INTERNATIONAL MEDIA PRODUCING

GRADUATE FILM

PRODUCTION HANDBOOK

2011- 2012

1 TABLE OF CONTENTS

Overview 7 Mission Statement 8 Code of Conduct 10 Tisch School of the Arts Asia Ownership Policy 11

DEVELOPMENT & PREPRODUCTION THE PRODUCTION TEAM 15 Responsibilities: Producer vs. Director 15 Production Timeline 16 THE SCRIPT 19 Screenplay & Teleplay Format Samples 21 Storyboard 22 Scheduling 23 THE BUDGET 25 Breakdown of Line Item Costs 25 FUNDRAISING 29 Writing a Proposal 29 PREPRODUCTION 31 CASTING & REHEARSALS 32 Posting Casting Calls 32 Space for Casting and Rehearsals 33 Important Information about Child Performers 33 Cast & Location Release 33 Location Scouting 34 THE CREW 34 Assembling a Crew 35 THE DEPARTMENTS 35 Production Design (Art Dept.) 35 Considerations for Building a Set 35 Set Dressing & Props 36 Wardrobe 37 Make-up & Hair 38 Camera 38 Lighting & Grip 38 Sound 39

2 TABLE OF CONTENTS

Set Operations 39 Continuity 39

INSURANCE & PERMITS 41 Terms & Conditions 41 Lost, Stolen, Damaged NYU Equipment 43 NYU Locations & Equipment 45 Everything You Need To Know About Insurance Coverage 46 Procedures for Filing NYU Insurance 46 Tips & Suggestions 48 Shooting on Public Property in Singapore 52 Traveling With Your Equipment 53

PRODUCTION 55 Equipment Check-Out Procedure 56 Set Procedures 59 Basic Decisions 59 Day of the Shoot 60 Calling the Shot 61 Script Supervision 62 Risk Factors for Different Kinds of Shots 63 Safety First!: A Guide to Safety on the Set 63 It’s A Wrap! 71 Proper Wrap-Out 71 Dropping Off Film 71 Returning Equipment 72 Troubleshooting Tips 72

THE PRODUCTION CENTRE 72 The Production Office 73 Reserving Equipment 73 Walk-In Equipment Reservations 73 Important Points About Reservations 73 The Equipment Area 74 Broken Equipment During Your Shoot 74 Liability For Equipment 76 3 TABLE OF CONTENTS

THE TEACHING SOUNDSTAGE 77 Statement of Purpose 77 General Procedures 77 Rules Governing the Stage 77

THE SHOOTING SOUNDSTAGE 78 Statement of Purpose 78 Shooting Stage Policies & Procedures 78 Set Construction & Set-Related Policies 80 Strike Day 81 2nd Floor Policies & Procedures 82 Campus Shooting Guidelines 83 Production Approval 84 Schedule of Fees (Incident Reports) 84

PICKSHEETS 1st Year Film Production 86 Collaboration 87 2nd Year Documentary Production 88 Pick Sheet for Documentary Production 89 2nd Year Thesis 90 Walk-In Equipment 92 Summer Rig 93

POST PRODUCTION, DISTRIBUTION & FESTIVALS 94 POST PRODUCTION, DISTRIBUTION & FESTIVALS 95 Budgeting for Post Production 95 Post Production Workflow 97 End Titles 97

DISTRIBUTION 98 Copyright, Licensing & Clearance 98

4

TABLE OF CONTENTS

THE POST PRODUCTION CENTER 99 Post Production Check-In/Out: Hours of Operation 99 Room Sign-In/Out Procedures 100 Digital Editing Allotments & Reservations 101 Schedule of Fees (Incident Reports) 102

GRIEVANCES 103 Post – Graduation Use of Facilities 104

SINGAPORE INFO 106 Expendables and Lab Contacts 106 Film Stocks & Prices 111 Special Permit Areas and Contact Info 118

ASEAN INFO 120 Contact for Film Permit in ASEAN Countries 121

APPENDIX 121 PRODUCTION FORMS & WORKSHEETS Camera Report 122 Stripboard 123 Sound Report 124 Focus Chart 125 Location Scout Sheet 126 Location Release 127 Talent Release 129 Editing Log Sheet 130 Script Breakdown Sheet 131 Call Sheet 132 Budget Topsheet 133 Storyboard 134 Script Notes 135 Recommended Reading & Other Resources 136 Internet Sites 140

5

INTRODUCTION

6 OVERVIEW The process of producing a film, be it a half-hour or a five-minute piece, narrative or documentary, has been refined over decades and developed into an art form. As you will discover, there is a standard logic applied to this process, which is governed by the management of time, talent and resources. Each phase is informed by practicality, great attention to detail, and common sense.

SCRIPT DEVELOPMENT Your script must be well crafted before pre-production can begin.

PRE-PRODUCTION The production must be efficiently organized before cameras can roll.

PRODUCTION The project must be shot before it can be edited.

POST-PRODUCTION The project must be edited before it can be distributed.

DISTRIBUTION The final and true test of a film is finding its audience. This is only a broad outline of what must happen in the production of a short work. It describes the general flow of activity, but does not address what these steps mean or when and how they need to be carried out. Translating an idea into a film involves the execution of thousands of details over a long period of time. In fact, the success of any film relies as much on management as it does on storytelling. Knowing where to put the camera to capture the right dramatic moment of a scene requires as much skill as coordinating the necessary people, equipment, supplies and locations in the first place. One can’t happen without the other. This Production Handbook provides resources for all levels of film, television and media production. While it is written in the language of film this Handbook is meant to impart information and knowledge that can be useful to any kind of production. Inside you will find important information on your beginning course-study, as well as for production courses that you will be taking in future semesters. You will also find helpful information about film production that many students use to prep for their projects. This Handbook serves as a tool that will help introduce you to the filmmaking practices, procedures and departments at Tisch Asia.

7 MISSION STATEMENT

The New York University International Media Producing department at the Tisch Asia School of the Arts is interested in developing creative producers in the disciplines of film, television, animation, the web, music and stage. We are open to and encourage new ideas, new concepts, and originality. The PRODUCING DEPARTMENT is a dynamic community of creative people who love to study and make film, digital media, music and theatre. Students with diverse backgrounds from throughout the world come here to work side-by- side with the top professionals and scholars in their individual fields. Our students explore and constantly challenge the existing boundaries with the media while never forgetting its rich history, traditions and its cultural impact.

New York University Tisch School of the Arts Asia INTERNATIONAL MEDIA PRODUCING

8 STATEMENT ON ETHICS AND COMMUNITY RESPONSIBILITY

The following is for the entire Tisch community. It is a simple statement of the contract within which we all work. Please read it with care.

• Every society has rules of conduct by which the members of the society agree to abide.

• Tisch is a society of artists and scholars who inhabit a common space for the purpose of expanding and communicating thought, knowledge and spirit.

• In Tisch, individuals are prized for their individuality, but no individual has the right to inflict harm upon others or to destroy or lessen that, which should be available to all.

The above applies to all, faculty, students and staff alike, all those who inhabit our space. To these ends the following:

PEOPLE: All of us, faculty, students and staff, deserve to be treated with respect. SPACE: Floors are not ashtrays, walls are not canvases; old gum and left over food belong only in a trashcan. TIME: Promptness is a sign of professionalism. EQUIPMENT: All equipment should be handled with knowledge and care. SMOKING : Smoking is only permitted in designated areas.

New York University Tisch School of the Arts Asia

9 CODE OF CONDUCT Students are expected to conduct themselves as mature and law‐abiding members of both the University community and the general community, and to comply with requests of the administrative authorities of the University for maintenance of order on University premises. Behavior, which jeopardizes the health or safety of the University community, or disrupts the educational activities and supporting services of the University, is subject to review and possible penalty in accordance with the procedures and practices of the University and its colleges, schools, or divisions. Where activities sponsored by student organizations constitute violations of University rules, or federal or local laws and regulations, sanctions may be imposed on such organizations as well as on individual students.

The University should not use its powers to interfere with the rights of a student outside the University campus. In general, a student’s off‐campus activities should be subject only to sanctions of the public authorities. Where a student is convicted of a violation of law, he or she should not be subject to University discipline for the same offense unless his or her conduct seriously affects his or her position as a member of the academic community. Where a student’s conduct on campus constitutes violations of both University rules and local law, he or she may be subject to both University discipline and public sanctions.

New York University Tisch School of the Arts Asia

10 TISCH SCHOOL OF THE ARTS ASIA OWNERSHIP POLICY

The creative works produced by students at the Tisch School of the Arts Asia in fulfillment of class assignments, or as individual study projects, whether made on Tisch School of the Arts Asia premises or elsewhere, with or without Tisch School of the Arts Asia equipment, and with or without extra funds (hereafter called “Student Works”), have a dual nature. First and foremost, the production of Student Works is intended as an educational experience. However, the product of that educational experience is an item of property that may have a market value for its creator(s).

The interest of the Tisch School of the Arts Asia in any Student Work extends only through the completion of the educational experience associated with such Work until its utility as an educational device or matrix has been exhausted. This is not necessarily the completion of the Work; many Student Works that are technically incomplete have nonetheless satisfied the educational purposes for which the creation of such Works was intended.

But, if certain students were to market, distribute, or work for private profit on a Student Work prior to the termination of that Work’s usefulness as an educational device, it could deprive other students of the opportunity to work in or with such Work and hinder the exercise of proper faculty supervision of such Work, thereby obstructing the educational purpose that the production of such Work is intended to serve.

Student Works are prepared for educational purposes, not as products for market, and the financial value of Student Works, if any, is at most a secondary benefit of their creation. Therefore, it is in the interest of the students at the Tisch School of the Arts Asia and of the Tisch School of the Arts Asia as a whole that each Student Work remains subject to certain restrictions until the educational experience associated with such Work has been completed. Following the completion of such experience, the Tisch School of the Arts Asia has no interest in the marketing of any Student Work or any income derived there from. Therefore, all Student Works are subject to the following ownership policy:

1. All Student Works are owned by the student(s) who create them.

2. Any income from distribution of any Student Work shall be the property of the student(s) who create such work.

3. All students who create or participate in the creation of a Student Work are jointly and severely responsible for such Student Work, including without being limited to, for determining and ensuring that such Student Work does not violate or infringe on any copyright, any right of privacy, or any other right of any person, and that such Student Work is not libelous, obscene, or otherwise contrary to local law. Such students shall also be jointly and severely responsible for obtaining any necessary permission for the use of any copyrighted materials included in such Student Work.

Any advice or assistance given by any faculty member or other representative of the Tisch School of the Arts Asia or of New York University to any student in relation to the foregoing responsibilities, or otherwise in relation to the preparation or production of a Student Work, shall not be construed (a) as the assumption of such responsibility or of any liability by such person, by the Tisch School of the Arts Asia, or by New York University; (b) to deem the University, the School, or such person a joint venturer with such student; or (c) to grant such student the power, right, or authority to create any obligation or responsibility on behalf of, or otherwise, to bind the University, the School, or such person.

Each student who creates or participates in the creation of a Student Work agrees to indemnify and hold harmless the Tisch School of the Arts Asia and New York University against any loss, damage, liability, or expense that they incur as a result of the preparation or production of such Student Work, including, without being limited to, any material in such work that infringes or violates any

11 copyright, right of privacy, or any other right of any person, or is libelous, obscene, or contrary to law.

4. To ensure that each student and faculty member has a meaningful opportunity to participate in the educational process occasioned by the production of each Student Work, the student(s) who owns each Student Work agrees not to distribute such Work in any manner, whether by sale or other transfer of the ownership or other rights, license, lease, loan, gift, or otherwise, except for entering such Work in festivals or competitions, and further agrees to make such Student Work available to other student and to faculty members of the Tisch School of the Arts Asia for any use relating to his or her education or to the education of such other students, until such student, or if more than one student owns such Student Work, until all such students have either graduated from New York University or are no longer matriculating at New York University. The dean of the Tisch School of the Arts may, in her sole discretion, waive these restrictions for any reason satisfactory to the dean.

5. The student(s) who owns each Student Work grants New York University: (a) the right to purchase prints or other copies of such Student Work at cost, whenever, in the Uni versity’s sole discretion, such prints or other copies are needed for any University use; and (b) the right to reproduce, display, or perform such prints or other copies any where and for any reason, including, without being limited to, publicizing the Tisch School of the Arts Asia or New York University, without any royalty or other payment of any kind to the student(s), provided that such prints or copies may not be rented or sold by the University. Such student(s) also agrees that he or she will not make any contract or commitment regarding the Student Work contrary to this policy or in dero gation of the rights granted to the University by this policy, and that he or she will sign any document reasonably requested by the University to confirm or enforce any of the rights granted to the University by this policy.

6. The Tisch School of the Arts Asia will decide whether or not to put its name on a given Student Work. If so requested by the dean of the Tisch School of the Arts Asia, the student(s) who owns each Student Works agrees to credit in such Student Work, in a manner satisfactory to the dean, any donor to the Tisch School of the Arts Asia whose donation contributed in any way to the production of such Student Work.

12

DEVELOPMENT &

PREPRODUCTION DEVELOPMENT & PREPRODUCTION

13

CHECKLIST #1: Development

Below is a summary of the topics covered in this section. Feel free to use this as a checklist to help you prep for your project.

The Production Team 15 • Setting Responsibilities: • Producer vs. Director • Production Timeline

The Script 19 • Screenplay Format • Storyboards/Shotlists

The Budget 25 • Create a Line-Item Budget • Get Prices & Estimates

Fundraising/Grants 29 • Write A Proposal • Graduate Awards • The Film & TV Production Fund

14 THE PRODUCTION TEAM Every film production begins with the good partnership of director & producer.

What does a Producer do? The job of a producer is the most misunderstood and mysterious role in the filmmaking process. A producer’s position in the industry often varies in definition and never has the same job description from one project to another. Therefore it is important to understand that producing is just as much a part of the creative process as directing is. • Involved in all stages of production, from development to distribution. • Person who engineers all elements necessary for the creative and business aspects of production. • Most important jobs: Money. Raising it, distributing it, accounting for it; supporting the `director in his/her creative vision; taking care of the actors.

What is the director’s role? The director is the person in charge of all creative aspects on a film production. It is through this person’s perspective that the story is told. • Tells the story. Supplies creative vision for the entire project. • Solves creative problems on and off the set. • Finds the elements that bring his/her creative vision together: cast, cinematographer, production designer, special effects master, locations, music, etc.

Producer and Director act as a team. Creating a successful film requires the successful collaboration of both producer and director, and equal respect for both roles. They must be able to work well together and understand the script in the same way. Responsibilities of producer and director often overlap; they must consult with each other to maintain proper balance between budget and script. DEVELOPMENT & PR

E

P

RODUCTION 15 The following is a workflow chart that demonstrates this symbiotic relationship between the producer and director throughout the production process. DEVELOPMENT & PREPRODUCTION WORKFLOW

PRODUCER DIRECTOR DEVELOPMENT

Finance raising the capital pitching the project

Both the producer and the director can be engaged in the process of securing financing. Without funds, any preparation for a production is merely an exercise. The two documents required at this phase are a script and a financial planning package, or prospectus. Script oversees rewrites performs rewrites

Securing the financing is the green light to cement the script.

PREPRODUCTION Breakdowns breaks down the script storyboards & floor plans

Schedule Having achieved a tight screenplay, the producer and the director begin breaking down the script to prepare the company for production.

building a stripboard determining coverage

The first document made from the breakdowns is the schedule. The producer creates the schedule from the script in conjunction with the director’s designs for photography.

Budget create a budget shoot for the moon

The second document made from the breakdowns is the budget. This orchestrates the rough budget from the prospectus. Crewing hires the crew hires the crew

The crew must be to the mutual liking of both the producer and the director. Once a crew member is chosen, the producer negotiates his or her deal.

16 PRODUCER DIRECTOR

Location securing scouting

The producer assembles the team that will help the director create a look for the picture. The look must be achieved within the parameters of the budget. Art Direction

assemble team create a look

Casting The producer sets up the auditions and aids the director in making choices for the cast. Factors to be considered are talent, cost, and availability.

accommodate direct

The Producer organizes the cast schedule and is responsible for the cast’s morale. The director directs the actors. Producer is also responsible for keeping track of photo releases and any contractual paperwork for the talent.

Rehearsals prepare call sheets work on scenes

During the final phases of preproduction, the producer prepares the company for the first day of photography. The director organizes the actors for production through rehearsals. PRODUCTION Set Procedure organize control

The producer organizes a system for set procedures, overseeing all daily operations while keeping track of spending. It will most likely be modeled after the traditional method. The director controls the set according to his/her needs.

Camera support collaborate

Like the art department, the producer supports the requests and needs of the camera department. The director and camera department must work like a hand in a glove.

Sound control environment record clean tracks

The one ongoing battle on the set (unless you shoot on a sound stage) is the control of noises. The producer must do everything in his power to keep outside noises to a minimum. The director must

try to get the best location sound. If the sounds being recorded are “dirty” because of noise, the director must advise the sound person on how she wants to deal with recording.

17 PRODUCER DIRECTOR Art construction guide

Of all the departments, art is the one that is most likely to expand unexpectedly during production. The producer must monitor this expansion while supporting the art director’s needs. The director should guide the art department as much as possible to control any inflation of the budget.

Accommodate direct Cast The producer organizes the cast schedule and is responsible for the cast’s morale. The director directs the actors.

POST PRODUCTION advise edit Picture The director and editor cut the picture and sound to make the best film or video possible. The producer acts as an objective viewer and advises the editing team accordingly.

Sound set up mix build tracks

Laboratory/Online Apart from the first day of principal photography, the most important target date is the mix date. To prepare for the mix, the director assists the editor in building sound tracks (dialogue, effects, score, etc.).

makes prints/digital master time

The producer oversees the manufacturing of the prints. The director and director of photography check the color quality. Distribution make a deal publicity

The producer is responsible for finding an outlet for the finished product, such as film festivals, distributors, and other exhibitions. The director assists in publicizing the film or video.

DEVELOPMENT & PREPRODUCTION DE

18 THE SCRIPT A screenplay is written in a specific formula that can be read and interpreted by different departments in film production. Each crew member needs to be able to extract information from the script in order to prepare for the shoot. Here are some examples of how key departments utilize the script: Prepare for the shoot. Here are some examples of how key departments utilize the script: Director & D.P. Creates shot lists, storyboards from information in the script pages Assistant Director Creates a stripboard and shooting schedule Producer Breaks down the script into basic production elements; determines basic schedule and budget. Art Department Creates design for sets and lists of key props, efx, and other artistic elements. Makeup & Wardrobe Extracts information on key costume elements and specific makeup/hair considerations Sound Sound designer skims the script for sound effects & music. Edit/Post Sound Reviews the script for specific effects to be added in post.

