first year production handbook

FIRST YEAR

HANDBOOKPRODUCTION

Updated August 2021

2021-2022

FIRST YEAR PRODUCTION HANDBOOK | 1

Introduction to AFI Conservatory First Year ProductionThe AFI Conservatory program is based on a practical immersion in the physical process of creating and producing narrative motion pictures. This Handbook provides a detailed chronicle of policies and procedures that support and guide AFI Conservatory production. There are reasons for these particular procedures, and they establish definite limitations to the productions, as the industry always has and will. The challenge is to discover ways in which to realize a creative vision within the limitations. The staff in the Physical Production department are your resource for practical instruction and guidance.

As we navigate the final chapters of a global pandemic, these policies are more essential than ever. They will remain in lockstep with the safety guidelines for the industry and local unions, as those continue to be released and updated.

Furthermore, this handbook is in a continuing state of development as new technology and changes in professional production protocol occur. AFI reserves the right to issue modifications or changes to this document when the occasion demands.

AFI CONSERVATORY | 2

BOOT CAMP SYLLABUS ....................................................................... 4COURSE GOALS AND CONTENT ...........................................................................................................4COURSE WORK AND FELLOW EVALUATION .......................................................................................4COURSE POLICIES AND PROCEDURES .................................................................................................4BOOT CAMP PRODUCTION EXERCISES ................................................................................................4

CYCLE PRODUCTION SYLLABUS ......................................................... 6COURSE GOALS AND CONTENT ...........................................................................................................6COURSE WORK AND FELLOW EVALUATION .......................................................................................6

PRODUCTION SAFETY ......................................................................... 7CYCLE PRODUCTION ........................................................................... 8CYCLE PRODUCTION TEAMING ...........................................................................................................8CYCLE DEVELOPMENT ............................................................................................................................9CYCLE PRODUCTION WORKFLOW .....................................................................................................10

6 WEEKS PRIOR TO PRODUCTION: DEVELOPMENT MEETING #1 ..................................................... 105 WEEKS PRIOR TO PRODUCTION: DEVELOPMENT MEETING #2 ..................................................... 104 WEEKS PRIOR TO PRODUCTION: FOUR-WEEK-OUT MEETING....................................................... 103 WEEKS PRIOR TO PRODUCTION: DEVELOPMENT MEETING #3 ..................................................... 102 WEEKS PRIOR TO PRODUCTION: FINAL TWEAKS ............................................................................... 101 WEEK PRIOR TO PRODUCTION: ONE-WEEK-OUT PRODUCTION MEETING ...............................11PRODUCTION .................................................................................................................................................11END OF PRODUCTION WEEK: WRAP MEETING .....................................................................................11POST-PRODUCTION.......................................................................................................................................11THREE WEEKS AFTER PRODUCTION ENDS:NARRATIVE WORKSHOP/NARRATIVE ANALYSIS ..... 12

PRODUCTION SCHEDULING ...............................................................................................................12PRODUCTION FUNDING AND BUDGETING .....................................................................................13

PRODUCTION FUNDS .................................................................................................................................. 13ADDITIONAL FUNDS ..................................................................................................................................... 13LOSS & DAMAGE (L&D) ................................................................................................................................ 13PRODUCTION BUDGETING ........................................................................................................................ 14

FIRST YEAR CREWING ....................................................................... 15DISCIPLINE-SPECIFIC CREWING ..........................................................................................................15OUTSIDE CREW .....................................................................................................................................16

SOUND ............................................................................................................................................................ 16

FIRST YEAR PRODUCTION INSURANCE .......................................... 17CLAIMS & DEDUCTIBLES ......................................................................................................................18VEHICLE INSURANCE ..........................................................................................................................18

FIRST YEAR PRODUCTION EQUIPMENT .......................................... 19FORMAT ................................................................................................................................................19EQUIPMENT PACKAGE ........................................................................................................................19EQUIPMENT USE ..................................................................................................................................19EQUIPMENT FAILURE .......................................................................................................................... 20AFI EQUIPMENT LOSS & DAMAGE .................................................................................................... 20EQUIPMENT TESTING ......................................................................................................................... 20MEDIA AND DAILIES ............................................................................................................................21

TABLE OF CONTENTS


FIRST YEAR PRODUCTION LOCATIONS ...........................................22SHOOTING ZONE ............................................................................................................................... 22FILMING OFF CAMPUS ....................................................................................................................... 22FILMING ON CAMPUS .........................................................................................................................24

SOUND STAGE AND ASSOCIATED FACILITIES ................................25AFIC SOUND STAGES .......................................................................................................................... 25

SOUND STAGE POLICIES .............................................................................................................................25MILL & SCENE DOCK FACILITIES ......................................................................................................... 26DRAPERY / FURNITURE CLOSET ........................................................................................................ 26PROP ROOM FACILITIES ...................................................................................................................... 27

PROP ROOM POLICIES ................................................................................................................................. 27TAGGING AND PICKING-UP/RETURNING PROPS ............................................................................... 27RENTAL AGREEMENT AND FEES ................................................................................................................28

CAMPUS FACILITIES ........................................................................... 29VEHICLES ON CAMPUS ....................................................................................................................... 29RESERVING ROOMS ON CAMPUS ..................................................................................................... 29

FIRST YEAR CASTING ......................................................................... 31CASTING WORKFLOW .........................................................................................................................31AFI/SAG-AFTRA SHOOTING REGULATIONS ................................................................................... 32WORKING WITH MINORS .................................................................................................................. 33

MINORS’ HOURS OF WORK ......................................................................................................................34STUDIO TEACHERS ........................................................................................................................................34

FIRST YEAR POST-PRODUCTION ......................................................36POST-PRODUCTION / SDAC POLICIES .............................................................................................. 36POST-PRODUCTION EQUIPMENT CHECKOUT AND RETURN ...........................................................37DIGITAL VISUAL EFFECTS ......................................................................................................................37FRAME MODIFICATION ........................................................................................................................37FIRST YEAR PRODUCTION CREDITS .....................................................................................................37CYCLE POST-PRODUCTION SCHEDULE .............................................................................................. 38

FIRST CUT .........................................................................................................................................................38SECOND CUT .................................................................................................................................................38THIRD CUT .......................................................................................................................................................38FINAL CUT .......................................................................................................................................................39COLOR CORRECTION/TITLES .....................................................................................................................39AUDIO EDITING .............................................................................................................................................39TECHNICAL PREVIEW SCREENING FOR CYCLES ....................................................................................39NARRATIVE WORKSHOP SCREENING FOR CYCLES ..............................................................................40PRODUCTION RIGHTS AND CLEARANCES ............................................................................................40STOCK FOOTAGE/FILM OR TELEVISION CLIP RIGHTS ..........................................................................40CYCLE DELIVERY AND STORAGE ................................................................................................................40LINK / COPY CREATION .............................................................................................................................. 41

FIRST YEAR PRODUCTION DISTRIBUTION.......................................42DISTRIBUTION AND OWNERSHIP OF PRODUCTIONS...................................................................... 42

PRODUCTION INTERVENTION .........................................................43


AMERICAN FILM INSTITUTEAFI CONSERVATORY

BOOT CAMP SYLLABUSCourse Number: PRN 510 Course Title: Introduction to Cycle Production – Boot CampInstructor: Various Term: FALL 2021Meeting Time: VariousLocation: Western Campus, North Hollywood Soundstages, Remote

COURSE GOALS AND CONTENT• To immerse the Fellows in a practical, creative and physical production experience.

• To teach each discipline the roles of all other disciplines and how they interface during the filmmaking process.

• To expand the Fellows’ understanding of narrative storytelling.

The Boot Camp period consists of lectures and workshops on visual storytelling, physical production, collaboration and the art of the short film; the development of a story idea; and the production of a Cycle script.

In addition, all Fellows will have discipline-specific workshops designed to immerse the Fellow in the craft of their discipline while underlining the importance of story, content and collaboration.

Boot Camp also involves four hands-on exercises to facilitate in the teaming process and apply recent lecture material in a practical manner.

COURSE WORK AND FELLOW EVALUATIONEach Fellow is evaluated on their individual participation in classes, workshops and exercises, as well as their discipline-specific level of collaboration.

COURSE POLICIES AND PROCEDURESAll Fellows are expected to fully engage in the Boot Camp discipline-specific workshops, Production Workshops and all four practical application exercises. Absences are not permitted from any Boot Camp activity without prior approval.

BOOT CAMP PRODUCTION EXERCISESEach week of Bootcamp culminates in a practical application exercise meant to utilize the lectures and workshops from the preceding week.

The first exercise is exploring how to tell a simple “story in a frame” using a written prompt of a specific emotional moment from an unidentified film. They will strategize how to best express this moment in one photograph. It can be as abstract or as literal as they decide. Fellows are placed in randomly assigned small groups, for several different iterations of this exercise.


The second exercise will have Fellows engaging in a mock set to explore set procedures, etiquette and terminology. There will be a concurrent workshop reviewing all oft-used grip and electric equipment. Fellows will be randomly assigned into small groups.

The third exercise will reinforce the practicalities of preparation in the art, camera, grip and electric and physical production departments. Fellows will rotate through various hands-on stations to learn how to prep for their shoots safely and efficiently. Fellows will be in small groups of their final Cycle team.

The last exercise is a brief filming of a simple, assigned scene. Fellows will be in their final Cycle teams and get to engage in this low-stakes rehearsal of their on-set roles. The use of children, animals and SAG-AFTRA actors is prohibited. No film permits will be required.

Once shot, each exercise will be evaluated and discussed regarding content and collaboration, with the entire class.


AMERICAN FILM INSTITUTEAFI CONSERVATORY

CYCLE PRODUCTION SYLLABUSCourse Number: PRN 511 – Cycle Production I (Fall Term) PRN 512 – Cycle Production II and III (Spring Term) Course Title: Cycle Production I, II and IIIInstructor of Record: Nathalie Curtis Term: Fall 2021 and Spring 2022Meeting Time: VariousLocation: Western Campus, North Hollywood Soundstages, Remote

COURSE GOALS AND CONTENTThis immersive year-long production course serves as the primary teaching tool for narrative visual storytelling. Fellows are expected to apply their respective disciplines’ skills to the collaborative creative process.

COURSE WORK AND FELLOW EVALUATIONEach Fellow is required to participate as a principal team member on three digital shorts where they function at a professional standard for their specific discipline. They are also expected to fully engage in the post-production process, including the editing, sound work and screening(s) of their film.

