film & television handbook - western carolina university

Student Handbook

FILM & TELEVISION PRODUCTION

Revised, July 1, 2013 1

TABLE OF CONTENTS

Student Agreement of Understanding ................................................................................. 3

1. Mission Statement ....................................................................................................... 4

2. Administration, Faculty, & Staff ................................................................................... 4

3. 8 Semester Plan for B.F.A in Film & TV Production (2013-‐14 Catalogue) ....................... 5

4. Admission to the FTP Program ..................................................................................... 7

5. Internship .................................................................................................................... 8

6. Senior Project ............................................................................................................... 8

7. Advising ..................................................................................................................... 11

8. Graduation Audit ....................................................................................................... 11

9. Grading ...................................................................................................................... 11

10. Attendance .............................................................................................................. 12

11. Collaboration ........................................................................................................... 12

12. Student Code of Conduct .......................................................................................... 12

13. Plagiarism and Cheating ........................................................................................... 13

14. Probation and Dismissal ........................................................................................... 13

15. Appeal Process: ........................................................................................................ 14

16. Best Production Practices ......................................................................................... 14

17. Greenlight Process ................................................................................................... 15

18. Equipment ............................................................................................................... 16

19. Expendables and Supplies ........................................................................................ 18

20. Ramsay Film Stage .................................................................................................... 19

21. Working with Actors & Actors Contracts ................................................................... 19

22. Working with Minors ................................................................................................ 20

23. Working With Animals ............................................................................................. 21

24. Costumes ................................................................................................................. 21

25. Props Loan Policy & Procedures ............................................................................... 22

26. Locations .................................................................................................................. 22

27. Security And Safety .................................................................................................. 23

28. Code Of Safe Practices .............................................................................................. 23

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29. Accident and Emergency Notification Procedures ..................................................... 24

30. Threats to Safety ...................................................................................................... 24

31. Safety Meetings ....................................................................................................... 25

32. Stunts ....................................................................................................................... 25

33. Cars & Driving Shots ................................................................................................. 26

34. Use of WCU Motor Pool Vehicles as Production Vehicles .......................................... 27

35. Motorcycles and Bicycles .......................................................................................... 27

36. Explosives And Pyrotechnics ..................................................................................... 28

37. Open Flames ............................................................................................................ 28

38. Smoking ................................................................................................................... 28

39. Weapons .................................................................................................................. 28

40. Smoke, Fog And Lighting Effects ............................................................................... 29

41. Water ....................................................................................................................... 29

42. Electrical -‐ General Safety Measures ......................................................................... 30

43. Clothing, Footwear, and Personal Protection Equipment .......................................... 31

44. Rooftop Work .......................................................................................................... 31

45. Ladder Safety ........................................................................................................... 31

46. Editing Lab (Belk 287) ............................................................................................... 31

47. Post-‐Production Suite (Belk 274) .............................................................................. 33

48. Credits ...................................................................................................................... 33

49. Ownership of work ................................................................................................... 35

50. Non-‐Class Projects .................................................................................................... 35

51. Use of Copyrighted Material ..................................................................................... 35

52. Screening of FTP Student Work Outside Class ........................................................... 36

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Student Agreement of Understanding The purpose of the Film & Television Production (FTP) Handbook is to define all rules, regulations, and procedures associated with the Program including academics, production, and safety. Given the potentially hazardous nature of some aspects of filmmaking, it is particularly important that these rules and procedures be observed. Therefore you must sign this document and also pass an open book exam on the Handbook with a grade of at least 85. Students who do not submit this form or who fail to pass the exam will not be allowed to participate in any production activities, including use of any FTP equipment. Students may take the test as many times as needed to pass. By signing below, I indicate my agreement to each of the following: § I have read the Film & Television Production Handbook.

§ I understand that I am responsible for all information contained within it. § I agree to abide by the rules, regulations and guidelines set forth in the FTP Handbook as

well as the Student Code of Conduct defined in the WCU Student Handbook.

§ I acknowledge that failure to observe the rules, regulations, and procedures in the FTP Handbook may result in imposition of penalties as set forth in the Handbook.

§ I acknowledge that these policies and procedures are subject to revision and alteration, that these changes will be communicated via electronic dissemination, and that I am responsible for keeping up-to-date on these revisions.

§ I understand that students who do not submit this form or who fail to pass the exam will not be allowed to participate in any production activities.

______________________________________ Student Name (print) ______________________________________ Signature ______________________________________ Date Please print, sign, and return this form to the Program Director by the date requested.

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1. Mission Statement

The mission of the Film & Television Production Program is to prepare students to work in film, video, television, and other genres both narrative and unscripted. While we emphasize technique as well as professional standards and behavior, we believe the primary skill in filmmaking is storytelling with moving images and sound. We therefore teach students to understand the whole process, even though they may pursue only one segment of it. Those who understand the art, technique, and business of filmmaking will have a better chance to succeed and to find the profession fulfilling. With the advent of the digital age and broadband technology, the film and television industries have changed more in the last ten years than they have in the previous fifty. We therefore provide students with the breadth of knowledge and the creative strategies to adapt to whatever new technologies may emerge. We also teach the fundamentals that will not change by exposing our students to the history, craft, and art of film and television. We believe students need to know how the real world of film and television operates; the unspoken rules, the shortcuts, the etiquette. All of our faculty have extensive professional experience so they can teach not only the tricks of the trade but the skills and attitude necessary to succeed. While some of our students may move on to the major centers of production, others will seek their careers locally or regionally. Our program addresses the needs of both groups. 2. Administration, Faculty, & Staff College of Fine & Performing Arts Dean: Robert Kehrberg. Belk 392B. 227-7028 Associate Dean: John West. Belk 392D. 227-7028 Assistant to the Dean: Courtney Thompson. Belk 392C. 227-7028 School of Stage & Screen Director: Thomas Salzman. Stillwell 233B. 227-7491 Administrative Assistant: Melody Huddleston. Stillwell 233. 227-7491 Film & Television Production Program: Program Director & Professor, Directing: Jack Sholder. Belk 279. 227-2324 Associate Professor, Cinematography: Arledge Armenaki. Belk 281. 227-2255 Associate Professor, Screenwriting: Terry Curtis Fox. Belk 280. 227-2624 Adjunct Professor, Screenwriting: Brenda Lilly Associate Professor, Film Studies (English): Elizabeth Heffelfinger. Coulter 420. 227-3930 Professor, Commercial & Electronic Music (Music): Bruce Frazier. Coulter 254. 227-2400 Assistant Professor, TV Production (Communications): Mark Mattheis. Stillwell 255. 227-2943

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Faculty & Staff: Theatre, Musical Theatre, & Dance: Program Director, Theatre & Assistant Professor, Acting: Claire Eye. Stillwell 233A. 227-3961 Associate Professor. Dr. Richard Beam. Stillwell 268. 227-3800 Professor, Design & Technical Theatre. Susan Brown Strauss. BAC 183. 227-3963 Assistant Professor, Acting. D.V. Caitlin. Stillwell 250. 227-3802 Assistant Professor, Technical Theatre. Luther Jones. BAC 184. 227-3849 Assistant Professor, Acting/Screenwriting. Brenda Lilly. Stillwell 267. 227-2092 Assistant Professor, Dance: Karyn Tomczak. Breese 220. 227-3672 Program Director, Musical Theatre. Nathan Thomas. Breese 221. 227-2864 Costume Shop Manager. Tony Sirk. BAC 182. 227-3848 Scene Shop Manager, Alex K. BAC 184. 227-3849 Facilities: Editing Lab: Belk 289 Post-Production Suite: Belk 274 Teaching Stage: Killian 119 Shooting Stage: Ramsey Center Screening Room & Theatre Teaching Stage: Niggli Theatre. Stillwell 266 Costume Shop: Bardo Fine & Performing Arts Building 185 Scenic shop. Bardo Fine & Performing Arts Building 182 Media Library: Hunter Library Campus police: 828 227-7301 (non-emergency), 8911 (emergency)

3. 8 Semester Plan for B.F.A in Film & TV Production (2013-14 Catalogue)