SCRIPT BREAKDOWN When doing a script/creative breakdown, here are the items that need to be accounted for. Use the the script sample on the following page as a reference: • Scene # • Page # in the text • Page Count ABBREVIATIONS • Location • Day or night OS Off-screen • Exterior or interior • Description of scene VO Voice Over • Cast requirements (including extras, or silent parts) • Stunts required MOS Mit Out Sound (without sound) • Special effects • Vehicles/animals BG Background • Props • Wardrobe/Make-up FG Foreground • Sound Effects/Music

INTRODUCTION OF CHARACTERS In action description paragraphs, the name of each character is CAPITALIZED the first time he/she is introduced into the story, and is normally followed by other significant details: age, wardrobe, and other adjectives that help paint our first impression of this character.

SCRIPTWRITING SOFTWARE The following is a list of recommended screenwriting programs: • Final Draft (Final Draft, Inc.) • Scriptware (Cinovation, Inc.) • Movie Magic Screenwriter 2000 (Entertainment Partners, Inc.) 19

INTRODUCTION OF CHARACTERS In action description paragraphs, the name of each character is CAPITALIZED the first time he/she is introduced into the story, and is normally followed by other significant details: age, wardrobe, and other adjectives that help paint our first impression of this character.

SCRIPTWRITING SOFTWARE The following is a list of recommended screenwriting programs: • Final Draft (Final Draft, Inc.) • Scriptware (Cinovation, Inc.) • Movie Magic Screenwriter 2000 (Entertainment Partners, Inc.)

20 21 THE STORYBOARD

The storyboard is an essential step in preparing for production. You (or your storyboard artist) will make a series of sketches in which every basic scene and every camera setup within the scene are illustrated. Storyboards give the director and DP a visual record of the film. Storyboards define the space. Storyboarding scenes in a film or television show affords the director and art director a common ground from which to create a frame. What should the character’s habitat look like? How much of the space needs to be art directed? How much does the camera need to see? These drawings or panels leave no question about how a director plans to shoot a scene. How a character is defined by the environment. Think about the seedy hotel room Travis Bickle inhabited in the film “Taxi Driver” or the interior of the Millennium Falcon Harrison Ford piloted in the Lucas trilogy “Star Wars.” Each of these decorated sets gave the audience a wealth of information about the identity and idiosyncrasies of the character.

MARTIN SCORSESE

24 MARTIN SCORSESE

22 SCHEDULING Time = Money Efficiency is the key to getting the most out of any production, especially when time and money are in limited supply. When preparing to make a film, budget and schedule go hand-in-hand. Your shooting schedule will determine the budget, because the more days you shoot the more money you will spend. While directors create shot lists and storyboards, producers must also begin their preproduction work with some semblance of schedule. The following is a step-by-step procedure that aids in preproduction, from script to schedule. Each step of the process acts as a reference for the next, and you will continue to revisit each of these steps for scheduling and budgeting purposes. Furthermore, as new factors come into play the schedule will be subject to constant change throughout the pre-production process. Some of these factors, like actor and location availability, create situations beyond your control—so you may have work around it. Regardless always shoot for practicality and efficiency. Production considerations make it nearly impossible to operate efficiently when shooting in continuity with the story, so having a script supervisor is a must! Keep all of these concerns in mind as you prepare.

Step 1: Determine the Page Count One of the basic factors of a schedule is determining how many pages of the script can be shot per day . A basic formula for calculating page count is to divide the scenes on each scripted page into eighths, where 1/8 is the smallest scene and 8/8 is the largest. Where scenes continue onto the following page, fractions are combined to determine the total ‘length’ of that scene. Practice has shown that there is a comparative relationship between page count and the maximum number of script pages that can be accomplished in a regular shoot day. On the other hand, the visual length of that scene, as we have just calculated it, may not be a direct representation of how long it will actually take to shoot that scene. For example, two characters having a conversation for 4 pages may take two hours to shoot, while a car chase, described in a mere 1/8 of a page may take 4 days to shoot. Most student films average 2-3 pages per day. Sometimes your budget will force you to crank out more pages in a day than average. Be prepared to adjust the schedule accordingly. Step 2: Do A Creative Breakdown After determining the page count of each scene, the next step is to do a creative breakdown. A creative breakdown is simply the practice of notating all the aesthetic and technical aspects of each scene as they are written on the script page (cast, wardrobe, props, hair/makeup, sound effects, special effects, picture cars, stunts, etc.). This information is extracted from each scene and translated to a breakdown sheet, and listed by category. One breakdown sheet is created for each scene, and acts as a ‘shopping list’ for the director and producer; helping to determine what creative aspects need to be coordinated. Although the responsibility of doing a more accurate breakdown ultimately falls on your creative team, this initial step helps the director and producer to internalize every single element of production. Script Continuity: As you internalize the script, it is sometimes presumable that certain items or characters will re-appear from one scene to the next. Make notes in the script and/or breakdown sheets for your reference. See the following pages for an example of a breakdown sheet. Step 3: Create a Strip Board A strip board serves as a visual layout of the schedule composed of interchangeable strips, each strip representing a scene in the script. Once our strip board is created, we will be able to answer the following

23 questions: 1) How many days will it take to shoot? 2) How many pages can we accomplish per day? 3) How much time will take to ‘shoot out’ each location? 4) How will we schedule our cast? Before arranging your strip board, establish the DEFINITES, the unchangeable factors: 1. Equipment Check-out/Check-in Dates 2. Location & Cast Availability - Determine if there are situations involving actors or locations that will set fixed parameters on your schedule. 3. Crew Availability – In this case, you are working with a student crew (they go to school too!). Where compromises can’t be made, you may have to schedule 2nd unit crew. 4. ‘Pain-in-the-arse’ Scenes – Scenes Involving kids, animals, moving vehicles, special- effects makeup, steadicam shots, big crowds, etc. Treat each of these as if they were principle cast and devote extra time to planning, rehearsing, and shooting!

See the following pages for an example of a strip board. Step 4: Arrange & Rearrange! After your ‘definites’ have been established, strips should be arranged in the following order: • LOCATION: The goal is to ‘shoot out’ a location, by grouping locations together and completing all shooting of scenes in any given location before going to the next one. No one wants to return to a location twice. Think about travel time, set up time and wrap time (app. 2 hours or more for each). Aside from technical malfunctions, poor scheduling is what causes most shoots to run overtime. • EXTERIORS/INTERIORS: Try to shoot the exteriors first. This allows for more flexibility if you’re plagued with bad weather. The time of year will effect available daylight in exterior shooting. Be sure to take this into account. Always have interior cover sets prepared in case you have to move indoors to make the most out of the day. • NIGHTS: It’s all about the biological clock. Everyone requires at least a 12hour turnaround*, and you must give your cast and crew a full day to read just before switching to a day schedule. If the set-ups are simple, you may be able to shoot day and night in the same shooting schedule (ie. 6am to 12pm/1pm to 6pm). • DAYS: Though days seem simple enough to schedule, make sure you keep as close to a professional work day as possible (max. 12 hours). Always have food on set and take appropriate breaks for meals. 1st meal is usually scheduled as a 30-45 minute break on the 6th hour of the shoot day. So for example, if call time was 7:00am, crew must break for lunch at exactly 1:00pm. Please keep in mind union rules governing the maximum length of a shoot day. These rules are in place for a reason! Doing excessive overtime hours will affect the health of you and crew as well as your film, and perhaps your budget! Step 5: Shooting Schedules & Call Sheets Once the master schedule/stripboard is locked, itemized shooting schedules and daily call sheets can be generated. This is usually done by the Assistant Director. Daily call sheets are vital! A call sheet should be generated and distributed to each cast/crew member at the end of the shoot day, to prep for the day ahead. Call sheets also act as contact lists and contain important production information. See the following pages for an example of a call sheet. EXTRA TIPS: In planning your production schedule, consider the following guidelines: 24 • Determine if there are situations involving actors or locations that will set fixed parameters on your schedule. • Take the actors’ schedules into account. If you are working with children, make sure you comply with specific rules governing child actors. For more information please visit the Casting section of this handbook. • Consolidate crowd sequences and other heavy scenes. • Take into consideration transportation time to and from locations, set-up time, and meal breaks. THE BUDGETELOPMENT & PREPRODUCTION A preliminary budget helps to determine how much it will cost to make your film. The average cost of an NYU student film, from production to print, can range from any price to $1000 per minute. Budgets for films shot on/finishing on digital video may reduce costs on such items as equipment rental, film stock, and lab services. Regardless of format, it is ultimately the script that will determine where funds must be allocated. When constructing your budget, factor in the items that are entitled to you as a student, such as your NYU allotment, equipment package, editing slot, and production insurance. Then, consider the items in your budget that will have to be paid for out-of-pocket. Bear in mind that most vendors, such as labs and film supply retailers, will offer student discounts that will help to cut costs dramatically. As a student, you can’t afford NOT to use student discounts whenever and wherever possible! Student rates vary depending upon the vendor, so be sure to ask. When preparing your budget, it is recommended that you use a spreadsheet program like Microsoft Excel or EP Budgeting. Regardless of the format, your budget should clearly define the total estimated amount needed to cover each aspect of your production. Here are some examples of formulas often seen in a production budget.

[The cost of film stock is based on the estimated price per foot of film, multiplied by the footage.]

[The cost of the rental is based on the daily rental rate, multiplied by the number of days.]

[The unit term “ALLOW” refers to an estimated amount allocated to the purchase of prop items.]

The objective is to create a budget that gives a rough estimate of what will be needed to make the film without going over. Going over-budget on production leads many filmmakers to be faced with the proverbial ‘post-production wall’, a term applied when there isn’t enough funding to complete the film in post. To avoid this common problem, make sure your budget is realistic. Typically, a production budget is composed two sections, above-the-line (ATL) and below-the-line (BTL). The below-the-line budget is then divided into two sections: Production and post-production. Dividing it this way allows us to see exactly what is needed to fund each stage of production of the film, from development through to distribution.

25 Above-The-Line Costs for Students: For most student film budgets, above-the-line costs remain at zero or relatively lower than the other line items. It is assumed that the producer, director, and cast are all working for deferred or no fee. However, you may want to budget for such things as script copies, and casting supplies.

Below-The-Line Costs for Students: This budget includes all the hard costs for production; everything from the film stock/tape stock, to equipment rentals, production design materials, and expendables. While some of these costs may be subsidized by your NYU allotment, you should anticipate some additional production expenses. Don’t forget to allocate a healthy budget for the bare necessities needed to function on a film set: food, tables, chairs, equipment/crew transport, etc. These items are described in more detail on the following page.

Post-Production Costs: After our film is ‘in-the-can’, it is now time to consider what kind of budget will be needed to get us through the next phase of production: the edit. Please refer to the Post-Production section of this handbook for a more detailed explanation of these costs.

Contingency and Other Costs: Before totaling the budget, there are a few other line items to consider. We will call this category the ‘Other Costs’ budget, the final section of the overall budget. While NYU provides free production insurance coverage to approved students, a standard budget should reflect a line item for the purchase of an insurance policy. The average cost of short-term, general-liability insurance coverage ranges from $1000-$3500 per project. After totaling the budget, it is also a good idea to add a contingency, which should be approximately 5-10% of your total budget. This is for the ‘what if’s’ and other unexpected expenses that you may incur during production.

26

Here are just a few of the standard line-items on a production budget: Production Office: This line item includes expenses incurred during preproduction for telephone, cell phone bills, paper, copies, office supplies, travel, etc.

Camera: Includes the total cost of renting additional equipment, as well as expendable supply funds for small purchases made by your DP and Assistant Camera Person

Lighting & Grip: Includes the total cost of renting additional lighting equipment, as well as purchasing expendables and supplies.

Sound: Includes total cost of renting additional sound equipment as well as purchase of expendable and supplies.

Art Department: Includes total cost of art elements: set design, key props, prop rental, art purchases and supplies.

Wardrobe/Makeup: Total cost of wardrobe/makeup rentals, purchases, and maintenance.

Film Stock & Lab: Includes calculated costs of film stock, lab developing, and transfers (dailies).

Location: Includes any location fees, cleaning supplies, and other items for the location.

Transportation: Includes total cost of vehicle/truck rentals, gas, cab fare, and/or Metro card purchases

Set Operations: Includes estimated costs for basic set utilities and services--catering/ craft service, cleaning supplies, holding areas, tables, chairs, heaters, fans, etc.

Insurance: Every project with production approval is entitled to use insurance benefits to secure locations, public property, and additional equipment rentals (see INSURANCE & PERMITS).

Contingency: It’s usually a good idea to allow a small buffer in each department, in case you go over- budget. Always allow for a contingency, equivalent of 5-10% of your overall budget before doing a grand total. This is considered an emergency ‘slush fund’.

27 REVISITING THE SCRIPT

After preparing the schedule, use the breakdown sheets to help you budget for key items, like props, wardrobe, and makeup.

GETTING PRICES

You may be able to estimate some of these costs on your own. For the others, you will need to do some research to get pricing. For example, in order to budget for Production Film & Lab, you will have to estimate the amount of film stock you plan to buy, and then call the lab to check pricing on each step, based on the length of footage that you plan to shoot. Don’t forget to include student discount pricing where it applies! DEVELOPMENT & PREPRODUCTION

28 FUNDING YOUR STUDENT FILM

WRITING A PROPOSAL A creative and strategic fundraiser can find thousands of avenues for funding and support, while keeping out-of-pocket costs to a minimum. Regardless, there are still those that make the dangerous decision of resorting to credit cards as a means of funding their student films. This should never be an option for your film, let alone a last resort. No student film is worth the cost of ruining your personal credit. There are many ways to raise money and resources for a film. Different types to consider include grants, corporate sponsorship, product placement, and grass-roots campaigns via friends and family. For any of the above, it is a good idea to create a written proposal, including all the who, what, when, where, why and hows about your project. Typically, a good film proposal should contain the following information: ▼ = Requirement ○ = Recommended (May not be suitable for all project types) ▼ Story Synopsis - Brief description of the story, one paragraph. ○ Research – Is your project about a historical figure or socio-political issue? If so, what kind of research went in to preparing for this film? ▼ Director’s Note/Personal Statement – Inspiration for the project, in your words. ▼ Cast/Crew Bios –This can include any combination of director, producer(s), cinematographer, production designer, lead cast, etc. The more the merrier! ▼ ‘About NYU Film School’ – Talk about the legacy of NYU Film and the importance of supporting a short film. Include examples of successful alum and their breakthrough films. ▼ Production Timeline – A breakdown (in months) of how long it will take to finish, from development to distribution. ▼ Production Budget (Top Sheet) – Summary of production costs. ▼ Business Plan – One or two paragraphs summarizing the financial/physical needs of the production, and what the reader (donor) can do to help. ▼ Tax Incentives - If you are enrolled in a fiscal sponsorship program that is administered by a non-profit organization, you should include instructions here on how a donor can make their donation tax-deductible. ▼ Distribution Plan – One paragraph summarizing the anticipated release of the film, citing examples of film festivals and other venues where you hope to submit to. ○ Letters of Interest/Recommendation - Support gathered for the project from professors, mentors, etc. ○ Press - Brag about yourself! Include copies of press releases, articles, awards, etc. In deciding how to compose your proposal, always keep in mind the person reading it. Is it easy to understand what your project is about? Does your proposal answer the most important questions one could have about the film? Customize the content so that it is easy for your sponsors to comprehend, and always include information about your project that will be of great interest to them. Before taking your proposal to print, it goes without saying that you should proofread carefully. Treat this packet of information as a professional presentation of you, your crew, and your project. After distributing your proposal to potential sponsors, give them time to review all the information before making a follow-up call or visit. Make yourself available to answer additional questions they may have.

29 The following sources prove to be the most common for providing funding, in addition to your allotment, for your projects: • Summer work opportunities • Relatives willing to make an investment • Food from local restaurants • Reduced car or van rental • Reduced location fees • In-Kind donation of goods or service& P

30 CHECKLIST #2: Preproduction

Below is a summary of the topics covered in this section. Feel free to use this as a checklist to help you prep for your project.

Casting 32 • Submit Casting Calls • Reserve Audition Space • File Child Performer Permit • Print Photo Releases • Schedule Rehearsals Hiring Crew 34 • Hire Key Crew & Support Crew • Schedule Production Meetings The Departments 35 • Production Design (Art Dept.) • Consideration for Building a Set • Set Dressing & Props • Wardrobe Insurance & Permits 41 • Lost, Stolen, Damaged NYU Equipment • Procedures for Filing NYU Insurance • Shooting on Public Property in Singapore

31 CASTING

BREAKDOWNS & CASTING CALLS CASTING RESOURCES ON THE WEB

*Please Note: The Dept. of Film cannot • Actors Asia Database: aadb.com.sg accept headshot submissions and there are no • Association of Singapore Actors: open casting calls allowed in the NYU building. asa.org.sg Craigslist.com A breakdown is simply a detailed description of • Mandy.com your casting requirements and any applicable • Yahoo Groups! Sg_Art information about your project. Aside from • Yahoo Groups! Arts Community noting it as a student film, a breakdown should also the following;

• Character Description (age range, gender, ethnicity, etc.) • One-sentence synopsis of the film • Film Format (16/35mm film, video, HD) • Shoot Schedule & Location • Compensation (fee, or food, travel credit & DVD copy) • Audition Schedule • Production Contact Info for auditions & hours submissions • Note that it is a student film

Most casting calls (breakdowns) can now be You may also contact the following talent submitted quickly and conveniently through online management agencies to help cast your production. casting services. Here are a few that we recommend: As rates are not fixed, it will be advisable to negotiate the talent fees with the agencies before ACTING SCHOOLS: engaging the artistes: The following acting schools welcome casting calls from student film productions. Mediacorp Studios, Artiste Management: Caldecott Broadcast Centre, Andrew Road Please contact each school before submitting your Singapore 299939. breakdown: Tel: (65) 6333 3888 Fax: (65) 6251 5628 Nanyang Academy of Fine Arts www.mediacorpstudios.sg Tel: 65 6512 4157 www.nafa.edu.sg Artiste Management manages the careers of Mediacorp artistes; helps both new and experienced LaSalle College of the Arts artistes forge a strong image and identity, talents and Tel: 65 6496 5000 develops other career platforms for them www.lasallesia.edu.sg Fly Entertainment: 133 Neil Road Singapore 088862 Tel: (65) 6224 3188 Fax: (65) 6224 2388 [email protected] www.fly.com.sg Fly Entertainment is Singapore’s leading artiste management company founded in 1999.