Additionally, all Fellows are required to attend all pertinent development and pre-production meetings, as well as their respective wrap meetings.

The preparation, production and post-production for each Cycle team is evaluated by the Senior Manager of 1st Year Production and is based on participation in meetings, collaboration amongst team members, full engagement in the production process, adherence to safety policies, mentor feedback and discipline-specific participation in the post process.


PRODUCTION SAFETYEspecially in this era of COVID-19, the safety of Fellows, faculty, staff, performers, volunteers and anyone else involved in production is the first priority of the AFI Conservatory. All productions will be provided a Health & Safety Manager (HSM) by the AFIC, who will work in conjunction with the film’s Producer and 1st AD.

All Fellows must undergo industry-standard COVID-19 training, familiarize themselves with the online Safety Handbook and pass a general knowledge exam to participate in any required production activity.

Additionally, all qualifying filming activity must be vetted by AFIC’s insurance underwriter via our Safety Plan Application, where all work and safety measures are outlined in detail for approval.

Should any safety violations be found in the dailies or final film, it is the Editor’s responsibility to bring the matter to Physical Production. Those shots will be taken out of the film and a disciplinary hearing will be held with the entire team.

Each production team must conduct a safety meeting with all crew and cast at the start of each shooting day, at each new location, and before each stunt or special effect. They should review COVID-19 procedures, the work planned for the day ahead and discuss potential safety hazards particular to that day’s shooting plan and location. These meetings must be documented with a Safety Meeting Attendance Form and a Safety Inspection Form, and be recorded on the daily Production Reports.

An Injury/Illness Report must be submitted for all accidents or injuries that occur during prep or production. Physical Production must be contacted immediately, and the incident(s) must be reported on the daily Production Report.

REQUIRED PAPERWORK DESCRIPTION

Safety Plan ApplicationCompleted before locking the script to ensure all filming activity is properly approved and insured.

Safety Meeting Attendance Form

Filled out each day, at each location and prior to any stunt performed. This document is turned in to Physical Production with the daily Production Report.

Safety Inspection FormChecklist of safety concerns filled out for each location and turned in to Physical Production with daily Production Report.

Injury / Illness Report Form

If any cast or crewmember is hurt or ill during Cycle production, this document is turned in to Physical Production and Facilities/HR as needed.


CYCLE PRODUCTIONIn the first year at the AFI Conservatory, Cycle production is essential curriculum for all Fellows. Teams are formed for each Cycle to complete the production assignments. The general production parameters are as follows:

• There is no filming allowed before nor after your scheduled shoot days. All material must be created within the time allowed.

• Crews are limited to 30 people total (for entire run of show) and Cast/Background are limited to 10 people total (for entire run of show).

• Teams have a 12-hour shooting day from call time to “tail lights,” excluding lunch. Actors may only work for 10 hours, excluding lunch.

• Teams must adhere to a 10-hour crew turnaround, from taillights to your next day’s call time. Actors must have a 12-hour turnaround.

• Locations must all be within the extended 30-mile zone, as defined by Film LA.

• All Cycles are provided their budget by AFI and should be completed for that precise figure. No one on the team is allowed to put up personal money for Cycle production.

• Driving shots will be approved on a case-by-case basis, and only with a detailed proposal.

• Visual effects allowed in Cycle 1 are only those that can be done in the AVID, and are limited to three shots. In Cycles 2 and 3, visual effects can be created with other programs, but must be approved prior to production. All VFX must be done by a member of that principal team.

• Child labor laws must be obeyed explicitly. Anyone under the age of 18 is subject to them, including background actors. The time available to work with children is dependent on their specific age, but a Studio Teacher must always be hired.

• Stock footage that is full-frame is limited to 20 seconds, in total.

• Any stunts must be approved by Physical Production and may require the hiring of an approved stunt coordinator, medic, lifeguard or other personnel.

• Cycle projects are screened and evaluated in Narrative Workshop by the entire first year class. Cycle projects have a max running time of 12 minutes, “black to black.”

CYCLE PRODUCTION TEAMING A Cycle team consists of a Producer, Director, Cinematographer, Screenwriter, Editor and oftentimes a Production Designer.

All three Cycles follow a similar workflow: an idea is pitched to or by the Producing Fellows, and the remaining members of the team are selected according to that particular story.

For Cycle 1, the Directors pitch to Producers to form an “initial team,” who then pitch to the remaining disciplines in order to form a “principal team.” For Cycle 2, the Screenwriters pitch to the Producers, and for Cycle 3, the Producers pitch to the Screenwriters. There will be three episodic episodes shot in Cycle 3, which will be determined prior to Cycle 2.


This “open market” style of teaming, while guided by the Producing Fellows, is intended to help each Fellow work on material that interests them.

On Cycle 1 and Cycle 3, the Screenwriting Fellow may be a writer, a co-writer or a story editor. However, on Cycle 2 and the episodic projects of Cycle 3, Screenwriting Fellows are required to be the sole writer of the script.

Once a team has formed, a teaming sheet must be submitted to Physical Production with any scheduling concerns. Teams are assigned a specific group number and shooting date within 48 hours of the teaming sheet submission deadline.

Fellows may not work together as principal team members on more than one Cycle project. This is to ensure that everyone has a chance to work with as many different people as possible throughout the first year.

Due to the uneven number of Fellows in each discipline, up to ten projects per Cycle will be a Co-Production with two Producers.

Production Designers may team on more than one project per Cycle only with the explicit permission of the Production Design discipline head. Because of their limited numbers, unfortunately not all Cycle projects will have an AFI Production Designer.

CYCLE DEVELOPMENTDuring their creative development, each team is required to attend three script meetings with assigned Mentors. All team members are encouraged to fully participate with notes and feedback as they proceed to a locked screenplay. For the first meeting, attendance by Cinematography and Editing Fellows is optional.

The Monday after the last development meeting, the script will be considered “locked” and submitted to Physical Production. A locked script means that no changes affecting theme or tone and no changes affecting production (i.e. number of characters, types of locations, size of cast) can be made after this date without approval from the entire team, development Mentor and Physical Production. That said, we understand that dialogue polishes occur though rehearsals, on set and even into post-production.

The AFI Conservatory has a zero-tolerance policy toward fraud, cheating and dishonesty of any kind, including plagiarism.

Once the film is shot, if an Editor feels that the intent of the story has been substantially changed from the locked script, the Editor should bring the change(s) to the attention of faculty.


Principal Team AgreementSigned by all principal team members to acknowledge that each person will follow policies and procedures set forth by AFI.

Script Revision Team Agreement

This document is signed by each principal team member and respective development Mentor agreeing that the script revisions have been approved.


CYCLE PRODUCTION WORKFLOW

6 WEEKS PRIOR TO PRODUCTION: DEVELOPMENT MEETING #1This meeting is to clarify the intended story with your assigned development mentor. Two business days prior to the meeting, the Producer is required to submit the following items:

• A treatment

• A detailed “beat sheet”

• Statement of theme or intent

5 WEEKS PRIOR TO PRODUCTION: DEVELOPMENT MEETING #2The intent of this meeting is to discuss the first draft of your script with your assigned development mentor. The Producer is required to submit two business days prior. Each team member should arrive prepared to discuss this draft and give their constructive notes on how to move the story forward.

4 WEEKS PRIOR TO PRODUCTION: FOUR-WEEK-OUT MEETINGThe intent of this meeting is to review the current production plan as well as discuss any potential safety concerns with Physical Production. Each Producer is required to submit the following materials two business days prior to the meeting:

• A scene-numbered script, with each team member’s name properly formatted on the cover

• Current schedule via MovieMagic Scheduling, appropriate to latest draft

• Current budget via MovieMagic Budgeting, appropriate to latest draft

• Request for use of a AFI Soundstage (if applicable)

3 WEEKS PRIOR TO PRODUCTION: DEVELOPMENT MEETING #3This is the final meeting with the development Mentor. It is intended to ultimately result in a locked script that the entire team agrees upon. Each Producer is required to submit their most current draft two business days prior to their meeting and should arrive prepared to discuss their final notes on the script.

2 WEEKS PRIOR TO PRODUCTION: FINAL TWEAKSThe following things happen during the course of this week:

• The locked script is submitted on Monday

• Video Storyboards are shot, edited and submitted (via Vimeo or YouTube link)

• The Two-Week-Out meeting consists of the Producer, Director, UPM and Physical Production reviewing production status, all pre-production paperwork that must be submitted and division of labor. All team members are welcome to attend.

• The Tone meeting consists of the entire team meeting with the Interim Co-Head of the Editing Discipline to specifically discuss and prioritize components of the visual storytelling (i.e. which shots are essential and which could be missed if time doesn’t allow for getting everything planned).

This week is also a great time to host the required cold reading with cast and department heads.


1 WEEK PRIOR TO PRODUCTION: ONE-WEEK-OUT PRODUCTION MEETING The intent of the One-Week-Out meeting is to review the entire production plan as well as all materials that pertain to it. This meeting must be attended by all principal team members, as well as the UPM, 1st AD and any outside Production Designer. Two business days prior to the meeting, the Producer or the UPM is required to share and submit the following items:

• Production plan as evidenced by Stripboard

• Art Department Workflow. This document should include: prep plan for each set, wrap plan for each set, labor needs and transportation needs.

• Detailed location overheads including staging, holding and COVID-19-specific zones

• Pick-Up/Drop-Off Schedule for all equipment, vehicles and art department

• Production budget that has been approved by entire team

• Approved proposals for any stunts, driving shots, physical intimacy, visual effects work and stock footage.

• Requests for equipment outside the standard AFI package, which must come with signed approval by the Cinematography Mentor.

Every member of the team is required to be familiar with all materials and the notes left on them by Physical Production.

PRODUCTION Principal photography for Cycle films is three days: Saturday, Sunday and Monday. At the end of each shooting day, in addition to the camera cards, the following paperwork must be submitted:

• Detailed daily Production Report

• Call Sheet

• Exhibit G

• Camera Reports

• Sound Reports

• Script Supervisor Notes

• Safety inspection Form

• Safety Meeting Attendance Form(s) END OF PRODUCTION WEEK: WRAP MEETINGThe intent of this meeting is to discuss the successes and failures of the production plan with Physical Production. The entire team is required to attend.

POST-PRODUCTIONPlease see specifics of the Post-Production Workflow later in this handbook.


