle moving and lay in dialogue as “voice over” in postproduction.
PROS:fast
CONS: actors are not visible
COST: no additional cost
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STUNTS AND COORDINATORS
First of all, professional stunt performers are not daredevils. Motion picture stuntmen
and stuntwomen are very much like professional athletes. They’ve trained and worked
very hard just to get into the business. They make their living performing physical action
in front of the camera. If a stuntperson gets hurt in a shot, it means they’re not going to
work for a while – and that means they’re not going to earn any money for a while. Basic
economics and self-preservation mean the Evel Knevel approach to stunt work in films
and TV is totally out of the question.
And there’s no reason to be reckless. Film is a business of illusion. We create the illusion
that a woman has fallen from a bridge or that a man has been set on fire. But when the
Director says, “Cut!” everyone gets up; dusts themselves off and gets ready for the next
shot.
WHAT IS A STUNT
Physical action requiring an actor to fight, fall, jump, run and, in general, perform in an
athletic manner and/or in hazardous situations may require the services of a stunt player
to double the actor. Often, even professional filmmakers don’t appreciate what is and
what is not a stunt. If there’s any question, check with a stunt coordinator. Have them
read the script and discuss the action with them.
Many common activities, which may be simple tasks for someone familiar with the tool,
toy, appliance or device, can be dangerous to someone unfamiliar with its proper and safe
operation. For example, skateboards, manual transmissions, scooters and motorcycles.
Inexperienced actors (and some desperate ones – afraid of not getting the part) will often
assure Directors that they are capable of performing their own stunts. They’re not. Stunts,
safely performed, require training, experience and natural ability.
And there’s another thing – you want the physical action to look “real”. There’s nothing
that destroys the illusion faster than lame, awkward and clumsy physical action.
Professional stunt players are actors and members of the Screen Actor’s Guild. They are
covered by the provisions of the Basic Agreement. Many stunt players are fully capable of
delivering dialogue on-camera. Smart Directors and Producers cast stuntpersons whenever possible and avoid the cost and hassle of doubling.
WHAT IS A STUNT COORDINATOR
A Stunt Coordinator is a stunt player who assumes the responsibility for supervising all
the stunt work and all stunt players in a picture. In addition to hiring the stunt performers and arranging for any necessary equipment, the coordinator works with the cinematographer to work out the best possible camera angles for each gag to achieve the most
effective visual impact. He also has the responsibility for keeping all members of the
crew, the camera operator, and the stuntpeople safe during the filming of stuntwork.
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The Stunt Coordinator is sometimes employed months before a picture starts shooting to
help the writers and director work on the action in the story. Then the Coordinator breaks
down the script and develops a stunt budget. Once a budget is accepted by the Producer,
the Coordinator is expected to stay within it.
On smaller shows, the Stunt Coordinator may perform many of the stunts themselves.
WORKING WITH THE STUNT COORDINATOR
The performances of all stunts or hazards is preceded by a meeting on the site of the event
with all people concerned. This meeting includes a “walk-thru” or “dry-run” with the stunt
coordinator and/or special effects crew and all of the persons involved in the event. An
understanding of the intended action, possible deviations, and authority to abort should be
made clear.
All stunts and special effects should be reviewed by all participants prior to execution
to help ensure that they are performed in the safest manner possible. The safety meeting
should be documented on the Production Report.
LMU STUNT ROSTER
Listed below are some sources for both stunt coordinators and stunt performers. Many
have worked on past student projects. They are qualified and reliable. If they are not able to
help you ask them for a referral to someone else.
Remember, a “qualified” stunt coordinator is a member of SAG/AFTRA.
Stuntmen’s Association of Motion Pictures
5200 Lankershim Boulevard Suite 190
North Hollywood, California 91601
Office: (818) 766 4334
Fax: (818) 766 5943
Email:[email protected]
www.stuntmen.com
Stuntwomen’s Association of Motion Pictures
3760 Cahuenga Boulevard Suite 104
Studio City, California 91604
818-762-0907
Email: [email protected]
www.stuntwomen.com
Stunts Unlimited
15233 Ventura Boulevard Suite 425
Sherman Oaks, California 91403
Offive: (818) 501-1970
E-Mail: [email protected]
www.stuntsunlimited.com
StuntKids
25124 Walnut Street
Newhall, California 91321
Email: [email protected]
Kai Nuuhiwa
714 653 3756
www.kainuuhiwa.com
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Jessica Erin Bennett
(615) 405-0290
www.Jessicaerinvbennett.com
Sword Fights, Inc.
(818) 209-6543
www.swordfightsinc.com
Mathew Lorenceau
(818) 631-3923
Action Specialists
(661) 775-8530
www.actionspecialists.com
Joining All Movement
(818) 343-1615
www.joiningallmovement.com
Mario Rocha
(213) 479-6447
[email protected]
We are always trying to add to our list of stunt coordinators. If you work with
someone not on this list - and if you feel they are reliable and competent - please
give their name and contact information to either John or Deb in the Head of Production Office.
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COPYRIGHTS, CLEARANCES &
STUDENT FILMMAKING
As student filmmakers, you want your work to be exhibited to the widest possible audience. Public screening of your film requires that it be “cleared” so that you do not have
to defend yourself from lawsuits brought by injured parties.
In brief, you must have permission to use what belongs to someone else – that is – their
likeness, their personal property and their intellectual property.
If you fail to obtain all the necessary clearances, waivers, rights and permissions – your
project will be limited to “classroom” screenings only. That precludes showing at any
film festival, public screening and on network or cable television – as well as other public
venues.
This guide is intended to give you a general idea of what is needed in the way of
clearances. It is not intended to be comprehensive nor should it be construed as legal
advice.
LOGOS, BRANDNAMES AND TRADEMARKS
When distinctive personal property that is identifiable with any person or entity ( a logo
like the Nike “swoosh”
trademark like
such property.
or a brand name like Apple Computer
or a
) is filmed in a scene, you may need consent in writing to use
Most importantly, you may not photograph any trademark or logo that presents a company or entity represented, or its product, in a detrimental or defamatory way. To do so
would expose you to a lawsuit for slander and/or libel.
If the property is non-distinctive background, you most likely do not need permission to
film it. For example, if you are filming an exterior street scene and the McDonald’s arches
can be seen indistinctly in the background, but no reference (either direct or implied) is
made to that company, then you do not need their permission.
Some sources of cleared printed material (labels, posters, signs, etc.) are:
Earl Hays Press
10707 Sherman Way
Sun Valley, CA 91352
818 765 0700
SGI Studio Graphics
9545 Wentworth St.
Sunland, CA 91040
818 951 5615
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COPYRIGHTED MATERIAL
There must be written consent from authors, creators and writers of all material – including quotations from copyrighted works used in the production – authorizing the use of
that material. As of this date, copyright protection extends for the life of the artist - or
copyright holder - plus 70 years. In the case of copyrights owned by corporations, the
protection lasts for 95 years.
We recommend that you avoid using copyrighted material. Getting the appropriate permissions takes a lot of time; costs more than a student film can generally afford and may
require legal counsel.
Whenever possible, consider using fictitious names, companies and products to avoid
problems.
FILMCLIPS, TAPES, ARTWORK AND STILL PHOTOS
You must obtain permission from the company that presently owns the film or tape.
Keep in mind that the material may have changed ownership since its original release or
showing.
If you were to get clearances on your own you will probably need to obtain releases from
the Writer’s Guild, the Screen Actor’s Guild, the Director’s Guild, the American Federation of Musicians as well as any other group that participated in the origination of the
clip. Be aware that there is often a charge for these releases.
Clearances of clips involving music can be even more lengthy and complex – as well as
more expensive. If the clip is from a home movie or other non-commercial production it
may also be necessary to get permission from the people who appear in the clip.
To use a photograph you need the permission of the copyright holder and a release from
the person(s) in the photo if not previously granted.
You need the written permission of the owner of a piece of artwork to use that material in
your film.
The solution most often used by professionals is to use stock footage. There are a great
many companies ( who are all listed in LA411 ) that provide not only film clips, but
photos and artwork that are cleared. They charge for this service and the rates range from
$25.00 a second and up. A few of the better known companies are:
Producer’s Library Service, Inc.
10832 Chandler Boulevard
www.filfootage.com
stock footage and movie clips
The Bridgeman Art Library
212 828 1255
www.bridgeman.co.uk
fine art images
Warren Miller Entertainment The Image Bank
303 442 343075 Varick Street
www.warrenmiller.comNew York, NY 10013
adventure/action sportswww.gettyimages.com
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ORIGINAL MUSIC
We strongly encourage you to consider using original music, scored specifically for
your film. The advantages are numerous - from creative to rights - and there are
many talented composers and musicians who offer their services to SFTV students.
Generally, the expense is minimal and covers material costs. Don’t forget to have
a written agreement with your composer!
PRE-RECORDED OR PUBLISHED MUSIC
All previously published music or pre-recorded must be cleared, regardless of how
much or how little of that music is used in your project. Failure to get permission to use a
piece of music opens yourself to a potential lawsuit from the owners of the copyright.
Keep in mind there are different rights associated with any piece music. The two that
you as a filmmaker need to be concerned with are:
Synchronization Rights – are the rights to record music as a part of your
film. They are usually controlled by one (or more) Publishers – gives you
the right to use the underlying composition (song or melody) in timed
synchronization with your picture.
Performance Rights – getting this right allows you to recite, play, sing,
dance or act out a piece of music.
If you want to use a specific recording ( a CD) then you will need to get:
Master Use License– this is a contract to license a recording. It is usually
controlled by a Record Company.
So, to clear a pre-recorded piece of music you will need the following in writing:
Performance & Synchronization License (from the publisher(s)
Master Use License (from the Record company)
Permission from the performer(s) or other third parties, as advised by
either the publisher or record company.
For example:
If you have a character in your film hum, sing or whistle “Sympathy
for the Devil” you will need to get the PERFORMANCE RIGHTS from
ABKCO Music , Inc.
If you want to use “Sympathy for the Devil” from the ROLLING
STONES CD (all or part) in your soundtrack you will need to get the
MASTER USE LICENSE and SYNCHRONIZATION RIGHTS from ABKCO Music, Inc.
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If you want to use “Sympathy for the Devil” from the GUNS N’ ROSES
CD (all or part) in your soundtrack you will need to get the MASTER
USE LICENSE from GEFFEN RECORDS and the SYNCHRONIZATION
RIGHTS from ABKCO Music, Inc.
The following companies can help you find out who owns the music you
are interested in and also help with securing the proper rights. They do
so for a fee, however.
ASCAP Clearance Express
BMI Hyperrepertoire Internet
http://www.ascap.com/ace/ACE.html
Song Title Database
Clearance Desk: http://www.bmi.com.repertoire
212 621 6160Research Department:
310 659 9109
SESAC Repertory On-Line
http://www.sesac.com/repertory.html
800 826 9996
Harry Fox Agency
http://www.harryfox.com
Theatrics Department:
212 370 5330
THE COST OF LICENSES
The fees for the use of pre-recorded and/or published music are based on a
number of factors including how the music will be used, the duration and the
number of times the music will be used and where the film will be exhibited.
Synch fees usually run between $15,000 and $50,000 for commercial productions. Fees are always negotiable and not all record companies and music
publishers charge the same amount. Students can negotiate reduced fees for
educational screenings and film festivals.
MUSIC LIBRARIES
LMU|SFTV has added the Killer Tracks music library to its resources. This music is cleared for use in Film Festivals and the Internet. Check with the Sound
Department for details.
LIKENESSES
You need people’s written permission to use their likeness (that is, their face) in your film
– if they are recognizable on screen.
However, if you are shooting a crowd scene – at the Rose Bowl, for example – and if you
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do not focus on any one person or show their image for more than a second or two, then
you do not need their permission. It may also help to post signs around your location like
the following :
ATTENTION !
Today there will be motion picture, video and still camera crews from Loyola Marymount University School of
Film and Television photographing areas marked by these signs.
Their work may become part of a movie or video distributed in any and all media.
If you do not want to be photographed and thereby allow for your likeness and photograph to become part of
the film or video, please do not enter the area bound by these signs.
By your presence in such areas you are consenting to the use of your likeness for the above stated purpose.
A sign like this does not absolve you from the responsibility to get the proper releases, but
it may prevent some unpleasantness with the citizenry. People who have a problem appearing in your film have the opportunity to avoid the camera.
CHARACTER NAMES, ADDRESSES, PHONE NUMBERS, LICENSE PLATES
Where the work is fictional, in part or in whole, the names of all characters must be fictional. There are obviously very many people named John Smith, but you have to make sure
there is no one named John Smith, who matches your character in age, ethnicity, address,
occupation, etc.
You cannot use real phone numbers or addresses in your fictional work. That would be
considered an invasion of privacy. The telephone numbers 555-0100 to 555-0199 will never
be assigned to any individual or business and are often used in films and television.
Prop houses have phony licenses plates for rent so no one can claim you used their license
without permission.
LOCATIONS
The general principles of law would allow you to film anything visible to the
general public so long as you do not defame or disparage it. If you are filming on a city
sidewalk with a valid Filming Permit you don’t have to worry about signage in the background. However, if you have your actors go into a real place of business you will need a
Location Release
The Location Release says that the owners give you permission to shoot
on their property.
The Filming Permit is a legal document generated by a governmental
body (like the City of LA) that gives you permission to shoot a film in that
city. A permit is required for filming or taping any commercial motion
picture, television program, advertisement, music video, or other similar
production outside of an approved studio , and for certain commercial
still photography.
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ALWAYS get a Release. “No location is secured until you have written authorization. The
Location Release must be signed by the property owner.
ALWAYS get a Permit - even in your own living room. You are not LEGALLY AUTHORIZED to shoot until you have an approved city permit in your hand. It will protect you;
shooting without it is not an option.
THE FAIR USE ACT
There is a great deal of misunderstanding about the Fair Use Act. Essentially, it provides
for a small portion of a copyrighted work to be used for teaching, criticism, or news
– without the permission of the copyright holder. A student film does not meet any of the
criteria for “fair use”.
COPYRIGHTING YOUR OWN WORK
Copyright is secured automatically when the work is created and a work is “created”
when it is fixed in copy for the first time.
“Copies” are material objects from which a work can be read or visually preceived either
directly or with the aid of a machine or device, such as books, manuscripts, sheet music,
film, videotape, microfilm or such similar materials.
The COPYRIGHT notice should contain all the following three elements:
the symbol © (the letter C in a circle) or the word “copyright”
and
the year of first publication of the work
and
the name of the owner of the copyright in the work, or an abbreviation
by which the name can be recognized, or a generally known alternative
designation of the owner.
EXAMPLE:
© 2011 Jane Doe
If you are interested in learning more, visit the U.S. Copyright Office website at:
www.copyright.gov
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THE USE OF GENERATORS IN
STUDENT FILMS
WHEN DO I NEED A GENERATOR?
When electrical power is either not available or inadequate. For example, in remote areas such as deserts, mountains and forests or older private dwellings and buildings with
minimal electrical service and antiquated wiring.
WHAT SIZE GENERATOR DO I NEED?
For most student shows a small Honda-type generator (pictured above right) should
be adequate. A 45 Amp (5500 Watt) “putt-putt” will generate enough electricity to run
several lamps.
Keep in mind that the small Honda generators are not baffled - they are very noisy and
not at all suitable when recording sound.
To determine exactly how big a generator you need you can use the formula “West Virginia”. That is, W=VxA.
Figure that a 1000 Watt lamp at the standard 110 Volts will draw 10
Amps (divide 1000 by 100 to give yourself a 10% safety factor).
Calculate how many lamps you will be using at any one time on your
set. Add up the wattage and divide by 100. That will tell you how large
a generator you need.
A 350 Amp generator should provide enough power to light 35 1K
tungsten lighting instruments. Of course that would be running at peak,
which you don’t want to do very often – or for very long.
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A student film will generally not need anything larger than a 500 amp generator – by
contrast large feature films will often run two 750 Amp generators to provide enough
power to light their sets.
On generators larger than 100 amps power is distributed by larger cables using Camlock
or Molelock connectors.
If you are using HMI or flourescent lights there are some other considerations you have
to keep in mind. To avoid “flicker” your lamps must be flicker-free – or the generator
must have crystal sync to maintain a constant 60HZ (cycles/second) at 24fps.
Additionally, HMIs draw more power on start up and you risk bogging down the generator if you are running near its maximum output.
Lamps larger than 10K will require 3-phase power. LMU’s Grip and Lighting Department does not provide any resources for 3-phase power distribution. You will have to
rent that equipment from a 3rd party vendor.
WHERE SHOULD THE GENERATOR BE PLACED ON LOCATION?
Even baffled generators make noise - they’re not completely silent. Try to put something
like a building or a truck between the generator and the set. If you’ve got to put the generator a long way from the set make sure you’ve rented enough cable.
Park the generator with the noisiest part - the exhaust - pointed away from the set. Remember, the quieter the location the harder it’s going to be to hide the generator noise.
WHERE DO I GET A GENERATOR?
There are a number of rental companies in the Los Angeles area that rent sound-proofed
generators as well as the smaller “putt-putts” (unsilenced generators, which are totally
unsuited for sound recording - these smaller units are usually rated in watts rather than
amps). Castex has smaller generators and generally deals well with students.
Check LA411 for generator rental companies. The following vendors have cooperated
with LMU students in the past and the LMU Risk Management Office will issue Certificates of Insurance for:
CinerepSMS Generators Inc
20420 Corisco Street
15700 Roxford
Chatsworth, CA 91311-6121
Sylmar, California 91342
Phone (818) 882-2677 Phone (818) 361 2151
Fax
(818) 364 7420
WHAT DOES IT COST TO RENT A GENERATOR?
Rental rates vary depending on the size of the generator. Don’t forget to include the cost
of operating (the fuel) as well as transporting the generator to and from your filming site.
The average cost for a 3-day weekend is about $800 for a 500 amp generator.
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WHAT ABOUT FUEL?
For purposes of budgeting, figure that a generator running at 100% capacity will burn
about 4 gallons of diesel fuel an hour. The tanks on most units are large enough to accommodate a “normal” 10 to 12 hour day. Consider whether or not you will need re-fueling
– who will do it; when will it be done and how much will it cost.
DOES LMU INSURE GENERATORS?