32 SPACE FOR CASTING AND REHEARSALS: *Please Note: The Dept. of Film cannot accept headshot submissions and there are no open casting calls allowed in our building.

Rehearsal Rooms (#02-02, -03) 3 Kay Siang Road Tel: 6500 1724 The rehearsal rooms on the 2nd floor in the Tisch Asia building are available for booking for casting or rehearsals. Please collect the form from Post-Production Counter and submit to Juanita (ext. 706) to book the rooms. Please note that rooms are subject to availability, and first-come-first serve basis. The Substation 45 Armenian Street Tel: 6337 7535 Email: [email protected] The Guinness Theatre and the Substation Gallery on the ground floor, and a dance studio and two classrooms on the 2nd floor. The Substation Guinness Theatre is a 108-seater black box, offering a small but intimate platform for theatre shows, film events, and seminars. The Substation Gallery’s sparseness lends itself easily to a wide range of uses; from performance to installation art, photography, painting and corporate events. The dance studio and the classrooms serve as multi-purpose rooms for small-scale performances, auditions and courses. Ask for student rates when booking. Drama Centre 100 Victoria Street 3rd storey Tel: 6837 8400 Email: [email protected] The Drama Centre adds to Singapore’s stable of world-class purpose built performing arts space with its 615-seat proscenium theatre. It also offers an intimate 120-seater black box, VIP and function rooms to meet the demands of the diverse range of today’s arts events – from the mid-sized theatrical presentation with stringent technical requirements, to intimate performances, talks and exhibitions. Ask for student rates when booking. IMPORTANT INFORMATION ABOUT CHILD ACTORS Keep in mind that contractual agreements such as the release below, cannot be entered into with a minor (in Singapore, a person under the age of 21). In such cases, parental or guardian permission is always required. The minor must be advised to seek independent legal and financial advice on the terms of any contract that is offered to him or her. In respect of such contracts, the terms must be fair and reasonable, and provide for reasonable financial reward and credit.

CAST & LOCATION RELEASES

For every location or person appearing in your film, you must obtain written permission to protect both you and the talent or location owner. Arranging permission can take a few days. Be prepared with exact information: official names and addresses for your locations. Leave time to get signatures of all crew, cast, and faculty. A sample release is available in the Appendix or you can find a variety of templates available to you in film reference books and the Internet.

33 LOCATION SCOUTING`VELOPMENT & PREPRODUCTION Knowing as much as possible about your locations beforehand saves valuable time, money, and energy. Not only does it give the director and all creative departments a vision of the look of the film, but it also gives the technical crew vital information for setting up equipment and lights, along with an idea of how to organize the entire shoot while in a particular location. While scouting a location, bring a location scout sheet to help you take note of important items. Use the following list as a guide for things to consider. • Check the location for shooting space, equipment storage, cast, rest rooms, phones, local hospital, grocery store, hardware store etc. • Check for adequate power supply. • Draw a diagram of the location and each electrical outlet. Locate the fuse or breaker box. • If there is a fuse box, note type(s). Purchase one or two of each before scheduled shoot. (If not used, extras can be given to owner of location). • Check amperage of each fuse or breaker. • Determine which outlets are connected to which fuse breaker (circuits) until all outlets and/fuses/breakers are accounted for. • Each circuit is capable of handling a maximum wattage according to this formula: Amps = Watts / Amps. In Singapore, voltage is usually 230VAC (240VAC is often used for large appliances and has a different plug configuration). • Use 200 instead of 230 to leave room for error. The amperage is dictated by the individual fuse or breaker. Most often they are 10, 15, or 20. These can handle wattages of 2000, 3000, and 4000 watts, respectively. • Check for noise, interior and exterior, and the possibility of disconnecting appliances. Are sound blankets necessary? Consider intermittent sound that might not be evident at time of the scout (e.g. is location below a flight path?) • Survey the location the same day of the week and time of scheduled shoot.

THE CREW Assembling a crew involves choosing the key people who will form the creative and technical nucleus of the production. Once you have identified key personnel, you can assemble support crew. In the addition to the director and producer, the following are key people on a student film crew:

• Cinematographer/ Videographer • Sound Recordist • Associate & Assistant Producers • Production Designer • Costume Designer • Hair & Makeup • Location Manager • Production Manager • Casting Director • Assistant Director (A.D.) • Assistant Camera Person 34 • Grip & Electric • Script Supervisor • Production Assistant(s) You will need to formulate a crew for your project and schedule production meetings to accomplish the following objectives: • Develop a production schedule. • Decide on specific crew assignments for pre-production responsibilities, including plans for obtaining supplies, equipment, props, costumes, etc. • Issue Daily Call Sheets. Make sure that each member of your cast and crew knows what is expected of him/her at each step of the production. • Set-up a schedule with the producer and A.D. to determine how much time should be allocated for each shot of the day. • Confirm each crew/cast member’s transportation and schedule (provide everyone with photocopies of the schedule, transportation information and responsibility lists). DEVELOPMENT & PREPRODUCTION CREW: THE DEPARTMENTS Although key departments are the same on most productions, additional crew may be needed depending upon the size and scope of your project.

PRODUCTION DESIGN & ART DIRECTION The art director will scrutinize the script carefully, and, in conjunction with the director, arrive at a visual plan for the picture. A basic decision will be either to shoot the entire picture on practical locations, on sets, or a combination of the two. Whatever the decision, the art director must come up with a comprehensive budget and a schedule to accomplish his/her task. If it is a question of whether or not to shoot on a set or in a practical location, compare the costs of construction and set dressing versus paying a location fee. Breakdowns - Listen To the Script. The Art Director must read and breakdown the script from his/her standpoint. The “look” of the project has its origins in the script and the final product springs from it. An in-depth analysis of the script affords the art director an understanding of the story, character and theme as it evolves through the plot, all of which can and should be reflected by the art direction. Considerations For Building A Set Or What The Camera Sees Probably the most important consideration in the construction of a set is determining precisely what is in the frame. The art director needs to find a balance between 1. How the director envisions the scene 2. The budget 5. Some flexibility for adjustments. If the director only needs to see a bed in a corner of a room, the art director should not build a fully dressed, four-walled room. Conversely, the director should not order a fully dressed, four-walled room and then shoot only the bed in the corner. The entire art direction budget will be stretched during the shoot, which is why you should avoid waste as much as possible. Good art directors are very savvy and creative on a shoestring budget. Like magicians, they find a way to make something out of nothing. A good art director will not build a set with just two walls and bed. Standing-by will be a third wall and maybe even a ceiling piece. This is so that as the director blocks the scene, should she desire more room in which to shoot, additional set pieces can easily be provided. Everything is designed for the camera. Make sure that the creative team spends their time on what the camera can see and not on the background. 35 It Is An Illusion. The beauty of the medium is that it doesn’t have to be real to look real for the camera. Costume jewelry, for example, looks as real to the camera as true gems. Whereas an actress cannot deceive the camera, a ‘thing’ can. A character walks out of a room through a door. He walks down the hallway and enters an elevator. In the lobby, he walks out into the street. The man turns a corner and finds himself in Brazil. To the audience, the man has walked in real time from point A to point B. In production terms, the character could have walked through seven locations or sets. As Is. A director can walk into a living room and decide that it will work for the film. This might mean that the room can remain as is. Or it might mean stripping the room down to the bare walls and importing everything, down to the stains on the rug.

SET DRESSING Set dressing is everything that is placed on the set. This includes rugs, lamps, furniture, paintings, windows, chandeliers, cabinets, etc., and all the extraneous details such as plates in the cabinets, bulbs in the chandelier, etc. Set dressing DOES NOT include smaller items used specifically by the actors, such as guns, canes, lighters, rings, etc. These are props. The art department is responsible for “dressing” the location. That may be as little as spreading a few leaves and greenery near a park bench to make it look like fall, or as much as creating an entire set from scratch. The locations and their details set a tone for the film, can help tell your story, and convey a great deal of information about the characters themselves. Sometimes a key detail in the frame will solidify the credibility of a scene or moment.

PROPS The property master is responsible for all the props identified in the script. A prop is a movable object used by the actor that is integral to the story. These include jewelry, watches, glasses, books, knives, guns, etc. The prop master will purchase, rent, or build all props. Weapons. All weapons fall into the prop category. It is the prop master’s duty to ensure safety and adherence to local procedures with regard to these props. Please see SINGAPORE INFO for The Stunt Production’s contact. Firearms are illegal to own or possess in Singapore. A license to import or export firearms must be arranged with the Arms and Explosives (A & E) Branch, Police Cantonment Complex. At that time, a photograph of the weapon to be used is required. With the license, the prop master will show it to the Immigration and Customs Agency officers at the airport so that the weapon can be cleared. Processing of A & E license applications requires seven working days from the receipt of application and supporting documents. Dummy weapons are available locally and require an A & E license as well. The prop master will usually hand over a weapon to the actor just prior to the scene. Props, especially weapons, should not be handled, except during a rehearsal or take The use and handling of weapons is a delicate issue. Special permits and insurance must be obtained even to have a gun on the set. The prop master must be responsible for the weapon before and after its use and keep it in good shape. There is NEVER a need to have live rounds on a set. For more information please consult the INSURANCE section of this handbook. On an interior set, keep the prop secured until the shooting. On an exterior location, make sure that everyone nearby, especially the police, are aware that a scene with the gun is about to be photographed. In Singapore, police assistance is scheduled through the Arms and Explosives (A & E) Branch, Police Cantonment Complex (See INSURANCE & PERMIT section). If your interior set is visible to the pedestrians outside,

36 you must take similar precautions. You never know when a passer-by might misread the scene and take action. The prop master will come with his/her own assortment of props based on the needs of the script. He/she will rent, buy or make the props, or perhaps use personal props provided by the actor. Instead of shopping for some props, the producer can rent them directly from the prop master. Experienced property masters will own a kit or box of common props, this is called a box rental, and this must be budgeted for. Spend money on props that are dramatically important or used extensively. Have an idea of how many takes and re-takes might be involved. Err on the side of having an excess. Food. If it is required that food be eaten in a scene, make sure that it is purchased in advance and that someone can prepare it. Make sure all food items are bought in bulk if possible. Duplicate Props. Often a prop is eaten, damaged or ‘distressed’ during the shoot. The property master discusses with the director how many back-ups she will need. The property master increases that number, just in case.

WARDROBE The costumer, or wardrobe designer, works hand in glove with the art director. Together with the director, they form a concept for the look of the wardrobe in the show. An artistic choice might be to have the lead actress in bright colors, and the secondary characters in grays... or they might choose pastels, or specific materials... whatever they feel contributes to the overall statement of the story, the characters, and style of the production. You Are What You Wear. The wardrobe department has the charge to make a character identifiable by the clothes they wear. The costume design is determined by the script, as well as input from the director and costume designer. As with the other sub-departments within the art department, the costumer should consult with the actress they have to outfit. Clothes make a very definite statement about the character. Even though we are taught that you cannot judge a book by its cover, most people receive a very strong first impression based on how a person is dressed. What each actor wears provides worlds of information about their character. Specialty Garb. Period pieces, of course, require period costumes. Attention to history is critical. Each period of dress is carefully researched and must be represented accurately. Certain genres, such as film noir or science fiction, may require a special look that must remain consistent throughout the film to maintain a specific style.

Consulting the Actor. Who better understands the character than the actor who must portray her. Soliciting the actor’s suggestions about style, color, and specific choices will increase their involvement in the show. If the costumer gives the actor an outfit that the actor feels is inappropriate, “creative differences” could result. It is best if the costumers consults with the actor, or at least have several choices from which the actor and director can choose.

The costumer will buy, rent or create the entire wardrobe. If the actor volunteers her own wardrobe, should it be appropriate, the costumer is responsible for cleaning the clothes. Using the actor’s own wardrobe is an inexpensive way to obtain clothes that fit. The only question that arises is whether there will be a need for a double set of clothes.

Doubles. If a scene calls for damage to the costume (a process called ‘distressing’), the costumer will need to have doubles and triples of the same set of clothes. For example, a character is supposed to be stabbed in the chest. A blood-pack under the shirt is rigged to ooze red liquid to give the illusion that the character is wounded. When the director calls for “take two,” the dresser replaces the shirt with a new one. It goes without saying that you should NEVER distress the actor’s personal clothing or property.

37 Especially on a larger project, the costume designer will hire several stylists to help out on the set, keeping the costumes organized, well-maintained, and more importantly, to help speed up the painstaking task of getting the actors into costume and on to the set in a timely fashion. The bigger the show the more help you will need!

MAKE-UP & HAIR This department works very closely with many production departments. Equipped with the director’s vision, a makeup artist and/or hairstylist will work to fit the character style and attitude. Whether it is a simple touch-up or special-effects makeup, carefully planning is needed to make sure those supplies are collected to fit the needs of the actors and their characters on set, as well as the time needed to prepare. For example, an actor portraying a true-to-life character may only need a touch of powder in between takes to keep the shine away. But a stab-wound to the cheek will need plenty of preparation beforehand to create a gash that is realistic.

Make sure that you have enough hair and make-up staff to accommodate the size and scope of your film, and the number of people in your cast. Don’t underestimate the amount of personnel required to help whisk those actors through makeup and onto the set in time for the shot. DEVELOPMENT & PREPRODUCTIONDEVELOPMENT & PREPRODUCTION CAMERA The person in charge of this department is of course the cinematographer, or Director of Photography. The successful collaboration between director and D.P. is crucial. Much like the producer/director relationship, the D.P. must be able to view and interpret the scene in the same way as the director, acting like a “third eye” for the story. During the pre-production period, director and d.p. will have several meetings to review script, storyboards, and shot lists, as well as to discuss all the elements that will work to create a perfect look for the film—everything from the lenses, filters, and lighting, to choosing the right film stock, and special processing at the lab. On the set, the D.P. is in charge of the look of the film. He/She will coordinate with the Gaffer to determine lighting setups for each shot. An organized DP will bring along a staff of individuals to make sure that the exposure is correct and the shot is always in focus. 1st Assistant Camera (1st A.C.) – This person checks exposure, pulls focus, takes measurements and maintains the camera so that is always set for the next shot. 2nd Assistant Camera (2nd A.C.) -This person assists the 1st A.C., while keeping track of the physical film footage or videotape. He/she is responsible for monitoring the amount of film shot in a day as well as organizing the exposed footage in preparation for drop-off at the lab. Quite often, the 2nd A.C. will also operate the time-code slate at the head and tail end of each scene. Loader – On a larger production, a loader will assist the 2nd A.C. by keeping track of the film, as well as making sure that there is always a fresh roll of film or tape loaded in the camera, ready to be shot. Camera Tests. Depending on the nature and design of your project, it might be wise to shoot some tests with the actors in full make-up and wardrobe. This is an added expense, but it will serve to make it clear what you will be shooting during principal photography. Camera tests also inform the director and producer of the dynamics between the cast and crew in a work environment.

LIGHTING & GRIP A Gaffer calls the shots for this department. Along with the Key Grip, and his/her team of grips and electricians, the gaffer sets up lighting scenarios for each scene being shot. During the shoot, the gaffer will work very closely with the DP to ensure that the scene is properly lit. Experienced gaffers have a trained eye for light exposure, as well as a bit of knowledge about electrical engineering and set safety. Quite often, a gaffer and key grip will accompany the director and DP on a ‘tech scout’ of a particular shoot location, to visualize lighting setups and evaluate power supply.

38 Gaffers and Key grips often have assistants, called Best Boy Electric and Best Boy Grip respectively. The gaffer and key will relay instructions to the best boys, who will then prepare the lighting and grip setups for the day. These individuals are also in charge of understanding the electrical layout of each location, and are trained in proper electrical and fire safety. Note: As a safety precaution, lighting and electrical equipment should only be handled by the lighting and grip department. Always consult with this department before plugging anything in, or touching the equipment.

SOUND This team consists of a location sound mixer, boom operator, and cable assistants. While the other departments set up for a shot, the sound mixer positions microphones and adjusts sound levels to achieve the cleanest sound during a scene. Sound will often record ‘wild sound’ and ‘room tone’ at the end of each setup, as well as foley and sound effects that can be recorded live. The Mixer will make a note of these elements to prepare the post-production engineers for the sound design & mix. The boom operator is normally a very patient individual who holds the boom pole over actors in dialogue and must follow the blocking of a scene carefully, to achieve equal sound quality throughout a scene.

SET OPERATIONS Set Operations mainly refers to the person or person(s) responsible for maintenance of the shooting location, crew facilities, and setting up catering and craft service for a shoot. The most beloved and important department on set, these people keep the coffee brewing and the meals hot. Good meals and refreshments keep the crew energized and increases morale, which are essential to a successful shoot.

CONTINUITY Better known as a Script Supervisor, this person is probably the most detail-oriented person on set—and he needs to be! Since scenes are rarely ever shot in the sequence they appear in the film, it is the script supervisor’s responsibility to keep track of these scenes and make sure that they are filmed in continuity with the script. The script supervisor must take meticulous notes of each scene being filmed—the blocking of the actors, the placement of props, etc., and each time making sure that the continuity matches the script page. For example, let’s imagine that we are scheduled to shoot in a restaurant on day one, and this is the only day that we will have access to this location. The problem is, multiple scenes take place in the restaurant, some occurring on different days in ‘script time’. In order to shoot these scenes as they naturally occur in the story, we will need the careful eye of the script supervisor to help us keep track of changes in production design, cast, and other evolving elements.

Script Time. “Script time” is the logical progression of the days in the script. Wardrobe and script supervision are the departments most responsible for script time. If a script takes place over three days, and there is a different wardrobe for each day (most people change clothes every day), the wardrobe department keeps a chart of what clothes are worn in each scene.

DUCTIONDEVELOPMENT & PREPRODUCTION

39 CREATING A WORLD FROM SCRATCH

The process of creating a world from scratch follows specific steps: • Analysis of script. • Conceptual and practical discussions with director. Director will have a vision for the piece as well as practical requests as to what kind of coverage she plans. • Art Director furnishes director with ideas through sketches of set renderings as well as pictures. Sketches may be modified or altered. • Upon approval of a basic design, a draftsman will execute blueprints and, if necessary, a model of the set will be constructed. • Budget and building schedules are presented to the producer. Changes may be made because of costs. Final approval by the department heads. • Construction coordinator supervises the construction of set(s) according to approved designs. The completion of a set must fit into the production schedule. If multiple sets have to be built, the production schedule of each set must be timed to be ready when the production schedule needs them.