THREE WEEKS AFTER PRODUCTION ENDS: NARRATIVE WORKSHOP/NARRATIVE ANALYSISThe film screens in the Narrative Workshop to an audience of Fellows and select Faculty. Only after all AFI L&D is paid and Cost Reports are submitted can the team be cleared to participate. Only enrolled Fellows can attend the Narrative Workshop screening.

Directly following, the team meets alone with the Workshop Moderator(s) for Narrative Analysis, a more intimate forum to discuss creative goals and execution.

PRODUCTION SCHEDULING Cycle workdays never exceed 12 hours – excluding lunch but including set-up and all wrap activities. This is the industry standard as accidents happen most often when people are exhausted. Pay special attention to this policy when staggering call times.

If a team incurs overtime or a meal penalty (not breaking every six hours for meals), the equivalent time will be removed from their following shoot day. If the violation occurs on the last day of shooting, half the length of overtime will be removed from their dailies’ raw footage and will not be allowed in the final film.

The shooting schedule must be approved by each team member and their respective needs and limitations. The Director, Cinematographer, Producer, HSM and First Assistant Director must all work together in prioritizing each day’s shooting plan so that the necessary work can be accomplished.

The following must be considered when creating a schedule:

• “Turnaround”: The minimum time of rest between shooting days; at least 10 hours for crew, and 12 hours for cast members. This is defined as the time between “taillights” (last person leaving set) and the call time determined for the following day.

• Crew turnaround also applies to the time between the last shoot day and the equipment return times on Tuesday. Therefore, all teams must complete their final day of shooting at least 10 hours before their scheduled equipment return time. If a late equipment return is needed due to night shooting, a request must be emailed one week prior to CCD, CLS, and Physical Production. If a film shoots past 2 a.m. on their last day, they must do their returns on Wednesday.

• A meal period must be called no later than six hours after call time. Meal periods must be a minimum of 30 minutes, for every crewmember. The 30-minute clock starts as the last person on the crew gets their food. The maximum time deductible from the workday is one hour.

• Actors are limited to a 10-hour workday, excluding lunch. If the production transports an actor(s) to location, that travel time is included as part of their workday and should be noted on the production report and Exhibit G.

• COVID-19 testing for the Monday shoot day must be conducted during the Saturday shoot day at whatever time the team agrees upon.

Fellows shooting projects with footage required for playback (i.e. news footage, specific B-roll) must shoot it within the time allotted for principal photography.



Shooting Schedule/ StripboardList of each scene with descriptions including: Ext/Int Day/Night, location, cast ID numbers and scene summary.

PRODUCTION FUNDING AND BUDGETING

PRODUCTION FUNDSEach Cycle team will receive production funds through an expense management system called BENTO (bentoforbusiness.com). Standard bank accounts are not allowed.

Approximately three weeks before a team’s scheduled shoot date, funds will be deposited into the Cycle team’s Bento account. This money is ONLY for expenses involved with the production.

A final budget is expected to be fully locked by the Thursday before the team goes out to shoot, with all financial and formatting notes taken into consideration. All quotes, rental agreements, location agreements and any Deal Memo with a kit fee must be submitted before the budget can be locked.

Each transaction must be matched to 1) a receipt and 2) a category from your locked budget. This is due one week prior to screening at Narrative Workshop. Cost Reports will be audited in detail by Production Finance and corrections may be necessary. If any transactions are missing a receipt/category after Narrative Workshop, disbursements will be frozen.

ADDITIONAL FUNDSTeams may apply for a stipend from the Standing Set Fund. These funds can ONLY be put towards outside soundstages or standing sets, and teams qualify for this stipend only if they cannot use the AFI Soundstages. A detailed proposal is required.

LOSS & DAMAGE (L&D)Loss and damage can happen even when you and your team are careful. It can affect your location, equipment, vehicles, art department rentals and more.

Any L&D costs on a Cycle film must be shared equally by the entire principal team. If L&D is significant enough to incur an insurance claim, a proposal may be submitted by the team to have the AFIC cover half the deductible. This is not guaranteed, however.

Any principal team member working on two projects per Cycle will only pay half the financial obligation of other team members to each project. AFI will make up the other half of that share.When two people are sharing a job (i.e. co-producers, co-writers, etc.) then it is the POSITION that is responsible for its share of financial obligation, which will be divided between those two people.


PRODUCTION BUDGETINGBudgets are prepared by the Producing Fellows, in collaboration with the principal team, using the approved budget template in EP Movie Magic Budgeting. Each discipline should be involved in the preparation of this budget and sign off on all respective quotes, as well as on the final locked budget. Physical Production must approve all locked budgets prior to ANY equipment pick-up.

Signing the Budget Agreement is a contract with AFI that stipulates your acknowledgement that the film can be made for the budgeted amount. If equipment is rented without knowledge of AFI and/or outside the budget, it will not be covered by AFI insurance and it will be considered a breach of contract.

In addition to outlining L&D particulars, the Budget Agreement sets limits on any overages and specifies how those will be shared. The money agreed upon for overages will serve as a budget contingency for the team. If the overage (or more rarely, underage) exceeds the agreed upon amount, each Fellow on the team will receive a progress report.


Budget Locked by Physical Production on Thursday prior to shoot, precisely at assigned amount.

Student LetterLetter signed by Physical Production Office proving to vendors/rental houses/permitting offices that you are eligible for student discounts.

Budget AgreementSigned by all principal team members agreeing to how L&D and overages will be paid for amongst the team.

Deal Memo: Volunteer This contract is signed and agreed upon by any crewmember that is not being paid, including Fellows.

Deal Memo: Kit Fee This contract is signed and agreed upon by any crewmember that is being paid.

Cost ReportGenerated automatically by Bento, but the Producer will need to upload receipts/tag any missing expenses upon completion of Principal Photography.

Bank Account Information Sheet Provides Physical Production with bank information for the account opened specifically for Cycle production.

Banking Procedures Agreement Document signed by Producer agreeing to follow banking procedures and financial responsibility.


FIRST YEAR CREWING In addition to working as a principal team member on a Cycle film, each Fellow will also be required to work as a crew person on other, specific Cycle productions. Crewing requirements differ for each discipline, and they will be detailed below.

Physical Production will assign Fellows to a particular team, but the specific crew position will be assigned by that team’s Producer.

Fulfilling this assignment is a Cycle production requirement. Anyone needing to change their crewing commitment must replace themselves with the approval of both Producers affected by the change, and that change must be reported in writing to Physical Production. Professional courtesy dictates that you do not leave the team short-handed by not meeting your commitment.

Failure to fulfill crewing requirements will result in an incomplete grade and may affect continuation in the program.

1 Crewing Day = 12 hours plus lunch.

DISCIPLINE-SPECIFIC CREWINGThe following guidelines are the minimum discipline requirements. You are always allowed to exceed the minimum.

PRODUCING Fellows will crew at least one project each Cycle as a Line Producer. They will be the main point of contact for the logistical/physical production needs of that project.

DIRECTING Fellows will crew on two projects each Cycle. There must be no more than two Directors assigned to crew each project.

SCREENWRITING Fellows will crew on their own team’s project and one additional project per Cycle.

CINEMATOGRAPHY Fellows crew every week with the exception of the weeks before and after the film on which they are the Cinematographer. They are not assigned projects by Physical Production; they schedule themselves coordinated by the FAC Representative. Cinematographers work in camera, grip or electric departments and are therefore not required to crew in any other capacity. Only AFI Cinematographers will work in the key positions of First Assistant, Gaffer, Key Grip and Camera Operator. Outside crew is allowed in any other position.

PRODUCTION DESIGN Fellows crew for each other as Art Directors. They are not assigned projects by Physical Production; they schedule themselves.

EDITING Fellows will work as Assistant Editors on one project each Cycle and crew on set one project per Cycle.

It is the Producer’s responsibility to record and report Fellows’ crewing days to Physical Production. Not fulfilling a crewing requirement will lead to an incomplete grade and the remaining days being added to the next Cycle’s crewing requirement.


At no time may an AFI Fellow be paid for work on an AFI production. Additionally, they should consider discounting any equipment they might rent out to productions.

OUTSIDE CREWNo one may be traditionally “paid” for crewing on AFI films. Any outside help brought in can be given a “kit fee” for their work, which should be documented with a Deal Memo.

In Cycle 1, all projects will be assigned a professional 1st AD. When hiring their own ADs in subsequent Cycles, teams are strongly encouraged to book someone who will be available every day of the shoot and for pre-production prior to the shoot – namely attending the hour-by-hour scheduling meeting and the required OWO Meeting.

All crew must fill out a Health & Safety Attestation (HSA) confirming that they are familiar with all AFI COVID-19 procedures, and a Deal Memo with their prep and wrap expectations clearly outlined. All names of outside crew must appear on both the call sheet and production report to insure their Worker’s Comp coverage.

SOUNDFirst year sound is recorded “double system” – separately from the camera, with a mixer, by a Recordist. There is an additional backup soundtrack recorded directly onto the camera card so that sound dailies may be viewed at the end of each day. That sound is merely for reference and not meant to be used on the film. The approved production sound will come from the audio card delivered to the Assistant Editor at the end of each day. The Assistant Editor will ingest that media, sync the sound and picture, and that sound becomes the official production track.

There will be a two-person sound team provided to every Cycle team, consisting of a Recordist and a Boom Operator. In Cycle 1, the sound team will be provided to you. In Cycles 2 and 3 you may choose your own sound team, pending approval by Physical Production. Most sound teams will have their own equipment. AFI will provide equipment when the sound team is missing something in their own package.

Every sound team will need to make sure that they do accurate sound reports and that those sound reports come back to AFI at the end of each and every shoot day, along with the sound card.


Crew Report: AFI Fellows List of AFI Fellows that crewed, including their crew position and number of days worked.

Call SheetSent to every cast and crewmember the day prior to each shoot date. Provides call times, what is being shot and other essential info.

Production ReportSent to Productions Services after each day of production. Includes work completed, cast work-time and other essential info

Deal Memo: Volunteer This contract is signed and agreed upon by any crewmember that is not being paid, including Fellows.

Deal Memo: Kit Fee This contract is signed and agreed upon by any crewmember that is being paid.


FIRST YEAR PRODUCTION INSURANCEAFI carries full production insurance outlined below, and Certificates of Insurance (COIs) are requested through the Physical Production office. COIs can cover locations, communities, equipment rentals, art department rentals, personal property and vehicles.

In order to be issued any COIs, the team must submit an Insurance Certificate Request along with any Location Agreement, vendor quote, or Rental Agreement, respectively. AFI has the option not to provide additional insurance coverage for outside equipment and to deny use of locations due to insurance requirements. If that is the case, the team must purchase outside coverage themselves.