FRESHMAN YEAR FALL SEMESTER SPRING SEMESTER

Course prefix

Course number Course title Hrs Course

prefix Course number Course title Hrs

C1 ENGL101 Composition I 3 C3 Core Oral Communication 3

1st year seminar THEA 191 Integral Arts 3 FTP 150 Thinking Like a

Filmmaker 3

C2 Core Math 3 C5 Core Physical & Biological Sciences 3

P1 Perspective Social Sciences 3 THEA 231 Stagecrafts 3

P3 Perspective History 3 C4 Core Wellness 3 15 15

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SOPHOMORE YEAR FALL SEMESTER SPRING SEMESTER

Course prefix



THEA 140 Acting I 3 C5 Core Physical & Biological Sciences 3

C2 ENGL 202 Writing & Critical Inquiry 3 P4 Perspective Humanities 3

FTP 250 Basic Production Technique 3 FTP 253 Intro to Film

Directing 3

P5 Perspective Fine & Performing Arts 3 FTP 386 Production

Practicum 1

FTP 386 Production Practicum 1 ENGL 278 Intro to Film

Studies 3

FTP 310 Intro to Screenwriting 3 P1 Perspective Social Sciences 3

16 16

JUNIOR YEAR FALL SEMESTER SPRING SEMESTER

Course prefix


prefix Course title Hrs

FTP ENGL

340 368, 394

Filmmakers on Filmmaking Film Genres, or any other approved Film Studies Course

3 FTP 335 Intermediate Cinematography 3

FTP 320,321,406,407,409,410

Screenwriting II, or other upper level screenwriting course

3 FTP 361 Intermediate Directing 3

FTP 357 Non-Linear Editing 3 FTP 365 Producing 3

FTP 386 Production Practicum 1 FTP 386 Production

Practicum 1

FTP 460 Directing the Documentary 3 Elective Elective 3

P6 Jr-Sr World Cultures 3 16 13

SUMMER I SEMESTER

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Course prefix

Course number Course title Hrs

FTP 483 Internship 3 3

SENIOR YEAR SEMESTER FALL SPRING

Course prefix



MUS 383 Music & Audio in Media 3

FTP 406,407,409,410,436,457,461

Take 6 hours from either: Advanced Directing, Advanced Cinematography, Advanced Editing, or 3rd screenwriting course approved by advisor

6 FTP 489 Senior Project II 2

FTP 488 Senior Project I 2 FTP 386 Production Practicum 1

Elective Electives 6 Electives Electives 6 14 12

4. Admission to the FTP Program All students must apply and be accepted into the FTP program. Please note that entering freshmen may declare FTP as their major but must then apply and be accepted into the program during their first year in order to continue in the program in the sophomore year. Application form and requirements can be found on the FTP website at http://www.wcu.edu/2360.asp.

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5. Internship All FTP students are required to do an Internship in order to graduate. Typically this is done in the summer between junior and senior year although some students do an internship between sophomore and junior year. It is possible to do an internship during the school year, providing you can schedule your time to allow for both schoolwork and internship work. Students, with permission of advisor, may do up to two internships, with the second counting as an elective in the major.

a. It is up to you to secure the internship. In some cases, faculty will help by offering internship opportunities, but ultimately the student is responsible.

b. Determine with your advisor in fall semester if you plan to do a summer internship and begin the search process then to insure you will have an internship for the summer.

c. Requirements for an internship are as follows: i. You must enroll in FTP 483: Internship. If you fail to register or to pay for this

course, you will receive no credit. ii. The job must be in the film, television, or video industry. iii. The work must involve, to some extent: 1) use of your creative and/or

professional skills, and 2) contact and mentoring with professionals at the place of employment. A job spent filing papers or mowing the studio lawn does not qualify unless it also involves those two criteria.

iv. You must put in a minimum of 135 hours on the job. d. Grading is Satisfactory/Unsatisfactory. To receive a Satisfactory grade you must:

i. Receive a Satisfactory rating from your Employer. ii. Submit all paperwork as required in the syllabus.

6. Senior Project All FTP students are required to work on a senior thesis project during their senior year. This senior project is where students put into practice all they’ve learned in the Film and Television Program.

a. Thesis films may be narratives of less than a half-hour long, documentaries, or other forms so long as they are truly creative in scope. A feature screenplay is also acceptable.

b. Students must take on a major role in at least one thesis film. This is defined as: • Writer • Director • Producer • Director of Photography • Editor • 1st Assistant Director • Additional key role approved by faculty.

c. Students must have earned a B or better in courses related to the position they will undertake in the thesis project.

d. Faculty will determine which projects are chosen for production based on concept and the student’ filmmakers’ proven ability to excel.

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e. Faculty will determine all senior project job assignments. The fact that you requested a particular position does not guarantee that you will be assigned that position.

f. For narrative films, the faculty must approve the shooting script before any principal photography begins. All other films require an approved proposal.

g. Any student wishing to direct, produce, or edit a documentary project must take ENGL 368: Genres – Documentary. If not already taken, the student must register to take it in fall of senior year.

h. Timetable: Note: Students expecting to graduate in December must complete their thesis project in spring of previous year, using the timetable listed below.

i. Spring Of Junior Year: 1. You must declare your thesis intention: narrative, documentary, or

some other form; whether you want to write, direct, produce or take a major crew. You may also choose to write a feature screenplay as your senior project.

2. For narrative projects, you may submit a script or a pitch, or several of each. These may be original or can be work from screenwriting courses. The Thesis Committee will make an initial selection based on quality, originality, and the belief that the scripts can be successfully shot within the skills and means available.

3. Once the scripts are chosen, the Committee will then assign students to each project, taking into account the students’ project and position preferences. The Committee will strongly consider students’ demonstrated talent and ability in their preferred position as well as their ability to successfully organize and complete work in a timely and well-ordered fashion. The writers will then work on their scripts over the summer, submitting drafts to faculty for notes. Scripts are due the first week of fall classes

4. For documentary projects, the filmmaker must agree to start filming over the summer in order to have most of the senior year to edit.

ii. Senior Year 1. Students take FTP 488 – Senior Project I (2 credits) in fall of senior

year and FTP 489 – Senior Project II (2 credits) in spring. 2. Any wardrobe or production design issues should be presented to

the Costume Supervisor and/or Theatre Technical Director as soon as there is a first draft.

3. Principal photography on all documentaries must be completed by Thanksgiving break. Since the bulk of documentary work is in the editing, this is the only way to insure completion by project. Failure to do so may result in cancellation of your project.

4. Students must deliver their project – finished, mixed, scored, and color corrected to professional standards – at least 2 weeks before the Controlled Chaos Film Festival.

i. Funding your Project:

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i. The cost of funding a Senior Project falls on the filmmakers. Location fees, food and craft service, transportation, rental of special equipment, etc., can amount to anywhere from five hundred to several thousand dollars. You will need to raise this. Sources vary, from friends, relatives, and businesses, to the Dean of Students Office, SG, fraternities, etc.

ii. The fundraising process is as follows: 1. Once project is greenlit by Thesis Committee, student emails

Program Director for permission to fundraise. 2. If Program Director approves, request goes to S&S Director. 3. If S&S Director approves, request goes to Dean. 4. If Dean approves, he notifies Director of Development that this is an

approved project and students have permission to fundraise. 5. Student sets up orientation meeting with Development to go over the

fundraising procedures 6. Student then meets with S&S Assistant (Melody) to set up an

account for the Project (income/expense) within S&S. iii. FTP has a matching fund of up to $500 per project. The matching fund is

made up of proceeds from FTP screenings and student work. 1. Once $500 (or less) has been raised, student emails a request for

matching funds to Program Director. 2. If Program Director approves, Melody is notified and the matching

funds are transferred into your Project account. iv. Rules regarding funds raised:

1. All money donated to a Project and deposited into a WCU Stage & Screen senior project account is tax deductible for the donor and legally becomes Stage & Screen money per federal not-for-profit laws. Those funds can then be spent on all legitimate expenses for the Project, as approved by supervising FTP faculty. The money, and anything bought with it, does not belong to the Project students.

3. Once the Project is completed, all items purchased from the S&S account such as additional hard drives, props, lighting, costumes, camera gear, etc. must be returned to FTP for use in future Projects.

4. Any money remaining in the account may be used for festival and promotional costs or to reimburse funds spent by Project students for legitimate Project expenses, as approved by Program Director. Whatever is not spent by start of the following fall semester will go into the general Project fund to be used to help fund current Projects.

5. Any donations made directly to Project students for use on the Project do not need to be accounted for, would not count toward matching funds, and are not tax deductible for the donor.

6. Project will be given the use of at least one hard drive to back up their media. The drive must be returned to FTP once project is completed. If students wish a copy of the media, they must put it on their own hard drive.

2.

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7. Advising All FTP students will be assigned an advisor from the FTP faculty. Your advisor is there for you throughout the semester, not only to advise on courses, but to give career or academic guidance, help solve academic, professional, and personal problems, hear your gripes, and guide you through the FTP program to graduation. Your advisor would even like to hear from you after graduation to monitor your progress and offer career advice.

a. As soon as you learn when official Advising will begin for you – dates will vary by year and if a disability or Honors College student – you should: i. Make an appointment to meet with your advisor. Advising time slots will be

posted on faculty members’ doors. ii. Go onto MyCAT and print out your Detailed Degree Evaluation. iii. Review the liberal studies and FTP courses on your Degree Evaluation. iv. Review the 8 Semester Plan and write down what courses you think you need

for the following semester v. Bring the Degree Evaluation and the list of your suggested courses to your

advising session. If you do not have the degree evaluation you will need to reschedule. Make two copies one to keep and one for your folder.