Yes and no. Remember that the LMU insurance policy does not cover vehicles – of any
kind. A truck mounted generator – or a trailer mounted, towed generator, for that matter,
is considered a vehicle when in motion – and as such, is not covered by LMU. However,
once stationary and functioning as a power plant, it would be covered.
So the issue is, how to get the generator to and from your set. Many generator rental
companies will provide “drop/pickup” service at an additional charge. As long as your
location is within the Studio Zone this charge will be substantially less than purchasing
third party vehicle insurance.
If you need the generator at multiple locations, you will have to pay additional charges to
have it moved.
HOW DO I OPERATE THE GENERATOR?
If you have to ask, you’d better not be the one operating the generator. That said, most
generators available from motion picture equipment rental houses are fully automated
and relatively simple to operate.
HOW IS POWER DISTRIBUTED FROM THE GENERATOR?
Okay. You definitely shouldn’t be the one operating the generator.
ANYTHING ELSE?
You must have a designated generator operator with direct 2-way communication to the
set (i.e. walkie-talkies - NOT a cell phone). This person is not to be considered “on-set”
crew. They stay with the generator monitor its operation and shut it down immediately if
there is a problem.
You must also use a Lifeguard GFCI (ground-fault circuit interruptor) with the generator.
You can rent one from Bender ET for about $200 per one day week. The GFCI must be
inspected by Frank Hughes before your Lighting and Grip order will be released.
Using a generator in some locations (like the Angeles National Forest) will require that
you hire a Fire Safety Officer to be on set. The issuing permit office will let you know if
an FSO is needed.
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THE USE OF MINORS IN
STUDENT FILMS
Chapter 6. Division of Labor Standards Enforcement
Subchapter 2. Employment of Minors in the Entertainment Industry
Article 1. Motion Picture Industries
§11751. Entertainment Industry Defined; Employment of Minors in the
Entertainment Industry.
(a) The Entertainment Industry, hereinafter referred to as the employer,
shall be defined as any organization, or individual, using the services of any
minor in: Motion pictures of any type (e.g. film, videotape, etc.), using any
format (theatrical film, commercial, documentary, television program, etc.)
by any medium (e.g. theater, television, videocassette, etc.); photography;
recording; modeling; theatrical productions; publicity; rodeos; circuses;
musical performances; and any other performances where minors perform to
entertain the public.
(b) Any employer in the Entertainment Industry desiring to employ minors
in any such work or activity which is not hazardous or detrimental to the
health, safety, morals or education of such minors shall make an application
to the Division for a Permit to Employ Minors in such work or activity. In
determining what is hazardous or detrimental to “morals” within the meaning of these regulations, due regard shall be given to the acts proscribed by
Sections 311 through 314 of the California Penal Code.
NOTE: Authority cited: Sections 55, 59 and 1398, Labor Code. Reference: Sections 1396 and 1397, Labor Code.
The section above is copied directly from the California Child Labor Laws. As you will
note, there is no mention of an exemption for “student films”.
The use of children in motion pictures presents logistical and ethical challenges to the
filmmaker and to the Assistant Director in particular. Children working in the entertainment industry are subject to many unique pressures and demands not the least of
which is that they are working.
Every minute spent on a film set in front of a camera; at rehearsal; in wardrobe fittings or looping dialogue is a minute not spent being a child. As much as you and I
may derive a great deal of personal satisfaction and even pleasure from the process of
making movies the fact remains that acting in a film is not play – it’s work. The difference between a McCauley Culkin on the set of Home Alone and a nameless child
laboring in a Guatemalan sweatshop is one of degree not of kind.
When filmmakers employ minors they must accept moral responsibility for stealing
a little bit of that kid’s childhood. Does that mean we shouldn’t use children in our
films? Well, that’s probably not a very realistic eventuality. What we can do is make
absolutely certain that we do everything in our power as to not only observe the letter of the law, but the spirit as well.
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WHY ALL THE RULES?
While there are no national standards regulating the use of children in the entertainment
industry a number of states have adopted rules that are very similar to California’s. Since
California has had almost one hundred years of experience dealing with children in films
that makes some sense. Unfortunately that long experience has not always been a pleasant one. As someone once said, “every regulation is written in blood” meaning that the
rules aren’t created because lawmakers think a violation might occur. They’re written
because the violation has occurred.
The California regulations apply to minors who work in California or who are taken
out of state to work. They also apply to minors from out-of-state who work in California. If you are working in another state, for a non-California company, check local
rules and regulations covering the use of minors. The local film commission can help
with this.
Because children working in films have been abused and mistreated– and because
the parents of those children could not always be counted on to protect the best interests of the child, the State of California determined that an objective, third party must
be present when a child is working. A person whose only concern was to safeguard
the welfare of the minor.
WHO IS A MINOR?
A minor, by definition, is anyone under the age of eighteen. There is also a category
called “Emancipated Minor”. These cases are rare. In twenty years as an AD I never met
an “emancipated minor”. And should you ever come across one remember that they
are not necessarily exempt from compulsory school attendance or child labor laws and
regulations. One of the few things they are allowed to do is sign a binding contract.
WHO IS A STUDIO TEACHER?
A Studio Teacher in California is a credentialed secondary teacher who has been
certified by the Labor Commissioner as a Studio Teacher (they have passed a series of
tests and are familiar with the laws governing the use of children in films). You can’t
just use someone who has a teaching credential – not in the State of California.
As a general rule, a certified Studio Teacher must be present whenever a minor
is working. A Studio Teacher is required to be present for minors ages sixteen to
eighteen “when required for the education of the minor”- that means that a Teacher
is not required on non-school days – weekends, holidays and summer vacation, for
example.
In addition, the legal guardian or parent of the minor must be present the entire time
the child is working – and within sight and sound of the child. Relatives, neighbors
or babysitters are not legal substitutes – even if they have written permission from
the parent or legal guardian.
The term “studio teacher” is often misleading. The fact is, that teaching is, arguably,
the least important of the teacher’s responsibilities. In California a Studio Teacher is
responsible, by law, for the health, safety and moral well-being of the child or children
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working on the film. The term “welfare worker” is sometimes used and is much more
appropriate.
A Studio Teacher has the absolute discretion to remove a minor from a production –
without any repercussion – if the Teacher feels that the health, safety and/or moral wellbeing of the minor(s) may be compromised. Because of this responsibility for the health,
safety and moral well-being, the Studio Teacher is required even when school is not in
session including weekends.
If you are using an infant 15 days to six months of age you must also have a Nurse
present on the set. You must also provide an “adequate facility” removed from the
worksite where the baby can eat and/or sleep without being held. An infant of this
age cannot be at the place of employment for more than 2 hours – or work for more
than 20 minutes. (Remember, rehearsal time is work time.) An infant cannot be exposed to light of greater intensity than 100 foot-candles for more than 30 seconds at a
time. The use of infants younger than fifteen days is not allowed.
A FEW POINTS TO REMEMBER:
Young children have shorter attention spans than adults and they tire
quickly.
The work hours of minors are strictly regulated and vigorously enforced.
The amount of hours a child may work are determined by the age of that
child. Extension of these hours is not allowed. There are penalties for
violation.
Minors can only be employed for the hours permitted by law. Under no
circumstances is a minor permitted to begin work before 5:00am nor to
work past 12:30am.
Given the shorter working hours of children, you must schedule your
shooting time accurately and realistically.
The presence of a minor on the set means you and your crew must
conduct yourselves professionally and responsibly to insure the safety
and well-being of those under your supervision, who are not able to care
for themselves.
Minors 16 years of age and older only need Studio Teachers if schooling
is required. (Schooling is not required on weekends and during the
summer.)
Minors must have a Permit to Work before they can be employed. They
must bring the Permit to the set with them each day they work. Studio
Teachers will want to see these permits before they allow a child to work
in your film. It is the responsibility of the minor’s parents to obtain this
permit. Be sure to ask whether the child has a permit when you are
casting the film.
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Permits can be obtained at:
Department of Labor Standards Enforcement
6150 Van Nuys Blvd.
Van Nuys, CA 91401
(818) 901-5484
WAIVER OF STUDIO TEACHER
No one has the authority to “waive” the Studio Teacher requirement
A Minor/Studio Teacher Confirmation Form (see following page) must be filled out and
submitted to the Head of Production Administrator.
WORK HOURS OF MINORS
The number of hours a minor may work in any given day are strictly regulated. The
younger the child, the fewer hours they may be employed. Remember, rehearsal is
“work” time.
Ages
Time on set
Time at work
School
Rest & recreation
Total time
with meals
15 days
to
6 months
2 hours
20 minutes
--------
1 hour
40 minutes
2 1/2 hours
6 Months
to
2 years
4 hours
2 hours
--------
2 hours
4 1/2 hours
2 years
thru
5 years
6 hours
3 hours
--------
3 hours
6 1/2 hours
6 years
thru
8 years
8 hours
4 hours
----------6 hours
3 hours
---------vacation
1 hour
----------2 hours
8 1/2 hours
9 years
thru
15 years
9 hours
5 hours
-----------7 hours
3 hours
------------vacation
1 hour
-------------2 hours
9 1/2 hours
16 years
and
17 years
10 hours
6 hours
-----------8 hours
3 hours
------------vacation
1 hour
-------------2 hours
10 1/2
hours
no more than 8 hours in one day of 24 hours
no more than 48 hours in one (1) week
no earlier than 5 a.m.
no later than 10 p.m. on evening preceding school day
no later than 12:30am on an evening preceding a non-school day
The requirements established for the use of minors in motion
plcture and television production are California state law.
Failure to comply with these laws could result in Criminal
and/or Civil penalties for not only the Producer and Director,
but other participants in the production as well.
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MINORS PERFORMING PHYSICAL ACTIVITIES
Prior to rehearsal or filming, the production should perform an initial review of the physical activity, including but not limited to:
the age, height, weight and maturity of the minor,
the physical fitness, coordination, expertise in the planned activity, and film experience of the minor,
the amount of additional information and movement the minor will be asked to
consider (e.g., camera positions, acting, looking over shoulder, waving arms, etc.),
how wardrobe or props will affect the actions and/or vision of the minor,
the amount of rehearsal and preparation time which has been provided,
the appropriate amount of protective gear or equipment necessary to safely perform the activity,
the area around the minor during the activity, and
any other factors affecting the minor.
Prior to rehearsal or filming the physical activity, the Director, First Assistant Director and
Stunt Coordinator should confer with the minor, minor’s parent/legal guardian and Studio Teacher to review and discuss the activity.
Rehearsals and filming of the physical activity should take place with the Assistant Director, Stunt Coordinator, Studio Teacher, and parent/legal guardian present. If the situation
warrants, a person qualified to administer medical assistance on an emergency basis must
be present or readily available at the rehearsal and filming of the activity.
If any aspect of the activity changes, a new discussion and/or meeting should be held and
a new rehearsal should be considered.
The production shall consider any reasonable request for additional equipment from the
minor, parent/legal guardian, or Studio Teacher.
If a consensus regarding the physical activity is not established, the minor, the minor’s
parent or guardian, the Studio Teacher, the Stunt Coordinator or the First Assistant Director may request a re-evaluation of the activity in its entirety. If, after the Studio Teacher,
parent, Stunt Coordinator, First Assistant Director and/or the safety professional agree on
the planned activity, but the minor expresses apprehension about performing the planned
activity, he/she may refuse to do it.
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MINOR/STUDIO TEACHER CONFIRMATION
Complete this form and return it to the Head of Production Administrator (CA328), along with a copy of
the minorʼs Work Permit from the Division of Labor Standards Enforcement.
Title of Production
Production Number
Producer
Director
Studio Teacher Name
Address
City and Zip
Phone
LIST ALL MINORS ON THE PRODUCTION – name, address, phone, parent/legal guardian. Use
additional sheets if necessary. PRINT CLEARLY.
Name
Address
Phone
Parent/Legal Guardian
Name
Address
Phone
Parent/Legal Guardian
Rev 8/02
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A copy of the Minor’s Work Permit must be delivered to the Risk Management Office prior to filming.
A copy of the Studio Teacher’s Certificate must be delivered to the Risk Management Office no later than 2 days
after the completion of principle photography.
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ANIMALS IN FILMS
First of all, remember that LMU’s insurance does not cover animals - any animals, even
your own pet. If you intend to use animals in your film you will be required to purchase
insurance from a broker. See the chapter on Insurance for contact information for several
insurance brokers.
Animals have been used in films since Edwin S. Porter’s The Great Train Robbery (1903).
Not all animals seen on the screen are living creatures, however. Today, many films with
animal actors use a combination of live animals; robots; computer-generated imagery;
and puppets.
Hollywood has a rich history of animals on screen although in one hundred years of filmmaking, the industry, however, has not always treated their animal actors well. Performing creatures can add a great deal to a motion picture, but we have moral and ethical
responsibilities to keep in mind when employing non-human actors. The filmmaker is responsible for the welfare of non-human members of the production as well as the human.
First of all, there are several types of animals used in films.
ANIMAL PERFORMERS
These are animals that play a part in the story. They are characters. Their actions provide
story points. They are usually domesticated animals although animals like bears have
been used with success.
These animals need to be taught the behaviors required on film. They must perform the
action on cue and consistently. Trainers work with these animal performers and teach
them the “gags”. It may take a day or two to teach the trick – it could take weeks or
months.
Most animals have a limited number of behaviors they are capable of performing on cue.
It may be necessary to have more than one animal playing the same part. Each “double”
has a set repertoire that it can perform.
Performing tires an animal quickly. A dog, for example, can be expected to work on
camera for about 20 to 30 minutes. And then they simply lie down and go to sleep. No
amount of pleading, begging or cajoling can rouse them from their rest. Keep this in
mind when scheduling the day’s work. Unrealistic expectations of an animal’s ability to
work on camera can lead to a scheduling disaster.
Remember, in general, animals spend most of their time sleeping.
ANIMALS AS TRANSPORT
Usually horses, but could be camels, elephants, etc. They aren’t performing a “trick”, but
they aren’t just background either. Actors and extras my be riding on their backs or in
vehicles drawn by them.
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BACKGROUND ANIMALS
Herds of cows in the field. Chickens and ducks wandering around the barnyard. These
animals are just “there”. They don’t perform any specific action on a given cue, but there
presence lends credibility or texture to the scene.
EXOTIC ANIMALS
Lions and tigers and bears. And snakes, alligators, leopards etc. These are wild animals.
They are not domesticated. They are often carnivores. While they may be “trained” to
some extent, they remain dangerous and unpredictable. Extreme care needs to be exercised when using them to protect the cast and crew from injury or death.
There are a number of rules that must be scrupulously observed when working with
potentially dangerous animals. For example, no running; no loud noises and no food on
set. The cast and crew must be made aware of how important it is that they behave in the
appropriate manner – for their own welfare.
The American Humane Association has been protecting animals used in films since
1940. They not only publish guidelines for the use of animals in films, they also monitor sets where animal activity takes place. AHA representatives make sure that facilities
where animals are housed and cared for during production; that props and sets; costumes and special effects all make the animal’s well-being their top priority.
Whatever type of animal you may be using, they all have some common needs:
Food and water
A relatively simple matter when dealing with cats and dogs. The
logistical challenges grow, however, when working with herd animals.
Horses, cows, sheep and so forth consume large quantities of hay, grain
and water. The handlers and wranglers will arrange for delivery of these
consumables to the set.
What goes in comes out. Waste must be transported from the set. Once
again, not much of an issue with a cocker spaniel, but a herd of buffalo
presents a bit of a challenge.
A Place to stay
There needs to be a place – away from the hustle and bustle of the set
– where the animals can rest. For smaller creatures it is a cage – for cows,
sheep and buffalo a larger area is required. Portable pens can be set up to
accommodate large herds.
This space should not become the company “petting zoo”. Give the
animals some quiet time.
Transportation to and from the set
Small animals can be transported in the family sedan. Large critters –
and large numbers of them – will require bigger vehicles. This could
include trucks, semis and trains. Some cases may require airlifting the
animals to and from the set.
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Trainers
This is the person who teaches the animal the behavior that will be
required on cue when the camera rolls. This can be a time-consuming
process depending on the nature of the gag itself and the type of animal
being trained.
Wranglers and Handlers
Traditionally, the term “wrangler” applied to those persons who rented,
transported, cared for and fed horses. Most often, they were cowboys,
who worked on westerns. Today the term is used to refer to anyone who
handles anything on the set (extra wranglers, kid wranglers, etc.).
WORKING WITH ANIMALS ON SET
It is the responsibility of the Assistant Director to coordinate the use of animal actors with
the Trainers/Handlers; Director; Cinematographer and the rest of the production team.
The AD must have a working knowledge of the rules that apply to the use of animals and
a realistic assessment of what can be expected.
Animals are unpredictable. If animals are used in filming, the Animal Handler should
meet with cast and crew and inform them of the safety procedures in effect and answer
any questions. Safety meetings should be held when appropriate.
Do not feed, pet or play with any animal without the permission and direct supervision
of its trainer. Defer to the animal trainers at all times.
When working with exotic animals, the set should be closed and notices posted to that
effect, including a note on the call sheet. The point is to eliminate as many distractions to
the animal as you can.
AHA GUIDELINES
You can download the American Humane’s Guidelines for the Safe Use of Animals in
Filmed Entertainment at:
www.americanhumane.org
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POLICY ON THE USE OF ANIMALS IN STUDENT FILMS
• Any animal appearing in a student film must be a performing animal accompanied by a professional trainer.
• The animal trainer must be able to provide the University with a Certificate
of Insurance naming LMU as “additionally insured”.
• The use of exotic animals including but not limited to lions, tigers and bears
is not permitted in student films.
• Students using animals in their films must adhere to the American Humane
Association’s Guidelines for the use of animals in media. See below.
BASIC PRINCIPLES FOR THE SAFE USE OF ANIMALS IN FILMED MEDIA
• American Humane’s Guidelines apply to all animals used in the production, including animals used as background or off-camera to attract the attention of another animal being filmed.
• No animal will be killed or injured for the sake of a film production.
• American Humane will not allow any animal to be treated inhumanely to elicit a
performance.
• Documentary-style footage/stock footage acceptable to American Humane’s mission cannot include scenes that represent actual harm to an animal, even if filmed
as non-fiction “newsreel” footage. Such harm, although possibly historic, is considered exploitation of the animal’s suffering for the sake of entertainment. Any scene
depicting harm must be simulated.
DEFINITIONS
• ANIMAL is any sentient creature, including birds, fish, reptiles and insects.