Location agreements, equipment or vehicle rental contracts cannot be entered into in the name of AFI. The Producer must sign in their own name or the production’s name (e.g. C2G4A). Agreements or contracts different from AFI standard paperwork must be reviewed by the AFI legal team, so please allow ample time for this process.

Any hazardous activity (eg. stunts, driving shots, water or fire work, animals, etc.) must be approved at least one week in advance by AFI’s insurance provider, as it often requires special insurance. A detailed Safety Plan Application must be filled out by the team, as well as any number of supporting documents. In some instances, the hazardous activity will not be approved, and the script will have to be revised.

AFI Productions will be provided the following insurance coverage:

• WORKERS COMPENSATION for Non-AFI cast and crew. Volunteer names must be on a previously submitted crew or cast list and on a Deal Memo in order to qualify. Work-related injuries must be reported within 24 hours. Pandemic coverage is not offered.

• PRODUCTION PACKAGE policy consisting of:

• Commercial General Liability

• Vehicle Damage and Supplemental Liability

• Props/Sets/Wardrobe (rented and loaned)

• Extra Expense (expenses due to direct physical loss/damage to sets/equipment that results in shoot delay, postponement or cancellation)

• Third Party Property Damage

• Miscellaneous Equipment (rented/loaned equipment)

• Negative/Video

• Faulty Stock/Camera/Processing/Video Erasure

AFI Fellows, while on any production shoot or at any internship, are NOT covered by the AFI’s Workers’ Compensation insurance, and the Institute does not assume liability for suits brought against Fellows for bodily injury or property damage.

For this reason, all Fellows are required to provide proof of health insurance before they will be allowed to participate on any AFI production.


CLAIMS & DEDUCTIBLES All insurance comes with a deductible: the money a team must pay for any loss or damage before the insurance company pays the rest. Also, deductibles for AFIC production insurance are per occurrence – not cumulative.

If the damage is less than the deductible, then that must be out-of-pocket for the team.

Every team must fill out the Prep Day Damage Inspection Form for each location and submit it to Physical Production prior to shooting. Additionally, teams must always take before and after photographs/video on location to document damage, unusual markings, chipped paint, etc. These photographs can be essential in dealing with insurance claim issues. Upon completion of shooting at each location, a Property Checkout Release must also be submitted to Physical Production.

VEHICLE INSURANCE AFI has an auto liability policy that is provided to AFI Fellows. The team may decide to purchase insurance from the vehicle rental facility (that may have a lower deductible), but that must be a cost reflected in the budget.

AFIC requires both standard collision coverage and supplemental liability coverage (also known as SLI). Proof of this insurance, if purchased, must be provided to Physical Production on the day of equipment checkout.

The Producer must list any person who may be driving the vehicle. If someone is not listed and drives the vehicle and is involved in an accident, the renter becomes personally liable for all charges and damages. All drivers must have valid driver’s licenses. Note that anyone under the age of 25 will be charged premium rates. Personal vehicles used for production (as well as picture vehicles) must have valid and current registration and be legal to drive in the state of California.

Generators are considered vehicles when they are being towed. You cannot tow a generator without hiring a driver with a Class C license. When the generator is parked and in use, it is covered as a piece of rented equipment.


Insurance Certificate Request FormSubmitted to Physical Production office with location, rental house and equipment information to issue Certificate(s) of Insurance.

Safety Plan Application

Submitted to AFI’s insurance provider via the Physical Production office, outlining any hazardous activity planned for the shoot as well as all steps being taken to ensure safety.

Prep Day Damage Inspection FormSubmitted as close to filming as possible, this outlines the nature and location of all pre-existing damage to a location.

Picture Vehicle Rental AgreementSigned by picture car owner, detailing the specifics of the vehicle registration, any pre-existing damage to the vehicle and the liability to the production.


FIRST YEAR PRODUCTION EQUIPMENT FORMAT All Cycle projects will be shot digitally in 2K resolution. For all subsequent references to camera material or format, the terms media or camera originals will be used.

All production paperwork must be completed and turned into Physical Production before any media will be released.

EQUIPMENT PACKAGE All Cycle projects can only be shot on the camera supplied by AFI’s Conservatory Camera Department (CCD) for Cycle production; this year it is the Panasonic Vericam LT. Use of a non-AFI camera will only be considered for very special circumstances by the Cinematography Discipline Head. In the request for use of an outside camera, workflow must be explained if camera uses a different format to record media.

Use of multiple cameras shooting simultaneously is not permitted in first year production. Additional photography outside of the Cycle schedule, including one’s own stock footage, is never permitted under any circumstances. All photography must be done by the team’s Cinematographer. Any footage shot on an unapproved camera will NOT be imported for editing.

A Grip and Electric equipment package is supplied by the Conservatory Lighting Services (CLS). Any supplementary Grip or Electric equipment must be purchased or rented in the name of the individual team members, and only with the approval of the Cinematography Mentor Physical Production.

Additional AFI equipment is available on a first-come, first-served basis and must be requested formally through the CCD and/or CLS. Any equipment not already in the standard AFI package must be approved by the Cinematography Mentor, along with a signed approval form.

A Rental Agreement Form must be filled out whenever a production team rents equipment from another currently enrolled Fellow.

No outside rentals nor Fellow-owned/borrowed equipment is allowed on Cycle 1; equipment is limited to what the Conservatory provides in the standard package.

EQUIPMENT USE Principal team members must be present for equipment checkout and check-in, as they are all held responsible for L&D. Exceptions to this rule: Screenwriters are excused from checkout on Fridays and Editors are excused from check-in on Tuesdays. Any other team member’s absence from either checkout or check-in must be approved in advance by Physical Production or will result in a progress report. Signatures of receipt by the project’s Director, Producer and Cinematographer must be obtained before the group can leave their pick-ups. All the equipment originally checked out must be accounted for at check-in to avoid L&D.

Once the team leaves the AFI CCD or CLS, it is assumed that all the equipment issued to a production is present and in good working order. A copy of the equipment list will be emailed to the team, initialed by the project Cinematographer, acknowledging this fact.


When picking up, all productions will be given 90 minutes to do a technical check of Camera and 90 minutes for G&E, as well as a physical inventory of all equipment provided to them for checkout.

When returning, all productions will be given 60 minutes for Camera and 60 minutes for G&E to check in equipment.

Specific pick-up and return times are assigned to each team. If a team arrives late without prior arrangements with both CLS and the CCD, it will be assessed a $1 per minute fine from each Department. If a team is excessively late, it could mean that the return must be rescheduled for a different day, resulting in additional truck rental time and other costs. PLEASE be on time for your equipment return.

If a team plans to shoot past 10 p.m. on their last day, a late equipment return time may be requested through Physical Production, the CCD and the CLS. If a team plans to shoot past 1 a.m. on their last day, they must do their returns on the next calendar day.

EQUIPMENT FAILURE AFIC attempts to keep equipment in good working order and will repair or replace malfunctioning equipment upon notice. Unfortunately, additional shooting time cannot be given due to equipment failure.

The production crew must not attempt to adapt, rewire or fix any equipment. Any broken equipment should be returned to AFI immediately upon discovery.

After-hours contact information will be provided to each team during their equipment checkout.

The crew on set should always note the problem on white tape and attach to the faulty equipment.

AFI EQUIPMENT LOSS & DAMAGE The entire production team is financially responsible for any missing or damaged equipment. The same insurance policy applies to AFIC equipment as outside equipment.

The team will be emailed a copy of the final inventory, complete with notes on missing and damaged equipment. They will be given 24 hours to find and return anything missing. If the group fails to meet the deadline, they will be responsible for repair or replacement costs (up to the deductible).

Sometimes equipment must be sent out for repair, and the team will be notified of repair or replacement cost as soon as it is determined. If that estimate hasn’t been determined before Narrative Workshop, then a promissory note must be signed by the team.

If necessary, the production team may be required to pay rental costs for equipment that needs replacement or repair. The financial obligation for those rental costs will be determined as it is for any L&D, with the team sharing the expense as described above.

All AFI L&D fines must be paid to the appropriate department before the project can screen in Narrative Workshop.

EQUIPMENT TESTING Camera testing should be done on Monday, Tuesday and Wednesday afternoons, or Saturday from 9


a.m. to 1 p.m., at the discretion of the CCD equipment personnel. All testing must be scheduled with the appropriate department with a minimum one-week notice.

Due to the limited time the equipment is available, all testing is to be done in the AFI CCD prep floor, the SDAC Patio Area or the AFI Sound Stage. Any deviation of location needs to be scheduled with the Facilities Office in advance. Refer to the Campus Facilities section for more information. You must be on time for your scheduled prep/test. Tardiness is not tolerated unless it is previously agreed upon with the Conservatory.

All teams are strongly encouraged to shoot a framing chart with a planned frame format for their Cycle project.

Fellows must provide their own tools for testing. Once a camera package is prepared for checkout, usually by Friday morning, it will not be available for tests.

MEDIA AND DAILIES The media provided to your team represents the maximum amount of material that may be shot for each production.

You will be handing in camera and sound media at the end of each production day, and no later than the morning following production. Once the media has been ingested, it will be returned to the CCD, and will no longer be available for production. In addition to the physical media, daily camera reports, sound reports and Script Supervisor notes must be turned in. The team should watch the dailies every day. At the very least, the Editor and Director must speak each day about the material being received. It is also important that the Director clearly indicates on set to the Script Supervisor which takes are preferred (circle takes) so that the Editor’s cut can better reflect the Director’s vision. Assistant Editors will be assigned to each project to sync dailies’ sound and picture.

REQUIRED PAPERWORK DESCRIPTIONProduction Equipment Operations Request Form

Request of specific equipment in stock, submitted to CLS and the CCD one week prior to shooting.

1st Year Equipment Checkout List List of equipment checked out from the CCD and the CLS. This list is signed by all principal team members.

Rental Agreement FormSigned by individual, allowing the production to borrow their equipment, specifying make, model and monetary worth of each item.

Approval for Special Camera/ G&E Equipment

Any equipment not listed on the standard package must be signed off by the Cinematography Mentor.


FIRST YEAR PRODUCTION LOCATIONS

SHOOTING ZONE All AFI productions must be shot within the extended 30-Mile Studio Zone, or TMZ. This is defined as within a 30-mile radius from the intersection of Beverly and La Cienega Blvd, which is the industry and union standard.