8. Graduation Audit

Any student who is two semesters away from graduation must have a graduation audit. The graduation audit is to create an official document that shows both you and the university what courses you still require to graduate. Here is the process:

a. Go onto MyCAT and fill out the graduation form. A graduation fee will be automatically deducted from your student account.

b. Make an appointment to see your advisor to review the graduation audit. c. As those courses are completed, the audit is reviewed and the courses checked

off until none remain. Then you graduate.

9. Grading

a. Final grades for most FTP courses are based on the 100-point grading system: A+= 97-100, A=93-96, A- = 90-92, B+ = 87-89, B= 83-86, B- = 80-82, C+ = 77-79, C = 73-76, C- = 70-72, D+ = 67-69, D = 63-66, D- =60-62, F = 0-59

b. Incomplete: Instructor may grant a student an I grade for work not completed if there is a reasonable prospect that the student can pass the course by making up the work missed and if the incompletion is unavoidable and not caused by student’s negligence. The work must be made up according to a schedule agreed upon with Instructor so the grade can be sent to the Registrar before the last day of classes of the next regular semester. If not made up, the grade becomes an F on the last day of class. See WCU Academic Regulations for more information.

c. While part of your grade can be determined objectively, artistic aspects of your work are by nature subjective. Your Instructor will use his/her best professional judgment to assign a grade for this aspect of class work. Your own or your peers’ subjective feelings about your work are not germane to the grade.

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d. Final Grade Changes i. When a grade other than incomplete is reported officially by an instructor at

the end of a term, the grade is recorded and can be changed only if an error was made in estimating or reporting it.

ii. If you wish to appeal, refer to the Section on Academic Appeals Policy that can be found on line at: http://catalog.wcu.edu/. Follow link to Academic Regulations

10. Attendance The attendance policies set forth below are the FTP Program default. Individual instructors may establish their own attendance policy in their syllabi that will supersede these.

a. You are expected to attend every class. If you absolutely cannot be there due to illness or other personal needs (such as doctor’s appointments, University or Department sanctioned activities, etc.), you must inform your instructor by phone or email before class time. Instructor will determine if this is an excused absence. Any other failure to attend class or inform instructor ahead of time is an unexcused absence. You are permitted one unexcused absence.

b. If your class meets twice a week, anyone missing 5 classes, excused or unexcused, for whatever reason may receive a failing grade.

c. If your class meets once a week, anyone missing 3 classes, excused or unexcused, for whatever reason may receive a failing grade.

d. Please do not be late. It is inconsiderate of your classmates and the Instructor. Two lates count as one unexcused absence.

11. Collaboration Collaboration is an essential part of filmmaking and of all FTP production courses. The ability to work cooperatively on a crew is required of all FTP students. Inability to do so can contribute to grounds for dismissal from the program All students must submit crew evaluations for fellow crewmembers, honestly describing the quality of their collaboration for each exercise. Students who don’t do their share or are uncooperative will have their exercise grade reduced by the amount they did not do, down to zero. Not showing up for a shoot or editing session is considered a serious offence. The only valid reason not to show up is in the event of a real emergency. In that case, if you are physically able, you must notify the production or your crewmates, and you must find a replacement for yourself so the shoot can go on as scheduled. Anyone not showing up for any other reason will be subject to discipline and will have their grade lowered accordingly. 12. Student Code of Conduct

The FTP program enforces all policies in the WCU Student Code of Conduct and considers any infraction to be very serious. These include, among others, discrimination based on age, race, gender, sexual preference, disability or any other illegal reason.

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Likewise, harassment of any kind (sexual, physical, mental), abusive language, threatening behavior, etc.) will not be tolerated in any form whatsoever. Any violations should be reported to the Program Director or Stage & Screen Department Head immediately for further investigation and action. This should be done without any fear of reprisal from the perpetrator(s). Students who act in good faith by reporting violations of this policy will not be retaliated against or subjected to harassment. Any attempt at such reprisal will be referred to the Dean of the CFPA and dealt with in the strongest possible terms. Refer to http://www.wcu.edu/8049.asp. Follow link to Student Code of Conduct 13. Plagiarism and Cheating Western Carolina University, as a community of scholarship, is also a community of honor. Faculty, staff, administrators, and students work together to achieve the highest standards of honesty and integrity. Academic dishonesty is a serious offense at Western Carolina University because it threatens the quality of scholarship and defrauds those who depend on knowledge and integrity. Academic dishonesty includes:

a. Cheating—Intentionally using or attempting to use unauthorized materials, information, or study aids in any academic exercise.

b. Fabrication—Intentional falsification of information or citation in an academic exercise.

c. Plagiarism—Intentionally or knowingly representing the words or ideas of someone else as one’s own in an academic exercise.

d. Facilitation of Academic Dishonesty—Intentionally or knowingly helping or attempting to help someone else to commit an act of academic dishonesty, such as knowingly allowing another to copy information during an examination or other academic exercise.

Instructors have the right to determine the appropriate sanction or sanctions for academic dishonesty within their courses up to and including a final grade of “F” in the course. Within 5 calendar days of the event the instructor will inform Program Director and Stage & Screen School Director in writing of the academic dishonesty charge and sanction. Refer to http://catalog.wcu.edu/content.php?catoid=10&navoid=143#honestypolicy. Follow link to Academic Honesty Policy 14. Probation and Dismissal

a. Program Director will review all students’ grades at the end of each semester. b. Any student whose overall GPA is below 2.5 will be notified within a week of

grades being posted and placed on probation for the following semester, during which time student must raise GPA to at least 2.5.

c. Probation may also be offered for other infractions of Handbook rules not deemed at the level for dismissal.

d. Students offered probation must sign a probation agreement that will go in their record.

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e. Probation is offered for one semester. If at the end of that period the issue is resolved, student will return to good standing. If the issue is not resolved, student may request probation extended or may face dismissal from the program. The full FTP faculty will consider extension of probation or dismissal using the following criteria:

i. Likelihood of achieving a 2.5. ii. Student’s demonstrated effort in current FTP classes. iii. Student’s overall performance in the program. iv. Quality of student’s collaboration as shown in crew evaluations. v. Student’s artistic promise.

f. Infractions of the Student Code of Conduct, in addition to any penalties imposed by the university, could lead to the student being asked to withdraw from the program.

g. Any other disciplinary actions during the academic year may be grounds for probation or dismissal.

15. Appeal Process: a. Students will be informed in writing of dismissal within one week of faculty

decision. Reasons must be stated in this document. Faculty will then advise student and help facilitate enrollment in another major.

b. Students may appeal dismissal by submitting a written statement to Program Director stating reasons why they should remain in the program. Once an appeal has been submitted:

i. Full FTP faculty must meet with student to hear the appeal. Department Head will also be present but will have no vote in the proceedings. Student may bring advocates to the meeting.

ii. If appeal is accepted, student may still be put on probation. iii. If the appeal is denied, student may appeal to the Department Head. iv. Department Head may ask the faculty to reconsider the appeal. Faculty shall

then meet with Department Head to discuss appeal. Faculty will then vote on appeal, and faculty’s decision shall be final as far as FTP is concerned.

v. Students have the right to continue their appeal on the college or university level per the appeals process stated in the WCU catalogue.

16. Best Production Practices All work for class must be done using best professional practices as taught in all FTP courses. This is how it is done in the industry and therefore how it must done at WCU.

a. Screenwriting i. All screenplays, whether for class or productions, must be presented in

standard screenplay form. Students must purchase Screenwriter screenwriting software. Ask your instructor for the discount coupon.

ii. Once they have taken FTP 310, all students are expected to have mastered standard screenplay form. You should not only know how to professionally present your screenwriting but also why the form is so important. You should be able to identify each element in a screenplay and understand its relevance to each member of a film crew.

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iii. Work must be professional in its presentation. Professional means all work delivered on time, proofed for spelling and grammar, neat, and well thought out.

iv. Examples of professional screenplays will be made available in the office of the Professor of Screenwriting. These often differ from published screenplays. Please look at professional screenplays as examples of how work is presented on the page.

b. Production i. All shots for all classes must be slated, whether for a scripted or non-

scripted project, using the slate provided with each camera package. ii. Camera reports must be kept on every shoot. Sound reports must also be

kept on scripted shoots. c. Post Production

i. Back-ups: Industry practice is three back-ups of all media to three different locations. FTP requires at least two: one on your hard drive and one in your server folder. Any work lost due to hard drive failure (and at some point your hard drive will fail) and not backed up will not be excused and must be redone.

ii. All footage must be broken down and logged in before any editing can begin. iii. All work turned in must be in the format designated by your Instructor. iv. All file-based media or DVDs must be clearly identified with a label or

permanent marker as follows: Your name – Assignment name – Class name – Semester, i.e. Orson Welles – Citizen Kane – FTP 253 – Fall 1941.

v. All DVDs must be able to play in order to receive a grade, and all menus must function.