40 IMPORTANT INSURANCE POLICY CHANGE (Updated for Fall 2009) Effective immediately, the insurance rules have changed for ALL enrolled Film students. All students with approved projects MUST purchase the CSI (College Student Insurance) Student Personal Property Insurance facilitated by Fireman’s Fund. This insurance policy is a combined personal property/3rd party equipment policy, which also covers the school’s insurance deductible of $5000 plus additional 3rd party rented or borrowed equipment for up to $25,000. personal property for up to $25,000. Once you purchase the policy online you will be sent a confirmation E-mail. Please print out a copy of this email and deliver it to Stephen Paine in room 03-16, prior to checking out equipment. You will not be allowed to check out any NYU equipment until you have submitted a copy of this confirmation. To purchase the insurance policy, log on to “ http://www.collegestudentinsurance.com/ ” and click on ‘Get An Online Quote’. The minimum personal property coverage available as of this publication costs $90 - which includes up to $6000 personal property coverage with a $100 deductible. Additionally, you must pay $60 for the $25,000 3rd party camera equipment coverage. A $5.00 processing fee is also added, which brings the minimum cost for this insurance to $155. This policy is good for one year from the date of purchase so you only have to buy it once a year. Please keep in mind that these costs may be subject to change at the discretion of the insurance company. The University has no control over the rates and fees provided for this coverage. Please note that you must purchase one of CSI’s basic personal property plans before being given the option to choose the camera equipment coverage. Please refer to our Frequently Asked Questions (https://filmtv.tisch.nyu.edu/object/ph_insurance_csi.html) section for more details. All figures above are in US$ INSURANCE & PERMITS Insurance is an absolute necessity on any student and/or professional shoot. Its main purpose is to protect you, the filmmaker, from outrageous budget overages due to negligence or accident. Small mishaps, such as a broken or lost filter, will not add up to the deductible and will come out of your pocket. But in the event of a major theft of equipment, severe damage to a location, or even worse, injury to a cast or crew member, the insurance carrier will cover it, as long as you are properly insured! There will be NO deductable for injuries. In the professional film and television industry, insurance coverage is not a benefit, it is a requirement. Without it, you will not be able to get permits to film on public property anywhere, nor will you be able to rent equipment from a rental house. Property owners are well-aware of the liability of film production. So regardless of the size and scope of the shoot, you must always be insured. The following section will give you a detailed explanation of your insurance benefits, the procedures involved in obtaining proof of insurance, and your responsibilities regarding insurance claims

INSURANCE

TERMS AND CONDITIONS Please Note: The current insurance deductible for rented/borrowed equipment is US$5,000.

In order to be eligible for insurance benefits, you must fit one of the following categories:

• A Matriculating or Enrolled Film student with production approval from a production class or thesis project. • A Film student with production approval to fulfill an incomplete from a prior production class (within one year from last semester enrolled).

GRADUATE STUDENTS: 1st, 2nd & 3rd Year students must be enrolled in a production course and working on an approved project.

41 Thesis Students: You must pay the matriculation, lab and insurance fees and gather the necessary approval forms for thesis production. You must notify the Graduate Chair who will communicate the information to the Production Office in writing.

For information on how to file for insurance, please read the following section, and visit www.nyu.edu/insurance.

DURATION OF INSURANCE COVERAGE Insurance coverage is subject to production approval, and is only available for the duration of the shoot for which it was issued. Re-shoots, pick-up shoots, and other secondary photography are not automatically insurable, and must also go through the Graduate Chair.

42

LOST, STOLEN, & DAMAGED NYU FILM EQUIPMENT

You do not have to insure the equipment that you received from NYU as the equipment is already insured, but you are responsible for following standard procedures for reporting any lost or stolen equipment. NYU insurance carries a US$5,000 deductible for school owned equipment (applied on a per incident basis). Students who sign for the equipment are responsible for payment of the deductible should any loss or theft occurs. You must safeguard ALL equipment covered by NYU insurance (including rented equipment) at all times by keeping it in visual range or stored in a secure location. Violation of this rule will be considered as negligence and voids your future equipment privileges and insurance coverage. Unacceptable storage locations include, but are not limited to: • Lockers • Unattended vehicles • All Public and bonded garages • Any high risk location You must immediately report lost and stolen equipment to Tisch Asia Production Center via their phone line, +65 6500 1723. Failure to report is also considered negligence. In cases of lost, stolen, or damaged equipment follow this procedure:

STEP 1. REPORT THE INCIDENT TO TISCH ASIA PRODUCTION CENTER Please report all losses to Tisch Asia Production Center. The number is +65 6500 1723, and is located at the bottom of each Check-Out Sheet. (This step is not required for damaged equipment.)

43 STEP 2. REPORT THE INCIDENT TO THE POLICE You can file a report with any neighborhood police post in Singapore (Queenstown Neighborhood Police Centre | No. 3 Queensway #01-03 Singapore 149073 | Tel: 1800 - 471 9999). You will be given a copy of the report as filed. (This step is not required for damaged equipment.)

STEP 3. CREATE AN INCIDENT REPORT FOR THE DEPARTMENT Write a statement describing what happened. Include the names and contact information for all witnesses. Do this as soon as possible, while events are still fresh in your mind. Do not forget to sign the statement. If you cannot report to NYU in person right away (next step), email a copy of this statement to the Production Area Manager.

STEP 4. REPORT THE INCIDENT TO THE NYU EQUIPMENT COORDINATOR IN PERSON Report the incident to the equipment Production Area Manager in person. Provide a copy of the following: DEVELOPMENT & PREPRODUCTIONNT & PREPRODUCTION • Police Report (Step 2) • Incident Report (Step 3) You will be billed for up to the US$5,000 (or the appropriate portion) deductible by the bursar. If you signed for the equipment jointly with other students, the charge will be divided equally. In case of an incident, the full deductible (US$5,000) must be paid before you can register for classes.

STEP 5. MEET WITH THE ASSOC. DIRECTOR OF PRODUCTION Meet with the Assoc. Director of Production from where the equipment was checked-out. He / She will explain departmental policy and procedure, including insurance coverage. If you disagree with anything, you can request a Review Board in the department (Step 6). For negligence or a large loss, a departmental review is required to discuss the incident and future access to equipment and insurance.

STEP 6. REVIEW BOARD If you wish to petition the department to dispute charges, you must request a Review Board appointment. The area manager will explain the review process and provide you with a Review Board Application. When you fill out the form, be specific about what you are asking the board for.

The application should be submitted to the Graduate Chair, who will make arrangements to convene the review board. The board consists of, at least: • Graduate Chair • Director of Administration • Executive Director, Productions • Associate Director of Production The board will hear all sides of the issue from you and relevant staff. You may bring other students with you to corroborate events. The meeting will be take place even in your absence. Within a few days, the board will make a decision about your liability and/or request. You will be notified by e-mail.

44 YOUR RESPONSIBILITIES Double check that your equipment is tight and secure during shoots and proper electrical service fuses and wiring are used. THE PRODUCTION DEPARTMENT RESERVES THE RIGHT TO WITHHOLD EQUIPMENT FROM STUDENTS WHO HAVE HAD ANY THEFT OR DAMAGE/LOSS OF SCHOOL PROPERTY. NYU LOCATIONS

GETTING PERMISSION TO FILM ON CAMPUS Film Shoots inside the Tisch Asia building are not allowed. However, students have the right to request to shoot outside the building on campus grounds. Since all NYU property is already insured, there is no need to apply for insurance for shooting on campus grounds. Please take the following steps to clear your shoot on campus: Permission to shoot on campus can be obtained via e-mail from the Director of Administration. After receiving permission have your professor sign the permission e-mail then take it to the Associate Director of Production who will send a confirmation within 72 hours, which includes a permission to film on campus letter, to all parties involved. You will retain this letter of confirmation as your permit to shoot. Please be certain to leave the location in good condition. You will be responsible for any damage done to school property and the insurance deductible is very high. You are advised to apply for the permission at least three business days in advanced to avoid disappointment.

RENTING/BORROWING EQUIPMENT If you are renting equipment from an outside rental house, or borrowing equipment from an individual (i.e. Crew member), you will need to get some information from them in order to insure their equipment. You must ask for their exact name and address (to be placed on the insurance certificate) and a list of estimated replacement values of the equipment you are renting. This is how much the equipment is worth, not what the vendor is charging for the rental! Once you’ve gathered this information, proceed to the NYU Insurance & Risk Management web site and fill out the “Rental Equipment” Online Request Form. After this has been processed, you must bring the insurance certificate with you to the rental house, or else they will not release equipment to you for pick-up. PLAN AHEAD! NOTE: The total replacement value of your rented equipment cannot exceed the maximum coverage allowed, which is US$1,000,000 in value, so get real estimates from your vendors. Please visit the NYU Insurance & Risk Management Department web site for more information on how to request additional rental coverage. You MUST bring this insurance certificate with you to the rental house, or else they will not release equipment to you for pick-up. Rental Deductible - Please be aware that rental houses may require a security deposit in the amount of your insurance deductible for rental equipment coverage. In this case, you may be required to leave as much as a deposit when you check out equipment from a rental house. DEVELOPMENT & PREPRODUCTION EVERYTHING YOU NEED TO KNOW ABOUT…

INSURANCE & PERMITS

AREAS OF COVERAGE

45 The University Production Insurance Plan includes four major areas of coverage. Below is a list of these items and brief descriptions of each. For more in-depth information regarding coverage please read the following section on Insurance, or you can visit the NYU Department of Insurance & Risk Management web site at www.nyu.edu/insurance. • Bodily Injury to Others - Protects NYU and/or its students for their legal liability caused by bodily injury to others. • Damage to Property of Others Such as Site Owners* - Provides protection to NYU and/or its students for damage to the property of others when caused by those who are members of the production, and when the damage occurs during a student production. • Damage to Property Owned by NYU or Equipment that is Commercially Rented/ Leased or Borrowed from Others - Provides coverage for equipment owned by NYU and on loan to NYU students for their projects. Also covers commercially rented or borrowed production equipment. • Workers’ Compensation - Provides statutory weekly wage replacement benefits and medical care for all cast or crewmembers that are injured on the set as a direct result of their job for the production. • Negative Insurance – Provides coverage for damage to negative and recorded video/audio tape as a result of faulty equipment, or other damage/loss to the footage.

*Please note that this is a Third Party Liability policy, which does not provide coverage for your own equipment and other personally-owned property.

INSURANCE COVERAGE AMOUNTS & DEDUCTIBLES An insurance deductible is the amount that you are responsible for paying in the event an insurance claim is made. In other words, regardless of the actual estimated total in damages to property insured you are only responsible for covering the amount of the deductible.

The following is a brief overview of the University Production Insurance Plan and deductibles (all amounts below are US$): Rental Equipment Coverage $1,000,000 Deductible / Student Responsibility $5,000 NYU Owned Equipment $1,000,000 Deductible / Student Responsibility $5,000 3rd Party Property Damage $1,000,000 Deductible / Student Responsibility $2,500 Prop Coverage $ 100,000 Deductible / Student Responsibility $2,500 Jewelry & Fine Art* $ 25,000 Deductible / Student Responsibility $2,500 *A Sub-limit of Props

PROCEDURES FOR FILING INSURANCE & PERMITS

All student shoots, without exception, require insurance coverage through the NYU Insurance Department. Every Film student who has production approval is eligible for production insurance. Coverage includes privately owned locations, Singapore public property, various rentals from outside vendors and liability for personal injury. The following pages will help you understand the coverage and submission guidelines. Insurance requests are processed by the NYU Insurance & Risk Management Department, which is an office independent of the Kanbar Institute of Film & Television. This section of the handbook will help you understand their policies and procedures. The following protocol is required: 46 • Submissions -Insurance requests and revisions must be submitted by completing the online Insurance Request Forms at: www.nyu.edu/ insurance. • Turnaround Time - Allow a seven (7) business-day turnaround from the time you make the request until the certificate is issued. • Special Insurance Requests -If your film contains elements that require additional review, such as stunt work, it could take up to 2 weeks to process your request. For a complete listing of special requests please read the following section on Insurance & Permits. • Correspondence – The NYU Insurance office has a Contact Form on their website: (http://www.nyu.edu/insurance/). Use of this form ensures the quickest and most accurate/efficient processing. Phone calls only delay the processing of all insurance certificates. • Role of the Production Office - The Production Office can provide “front end” assistance only. Once you have submitted your forms to the NYU Insurance Department you must maintain all correspondence you have with the Insurance Department through the abovementioned Contact Form. • Contact Person – One person from your production should be designated as the Insurance Contact regarding insurance matters. This can be the director, producer, or another crew member that is a registered NYU student.

PLEASE NOTE Any tampering of insurance documents will result in the loss of privileges and possible disciplinary action at the University level. DEVELOPMENT& PREPRODUCTDEVELOPMENT & PREPRODUCTION HOW TO FILE STEP 1. Check Eligibility Insurance coverage is only available to eligible students with production approval from the Graduate or Undergraduate Department of Film & TV. Production approval is administered by the supervising faculty member for the course. Special consent is given at the discretion of the Faculty Head of Production, for coverage related to an incomplete grade or other similar circumstance.

STEP 2. Submit Your Insurance Requests Online – www.nyu.edu/insurance After you have locked your locations, rental houses, and other aspects for production, compile a list of the names and addresses for each of the following entities: private location owners, public property, rental houses and individual owners for rented equipment, props, and/or wardrobe. Please fill out one request form for each entity. The following is a breakdown of each online form and what it is used for. You will find these forms on the NYU Insurance & Risk Management website, under “Student Film Program”:

If You Are Insuring A… Fill Out The Application For Private Location Owner Location Owner’s Public Property Location Owner’s Rental House Location Owner’s Props, Wardrobe & Sets Location Owner’s

47 Stunt Activity or other ‘Special Request’ Location Owner’s Equipment Rental Prop Rental Special Insurance Request Page

STEP 3. Insure Stunt Activity, or any Potentially Hazardous Scenes Certain scenes in your film may require additional review by the NYU Insurance & Risk Management Department. Examples of potentially hazardous scenes can be found in the following section on Insurance & Permits. If this pertains to your film in any way, submit a full scene description online by filling out the ‘Special Insurance Request’ Page on the insurance web site: www.nyu.edu/insurance. You can complete this form after submitting your insurance requests. Any additional questions or concerns about the scene will be sent to you via email. You will be notified via email regarding the status of your request, as to whether or not the scene can be covered by NYU Insurance. There may be additional premiums required for these type of shoots. Please note that the Student Director will be responsible for this additional coverage.

STEP 4. Wait the Turnaround on Your Request After submitting these forms please allow for a seven (7) business-day turnaround. The Insurance Dept. will send you a printable copy of the insurance certificates, which you will then have to distribute to your location contacts and rental houses. Special Insurance Requests may take up to two weeks to process. Please plan accordingly.

TIPS & SUGGESTIONS • A SEVEN (7) BUSINESS-DAY TURNAROUND IS REQUIRED TO PROCESS ALL INSURANCE CERTIFICATES - Please plan accordingly! Requests for foreign shoots and special shooting conditions (i.e. stunts) may take up to two weeks.

• ERRORS & MISSING INFORMATION WILL CAUSE DENIAL OF INSURANCE – Make sure the information you submit to the NYU Insurance & Risk Management Department is accurate and complete the first time. Small errors can mean losing costly production time. Here is a list of frequent errors and missing information: • Incomplete or inaccurate information • Noting Special Insurance Requests without filling out the proper Special Insurance Request form • Filling out the wrong form • Incorrect shoot dates • Submitting requests at the last minute

• DOWNLOADING INSURANCE ATTACHMENTS - Please be reminded that, when you receive insurance certificates via email from the NYU Insurance & Risk Management Department, you must first OPEN THE DOCUMENT IN ADOBE ACROBAT READER. Each attachment comes with security options that prevent alteration of the insurance certificates, which sometimes causes errors. PLEASE READ THE DOWNLOAD INSTRUCTIONS CAREFULLY!

48 • KEEP COPIES - Always keep copies of insurance and permit documents for yourself, before distributing them to your location owners and rental houses. • READ ALL EMAILS FROM THE NYU INSURANCE & RISK MANAGEMENT DEPARTMENT - Whenever the Insurance & Risk Management Department must reject a request for insurance, or when they require additional information to process a certain request, you will be notified via email with specific instructions on what is needed to further review your request. • NON-NYU EMAIL ACCOUNTS - Quite often, certificates are sent to e-mail accounts, such as Yahoo or Hotmail, and returned to the Insurance & Risk Management Department as UNDELIVERABLE. If you must use this e-mail account, please make sure that the inbox is not full, and please make sure your e-mail account is working properly. • CHANGES OR CORRECTIONS TO INSURANCE REQUESTS - Corrections to your insurance requests must be re-submitted online through the request form. No changes or corrections can be accepted via email. • CONTACTING THE INSURANCE OFFICE - For any questions or concerns regarding your insurance requests, please correspond with the NYU Insurance & Risk Management Department via the “Contact Form” located on the Student Film web pages. Make sure you fill this form out completely. The insurance office will respond to you in a timely manner. NOTE: If your question is regarding the expected arrival of your insurance certificates, please make sure you have allowed for the STANDARD SEVEN (7) BUSINESS-DAY TURNAROUND before making your query.

SPECIAL INSURANCE REQUESTS DEVELOPMENT & PREPRODUCTION The University Production Insurance Plan may not automatically cover some types of production activities. Students and Instructors should review scripts and identify locations or set-ups that jeopardize or restrict insurance coverage for the production. Also, coverage will not be granted to locations where the general public is denied access due to inherent risk (i.e. condemned property, airport runways, etc.). Here are some of the items not automatically covered by insurance, or which need additional review by our insurance carrier: Firearms Rooftops & Fire Escapes Explosives Bridges & Balconies Foreign Shoots Railroad Exposures, Subways & Stations Blanks & Squibs Water Scenes & Watercraft Pyrotechnics Picture Cars (certain exceptions) Aircraft Animals Prop Weapons Any Potentially Hazardous Exposure

If any of these conditions apply to your project, you must submit a full scene description online, by filling out the ‘Special Insurance Request’ page on the Insurance web site: www.nyu.edu/insurance. NOTE: insurance requests that require additional review may take up to 2 weeks to process.

49 PROP GUNS AND OTHER SCENES REQUIRING POLICE SUPERVISION In addition to clearance from the NYU Insurance Department, police assistance is required for any film shoot that contains the use of prop weaponry, the staging of a choreographed fight scene, an actor impersonating a police officer, or any scene requiring the obstruction of traffic & pedestrians. This goes for any public exteriors or any interiors visible to the public eye.

FIREARMS ARE ILLEGAL TO OWN OR POSSESS IN SINGAPORE. A licence to import or export firearms must be arranged with the Arms and Explosives (A & E) Branch, Police Cantonment Complex. At that time, a photograph of the weapon to be used is required. Show your licence to the Immigration and Customs Agency officers at the airport so that the weapon can be cleared. Processing of A & E licence applications requires seven working days from the receipt of application and supporting documents. Dummy weapons are available locally and require an A & E licence as well. PLEASE USE CAUTION WHEN HANDLING, STORING, AND TRANSPORTING PROP WEAPONS. When props are not in use for a scene, they must not be played with or left out in the open. Doing so may cause confusion and can be potentially harmful.