A map outlining the shooting zone is posted in Physical Production and is also available online via Film LA at https://film.ca.gov/locations/la-30-mile-radius-map/

FILMING OFF CAMPUS When a team is shooting off-campus, the team is considered “on location,” whether the shoot is one block or 20 miles from AFI. It is advisable for the team to scout, budget and prepare their locations as early in the pre-production period as possible, as each and every one will go through an extensive approval process for COVID-19 accommodation. It is important that each team have a back-up plan in case the location falls through, is affected by weather conditions or is assigned special personnel/equipment.

The entire team is responsible for helping to find locations and for ensuring locations are returned to their original condition at wrap. The Producer is responsible for negotiating location arrangements and for following up with the appropriate paperwork. Fellows may use the online Location Database at AFIProductions.com as a guide to find locations that have been AFIC-friendly in the past.

A Location Agreement must be signed by the property owner or by the owner’s authorized agent for each location. If a location is occupied by a tenant, a separate location agreement must be signed by the property owner and the tenant. If the production will utilize any “common areas” of the property while on location, a location agreement must be signed by an authorized agent for the entire property (either the owner or a representative of the Home Owner’s Association) to grant permission for such use.

If the owner of a location asks for any changes in the AFI Location Agreement, or has their own agreement that they want used, those changes and/or that agreement must be approved by Physical Production.

The Producer works with the respective Permit Office(s) to determine permit cost, shoot times and whether any special personnel (fire marshal, police, park ranger) are required for the location. If a production is shooting in more than one jurisdiction, permits must be obtained from each governmental entity involved. Requirements to obtain permits and permit fees vary between Permit Offices but will often be waived for student productions. Original permits should be kept on set at all times.

A Location Checkout Form must be signed by the property owner (or the owner’s authorized agent) upon completion of work at each location, clearing the team of any location L&D. In addition, teams are required to submit site information and production photos for each location.

The industry standard shoot “window” is 7 a.m.–10 p.m. on weekdays, and 9 a.m.–10 p.m. on weekends. Depending on the location or the hours of work, very often there is a requirement for neighborhood permission to shoot. This permission is obtained by the entire team going door to door within the area designated by the Permit Office and petitioning for signatures. This process can be time-consuming and should be completed as far in advance of shooting as possible.

https://film.ca.gov/locations/la-30-mile-radius-map/


Once permission to shoot is granted, Fellows should take care to maintain a high standard of behavior while shooting and try to inconvenience the neighborhood as little as possible, as the police or the Film Office can shut a production down, even after it begins shooting.

While scouting locations, the team should be reviewing many factors in addition to COVID-19 accommodation:

• What time of day will the team be shooting, and what day of the week? The team should make every attempt to visit the location at least once at the planned shooting time and shooting day to prevent unfortunate surprises such as sprinklers, gardeners, neighborhood dogs, etc.

• Factors such as traffic, noise and the safety of the neighborhood should be considered. Will there be a need for a security guard? What time is the restaurant across the street’s trash truck pick-up? Does the local elementary school let out for the day at precisely the hour the team is planning a scene involving a quiet “walk and talk”? Is the location in an airport flight pattern? Is traffic going to be stopped? If so, in all directions or just in a single lane?

• Will the neighboring businesses or residents object to filming? What is the available parking for trucks and crew vehicles? Are there accessible bathrooms or will the team have to rent a portable bathroom? Where will the cast and crew eat their meals? What if it rains?

• What is the electrical situation for the location? Can the team plug into an existing source of electricity for lights, or will a generator be needed? Is the location five floors up? If so, what are the consequences of that for the shooting day and the crew?


Location Approval FormThis form, vetted by Physical Production, approves a location selection for in-person scouting / further investigation.

Location Agreement Signed by location owner/authorized agent agreeing to specific dates and rental cost.

Permit(s) Issued by respective permitting office(s) to allow filming at each and every location.

Tech Scout Inspection Form

Checklist of important technical issues/concerns for each filming location. Waste disposal must be outlined in detail here, especially in the COVID-19 era.

Location Checkout Release

After wrapping at each location, the location owner/authorized agent signs this document to clear the team from any L&D and close their agreement. Required photos of the space are submitted now.

Location Checkout Release: DamageThis release is signed by location owner/authorized agent of the location property, the Producer and the Director acknowledging the cost of any damage.


FILMING ON CAMPUS To save productions valuable time and money, filming is permitted in several approved locations on the AFI Campus and North Hollywood soundstages. No permit is required at the Main Campus, but with either one there are several procedures that must be followed and approvals that must be obtained.

The availability of both interior and exterior locations is extremely limited, and all scheduling is done on a first-come, first-served basis through the Campus Facilities office. Below is a list of all approved filming locations on the AFI Campus.

INTERIOR: Warner Bros Building Rooms 102, 106 and 107 and the Warner Bros. Building Garden Level hallway.

EXTERIOR: Warner Bros Building Back Parking Lot, the Grotto hillside, the Glade parking lot, the SDAC Patio and the Library/SDAC Parking Lots.

All locations must be returned to their proper condition at the conclusion of filming. Lights must be turned off, windows shut and all trash removed at the end of each day. More complex productions with heavy production design or risky elements will require a security deposit of $250 (minimum) for filming done on campus.

In certain instances, productions must pay to have a monitor, either additional Security or a Front Desk person present – determined on a case-by-case basis. The monitor fee is based on the hourly rate of Security personnel, with most productions being charged a minimum fee of $60. Campus hours of operation are 8:00 a.m. to midnight (11:45 p.m. on weekends). Any productions needing access to Campus before 8:00 a.m. or after 11:45 p.m. must get approval in advance and obtain instructions for after-hours access from the Facilities Office.

Security Officers and front desk attendants represent Campus Administration on weekends and evenings. Failure to follow their directions, particularly with regards to the closing of Campus, the terms of access and handling of facilities or equipment, will result in disciplinary action. Fellows must inform Security when vacating a campus location so that the area can be secured.

The use of open flames or any fire equipment is prohibited in accordance with campus regulations.


Campus Filming Permit and RequestSubmitted to Physical Production once approved by Campus Facilities, this form specifies the areas and times of day requested for filming.


SOUND STAGE AND ASSOCIATED FACILITIES

AFIC SOUND STAGESUse of the AFI Sound Stages are prioritized as the following:

Classes > Cycle shoots >1st year 35mm projects > Thesis shoots > 2nd year 35mm projects > DWW (Directing Workshop for Women).

The Sound Stage, North Hollywood satellite stages and Scene Dock are reserved for the exclusive use of AFI. Fellows working on outside projects may not build, store materials or otherwise make use of these areas without permission of the Stage & Mill Supervisor.

Western Campus: 3,584 sq.ft | approx. 60’ by 60’ by 11’ ft. tallNoHo Stage #1 (Loft): 4,200 sq.ft | 45’ by 90’ by 14’ tall | 7303 Ethel Ave, 91605

NoHo Stage #2 (Annex): 7,000 sq.ft | 60’ by 120’ by 14’ tall | 13165 Sherman Way, 91605 Requests to shoot on an AFI Sound Stage are made during the Cycle team’s Four-Week-Out meeting. The entire team must be present at this meeting to be considered. Additionally, everyone on the team will need to have completed their Power Tool Safety class, scheduled at their Four-Week-Out Meeting. Interested team(s) submit schematic drawings of the set(s) they wish to build and a top sheet outlining the reasons they need to use an AFI Stage. If more than one team request a Stage, Physical Production will make the decision based on each team’s circumstances.

Once formally approved, teams must read and sign the Sound Stage Agreement. At the conclusion of their scheduled use of a Stage, productions arrange a “final wrap” and must be cleared by the Stage & Mill Supervisor. This paperwork is strictly enforced, and a team is officially responsible for the stage until receiving this clearance.

If a project team has been booked for a Sound Stage and decides to cancel the booking, they must immediately notify the Stage & Mill Supervisor so that the space(s) can be reassigned.

SOUND STAGE POLICIESThe four-foot fire lane must be kept absolutely clear at all times. No exceptions.

A Fisher dolly is available for shoots on the main soundstage but may not be removed from it.

The soundstages’ electrical distribution system must be checked out from the CLS. It may not leave the stage and must be properly wrapped upon return.

All lights, props and equipment hung from the lighting grid must be secured with safety chains or rope.

Do not tamper with the emergency lights or the fire extinguishers in any way. There is no smoking on the Stage, with the exception of actors called on to smoke prop cigarettes in the script.

The parking space in front of the main sound stage door is reserved for vehicles actively loading or unloading equipment only.

Do not leave props, wardrobe or equipment in or around the stages without prior approval.


Use only approved paint and fasteners on the floor of the stages.

COVID-19 safety rules may require the use of masks on the soundstage during production, as well as potential social distancing. Consult the COVID-19 Production Safety Handbook for the most up to date COVID-19 set polices.

It is the Producer’s responsibility to ensure that all Fellows, cast members and volunteers understand the Sound Stage and Scene Dock guidelines.

MILL & SCENE DOCK FACILITIESAny crewmembers needing to use the Mill or Scene Dock MUST gain prior approval by the Stage & Mill Supervisor and sign paperwork. Any AFI Fellow cannot be granted approval without both passing the safety exam and attending the tool training class.

To reserve an item in the scene dock, see the Stage & Mill Supervisor to tag it securely with your name, phone number, production title and the pick-up/return dates for the item. All materials and equipment are used by permission of the Stage & Mill Supervisor only. If items are not “tagged,” approval is still needed.

No materials may be dropped on the hillside or against the Design trailer (while on the main stage) nor in the alley or against the outside elephant doors (while on the satellite stages). If materials must be dropped off after hours, the team must go to the scene dock the following day to return the items to their proper places. Under no circumstances may items or flats being painted be rested against any building.

All tools and air hoses must be unplugged at the end of work each day. Worktables and the upper concrete floor must be kept clear always.

The Scene Dock Daily Facilities Checklist must be completed at the end of work each day when using the Mill or Scene Dock. Failure to complete and submit these, or violations of the above stated policies will lead to fines and/or a possible reduction in the team’s editing time.

DRAPERY / FURNITURE CLOSET Access to the drapery attic and furniture closet will be by appointment only. All props, wardrobe, equipment, tools, layout board, ladders, dance floor, backdrops etc. are to be checked out by the Stage & Mill Manager only. Please plan ahead for pick-up and restocking.


Sound Stage Agreement Agreement signed by Stage Manager approving the use of the stage at AFI.