17. Greenlight Process Before you can checkout any equipment, you must submit a Greenlight Form signed by your FTP instructor to the Lab Assistant. No shooting will take place without your instructor’s written OK on the Greenlight Form. In order to get the Greenlight form signed you need to:

a. Fill out the form completely and properly, listing all crewmembers and all equipment requested.

b. Complete all pre-production steps required by your instructor, such as script and shotlist. These must have been previously submitted and approved.

c. Attach your approved shotlist and location form. d. If you are using actors, you must also attach a copy of your Actors Contract. e. If you are filming non-scripted work, you must attach a Personal Release Form for

each person appearing in your project. f. You must then shoot on the dates you selected, substantially following the script

and shotlist. g. We understand that circumstances and artistic considerations may sometimes

require alterations in dialogue, staging, and shotlist. However, you may not shoot something substantially different from your approved script without written instructor permission. If you do so, you and your team may receive no credit for the assignment.

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18. Equipment

FTP is fortunate to have an inventory of high quality equipment. Since this equipment is for use by all FTP students, it is the responsibility of all students to use the equipment properly and keep it in good condition so it continues to be available and problem free. The golden rule applies here: treat the equipment as you would like it treated by the crew who had it before you.

a. Who may use equipment: i. To check out any equipment, you must be enrolled in, or have already taken, a

course where use of that piece of equipment is taught. Otherwise, you may not check it out.

ii. This holds true for all crew members. Crew members who have not been instructed in the use of a particular piece of equipment may not use it during production.

iii. Our equipment is only available for class and departmental assignments. Equipment may not be used for personal projects. If you have non-class use for equipment that you believe is of benefit to FTP, Stage & Screen, or WCU, you may discuss this with the Program Director who will make the final determination.

iv. Stage & Screen students who are not FTP majors but have taken FTP courses may also check out equipment by having Arledge Armenaki sign a Greenlight Form. However, students needing equipment for FTP class assignments have priority.

v. All class assignments must be done on FTP equipment. If you wish to use your own equipment, you must have permission of the instructor and it must meet the same technical standards as the FTP equipment. Lacking that permission, your instructor may refuse to accept your work.

b. Checkout & Return Procedures: i. Your instructor will tell you which equipment packages you are to use for

specific assignments. ii. Checkout hours are posted each semester on the door of the Checkout

Room, Killian 132. iii. Cameras and other equipment must be reserved a minimum of one week

before your shoot. If you do not reserve, your equipment may not be available.

iv. Equipment reservations may be made in person at the Checkout Room during checkout hours or by emailing the Lab Assistant. You should confirm before your shoot that your reservation was made or you chance not getting your equipment. All that notwithstanding, there is no absolute guarantee that your equipment will be available when requested.

v. You must check out your equipment on the day you reserved. Failure to show up on the day you reserved may result in loss of reservation privileges.

vi. You must show an approved Greenlight Form signed by a faculty member to the Lab Assistant to get any equipment.

vii. You must also have a completed and signed Equipment Check Out Form listing every individual piece of equipment you plan to check out.

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viii. You must prep all equipment before leaving Check Out Room Area to make sure everything is in proper working order. Once your paperwork is finalized and you remove equipment from the checkout room, anything missing or broken will be your responsibility. “It wasn’t working or was missing when I took it out” is not an excuse.

ix. Most checkout time slots are two hours. The first hour is slated for returns. The second hour is for pick-ups. So be on time. If you don’t return the equipment during the first hour, there may not be any equipment for your fellow students to check out during the second hour.

x. Any equipment turned in after these hours will be considered late. If you have a large package, make sure to give yourself enough time for adequate check in.

xi. All equipment must be returned in the condition in which it was checked out. All cables and cords should be neatly coiled. All lighting kits, audio kits, camera kits, etc. should be cleaned and packed neatly in their cases. All tape, dirt, sand etc. must be removed from all equipment.

xii. If an item is missing, damaged, or inoperable, you must file an Equipment Trouble Report and turn it in to the Lab Assistant when you return your equipment. You and your crew must pay for any missing or broken equipment. Arledge Armenaki will determine the costs to repair or replace.

xiii. Faculty or Lab Assistants reserve the right to check and test equipment for missing items and damage after the equipment has been checked in.

xiv. Never leave equipment unattended. Always keep it in sight, and never leave it in a car, even if locked.

xv. There will be no unauthorized handoffs of equipment to other crews. xvi. Any problems with check-in/check-out process should be reported to

Arledge Armenaki. xvii. Should equipment return be more than 72 hours late, it may be reported to

Campus Police. c. Penalties:

i. All rules and regulations listed on the Equipment Checkout Form apply to all WCU students.

ii. Rudeness to the Lab Assistant will be reported to faculty and will not be tolerated.

iii. Violations of the above rules may result in penalties including lowering of grade by instructor and/or revocation of checkout privileges.

iv. Three violations in one semester will result in the loss of ALL checkout privileges for the current semester. If the 3rd Infraction occurs during the last 3 weeks of the semester, then privileges will be lost for the next semester.

v. If a student feels he/she has been unfairly penalized, he may appeal to the Program Director whose decision shall be final.

vi. Any infraction that incurs a penalty will be reported on an Unsatisfactory/Conduct form that will be placed in your academic file.

d. Theft, Damage, & Insurance Deductibles

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i. YOU ARE RESPONSIBLE: Most of our equipment is expensive. Some of the high-end gear is very expensive. Your entire crew is financially responsible for anything you sign out until it is returned and signed in by the Lab Assistant.

ii. Should something happen to the equipment while it is checked out or the equipment is returned missing any component, you and all members of your crew will be held financially responsible for the loss, with the costs divided equally among all the key crew members working on the project.

iii. In the event of accidental damage, fire, lost equipment, or external vandalism, you and your crew will have the cost of replacement or $500, whichever is lower, charged against your student accounts to pay for the insurance deductible.

iv. Students are not responsible for equipment not working due to wear and tear. Should the equipment fail to work while checked out to you, the professor of cinematography will determine whether this was due to normal wear or due to one of the events cited in d.iii above.

v. In the event of theft or vandalism of the equipment, you must file a police report immediately upon discovery of the equipment’s loss or damage. In the event of theft, you and your crew will have the cost of replacement or $1000, whichever is lower, charged against your student accounts to pay for the insurance deductible.

vi. The following loss occurrences are not covered by insurance: damage by flood or water damage of any kind, gross neglect, internal criminal act, internal vandalism, utility disruption, government action, or a local ordinance.

vii. In such loss occurrences, as stated above, the entire retail price of each piece of equipment will be charged to the crew.

viii. In the event of the loss of ANY piece of equipment, Western Carolina University may rent a replacement piece of equipment until such time as the equipment is replaced and charge such rental fees to student accounts of the crew.

ix. If you lose, abuse, or damage equipment, you and your crew will be charged the cost of replacement or repair at the manufacture’s service center of the departments choosing. In such an event your privilege to check out equipment will be revoked

e. Thesis productions may rent specialized equipment from professional vendors for their production. All rentals must be approved in writing 3 weeks before the rental period. The production is responsible for all costs involved including rental, required insurance, and shipping.

19. Expendables and Supplies

a. FTP will provide a reasonable amount of commonly used expendables such as color correction gels and diffusion. Batteries and other expendables must be purchased by each production.

b. All students must provide their own set gloves, a multi-tool, and closed-toed shoes when working on set, either in the classroom, on stage, or on location.

c. Students are responsible for providing tape for shooting and DVDs with appropriate sleeves for delivery.

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20. Ramsay Film Stage As a facility within the Ramsey Center, the Ramsay Film Stage has a different set of rules than the Killian Stage, which is in a classroom building.

a. Operating hours for the Ramsay Center during the semester are 6AM to 9PM on weekdays and noon to 9PM on weekends. The building may be closed during holidays unless there is an event in the Center.

b. Absolutely no one is permitted in Ramsay outside operating hours. If access is needed beyond normal operating hours, as in a Senior Project, a Ramsey Center student manager must be scheduled at $10.00 per hour. Since Student managers’ schedules are arranged a month in advance, any special access to the Stage must be arranged a month in advance. Contact Ryan Fisher for scheduling.

c. Access to the Ramsay Stage is through the locked interior hallway door only. You must arrange with faculty or student Lab Assistants to gain entry.

d. The exterior double doors must remain closed at all times except for loading or unloading. Any student wishing to go outside from the Stage must do so via the hallway door.

e. No smoking is permitted within 50 feet of the building.

21. Working with Actors & Actors Contracts

The most important thing in a narrative film, besides the quality of the script, is the performances. Good ones can make your movie; bad ones can sink it. In many ways the actors have the most difficult job on the set: to reveal inner emotions to the director, the crew, and ultimately the world and also to maintain their concentration and performance over multiple takes and set-ups. A director’s relationship to the actors is therefore crucial to a film’s success. The director must understand the actors’ process; respect the actors and their work; and be open to collaborate with them. This respect must extend to all those working on the set. Actors’ sightlines should be cleared. The crew should be quiet and respectful during rehearsal when the director and actors are striving to work out the scene. Thoughts or comments about the actors should be kept off the set and the shoot. Even a “That was great” could undermine the director’s ability to get a good performance if the director disagrees.