• ANIMAL HANDLER is any person responsible for training, working or moving
any animal. The term “animal handler” includes, but is not limited to, animal coordinators, wranglers and any other cast or crew member or private party providing
or taking responsibility for an animal.
• HARMED is physical injury or damage; having had pain or loss or suffering
inflicted.
• HUMANE means marked by an emphasis on humanistic values and concerns;
characterized by kindness, mercy or compassion.
• INHUMANE means lacking pity or compassion for another living being.
• MOTION PICTURE and FILMED MEDIA are terms that include, but are not
limited to, film, television, music video and computer images. These terms are used
interchangeably throughout these Guidelines.
The complete guidelines can be downloaded at: http://www.americanhumane.org
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CASTING AND WORKING
WITH ACTORS
CASTING IS STEP ONE
Casting the right actor is a big part of successful directing. But before you cast, you’ve
got to decide what you want. Who is your character? What sort of physical exterior
will communicate to the audience the inner essence of that character? Knowing the
character thoroughly at the beginning will help you talk to actors intelligently and get
them interested in donating their time to your project. Write clear and detailed character
breakdowns. Think very hard about what you are looking for - and don’t be afraid to
ask for it.
START EARLY
Casting takes time. Don’t rush the process. Find the best talent you can. Keep in mind
that no matter how many people you get submitting for a role, most of them are not going to be right for the part. The more submissions you get the better chance you have of
finding the right actor for the part.
ON-LINE CASTING SERVICES
These services are free to students (the actors have to pay to be listed). Read all the
information carefully. Fill out the information about your project ( locations, dates, format, etc.). Be sure to indicate that your project is “non-union” .
Castnet.comNowcsating.com
www. castnet.com/casting
www.nowcasting.com
323 964 4900
818 841 7165
818 841 7118 fax (for sides)
Backstage West
www.backstage.com/backstage/casting/west/submit_notice_west.jsp
323 525 2358
Mandy.comL.A. Casting
www.mandy.comwww.lacasting.com
Breakdown Express
www.breakdownexpress.com
POSTING A CASTING NOTICE
The first step is to break down the script and make a list of all the parts that are big
enough for “professional” actors. The reality is that a role with one line – or a nonspeaking part – aren’t going to be of any interest to actors.
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Write a brief description of each character. In general, short posts attract more submissions that long ones. Write just enough to get the actor interested. Make the role sound
as appealing to an actor as possible.
Have someone you trust proofread the descriptions to see how well you’ve described the
role. Check for spelling and grammar so your post doesn’t look like it was written by a
moron.
If the role involves nudity you must include that information in the posting.
NARROWING THE FIELD
Once you have a stack of headshots how do you decide who to call in for an audition? To
make these decisions, you must go back to your original concept of the film and the internal make-up of the character. Think about the character and decide what sort of “look”
will communicate these internal characteristics to the audience.
Keep in mind, headshots are manufactured images of what the actor thinks a director
wants to see. Look at them with a skeptic’s eye. Look for things like facial structure, the
expression in the eyes - try to see through three hours worth of makeup and really good
lighting.
Don’t rely on just the photos. Check out the resumes too. A good-looking but inexperienced actor may require a lot of patience and directorial energy. Talent and experience
can be more valuable than the perfect height or hair color.
TALKING TO THE ACTOR - SCHEDULING THE AUDITION
Don’t make any phone calls until you’re ready. Prepare a short synopsis of the script and
a short description of the character. Know when you are going to shoot, when you want
to hold rehearsals and auditions. Know the room number you’re going to use for auditions. Have directions to campus ready.
With all of this information in hand, start calling the actors. If there is a home number or
“service” number listed, try calling it first. This is the most direct approach. If you leave a
message, keep it brief. If only the agent’s number is listed, don’t let it scare you, just call
them and tell them you are interested in auditioning Mary Jones for a LMU project and
leave your contact information.
When you actually speak to the actor be prepared for all their questions. Know the character. Be enthusiastic. Be professional. An actor needs to trust the director implicitly. That
trust starts with the first phone contact.
Be sure to check their availability at this point (why audition someone who can’t make
the shoot?), especially if your own schedule is not flexible. If they are interested and
available, schedule an audition. Allow at least twenty minutes for each audition. Fifteen
seems to always make things too rushed. Tell them where to go and how to get there.
Give them instructions for parking. Give them your phone number should something
come up.
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THE AUDITION
Post signs with the room number on the doors to the lobby and the casting board in the
lobby. Put a sign outside the audition room “CASTING - PLEASE WAIT IN HALL” This
prevents interruptions. If appropriate, leave copies of the script pages (sides) outside the
door for waiting actors, and have someone there to greet them when they arrive, assure
them they’re in the right place, and answer questions.
Videotape the auditions. The Camera Department will check out a camera to you for
this purpose. Videotape gives you the opportunity to review the audition and study the
performance at your leisure. People often look different on tape than they do in real life.
Don’t forget to get some close-ups.
If this is a dialogue film, it is always good to have someone else there to read opposite the
actors. One of the best ways to run auditions is with an assistant. When the actors arrive,
this is the person they deal with, the one who introduces them to the director, helps with
props, reads opposite them or operates the video camera. This not only makes the audition more professional, but also allows the director to concentrate on the acting.
When each actor comes into the room make a little small talk before beginning. Look
at their resume and ask a question or two. It will give you a sense of who they are as a
person and whether you can get along with them.
If this is an audition for a non-sync sound project, think about having the actor do a
non-verbal improvisation with props (deck of cards, a newspaper, a photograph) where
they must go through a range of emotions (elation, anger, sadness). You can also ascertain
their physical memory by asking them something like “with what hand did you pick up
the newspaper?” Especially at the beginning level, an actor with a good physical memory
is invaluable.
Do the reading/improv. Give them some changes (see how well they take direction).
When it is over, let them know when they can expect your call.
AUDITIONING KIDS
If you’re casting children remember that you’re also auditioning the parents. A pushy,
difficult, demanding parent can make your life a living hell. Be on the lookout for “stage
mothers” and avoid them at all costs. Spend some time talking to the parent(s) at the
audition and get a sense of whether or not you can work with them.
Another thing worth mentioning is that kids are generally lousy actors. Sure, they’re
cute, but they just don’t have the life experience that makes a good actor. If you’re looking for kids start really early - it’ll take a long time to find the right one.
AFTER THE AUDITION
Always call the actors back - even if you didn’t cast them! They will appreciate this professional courtesy. Also, until your first choice actor has officially accepted the part, do
not turn the other actors down! Some actors who have accepted a part have bailed on the
student filmmaker days before shooting was to begin ( because they got a paying gig ).
Don’t burn any bridges.
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BEFORE THE SHOOT
Confirm dates, times, places (the best thing to do is to fax/mail your actors a note with
all this info on it- including a map to the location). Having it in writing prevents wasted
time.
Also confirm the length of the shoots. Don’t tell them it will be three hours if you know
it will be five. Pad your estimate substantially. Then, when your shoot runs over (and it
always will), your actor won’t be upset.
Hold any rehearsals you feel necessary.
Plan an efficient production schedule.
Have them sign an Actor Release form. Have them fill out a Worker’s Compensation
form. Both are available at the Student Production Office.
DURING THE SHOOT
Remember that acting is not easy, even under the best of circumstances. Have patience.
Keeping the above points in mind, treat actors with respect and consideration. Remember, the more professional and organized you are, the more your actors will respect and
trust you. In turn, this gives them the opportunity to relax and concentrate on their job.
Have food and drink on the set at all times (Especially water and coffee/tea for those
early morning calls.) A candy bar from the vending machine is not sufficient.
Avoid physically uncomfortable situations. Is there a private place for actors to change?
Is there a bathroom nearby? If it’s hot, keep plenty of cold beverages and ice available.
Try to provide a shaded or air-conditioned space for the actors while they wait. Try to use
a stand-in for lighting.
Keep actors informed. What is the next shot? How long will it be?
AFTER THE SHOOT
Keep the actors informed about your post-production schedule. Let them know when
you will be done with the project, when the screening is scheduled, and when they can
expect their copy of the film.
MAKE SURE ALL YOUR ACTORS GET A COPY OF THE PROJECT
The reason actors want to work on student films is to get a tape of the film to show to
agents and casting directors. If it’s going to take some time to finish the project, let them
know. Call periodically and fill them in on your progress and reassure them that you
haven’t forgotten them.
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USE OF PROFESSIONAL ACTORS
First, you can use union actors in your projects. Second, you do not have to sign a SAG
agreement or waiver.
As long as the Worker’s Compensation insurance exists you can use volunteers, whom
are not LMU students, to act as cast or crew on your film. NO ACTORS, HOWEVER,
MAY BE PAID.
A SAG agreement obligates you to pay your actors at scale (current scale) and royalties, if
the film is ever released commercially.
The usual response from a student is that a student film will never be released commercially. This is not entirely true. In fact, many LMU films have been released. Commercial
release does not just mean at the UA Cinemas, etc. It refers to any release where any payment is received for its showing or distribution. It also refers to public release, not necessarily referring to any payment being made. This may include festivals, small theatres,
public television etc.
The bottom line is that the contract is not required. The University’s position and
recommendation is that you should not enter in this agreement. If an actor won’t work
without it, we recommend finding another actor.
GUIDELINES FOR WORKING WITH ACTORS
LMU is not a signatory to the Screen Actor’s Guild contract – nor are you required to
sign a SAG contract to make your student films. Nonetheless, as aspiring filmmakers you
should treat your actors with respect and professional courtesy.
The following excerpts from the Screen Actor’s Guild “Student Film Agreement” provide
a good, basic guideline for dealing with performers – whether or not they’re members of
SAG.
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PART I
SCREEN ACTORS GUILD
STUDENT FILM AGREEMENT
7. Production Requirements
E. Hazardous Work
The Producer shall not require any performer to do stunt or hazardous work without first
obtaining from that performer express, written consent prior to the commencement of
the performer’s services in the above project. The Producer will fully discuss the physical
requirements of the role at the time of audition or interview.
The Producer shall provide an animal handler or qualified trainer, who shall be present at
the place of such activity when Producer requires any performer to engage in hazardous
activity and work with animals.
 
F. Nudity
1. The Producer will notify the performer or performer’s representative
of any nudity expected in the role prior to the first interview or audition.
2. During any production involving nudity or sex scenes, the set shall be
closed to all individuals having no business purpose in connection with
the project.
3. No photographs will be permitted other than production stills made
by a photographer assigned to the production.
4. The appearance of a performer in a nude scene or the doubling of a
performer in such a scene shall be conditioned upon the performer’s
express, written consent. The consent shall be obtained by the Producer
prior to a commitment or written contract executed.
5. If an performer has agreed to appear in such scenes and then
withdraws consent, the Producer shall have the right to double, but
consent may not be withdrawn as to film already photographed.
 8. Basic Agreement
Except as herein provided, all terms and conditions of the current SAG Basic Codified
Agreement for Independent Producers (“Basic Agreement”) shall apply and be in full
force and effect.
 
10. Performers Availability and Continuous Employment
Screen Actors Guild members shall have the right to accept other professional employment during the course of production of the picture and in consideration thereof the
Guild waives the requirement of continuous employment as defined in the Basic Agreement.
 
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PART II
WORKING CONDITIONS
 
1. Worktime
All time, from the time the performer is required to report until dismissed, shall be
counted as work time for the purpose of calculating overtime and rest periods, excluding
time spent for meals.
5. No Day Performer or Weekly Performer shall be required to work more than five (5)
consecutive days without having the next succeeding two days off, except on an overnight location.
3. Meal Periods
A meal period shall be at least 30 minutes in length. It shall not be more than 60 minutes
in length.
Studio
When the Producer is filming at a studio facility, the Producer shall call a
meal period not more than six (6) hours from the time of the performer’s
first call of the day, for whatever purpose.
Local and overnight locations
When the Producer is filming on a local or an overnight location, the
Producer must call a meal period not more than 6 hours from the time of
the performer’s first call of the day, for whatever purpose.
4. Location and Travel
A. An overnight location is any location at which performer is required
to remain overnight.
B. Producer will provide first-class transportation to all performers
whom Producer requires to travel by air.
The only exception to substituting first-class air transportation for coach
air transportation shall be when six (6) or more performers are traveling
on the same flight, or, when only coach class air transportation is available on selected carriers.
 5. Reasonable Lodging and Meals at Overnight Locations
A. All performers shall be provided with reasonable lodging and meals
on all overnight locations.
B. If meals are not provided by the Producer, then the Producer agrees to
immediately pay to all the affected performers the following amounts:
$10.50 - Breakfast
$15.00 - Lunch
$27.50 – Dinner
However, if the first meal provided is dinner, it shall be deducted at the lunch rate.
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6. The Hollywood 30-Mile, Studio Zone
A. Said zone is a radius of 30 miles and is centered at the intersection of
Beverly and La Cienega Boulevards in the city of Los Angeles.
B. Producer may require any performer to report anywhere within the
Studio Zone.
 
C. Those performers who do report to locations within said zone shall be
reimbursed immediately by the Producer at the rate of $.30 per mile from
the Producer’s place of business to the location and back.
7. Make-up, Hairdress or Wardrobe
The Producer shall immediately pay any performer whom the Producer requires to expend monies for special make-up, hairdress, or wardrobe.
 
8. Rest Period & Rest Period Penalty
A. All Guild and non-Guild performers shall be entitled to a 12-hour,
consecutive rest period from the time the Producer dismisses them until
they are recalled, for whatever purpose.
9. Re-Takes, Added Scenes
A.The Guild agrees that performers will make every reasonable effort to
return at the request of the Producer for re-takes, added scenes, looping,
trick shots, etc., and provided that such services are rendered by the
performers within the twenty (20) consecutive shooting day ceiling, or
the six (6) calendar overall workweek ceiling, whichever should apply,
the Producer shall not be liable to pay the performers for such work.
B. Recall of performers by Producer after twenty (20) consecutive
shooting days or six (6) overall calendar weeks shall immediately require
that Producer pay the performer not less than one day’s pay at SAG
scale, pro rata, calculated on the original type of employment.
10. Use of “Double”
The Producer agrees not to “dub” or use as a “double” in lieu of the performer, except
under the following circumstances:
A. When necessary to expeditiously meet the requirements of foreign
exhibition.
B. When necessary to expeditiously meet censorship requirements, both
foreign and domestic.
C. When, in the opinion of Producer, failure to use a double for the
performance of hazardous acts might result in physical injury to the
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performer.
D. When performer is not available.
E. When the performer fails or is unable to meet certain requirements
of the role, such as singing or the rendition of instrumental music or
other similar services requiring special talent or ability other than that
possessed by the performer.
F. The performer agrees that under either or any of the conditions
heretofore cited in subparagraphs (1) to (5), the Producer shall have
the right to double and or dub not only the acts, poses, plays and
appearances of the performer, but also the voice of the performer, and
all instrumental, musical and other sound effects to be produced by the
Producer, to such extent as may be required by the producer.
 
Rev 7/1/01: SAG Student Film Letter Agreement
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LOS ANGELES STUDIO ZONE
LOCATIONS
The slugline in the script describes a “set”. Sets are either on stage or on location. A location is the place in the real world where the scene will be filmed. There are local locations
(those places within commuting distance) and distant locations (those places requiring
overnight lodging).
LOCATION OR SOUNDSTAGE
Shooting on a stage gives you greater control, but unless you have a substantial budget
and a talented Art Department, nothing you build is going to look as realistic as practical
locations. And you’re not going to find experienced carpenters, painters and set decorators amongst your fellow students. Generally, it is easier and cheaper for student projects
to shoot on location.
The selection of a good location is essential to a successful project, not only in the way it
affects the aesthetics of the picture, but also in the way it impacts the logistics of the production. An inappropriate location choice can result in wasted money, time and energy.
As important as the selection of a good location is, however, the search for one is commonly passed off as a tedious and time-consuming chore.
BREAKDOWN
The first step is to make a list of all the sets in your script – and where they will be – on
stage or on location.
If you have an art director, discuss colors, décor and other requirements for each set. Do
the same for lighting, camera and sound.
SCOUTING
The usual process is to begin with secondary sources – location files, guidebooks, Chambers of Commerce, etc.
FILMLA maintains a website with a large number of locations. You can access it at:
locoscout.com
If secondary sources prove unsuccessful it becomes necessary to get in a car and check
out primary sources. All potential locations should be documented – do not trust your
memory. Take photographs – panoramas are best (tape several shots together).
Write down the address, contact name and phone number and any other relevant data.
Put all this in a manila folder and make one for each location scouted.
SUITABILITY
In selecting a location, appearance is only a part of the determination. Other factors are:
PERMISSION
You can’t use the location if the owner won’t give you permission. Don’t waste time on places you can’t get. This applies to locations you can’t afford. Not everyone is going to let you shoot on their property for free.
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EXISTING LIGHT
How does the sun affect your location? Can the windows be blacked-out
for “night” scenes to be shot during the day? Is it in a canyon that only
gets a few hours of sun each day?
SOUND
Consider air traffic and street noise, machinery and appliances, pets and
children (is there a school near by). Keep in mind that one on the biggest
time-wasters while shooting on location is waiting for silence. Check the
location at night if you plant to shoot there at night.
ACCESS
exterior
Parking space, road conditions (can the cast and crew actually
get to the location?)
interior
Elevators (if you’re shooting on the 6th floor and have to muscle
everything up the stairs you’ll kill the crew).
RESTRICTIONS
Are there time limitations? Some communities limit the hours of filming.
Will you be restricted to the number of people or vehicles you can bring
to the location, or the type of scene you can stage at the particular place?
ELECTRICAL POWER
Is there sufficient power for your lighting needs? Will you have to rent a
generator?
DESTRUCTIBILITY
How “student-proof” is your location? Are there fragile objects too
valuable to replace? What about carpeting, woodwork and artwork? No
matter how careful you are, there will be damage – count on it. Can you
afford it?
NEIGHBORS
If your scene involves stopping traffic, blocking streets, working late at
night or creating an inconvenience in some way you need to make sure
the neighbors are agreeable – in advance.
COMFORT AND SAFETY
Will the location be a safe and comfortable place in which to work? Is
there a place where actors can change, rest areas and bathrooms? Is
there proper air-conditioning, heating or ventilation? Is the location
structurally sound and free of toxic materials? Are medical, fire and
police stations close?