STUNTWORK & PYROTECHNICS Approval for stunt work, prop weaponry, and pyrotechnics often requires the supervision of a licensed specialist or stunt coordinator. The NYU Department of Insurance & Risk Management and the local authorities may need to see proof of this individual’s license and/or credentials in order to approve your request. In addition, our insurance providers will charge the student production an additional premium; costing US$500 or more, if the hired stunt coordinator or licensed specialist does not provide his/her own liability insurance.

PRODUCTION VEHICLES, GRIP TRUCKS, CAMERA CARS & PICTURE CARS Unfortunately there is no extended coverage for Non-owned/hired autos, for production vehicles including, but not limited to: passenger vans, cargo vans, grip trucks, and moving camera cars. Prop and picture cars will be covered as long as you can show proof that they will remain stationary in the scene (i.e. background). If you plan on renting production vehicles, be sure to purchase additional insurance provided by the rental company. If it is a privately-owned vehicle, contact the owner’s auto-insurance company for information.

MRT/BUS SCENES There is NO insurance coverage under the University Production Insurance Plan for shoots within 50 feet (15 meters) of subway platforms, tracks, or moving trains. No exceptions! If you would like to shoot at a bustop or near the entrance of or by the turnstile of a Mass Rapid Transit (MRT) station you must contact Singapore Mass Rapid Transit (SMRT) at 6331 1130 (Diana Pang, [email protected]). Keep in mind that the SMRT charges a fee for subway shoots and does not offer any student discounts or waivers. You must contact them at the number given above for further details.

50 LOCATIONS SCOUT A LOCATION. GET PERMISSION. GET INSURANCE. Once you have received verbal permission from owners of private property, create a list of this information, including the full name & exact address of private location owners. Have this information ready with you when you apply for insurance at the NYU Insurance & Risk Management Department web site: www.nyu.edu/insurance. Enter this information into the Online Location Request Form for ‘Location Owner’s’. Use one form for each individual location. You must submit the full name and address of the Location Owner for each location, exactly the way it needs to be printed on a Certificate of Insurance. If you are not sure of which address of ownership to enter, just confirm this information with your location contact. Since an insurance certificate is a legal document, it is important that you fill out the request in its entirety. Be as specific as possible with the information that you provide. This will ensure that your request will be processed in a timely fashion. As with all insurance requests, the certificate of insurance will be e-mailed back to you as an attachment. Download the attachment and print out one copy for your location owner and one for your production files. This is your proof of coverage. Make sure that you have the certificate with you at all times during the shoot.

INFORMATION FOR YOUR LOCATION OWNERSPMENT & PREPRODUCTION The owner of the premises where the shoot will be conducted does not have to sign any insurance applications or documents. However, this does not mean that you do not have to ask their permission. Just be sure to mention that you have insurance coverage through New York University, as an approved student production. In a case where a property is owned my multiple persons or entities, the online request form has a space available for you to include the names of additional owners. In the ‘Additional Insured Wording’ section, enter all the entities and exact wording that needs to be reflected on the certificate here. The Insurance & Risk Management Department will make this notation to the certificate of insurance.

NYU LOCATIONS No shooting is allowed inside the NYU building. For instructions on how to get permission to film on campus grounds, please refer to the beginning of this Insurance & Permit section, or visit the Production Center at 3 Kay Siang Road.

PROTECT YOURSELF! To avoid liability for property damage or personal injury, take precautions on set. Make sure all film equipment is rigged properly, and scan your surroundings for any potentially hazardous situations. Make sure all cables are neatly routed and secured with mats to avoid ‘trip hazards’. Safety items such as orange cones and rubber mats can be rented from rental houses for minimal cost. Also, take ample behind-the-scenes footage and production stills. This footage could protect you in the event of a faulty damage or injury claim. For more info on set safety, please refer to the SAFETY FIRST! section of this handbook.

51 SHOOTING ON PUBLIC PROPERTY IN SINGAPORE SINGAPORE FILMING PERMITS While filming permits are not required for television or film productions, non-Singaporean filmmakers seeking to film in Singapore must obtain relevant documents from the Singapore Ministry of Manpower and the Immigration & Checkpoints Authority. As a matriculating NYU student, you are NOT required to obtain this documentation. The MDA’s Location and Media Services desk (www.mda.gov.sg) provides information and assistance on such matters. The Singapore Media Fusion directory (www.singaporemediafusion.com) provides contacts for everything from locations and production services to post-production and insurance. OFF LIMITS AND SPECIAL PERMIT LOCATIONS Keep all equipment and crew out of fenced areas that are normally off-limits to the public. You are not allowed to film without permission at the following locations: • Military Installations or Bases • Ministry and Government Buildings or Properties (includes Phoenix Park directly east of the NYU campus) Below are some contacts that you may find useful for special permit locations: National Parks Board Diana Pang For filming at parks: Email: [email protected] Eugene Tan Tel: 6331 1130 Email: [email protected] Tel: 6465 3370 Civil Aviation Authority of Singapore For filming at Changi airport: Singapore Land Authority Melvin Leong For filming at sites under SLA: Email: [email protected] Chan Hwei Min (Ms) Tel: 6541 2777 Email: [email protected] Tel: 6323 9219 JTC For filming at warehouses: Urban Redevelopment Authority Angela Tan For filming at URA-managed carparks Email: [email protected]: Lim Seng Kee (Mr) Tel: 6883 3056 Email: [email protected] Tel: 6329 3328 Land Transport Authority Or Road closure for filming purposes: Lim Lay Kheng (Ms) Ida Sharaa Email: [email protected] Email: [email protected] Tel: 6329 3426 Tel: 18002255582

For filming at URA sites: Singapore Police Force Lynn Ng For road closures Email: [email protected] Razif Mohamed Tel: 6329 3251 Email: [email protected] Tel: 6478 2082

52 SMRT For filming at bus stops and train stations Public Utilities Board Susan Thng For filming at reservoirs: Email: [email protected] Lim Siew Wee (Ms) or Email: [email protected] Tel: 6731 3126 or 9730 0823LOPMENT & PREPRODUCTION Be sure to carry the permit from the above authority with you during your shoot. If you do not have this permit, you may be required to stop filming. Permits and regulations for filming vary from place to place, so make sure that you understand the procedures in your area. If insurance paperwork is required to secure a permit, you must ask for the exact name, address, and other details that must be entered on the NYU Insurance web site. This information can only be given to you by the local governing entity there. Once you have established a location contact, submit the required information to NYU Insurance by completing the “Location Owner’s” Online Request Form, at www.nyu.edu/insurance.

HAVING A PRODUCER OR OTHER CREW MEMBER FILE INSURANCEME Only a registered NYU film student can file for production insurance, and this can be either the director, producer, or other appointed contact. For more effective communication, only one person from the production should be the designated contact for insurance and permit paperwork. Since all correspondence regarding insurance is sent via email, it is important to save all emails regarding insurance and keep contact information consistent.

TRAVELING WITH YOUR EQUIPMENT While the NYU Insurance & Risk Management Department will insure equipment against loss, there is a possibility that without the proper documentation, the equipment may be held by the customs office of the foreign location for an indeterminate time. In addition, a letter written by the consulate or embassy of the foreign location which states their acknowledgment that the project is a student film and is being shot with their permission will be required. These documents are necessary in addition to the special requirements asked for by the NYU Insurance & Risk Management Department. Not all countries can be covered by NYU Insurance. For more information on foreign shoot locations, please see the earlier section on Insurance & Permits.

TIPS FOR TRAVELING W/ EQUIPMENT ON PLANES CARRY-ON SENSITIVE EQUIPMENT Absolutely, DO NOT check in or put cameras, sound recorders, or other sensitive and valuable equipment in your check-in luggage. Doing so greatly increases the risk of theft or damage from rough luggage handling. A safer option is to check in your personal luggage and keep all cameras, sound recorders, and other sensitive equipment on you as a carry-on. TAG EVERYTHING Put your name, phone number, address and destination contact info on separate tags on all equipment. BE PREPARED TO OPEN ALL CASES Airport security will likely inspect all equipment. Do not put locks on check-in luggage as these will be cut off by security.

53 KEEP PAPERWORK WITH YOU AT ALL TIMES Your paperwork contains the serial numbers and NYU #’s for all equipment and may be needed in case of loss or theft while traveling. This paperwork also contains relevant contact info for NYU security and the Production Center. (*As always, any theft should be immediately reported to the police and airport security and a POLICE REPORT must be obtained.) TRAVELING WITH MASTER FOOTAGE It is always best to keep your master tapes and exposed footage in your carry-on luggage. Putting exposed film footage through some X-Ray machines could ruin your footage. (Video tapes are okay).Call the airline in advance for more info and notify airport security if you are traveling with exposed footage.

54

PRODUCTION

PRODUCT

ION

55 CHECKLIST #3: Production

Below is a summary of the topics covered in this section. Feel free to use this as a checklist to help you prep for your project.

Checkout 56 • Review Check-Out Procedure • Review Equipment Policies

Set Procedure 59 • The Shoot: Setup Day 1 • Maintain Organization On Set • Call the Shots • Review Safety Procedures

Safety First! 63 • Lighting Safety • Studio Safety • Extreme Weather • Proper Turnaround • Stunt Safety

Is That a Wrap? 71 • Get The Film To The Lab • Check In Equipment

Troubleshooting Tips 72

EQUIPMENT CHECK-OUT PROCEDURE

It is important that you make sure the Production Center staff notes any problems with equipment you sign for on your check-out sheet. Any problems not marked at check-out may result in a charge for you upon check-in. NOTE FOR NYU STUDENTS: All crew members must have attended tech seminars on the equipment. Directors will not be allowed to check out equipment without having also attended these techs. Crew members should do additional hands-on training and research, as needed. Students are responsible for checking their own emails, student notice boards and Blackboard website for any changes. Detailed checkout procedures for each piece of equipment are covered during scheduled technical seminars. The following is a brief overview:

56 LIGHTING & GRIP OPEN UP ALL STANDS • Verify legs are straight and not damaged

• Check for missing/broken knobs IMPORTANT! • Make sure all knobs tighten It is vital that you check that ALL of the equipment in your package is present STRIKE, SPOT & FLOOD EACH LIGHT and working properly. If you do not check • Check for dents and frayed cords, a piece of equipment before you leave for and exposed wires your shoot, and it is broken upon return, you will be responsible for the full cost of its repair EXAMINE EACH FLAG, SILK, NET, & SCRIM or replacement. Thoroughly inspect your check • Check for discoloration, tears, holes, out sheets to see that you actually have and other damage everything that you are written down for. There are a lot of little accessories that can be easily SANDBAGS overlooked if you are not thorough. The check- • Check for holes or sand leaks out sheets are contracts; once you sign them you are taking liability for every piece of equipment SPARE BULB KIT on that sheet. “I never got this” or “We never • Remember to bring in burned out bulbs used this”, are NOT appropriate excuses. or you will be charged

STINGERS • Check them for frayed end and exposed wires

DUCTION FILM CAMERA Check to make sure that the camera kit is complete. Refer to the checkout sheet and labeling on top of each kit.

SCRATCH TEST • Test each magazine, use virgin film only. Production Center will provide an average of 10 ft of film per student.

SPEED TEST • You should see four dots (in any configuration) on the speed checker at 24fps

LIGHT METER • Remove lumisphere, check for scratches

57 SLATE • Check for any permanent marks or cracks • Do not use permanent marker or you will ruin the slate.

BATTERIES Check that each one is charged. You may ask for voltage reading at the Checkout Area. Also, remove all batteries from the camera when not in use.

TRIPOD • Extend all spreaders and legs. Make sure each lock is in place • Check tension levels of both the tilt and pan dials

TEST DOLLY • Check tracks by extending them to ensure the internal rubber cord is not bent, handle is not bent, tracks are not bent, knobs and screws are working. • Check wheels. If needed, lubricate them with dry lubricant such as powder.

LENSES • Check both the front and back elements for debris and deep scratches preferably with an LED flashlight. • Clean the elements only if necessary and in this order: first with a bulb brush and the element facing the ground to dislodge any debris; next pour a drop of lens cleaner fluid onto the lens tissue (preferably folded a couple of times) not the element; clean the element with long swipes from edge to edge, not in a circular motion • Perform a tape to eye test in order to check the focus • Remember to always mount and dismount a lens properly from the SR body

FILTERS • Check for deep scratches, chips, or air bubbles throughout the entire filter • Make sure the filter ring itself is not bent in any way • Screw the retaining rings and adapters together to ensure the threading is not stripped

CHANGING BAGS/TENTS • Make sure no tape is left inside and check to see there are no tears on both layers of the changing bag/tent. • Test both inner and outer zippers that they close properly

VIDEO CAMERAS Check to make sure that the camera kit is complete. Refer to the checkout sheet and labeling on top of each kit.

58 • Connect microphones and/or mixer to the camera. • Set the time code. • Record mic #s, date and time on each input. • Check for sand, dirt, moisture etc. • On automatic mode record test- zoom in/out • On manual mode set white balance and check screen values- record test. • Record a test shot and check it. • Check for cleanliness and cosmetics. Eject tape, remove batteries, and put package away. SOUND Check to make sure that the sound package, microphone kit, and accessory kits are complete. Refer to the checkout sheet and labeling on top of each kit. Test the breakout cables on boom poles.

COMPACT FLASH RECORDER & MICROPHONES • Connect the recorder to microphones and/or mixer. • Set the time code. • Jam the slate. • Test record with daisy-chain mic cables. Record a test and check it.

BOOM POLE • Extend and lock each section of the boom pole (do not over tighten the sectional locks, a common error) and check boom operator cable. • Thread the shock mount to the boom to see that the threading is not stripped. SOUND BLANKETS • Check for any tears, stains, or build up of mildew on each blanket • Excessively dirty or damp sound blankets will not be accepted NOTE: The Production Center does not give technical seminars during check in/outs. It is imperative that a qualified crew be present at check in/out.

SET PROCEDURE

BASIC DECISIONS The director walks on the set with a set of basic assumptions. The decisions made with the DP had to be made in pre-production in order for the technical equipment to be ordered for the shoot date. Those decisions are: a. What scenes are to be shot that day. b. Visual style. How are scenes to be shot, with static or moving camera or both What special equipment is needed such as a dolly or crane. 59 c. Lighting style d. Color scheme for the picture. This decision will affect the choice of film stock, lenses, special gels and filters and all lighting and grip equipment. e. The results of any camera, stock or lighting tests. f. Floor plans/story boards g. Shot list

THE DAY OF THE SHOOT Director and DP discuss the shooting schedule for the day or may decide on the first set-up of the day and where the camera is going to be placed. The director might have had some new ideas based on the rehearsal and may have different viewpoints on how to shoot the scene. When the director sees the completed set or dressed location, it may inspire him/her to “reveal” the environment or characters in another way. Upon arrival at the set or location, it is customary for the director to conduct a short run-through rehearsal of the first scene with the actors. The director and director of photography then make a plan for the day’s photography based on the storyboards and/or floor plans, as well as information gleaned from the rehearsal. The DP directs the gaffer to set the lights, the camera department to set the camera. As lights are being staged, the DP is moving around with his/her light meter to check light readings from each unit. Once in place, stand-ins may have to sit while tech rehearsals take place for focus, dolly moves, and lighting. The director of photography will have the camera dept. place the camera. The 1st assistant camera (1st A.C.) will prepare the camera and the appropriate lens for the first shot. The gaffer, key grip, and grip department will set the lights.

AT THE LOCATION • The producer will determine and notify crew of staging areas (the areas where the dramatic action will occur). Unload and position equipment. Every piece of equipment (camera, lighting, sound, props, make-up, costume, etc.) should have a secure place to reside for the duration of the shoot day. • The director blocks the scene with actors and/or stand-ins. Crew members should watch, noting relevant action to their role. • Camera positions are marked. Actors’ positions are marked. • Director indicates basic coverage of the scene to crew department heads. • Crew sets up lights, under the direction of the camera person. Sound Recordist sets up mics. Cables are dressed out of the way and/or taped down. • A microphone hum test is taken with all lights and other AC powered equipment on. • Actors arrive for make-up and wardrobe. • Camera is put in place. Director checks for framing. • Actors go to the set for rehearsal. First run through is for basic technical action. Second run through is for performance values. • The director decides when to stop rehearsal and begin shooting.

60 MARKS If the blocking of the camera and/or the actors is complicated, the key grip will put tape on the floor to mark both the actor’s and camera’s positions. If there is a camera move, such as a dolly, the camera can be rehearsed for smoothness. During these technical rehearsals, the gaffer will do his/her best to keep the lights out of the shot as well as “flag” or block any glare off the camera lens. Once the technical aspects of the shot are finalized, the actors are brought back to the set for a final dress rehearsal. When the director determines that everything is ready, she will shoot the scene. Each time the scene is shot from a particular angle with a specific lens size, it is referred to as a “take.

SLATING At the beginning of each take, an assistant camera person (normally the 2nd A.C.) will jump into the shot and mark it with a slate, just as we begin to roll camera. The slate should be clearly marked for each upcoming shot, indicating scene number, take number, sound number. It is held open in from of camera, well-lit and in focus. Assistant Cameraperson: “Scene 49 Apple, Take 2, Sound 57.” When the assistant cameraperson has completed the information, he/she steps out of the shot with the slate, and repeats this process for the next take. The goal is to see all information on the slate clearly. Hold the slate steady. Don’t move when it claps. Have ample light on the slate. The slate needs to be close enough to camera. The DP may have to make adjustments to see the slate. He/ She may have to zoom in. Tail Slates. The camera may be on a very tight shot for the opening frame, and then pull out to a wide shot. In this case, slating the scene at the head of the take may prove difficult. It is acceptable to start the scene without a slate and when the director calls “cut,” to slate the take at the end or tail of the shot. The slating procedure is the same. Student Slates. If you have a limited amount of stock, you can conserve a few feet of film on each take if you have the AD call for the camera to “roll” as the slate is being read. Then when the reading is completed, the DP calls “Mark it!” and the slate is “clapped.”

CALLING THE SHOT Sample roles, commands and responses include: The assistant director says, “Quiet on the set. Is everybody ready?” Wait for affirmative response. Then, Roll Sound! The sound person turns on the Sound Recorder, waits a few seconds to make sure everything is running correctly and says, “Speed!” The assistant director says, “Roll Camera!” The camera person turns on the camera and says, “Rolling!” Or “Mark It!” The assistant camera person reads the slate and then claps the slate. Clap! The director says, “Action.” The action and shooting takes place. When it is complete, The director says, “Cut!” (It is possible for the camera person to turn the camera on when she/he hears ‘speed’ without the director’s command).