We are fortunate that WCU has one of the few university programs – Stage & Screen – that combine Theatre and FTP. There is an excellent collaborative relationship between Film and Theatre students and faculty. To maintain this relationship and to foster best work by FTP students, there are several rules involving actors:

a. You must use Theatre students for all roles in class exercises and projects. There are two exceptions listed below, both of which require the express permission of your instructor:

i. If a character cannot be played by one of our Theatre students; for example, an elderly person or a child.

ii. If you have 1) more than 2 characters, and 2) those other characters have minor roles, and 3) no Theatre students are available for those roles. If all three are true you may use a classmate or non-actor.

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b. You must have a signed Actors Contract to get a Greenlight to shoot. i. Each actor’s name must be listed on the form. ii. The Actors Contract is a two-way agreement that outlines and requires

professional behavior from both actors and directors. iii. Contracts do not enforce themselves; people do. Any breach of professional

behavior must be reported to your instructor or Program Director. If an actor fails to show up, cancels at the last minute or otherwise fails to obey the terms of the contract, your obligation is to report it so Theatre faculty may address the problem. The same requirement to report holds true for acting students so FTP faculty can address the problem.

iv. You must give a copy of the media to each actor on the Actors Contract to receive a grade, and the actor(s) must initial that they received it. Failure to do so will result in a grade of Incomplete. A letter grade will not be issued until the media is delivered and the contract initialed by the actor(s).

c. You may not act in your own project. Clint Eastwood may do a good job of directing himself, but you cannot.

d. You may use non-acting students for extras.

22. Working with Minors a. Minors are defined as anyone under the age of 18. When working with minors,

special care and caution must be taken to ensure their safety and wellbeing. FTP students must follow North Carolina child labor laws and Screen Actors Guild procedures concerning the working hours of minors.

i. Minors less than six (6) years of age are permitted to work no more than six (6) hours daily, excluding meal periods.

ii. Minors who are at least six years old but not yet nine (9) years old cannot work for more than eight (8) hours daily, excluding meal periods.

iii. Minors who are at least nine years old but not yet 16 years old cannot work for more than nine (9) hours daily, excluding meal periods.

iv. Minors who have reached the age of 16 but are not yet 18 cannot work for more than 10 hours daily, excluding meal penalties.

v. The workday for any minor actor shall not begin earlier than 6 a.m. and shall end no later than 10 p.m. on evenings proceeding school days. On evenings preceding non-school days, the minor’s workday shall end no later than 12:30 a.m. on the morning of the non-school day.

b. Filmmakers may cast minors to work on school days ONLY if they obtain written permission of the teacher and/or principal at the student’s school.

c. A parent or legal guardian for the minor MUST be on set or location at all times that minors are working on FTP productions. Violation of any of the above rules or regulations may result in the minor being dismissed from the production and the remainder of the production canceled.

d. A film set or location is a dangerous place, with sharp-edged equipment, electrical conductors, and hot and fragile equipment present. It is the producer’s responsibility to ensure that minors are kept in an area away from the main filmmaking activities until their presence is required and that adequate supervision of young minors, in conjunction with parents and guardians, is always maintained.

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23. Working With Animals

a. All scenes involving animals must be approved in advance. You must submit a

General Approvals Form to your instructor. b. No animal will be harmed or injured in any way. Mistreatment of animals in

connection with production will not be tolerated and will result in disciplinary action. c. The producer shall notify the American Humane Society at least one week prior to

commencement of any work involving animals. Representatives of the American Humane Society should be given a schedule and relevant script scenes and invited to be present at any time during filming of animals.

d. The person supplying the animal(s) shall be responsible for obtaining all necessary inoculations, permits, etc. This person should be given the opportunity to address the cast and crew regarding any safety precautions while animals are on the set.

e. There must be a designated animal handler, who could be a student, at all times an animal is present on the production.

f. No dangerous or venomous animals or reptiles are permitted at any time.

24. Costumes Costumes are available for student assignments and productions if the Costume Shop has sufficient notice. Assessing any costume needs should be part of your pre-production.

a. You must inform the Costume Shop Manager (Tony Sirk: 227-3848. [email protected]) of your production schedule as early as possible to insure availability and avoid scheduling conflicts, and you must schedule an appointment with Manager to discuss your needs. Shop hours are posted at the BAC entrance.

b. You must provide (via email) a detailed list of your needs and appropriate measurements. This must precede checkout by a minimum of one week in advance. Note that the more lead-time the costume shop has, the better the chance that you can get what you need.

c. If you do not have performer’s measurements or sizing, you may make an appointment for that as well.

d. All items will be signed out by authorized costume shop personnel only and may only be checked out with a permission form from your instructor. NO costumes will be checked out directly to students without the appropriate signed forms.

e. The specifics of cleaning, etc. will be discussed at checkout. If items are to be cleaned after use, we will take care of that and bill your unit.

f. There will be a minimum re-stock fee assessed ($10.00 up to 4 items – $15.00 5-10 items) per checkout to cover our costs with assistant salaries. In some cases, FTP will cover that cost. Discuss with your instructor.

g. Primary stock will be reserved for main-stage productions only. Any exceptions to this will be dealt with on a case-by-case basis.

h. All items must be returned in good condition at the scheduled time/place and may be checked in by authorized costume shop personnel only.

i. FOR SENIOR PROJECT: Any wardrobe issues should be presented to the Costume Supervisor as soon as there is a first draft script.

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25. Props Loan Policy & Procedures

a. ALL props checkouts and reservations MUST be approved by the Technical Director or his Assistant to insure availability and avoid scheduling conflicts.

b. Please inform us of your overall timetable and needs at the beginning of each production calendar scheduling event. You should refresh/adjust at the beginning of each semester.

c. Please schedule an appointment for specific needs with the Technical Director - a minimum of one-week in advance. Shop hours are generally 1-5 daily.

d. Provide (via email) a detailed list of your needs – this must also precede checkout by a minimum of one week in advance.

e. Any alterations of the props of any kind must be approved by the Technical Director in advance.

f. All items will be signed out by authorized scenic shop personnel only and may only be checked out with a permission form from the faculty sponsor.

g. Students may make appointments and arrangements; however, NO props will be checked out directly to students without the appropriate signed forms.

h. The specifics of replacement or repair in case of damage, etc. will be discussed at checkout. If items need to be repaired after use, we will take care of that and bill your unit.

i. There will be a minimum re-stock fee assessed of $10 per checkout to cover our costs with assistant salaries. If the restocking effort is extensive, the re-stock fee will be proportional. Our shop assistants are paid by the hour.

j. Primary stock will be reserved for main-stage productions only. Any exceptions to this will be dealt with on a case-by-case basis.

k. All items must be returned in good condition at the scheduled time/place and may be checked in by authorized scenic shop personnel only.

l. FOR SENIOR PROJECT: Any production design issues should be presented to the Theatre Technical Director as soon as there is a first draft script.

Direct all inquires to Luther Jones, Technical Director. 227-3849. [email protected]. 26. Locations A Location is defined as any place you shoot outside our stages, on or off campus.

a. In order to shoot on any location, you must fill out a Location Form and attach it to your Greenlight form. The form lists the location(s) for your shoot and must include the signature of the owner or delegated person in charge of that location as proof that you have their permission.

b. It is important to maintain good relationships with the community so that other students may use your location again. i. Make sure the people in charge of your location understand clearly what you

are shooting, how long you will be shooting, and what you require from them in addition to the space, such as electricity, water, access, parking, etc.

ii. Make sure you have the permission or understanding of any neighbors who may be affected. Distribute a flyer to notify the neighbors or businesses of details of the shoot. Get signatures from any you may have doubts about. If unhappy, they could try to shut you down.

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iii. Create the minimum disturbance possible while shooting. This refers to noise and loud voices, parking, blockage of streets and areas. While you may have permission of the owner(s), neighbors nearby may not be happy that you are shooting there.

iv. During shooting, put up the “FTP Shooting” signs. These are available from the equipment checkout.

v. Take great care not to damage anything on the property. If a C Stand puts a hole in the wall, or the floor is scratched, or a garden trampled, you will be financially responsible for restoring the location to its former state.

vi. The location must be completely cleaned up before you leave. Members of your crew must be specifically assigned to this task as part of their job. After a long shoot, the last thing your crew may want to do is clean up, but they must.

vii. You must offer a DVD of your project to any persons who gave you use of a location. The producer is responsible for delivery of the DVD’s.

c. Liability Insurance: All students working on productions will be charged a small sum on their registration fees in order to be covered by liability insurance while working off campus. Coverage is $1 million per occurrence, not to exceed an aggregate per semester of $3 million.