Don’t settle for the first location you find. Look for multiple options to choose from and
provide backups in case a location falls through.
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TECHNICAL SCOUT
The Director (and Producer) review the location folders – reduce the choices – then visit
the potential locations with key crew members. The Technical Scout should include the
Director, 1stAD, Cinematographer, Gaffer, Key Grip and Art Director.
Try to scout the location on the day of the week and time of day you will be filming there.
Conditions vary from weekdays to weekends and from day and night.
The Director walks the location explaining how he plans to shoot the scene. The key
technicians evaluate the location in light of that information as it relates to their area of
responsibility. It’s a good idea to document the scout with a digital still camera and to
make a map of the location showing access, parking, and so on.
Keeping in mind that there is no such thing as a “perfect” location – compromises will
more than likely be necessary – the next step is to “lock” the location.
SECURING THE LOCATION
Ideally, the location will be free – if not, a deal will have to be negotiated with the property owner. Even if you are lucky enough to get the location for free offer some sort of
compensation or gift to show your appreciation. Make sure you get the deal in writing.
Additionally, you will have to:
Provide a Certificate of Insurance to the property owner.
Have the property owner sign a Location Release.
Get neighbors permission if required.
Get a Filming Permit from the city, county or state.
Arrange for Police and/or Fire personnel if required.
Arrange for cast and crew parking
Have the streets posted “NO PARKING” if necessary.
Make maps for the cast and crew.
LOCATION GOLDEN RULE
Good locations amenable to student filmmaking are difficult enough to find. For the sake
of your fellow students – and those who come after you, be sure to make this experience
as easy and pleasant for the location agent as possible. Keep your promises and follow
the agent’s instructions. Most important: leave the location in better condition than you
found it.
Here are the guidelines issued by FilmLA with each permit. You are required to follow
them.
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FILMMAKER’S CODE OF PROFESSIONAL RESPONSIBILITY
Filming on location means utilizing property that is normally someone else’s (house,
store, etc.) or a public street, sidewalk, park or other facility. Production company personnel are guests in such places, and are obligated to conduct themselves as such, and treat
the public and the location with courtesy.
It should not be expected that everyone in the surrounding environment
will alter their lives to accommodate the needs of film production. If
we do not all work toward improving our relationship with the local
communities in which we work, more production will leave Southern
California, resulting in fewer jobs for all.
When filming in a neighborhood or business district, proper notification
is to be provided each merchant or resident who is directly affected by
production activities (includes parking, base camps and meal areas). The
Filmmaker’s Code of Professional Responsibility should be attached to
the filming notification which is distributed to the neighborhood.
Production companies arriving on location in or near a residential
neighborhood should enter the area no earlier than the time stipulated
on the permit and park one by one, turning engines off as soon as
possible. Cast and crew should observe designated parking areas.
When production passes, identifying employees, are issued, every crew
member shall wear it while at the location.
Moving or towing vehicles is prohibited without the express permission
of the municipal jurisdiction or the vehicle’s owner.
Production vehicles may not block driveways without the express
permission of the municipal jurisdiction or the driveway owner.
Meals shall be confined to the area designated in the location agreement
or permit. Individuals shall eat within the designated meal area. All trash
must be disposed of properly upon completion of the meal.
Removing, trimming and/or cutting of vegetation or trees is prohibited
unless approved by the owner, or in the case of parkway trees, the local
municipality and the property owner.
All catering, crafts services, construction, strike and personal trash must
be removed from the location.
All signs erected or removed for filming purposes will be removed or
replaced upon completion of the use of the location, unless stipulated
otherwise by the location agreement or the permit.
Remove all signs posted to direct the company to the location.
Noise levels should be kept as low as possible. Generators should be
placed as far as practical from residential buildings. Do not let engines
run unnecessarily.
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All members of the production company should wear clothing that
conform to good taste and common sense. Shoes and shirts must be
worn at all times.
Crew members shall not display signs, posters or pictures that do not
reflect common sense and good taste (i.e., pin-up posters).
Cast and crew are to remain on or near the area that has been permitted.
Do not trespass on to another neighbor’s or merchant’s property.
The cast and crew shall not bring guests or pets to the location, unless
expressly authorized in advance by the production company.
Observe the designated smoking area and always extinguish cigarettes in
butt cans.
Cast and crew shall refrain from using lewd or offensive language within
earshot of the general public.
Cast and crew vehicles parked on City streets must adhere to all legal
requirements unless authorized by the film permit.
Parking is prohibited on both sides of City streets unless specifically
authorized by the film permit.
The company will comply with the provisions of the permit at all times.  
Entertainment Industry Development Corporation
PROBLEM LOCATIONS
There are some locations that pose substantial problems for student filmmaking – primarily due to your lack of budget. As you are writing your script you should be aware that it
is going to be difficult and/or expensive for you to find some types of locations. Some of
these are:
BUSINESSES (RESTAURANTS, BARS, GROCERY STORES, ETC.)
HOSPITALS
The presence of a film shoot is going to mean a loss of revenue to the owners of businesses. If you are able to get a business to agree you are probably going to have to shoot at odd hours (when there would be no customers around).
Always a tough one.
OFFICES
If it’s a working office no one is going to want a film shoot interrupting their normal business activity.
CHURCHES
You can’t even shoot in the chapels here on campus.
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RESIDENCES
Unless you know the owner it’s pretty unlikely that anyone is going to let you film in their house for free.
There are a number of locations services and studios with standing sets in the Los Angeles area. These are “for profit” enterprises. They normally charge thousands of dollars
per day. They may cut a deal for a student film, but it is still going to cost you hundreds
of dollars per day to shoot in their locations or sets.
WRAPPING THE LOCATION
When you’ve finished shooting you should leave the location in the same condition you
found it - or better. Take before and after photos to document the location’s condition. If
you’re shooting in someone’s home consider paying for a professional cleaning service to
clean up.
Don’t burn any bridges. You may want to come back to that location for pickups or
re-shoots. Do everything you can to make certain the property owner is pleased before,
during and after your shoot. Responsible behavior on your part preserves the reputation
of LMU film students.
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PERMITS
A “filming permit” is a quasi-legal document generated by a governmental agency that
gives you permission to film in that city or area. The permit is different from a Location
Release, which is signed by a specific property owner giving you permission to use their
property. Generally, you need both documents.
Our insurance carrier requires that all student filming be “permitted”. Failure could
jeopardize coverage.
A permit is required for filming in most Southern California communities. The farther
away you get from Los Angeles, the less likely you are to need a permit. Nonetheless,
the LMU Risk Management Office will want to see some documentation that you had
permission to film in the areas you used. If you shoot in a community that doesn’t issue
filming permits, get an email or a memo from them to that effect.
Be aware that there are legal ramifications to getting caught filming without a permit.
In Los Angeles the LAPD can confiscate the filmmaker’s equipment and charge them
with misdemeanor violations of Section 41.20 of the Los Angeles Municipal Code. A
court visit is required for the return of the equipment.
LOS ANGELES FILM PERMITS (FILM L.A., INC.)
A film permit issued by FILM LA, INC is required to legally film or tape within unincorporated Los Angeles County and/or the cities of Los Angeles, West Hollywood,
Diamond Bar and South Gate (except at a certified studio, sound stage or back lot). Yes,
you need a permit to film in your own living room or backyard.
For the purposes of permitting, the Loyola Marymount University campus is considered
a “back lot” and the stages in the Communication Arts Building are “certified” - therefore no permit is required to film on the LMU campus.
FILM LA, INC assesses a processing fee for student filming permits:
$25.00 For student permits that require minimal coordination (e.g. 10
or fewer cast/crew, minimal equipment, no street posting, traffic control
or neighborhood coordination.
$90.00 For more complicated permits with 11 or more cast/crew,
trucks, and more labor intensive coordination.
Students will be required to pay the applicable fees either by cash, money order or cashier’s check (no credit cards) at the time they apply for the permits. Along with the fee
you must submit:
1) a completed “Student Filming Permit Request”
2) A “Student Certification” form – signed by the Head of Production
These forms are available in the Student Production Office. You must deliver the fee
and the forms a minimum of two full working days prior to the first day of filming – in
person (no faxes are accepted) to:
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FILM L.A., INC.
6255 West Sunset Boulevard
12th Floor
Hollywood, CA 90028
213 977 8600
8AM to 6PM Monday through Friday
www.eidc.com
To apply for a film permit, students must first make an appointment for an in-person
consultation at our office, during which time they can apply for their film permit and get
answers to any questions regarding their project.
Appointments need to be scheduled four working days prior to the first date of filming. In order to ensure the appointment can begin and end on time, students should
make sure to bring a completed student film permit application, which can be obtained
through their film school office, along with a letter from the school certifying student
status. Unprepared applicants will be asked to reschedule their appointments and return
with completed documents, possibly causing their productions to be delayed.
We encourage students to familiarize themselves with the entire film permit process by
reviewing our “For Students Only Guide” on our website at: http://www.filmla.com/
getting_started.php
You must go to the FILM LA, INC office and fill out the permit application. You cannot
fax it to them. You must allow a minimum of 2 working day (48 hours) for FILM LA,
INC to process your application. You must pick up your filming permit in person prior to
shooting. Yes, that means two trips to FILM LA, INC to get a permit.
PERMIT EXEMPTIONS
FILM LA, INC may exempt your project from the film permit requirement – if your crew
does not exceed three people; if there are few cast or other participants and if there is no
extensive use of props and equipment.
You must request the exemption from FILM LA, INC – and conform to the stipulations
set forth in the attached “Guidelines”.
You must go in person to FILM LA, INC and request an exemption – they will discuss the
details of your project with you.
If you qualify for exemtption, they will fax you the “rule of three” Guidelines
You must sign and fax back the signed acceptance of the Guideline
You must have the “exemption” document (see attached) in your possession while on
location and must present it for inspection when requested by the Permit Authority, its
authorized representatives or the public.
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GUIDELINES FOR PERMIT EXEMPTION
Pedestrian and vehicular traffic cannot be altered. The company must
work with street conditions as they exist. Intermittent Traffic Control
(ITC) is not permitted. Street and lane closures will not be considered.
If the company is covering parade, demonstration or other special
event, the exemption merely allows the company to operate on the same
basis as a citizen with a camera. While this document takes the place of
a filming permit, the company must obtain all other permissions and
permits that may apply.
Lights, reflectors or other equipment must be hand-held by one of the
three crewmembers involved and must not disturb the normal flow of
traffic or public activity.
Camera tripods can be used if they do not interfere with pedestrian
traffic and do not block doors, passageways, etc. Tripods cannot be
placed in the roadway.
This exemption does not allow the use of a cast in the normal sense of
the word in the industry. A host, moderator or performer may interact
with a limited number of people. The actual number is based on the
location, time of day, and other factors. The key element is that it must
not interfere with normal street and/or public activities.
No special parking provisions can be included with this exemption. Any
vehicles at the location must be parked legally.
Stunt work is not allowed under this exemption.
Special effects are not allowed under this exemption.
City property, other than sidewalks and streets, can be used only with
permission of the controlling authority. Park directors, for example, must
agree to the activity contemplated hereunder. Interiors of City buildings
cannot be used under this exemption unless approved by the controlling
authority, which approval must be coordinated through FILM LA, INC.
Filming on private property requires approval by the owners. No use of
electrical outlets on private property is allowed without permission.
Part of the processing of your request involves checking with the County Fire Department to determine whether you will be required to have a Fire Safety Officer on set. Usually, you will need an FSO if you are filming interiors using a generator and with more
than 25 people; more than 50 people exteriors with a generator.
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HOW TO FILL OUT A FILMLA APPLICATION:
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FILMING IN OTHER AREAS
After you’ve scouted your location you will have to determine which city or county
government agency issues permits for that area. Every office will be slightly different and
have their own rules about fees, fire marshalls and such.
Perhaps, the easiest way to find the right film office is to search the web. Go to Google or
another search engine and type in the name of the city you want to film in then in quotes
type “film permit”. Almost every city, county or state has a film permit office. Not all
of them require students to get permits. If you shoot in a community that doesn’t issue
filming permits, get an email or a memo from them to that effect for the LMU Office of
Business Affairs.
THE STATE OF CALIFORNIA PERMIT OFFICE
They are located at:
California Film Commission
7080 Hollywood Boulevard
Suite 900
Hollywood, CA 90028
323 860 2960
9am to 5pm
They do not charge any application or permit fees. However, you will be required to pay
the wages of any State employees required on your set.
Park Ranger (State Parks)
CHP
CalTrans
Prison employee
$55/hr
$41/hr, 4 hr minimum
$70/hr
$50/hr
Additionallly, if you want to film past the normal operating hours for a facility you must
pay the employees for their extra time on the job. The CFC accepts checks for the payment of services.
The State permit office requires 2 days (48 hours) to process permit requests.
The State requires $500,000 dollars liability insurance for hired and non-owned vehicles.
Remember that LMU’s inssurance does not cover vehicles so if you are bringing a grip
truck, generator or picture cars on to State property you are going to have to purchase
vehicle insurance.
ORANGE COUNTY
All unincorporated areas in Orange County are handled by the Orange County Department of Regulation/Public Property Permits. They are very helpful.
Regulation/Public Property Permits
Environmental Management Agency
County of Orange
300 North Flower
Room G122, Station 6
Santa Ana, CA 92702-4048
8am to 4pm
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Normally, there is a $400/day charge to shoot on public property in Orange Coutny, but
the fee is waived for students. Orange County does not require a permit to film exclusively on private property. Parking fees, however, are not waived.
Usually, they will not require police or fire presence on the set. If you are blocking a “road
right of way” you will have to deal with the CHP (Rick Stevens 323 860 2960 x103).
Shooting on Orange County roads can be an expensive proposition as they require you
to pay for the Safety Inspector if it is outside their normal work hours. They do not waive
this requirement.
PARKS
There are a lot of parks in the greater LA area and they fall under a number of different
jurisdictions.
City of Los Angeles
LA City Park Office
Griffith Park
213 644 6220
The City Parks office has been extremely helpful to students. Call them 1 or 2 weeks before your shoot for information. They generally waive fees. However, if your shoot will
require the presence of a Ranger (night shoots, generator, restricted areas or more than 19
people). You will be required to pay the Ranger’s wage - $55/hr, 4 hour minimum.
Los Angles County parks are handled by FILM LA, INC.
California State parks are handled by the California Film Commission.
National Parks have several offices:
Angeles National Forest
626 574 5271
Santa Monica National Park
818 597 9192
National Park Service
600 Harrison Street
Suite 600
San Francisco, CA 94107
415 744 3876
If you want to film in a park located in a city or area other than those listed above contact
the permit office of the city in which the park is located.
BEACHES
Most beaches are handled by FILM LA, INC, except Santa Monica Beach. If anyone is
in the water, or if you have a large-scale production they will require that a Lifeguard be
present. FILM LA, INC will help you coordinate with the Department of Beaches and
Harbors.
Permits for Santa Monica Beach are handled by the City of Santa Monica Permit Office.
See their listing in the following section.
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Permits for Santa Monica Pier are handled by the Santa Monica Pier Restoration Corporation. See their listing in the following section.
ALHAMBRA
They don’t want students filming there so it’s expensive. There is a $68 dollar application
fee and they require you to pay for 2 police officers and 1 firefighter at $63/hr with an 8
hour minimum - each! The permit is $202/day and you must also pay for cast and crew
parking. Still interested in filming there? Really?
BEVERLY HILLS
For the most part they prefer filming in residential areas from 8am to 9pm only and in
commercial areas (especially Rodeo Drive) before 12 Noon only. See their listing in the
following section.
BURBANK
Burbank does not waive the $375.00 permit fee or police requirement for student films.
They have not been helpful to students in the past. There’s nothing in Burbank you can’t
find in a friendlier city.
CULVER CITY
Culver City has only one problem, but it’s a big one. They require that a “hold harmless”
agreement be signed - and LMU won’t sign it. Therefore, there is no LMU insurance. If
you want to film in Culver City you’re going to have buy your own insurance.
GLENDALE
Also pricey. There is a $100 application fee, which is not waived. To film on city property
you must pay a $400 “use” fee and pay for a police officer on set at $56/hr, 4 hour minimum. You might want to avoid Glendale.
HANCOCK PARK
Permitted through the FILM LA, INC.. You will have to get all the neighbors signatures
approving the shoot - for any time of day or night. Get the idea? They don’t want you
there, either.
INGLEWOOD
There is a $25 permit fee, which is not usually waived. They require a $500 deposit,
which is refundable. You will have to take the “routing sheet” to police, fire, parks departments yourself. Allow some time for this. They also require four (4) days notice.
LAX
Film permits for Los Angeles International Airport are issued through the LAX Film Of-
147
fice (310 417 0475). In the age of heightened security you can expect there to be a lot of
restrictions on where, when and what you can film.
LONG BEACH
Pretty casual. John Robinson is very friendly and will ask the parameters of your shoot
over the phone. Often, he’ll give you the go-ahead based on this conversation. Fees are
waived. It’s that easy. Really.
PASADENA
All fees can be waived - the permit office will decide on a case by case basis. If you are
encroaching on public streets you will be required to have a police officer at $49.50/hr
with a 6 hour minimum.
SANTA MONICA
See FILMLA
TROUBLE SPOTS
As of this printing we strongly recommend that students do not film in the following cities due to the inability to insure your production, the inordinate hassle,
cost and/or delay:
AlhambraBig Bear
BurbankSanta Monica
Culver City
El Segundo
City of Hawthorne
San Francisco
GlendalePacific Pallisades
City of Vernon
Covina
148
FILMING ON CAMPUS
The LMU campus is your backlot. There is a great diversity of locations to be found
within walking distance of the Communication Arts Building. One thing you must
remember, you need permission to shoot anywhere on the campus. There is a person - a
proctor - in charge of every square inch of the campus. You need to find who they are and
get their signature on the “Filming Approval Form”. There is a list of proctors at the end
of this chapter.
The process for getting permission is relatively simple and straightforward.
Scout the campus and determine where you would like to film.
Get an “LMU School of Film and Television Student Filming Approval Form”
(see following pages) from the Student Production Office (CA 106) – or download it from the Student Production Office website (http://www.lmu.edu/pages/7914.asp).
Fill out the form and have it signed by the Head of Production (CA 327).
Have the form signed by the Facility Representative (the proctor) of the building
or location you want to use.
If you are filming in a residence hall you must have a signature from Student
Housing.