61 The director will ask for as many takes as are necessary or time will allow in order to get the best material in the can. Adjustments are made on the part of the cast and/or crew after each take. Hair, make-up and continuity must be maintained from take to take. Safety Shot. Even if the director is satisfied with the first take, it is wise to take each shot at least twice, with one of the takes acting as a safety. With all the unforeseen mishaps, coupled with the speed at which a production operates, a safety shot might well be used in the editing room to get around a problem. Re-Takes. Between takes, The DP walks into the shot and checks the light to see if the readings are correct. There may be a request to do a re-take from the director to improve performance. There may also be a request from camera/grip crew because of technical problems. Actor’s too, often request additional takes if they feel they can improve their performance. These are some of things that can happen in a take which would require an additional take:

* An actor flubs or misreads a line * An actor didn’t hit focus mark correctly * The dolly didn’t hit the mark * A microphone dips into frame * The boom shadow enters frame * A light bulb goes out during a take * An airplane or loud noise buries the sound

Once the shot is completed, the process begins all over again.

Sound Report. The Sound Recordist keeps track of the recordings in the Sound Report log sheets (Refer to Appendix). This information is vital for logging and syncing purposes. It can be written in short hand on set if you are planning to rewrite it and also make them legible for your fellow team members.

SCRIPT SUPERVISION The script supervisor is the crew member responsible for keeping all of this information intact. He/she keeps track of the slates, the continuity within the scene and makes notes in his/her script about each shot. The tools of a script supervisor are a Digital camera (to record continuity) and a stop watch (to time the shots). The script supervisors’ book is a combination of shooting notes and a “lined script” for the show. The notes include: • The length of each shot • DP comments • The lens used • A brief description of what happened during the take • Directors comments

“CAMERA MOVES!”ODUCTION The lined script is a series of vertical lines on the script indicating what part of the script has been shot from which angle or take. If, at the end of production, the lined script indicates that a part of a scene does not have a line through it, then we can assume that section of the scene was not photographed from any angle. 62 When the director is satisfied that all of the takes necessary from a particular camera angle have been made, she will request that the camera be moved to the next camera position. In this way, the director will work his/her way through the script.

RISK FACTOR FOR DIFFERENT KINDS OF SHOTS Static shots are generally easier to set-up and shoot. They require less rehearsal time for camera and actors and less lighting for set area. Every time you decide to move the camera, even if it is just a small pan or tilt, it takes time to rehearse the camera and the actors. If it’s a long dolly or steadicam shot, the DP must light the entire area that the actors or camera is traveling along as well as make sure that it is all in focus. This may require precise moves by the dolly grip or steadicam operator that need to be repeated the same way each time. Each member of the camera team serves an important function. This is a sample sequence:

1. The shot is blocked for camera. 2. Marks are placed on the floor for actors. 3. Marks are placed on the floor for camera. 4. Camera sets focus marks. 5. Run through for actors and camera. 6. Adjustments for camera and actors. 7. Another run through. 8. Take

STUDENT TIP: Students are encouraged to try elaborate camera moves but should always consider a plan B if there are too many technical hurdles that must be overcome to get the shot. If the shot you are attempting is taking too much time and eating into your schedule, break down the scene into basic static “coverage.” You want to get into the editing room as soon as possible with something to cut!

Safety First! A Comprehensive Guide to Safety in Film Production The following information is a combination of safety policies set forth by the Department of Film, in compliance with standard guidelines used by the professional film and television industry. It is imperative that all members of the Dept. of Film, students, staff, and faculty alike, comply with these rules to help promote a safer working environment for all.

Light Safely: Do You Know What To Look Out For?

Do you know what to look out for? Singapore is unlike the U.S. as it is 230V, 50 Hz. To determine the electrical needs for lighting a set, a general approximation is 2000 W per 10 Amps. On average, a room will run on one 13 Amp circuit (ie: 13A =2600W). This information should be labeled on the circuit breaker or fuse box for the room. It is also recommended that you use a testing device to check proper grounding of ordinary household outlets. When lighting a room, a safe estimation to keep in mind is not to exceed a maximum of 2600W per room or approximately 2-3 lights, per circuit. Never overload a circuit.

63 Location Scout. Do a thorough location scout before using the location so you can check the amperage and locate the circuit breaker/fuse box. Remember to notice the other appliances that are plugged into a circuit: refrigerators, computers, stereos, TVs. Kitchens generally have their own circuit. When working with a location that has a fuse box, a good idea is to take note of the type of fuses that are used in case you need to buy replacements. If you blow a fuse, be prepared to turn the breakers back on, or replace the fuse. Most 3-prong power plugs in Singapore have fuses built into the plug head, carry these 13A with you on your shoots. Circuit breakers are a set of switches that reset fuses. Using Gels. When rigging gels, always use wooden clothespins. To keep the gels from melting, keep the lamps set on ‘flood’. This is especially important when using open-faced lights, as opposed to fresnels (with the “lighthouse” style cover), which contain lenses that are used to adjust the throw of the light. Set Etiquette. Call out “striking” whenever turning lights on. This lets everyone around you know that you will be turning on a very bright light. Turn the lights towards a wall, so as no to blind anybody. Also, these lights give off a lot of heat, and can melt things. Changing Bulbs. Never touch the bulb itself. If you do, the oils from your hand will boil on the glass and cause it to crack and/or explode. If you do blow a bulb, unplug the light immediately and allow it to cool off. Use a glove or cloth to unscrew and replace the bulb. Electrical Tie-Ins. UNDER NO CIRCUMSTANCES SHOULD A STUDENT OR OTHER UNTRAINED CREW MEMBER BE ‘TIEING-IN’ TO ELECTRICAL MAINS. Electrical tie- ins and any other special electrical wiring must be performed by licensed electrician. PRODUCTION Additional Concerns:

Grip Kit: Here is a list of supplies that come in • Always examine electrical cables for handy for lighting during a shoot: breaks or cuts in the insulation. Never o Durable work gloves use cables that are damaged. o Extra fuses • Stage your lighting at a safe distance from o Clothes pins (wooden) walls and the ceiling, as well as anything o Gaffer Tape else that can burn or melt. Turn off the o LED Flashlight lights when you aren’t using them, and o Leatherman, Swiss Army, or other utility be careful to let them cool down before knife touching them or packing them back in o Sash Cord (#8 or #10) the case. Always wear gloves when o Pliers handling the lights. Complying with all o Set of Screwdrivers of the above will limit your risk of suffering o Tape Measure 3rd degree burns! o Ground Fault Circuit Interrupter (GFCI) • Use tape to secure cables along flooring and secure cable with mats in walkways and other high-traffic areas. • Be particularly careful around water, especially when filming in the rain. Make sure that lights are placed far enough away from props, sets, and other materials that pose a fire risk.

64 For more information on lighting and electrical safety, please refer to the General Guidelines section of this handbook. Safety In The Studio Working on a soundstage or any type of studio environment brings up a number of safety concerns for filmmakers. Most stages come equipped with lighting grids that allow you to rig lights, scaffolds, and other equipment from up above. Naturally, equipment that is not secured properly runs the risk of coming loose and potentially falling or collapsing. Here are a couple things to keep in mind for in-studio safety: Lighting Grid. When rigging equipment to the grid, only one person at a time should use the ladder set and all other crew should keep clear of the set until rigging has completed. Safety cables should always be used to secure lights to the lighting grid. Before working with lights on the grid, all lights should be faded down or turned completely off. When applying gels, only wooden clothespins should be used to attach to hot lamps. Sets & Flats. Keep in mind that flats, props, and other set pieces are fragile. Flats are not built to be leaned on or climbed on. Close prop doors gently. Put back all props and furniture safely and in their proper place so that they do not fall on people. A minimum of two crew members should work together setting up a flat. One holds the flat and A-frame while a second person tightens the c-clamp on the bottom first. When attaching C-clamps no one should be working below. Once a second c-clamp is attached to the top flat and A-frame, secure with a sandbag onto the bottom of the A-frame going across. There is always a chance that a wall may come lose during production because it was not properly anchored down. For more information, please refer to the General s section of this handbook. Shooting In Extreme Weather Conditions When shooting in extremely warm weather, make sure that you keep your cast and crew hydrated! Stocking up on fresh drinking water and Gatorade-type drinks are highly recommended. Avoid caffeinated drinks. Provide adequate sun block or sunscreen on set, and provide overhead sun-protection, such as an EZ-up tent or popup. When shooting in interior locations with poor air circulation, provide electric fans and portable air-conditioning units to keep everyone cool and comfortable. These can also be rented from most grip and expendables houses. Inclement Weather. Shooting outdoors in bad weather, such as rain or high-winds, is not recommended. This will lead to damaged equipment and can be potentially harmful to your cast and crew. If it starts to rain, use precaution when powering down lights and other electrical equipment. Always keep adequate rain gear in your equipment inventory, to protect sensitive camera and sound equipment from rain, humidity, and other damp environments. Using Animals in Film The American Humane Association publishes a series of safety regulations called Guidelines for the Safe Use of Animals in Filmed Media, which is designed to ensure the comfort and well-being of all animal actors. The Guidelines are periodically updated to address new issues. You can download a copy of the Guidelines from the AHA web site. Please visit: http://www.americanhumane.org For Singapore, please refer to the Agri-Food & Veterinary Authority of Singapore (AVA) website (http://www.ava.gov.sg) for more details. The following are some additional tips on working with animals: • Animals are unpredictable. Always have an animal handler on set. • The owner or other guardian for the animal should be on set at all times. • Do not feed, pet or play with any animal without the permission and direct supervision of its trainer or owner. • When working with exotic animals, the set should be closed and notices posted to that effect, including a note on the call sheet.

65 Stunts and Other Potentially- Hazardous Scenes Any scenes involving stunts or potential hazards of any kind MUST be approved by the NYU Department of Insurance and Risk Management. Information on filing insurance and for filing a special request to clear potential hazards can be found in the Production Handbook or on the Insurance Dept. web site: www.nyu.edu/insurance Fire and Pyrotechnics Pyrotechnic and other explosive devices must only be operated by trained personnel. In Singapore, The Stunt Production is the only company that is licensed to operate pyrotechnics and effects (See “Singapore Info” for more details). A licensed fire safety official may be required. Fire extinguishers must be made readily available. When filming, make sure that you secure the proper equipment needed to protect the camera and other film equipment, or make sure you are operating at a safe distance. Filming these scenes requires careful consideration and control – filming without these precautions is not recommended.

Guns, Knives, and Other Prop Weapons Treat all weapons as though they are loaded and/or ready to use. Do not play with weapons and never point one at anyone, including you. The use of weapons, especially in public areas, will require special permits and/or supervision by qualified personnel. All cast and crew must be informed of safety precautions and the safe handling of prop weapons. Please refer to Page 49 (Weapons) for more information. PLEASE NOTE: Real firearms of any kind are not permitted in NYU student films. Physical Stunts In film and television production, any physical action requiring an actor to fight, fall, jump, run and/or perform in an athletic manner, and any other potentially hazardous situation is considered a stunt. Depending upon the type of stunt being performed, a trained stunt coordinator may be required to supervise. Filming Stunts In Public For any stunt work, use of prop weapons, pyrotechnics, and any other potentially hazardous scenes conducted on public property, or within view of the public (i.e. storefront) must also be cleared by the Singapore Cantonment Road police office. Special Effects Some special effects will require the supervision of a professional special effects coordinator. Do not use any special effects machinery without proper training. Even the use of smoke machines must be carefully regulated. Motor Vehicles Shooting on any public street, thoroughfare, road, or highway is strictly prohibited by local laws, unless you have secured proper permits. Car mounts should be rigged by a professional, or someone with experience in the safe handling of this equipment. The use of aircraft, watercraft, cars, or any other vehicles in production requires special permits and/or operator certifications. PLEASE NOTE: Motor vehicles of any kind, while in motion, are not insured under the NYU Production Insurance Plan. You must provide your own insurance for rented or borrowed production vehicles and picture cars. This includes towed equipment, such as a trailer or generator. Water Scenes All cast and crew members working on or near bodies of water should wear life vests or other water safety gear when appropriate. When using watercraft, be aware of load capacities. Only required cast and crew should be on watercraft. Safety lines, nets, and/or safety personnel should be used when filming in rivers or other bodies of water. Additional Safety Considerations 66 • Obey all local laws. • Before filming a stunt or special effect, the involved cast and crew should perform an on-set dry run or walkthrough. • Always post emergency information on set, including the address and directions to the nearest hospital. This and other important information regarding stunt work must be posted on call sheets and distributed to cast and crew in advance. • Wear appropriate clothing, such as rubber shoes, work gloves, safety goggles and/or face mask when necessary. • Use professional earplugs when working around loud sounds for a scene. • Have a first aid kit and working fire extinguisher(s) on set at all times. • It is recommended that someone on the crew know basic first aid and CPR.

General Safety Guidelines When shooting on location, interior or exterior, safety and security should be at the forefront of concerns for production. Many reported personal injury, theft of personal property, damage to equipment and locations, and other costly incidents often come as a result of insufficient safety and security measures. GENERAL • Familiarize yourself with emergency procedures for each location. • Director and crew must correct any safety issues brought to their attention immediately. • Good housekeeping should be maintained at all times. Walkways and work areas are to be kept clear of materials, trash, equipment, and debris. • All decorative set materials should be flame retardant or made of non-combustible materials, if such materials will be exposed to hot lamps, fire effects, and other such flammable environments. • Obey all “No Smoking” signs. • Assign a member of your crew to act as a “safety officer” on all shoots. • Do not leave property unattended, and be watchful of your surroundings to avoid accidents, loss or theft. • Do not block hallways or other access areas with equipment, cast or crew. • Bring a basic first aid kit to every production or, where applicable, inquire as to where the first aid kit is located. • Check for fire exits, smoke alarms, fire extinguishers and plan escape routes for any location. • Please take the time to note where the fire alarms, extinguishers and exits are located. Please communicate this info to your crew. Fire equipment (hydrants, extinguishers, hoses, sprinklers, etc.) must be accessible at all times. • Alcohol should never be consumed on set or during scenes regardless of age. Use prop liquids instead and make sure to store in box labeled “props” when not in use and label “hot set” when in use but left unattended. • It is imperative that crews keep their sets and staging areas tidy and organized to avoid accidents. • All cables should be neatly routed and secured, and other ‘trip hazards’ should be

67 labeled. Cables in walkways and traffic areas should be covered with mats. • Pranks and other types of horseplay are unacceptable. Distracting crew members could result in accidents and injuries. • Verbalize whenever possible so that others can be warned or updated as to your intentions or movements. For example, call “Striking” when turning on a light; call “Hot Points” when moving objects that could poke or gouge somebody; call “Behind you” or “On your left”, etc. so that people know you are moving; call “Camera moves” when picking up camera and moving it; call “Got it” when someone hands you something, and so on. ATTIRE • Wear proper protective clothing when working with tools or equipment (safety glasses, gloves, respirator or dust mask, etc.). • Work gloves are strongly recommended for both lighting/grip and set building. • Wear closed toed shoes when working on set. Sandals do not protect your feet. • Consider wearing long pants and avoiding loose fitting clothing when working on set. SPECIAL EFFECTS • If you are working somewhere that allows Smoke/Fog machines, be sure to check that smoke detectors will not be triggered, that you notify others in the building and thereabouts in person and with signs so that the fog is not mistaken for a real fire, be sure to properly ventilate the room and do not over fog. Allow fog to dissipate between takes. NOTE: Smoke Machines are limited ONLY to the sound stage. • Any scenes involving ignited items of any kind (matches, candles, etc.) should be planned thoroughly and discussed with appropriate building and safety representatives. CHEMICALS & FLAMMABLE MATERIALS • Be careful when working with oil paint, spray paint and wood stains. Be sure area is properly ventilated and that you wear a respirator and eye protection if necessary. • Be very careful of fine particulates, solvents, and any hazardous airborne substances. Wear respirators and keep safe distance from lights or other heat/spark sources. • DO NOT throw aerosol cans or other paints or stains into the trash. • Do not pour paint or other potentially hazardous waste down sinks or place into regular garbage. You should know and follow proper handling and storage procedures for all combustible or flammable materials. This is unsafe and could be illegal. • Any possibly hazardous materials should be stored in a proper container. Properly label all containers to indicate their actual contents if container is not labeled. Paint, chemicals, and other materials should not accumulate on stage floors, under platforms or in other work areas. SET CONSTRUCTION • Remove nails, screws and staples from debris when breaking down your set. • You may want to consider getting a tetanus shot if you haven’t had one in the past 7 years. • Watch for nails, screws and staples when cutting wood. • Use the proper tools for any job – do not use improvised tools.