27. Security And Safety

The School of Stage & Screen is firmly committed to providing and maintaining a safe and healthy environment. Faculty, staff and all students are urged to exercise every precaution to ensure their safety and the safety of others. By remaining safety conscious, filmmakers can prevent work-related injuries and illnesses, both for themselves and their co-workers. Every filmmaker is responsible for following all safety rules and has a responsibility to help provide a safe working environment If you observe anything or anyone that you feel might be a threat to your or your crew’s personal safety or the security of the School, it is your obligation to contact faculty and/or campus police immediately. If you have an emergency, dial 7301 from any campus phone or (828) 227-7301 or dial 911. Students should also be aware of severe weather conditions that may affect their safety and security. Students absolutely will not be allowed to film on location during storms or severe weather advisory conditions. 28. Code Of Safe Practices

a. Report any unsafe conditions, equipment, practices or safety hazards to the student producer or A.D. If not remedied, you must report it immediately to an FTP faculty member.

b. Report any accident or injury to an FTP faculty member immediately. c. Means of exit shall be kept unlocked, unblocked and well lighted during work hours. d. Only trained and authorized persons should attempt to respond to a fire or other

emergency.

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e. Horseplay is not permitted on the set. f. Filmmakers are not permitted to work while under the influence of alcohol or any

other intoxicating substance. Failure to follow this rule will result in disciplinary action that could include dismissal from the program.

g. Failure of filmmakers to follow safety procedures and rules will result in disciplinary action that could include dismissal from the program.

h. Ability To Perform Work a. An “unsafe” student is:

i. A student judged by the instructor as non-competent to operate equipment as demonstrated by his work in class or on set.

ii. A student who has shown repeated disregard for the safety of himself, fellow students, and/or equipment.

iii. A student who shows up to class not ready to work, whether through lack of sleep, illness, or intoxication, or for being dressed improperly for set work as defined in the Handbook, Section 44.

b. Any student who is deemed unsafe by the instructor will not be permitted to use FTP equipment and will be asked to leave the class. This will count as an unexcused absence, and the instructor is required to file a report to the Program Director explaining the circumstances.

c. Any student working on a crew who is deemed unsafe by fellow students will not be permitted to use FTP equipment and will be asked to leave the set. Students are required to report this to faculty, and the unsafe student will be marked as a non-show with the grade lowered accordingly.

d. Any student who has been reported as unsafe two times in a semester will not be permitted to use any FTP equipment. If the second violation comes at the end of the semester, student restriction will apply for the next semester. This may affect student’s ability to complete class work and thereby pass the course.

29. Accident and Emergency Notification Procedures In the event that someone is seriously injured during pre-production or production (requiring emergency room care or hospitalization), whether it be a member of the cast or crew or a bystander, or in the event of a set emergency, such as hurricane, fire, flood, riot, etc., it is the responsibility of the First Assistant Director, or in his/her absence, the Producer or other assigned individual to:

a. SUMMON EMERGENCY HELP IMMEDIATELY and b. CONTACT A MEMBER OF THE FTP PROGRAM.

This call should be made immediately, regardless of the time, day or night. You must use your own judgment as to the gravity of the situation. You must personally speak with the Faculty Member; messages are unacceptable. 30. Threats to Safety

a. FIRE: If you suspect or detect a fire, filmmakers must immediately evacuate from the affected area. Notify the appropriate fire response agency. DO NOT ATTEMPT TO FIGHT THE FIRE!!

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b. THUNDERSTORM: If a thunderstorm is in close proximity, whether on set or location, house lights should be turned on and all other equipment turned off and disconnected at the primary power source. This is to prevent power surge damage to the equipment. Do not take cover under trees, umbrellas or any temporary structure.

c. POWER FAILURE: In event of a partial or total power failure, as a precaution all electrical equipment including computers, television/audio equipment and other sensitive electronics should be unplugged. This should be done to avoid a possible electrical surge that could damage equipment when power is restored.

d. Check for the following potential risks after any significant disruption: i. Fire or fire hazard. ii. Gas leaks. Shut off the main gas valve if a leak is suspected or identified by

the odor of natural gas. Wait for the gas company to check it and turn it back on.

iii. Damaged electrical wiring. Shut off power at the source if there is any damage noted.

iv. Downed or damaged utility lines. DO NOT touch downed power lines or objects of any kind touching them).

v. Damaged buildings and structures, including chimneys. Approach damaged structures with caution. They may be weakened and could topple.

31. Safety Meetings

a. During Pre-Production: A mandatory safety meeting must be held with all appropriate production personnel attending. The purpose is to identify and discuss all foreseeable production hazards and safety issues and to develop strategies to control or eliminate them.

b. During Production: safety meetings must be held with the cast and crew at the start of each day, especially when the crew has moved to a new location or if there are scenes involving stunts, special effects or other potentially hazardous conditions.

c. Document all safety meetings in the production report. 32. Stunts Since there is no stunt coordinator at WCU and since stunts pose a serious possibility of injury, the use of stunts in school productions is strongly discouraged. “Physical stunts” are defined as falls, jumps, fights, or anything that involves physical action, strong contact, or any action that has potential for physical injury to actors or crew. Faculty reserves the right to deem any action as unsafe and prohibit it. Faculty also reserves the right, upon further inspection of an approved stunt, to withdraw permission before the stunt occurs because it is deemed unsafe. The instructor must approve any scenes involving physical stunts. You must submit a General Approvals form and have it signed by your instructor.

Student Handbook



a. All cast and crew must be notified reasonably in advance of any approved stunts. Furthermore, notification will be made on the call sheet whenever stunts are being shot.

b. A meeting on the site of the event must precede the performing of all stunts or hazards with all people concerned. This meeting should include a “walk-through” or “dry-run” with the stunt person and/or special effects people 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.

c. If changes are made to these plans, the Filmmaker shall provide sufficient time to safely accommodate the changes. In addition, all persons involved in the stunt will be called to another meeting to confirm everyone’s understanding and agreement to said changes.

ANY STUDENT FOUND TO HAVE VIOLATED ANY OF THE ABOVE WILL FACE DISCIPLINARY ACTION UP TO AND INCLUDING DISMISSAL FROM THE PROGRAM.

33. Cars & Driving Shots STUNTS INVOLVING MOTOR VEHICLES ARE STRICTLY PROHIBITED UNDER ANY CIRCUMSTANCES!

a. Cameras mounted or placed on or in a moving vehicle such as the hero car or the back of a truck or van are not permitted without permission from the Professor of Cinematography. You must submit a General Approvals Form for written approval. The risk of injury or equipment damage is too great. These types of camera mounts will be considered for 400 level courses only.

b. Moving or driving shots are permitted within the following guidelines: i. When shooting the driver from the front passenger seat, or shooting the

passenger or driver hand-held from the back seat, all occupants of the vehicle must wear seatbelts including the operator and camera assistant if the vehicle is moving.

ii. The driver must be an actor in the scene and not the director or any other crew member.

iii. The driver must have a valid driver’s license that must be presented to the producer before action begins.

iv. These are the only types of driving shots from or in a moving vehicle that will be allowed.

c. You may also shoot shots of a moving car within the following guidelines: i. All traffic and safety rules must be obeyed. ii. The camera may not be in another moving vehicle. It can however be on a

dolly or other hand powered platform. d. Each script containing any driving shots will be evaluated on a case-by-case basis

and will be approved or disapproved by the Instructor. If disapproved, you will need to revise your script to meet safety standards.

e. You may shoot in any car that is parked with the engine off. This permission extends to use of “poor man’s process” or “green screen process” shots. All filmmakers are advised to shoot in safe areas, like parking lots or level dirt fields

Student Handbook



34. Use of WCU Motor Pool Vehicles as Production Vehicles

a. Vans are available from the WCU motor pool for a usage charge. They must be reserved and paid for by the School of Stage & Screen. Student productions wishing to use a WCU van must apply to their instructor who will discuss the matter with the Program Director. Who will be responsible for payment will be up to Program Director. This motor pool privilege is reserved for level 300 and 400 courses.

b. The driver of the van may be a student if all of the following are true i. The student is employed by the university in any capacity. ii. The student has taken the WCU van safety training. iii. The student has a valid drivers license.

c. When driving or riding in a state owned vehicle all transportation laws must be strictly adhered to. Seat belts must be worn.

d. Vehicles must not be taken or driven out of state. e. Accidents Involving a School Owned Vehicle

i. Reporting an accident involving a School owned vehicle is essential for insurance and safety reasons. The first call should go to the campus police: (828) 227-7301. You must also notify your Instructor and present a complete report of the accident or copy of police report. Failure to fully and promptly report an accident involving a School owned vehicle may result in disciplinary action.

NOTE: Do not leave the scene of the accident until campus police or other WCU authorities have been notified.