Set Build / Workflow Plan

Detailed art department workflow and build plan, paying special attention to sourcing processes, stage and mill presence, personnel needs and prep and wrap specifics.

Sound Stage Facilities Checklist: DailyAll items on this checklist pertaining to the sound stage, craft/makeup rooms and scene dock must be completed at the end of each day.


Sound Stage Facilities Checklist: Final Wrap

All items on this checklist pertaining to the sound stage, craft/makeup rooms and scene dock must be submitted to the Stage Manager in person at final wrap.

Scene Dock/Mill Policies Agreement & Checklist for Scene Dock

All parties working in the Scene Dock must sign appropriate paperwork and briefed by the Stage Manager before work begins.

Scene Dock/Mill Facilities Checklist: Daily

This form specifically applies to the Scene Dock and Mill. All the items on this checklist must be completed at the end of each workday and submitted to the Stage Manager.

PROP ROOM FACILITIESThe AFI Conservatory maintains a Prop Room on the Garden Level of the Warner Bros. building that is available to AFI Fellows by appointment. Items are available at no rental charge but are subject to late or replacement fees.

NOTE: The Prop Room is not managed by the Stage & Mill Manager and is instead managed by the Production Design discipline.

PROP ROOM POLICIESAll rented props must be returned clean and in the same condition as when they left the prop room. Props may not be painted, cut, broken or in any way altered without prior permission or without arranging to replace the item.

Dirty dishes, fabric or other items will not be accepted and must be cleaned before they can be returned. No liquids or food of any kind is to be kept in prop bottles or containers.

Renters should use several hold tags if necessary and may not move items from one shelf to another to create their own hold area.

Donations of props are accepted at the discretion of the Prop Room Attendant. Please only bring in props that you yourself would consider renting. Torn and dirty fabric, junk electronics, broken objects, etc. do not belong in the Props Room.

TAGGING AND PICKING-UP/RETURNING PROPSProps may be put on hold no earlier than two weeks before the first shoot day. Hold Tags must include the project title, shoot dates and renter’s name and phone number. They are available in the Prop Room, but teams must provide their own tape.

Absolutely no boxes of props should be left in the hallway outside the Prop Room – they will not be considered returned and subject to late fees. A member of your team must put the items back on the designated shelves and get the signature of the Prop Room Attendant.

The Prop Room does not provide any packing materials. It is the responsibility of the renter to bring appropriate packing materials when picking up props. Props will not be permitted to leave the Props Room unless they are packed safely.


RENTAL AGREEMENT AND FEESA Rental Agreement and Rental List must be filled out for every project that rents props from the Prop Room. The Agreement must include the project title and shoot dates; producer’s name and phone number; and production designer or set decorator’s name and phone number, if applicable.

List of late fees: $2 to $3 Dishes, glassware, fabrics, smalls, miscellaneous small dressing

$3 to $5 Pillows, stacks of books, toys, small frames, miscellaneous small dressing

$5 to $7 Lamps, suitcases, hospital equipment, miscellaneous medium dressing

$7 to $10 Electronics, kitchen appliances, small furniture, miscellaneous large dressing

Replacement fees are double the Late Fees, with exception to furniture, which will be determined on a case-by-case basis.


CAMPUS FACILITIES

VEHICLES ON CAMPUSParking on campus is extremely limited, and all teams are strongly encouraged to find parking for cast/crew cars off-campus.

When parking grip trucks, cube trucks or cast and crew vehicles on campus Monday–Friday between 8:00 a.m. and 7:00 p.m., please follow directions from AFI security officers. Do not occupy or block parking spaces designated for AFI Faculty or Staff. Do not block fire lanes or designated “No Parking” areas, or impede access to campus dumpsters – or your vehicles may be ticketed and towed, and the production will be fined.

Overnight production vehicle parking must be requested at least 24 hours in advance with the AFI Facilities Office. Grip and cube trucks may park overnight – on the upper campus only – with permission and depending on availability. All trucks and vehicles must vacate overnight parking spaces when campus re-opens at 8:00 a.m., or as soon after that as possible. Ideally, please have vehicles moved before 8:30 a.m. on weekdays and before 9:30 a.m. on weekends and holidays. Failure to comply may result in a fine. The only exceptions that apply are for equipment pick-up and/or drop-off parking.

All parked production vehicles on campus MUST prominently display signage on a card or a placard with the following: Production name, Producer and UPM contact details - including cell phone numbers and email - and the approved parking dates. All production information should be legible, visible and located on the vehicle dashboard and/or the driver’s side window. Approval to park your vehicles on campus does not guarantee parking. If there is no parking space available, your production must wait until there is.

No 1st Year trucks can be over 20’ long. Trucks over 16’ are allowed on campus only with an approved driver and cannot go any further on campus than the Library/SDAC parking area. Any trucks parked in the Glade will automatically be fined $50 and/or towed at the production’s expense.

Under no circumstances can vehicles belonging to Fellows, actors or crew be left overnight without prior approval from the Facilities Office (WB Service Center).

Parking on campus is done at your own risk. AFI is not responsible for any damage done to vehicles whether it is by another vehicle, a person or force majeure. All vehicles should be locked and totally secured when on campus. Any damage, theft or loss is the responsibility of the Fellows/renting parties and not the responsibility of AFI nor AFI Security.

RESERVING ROOMS ON CAMPUSAll rooms are scheduled on a first-come, first-served basis, with priority given to projects and their shooting dates. Fellows may reserve rooms with the Campus Facilities Office – either via link or in person.

To reserve a room, please email [email protected]. Room requests must be completed a minimum of 24 hours in advance. Rooms available to Fellows for production-related activities are as follows:

Warner Bros. Building 102Warner Bros. Building 106Warner Bros. Building 107 Louis B. Mayer Library 104

mailto:Facilities%40AFI.com?subject=


Rooms are available from 10:00 a.m. to 10:00 p.m. every day, excluding holidays and early closures.

Productions may reserve rooms up to two weeks in advance. Each production may reserve one room for a single three-hour time slot per day as listed below: A slot: 10:00 a.m. to 1:00 p.m. B slot: 1:00 p.m. to 4:00 p.m. C slot: 4:00 p.m. to 7:00 p.m. D slot: 7:00 p.m. to 10:00 p.m.

Any production requesting a time frame outside of the above listed time slots, or multiple rooms and any screening rooms other than the AFI Theater must coordinate and receive approval from RP Sekon, Coordinator, Campus Facilities.

Requests received after 4:00 p.m., Monday thru Friday will be completed the next business day.

To process requests when the Facilities Office is closed, a completed Room Request Form must be submitted in person to the Front Desk, located on the first floor of the Warner Bros. Building. In-person requests will only be accepted until 4:00 p.m. Fellows making requests with Front Desk staff are required to show a current school issued I.D.

When reserving rooms through the front desk, Fellows are limited to the established room choices and time slots and may only book rooms up to 48 hours in advance. Requests for additional times, multiple rooms or for screening rooms other than the AFI Theater will require approval from the Facilities Office.

Fellows are required to return all rooms to their proper condition after their use: Lights turned off. Windows closed. And trash put into receptacles. Please use the available sign holders/frames to post any room signage. Do not tape or post any signage to the building walls or doors (exterior or interior). Productions posting signage that results in damage will be fined.


Production Vehicle Parking Request Informs all productions of the requirements for parking trucks or generators on campus.

Fellow’s Room Request FormEmailed to Campus Facilities Manager at least 24 hours in advance to request a room on the AFI campus.


FIRST YEAR CASTINGIt is intended that all Cycle projects cast their films with SAG-AFTRA actors whenever possible. Through a combined process of releasing professional breakdowns to selected services, your casting searches will be conducted to the Industry standard.

The AFI Conservatory Manager of Casting, Victoria Hoffman, can be reached at 323.856.7738, and by email at [email protected].

Her hours are Monday–Friday, 11:00 a.m.–5:00 p.m.

Please email her to schedule specific appointments, as she will be the person who will handle all casting questions and requests. If and as on campus restrictions are lifted, she will schedule in-person meetings as needed.

All productions must comply with SAG-AFTRA and State Labor regulations. This includes work periods, rest periods, meal periods and all requirements concerning the casting of minors, including casting minors in extra roles. Additionally, all productions must comply with the COVID-19 safety requirements as published by the “Safe Way Forward” and AFI Production Guidelines documents.

A rehearsal period is strongly suggested for Cycle films, and your FIRST rehearsal must always take place at AFI. Check with the AFI Office of COVID-19 Compliance as to the most current safety protocols. Table reads can drastically vary in size and scope and will, therefore, be approved to take place on campus on a case-by-case basis.

CASTING WORKFLOWPrior to casting, the team must submit a copy of the script and Project Breakdown to the AFI Casting Manager for approval. The team will then schedule a meeting with her to discuss specific casting needs. This should happen five weeks prior to shooting.

Project breakdowns must include any nudity or special physical activity (i.e., horseback riding, driving, handling of a firearm, smoking, etc.), and the actor must be advised of that fact before the audition. Any performer selected for such a role must sign an acknowledgment that they were so notified.

The AFI Casting Office does not cast background actors. Methods and practices to find this talent will be discussed in your initial casting meeting.

The Casting Office will also provide all Producers and Directors access to a casting website called iActor. It lists anyone in the SAG-AFTRA Conservatory, with whom AFI has had a decades long relationship, who has expressed interest in Cycle films and is sortable by demographic. This is a database of skilled actors that are apprised of the Cycle film process and are on board with the AFI Conservatory protocols. In order to set up an audition or contact an actor, Fellows will need to provide names to the AFI Casting Manager. ALL FIRST CONTACT with a SAG-AFTRA Conservatory actor must go through the AFI Casting Manager. Actors will then be able to submit directly to the Producers if interested and available. In certain cases, fellows may select specific actors from the SAG-AFTRA Conservatory, and we will reach out to them directly.

mailto:VHoffman%40AFI.com?subject=


Once the Project Breakdown has been released, the team’s casting point person will make Actor selections and request self-taped auditions from the Actors. Current COVID-19 safety protocols require ALL initial auditions to be self-tape only. The AFI Casting Manager will be available by appointment to peruse your submissions and provide insight as to the most efficient way to select actors and review tapes.

When callback choices have been determined, you may either schedule in-person on campus (following current COVID-19 protocols), or online. It is important to communicate promptly with the Actors so they are given plenty of time to prepare. Fellows are limited to ONE callback and one ADDITIONAL chemistry read, per actor, prior to offering the role.