68 • Ensure that all equipment is in proper working order and that all protective guards are in place and used. • DO NOT attempt to alter, modify, displace or remove any existing safety equipment. • Do not stand on chairs or other “improvised” items – use a proper ladder or scaffold. • Any dangerous items (glass, sharp objects) should be separated from general trash, wrapped appropriately and labeled to avoid accidents. LIGHTING & ELECTRIC • Lights become extremely hot. Use gloves and always allow lights to cool before removing from stands or grid. Placing hot lights directly on a floor could damage the floor and the light. • Do not unplug lights by pulling on the cable itself – always pull at socket or connector. • Lights must be kept a safe distance from anything potentially flammable, such as cloth, wood, paper or even gels. • Never overload circuits. If cables or extension cords get warm or hot, try a heavier gauge cable. • Keep lights at a safe distance from any flammable items (walls, flats, plastic or paper light fixtures, curtains, etc., etc.) • Many HMI and Fluorescent lights (kinos, fluotechs) are non-dimmable. Damage may occur if these lights are dimmed. Unless an HMI or Fluorescent light is specifically identified as dimmable or has ballast with dimmer controls, do not dim these lights. • If you see or smell smoke, burning plastic or the like, stop shooting immediately and address the problem. • Lights & barndoors may sometimes smoke or smell when they are new – this is a normal occurrence as the paint is heated. In such cases, allow the lights to warm up in a well-ventilated space until they are broken in. Watch them carefully to be sure there is not a real problem. • The smell of burning plastic is usually the first sign of trouble – always locate problems early and avoid letting them worsen over time. No shot is worth an accident. • NEVER try to repair equipment yourself! Attempting to repair it yourself puts you at risk of injury and affects warranties. • Do not touch bulbs with your bare hands – always use gloves. Oil from your fingers will damage bulb and could result in fire hazard or broken glass. GRIP/RIGGING • Avoid placing or rigging any items at or near eye level. If you must do so, use a tennis ball, Styrofoam cup or light colored tape on the end of any items that could cause trip or gouging hazards so people see them. • Secure all hanging lights and other items. Use safety cables, safety chains, rope or other designated and safe securing apparatus. For example, all barn doors must have safety chains in place, lights and clamps should be attached to grid with safety cables, etc. • Use adequate braces and sandbags to support sets, stands or rigging. • Proper C-stand etiquette should be covered (ie. placing so that as weight pulls down, the knuckle tightens where to place long leg and sandbag, etc.). 69 • Keep all C-Stands, stirrups and other retractable items in a tightened position to prevent the flailing out of pipe when being moved around. • Learn and use appropriate knot for the job when using rope for rigging. Always tie an extra “safety” knot. • Tape down cables and identify any trip or safety hazards with signs or other “flags”. • Remember that duct tape and gaffers tape tends to damage painted surfaces. LIFTING & MOVING HEAVY OBJECTS • When working on any potentially hazardous job, pay attention and do not get distracted. • Lifting loads improperly can cause back injuries. Lift with your legs and not your back. • Request assistance with any heavy or awkward items. • Avoid lifting heavy objects whenever possible by using carts, dollies and other mechanical devices. • Before lifting any load, check for jagged edges, nails, and other sharp protruding objects. • Often when a heavy item falls, it is best to get out of the way and let gravity do its thing – if you can’t safely stop it, warn others and get out of the way. LADDERS & SCAFFOLDS • Secure anything hanging from the ceiling grid (Studio). • Tighten all clamps securely, but do not over tighten. • Use ample safety cables and chains for barndoors, lights & clamps. • Leave absolutely nothing above head level on the scaffold, ladders, flats and so on. • Inspect all ladders before each use. • Never place ladders in doorways unless protected by barricades or guards. • Never stand on the top two rungs of a ladder. • Do not stand on top of ladder. • Never modify or remove any part of the scaffolds or ladders. DOLLIES • When booming on a dolly, make sure nobody is standing or leaning over the boom as it could swing up quickly and cause injury if hydraulics malfunction or proper finesse is not used. Watch hands, feet and cables when working on or around dolly. • Always use breaks and chuck or sandbag wheels to avoid rolling. • For safety reasons, assign a dolly grip to be solely in charge of the dolly. • Dolly grip needs to verbally communicate dolly movements including, “boom goes up”, “boom goes down”, “back to one”, “dolly moves”, etc. GRIP TRUCKS • When using lift gates on trucks, assign one person to operate the lift and vocalize all movements (“Coming down”, “Coming up”). Watch hands and feet and works slowly to avoid accidents.

70 • When packing truck, place heavier items lower and lighter items above. Be sure to balance the load and use tie downs, etc. to secure the load. • Never leave equipment unattended even if locked up. RODUCTION IT’S A WRAP!

PROPER WRAP-OUT Make sure the location is left in as good or better shape than when you arrived. One way to alleviate a major clean-up is to lay down plastic or cardboard on the ground where the crew will be working. If objects, furniture, lights, pictures, and knick-knacks have to be moved or put away before the crew can shoot, someone (usually set dressing) should make careful notes of where these items were, arrange to have them stored properly and then returned to the proper place when wrapping out of the location. Taking photos to record the original layout would be helpful here. This is proper professional behavior. It doesn’t matter if you never have to see these people again which may not be the case. You may have to come back to the location for additional work or re-shoots. Think of the locations as if they were your own property. This requires that someone is keeping an eye on what is happening to the location during the shoot. Things to watch out for are:

• THE PLACEMENT OF GAFFER’S TAPE. This tape has a tendency to peel paint off walls. • HOT LIGHTS NEAR DELICATE OBJECTS. Such as paintings, fabrics, curtains, etc. This can also be a fire hazard. • Scratches to floors, upholstery, and furniture. Avoid putting film equipment on the furniture or flooring, unless it is well covered by plastic tarps, sound blankets, or card board. You will be amazed at how easily these things become scratched by the slightest contact with camera cases and other gear. Protective materials such as these are a staple of expendables kits for most productions, and can be purchased anywhere film supplies are sold. • GARBAGE DISPOSAL. A crew can generate a lot of garbage. Make sure that it is packed up and disposed of on a regular basis. Upon leaving a location, arrange time to clean and, if need be, repaint. Also, have someone do, what is affectionately called, an‘idiot check’. Once the location has been cleared of all gear and swept clean of crew clutter, it is wise to do a final check of the area to make sure that order has been restored and no pieces of equipment are left behind. DROPPING OFF FILM At the end of every shoot day, exposed footage should be dropped off at the lab as soon as possible! Film Technical Services (FTS)(P.133)offers a 24-hour drop-box so you can conveniently drop off your film. It’s never a good idea to leave it sitting around in your car, apartment, or anywhere. Doing so may also negate your eligibility for insurance coverage in case of any damage (see the INSURANCE section for more info). Make sure that you call FTS in advance for tips on how to label the cans correctly, and to review specific processing instructions. If you are using your class allotment to cover a portion of the lab costs, make sure that you follow the procedures for using your allotment (see PRODUCTION CENTER section). And don’t forget to inquire at the lab about student rates, so that you can get a good deal on any additional out-of-pocket costs. Also, if you are having video dailies made, make sure you also drop off your own video stock for the transfer--labs charge an arm and a leg for using their in-house stock of tapes. Please take note that Film Technical Services (FTS) does not do prints in Singapore. Expedited processing is never a guarantee with any lab. Make sure that you indicate in advance that you require expedite processing. Also, don’t forget to pick up your negative. Each year, many students leave 71 their negative at the lab, either because they assume labs are storage facilities, or because they simply cannot afford to pick it up. Leaving film at the lab is very risky--labs are not obligated to store your negative for eternity. Furthermore, you may be damaging good relationships with a lab you might want to work with on future projects. Please keep in mind that Film Transfer Services (FTS) is the only lab in Singapore, Budget carefully so that you do not put yourself in a corner without a plan for paying for the dailies. Please pay the vendors promptly. Be responsible! RETURNING EQUIPMENT Make sure you build your check-in day into the end of your production schedule, both for school equipment and rental packages. As per Production Center policy, you are obligated to return the equipment on time and with the appropriate amount of crew members. Failure to do so will result in penalties. To make sure that you are prepared for check-out/check-in please see the PRODUCTION CENTER section). Rental houses also charge late fees, so read your rental agreements carefully. Troubleshooting Murphy’s Law: “Anything that can go wrong will go wrong” • Equipment Theft: It is your responsibility to report all theft of NYU equipment to NYU Office of Public Safety, then follow the steps outlined by the NYU Insurance & Risk Management Department (see INSURANCE & PERMITS section). • Equipment Failure: If any of your NYU equipment fails in the field, please let us know of the problem immediately! • Monday thru Friday, 9am to 6pm: • Saturday, 9am to 6pm • Contact the Production Center. For additional information on hours, please refer to the PRODUCTION CENTER section. • Sudden Change in Weather: Always have a cover set, an interior location ready to shoot in case of those rainy days. • Actor No-Show: Sit with your A.D. and producer and think of alternate scenes to shoot to make the most use of the day. • Crew No-Show: Keep a list of back-up contacts that may be able to come in and save you...in some cases no one will be available so some crew members may have to wear several hats. • Notify your professor immediately if you lose a day of shooting. Pick up shoots and/or reshoots are only approved on a case-by-case basis.

THE PRODUCTION CENTER Located at 3 Kay Siang Road, 1st floor

Hours Monday - Friday 9:00am - 6:00pm

Contact Details: Production: Ext 723 Rashid Rahim Al Sim Sardon Rakisan Vernon Teo

72 Assistant Director of Production: Ext 728 Amos Katz

Director of Production and Post Production: Ext 722 John Burkhart

THE PRODUCTION OFFICE Visit the Production Center (1st floor) to confirm check-out times and dates, and to obtain information on equipment available to you. Any changes to scheduled equipment must be submitted at least 72 hours (3 days) before the scheduled check-out. The Pick Sheet, a list of the contents of a class’ particular equipment package, is also available in this office.

RESERVING EQUIPMENT Reservations for production equipment are made directly through the Production Center. Students must fill out the pick sheets and may require seeking approval from the faculty or Chair Specifically-designed equipment rigs are assigned to each class, and each approved crew is guaranteed a rig. In addition to your standard package, there are pre approved extras to choose from at the time of your check-out. Pre-approved extras are based on AVAILABILITY. THESE ARE THE MAXIMUM PACKAGES. There is no other equipment available to you and packages may not be split between two crews. You may decide that there is some equipment that you do not need for your production. It will save you time to visit the Production Center in advance to delete these items from your equipment list. If you need to cancel or reschedule please see the Production Centre 72 hours before your check-out. The Production Office requires a minimum of 24 hours notice to cancel or reschedule a reservation for check-ins and check-outs. PRODUCTIONRODUCTION MOS RIGS FOR TESTS • Test shoots are permitted during Production Center hours, Checkout rooms and exteriors only. • MOS rigs are not permitted to leave the campus grounds. • Reservations must be made 48 hours in advance. • MOS rigs are reserved for class-approved projects only. • MOS rigs are reserved on a first-come first-serve basis. • Tests: You must schedule date and times with the Production Office, your eligibility will be confirmed with your professor.

WALK-IN EQUIPMENT RESERVATION There are several items available to students with production approval on a walk-in basis. (Please refer to the pick sheet Pg.115). This equipment requires no reservation, but you must stop by the Production Center and get permission. You must check out before 4:00pm. Walk-in equipment may be kept for up to 24 hours. Again, you must be enrolled in a production course and have production approval from your instructor.

Important Points about Allotments & Reservations In-Field Transfer of Equipment

73 Both directors/producers must see the Production Center to secure the appropriate forms, and follow designated procedure. All in-field transfers must be documented on an In-Field Transfer Form. Transfer of equipment without following these procedures may result in the student being fined. Director Not Present at Check-Out If a director/producer cannot be present during check-out, arrangements must be made with the Production Center to secure the Director’s letter of consent. Two-Camera Shoots Due to a limited supply of equipment, you are only allowed to check-out one camera at a time. Matriculation To have access to equipment, students must be matriculated to use an MOS rig, or any other equipment or facilities.

Cancellations If for any reason your shoot has to be cancelled, please notify the Production Office at least 24 hours in advance. There is a $25.00 no-show fee charged for missing any reservation. Incomplete Projects (including Reshoots & Pickups) Reshoots & Pick-Ups during the production semester should be scheduled with your professor first. In order to arrange to shoot beyond that semester, it must be approved by a faculty supervisor, and you must see the Graduate Chair for special consent. A student who has already received a final grade for a class cannot use production equipment for the completion of that class project (or any other project!). Loss and Damages Students are responsible for continuously checking on the status of any reported damage or losses that may have been generated upon the check-in of equipment. This is especially true if the director was not present at the check-in.

THE EQUIPMENT AREA All students use the Check-Out rooms when obtaining reserved equipment for their projects. In order to check out equipment, you must be a matriculated Graduate student enrolled in a production course with an approved project. The key crew (director, camera person, and sound person) must all be present, unless prior arrangements have been made at the Production Office. With the exception of “joint liability” classes, the director signs for the equipment and is solely responsible for it. Check-outs are held from 1:00-5:00pm, Monday through Friday, as assigned. Check-ins are held from 9:00- 11:00am Monday through Friday, as assigned. No equipment will be checked out after 5:00pm, as you must allow proper time to thoroughly check equipment and process paperwork for each. Please refer to the Equipment Check-Out Procedures Section of this handbook for detailed information on the standard check-out procedure in the Production Center.

BROKEN EQUIPMENT DURING YOUR SHOOT In the event that any piece of equipment breaks or malfunctions during your shoot you should notify the Equipment Area as soon as possible, and return it to the Production Center for repair and/or replacement. Please note that the individual components of sound, camera, and light kits must be kept together at all times, so you must return the ENTIRE KIT if you wish to get a replacement (e.g. don’t return one mic from a kit containing three, etc.). No appointment is necessary to return broken equipment. However, it is a good

74 idea to call the Production Center ahead of time, so that we can prepare for your arrival. UCTION What You Need To Know: • The Production Center will not accept dirty equipment or equipment that has tape on it. Everything must be in the same condition that it was at check out.

• DO NOT TRANSPORT EQUIPMENT OUTSIDE OF ITS CASE! Each case has been custom-designed for each item. Carrying any equipment outside of its case could risk quality and performance.

• It is important that you keep your checkout forms with your equipment at ALL times. In the event that you have to split equipment between crew members, you should make photocopies of your paperwork to go with each piece of equipment. This is a security measure to help prevent theft.

• Copies of manuals are available for all of our equipment for checkout in the NYU library, and soft copies are available on the Black Board website. So if you are not sure how to use something ask for a copy of the manual. Most manuals are also available on the Production Center Blackboard. In addition, our Tech Support staff is available to answer any questions you may have.

• Our Tech Support staff are here to answer your technical questions. It is our technical seminars that are designed to offer in-depth information on operating equipment. It is your responsibility to attend your scheduled seminars. Doing so will save valuable time and energy during checkouts.

• There will be no equipment available beyond the standard package and pre-ap proved extras, which are stated at the back of the book. ABSOLUTELY NO EXCEPTIONS.

• Allow yourself and your crew ample time for an efficient checkout to ensure that your equipment is in proper working order and that all items are accounted for. Review your checkout forms thoroughly to see that you actually have everything that you signed for. There are a lot of little accessories that can be easily overlooked if you are not thorough.

• Do not sign your checkout sheets until the checkout process has been completed. The checkout forms are a binding contract; once you sign them you are taking liability for every piece of equipment on that sheet. “I never got this”, “This was never given to me”, or “We never used this”, are not appropriate excuses.

• Remember that the purpose of the Advanced Check Out Area is simply to check in and check out equipment to students. The Production Center has no authority over the scheduling, the production packages of each class, or the policies that govern the use of equipment. Any conflicts with the policies or production packages should be raised to the Assoc. Director of Production Services or to the faculty and administration. All scheduling issues should be resolved through the Production Office.

• Any complaints about Production Center staff should be addressed to the Assoc. Director of Production.

• It is good practice to carry with you a small, inexpensive VO meter (volt-ohm) meter. The technical staff can show you a simple way to check electrical power, power cables, mic cables, sync cables, and fuses

75 • Be careful with cables. Avoid bending, or winding too tightly, as wires may break inside the insulation. The same damage occurs if cables are stepped on, or slammed in doors.

• Carry spare fuses (check in advance the exact amperage needed).

• Blown bulbs from light kits must be returned during check-in or you will be charged.

LIABILITY FOR EQUIPMENT When you sign for equipment you are acknowledging that it is in good working order. If equipment is even slightly damaged at check-out, make sure this is noted on the Check-Out Sheet. Equipment should be safeguarded at all times. Everywhere! (Even in the NYU building). Never leave equipment in a car, van, or truck, even if it is locked or in a bonded garage. Equipment has been stolen under all these conditions. Leaving equipment under these conditions constitutes negligence, which nullifies insurance coverage. Equipment cannot be stored at the Production Center, Sound Stages, Flats Cage, or any other location on campus. NO EXCEPTIONS Any damaged, lost or stolen NYU equipment is already insured and is subject to a maximum US$5,000 deductible. The costs of losses are reported to the Bursar and you will be billed. Students who have not paid for lost or damaged equipment may not be allowed to register or graduate. If you would like to contest a charge, see the Assoc. Director of Production first and then visit the Graduate Chair to set up a review board meeting. Report any theft or loss immediately to Tisch Asia Production Center +65 6500-1723 and the Singapore police. Negligence or failure to report deems you responsible for full replacement costs. Please review the INSURANCE & PERMIT section of this Handbook for complete information.

Estimated Value of Existing Equipment (estimates below are in $US): Cameras: $4000 - $35,000 Lenses: $450 - $13,000 Fresnel lights: $350 - $750 HMI lights: $5000 Microphones: $300 - $1300 Meters: $100 - $300 Sound Recorders: $600 - $6000 Video Cameras: $2000 - $6000 Tripods: $250 - $5000 Boom Poles: $125 - $1000

Bulbs: If a bulb burns out during your shoot, you will not be charged for it if you return the bulb intact. Otherwise bulbs cost from $15 - $75 each. HMI bulbs cost $300-$800. Students will be charged for any bulbs which are determined to be broken through negligence.

AVOID PAYING FINES! All late penalties are $10 per 1/2 hour and continue to accrue around the clock until the equipment is returned. If you completely miss a check-out (a no-show), you will automatically be charged a $25 penalty. You must have at least 3 crew members present at checkout (camera, sound, director). For each missing crew member, you will be charged $25. PRODUCTIONPRODUCTION

76 TEACHING SOUND STAGE Located at 3 Kay Siang Road, 1st FL (Stage 1) The Teaching Sound Stage is for class use only. No student shoots are allowed. Area Manager, Production: Amos Katz

STATEMENT OF PURPOSE: The Teaching Sound Stage is designed primarily for instructional use by Camera Lighting and Sound classes.