35. Motorcycles and Bicycles

a. Motorcycles are only permitted if they are part of the action in the scene being photographed. You must submit a General Approvals Form for written approval.

b. Filming may not take place from a motorcycle or bicycle while it is being driven. c. The use of a motorcycle in any production will be subject to the approval of the

instructor under the following guidelines: i. The motorcycle operator should hold a current, valid motorcycle operator's

license and should be familiar with the techniques for safely performing the requirements of the sequence.

ii. The sequence to be photographed should be clearly set forth and discussed by all persons immediately involved. A dry run or rehearsal of the scene should be done prior to actual filming.

iii. All action involving the motorcycle shall be standard driving or riding shots. There are to be no stunts performed by any performer or rider while operating a motorcycle.

d. Protective clothing and equipment such as a helmet, gloves, etc., should be worn at all times, the only exception being scene requirements while actually being photographed. In such situations, protective clothing should be worn under the costume if possible.

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e. Picture motorcycles are not to be used for transportation. No one than the designated operator should be permitted to operate or ride on a motorcycle unless the rider is required in the sequence to be photographed.

36. Explosives And Pyrotechnics EXPLOSIVES AND/OR PYROTECHNICS OF ANY KIND ARE NOT PERMITTED ON ANY WCU PRODUCTION WITHOUT THE EXPRESS WRITTEN PERMISSION OF THE PROGRAM DIRECTOR. 37. Open Flames Open flames, including candles, are not permitted on any production, with the possible exception of Senior Project. In this case, you must submit a General Approvals Form for written approval by your instructor and a qualified pyrotechnic expert. 38. Smoking According to NC state law, NO tobacco cigarettes may be used in ANY state building, even for artistic purposes. This includes all of our stages, film or theatre. State law does not prohibit the use of non-tobacco cigarettes. However, their use still requires approval from the Director of the School of Stage & Screen.

39. Weapons In today's climate, it is vitally important that students understand that a film shoot using weapons - without proper notification to all parties - could be mistaken for a real crime in progress, with possibly serious or fatal consequences. Therefore, ANY INSTRUMENT USED AS A WEAPON — WHETHER PROJECTILE, SHARP, OR BLUNT — MUST BE DISCLOSED IN THE SCRIPT AND REQUIRES WRITTEN APPROVAL FROM YOUR INSTRUCTOR ON A WEAPONS USAGE FORM.

a. If you are filming on campus, you must have the Weapons Usage Form signed by Campus Police.

b. If you are filming on public property off campus, you must notify the local municipality in writing and forward the form to the Instructor.

c. If filming on private property off campus, you must have the signature of the owner of the property.

d. If filming on your own property, no additional signature is required. e. The only weapons that may be approved by instructor are:

• Plastic or toy versions of the weapons. • Disarmed weapons checked out from the Property Supervisor of the Theatre

Program. • Weapons that have written approval from the Property Supervisor of the

Theatre Program. • In any case, instructor approval is still required on a Weapons Usage Form.

f. The use of these weapons props should be limited to supervised filming and rehearsals only.

g. Horseplay or improper display of any weapons will result in disciplinary action and may result in the shoot being shut down

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h. Actors and others who will handle an edged or piercing prop and who claim prior knowledge will be required to demonstrate their experience in the safe handling of the prop to appropriately trained faculty member.

i. UNDER NO CIRCUMSTANCES CAN A WORKING WEAPON OF ANY KIND BE USED OR BE PRESENT ON SET OR ON LOCATION IN ANY PRODUCTION.

j. NO AMMUNITION - BLANK OR LIVE – IS PERMITTED ON ANY PRODUCTION. k. Since the possible repercussions are so dire, the penalties for non-compliance

must be equally dire. Any student found using an unauthorized weapon capable of firing, whether loaded or not, will be subject to disciplinary action.

l. Use of any weapon without prior authorization is prohibited. Depending on seriousness of offence, penalties will include a zero for that assignment and could extend to dismissal from the FTP Program.

m. These penalties also apply to any crew members who were or should have been aware of the violation. Any crew member who is aware of such a violation must report it to the FTP Program Director.

n. In addition, the student(s) must answer to any other university or civil penalties that may be leveled as a result of the incident, including expulsion from the university.

40. Smoke, Fog And Lighting Effects THE INSTRUCTOR MUST APPROVE SCENES INVOLVING SMOKE, FOG, OR LIGHTING EFFECTS. You must submit a General Approvals Form for written approval. The use of smoke and fog effects in any School building must be approved in advance by Campus Police and Facilities Management. They must be made aware of this because of the possibility of setting off fire alarms, smoke detectors and sprinkler systems in the buildings. In addition, you must notify inhabitants of the building or affected areas personally or by flyer.

41. Water ANY SHOOTING ON OR IN WATER REQUIRES APPROVAL OF YOUR INSTRUCTOR. You must submit a General Approvals Form for written approval. Approval is not required when working around or near water, but care must be taken.

a. No electrical source shall be utilized for production use in close proximity to water. b. All cast and crew working in or on the water shall have the ability to swim, and

appropriate water safety devices shall be provided for each member of cast and crew.

c. Shooting in fast-moving rivers is potentially hazardous. Adequately trained personnel must be present and stationed for emergency.

d. When filming on a river or lake is contemplated, the Producer shall obtain all available knowledge from local authorities as to currents, natural or man-made hazards, contamination, flash flood dangers, etc., prior to actual filming

e. If it is determined that a polluted and/or contaminated water site is hazardous, the site shall be avoided.

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f. Water temperatures shall be taken into consideration, especially during the colder seasons.

g. All filmmakers should be advised to keep all potential contaminates away from the water, including: paints, thinners, repellents, gasoline, oils, etc.

42. Electrical - General Safety Measures

ALL ELECTRICAL SYSTEMS AND ELECTRICALLY ENERGIZED EQUIPMENT ARE POTENTIALLY HAZARDOUS, WHETHER AC OR DC: WHETHER 50 VOLTS, 120 VOLTS OR HIGHER.

a. All electrical tie-ins must be done by a qualified, licensed electrician. A campus facilities electrician may be of assistance for a charge to the FTP program.

b. Plugging And Unplugging Electrical Equipment i. Visually inspect the plug, cable, and equipment for any signs of excess

wear, frayed cables or exposed parts. DO NOT USE any equipment in this condition. Report this to the Lab Assistant.

ii. Be sure all equipment being plugged and unplugged is in the OFF position to avoid creating an arc at the receptacle.

iii. Do not pull the cord when unplugging equipment. Always grasp the plug firmly to unplug.

iv. Power must be turned off when replacing blown lamps. Because of the natural oil on skin, do not touch the new lamp with bare hands.

v. Be aware of becoming an electrical pathway. For example, do not put a hand on a light or stand while touching something conductive with the other hand.

vi. NOTE: If a circuit keeps tripping or blowing fuses, then you have an overload or equipment failure. You must correct the problem by adding more circuits from a source with no load or balancing the load.

vii. Cables and devices must be protected from foot and automobile traffic. This can be achieved by placing a 2 x 4 on each side of the cable.

viii. NEVER alter any electrical ground plug.

Student Handbook



43. Clothing, Footwear, and Personal Protection Equipment

a. Footwear: Appropriate foot protection is required of all crew members. Sandals or any open-toe footwear is prohibited on any set or location. Filmmakers working construction, set striking or working with heavy objects must wear hard-soled work shoes or boots.

b. Eye And Face Protection: Filmmakers working where there is a risk of receiving eye injuries as a result of contact with flying particles, hazardous substances, projections or injurious light rays must use eye or face protection. Side shield protection is also needed when filmmakers are exposed to the risk of flying objects/particles/materials entering from the side.

c. Hearing Protection: When filmmakers are exposed to excessive noise, there must be hearing protection available on the set. If hearing protection is required, training and fit testing must be done.

d. Head Protection: Filmmakers in a workspace subject to flying or falling objects and/or electrical shock and burns shall be safeguarded by means of approved head protection. Examples of falling object hazards are: working below other workers who are using tools and materials which could fall, and working below machinery or processes which might cause material or objects to fall.

44. Rooftop Work Since rooftop filming is potentially dangerous for both students and equipment, No rooftop filming may be done without an inspection of the location by Instructor. Instructor must then provide specific written approval for the rooftop work on the Location Form. 45. Ladder Safety

a. Before using any ladder, inspect it. Look for loose, missing or damaged rungs or cleats.

b. If you find a ladder in poor condition DO NOT USE IT. Report it to your Instructor or the Lab Assistant.

c. Be sure straight ladders are long enough so that the side rails extend above the top support point by at least 36 inches.

d. Set ladders on solid footing. Do not try to increase the height of a ladder by standing it on boxes, crates or other materials.

e. Do not lean out to the side when on a ladder. If something is out of reach, get down and move the ladder over.

f. Most ladders are designed to hold only one person at a time. Two on a ladder may cause the ladder to be thrown off balance or break.

g. Do not leave tools, lights or any other material on top of a ladder. When moved they may fall and injure someone below.

h. Never use the top step of a ladder. i. Always have a second person to steady the ladder and to assist.