After you have signatures from the above take the form to Public Safety and
have them sign it.
Then take the completed form to Conferences and Events Scheduling (University Hall 1768) and meet with Martin Alvarez (or his representative). There is a
cut-off of Friday at Noon - forms submitted after that time will not be granted
permission to film that weekend. Normally, Conferences and Events Scheduling wants five (5) working days to process your request. Do not wait til the last
minute.
If granted permission to shoot on campus, you must observe the rules and guidelines (described on the Approval Form) governing the filming on LMU property.
Make a copy of the completed Filming Approval form and keep it with you when
you are shooting - it is proof that you have permission to film in the location.
NOTE:
There is a $642 minimum fee to shoot in UHALL on Sundays. This fee just gets the building open. More fees acrrue for operating elevators, lights, heating/air conditioning, etc.
The following on-campus locations WILL NOT allow you to use house power.
You will need a generator if you are shooting at:
Hannon Loft St. Robert’s
MaloneThe Bird’s Nest
149
Revised 8/14/12
LMU SCHOOL OF FILM & TELEVISION STUDENT FILMING APPROVAL FORM
**Please note all Requests must be turned into the Scheduling Office no later than 12p the day BEFORE your intended
audition or film shoot. All necessary signatures should be obtained before submission to the Scheduling Office. Please call
310.338.2878 if you have questions about which signatures you need for your project**
Student's Name:
Student's I.D.#
Student's telephone Number(s):
Email:
Professor's Name: _________________________________________ Course
Number:_____________________________________
If filming, provide specific details of scene:
Name of Project:
Requested Space (one space per
form):_______________________________________________________________________________
Intended Use: Auditions ___________ Rehearsal ________ Filming ___________
Requested Date:
Times: Set-up:
Alternate Date:
Start:
Total Number of Participants in Room:
Will furniture be moved?:
Will anything be hung on the walls?:
Will food/beverages be in the room?:
Will props be brought in?:
End
Will children be there?:
How many?:
Open flame/Smoke?*
Animals?
House Power?
Firearms props?*
Yes/No
Yes/No
Yes/No
Yes/No
Yes/No
Yes/No
Yes/No
Yes/No
If yes, please describe:
*All firearm props and pyrotechnic or smoke effects must be approved by LMU’s Department of Public Safety
during the booking process and prior to the start of filming on the filming date.
Potential Noise Level:
Intended source of power:
Low:
Medium:
High:
Generators? Yes /No
Amps Anticipated for Electrical Power: ______________ Number of Outlets Expected to be used:
Page 1 of 2
150
Revised 8/14/12
Filming Approvals:
Date:
SFTV Head of Production Signature:
Required for all Auditions and Filming
Date:
Space Proctor Signature:
Required for Filming Only. Space Proctor must sign if filming inside any office building or Campus Recreation Rooms, e.g., St. Robert’s Auditorium,
Bird Nest, Malone 112AB, The Hill, The Living Room, Lion's Den, Faculty/Staff Office, University Hall.
Faculties Management Signature: ________________________________Date:____________________
Required for Filming Only. FM must sign if filming in an outdoor location. Facilites Management is located behind the Burns Rec Pool.
Date:
Student Housing Occupant Approval Signature:
Room #: ________
Residence Hall Room/Apartment Location:
Required for Filming Only. Signature of room occupants required only if you are filming in a room that is not your own. Room occupant(s) must
approve the filming prior to Housing approval.
Date:
Student Housing Approval Signature:
Needed if filming in or around Residence Hall or Apartment complex on campus, including Quads. The Student Housing Office is located in Leavey
6, Suite 101.
Public Safety Signature:
Required for Filming Only. All filming must obtain Public Safety Signature.
Date:
Other General Requirements:
1. Props may NOT be nailed on the walls. Only BLUE painter’s tape is allowed for any wall or structure taping.
2. All power cords MUST be taped down.
3. All LMU campus policies must be followed and all classrooms/facilities must be returned to their original set-up.
4. Damages or other extraordinary cleaning that occur during your event, will be billed directly to your student account.
5. All Student Housing policies must be followed if filming in a Student Housing facility.
6. Completion of this form does NOT guarantee facility/classroom availability.
7. After above signatures have been obtained, completed forms, including required signatures, must be submitted in person to the LMU Event Scheduling Office,
University Hall 1768. All filming students filming on campus must meet with a representative from the Event Scheduling Office in UNH 1768 between the hours of
8:00 am and 5:00 pm Monday-Thursday, and 8:00am and 12:00 Noon on Friday. All LMU event booking procedures must be followed for confirmation of filming
locations and dates.
*Student Signature: ______________________________________________________________________ Date: ___________________
Scheduling Office Use Only
Staff Member
Event Scheduling
Loyola Marymount University
__
Date
Page 1 of 1
151
152
Location
8000 Loyola Blvd
8001 Loyola Blvd
Ahmanson Auditorium
Birds Nest
Baseball Field/Lion Cage
Bookstore - VDA
Bookstore - Uhall
Burns Rec. Center
Burns Fine Art Center
Burns Annex
Burns Faculty Center
Central Plant
Charles Von der Ahe Bldg. (VDA)
Childrens Center
Communication Arts
Coffee Cart
Crimson Lion
Daum Hall
Deja View Theatre
Del Rey North
Del Rey South
Del Rey Theatre
Desmond Hall
Doheny Hall
Doolan Hall
Drollinger Parking Lot
East Hall - Warehouse
East Hall - Science Dept
Facilities Management
Foley Annex
Foley Building 1st, 2nd, Basement
Foley Building 3rd Floor
Foley Pond
Foley Building - Theatre
Founders Pavilion
Gersten Pavilion
Greenhouse/Garden
Hannon Field
Hannon Apts
Hannon Library
Hannon Loft
The Hill
Hilton Center for Business
Area Coordinator - South
Area Coordinator - West
Hogan Hall
Huesman Hall
Iggy's Diner
Jamba Juice
Jazzman's Café
Jesuit Community
KXLU Radio
Laband Gallery
Lair Marketplace
Leavy Apartments
Leavy Hall
Leavy Hall Athletic Offices
Lions Athletic Center
Lions Corner Café
Lion's Den
Map #
N/A
N/A
A-9
I-1
I-10
G-5
A-9
H-7
G-6
G-6
G-6
F-4
G-5
E-9
F-6
H-5
A-9
J-4
I-5
I-2
I-2
J-5
I-3
J-4
I-6
D-7
J-6
J-6
J-7
I-5
H-5
H-5
H-5
H-5
I-2
H-8
I-5
F-8
E-4
F-8
H-4
E-4
G-6
I-4
F-7
H-4
E-4
I-4
H-4
G-6
H-4
C-6
F-6
F-6
H-9
A-10
H-4
Contact
Student Housing Office
Event Scheduling
Katie Seamands
Shane Howell
NO FILMING
Diane Criswell
Kelsey Lee
William Vaughn
William Vaughn
William Vaughn
Al Tipon
NO FILMING
NO FILMING
John Syrjamaki
Ray Dennis
Wassim Boustani
Lotonya Rease Miles
Clare Higgins
Lydia Ammossow
Julie Quinones
Christopher Lechner
Walter Ayala
Walter Ayala
Al Tipon
Julie Quinones
Jeanine Conner
Lisa Lugo
Al Tipon
Jeanine Conner
Shane Howell
Joe Rasmussen
Raamen Bass
Kristine Brancolini
NO FILMING
Katie Seamands
NO FILMING
William Vaughn
Wassim Boustani
Wassim Boustani
Wassim Boustani
NO FILMING
Lydia Ammossow
Carolyn Peter
Wassim Boustani
Shane Howell
Shane Howell
Shane Howell
Wassim Boustani
Carolyn French
Phone
x82963
x82963
x82878
x81719
x87641
Office
Leavey 6, Suite 101
Leavey 6, Suite 101
U Hall 1768
Malone 116
Gersten
Email
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
x82889
x81721
x88652
x88652
x88652
x83031
Bookstore (VDA Bldg.)
Burns Rec. Center
Burns Arts 136
Burns Arts 136
Burns Arts 136
x82973
x85994
x82977
x87702
x86249
x82963
x82963
x84622
x82963
x82963
x84476
x81681
x86299
x86299
x83031
x84476
x82839
x84226
x83031
x82839
x82963
x87641
x85838
x84432
x82963
x84593
Com 118
[email protected]
Business & Finance Office [email protected]
Malone 223
[email protected]
[email protected]
Malone 118
[email protected]
Leavey 6, Suite 101
[email protected]
Leavey 6, Suite 101
[email protected]
North Hall102
[email protected]
Leavey 6, Suite 101
[email protected]
Leavey 6, Suite 101
[email protected]
Pereira Hall 100
[email protected]
Parking & Transportation [email protected]
East Hall 106
[email protected]
East Hall 106
[email protected]
[email protected]
Pereira Hall 100
[email protected]
Foley 308
[email protected]
Foley 338
[email protected]
[email protected]
Foley 308
[email protected]
Leavey 6, Suite 101
[email protected]
Gersten
[email protected]
[email protected]
Burns Rec 239
[email protected]
Leavey 6, Suite 101
[email protected]
WHH Library 318
[email protected]
x81719 Malone 116
[email protected]
x82963
x82963
x88652
x82963
x82977
x82977
x82977
Leavey 6, Suite 101
Leavey 6, Suite 101
Burns Arts 136
Leavey 6, Suite 101
Malone 223
Malone 223
Malone 223
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
x84622
x83087
x82977
x82963
x87641
x87641
x87641
x82977
x84358
Malone 402
Burns Fine Arts Center
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
153
Leavey 6, Suite 101
Gersten
Gersten
Gersten
Malone 223
Malone 119
The Living Room
Malone Student Center *
Malone 306
Malone 112 A & B
The Commons in Malone *
McCarthy Hall
McKay Hall
Murphy Recital Hall
North Hall
O'Malley Apartments
Pereira Hall of Engineering
Pereira Annex
Rains Hall
Research Annex
Rosecrans Hall
Roski
Sacred Heart Chapel
Seaver Science Hall
South Hall
St. Roberts Hall
Sork Patio (outside of Malone)
St. Roberts Auditorium
Sullivan Hall
Sullivan Field
Sunken Gardens
Tenderich Apartments
Tennis Courts
University Hall Parking Lot
University Hall
University Pool (Rec Pool)
Whelan Hall
WOW (World of Wings)
Xavier Hall
H-4
H-4
H-4
H-4
H-4
D-5
F-7
G-6
J-5
C-5
I-6
J-6
D-6
J-5
I-3
A-10
F-2
H-6
J-5
F-4
F-4
F-4
I-5
H-10
G-3
E-8
I-8
A-9
A-10
I-7
H-2
I-2
F-2
Carolyn French
Carolyn French
Katie Seamands
Katie Seamands
Carolyn French
Nestor Pereira
Julie Quinones
Julie Quinones
Julie Quinones
Julie Quinones
Wassim Boustani
NO FILMING
Julie Quinones
Julie Quinones
Event Scheduling
Carolyn French
Event Scheduling
Shane Howell
Al Tipon
Shane Howell
Christopher Lechner
Al Tipon
Kelsey Lee
Wassim Boustani
Trish Carlson
x84358
x84358
x81719
x81719
x84358
x82963
x82963
x87890
x84476
x82963
x84476
x84476
x82963
x84476
x82963
x82977
Malone 119
Malone 119
Malone 116
Malone 116
Malone 119
Leavey 6, Suite 101
Leavey 6, Suite 101
Burns Fine Center 223
Pereira Hall 100
Leavey 6, Suite 101
Pereira Hall 100
Pereira Hall 100
Leavey 6, Suite 101
Pereira Hall 100
Leavey 6, Suite 101
Malone 223
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
x84476
x84476
x82878
x84358
x82878
x82963
x87641
x83031
x82963
x87641
x81681
x83031
x81721
x82963
x82977
x82975
Pereira Hall 100
Pereira Hall 100
U Hall 1768
Malone 119
U Hall 1768
Leavey 6, Suite 101
Gersten
Leavey 6, Suite 101
Gersten
Parking & Transportation
Burns Rec. Center
Leavey 6, Suite 101
Malone 223
Conference Services
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
NOTE:
1. Anything outside MUST must have Facilities Management signature, even if there is another representative on the list.
2. If your location is not on the above list, your best bet is to ask the Administrative Assistant in the Department nearest to your location.
* Unable to approve any filming in hallways or other areas that would impede visitor traffic.
154
GUIDELINES FOR FILMING IN THE COMMUNICATION ARTS BUILDING
In order to film in the Communication Arts Building you must be working on a project that is approved by your instructor, the Head of Production and the LMU Business Office.
You must fill out an “On-Campus Filming Form” – available in the Student Production Office.
The On-Campus Filming Form must be signed by John Syrjamaki, the Studio Operatinos Administrator and Public Safety – the form is then taken to Conferences and Events in UHall 1768).
Filming in the Building is subject to the same rules applicable to filming on the Sound Stages.
Any student wishing to film in the Communication Arts Building must provide a $250 deposit at
the time of reservation. The deposit will be returned after completion of filming – if the filming
areas are returned to their original condition and if there is no damage.
There are several rooms/areas that are off-limits and may never be used for filming. They are:
The Recording Arts (RECA) sound studios
The roof of the Communication Arts Building
There are several rooms/areas that are very specialized and contain sensitive equipment. They
are:
Mayer Theater
The Mayer Theater Projection Booth
The Television Stage Control Room
While filming in these specialized areas of the Communication Arts Building the production
must be accompanied by and under the supervision of a member of the Technical Staff. The fee
for this service is $50/hour.
While filming all doors must be unlocked and accessible. Do not block hallways, aisles, fire lanes
or exits.
All cables must be taped down or in crossovers.
Only Blue Painters Tape may be used on walls – no duct tape, gaffer’s tape or camera tape that
will damage painted walls. Painting of walls is not allowed.
Open flames, smoke effects or pyrotechnics are never allowed anywhere in the Communication
Arts Building.
If practical light fixtures have been gelled or replaced they must be returned to their original condition on completion of filming.
All furniture from offices, classrooms, dressing rooms, etc. must be returned to their original position on completion of filming.
All props, set dressing and equipment must be removed on completion of filming.
On completion of filming the premises must be cleaned to their original condition.
All trash must be removed and deposited in the appropriate bins located in the parking lot adjacent to the Communication Arts Building.
155
FILMING IN XAVIER HALL BUILDING (2nd and 3rd FLOORS) In order to film in Xavier Hall, you must be working on a project that is approved by your instructor, the Head of Production and the LMU Business Office. >> Filming in Xavier Hall is prohibited during business hours, M-‐F 8:00am – 5:00pm << •
•
•
You must fill out an “On-‐Campus Filming Form” – available in the Student Production Office. The On-‐Campus Filming Form must be signed by Mary Abshire, Xavier Building Proctor (Xav 322) for 2nd and 3rd floors, John Syrjamaki, and Public Safety The form is then taken to Conferences and Events in U Hall 1768 NOTE: The first floor and outside areas of Xavier Hall require the approval of the Conference Services Office: (Dr. Laura Massa, Xav 101; or Patricia Carlson, Xav 112) FILMING IN XAVIER OFFICES If you wish to film in a faculty or staff office, you must have (both) the faculty/staff member and the Xavier Building Proctor sign the on-‐Campus Filming Form There are several rooms/areas that are off-‐limits and may not be used for filming. They are:  Xavier Hall, Room 218 & 318  Xavier Hall, Room 216  The Roof of Xavier Hall  The Stairways – Fire Code violations While filming, all doors must be unlocked and accessible. Do not block hallways, aisles, fire lanes, stairways, or exits. All cables must be taped down or in crossovers. Only Blue Painter’s Tape may be used on walls – no duct tape, gaffer’s tape or camera tape that will damage painted walls. Painting of walls is not allowed. Open flames, smoke effects or pyrotechnics are never allowed anywhere in the Xavier Hall Building. Electrical “house power” may NOT be drawn from Xavier Hall. You will need to provide external generator power. If practical light fixtures have been gelled or replaced they must be returned to their original condition on completion of filming. CLEAN-‐UP & WRAP > All furniture from offices, etc. must be returned to their original position on completion of filming. > All props, set dressing and equipment must be removed on completion of filming. > On completion of filming the premises must be cleaned to their original condition. > All trash must be removed and deposited in the appropriate bins located in or around Xavier Hall. 156
UNIVERSITY POLICY
DEPARTMENTS:
EVENTS + CLASSROOM MANAGEMENT, SCHOOL OF FILM AND TELEVISION
SUBJECT: LMU STUDENT
PAGE 1 OF 2
FILMING POLICY
POLICY NUMBER: PENDING
SUPERSEDES: REQUEST PROCESS FOR LMU
EFFECTIVE DATE:
OCTOBER 7, 2005
STUDENT FILMING
PREVIOUS ISSUED: SEPTEMBER 1991, LAST UPDATE
SEPTEMBER 2008
Policy Statement:
Loyola Marymount University students enrolled in programs for the School of Film and
Television may reserve spaces for auditions, rehearsals, and films relating to course work through
Events + Classroom Management. This policy is subject change without notice.
Filming Eligibility
LMU students must meet all of the following in order to reserve space on campus:
1. Be enrolled at LMU as a student
2. Register for class in the School of Film and Television
3. Complete On-Campus Student Filming Approval Form
4. Receive approval from Head of Production for School of Film and Television
5. Submit completed form to the Event Scheduling Office for verification of any third party
approvals and space availability
Guidelines & Procedure:
Forms are available through the Production Office of the School of Film and Television or
via this link http://www.lmu.edu/AssetFactory.aspx?did=12943.
Complete all details relating to your production. Multiple locations and dates may require
additional forms.
All requests for space (auditions, rehearsal and filming) must be submitted by noon the day
before you want to use the space. (i.e., if you submit a request at 12:15pm on 10/13 for an
audition or filming on 10/13 or 10/14, we cannot accept the paperwork).
Auditions or Rehearsals in classrooms must follow these steps:
1. Obtain the SFTV Head of Production signature.
2. Take signed Form to the Event Scheduling Office located in University Hall (Suite1768) to
request classroom space.
3. An Event Scheduling representative will help fulfill your request based on review of the
Form and availability.
4. Confirmations will be emailed to you directly. Please keep copies of the confirmation notice
with you on the day of auditions or rehearsals.