At the completion of each casting session, the team must turn in a copy of the Audition Sign-In Sheet (when applicable) to the AFI Casting Manager via email.

All in-person auditions MUST be done on the AFI Campus and explicitly cannot be done at someone’s personal residence or at an outside location such as a restaurant or coffee house.

A complete and final cast list is required by Physical Production as part of the pre-production paperwork for the project. Prior to being submitted, it must be approved by the AFI Casting Manager no later than noon on Monday prior to production.

It is MANDATORY that all principal performers receive copies of their work in your film. After the Narrative Workshop screening, the Actor Media Release forms must be turned in to the SDAC for downloadable links to be released. The Producer is responsible for sharing downloadable links with the entire cast.

AFI/SAG-AFTRA SHOOTING REGULATIONSExcept time spent on meals, all time from the first call of the day until dismissal will be work time and count towards actors’ ten hour maximum. Fellows will call a meal period no later than six hours after the actor’s first call of the day, or six hours after the first crew call. Meal periods of no less than 30 minutes or more than 60 minutes can be excluded from the workday. The meal period clock starts only after everyone has had a chance to get their food.

All food must be provided by Fellows. The production should offer a variety of snacks and drinks from craft services and at least one hot meal per day, during which the entire cast and crew stops working. All COVID-19 safety protocols MUST be followed.

When a player is required to report to any location (except AFI, including the satellite stages), Fellows shall pay the player $.30 per mile. Mileage will be calculated from AFI to the location and back. A receipt acknowledging payment of the mileage must be obtained from each actor by the Producer and included in the final Cost Report.

After each day of principal photography, Fellows must submit complete Exhibit Gs (SAG-AFTRA Performer’s Production Time Report) to Physical Production. The Exhibit Gs record the name of each player used on any day, their particular calls for work or rehearsal, meal periods and time of dismissal. The information on the Exhibit G must match the information on the Daily Production Report and must be signed be each actor. Once filled out, the Exhibit G cannot be changed or modified in any way.



Character Breakdown Form Submitted by Producer to AFI Casting Manager to begin audition process.

Cast List List of cast for each Cycle film and signed by AFI Casting Manager

Release: Nudity or Sex Scenes Signed by cast agreeing to be nude or act in a sex scene in a Cycle film.

Release: Smoking Scenes Signed by cast agreeing to be filmed or around a cigarette, cigar or pipe in a Cycle film.

Release: Weapons AcknowledgementSigned by the Producer to acknowledge that the weapon being used is not hazardous and has been checked by Physical Production.

SAG-AFTRA Performer’s Production Time Report (Exhibit G)

Filled out each day of production, accounting for the time that each actor/actress worked. No white-out or cross outs are allowed.

SAG Mileage Receipt Payment receipt accounting for $.30/mile paid out to cast member.

Actor Release for MediaSigned by actor agreeing that the copy of their film being given to them will not be shown publicly at any time.

WORKING WITH MINORSFellows who use minors (individuals 17 and under) in their productions must comply with all laws and regulations governing the employment of minors. Fellows are encouraged to read “Child Labor Laws in California,” which is issued by the Division of Labor Standards Enforcement.

Rules governing the use of minors in a production apply to minors in principal roles AND as extras.

Minor’s work permits and all other paperwork required for the minor must be turned in to Physical Production prior to equipment pick-up, or that minor will not be allowed to work on the project.

An application for a permit to work should be filed in person by the minor’s parents at:

Division of Labor Standards EnforcementState of California6150 Van Nuys Blvd., #100Van Nuys, CA 91401818.901.5484

Office Hours: Monday through Friday8:00 a.m.–5:00 p.m.

It is the Producer’s responsibility to make certain that their permit is current or to file for a renewal if it is not.


A Blanket Permit to Employ Minors in the entertainment industry is for using 10 or more minors in groups or organizations (a choir, ball team, etc.). You must submit the blanket application and consent forms on each minor. All forms should be submitted to the Van Nuys Office within the above-stated lead-time.

When hiring a minor who is “home schooled,” the minor’s parents must contact the Department of Industrial Relations for special forms before a permit can be issued.

MINORS’ HOURS OF WORKMinors can only be employed for the allowed hours by law. The amount of time minors are permitted at the place of employment within a 24-hour period is determined by age and stated in the California Labor Code. This information is available online and with Physical Production.

Minors are not permitted to work before 5:00 a.m. or after 10:00 p.m. on school days but may work until 12:30 a.m. on any day preceding a non-school day (i.e. Saturday night). Exception: If the consent is given in writing by the Labor Commission and SAG-AFTRA, minors between eight and 18 years of age may be permitted to work after 10:00 p.m. but no later than midnight if the performance begins prior to 10:00 p.m. (e.g. a minor on set at 9:55 p.m. must stop working at midnight).

All hours at the place of employment are considered work time.

If the minor’s regular school starts less than 12 hours after their dismissal time (i.e. dismissed at 10 p.m. on a Sunday evening), the minor must be schooled the following day on set with your studio teacher.

A parent or legal guardian of a minor under 16 must accompany the minor on the set or location at all times.

STUDIO TEACHERSA studio teacher is a certified teacher who holds both a California Elementary and a California Secondary teaching credential which are valid and current, and who has been certified by the Labor Commission. A copy of this certification and their ID must be turned in to Physical Production prior to shooting. ONLY confirmed certified studio teachers may be used.

If a minor is called in to do ADR, a Certified Studio Teacher must be hired and present for the duration of work.

Teams must provide a studio teacher each workday for minors from 15 days old to 16 years of age, and from age 16 to 18 when required for the education of the minor.

One studio teacher must be provided for each group of 10 or fewer minors. The ratio changes to one studio teacher per 20 minors on Saturdays, Sundays, holidays or during school vacation periods.

The studio teacher, in addition to teaching, shall also have the responsibility for caring and attending to health, safety and morale of minors less than 16 years of age.

The studio teacher may refuse to allow the use of a minor on a set or location and may remove the minor from the set or location, if in the judgment of the studio teacher, conditions are such to present a danger to the health, safety or morale of the minor.


REQUIRED PAPERWORK DESCRIPTIONParental Agreement for Minor Performer or Extra

Signed by parent/legal guardian of minor, agreeing that minor will act in the Cycle film.

Studio Teacher CertificationThis document proves the studio teacher has received the proper training and is submitted with their photo identification.

Minor Work Permit Permit issued by the California Division of Labor allowing the minor to be employed as an actor.


FIRST YEAR POST-PRODUCTIONAlthough the post-production of AFI Cycle films is a collaboration of the Cycle Production team, only First Year Editing Fellows can do the physical editing of Cycle films. Only AFI Editing Fellows may operate the editing software. All films will be edited on a specific schedule, on AFI equipment, at the Sony Digital Arts Center (SDAC). If not possible, editing will take place remotely but under strict schedule guidelines.

All Cycle projects have equal post-production support, time and facilities access. The actual dates of post-production will be posted by the SDAC Staff.

POST-PRODUCTION / SDAC POLICIESTechnical or equipment problems may result in the project getting extra editing time, but not always the same day. Any mistakes made by the Editor does not constitute a technical problem.

Each day’s camera originals, Script Supervisor’s notes, sound report and camera reports must be turned in to the Editor at the end of each production day. If the shoot ends late, delivery must not occur later than 9:00 a.m. the morning following the shoot wrap. It is the responsibility of the Producer to make sure this is fulfilled. If the camera originals are not delivered, the editing schedule for the Director may be shortened equal to the time missed.

Dailies screenings should be scheduled with the Editor, via link whenever possible.

All project files, user settings, QuickTime files or other exports from post-production software must be backed up to an Editor’s personal hard drive. Files left on the internal hard drives of the SDAC computers are deleted when each system is shut down.

All SDAC Avid rooms should be kept neat and organized. Please do not leave anything including scripts, documents, notebooks or personal items in your Avid rooms overnight. Only water in a bottle with secure lid/cap may be consumed in the SDAC Avid rooms. All other food and drink items are banned.

All Editing Fellows are required to keep a production notebook (binder) on every film they are working on. Usually this material is printed. Electronic notebooks may be accepted with the approval of the Editing Faculty. The notebook should include:

• Production/Post-production Contact Sheet

• Day-out-of-days (if available)

• Call Sheets

• Lined Script/Continuity

• Script Supervisor Reports (Editor’s Log, etc.)

• Camera Reports

• Sound Reports

• Storyboards

• VFX Breakdowns


• Screening Notes from:

• Faculty

• Edit Analysis

• Team

• Narrative Analysis

• Post-production Schedule

• Any other paperwork you have received for the project

Any missing paperwork must have a description of why it is not included (for example: Lined script not received).

POST-PRODUCTION EQUIPMENT CHECKOUT AND RETURNAll equipment checked out must be accounted for at check-in and returned in the same condition, on time and during regular business hours. Equipment sign-out is at the discretion of the SDAC personnel and may be limited to same-day use and return.

Equipment should never be left in rooms overnight or unattended.

L&D or late fees must be paid in cash to the SDAC Equipment Room. If there is an outstanding balance, no further equipment can be checked out by the team.

DIGITAL VISUAL EFFECTSIn Cycle 1, only visual effects created in Avid are allowed. Cycle 1 visual effects are limited to three shots. In Cycles 2 and 3, other programs (such as After Effects) can be used for visual effects. There is no limit to the number of shots.

ALL visual effects (e.g. animation, compositing, rotoscoping, split screens) require advanced consultation and a signed approval form from the Interim Co-Chair of the Editing Discipline. This must be done as early in pre-production as possible. This is to make sure that production has properly planned and can appropriately execute the creation of materials needed to create the effects. The only exceptions to this policy are “intraframe editing “choices provided any image manipulation accords with the policies on frame modification below.

FRAME MODIFICATIONIf there is a need or desire to modify the image size from principal photography, the Cinematography Fellow must be notified in advance of locking picture and Color Correction. The Cinematography Fellow must be given ample time to discuss and resolve the issue with the team.

FIRST YEAR PRODUCTION CREDITSIt is the Producer’s responsibility to create and submit credits to Physical Production, according to the template available online. Credits should be given to Physical Production as soon as possible after Production is wrapped. Physical Production will look over and either request changes or send the credits to the team’s Editor if no further modification is necessary.


AFI does not allow the “a film by” possessory credit due to the collaborative nature of the program and the equal contributions of discipline Fellows.

All principal Fellows must be listed with the same font size, card design and duration. If the main creative credits for the principal team members aren’t in the opening credits, the order of the credits should be reversed at the start of the end credits.