46. Editing Lab (Belk 287)

Student Handbook



The Editing Lab was established as a classroom and a place to work on post-production, screenwriting, and producing. All computers have access to Final Cut Studio, Screenwriter, EP Scheduling and Budgeting, Blackboard, and the film.wcu.edu server. The Editing Lab is not a place for personal computer use or research. Nor is it a place for meetings or loud activities. To insure proper use, the Lab computers have all websites blocked except those permitted by the FTP faculty. The following rules must observed at all times, whether faculty or the Editing Lab Assistant are present or not. Infractions of these rules may result in loss of privilege to work in the lab. Infractions may also result in disciplinary action.

a. You may work in the lab during hours Belk is open: • Monday-Friday: 7AM – 11PM • Saturday: 8AM – 5 PM • Sunday: TBD

b. You may not work past the closing time. Any undergraduate student in a closed facility is subject to NC Law, the offence being unlawful entry into a closed pubic facility. If you see it is almost closing time, allow 10 minutes to conclude your work and save it, and then you must leave.

c. FTP has arranged to have a Building Monitor in the Belk Building on certain Sundays so students taking FTP courses can use the Editing Lab. In order to maintain this privilege, the following rules must be strictly obeyed. Violation of these rules will result in loss of your privilege to work in Belk on Sundays for the rest of the semester or, if the violation occurs in the last two weeks of class, for the entire following semester.

i. You must sign in when you arrive. You may then go in and out freely during the day, but you must sign out when you complete your work for the day.

ii. You must confine yourself to the annex area around the lab on the second floor and the production office on the third floor. You may not cross to the other side of Belk.

iii. You may not bring anyone with you who is not working on an FTP assignment or project.

iv. You must obey all instructions from the Building Monitor. This includes leaving at or before closing time.

d. Students may request additional night or weekend hours from their instructor in order to complete assignments. If in agreement, Instructor will send a list of students to University Police along with timeframe of the additional hours. Instructor will designate a student who will pick up the key from the University Police and return it that same day or evening.

e. Students may petition faculty for access to additional websites. Any attempt to unblock unauthorized websites is a serious offence and will be dealt with as such.

f. Entry to the Editing Lab is by combination. Giving out the combination to any student not authorized to use the lab is strictly forbidden.

g. If you are the last one out, turn off lights and lock the door behind you.

Student Handbook



h. Hard Drive: All FTP students are required to own a firewire or Thunderbolt hard drive, 500 GB minimum, on which to keep all their media. Each student will have a folder on the Server to keep and back up media and work. Anything saved to the desktop of any iMac in the lab may very well be deleted, so make sure all work is kept on your hard drive. All student files are erased from the server at the end of each semester.

i. Headphones: Students using the lab are required to own headphones and use them at all times. The only exception is when students are working as a team and need to screen together to compare notes. In that case, care must be taken not to unduly disturb other students

j. No computers may be moved, removed from the lab, or have their connections reconfigured without permission of the Editing Instructor.

k. The teacher workstation computers are reserved for faculty use only. l. Absolutely no food or soft drinks are permitted in the lab. You may bring a bottle of

water but it must be kept off the desks. You may also bring a snack, but it must be eaten outside the room.

m. Please be considerate of other students’ needs and try to accommodate their requests. Maintain a quiet working environment in the lab. Loud conversation or language disrespectful to other students will not be tolerated.

n. The faculty expects any inappropriate behavior to be reported to them.

47. Post-Production Suite (Belk 274) The Post-Production Suite is used for editing Senior Projects and for ingesting F900 HDCAM tapes, mixing, color correction, and other advanced editing procedures. Since it contains very expensive equipment, it is kept locked and is only accessible using a key signed out from the Editing Instructor. Any student may request use of the room from their Instructor. Anyone using the Suite is advised to book the time there and is responsible for the room while they are there. All Editing Lab rules apply to the Suite.

48. Credits Credits must appear on all class video projects as follows:

a. Credits may be over black or supered over picture. b. Main Credits can come at either the head or tail. If there is a large crew or cast,

crew credits should appear at the end. c. End credits may be either static or scroll. Font and style are up to you.

Student Handbook



d. Order of cards: Card 1: Name of Assignment (plus your own title if you wish) Cards 2, 3, 4, etc: Cast & Crew credits [see guidelines below] Final Card:

[FTP Number & Name of Course] Film & Television Production

Department of Stage & Screen Western Carolina University

[FTP logo – download from Controlled Chaos]

e. In the case of a Senior Project film, Final Card should read: This Film Was Produced as a Senior Project

for the Film & Television Production Program

at Western Carolina University

f. Order of Main Titles (based on industry practice): i. Director

• Director gets only one credit: either final credit before start of film, or first credit at end of film, if and only if, there are no head credits.

ii. Written by • Writer(s) precedes director’s credit at start of film, or follows director’s

credit at the end of the film. • When there is source material or an underlying story, credits should read

Screenplay by [screenwriter] and Story by or Based on a [story, play, etc.] by [author of original material].

iii. Producer • Producer credit comes before writer’s credit.

g. Acting credits • The main performers may have their names listed after the main title and

before crew credits if there are head credits. • All actors’ names with their roles must appear in end credits.

h. Crew credits • If a head title sequence is used, the following credits should appear after

the actors (if any) and before the producer: Director of Photography Music by Edited by Production Design (optional) Costume Design (optional)

• All other credits (i.e., electricians, acknowledgements, song credits , etc.) appear in end credits.

i. Any other credits, such as the name of a student production entity, as well as those credits’ placement, need to be approved by the instructor.

Student Handbook



j. The possessory credit, i.e. A film by or A Joe Blow Film, may not be used on a WCU film

k. Documentary films, music videos, and commercials: you should list the artists and their contribution.

l. If in doubt about any credit issues, consult Program Director. 49. Ownership of work While all student work done at WCU is the property of the student, FTP reserves the right to use student class work for demonstrations, recruiting, fund-raising, or any other use it deems beneficial to the program, the university, the faculty, or the students, as it sees fit. All course work may be screened in any class in which its participants are enrolled. Students not wishing their work shown outside of class must specifically state this to their Instructor, in which case their request will generally be honored. However, no student may unreasonably withhold permission to show the work when cast or other participants request its use as part of their reel or to help with their class work or career. In cases of dispute, the Program Director will arbitrate and his decision will be final. 50. Non-Class Projects Students are permitted to shoot their own films on their own time so long as this does not take away from their ability to fulfill all class obligations. However, there are two restrictions:

a. No FTP equipment may be used for non-class projects. Channel 62 and the WCU Film Club own equipment that may be used with proper permissions. Or you can use your own equipment.

b. Other than using actors and locations on campus, you may not script or shoot anything that requires permission of instructor as listed in the Handbook, Sections 23 – 44. These are all safety issues that require faculty oversight to insure these activities can either be performed safely or written out of the script. As non-class projects, faculty cannot oversee these productions; therefore, they are not permitted. Failure to obey this restriction may endanger you, your crew, and your cast and will result in disciplinary action.

You may use the editing lab for post-production on your project.

51. Use of Copyrighted Material Use of all copyrighted material, including music, film clips, graphics, etc., is illegal. Therefore you may not use any copyrighted material in work done as part of a course at WCU, and you should not use it in your own work since it may expose you to a possible lawsuit.

There are 3 exceptions. You may use copyrighted material if:

a. You have obtained the rights from the owner or rights holder. You must present your instructor with written documentation that confirms this. *Note that this also holds true for original music. You must get a release from the composer granting you the right to use the music.

b. You are using the material as a temp version during an early cut of your project. This copyrighted material must be replaced in the final version.

Student Handbook



c. The usage falls under the definition of Fair Use. Fair Use is a tricky subject, and each of these criteria below has limitations. Your best source for information on Fair Use is American University’s Center for Social Media website: http://www.centerforsocialmedia.org/fair-useI. I In general, however, there are four criteria to determine Fair Use: i. If the material is used as the object of social, political, or cultural critique; ii. If the material is used to illustrate an argument or point; iii. If the material was captured while filming something else; iv. If it is used in a historical sequence

52. Screening of FTP Student Work Outside Class

a. All artists are judged by their work. FTP student work is no different; it not only represents and reflects upon you but also on the FTP program. Therefore, no work that bears a WCU credit –whether done for class or as a departmental or university project – may be shown outside of WCU, including festivals, private screenings, or on Internet sites such as YouTube, without the written permission of the Program Director. If you are denied permission, that decision is final.

b. Failure to follow this procedure will result in disciplinary action and could affect your status in the program.

c. Any work that you have made on your own and that does not identify itself as made as part of FTP coursework is yours to show as you wish.

d. If you are planning to submit WCU work as part of an application for a job, a graduate program, or an internship opportunity, please inform the Program Director who will grant you permission.

film & television handbook - western carolina university

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