Filming Requests must follow these steps:
1. Obtain the SFTV Head of Production signature.
2. If filming in any of the spaces listed below, please obtain the following signatures in advance
to speed up final approvals:
a. Housing / Residence Halls: Assistant Director for Facilities and Services (Samuel
Jones) located in Student Housing in Leavey Six
Created: September 1991
Revised: September 2008
157
UNIVERSITY POLICY
b. University Hall: Building Manager (Velia Torres) located in Facilities Management
Building
c. Daum Hall, ITS: David Meske, Director of Information Security
d. Departmental Areas: Faculty or staff offices require the signature of the individual's
office
e. Parking / Roads: Parking Manager for Public Safety in Foley Annex
f. Dining Rooms: Sodexho Food Service Director, located in Malone, 2nd floor
g. Science / Lab: Dean or Associate Dean, College of Science and Engineering
h. Theatre Arts Area: Administration and Production Coordinator for the Theatre Arts
Department
i. Mayer Theatre, CFA Building: Building Proctor for School of Film and Television
(John Syrjamaki or Deb McClune)
j. Murphy Recital Hall, Dunning Courtyard: Nester Pereira, St. Robert’s 101
k. Burns Art & Art History Areas: Mickey Andersen, Burns 250
l. Library: Kristine Brancolini, Von Der Ahe Library.
m. Hilton Building: Dean, College of Business
n. Collins Center: Ashley Wilson, Event Scheduling Office, UNH 1768
o. Campus Rec Facilities: Burns Rec. Center, University Pool, Corner Pocket Game
Room, The Loft Sports Lounge: Abel De Loera, Burns Rec Center.
p. Campus Rec Fields: Hannon/Leavey Fields: Raaman Bass, Burns Rec Center
q. Campus Rec/Student Center Facilities: The Hill, Huesman Lounge, St. Robert’s
Auditorium, Bird Nest, Malone Center: Phung Tran, Malone 105
r. Campus Rec/Service Facilities: Lion’s Den Coffee Shop, Living Room: Caroline
French, Malone 201
s. Athletic Spaces: Page Stadium, Gersten Pavilion, Gersten/Burns Rec Atrium Lobby
area, Sullivan Field, Softball Field, Tennis Courts: Shane Howell, Gersten Pavilion
Athletics Office
t. Chapels: Campus Ministry, Malone Building, 2nd floor.
u. Miscellaneous Campus Wide: Al Tipon or Dorothy Love, Facilities Management
Building
3. Any routing questions, please call the Event Scheduling Office (x82878) for assistance.
4. Any firearms or pyrotechnical effects: Requires Director of Public Safety approval. Also
required is a "day of" check of all firearms and pyrotechnical effects. All must be brought to
the Department of Public Safety West Hall offices for visual inspection and approval prior to
the start of filming on the day of filming.
5. Final approval granted by Ashley Wilson, Carol Knox or Elmo Johnson in the Event
Scheduling Office.
6. A confirmation notice will be emailed to you once all appropriate information is entered into
Resource 25, based on space availability.
7. You must keep a copy of the approved form and/or confirmation notice with you while
filming on the dates of production for each location.
Created: September 1991
Revised: September 2008
158
Film Approvals in Student Housing
Updated: 6/13/2012
Overview: The approval process for any student filming within the 17 Residence hall and apartment buildings
and 2 houses under the Student Housing Office.
Exceptions: All filming request not associated with the LMU undergraduate or graduate curriculum must go
through Conferences and Events. These are typically commercials and movies not connected to LMU.
Procedure:
1. Student needs to set appointment at least 48 hours before filming with Housing representative in Leavey 6,
101.
a. Each student director with a project must be present at the meeting. Student Housing will not ap
prove a ‘friends’ request, even if you are working on the project.
2. Prior to meeting, and if filming in a room or apartment, all residents must sign ‘film approval’ document and
consent to the filming. Student Housing will NOT approve if roommate signatures are not present at the time of
the meeting.
3. If filming in a common space or lounge it is advised that the student reserves the space with the Resident
Director of that building. The film approval does not reserve any space within the building nor can residents be
kicked out of a common area for any student filming.
a. For fire safety reasons hallways and stairwells cannot be reserved. Hallways, stair
wells and exit doors cannot be blocked by objects/equipment, i.e. lights, props, furniture.
4. All policies and procedures found in the Community Standards handbook, including all housing policies,
which can be found on the Housing website, must be followed.
a. No weapons or fake weapons will be allowed. No candles/open flames or other potential fire hazards will be allowed.
5. During the meeting with student about filming, points of interest include: gather the basic outline of the
story, which will be filmed, and always mention fire safety and security each time you meet with a student.
a. It is the student’s responsibility to film what and where they indicated on their form. Not doing so could mean judicial action and/or sending incident to faculty member and/or send
ing incident to School of Film and Television.
6. Housing staff will scan document, then save and file on the g:/drive. File name: last name, building and day
of shoot.
159
GETTING YOUR PROJECT APPROVED
Every project made in the School of Film and Television must be approved. From simple
exercises in a directing class to thesis projects, all films and videos must go through a process
to insure that they are being done safely, legally and within the curriculum.
PROCEDURE FOR SMALLER PROJECTS AND CLASS EXERCISES
(PROD 180 - PROD 200 – PROD 365 - SCWR 329 – PROD 379 - PROD 398 - PROD 500 SCWR 510 - SCWR 511 - PROD 565 - PROD 669)
You must fill out a FILM RISK ASSESSMENT CHECKLIST (FRAC) for each
project you make for the course.
Do not assume that because you have been approved for one project that you
are approved for all projects you make in that class. Each project is a separate
entity and must be evaluated – and approved independently.
Make sure to fill out the FRAC completely and have your instructor sign it
before you bring it to the Head of Production Administrator (HoPA).
If you have a script or outline, attach it to the FRAC.
If you have a crew attach a list of their names with their phone numbers and
e-mail addresses. Include a signed Worker Compensation form for each
person listed on your cast and/or crew list (see following page).
In most cases approval will be swift. However, give yourself plenty of time – allow at least
one week to process the FRAC before shooting.
If you are shooting off-campus and need permits; if you are shooting stunts or if you are using prop weapons the process will take longer and you should give yourself extra time for
getting approved.
If you bring us the FRAC form the day before you want to film we cannot guarantee that it
will be processed in time.
Shooting without approval for your project is a violation of the School of Film and Television
and Loyola Marymount University policy. There are consequences and penalties (some quite
severe) for failure to observe policy.
MAKE SURE YOU:
1.
FILL OUT THE FILM RISK ASSESSMENT CHECKLIST COMPLETELY
2.
HAVE YOUR INSTRUCTOR SIGN THE FORM
3.
BRING IT TO JOHN SYRJAMAKI
(CA 118B – 8-2973 – [email protected])
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FILM RISK ASSESSMENT CHECKLIST
Fill out form completely and legibly. After discussing your project with your Professor, have
them sign the form. Then, bring it to JOHN SYRJAMAKI (CA 118B).
STUDENT’S NAME
STUDENT’S PHONE
STUDENT’S E-MAIL
PROJECT TITLE
SHOOT DATE(S)
TOTAL SHOOTING DAYS
DAYS ON STAGE
DESCRIPTION OF ACTION
LOCATION
BUDGET
CLASS
☐ XF100
SEMESTER
☐ EX3
☐ C300
DATE
☐ DSLR
PROFESSOR’S NAME
☐ 16mm
other
PLEASE PRINT
SIGNATURE OF PROFESSOR
SIGNATURE OF HoPA
YES
NO
Will you be filming off-campus?
Will you be renting any camera/grip/lightng equipment from off-campus?
Will you be using non-LMU students as actors?
Will you be renting props ?
Will you be filming minors? (anyone under the age of 18)
Will there be stunts? (slaps, kicks, punches, falls, etc.)
Will you be using prop guns or prop weapons? (clubs, knives, etc.)
Will you be using motor vehicles in your film or video?
Will you be using animals in your project?
Is this project being shot during class time?
IF THIS FORM MUST BE SENT TO RISK MANAGEMENT – ALLOW A MINIMUM OF 96 HOURS ( 4 WORKING
DAYS) TO PROCESS YOUR PROJECT. YOU WILL BE SENT AN EMAIL NOTIFYING YOU THAT YOU HAVE
BEEN APPROVED. YOU MAY CHECK OUT EQUIPMENT ONLY AFTER THAT.
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5/13
APPROVAL PROCEDURE FOR LARGER PROJECTS
The process for more sophisticated projects involves more than simply filling out a
FRAC. For the following courses:
PROD 300
PROD 350
PROD 400
PROD 450
PROD 550
PROD 600
PROD 650
Have your instructor sign your script. You cannot be approved until the script is signed.
Make an appointment to see John Syrjamaki (Head of Production CA 118B). He is available Monday through Friday 9am to 6pm. You can also all him or email for an appointment (310 338 2973, [email protected]).
Get the signed script to John Syrjamaki in advance of your meeting so he can read it
before you meet.
Bring to the meeting:
A crew list (with crew position and phone numbers – it does not have to
be a complete list – just whoever you have now)
A shooting schedule (the days/dates of filming and the scenes that will
be filmed on each day)
A budget
If you have stunts:
Bring your stunt coordinator’s resume and, if possible, headshot
Bring a signed “Stunt Coordinator Confirmation” form
If you are using minors:
Having the name and contact information of your Studio
Teacher in advance will speed up the approval process.
If you have scenes on, in or near enough water so that a drowning
hazard exists, you will need to supply a copy of your lifeguard’s
certification before you can be approved.
The meeting should last about 1/2 hour (or less)
DO NOT use a “production company” name on any of your documents. Use of a company name invalidates the LMU insurance.
When John Syrjamaki is satisfied with your shooting plan he will sign your script and
send your package (signed script, crew list, shooting schedule, budget) to LMU Risk
Management Office.
The Risk Management Office will notify you by email when you have been approved
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This does not usually take long, but give yourself plenty of time. Don’t wait until a few
days before you want to shoot. One or two weeks is recommended.
You will be able to reserve equipment and stage time without having been approved, but
you will not be able to check out equipment until final approval.
If you have not received notification from the Risk Management Office within a few
working days after meeting with John Syrjamaki, you should call or email either them to
find out what the problem is.
Veronica Hansen
310 338 1839
[email protected]
John Syrjamaki
310 338 2973
[email protected]
It is your responsibility to get approval – and no one else’s. The more prepared you are,
the easier – and faster the process will be.
Failure to get your project approved may require you to reschedule or abandon your
filming.
Remember, your failure to plan and prepare does not constitute an emergency for anyone
else.
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PRESENTATION OF YOUR MATERIALS FOR APPROVAL
We assume you have come to this school to learn how to make films and videos so that
one day you can make your living as a professional filmmaker. To that end, we expect
you to prepare your script, shooting schedule, budget, crew list and other materials in the
same way they are done in the real world of films and television.
The following pages give a cursory overview of what these materials should look like.
We expect your pre-production package to look like them. There is no excuse for anything less. The preparation of your production materials is just as important as writing
the script or photographing the scene. Take it seriously and do it right.
FORMATTING THE SCRIPT FOR PRODUCTION
In the motion picture and television industry “shooting” scripts are written in a standard
format so that the production team can evaluate the elements on each page and translate
them into a shooting schedule, a budget – and have all the necessary elements on set for
filming .
Generally, one properly-formatted page of a shooting script equals one minute of screen
time. Of course, there are always exceptions to this rule, but on average the formula holds
remarkably true.
For the formula to work, however, each page must contain only a certain amount of
information. A lot of words describing the sets, the character’s inner thoughts and the
weather translate to zero screen time. Conversely, a simple phrase like, “two armies meet
and a great battle ensues” may yield many minutes of screen time.
PAGE COUNT
An arbitrary numerical value is assigned to each scene by the production team when
“lining” the script. This quantification of the linear prose narrative is used in scheduling
and measuring the work.
This numerical value for each scene is based on the page space occupied
by that scene.
The standard unit of measurement in the United States motion picture
industry is 1/8. We could just as well use 1/10 or some other unit – but
we don’t.
An “eighth” equals approximately one inch of an eight and a half inch
page.
There is no measurement less than 1/8.
Two eighths is 2/8 – NOT 1/4.
8/8 = one page
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OTHER DETAILS
Every script has a Title Page with the name and contact information of
the filmmaker.
All pages – except the first page – are numbered.
All scenes are numbered in a shooting script.
Every time the set changes a new slug line is required.
The script is the blueprint – it is what the entire production team will use as their guide in
making the film or video. So everything you put on the page matters. Be clear and precise
about what you want.
Once the line is drawn and the Page Count assigned, we take note of the Production
Elements needed in each scene to precisely photograph it as indicated in the script. The
Production Elements we look for in a scene are:
STORY DAY
The first scene in a script is Story Day One. Every time the slug line goes
through a DAY-NIGHT-DAY cycle, we have another Story Day. We need
to track Story Day to maintain continuity in wardrobe, makeup, etc..
CAST
We need to know which actors to have on set for the filming of the scene.
ATMOSPHERE
Extras - the people in a scene that make it look “real”. They are actors,
who have no dialogue. They are not always specified in the script.
Indicate the number of extras for the scene.
VEHICLES and ANIMALS
Put together because wranglers, the people who handle animals, are
members of 399, the Teamsters local.
CRITICAL PROPS
Only those that have a critical role in the scene and without which the
scene cannot be filmed. We do not have to itemize every prop that might
be required. The Propmaster will prepare a complete breakdown of
props.
SPECIAL EQUIPMENT
Dollies, cranes, car mounts, helicopters, Steadicam,etc.. Those items
whose need is apparent from the script or specifically called (ie. “we
dolly” and so forth).
SPECIAL EFFECTS
Mechanical effects — fires, explosions, gunshots, rain, etc. NOT optical
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effects like matte shots and bluescreen, etc.
PLAYBACK
Sound or video.
PRODUCTION NOTES
For those items that don’t fit anywhere else, for example,. “light
changes” for Electric or construction notes for the Art Department. etc..
Following is an example of a lined script. Some people like to color code – assigning different colored markers to cast, props, vehicles, etc. If it helps you, by all means do it.
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SHOOTING SCHEDULE
From the lined script a Production Board is made and then a Schooting Schedule is generated.
Below is an example of a simple, One-Line Schedule.
IT'S A WONDERFUL LIFE
ONE-LINE SHOOTING SCHEDLE
Production No:
Director:
Course:
01-05-460-2020
Frank Capra
460
Schedule Dated: April 5, 2005
Producer:
Frank Capra
Faculty:
Gregg Ruzzin
DAY ONE - Monday July 6, 2005
EXT BAILEY BUIDLING - SIGN - DAY
EXT MAIN STREET - DAY
EXT FRONT PORCH - NIGHT
Cast: none
Cast: 1
Cast: 1, 3
Scs: 24
Scs: 18
Scs: 22
Pgs: 1/8
Pgs: 1 4/8
Pgs: 2/8
END OF DAY ONE - TOTAL PAGES: 1 7/8
DAY TWO - Tuesday July 7, 2005
EXT STREET - NIGHT
Cast: 1, 3, atmo
Scs: 23
Pgs: 3 5/8
END OF DAY TWO - TOTAL PAGES 3 5/8
DAY THREE - Wednesday July 8, 2005
EXT RESIDENTIAL STREET - NIGHT
Cast: 1, 3, 15
Scs: 21
Pgs: 6 3/8
END OF DAY THREE - TOTAL PAGES 6 3/8
DAY FOUR - Thursday July 9, 2005
INT BAILEY BUILDING - DAY
Cast: 1, 3, 5,6,7
Scs: 25
Pgs: 4 2/8
END OF DAY FOUR - TOTAL PAGES 4 2/8
COMPLETION OF PRINCIPAL PHOTOGRAPHY - TOTAL PAGES: 16 1/8
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CREW LIST
Below is a sample crew list. This is what yours should look like.
IT’S A WONDERFUL LIFE
CREW LIST
DIRECTOR
Frank Capra
310 338 2973
PRODUCER
Frank Capra
310 338 2973
CINEMATOGRAPHER
Joseph Biroc
310 338 1829
ART DIRECTOR
Jack Okey
310 338 1941
MAKEUP ARTIST
Gordon Bau
310 338 7368
SOUND RECORDIST
Clem Portman
310 338 5800
GAFFER
Homer Plannette
310 338 5178
GRIP
Alan Davey
310 338 3032
PRODUCTION ASSISTANT
Arthur Black
310 338 4439
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THE ASSISTANT DIRECTOR
The AD runs the set for the Director. The AD is in charge of on-set logistics – that is,
organizing and supervising the movement of personnel and material. They are responsible for maintaining an organized flow of production activity. The Assistant is the First
Mate and the Director is Captain. This is true whether the project is a Hollywood feature,
a television series, a low-budget independent or a student film. The Director should
be kept free from logistical considerations so that they can concentrate on the aesthetic
demands of the film.
WHAT ASSISTANTS DO
The AD makes it possible for the Director – and everyone else on set – to do their job.
A good AD creates an atmosphere on set that enables creativity and collaboration. They
must be good communicators and have leadership abilities.
The Director’s Guild of America represents Assistant Directors in collective bargaining.
In the DGA Basic Agreement are the following job definitions:
THE FIRST ASSISTANT DIRECTOR
Organizes pre-production, including breaking down the script, preparing the
strip board and a shooting schedule. During production the AD assists the Director with respect to on-set production details, coordinates and supervises crew
and cast activities and facilitates an organized flow of production activity.
Prepares breakdown and stripboard; prepare shooting schedule keeping same
within time limitations imposed by budget, cast availability and the requirement
of complete coverage of the script
Check weather reports
Prepare day-out-of-day schedules for talent employment and determine cast and
crew calls.
Supervise the preparation of the call sheet for cast and crew.
Direct background action and supervise crowd control.
May be required to secure minor contracts, extra releases and on occasion to
obtain execution of contracts by talent.
Supervise the function of the shooting set and crew.
THE SECOND ASSISTANT DIRECTOR
Prepare the call sheets, handle extras requisitions and other required documents
for approval by the First Assistant Director, the Unit Production Manager and/or
the production office.
Prepare the Daily Production Report and end of day paperwork
Distribute scripts and script changes (after shooting has started) to cast and crew.
Distribute Call Sheets to cast and crew.
Distribute, collect and approve extras vouchers, placing adjustments as directed
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by the First Assistant Director on the vouchers.