Credits Approved by Physical Production ASAP and submitted to Editor with all names spelled correctly.

Approval for Digital Visual Effects FormTurned into Physical Production ASAP with Head of Editing approval for any visual effects included in the film.

Approval for Stock Footage Turned into Physical Production for approval of any stock footage used in the film.

CYCLE POST-PRODUCTION SCHEDULEEditing is the final rewrite of a film. Together, Fellows will discuss their editorial ideas to reach a consensus on the content of the final cut of the film. At the AFI Conservatory, no single individual shall have “final cut” authority.

The Conservatory Staff and Faculty will be available for guidance and input as requested by the team. If a disagreement cannot be resolved, the team may appeal to the Interim Co-Chair of the Editing Discipline to arbitrate.

Editing for all Cycle films commences as soon as footage is available. All teams will have the same number of work days to edit their films and arrive at the locked version of the picture. After picture lock, there is time scheduled for color correction, sound mixing and final finishing.

Please see Post-Production Schedules from SDAC Staff for exact dates and times.

FIRST CUTAfter cutting during principal photography, the Editor will have additional days alone to complete the “first cut” of the Cycle film.

Following the completion of the first cut, Editors will view their cut in class. Team member Fellows from all disciplines are encouraged to attend this class.

SECOND CUTThe Director works with the Editor for one day to incorporate their notes into the cut. Then the Director screens this cut to their peers in a Directing class – again welcoming all other discipline team members to join if available. The following day the Director rejoins the Editor to finish the official “second cut” of the film.

THIRD CUTThe Producer joins the Director and Editor to create the “third cut.” It is important that notes from collaborators be physically tried in a cut. The two versions should then be discussed and the one that is best for the story should be selected to move forward.


FINAL CUTThe entire team works together to create the “final cut” of the film. Prior to picture lock, the Head of the Editing Discipline and/or an associate will look at the film with the team to make sure the team is on track to finish collaboratively. The “picture lock” must occur by 6:00 p.m. to give adequate time for the Editor to prepare for the following day of color correction.

COLOR CORRECTION/TITLESThe Cinematographer has a maximum of six hours to complete initial color grading. The color-graded cut will then be screened with the Producer and Director for one hour of notes. No Color Grading beyond basic Color Correction is allowed without written approval of the Head of Cinematography. This means no filters or Secondary Color Grading is allowed unless preapproved.

While the Cinematographer is grading, the Editor should design and finalize the main and end titles from credits submitted by the Producer and approved by Physical Production. No changes to the credits will be allowed without permission from Physical Production. An AFI Conservatory animated logo must be the last thing to appear on screen at the very end of the film.

AUDIO EDITINGAfter Color Grading and Titling is complete, the Editor will do final sound mix for the film. This is the time for building the audio “world” of the film. It is expected that the Editor, Director and team have developed the basis for the sound design throughout the editorial process.

Prior to the start of the sound mix, it is recommended that the Editor and Director have a “spotting session.” This consists of watching the film carefully to identify specific moments where dialogue must be clarified, and where sound effects and music need to be added to enhance the film.

Bringing actors to replace their lines using ADR (dialogue replacement) is prohibited in Cycle 1. Actors are allowed to record “wild lines” or additional dialogue outside of a traditional ADR session in all Cycles. ADR sessions for Cycles 2 and 3 must be scheduled early in Post. Total ADR recording is limited to two hours. Access to the SDAC ADR booth is granted on a first-come, first-served basis.

Upon the completion of the sound editing (“Final Mix”) of the Cycle Project the film is considered “locked.” After the Editor outputs the file of this version NO creative changes can be made.

TECHNICAL PREVIEW SCREENING FOR CYCLESThe team will have an opportunity to see the Final completed film. The purpose of this screening is to provide a technical preview with the team before it is screened in Narrative Workshop. It is not intended as a “last chance” to revise the film. A one-hour period will be provided at the SDAC to fix Tech problems.

ALLOWED to be changed after Tech screening:Dropped frame(s) in pictureSound glitch not related to mixSync issuesTypo in creditsWrong color bars, no disclaimer and missing or incorrect slateTimecode incorrect Un-rendered effects


NOT ALLOWED to be changed:No remixing the soundtrackNo remaking and/or revising VFX No Title Font change or Title changes other than typos No Color-Correction changes

NARRATIVE WORKSHOP SCREENING FOR CYCLESThe film shall screen for Narrative Workshop to an audience of Fellows and Faculty. Only after all AFI L&D is paid and Cost Reports are submitted can the team be cleared to participate in this process. Only enrolled Fellows can attend the Narrative Workshop Screening.

Attending this screening is required by all First Year Fellows not shooting that weekend.

After the Narrative Workshop screening, any changes to credits need to be addressed within 24 hours with the approval of the SDAC Staff. No other changes are allowed.

PRODUCTION RIGHTS AND CLEARANCES All aspects of motion picture production – from development through distribution and exhibition – involve obtaining particular rights and clearances in order to legally proceed.

First year Cycle productions are not required to obtain rights and clearances for copyrighted material used in the production of the project. This allowance is because these projects are considered educational exercises and are restricted for Fellows’ private viewing only. No public screening, sale or distribution of any kind is allowed with Cycle projects (including posting to sites like Vimeo or YouTube).

Although you are not required to clear copyrighted material, you are not protected if you show the film outside of AFI and are cited by a copyright holder. There are very serious consequences for breaking copyright law.

STOCK FOOTAGE/FILM OR TELEVISION CLIP RIGHTSStock footage, film and television clips may be used in first year narrative Cycle projects with the clear understanding that these projects are educational exercises and will not be exhibited or distributed publicly with or without compensation in any media whatsoever.

Any stock footage used in Cycle projects must be approved in advance by Physical Production and is limited to a total of 20 seconds. The purpose of this is to have productions rely on the images Fellows have created, not images someone else created. This policy only applies to stock footage that is full-frame.

CYCLE DELIVERY AND STORAGEThe AFI Sony Digital Arts Center will retain the edited master until the Narrative Workshop screening.

Completed edited masters and camera original files may not be removed from the Sony Digital Arts Center unless required for a class.

Blu-Rays for all Cycle projects are retained in the AFI Library Film Archives, as well as select films being uploaded to the AFIC Intranet. For information, contact the Mayer Library at 323.856.7654.


Upon completion, the Producer must submit a completed and accurate AFI Cycle Duplication/ Library Production Information Sheet to the SDAC.

Each finished master must carry a slate with title, running time, principal Fellows’ names, group and Cycle number and finish date, as well as 10 seconds of the following Conservatory disclaimer both at the very beginning:

WARNINGThis program may not be duplicated or publicly exhibited as it may contain copyrighted material. Appropriate legal action may be taken against anyone ignoring this disclaimer. Removal of this disclaimer for the purpose of duplication or exhibition may also result in legal action.

LINK / COPY CREATIONUnauthorized duplication or upload to the internet of any media is illegal and a serious infringement of AFI Conservatory and copyright regulations. Making copies from copies is prohibited.

Each team member (including non-AFI designers) is entitled to one free DVD or Blu-ray copy of the film, in addition to the link they will receive. Copies are for the Fellow’s use only and are not for any type of distribution or exhibition. Any additional DVD/Blu-ray copy desired by the team – or copies in a different format – must be paid for in advance based on the current standard copy rate.

Each principal cast member is entitled to a downloadable link of the Cycle they appear in. Links for actors will be made at the same time as the Fellows’ copies, after a typed Actor Release for Media Form for each Actor is submitted. NOTE: Actor Release for Media Forms can be filled out by either the Actor or the Producer and are not to be signed by Actor until the link is received.

All forms along with payment for additional copies (if applicable) must be submitted to the SDAC via email. No copies will be created until all materials are turned in.

It is the Producer’s responsibility to distribute links and/or copies to all team members, crewmembers and cast.


FIRST YEAR PRODUCTION DISTRIBUTION

DISTRIBUTION AND OWNERSHIP OF PRODUCTIONSThe 1st Year Cycle projects are for in-class exhibition only and are the property of the American Film Institute and cannot be publicly distributed or exhibited in any way or form. Fellows may retain copies of the projects for their private and personal use only.

Upon completion of the Cycle project, a high-resolution QuickTime shall be created by the Editor, to the following specs:

Resolution: 1920x1080Framerate: 23.98fpsCodec: Apple ProRes 422 HQ REC 709Audio: 48kHz 24 bit

The editor must also provide other output files that may be requested by SDAC Staff.

Cycle projects must contain a main title notice (supplied by the SDAC) indicating that the following program may not be screened publicly or for any commercial purpose whatsoever.

Cast and Crew Screenings take place during the week after Narrative Workshop.

Any exhibition publicly via any media whatsoever, including internet, film festivals, television (free nor paid), DVDs or other media is strictly prohibited.


PRODUCTION INTERVENTIONProduction intervention is the action taken by AFI Conservatory Faculty and Staff to address production activity that is in violation of AFI policy or is not progressing per curricular requirements. The process upholds professional conduct, positive collaboration and individual rights. Since all Fellows depend on the satisfactory completion of three Cycle productions as a requirement of the program, intervention is sometimes necessary to ensure and guide such progress.

AFI may intervene to review a production’s progress or performance at any point during development, pre-production, principal photography or post-production in response to any of the following circumstances:

• For reasons of safety or security of any or all individuals involved in the production or the public, including any safety guidelines connected to COVID-19.

• For failure to collaborate in a positive and productive manner, respecting the rights of Fellow team members, crew, cast, support staff and mentor faculty.

• For violations of AFIC production policy, procedure or the AFIC Code of Conduct.

• For damaged or missing equipment, damage to or misuse of facilities on the AFI Campus, on location or at other places utilized to support staff and mentor faculty.

• For failure to meet production documentation requirements.

• For any discriminatory practices for reason of race or ethnic origin, religious practice, political belief, gender, sexual preference, age or disability.

• For any other reason or circumstance that AFI in its sole and unfettered judgment believes to be contrary to the positive progress and performance of its program-required production work and related curricular activities.

If an intervention is necessary, AFI will notify the parties involved and set a date and time for a Production Intervention Meeting. Depending on availability, it will include appropriate Faculty, Staff and Dean(s), and will summarize the reasons for the intervention, entertain explanations from those involved and recommend appropriate remedies.

The Cycle team will be informed in writing of actions to be taken to resolve the issue. During the period of principal photography, necessary intervention may occur with limited notice due to the time sensitive nature of production. All decisions made will be final; there will be no opportunity for appeal.

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