Communicate advance scheduling to cast and crew.
Aid in the scouting, surveying and managing of locations.
Facilitate transportation of equipment and personnel.
May be required to secure execution of minor cast contracts, extra releases, and
on occasion to secure execution of contracts by talent.
Coordinate with production staff so that all elements including cast, crew and
extras are ready at the beginning of the day and supervise the wrap at the studio
and on location ( local and distant).
Schedule food, lodging and other facilities.
Sign cast members in and out. (SAG time sheets – Exhibit G)
Maintain liaison between UPM and/or the production office and the First AD on
the set.
Assist the First AD in the direction and placement of background action and in
the supervision of crowd control.
Supervise and direct the work of any Trainee or Intern assigned to the picture.
May assist in the proper distribution and documentation of mileage money by
the Producer’s appointed representative.
WORKING WITH THE DIRECTOR
The relationship between Assistant Directors and Directors is infinitely variable – it
depends on the personalities and working styles of the two people. Some Directors are
more than happy to delegate the running of the set to someone else - others want to be
involved in every aspect of the production. The working relationship should be discussed by the Director and the AD before production begins.
As the AD develops the schedule to find the most efficient way to shoot the film they
check with the Director to make sure their assessment of the script is in sync with the
Director’s. The AD tries to balance the Director’s artistic vision with the available money
and time. There are bound to be differences of opinion and a tactful AD knows that the
Director is in charge and defers graciously.
WORKING WITH THE CREW
The Assistant Director has to have an ability to deal with people. If you don’t like people
– if you don’t genuinely enjoy working with others – you shouldn’t be an AD.
On a student film there is usuallly a lot of confusion about roles and responsibilities. The
Assistant Director should make sure that every crew member understands their job and
what is expected of them. Here are a few tips for working with the crew:
LOOK LIKE YOU’RE IN CHARGE
On a student film you’ll be working with your classmates – and they made up
their mind about you a long time ago. But you should still try to look organized,
efficient and professional. It will have an effect on how they respond to you – or
don’t.
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STAY CALM
What can go wrong – will. It’s Murphy’s Law. Your carefully constructed shooting plan will fall apart – count on it. How you handle adversity – how you
solve the countless problems that arise each day on the set is the true test of an
Assistant.
KEEP YOUR SENSE OF HUMOR
Hopefully, you’ve actually got one. God knows you’re going to need it.
THE GOLDEN RULE
How would you feel if someone screamed and yelled at you all day long? Then
why do it to the crew? Treat the crew the way you would want to be treated if
the roles were reversed.
WORKING WITH ACTORS
Actors are the most vulnerable people on the set. It’s important for the entire crew to do
everything they can to put the actor at ease so they are able to focus on performing and
to give their best work.
Remember that acting is not easy, even under the best of circumstances. Treat
actors with respect and consideration. The more professional and organized you
are, the more your actors will respect and trust you. In turn, this allows them to
relax and give their best performance.
Have food and drink on the set at all times (Especially water and coffee/tea for
those early morning calls.) A candy bar from the vending machine is not sufficient.
Avoid putting the actors in physically uncomfortable situations. If you don’t
have a dressing room at least find them a private place to change – and to rest
between takes.
Make sure there’s a bathroom for them to use.
If it’s hot, keep plenty of cold beverages and ice available. Try to provide a
shaded or air-conditioned space for the actors while they wait. If it’s cold – keep
them warm.
Use stand-ins for lighting whenever possible.
Keep the actors informed of the activity on the set. What’s the next shot? How
long will it be?
EXTRAS
Extras in a film are those background performers, who don’t have dialogue, but whose
presence and skill at pantomime lend “texture” and an air of reality to the scene. They
are sometimes referred to as “atmosphere” or “background actors” (the preferred term
used by the Screen Actors Guild). While they don’t speak – they do use facial expression,
gesture and movement to portray their roles. Background actors are as important to the
shot as the sets and costumes. They are not a necessary evil, but rather an important part
of the fabric on which the story is painted.
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UNPAID EXTRAS
On some low-budget films – and on almost all student films – you will find yourself
working with “non-professional” atmosphere. Student films rarely have money to pay
extras and rely almost exclusively on the generosity of family and friends to people the
background of their scenes.
First of all, keep in mind that there is almost no reason to work as an extra for free. While
actors may be willing to work for nothing because they will be getting a videotape of
their performance, (which could help get them future work) extras get nothing for their
effort. And there are few things on earth more boring than hanging out on a set if you’re
an extra. Even your Grandma’s wild enthusiasm is going to fade after 8 hours of unrelieved tedium.
Low-budget productions have managed to fill stadiums and amphitheaters with unpaid
extras by offering them door prizes like television sets and gift certificates. Students
could use Starbucks gift cards and DVDs.
SETTING BACKGROUND
Remember, the story always determines the background action in a scene.
The script may call for background actors. Some screenplays are vey specific in this
respect – most are not. As the AD reads the script they have to imagine where extras may
be needed – a restaurant, for example, would have diners, waiters, bus boys and so on.
Extras may be needed to create a sense of “reality” like a city street or a busy
airport neither of which would look “right” if unpopulated.
Background players can be used to create a reality that doesn’t exist – like the bar
room scene in Star Wars.
Extras can also be used to simply create movement within the frame thereby
adding a dynamic element to the shot.
Make sure that the atmosphere never distracts from the main action. The audience
should be focused on the actors - not the extras. Watch for distracting movements,
gestures and wardrobe. Also be aware of innaccuracies in props, hairstyles and other elements which can distract the viewer such as soldiers or cops with long hair or a owboy
wearing a wristwatch.
The AD always discusses atmosphere in the shot with the Director to determine the
intent and mood of the scene. The Assistant’s reading of the script may not be consistent
with what the Director has in mind. Whenever possible these details should be worked
out in pre-production.
Selecting Extras
When requesting extras from an extra casting agency there are a number of things they
are going to want to know:
Period
When does the story take place – now – the future – or the past. This could affect
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hair styles, beards and mustaches, etc.
Time of year
Is it summer, winter or … . This will affect how your extras are dressed.
Place
Where does the story take place. People dress differently in Los Angeles in December than they do in New York in December.
Age, Gender and Race
You generally want to have diversity to increase the sense of reality. However,
the script may dictate otherwise and the script and the Director are always the
final authority.
Upscale / downscale
Affluence, or the lack of it, could affect body types, facial hair, ethnic diversity as
well as wardrobe.
Wardrobe
You can request that the extras report in their own wardrobe (for which you
will be required to compensate them). “Dress extras” will report in tuxedos and
ballgowns.
It’s always a good idea to have the extras report with at least one change of wardrobe. You will only be required to pay for it if they actually wear it in a scene
– and you just never know.
Background performers should avoid wearing white, red or black clothing. The
pros know this – others don’t. These colors tend to stand out too much in the
background.
Many professional extras have specialized wardrobe such as CHP or police
uniforms. Take advantage of this and save your wardrobe person from having to
deal with it.
Other
You can also request that the extras bring their own luggage (travelers at an airport, for example). If you’re doing a story about the Army, you can request that
all the men report with military style haircuts.
Number
How many extras are you going to need for the scene? Keep the size of the set in
mind and remember, you can always re-dress the extras to make them look like
new people. However many extras you think you need, it’s probably more than
you have budget for.
CATEGORIES OF EXTRAS
Background Actors fall into one of four categories.
Basic Extra
a performer of ordinary business, including normal actions, gestures and facial
expressions, portraying the functions of the extra player’s assignment.
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Special Ability
A player, who is assigned to perform work requiring a special ability including riding or handling horses, camels or elephants or handling livestock; nonprofessional singing or mouthing to playback in groups of 16 or fewer; playing
professional or organized athletic sports or officiating at a sports event; driving a
vehicle that requires a special license; and playing a musical instrument.
Stand Ins
Extras whose job it is to “stand in” for the actors while the crew lights the set.
The actor is then free to go to makeup, wardrobe, rehearse or rest. Stand-ins are
selected for their similarity to the actor they are replacing. Consideration should
be given to height, weight and general coloring when selecting stand-ins. Standins are paid at a higher rate than are Basic Extras.
Photo Double
This is an extra assigned to double the actor in non-stunt sequences. If the actor is being replaced in a stunt sequence a stunt-double would be used. Stuntdoubles are not extras – they are actor members of SAG. All doubles may be
required to wear makeup and hair goods as well as wardrobe to match the actor
they are replacing.
IT’S STILL ACTING, ISN’T IT?
The opportunity to set background is the AD’s chance to be “creative”. You can treat
the background players like “meat puppets” and instruct their every move – or you can
consider them “actors” and give them characters to play.
For actors - “who” they are determines “what” they do. If the extra is involved in what
they’re doing it will benefit the scene and make the day’s work a lot easier. Let the extra’s
imagination work for you. On the other hand, if you’re going choreograph their every
move you are going to be one very busy AD.
Sometimes the background is just out-of-focus shapes. If the shot is a close-up, for example, the background will be so blurred and out of focus the viewer wouldn’t be able
to distinguish between a human being and a three-legged dog. You don’t want to waste
your time setting elaborate background that no one’s ever going to see.
LOOK THROUGH THE LENS
You have to know the frame you’re trying to fill. Where are the sidelines. What’s in – and
what’s out-of-focus. Most of us need to look through the lens to get our “sight lines”.
Proper set etiquette requires that you ask the camera Operator’s permission before looking through the lens. If there’s a camera move in the shot – have the Operator show it to
you.
Pay attention during the blocking and rehearsal. Know where the cast is going to be.
Start seeing where you can set background. As you set the background watch out for
shadows cast by the extras and any blocking of actor’s movement and/or lines.
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There are essentially two basic types of background. General Background consisting of:
Crosses
There are two kinds of crosses - general movement perpendicular to the camera
axis, which tends to be relatively passive and oblique crosses – that is, movement
at an angle to camera axis which tends to be more dynamic.
Wipes
A cross between the lens and the actor. This kind of action can indicate a crowded
or claustrophobic situation.
Static or Sedentary
Seated or standing atmosphere as in an audience or a crowd. Even though not
ambulatory this type of background is still animated – using facial expression,
gesture and pantomime.
People in restaurants or theater audiences are sitting still, but they aren’t motionless. They are eating, talking, laughing. They use facial expression and gesture to
reveal character.
The second type is Specific Action consisting of:
Bits
Also known as “silent bits”. It is non-verbal interaction with an actor – or other
background player – the bartender, who pours the hero a drink, for example.
Special Ability
The member of the posse, who has to be able to ride a horse or the football
player, who has to catch a pass. These are special skills that require training and
practice.
PACE AND TRACK
Watch the rhythm of life – it’s random – it ebbs and flows – pulsing with diversity. Study
people in public to learn how to set background. As Yogi Berra is reputed to have said,
“you can observe a lot just by watching”.
People in real life don’t all move at the same speed – or in the same direction. Some
people have a place to be – they’re focused – they’re in a hurry. Others wander – window
shopping – killing time – maybe depressed – or stoned.
Not everyone’s moving – some are talking on cell phones, taking a cigarette break or
waiting for a bus.
People don’t all move in parallel lines, either. The patterns of human movement are chaotic. Some people move as individuals – others in pairs or groups.
WARDROBE
Character can be defined by wardrobe as with cops – soldiers – hookers, etc.
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Some extras have their own police uniforms, tuxedos and ball gowns – for the use of
which they must be compensated.
In some cases you may need to apply makeup to your extras - the posse that’s been on
the trail for a week and is grimy with dust or disaster survivors that are bruised and
bloody.
CLASS AND STATUS
People in a heterogeneous society aren’t all the same. Socio-economic class, race, ethnicity, gender and age help determine behavior – what people do and how they do it.
INTERACTION
People talk to each other – they conduct business – argue – laugh and make small talk
– all done, of course, in pantomime. It’s going to be lot easier for your background actors
to accomplish this if they have a “character” to play.
Try to get a rehearsal with extras before you shoot whenever possible. You don’t want to
ruin a take because your extras were bumping into each other – or the stars.
Repeating action for multiple takes
Take 2 will require duplicating the movement so the editor has the freedom to use pieces
from all the takes of a scene.
You can choreograph the action by having the extras move on specific lines of
dialogue or a bit of action. Have the extras take their own cues. This means they
have to pay attention to what’s going on in the scene – and that’s not a bad thing.
You can also plot movement using the script and indicate next to the lines where
the movement of each extra occurs. This can get complicated if you have a lot of
people moving.
MAKING 10 LOOK LIKE 20
Make sure you have additional wardrobe and props (like briefcases, bags of groceries) on
hand. Have the extra cross out of frame – then make a quick change – put on a hat, take
off a jacket or pick up a package - then cross back. Position extra clothes and props at key
points – with a PA to help wrangle.
HANDLING EXTRAS
You’ll need to provide a place for the extras to wait between scenes – a “holding” area.
This area needs to be sheltered from the elements, whether it’s rain, sun or cold. You need
to provide water and restrooms. And if you don’t want them “grazing” at the crew’s
Craft Service table, you’ll need to provide refreshments.
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A FEW TIPS
Take the time to make sure the extras know the story you’re filming – and the scene in
which they are appearing.
Make sure the background players know that it’s what they do all the time they’re on
camera that matters. It’s not enough to just get to their marks.
Everyone’s enthusiasm wanes as the hours drag on. Do the wide shots first – then move
in closer. In closer shots the background tends to be out-of-focus – if the energy level has
diminished, it will be less noticeable.
Cut people loose as you no longer need them. Wrangling large groups of people is exhausting. The noise and confusion only add to the demands of production.
If possible, get to know the names of the extras – and use them.
Avoid treating background actors like cattle or second-class citizens – they’re people
– and they’re important to the filmmaking process.
OTHER OPTIONS
If you’re trying to fill in a theater audience or sporting event with real people and the
expense make any large crowd financially prohibitive – and you just don’t have enough
friends or family, what’s the alternative?
Cutouts
Cutouts have been used in films since the 1920s. They fill in large areas of seating and work well as long as the camera stays on a parallel axis.
Gonzo Bros at:
2834 Colorado Ave
Santa Monica, CA 90404-3631
310-828-4989
www.gonzobrothers.com
Inflatables
For a 3 dimensional look the inflatable
works better than the cutout. There are
no real camera-movement limitations.
Inflatables have been used in such movies as Seabiscut, Wimbledon, The Aviator, and Cinderella man.
To increase realism about 10 inflatables
are placed in a row, then a real person –
then another 10 dummies.
graduation scene with 200 inflatables
178
The Inflatable Crowd Company
1011 Pico Boulevard Suite 4
Santa Monica, CA 90405
310 399 8101
www.inflatablecrowd.com
SAFETY
The State of California enacted legislation in 2000 that imposes criminal liabilities on
managers who violate the law regarding safety. The Directors Guild of America has informed its members that Directors and Assistant Directors could be considered “managers”.
However, any person who is responsible for a danger and does nothing to remove it is
– and always has been – subject to a charge of criminal negligence.
Whether ADs are legally liable or not, ethical and moral behavior requires us as Assistants to take responsibility for the welfare of our coworkers and to do everything we can
to avoid putting them at risk.
GENERAL RULES
The Assistant Director can help insure that the set is safe by encouraging and enforcing
some general safety guidelines.
Demand good housekeeping on the set. Walkways and work areas should be kept free of
equipment and debris.
Enforce “no smoking” policies on set. Provide designated smoking areas with butt cans.
Have fire fighting equipment (extinguishers, sprinklers, hoses, etc.) on set and make sure
it’s all in working order.
Make sure the departments route their cables properly and cover them with mats and/
or crossovers in traffic areas.
Don’t allow pranks or horseplay on the set. Distracting crewmembers from their jobs
could result in injury.
Make sure the crew is informed of clothing requirements (heat, cold, rain, snow, etc.)
and that protective equipment such as safety glasses or hearing protection is available
when needed.
Conduct SAFETY MEETINGS for all stunts or other potentially hazardous activity.
Be aware of general location safety concerns such as terrain; nasty critters and vegetation.
CALL SHEETS are the way to communicate safety information to the cast and crew. In
the case of unusual circumstances such as stunts and special effects, SAFETY MEETINGS should be held with all the involved parties.
179
THE CALL SHEET
The Call Sheet is an instrument of communication. It informs your cast and crew of what
work will be done; where it will be done; when it will be done and who will do it.
The Call Sheet is derived from the Shooting Schedule. It is a distillation of all the relevant
information regarding the next day’s filming – call time, location and scenes to be shot.
The Director and the AD should go over the list of scenes to be filmed the next day. There
should be agreement on not only the scenes themselves, but the order in which they will
be shot.
The Assistant Director is responsible for filling out the Call Sheet and seeing to it that all
members of the cast and crew receive a copy. The Director should approve the Call Sheet
before it is copied and distributed.
The Call Sheet should be neat and legible – after all, the whole point is to inform people
and that means they actually have to be able to read the document.
A map to the location should always be attached to each Call Sheet before it is handed
out.
The sample Call Sheet has been greatly simplified for student use.
THE HEADER
Includes the Title, Production Number and Shooting Date. It also includes the name of
the Producer, Director and Assistant Director as well as the nearest hospital with a phone
number and a location contact with a phone number.
In the upper right hand corner you will see: DAY ____ of _____ . This is where you put
the shooting day. DO NOT START RENUMBERING for additional days, pick-ups or reshoots.
THE SCENE LIST
This is the day’s work listed in the order in which it will be done. Following the “set description” are the character names of the actors appearing in the scene. The scene number
is listed as well as the page count and whether it is Day or Night. The second line has a
very brief – 3 or 4 word – description of the action in the scene. The location address is
also included in this section.
CREW CALL
List the position, the individual filling that position and their call time. “O/C” means
“own call” – that individual will determine for themselves when to arrive on set
180
CAST CALL
List the actor; their character number from the strip board; the character they are playing;
where they should report to; they time they should report and the time they are expected
to be on set. “W/N” means “will notify” – and it’s used when an actor’s call time is uncertain. It is important that the actor knows they will be needed – and they should stay near a
phone and wait for a call.
ATMOSPHERE
Also known as “extras”. Extras may often be “ND” or “non-descript”, but occassionally
extras are cast to play specific non-speaking parts like policemen or doctors.
MISCELLANEOUS AND SPECIAL INSTRUCTIONS
This is where brief notes for the departments can be made to remind everyone of critical
elements. General notices to the cast and crew can be made in this area.
ADVANCE SCHEDULE
A very brief, one-line description of the next day or two’s work and location.
ABBREVIATIONS
Some common abbreviations used in making Call Sheets:
D Day
N Night
INT
Interior
EXT
Exterior
w/n
will notify (we don’t know when we’ll need you, but we will need you on this day - we call and let you know)
o/c
own call (does not have to report with crew call)
atmo
atmosphere (extras)
ND
non-descript
H
hold (does not work this day - but still on the show)
181
DAY 1
CALL SHEET
TITLE:
OF 12
THE BIG SHOW
PRODUCER: Tom Hagen
PROD #:
03-06-460-1234
DIRECTOR: Norman Bates
SHOOTING DAY/DATE: Monday April 1, 2006
ASST DIR:
PAGES
1/8
1 5/8
2 0/8
SET / DESCRIPTION
INT KITCHEN (Paul, Kathy)
- they hatch plotINT BASEMENT (Paul, Kathy, Bob)
- bury the body EXT HOUSE (Paul, Kathy, Moe, atmo)
- cops arrive – theyʼre busted -
POSITION
AD
Cinematographer
st
1 AC
nd
2 AC
Gaffer
Best Boy Elect
Electrician
Generator Op
Sound Recordist
Boom Operator
NO.
1
2
8
11
NAME
SC NOS
4
CAST
1, 2
D/N
D
8, 31
1, 2, 11
D
38, 40
1, 2, 8
N
CALL
Luca Brazzi
Vincent Vega
Henry Gondorff
Johnny Hooker
Lyle Gorch
Emilio Lizardo
John Bigboote
Dave Bowman
Harry Caul
Junior Bonner
5:30A
7:30A
7:15A
7:00A
7:30A
7:15A
7:30A
7:30A
7:30A
7:15A
CAST
Nick Charles
Esther Blodget
Norman Main
Joel Cairo
Luca Brazzi
POSITION
LOCATION
2347 Marongo Ave
Pacoima, CA
(see map attached)
NAME
CALL
Key Grip
Dolly Grip
Grip
Wardrobe
Makeup
Hair
Script Super
Tector Gorch
Rick Deckard
Roy Batty
Rocky Balboa
Etta Place
Norma Desmond
7:30A
7:00A
7:30A
6:00A
5:30A
6:00A
7:30A
Prod Designer
Eve Harrington
O/C
Production Asst
Production Asst
Jimmy Jump
Forest Gump
5:30A
7:30A
PART OF
Paul
Kathy
Det. Moe
Bob
REPORT TO
Location
Production Office
MAKEUP
7:00A
6:00A
w/n
10:00A
ON SET
8:00A
8:00A
w/n
w/n
ATMOSPHERE
Part of
Part of
REPORT TO
CALL
REPORT TO
2 uniforms
2:00P
Location
1 Detective
2:00P
MISCELLANEOUS AND SPECIAL INSTRUCTIONS
Transportation: 1 Detective car, 1 squad car
DRESS WARMLY FOR NIGHT EXTERIOR FILMING
Electric/Grip: rig for NIGHT EXTERIOR
ADVANCE SCHEDULE
Tues. April 2, 2006 3 7/8 EXT DESERT SCS: 18, 47, 90 D
Pearblossom Hwy, Mojave CA
Wed. April 3, 2006 4 1/8 INT CAFÉ
SCS: 1, 46, 87
D/N 83 Main St, Mojave CA
Assistant Director: Luca Brazzi
Production Manager:
182
Vito Corleone
This is a sample map to the location(s) that would be attached to the Call Sheet.
183
THE PRODUCTION REPORT
The Production Report is the “document of record” for the shooting day. As such, it is
a quasi-legal document and extremely important. It must be completed accurately and
religiously.
The Production Report is also a measurement tool. It gives the production team essential
data to determine if the project is on schedule and on budget. It provides the Producer
with information that allows critical creative decisions to be made before crises occur.
The Production Report is used to verify that an employee was injured on-set in the case
of Worker Compensation. Any injuries – even those not requiring medical attention
– should be noted in the event there is a claim at some later date.
Delays of any kind are entered as well as any loss or damage to equipment. Once again,
this record may be of value in substantiating any insurance claims in which the production may be involved.
The Second Assistant Director is usually delegated the task of filling out the Production
Report – and, as with the Call Sheet – a template is made that has as much of the constant
data as possible already entered.
As with the Call Sheet, the Production Report must be filled out neatly and legibly.
The Production Report is comrised of several sections:
THE HEADER
This is the indentifying information. The Title, day and date, Producer, Director and AD.
Also indicated is the day of days – in the case of our sample this is the first day of twelve
days of shooting. As with the Call Sheet - DO NOT START RENUMBERING for additional days,pick-ups and re-shoots.
The Header also contains the Box Score – the number of days scheduled for the production with revised and actual numbers. This information is updated regularly as the
production progresses.
THE SCENE LIST
The Set and Location of that day’s work.
THE CREW LIST
All the on-set personnel with in and out times.
THE CAST LIST
The Character name is listed first with the actor’s name second. In and out times are
recorded.
184
For both Crew and Cast any “non-deductible” meals are indicated. The time taken to
eat an” n.d”. meal is not deducted from the employee’s pay – obviously, not an issue for
student films since you’re not paying anyone. On a professional show it is a way to bring
those, who arrived on-set early, into sync with the rest of the crew so everyone can break
for lunch at the same time.
SCENES AND PAGES
This is an accounting of all the scenes and pages in the script and a record of what has
been filmed and what remains to be filmed. This information is kept by the Script Supervisor and given to the AD at wrap.
FILM INVENTORY
An accounting of all the film used by the production. For student filmmakers this is a
good way to determine if you’re going to need to make a run to Kodak to buy some more
raw stock.
SET-UPS
The number of set-ups in a day are one measure of a crew’s productivity.
SCENE NUMBERS
The script numbers of the scenes shot this day are listed.
If only a portion of a scene is shot (for example, one side of a telephone conversation) it is
noted by using the abbreviation “pt”.
DELAYS
Any production delays are noted here.
TIME LOG
The Script Supervisor provides this information to the AD at wrap.
ADVANCE SCHEDULE
The next day’s set and location are noted.
COMMENTS
Any comments that are not related to production delays may be entered here.
APPROVALS
The Production Report is signed by the Assistant Director and the Production Manager
verifying its accuracy.
185
OF 12
DAY 1
DAILY PRODUCTION REPORT
Preproduction
25
Scheduled
Revised
Travel
0
Title: THE BIG SHOW
Holiday
0
Idle
0
Shooting
12
Prod #: 03-16-460-1234
Producer: Tom Hagen
Pickup
Schedule
0
Ahead
0
Behind
Day/Date: Monday April 1, 2007
Director Norman Bates
Date Started: April 1, 2007
Scheduled Finish Date: April 17, 2007
Est. Finish Date: April 17, 2007
Sets: INT KITCHEN, INT BASEMENT, EXT HOUSE
Location: 2347 Marongo Avenue
Pacoima, CA
Crew Call: 7:30A
Shooting Call: 8:00A
1st Shot After Lunch: 4:12P
Company dismissed @
First Shot: 9:30A
2nd Meal – Til: –
Studio
Lunch: 1:30P Til: : 2:00P
Camera Wrap: 6:30P
Last Man Out: 7:30P
Location Round Trip Mileage: 28 miles
Location
SCRIPT SCENES AND PAGES
TYPE
Budgeted
Total Used
OUT
TRAVEL TIME
IN
Nick Charles
Paul
SW
7:00A
8:00A
3:00P
1:30P
2:00P
Esther Blodget *
Kathy
SW
6:00A
8:00A
6:30P
1:30P
2:00P
Norman Main
Det. Moe
SWF
11:00A
11:30A
4:30P
1:30P
2:00P
Bob
SW
10:00A
11:00A
6:30P
1:30P
2:00p
Joel Cairo
* = NON-DEDUCTIBLE
BREAKFAST
X = NOT PHOTOGRAPHED
ARRIVE
AT HDQ.
MEALS
15,000
0
2,200
2,200
ARRIVE
ON LOC.
WORKTIME
FOOTAGE
5247
–
5247
5247
LEAVE
FOR LOC.
T
TR
Used today
ON SET
R
CHARACTER
Used previously
DISMISS
F
ON SET
H
S
REPORT
W
Finished - F
Test - T
TIME
CAST - WEEKLY & DAY PLAYERS
CAST
RAW STOCK
0
0
Prev
Prev.
Today 8:30
Today 14
8:30
14
Total
Total
Added Scenes: –
Scenes Nos: 4, 8, 31, 38, 40
Worked – W
Started – S
Travel - TR
Rehearsal - R
Hold - H
SETUPS
CALL
Script
Previous
Today
To Date
Remain
PGS
47 5/8
0
3 6/8
3 6/8
43 7/8
LEAVE
LOCATION
MINUTES
SCNS
90
0
5
5
85
* = DISMISS TIME INCLUDES 15 MIN. MAKEUP / WARD. REMOVAL
S = SCHOOL ONLY
EXTRA TALENT
Name
Luke Jackson
Andy Hardy
Sonny Corleone
1st Call
Set
Dismiss
Final
Dismiss
2:00P
6:30P
6:30P
2:00P
6:30P
6:30P
2:00P
6:30P
6:30P
Assistant Director: Luca Brazzi
Name
1st Call
Production Manager: Vito Corleone
186
Set
Dismiss
Final
Dismiss
SCRIPT SUPERVISORS
Students planning an advanced production should give serious consideration to securing the
services of a Script Supervisor for their show.
Almost all scripts are shot “out of continuity” yet when edited together they must make continuous verbal and visual sense. The Script Supervisor helps ensure this continuity by recording every detail of every take of every scene. They take notes for the Director and Editor. They
are the critical link between the set and the editing room.
WHAT A SCRIPT SUPERVISOR DOES
A detailed description of what a Script Supervisor does would fill a book. In fact, it does.
“Script Supervising and Film Continuity” by Pat P. Miller is a very good text on the subject. In
general, however, the Script Supervisor’s work is as follows:
Pre-production
Prepares Breakdowns
Times the script
Production
Assigns scene numbers for slating
Makes a “lined” script (vertical lines indicating which takes cover which part of the
script)
Makes detailed notes of each take
Checks and ensures all scenes have been shot and covered
Provides the Assistant Director with an “End of Day” report
WHERE TO FIND A SCRIPT SUPERVISOR (who’ll work for free)
You might be able to enlist a fellow student to work as the Script Supervisor, but since that
craft isn’t taught at SFTV it’s highly unlikely that they’ll actually know what they’re doing.
SCRIPT SUPERVISOR WORKSHOPS
There are a number of workshops offered in the Los Angeles area that offer instruction in
script supervising. The people enrolled in these workshops want to work as professionals, but they need some practical experience first. They are excellent candidates for Script
Supervisors on student films.
The workshops are listed in order of ease, with the first one being the most uncomplicated.
Cinema Workshops
Randi Feldman
(310) – 828 – 6127
[email protected]
www.scriptsupervising.com
Randi suggests that you just send her a paragraph in an email, akin to something you would find on
Craig’s list, describing your project. She will in then email it to her students. You may wish
to call and confirm that she received the email. Randi is very eager to help us and make
her students available to us.
187
UCLA Extension
Entertainment Studies
Mike Lammers
[email protected]
(310)-267-4771
10995 Le Conte Avenue
(310) - 825 – 9971
www.uclaextension.edu
Mike suggested a few ways to contact script supervisors. Students can call him for help or simply go into
the office and read the updated database for script supervisors. Either way seems easy and negotiable.
Filmmaker’s Central
Script Supervising Training
[email protected]
323-467-6580
Email a “Craig’s list” type ad to ATTN:Maureen Toughy. It will be posted along with other general emails
and then be forwarded to the students. In talking to Filmmaker’s Central, it seems as if this approach is a
little mechanical, but they have been attentive and friendly on the phone. Give it a shot and see, but don’t
get your hopes up.
Cinema Arts Tech
Jim Kelly Durgen
Director
14424 Friar Street
Van Nuys, CA 91401
www.cinemaartstech.com
(818) -787-8886
Mr. Durgen was the first person to mention $. He explained that if his students receive $55 a day, the
work counts towards their union days. This may be sidestepped, but if you have no problem spending
the cash, call Mr. Durgen. He seems helpful and attentive.
Robert Gary Continuity/Script Supervision Workshops
Robert Gary
[email protected]
www.script-supervision.com
323-464-3666
Mr. Gary was also very quick to explain that his students need $55 a day for it to count for union days, besides thishe didn’t seem to be as helpful as the others. He explained that a student from LMU could call
and he’d give them names of students. Nothing else. “No Deal,” as he said. Use at your own risk.
188
HOW TO SLATE
Slating a shot helps to identify the scene as well as sync up the audio and video later. The
clapperboard records the scene, take, director, director of photography, date, and name of
the film written on the front, and is displayed for the camera.
Prepare your markings ahead. Have the proper upcoming scene/shot/take
and MOS/Sync markings ready & on the slate well before the actual take.
Keep a reserve of black numbers on white tape stuck to the back of the slate.
Always have a marker and more tape on hand.
Show the slate to the Script Supervisor and the Sound Mixer before the shot
to insure that you are all on the same scene/shot/take numbers. The Sound
Mixer will probably voice slate before the actual take begins (say, during the
final rehearsal), so you will want to show him or her the slate at or before
that time.
Plan escape routes. Practice during final rehearsals so you don’t trip on
cables, props, etc.
Be sure that the slate is readable to the camera. If the camera is focused for
a long shot or an extreme close-up, or if the slate is concealed in a shadow,
ask the camera operator to take a fully illuminated, focused close-up burst
of picture ID in advance of the clap. If you don’t, you risk being torn apart
by your editors. The clap must still be in reasonable focus. Make sure your
own shadows are not falling on and obscuring the slate.
Speak loudly and clearly as you do the voice slate.
Hold the slate flatly parallel to the camera. Hold the sticks wide open. Keeping the rest of the slate still (too much movement blurs the image), clap the
sticks together once firmly.
189
Do not clap the sticks so hard that they bounce open and fall back down.
Clap the stick softly when close to an actor’s face so not to startle or take the
actor out of character.
If you accidentally clap the sticks before the camera rolls, but after sound
“speed” simply say, “Second sticks.” then wait for “camera rolling” and slate.
Keep the sticks closed as you exit frame - quickly. Do not be so eager to leave
that you move the slate as the sticks clap (syncing hell).
STANDARD CALL
AD:
Sound Ready?
Sound Mixer: Sound Ready
AD:
Camera Ready?
Camera Operator:
AD:
Camera Ready
This is a Take. Quiet, please! Roll Sound!
(at this point the sound mixer will turn on the recorder and when he has speed will announce)
Sound Mixer:
Speed
(at this point the camera operator will turn on the camera and when he has speed will announce)
Camera Operator:
Slate Person:
Director:
Mark it
Shot 13A, Take 3 CLAP (slate person clears frame)
Action! There are many adaptations and versions of the above. It is up to the AD,
Sound Mixer, Camera Operator, Slateperson and the Editors to determine
what works best for their purposes. Here at LMU, we encourage a standard
slate procedure as above. Whatever you choose, be consistent.
Tail slates should only be used when a head slate is absolutely impossible
to get. Hold the slate upside down, clap the sticks solidly and keep them
closed.
MOS slates - hold the top stick upright in one hand OR stretch your hand out
over closed sticks. Do not close the sticks during an MOS shot. If you do, the
editors will go nuts trying to find the matching clap on the sound track.
Be consistent on your slate method.
190
UNIVERSAL PHONETIC ALPHABET
AAlpha
BBravo
CCharlie
DDelta
EEcho
FFoxtrot
GGolf
I India (Not used)
JJuliet
KKilo
LLima
MMike
NNovember
O Oscar (Not used)
PPapa
QQuebec
RRomeo
SSierra
TTango
UUniform
VVictor
WWhiskey
XXray
YYankee
ZZulu
Note that I and O are not used in slating because these letters may be confused with ones
(1) and zeros (0). In some instances, Q is not used as it also may be confused with zero
(0).
191
192
AFTER YOU’VE FINISHED SHOOTING
You have 2 days from completion of principal photography to turn in copies of the Hours
Worked for cast and crew forms to the LMU Risk Management Office:
You should retain the originals of these documents for your files. Give Risk Management Xerox copies only - sometimes they get lost.
COMPLIANCE
Failure to comply with the paperwork requirement could affect not only your grade in
the course but your insurability for future projects (that is, you might be denied LMU
insurance and have to purchase your own from an outside broker – and it’s not cheap).
The following statement is in every Production course syllabus:
“Students will not receive a passing grade in this course if they are
listed as non-compliant with the SFTV HoPA or with the LMU Risk
Management Office on the final day of class.”
Deliver your paperwork in person to:
Veronica Hansen, Risk Management Specialist
LMU Risk Management Office
4900 University Hall
310 338 1829 (office)
310 261 9181 (cell)
[email protected]
DO NOT fax or email your paperwork to Veronica. First of all, there are too many
productions going on at once - the volume material would overwhelm the Risk
Management’s machine. Secondly, you need to be assured that Veroncia actually got
your paperwork. Personally putting it in her hand is a way to be sure she got it.
193
194
THE SAFETY MEETING
The First Assistant Director, acting as the Safety Officer for the production, will hold a
safety meeting prior to the beginning of each day’s filming. The meeting may be brief
and informal, but the following should be discussed:
Emphasize the importance of safety on the set and everyone’s responsibility for
maintaining a safe workplace
Remind everyone that “horseplay” and unprofessional behavior will not be tolerated
Remind all departments that cable should be neatly run out of foot traffic areas
and that cable crossovers should be used to prevent tripping
Locate emergency exits
Locate fire extinguishers
Locate First Aid kit(s)
Inform the crew of the location of the nearest hospital
Review any special issues pertaining to the day’s filming – in particular, any
stunts or special effects
If filming on location make the crew aware of indigenous critters and plants that
may be hazardous
Check that all crew members are wearing appropriate footwear (open toed sandals, high heels, etc. are NEVER appropriate for any crew member – including
the Director and Producer)
Check that crew members are wearing appropriate clothing for the weather and
climate
Solicit from crew members any concerns about safety issues. If there are concerns
the First Assistant Director will address them to the satisfaction of the crew member before any work begins
195

production handbook 2016 - LMU School of Film and Television

Transcription

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