GENERAL PROCEDURES: • Class time should include adequate time for a complete wrap and restoration of all fixtures and equipment by the end of class. Please plan accordingly. • Special requests for equipment should be put in writing by e-mail to Amos Katz ([email protected]) a week in advance of class time. Stage staff will make every effort to satisfy the requests. • The Teaching Sound Stage is officially closed on weekends. Any special requests for weekend classes or exercises should be made in writing by the instructor to Amos Katz well in advance, and are subject to departmental approval. • Stage equipment must remain on stage at all times. It is not available for check out. • Do not attempt to repair or alter any Stage equipment. Please report any damage & missing equipment to Staff immediately. • Production Center staffs are not crew. All setups, propping, operating and wrap are the responsibility of the class itself. RULES GOVERNING THE STAGE: • No food or drink on the Stage. • Students are not allowed to use any tools such as drills, hammers, etc. For any and all construction please ask the staff for assistance. • Flats and props may not be altered in any way. No nails or staples are to be used on set walls or flats. C-Clamps should be used to hold flats together. • No smoking. Any scene involving candles or ignited hazards must be cleared ahead of time with the Instructor and Stage staff for approval. SAFETY CONSIDERATIONS: • Proper use of smoke machines must be followed as a health and safety precaution. For more information please contact Stage staff. • Turn breakers off while laying cable and connecting lights. If you see any sparks, turn off light or dimmer/breaker and inform Stage staff. Do not touch! • Please take time to note the location of fire alarms and extinguishers. There is a fire extinguisher next to all three electrical junction boxes and in the Equipment Room and Office. Please keep Stage wall perimeters and exits clear. • Working on a soundstage or any type of studio environment brings up a number of safety concerns for filmmakers. Most stages come equipped with lighting grids that allow you to rig lights, scaffolds, and other equipment from up above. Naturally, 77 equipment that is not secured properly runs the risk of coming loose and potentially falling or collapsing. • Lighting Grid. When rigging equipment to the grid, only one person at a time should use the ladder set and all other crew should keep clear of the set until rigging has completed. Safety cables should always be used to secure lights to the lighting grid. Before working with lights on the grid, all lights should be faded down or turned completely off. When applying gels, only wooden clothespins should be used to attach to hot lamps. • Sets & Flats. Keep in mind that flats, props, and other set pieces are fragile. Flats are not built to be leaned on or climbed on. Close prop doors gently. Put back all props and furniture safely and in their proper place so that they do not fall on people. • A minimum of two crew members should work together setting up a flat. One holds the flat and A-frame while a second person tightens the c-clamp on the bottom first. When attaching C-clamps no one should be working below. Once a second c-clamp is attached to the top flat and A-frame, secure with a sandbag onto the bottom of the A- frame going across. There is always a chance that a wall may come lose during production because it was not properly anchored down. PR SHOOTING SOUND STAGE Located at 3 Kay Siang Road, 1st FL (Stage 2) The Shooting Sound stage is for individual student productions. Hours Monday-Friday 9:15am-6:00pm Area Manager, Production: Amos Katz

STATEMENT OF PURPOSE: The Shooting Sound stage is a shooting space for student work. The 2nd floor facilities are primarily used as rehearsal and green room space.

SHOOTING STAGE POLICIES & PROCEDURES

SHOOTING PERIODS: Specific shooting periods depend on your specific class and year. Dates will be announced early in the semester. BOOKING PERIODS: Requests are taken on a first-come-first-served basis beginning on the booking period. Please stay informed regarding opening day for bookings and that you have all required paperwork in hand at the time of reservation. A waiting list is maintained should your requested dates be booked – waiting list applications are taken on according to the same procedure as shoot requests, and require the same documents. Please be advised that the turnout on these opening dates varies from year to year depending on all projects and their needs. Please also note than Shooting Stage space is limited. NOTE: Some dates will not be available for bookings. The stage is occasionally reserved for instruction and special events purposes, not to mention maintenance and holiday closings.

78 SHOOTING STAGE RESERVATION PROCESS: There are a few documents that you must complete in order to reserve time on the Shooting Stage. All reservations must be made in person on or after the posted reservation period start date. Enrollment status will be verified prior to confirming reservations. The Production Center does not accept requests over the phone or via email. ALL PRODUCTION CENTER RESERVATIONS ARE NON-TRANSFERABLE. Documents Required: • Stage 2 Booking Form must be completed and signed by your professor. (This form can be accessed from the Production Center Booking Station.) • Faculty Approved Script – please submit a copy of your complete script, marked up in such a way that all scenes to be shot at the Shooting Stage are easily identified. (A detailed synopsis is acceptable in cases where a script is not feasible).

SHOOTING ALLOTMENTS AND TIME FRAME: Shooting allotments for the Sound Stage (i.e., Shooting Stage Pick-Sheets) are in addition to your location shoot allotments. The number of days permitted for each project will depend on the scope of the production given script length, complexity and the production schedule (i.e., a one page script is not likely to require 12 days to shoot). The maximum amount of stage production time is equivalent to your pre-assigned production period plus one day for building/striking your set(s). MANDATORY STAGE PRODUCTION MEETING: A mandatory production meeting must be held with Production Center staff at least two weeks prior to the first day on the stage. Please contact the Area Manager, Production via email well in advance of that deadline to make an appointment. At that meeting: • Prior to the production meeting, the director will be emailed a packet of documents pertinent to the meeting. Copies of any forms requiring signatures or initials must be submitted at or before the meeting. Also, a facilities contract must be initialed and signed at the meeting stating that the director has read and will abide by Production Center procedures, as well as any additional policies specific to their production discussed in the meeting, and that they will be responsible for any damages or fees related to their production. • The Director is required to attend with all essential crew (at minimum, DP, Gaffer, Production Designer and Art Department Head must attend) to review set plans, discuss procedures, and highlight potential areas of concern. The Director is responsible to ensure that the key crew members pass along all pertinent info to their departments and all other crew members so that those who did not attend the meeting do not violate policies and procedures. • Please submit copies of set and lighting plots. • The purpose of the meeting is to coordinate your production and allow for a safe and efficient use of the Shooting Stage. Please familiarize yourself with the policies outlined in the facilities contract. Ignorance of a policy is never an excuse given the potential hazards of a studio shoot. DAILY SHOOTING STAGE CHECK-IN PROCESS:P Detailed guidelines will be provided to the director regarding daily check-in and check-out procedures on the Shooting Stage at the mandatory production meeting with Production Staff. General guidelines include: • The director or producer may check-in as early as 9:15am. • The Green Room and any additional reserved rooms (Wardrobe/ Make-Up Room) will be accessible to cast and crew at 9:15am. 79 • The Shooting Stage is not accessible until 9:15am. Production Center Staff will unlock the stage at this time provided the Director or Producer is present. • Do not leave the Shooting Stage unattended. If you vacate the stage, please inform the Production Center staff so they can secure the area. • The student director is responsible for any damage or theft of Production Center or NYU equipment or facilities. • Do not leave belongings unattended unless the room is locked. The Production Center is not responsible for the loss or damage of any personal or rental items. Please alert staff immediately of any problems with Production facilities or equipment immediately to avoid issues and penalty fees.

DAILY MAIN STAGE CHECK-OUT PROCESS: (See Strike Day section for details regarding Final day policies) • Daily Wrap: During production periods the Production Center will close promptly at 9:30pm every night. Shooting should cease by 9:00pm at the latest to ensure adequate time for wrap. All students, cast and crew must vacate the premises no later than 9:30pm. Production Staff reserves the right to determine when shooting must stop to ensure adequate time for closing. Please be aware that staff will check in toward the end of each night to evaluate. NON-NYU GUEST ACCESS (ACTORS, CREW, ETC.): The policy for Shooting Stage guest access is identical to the 2nd Floor rehearsal space policy (see below). Guest lists and forms must be submitted to Juanita Rodrigo and guest passes will be made on a daily basis at the Security Guardhouse. SET CONSTRUCTION & SET-RELATED POLICIES TOOLS: Due to insurance concerns and NYU policy, there are limitations on the types of tools that can be used on the Shooting Stage. Generally most non-powered hand tools are allowed. The use of power tools, on the other hand, is seriously restricted. TOOL RESTRICTIONS: Students are allowed to use only the following power tools at the Production Center: • Hand Drill • Palm Sander APPROVED! • Orbital Sander • Jigsaw/Saber Saw • Router No other power tools are allowed besides those specifically listed above regardless of professional experience or certification. Below is a list of some specific prohibited power tools, which are commonly requested - this is by no means a complete list, so keep in mind that anything not listed above as approved is not allowed. • Circular Saw • Belt Sander • Compound Miter Saw PROHIBITED! • Table saw

80 • Radial Arm Saw

CUTTING WOOD It is recommended that productions have all wood pre-cut off premises as Production staff cannot provide bulk cutting. Production Staff may do a limited number of simple cuts as available. Please be sure to discuss well in advance. A maximum total of 15 minutes of cutting per day is allowed based on staff availability. Depending on vacation and other factors, there may be times when no cutting will be possible. Please discuss early to avoid problems. FLATS The Production Center carries an inventory of set flats (including some doors and windows) for use on the Main Stage. • Production Center Flats may not be altered except as follows: Latex paint may be applied; small finishing nails may be used to hang items. • Students are held responsible to return the flats in the original condition. • Flats must be repainted back to white prior to return. • Please see list of fees for damaged flats provided at the mandatory Production Meeting with staff. PAINT USE Painting on stage is strictly limited to water based latex paints. Oil paint, spray paint and wood stains may never be used on stage. Directors will be charged for any permanent paint-related damage or cleanup. SCENE SHOP (1st Floor) Production Center Staff can assist with simple woodworking and basic cutting for your sets in the Scene Shop. It is only available for short times (15 minutes/day) by advanced approval and appointment, so please discuss and plan ahead.

LIGHTING AND GRIP EQUIPMENT • Equipment Check-out: Your equipment request should be submitted 7 days in advance prior to your first day of shooting. Keep in mind that it does take time to prepare equipment, so please allow for adequate time in your production schedule. • Equipment may be requested at any time during production, however, turnaround will depend on staff availability, so please plan ahead and request equipment in advance.

LIGHTING/DIMMER CONTROL BOARD Lighting Control Board: Only one crew member may access the lighting control board per shoot, so please choose carefully. If necessary, this crew member will be teched on the board by Production staff.

STRIKE DAY It is essential that crews set aside enough time to strike their sets properly. Adequate crew is also necessary. Strike time is determined by the complexity of each production. Production staff reserves the right to state when shooting must end and when strike must begin. • Shooting past the pre-determined strike time is not allowed. The Production Center reserves the right to stop the production if deemed necessary. Proper strike time is

81 required in order to ensure that all equipment is accounted for and that the stage is in order for the next production. • Crew must arrive at or near 10:00am on strike day(s) and should work steadily until finished – an under-utilization fee will be charged for any delayed strikes or if adequate crew is not present to perform the strike. • The Director is responsible to ensure that their crew performs any necessary tasks as per Production Staff instructions.

CANCELLATION/UNDER-UTILIZATION FEES: In an effort to make the stage available to the most students possible, a strict cancellation and ‘fair use’ policy is enforced. Failure to cancel all or part of your Shooting Stage reservation within ONE MONTH of your first day booked results in a fine equal to $50.00/day you reserved the stage (e.g. canceling an 8-day shoot = $400.00 in penalty fees).

2nd Floor Facilities, Policies & Procedures FACILITIES • Rehearsal Rooms for casting, green rooms and rehearsals. 2nd FLOOR RESERVATION PROCESS: • Please fill out a Request Form, which is available from Associate Director, Business Affairs, Juanita Rodrigo. One form per booking. • Directors may assign a student producer (i.e., proxy) to make reservations and represent them provided the following criteria are met: • The Producer’s name and contact info are entered by the director on the director’s signed Request Form AND… • The Producer is a currently enrolled NYU student in good standing with a valid NYU ID – (please note that the director is fully responsible for the actions of their producer whether or not they are present.) SECURITY PASS & NON-NYU GUEST ACCESS (ACTORS, CREW, ETC.) • Students should email the Associate Director, Business Affairs, Juanita Rodrigo with names of all non-NYU guests 48 hours in advance. • Please advise all guests that they must bring a valid photo ID and sign-in at the Security Booth upon arrival. • NEVER place an ad with the NYU address or contact information, nor should it be submitted to any agency. The school address should only be given to actors/guests on an individual basis. No “Open Calls”. • Please make sure all guests know the director’s name and the title of the project. • Please also provide guests with your handphone phone number if you have one. Please do not give out the Production Center number for contact purposes, since calls or messages cannot be taken. • Production staff will try to help direct visitors to the correct location, but staff cannot relay messages or wrangle actors, so please plan accordingly. • All non-NYU guests (actors, crew, etc.) should be advised not to roam elsewhere in the building. Please keep tabs on your guests to avoid problems.

82 • Please alert staff immediately of any issues with your room at the time of check-in so you are not held responsible later. • Access is not allowed beyond the listed hours, and there is no equipment storage before or after your session. • Do not block hallways or other access areas with equipment, cast, or crew.

CANCELLATIONS: Cancellations for the 2nd Floor must be made no later than 24 hours prior to your scheduled start time. You should email the Associate Director, Business Affairs, Juanita Rodrigo to cancel your reservation. Please cancel as early as possible so that other students might reserve the room. A late cancellation fee will be applied for any cancellations made within less than 24 hours of your start time. LATENESS: A thirty (30) minute grace period is given to accommodate late arrivals. After thirty minutes, your room will be re-assigned to other students on a first-come first-served basis, and a late fee will be applied. GREEN ROOM POLICIES: Please note that rehearsal rooms also serve as green rooms for the Sound Stages and may not be available during certain periods. GENERAL ROOM RELATED POLICIES: • Please vacate your room at or before your scheduled check-out time. Fees will be assessed for late exits. • Use of the NYU facilities is solely for students currently enrolled in an approved TSOAA Film production course and working on approved course related projects (this prohibits all non-class projects). Charges will apply for anyone who books space for non-approved purposes. • Please put your room back in order and clean-up (i.e., take out the trash) at the end of your session. Tidy up! Thanks. • A basic first aid kit is available at the Production Check Out Counter (1st Flr) and Post Production Check Out Counter (3rd Flr). • Post no signs. • Do not remove or add furniture without express approval from Juanita Rodrigo.

CAMPUS SHOOTING GUIDELINES: • No shooting is allowed in the building except stipulated in-class exercises (this includes elevators, hallways, stairwells, etc). For special approval to shoot on campus grounds (outside the building), please see Juanita Rodrigo. • In order to shoot on the Tisch Asia Sound Stages, please refer to Shooting Sound Stage Pg.89 • Please treat campus property as you would a location shoot (i.e., an apartment or house).Outlets in the halls may be used if approved in advance, and if cords are secured to the floor and safety considerations are met. • The Production Center does not supply flats, lights, grip equipment, bulbs, extension cords, expendables or other production related supplies above and beyond your allocated in-class package.

83 • For Sound Stage and in-class exercises, please take the time to note where the fire alarms, extinguishers, exits, and first-aid kits are located. Please communicate this info to your crew. • Prior approval is required for food and drink on the 2nd floor, even as props anywhere on campus except the Common area! • Alcohol is not allowed at any time regardless of age. Emptied and cleaned beverage cans and bottles may be filled with non-alcoholic liquids for use as props if approved by Production Staff in advance. • Please keep in mind that there are other Departments in this building, so please be a good neighbor. PPRODU PRODUCTION APPROVAL Every project starts with production approval from your professor, which is then formally submitted to the department in the beginning of each semester. The process for getting approval for your project depends upon the production class in which you are enrolled. The following is a list of conditions that merit Production Approval by the Department: PRODUCTION APPROVAL Submit your treatment or script to your instructor. Revise your project based on what you have learned from class discussions and consultations with your instructor. After the script is “green lit,” your instructor submits your name on a Production Approval Form and returns it to the Production Office. This clears you for use of school equipment, facilities, and insurance and you will also be able to access your supply allotment. • All allotments, including editing supplies, must be picked up during the semester in which you are taking the class. This includes students taking an incomplete grade. • If you do not have production approval, or have received a grade for the course, you do not have access to any supplies allotment, equipment, or facilities.

Incident Reports (Schedule of Fees) A schedule of FEES applies to procedural violations for all spaces at the Production Center. However, specific violations may be assessed or adjusted on a case by case basis. All fees are in Singapore Dollars SGD$. NO SHOW/LATE FEE (2nd Floor) ….....…..….....….....….....….....….....….....….... $25.00 • Failure to cancel a reservation at least 24 hours prior to your assigned start time. • Failure to show up on time for your rehearsal room (note: there is a thirty minute grace period from your start time, after which you will be charged and your room forfeited). FOG MACHINE/NO SMOKING VIOLATION……………………………….... $500.00 LATE CANCELLATION/UNDER-UTILIZATION FEE (Shooting Stage ONLY) $50.00 per day • Failure to cancel all or part of your Shooting Stage Reservation within one month of the start date. • Under-Utilizing time reserved for Production (i.e., not showing up, taking “off” days or half days, etc.) results in a $50.00 charge per each day affected. LATE PROP/EQUIPMENT RETURN FEE ...…………………………. $10.00/half hour 84 • If you fail to return a prop or any other item at the assigned time you will be charged $10 per each half hour until the item is returned. Fees continue to accrue around the clock, 24hrs a day, 7 days a week. LATE EXIT FEE. $25.00/Quarter Hr. for 2nd Floor & $50.00/Quarter Hr. for Shooting Stage • If you fail to leave your room at the assigned time you will be charged the fee noted above per each quarter hour or portion thereof. If past 9:30pm, the fee accrues until all parties have exited the facility. (Note: Late check-outs affect other students, depending on the degree of the violation and impact on others; you may be escorted out of your room or the building by NYU Security if necessary.) CLEANING FEE……………. $25-$100 per room (or per estimate for gross violations) • You are required to clean up after yourself and place any trash in the hallway receptacles. Anything that you leave for the staff to clean will result in a fine. Depending on the nature of the problem, a ‘Damage to Facility’ fee may also apply (see below). FINE PARTICLES VIOLATION FEE……………………………………………$250.00 • Glitter is not allowed under any circumstance. Additional cleaning fees may be assessed in addition. Any queries to be checked with the Production Area Manager. MATERIAL REMOVAL FEE…….…………………………. $100.00/day until removed • Any wood, props, miscellaneous flats, camera equipment, film boxes/ tape, grip equipment, wardrobe, and other assorted production materials must be removed in order for the next person to enter a clean room. Equipment or materials cannot be stored. After ample notice, items may be discarded and dumpster rental or additional fees may apply. DAMAGE TO FACILITY …………………………………...……………... $ per estimate • Any damage to the Production Center facilities will be assessed and the cost will be passed along to the responsible party. This includes holes in walls, removal of nails or staples, clogged drains, etc. LOST/DAMAGED EQUIPMENT………………………………………….. $ per estimate • The cost of any lost or damaged Production Center equipment will be assessed and passed along to the responsible party. DESTROYED FLAT…………..…………...... ……………$100.00/per FLAT • The fee for replacing a damaged flat is $100.00. FLAT NOT PROPERLY RETURNED TO CAGE...... …...…$20.00/per FLAT • The fee for not returning flats into their storage area $20 per flat. NOTE: The above are a list of common charges, but please be advised that fees will be charged for any damage, loss or other violation per estimate/assessment.

85 FIRST YEAR

IMP : Film Production Fall Semester PRDSGT 2008.901

During the Fall semester, each student directs a series of exercises and a short film. This film is shot only on exterior locations. Students work in crews of 3 or 4, using Digital cameras. Students will be required to purchase a Hard drive

NYU Production Insurance is required

POST PRODUCTION ALLOTMENT Allotments and Access are provided primarily through the 3rd Floor Post-Production Check Out Counter. Walk-in access is contingent upon availability. Editors are expected to supply their own media hard drives.

Final Cut Pro digital editing workstation includes: • Mac Pro Workstation • Final Cut Studio Editing Software • Sony HDV deck(HVR M25P HDV DECK) for Input/output • JVC DT-V100 Multi Format Monitor • (1) Behringer Headphone Amp UCTIO

86

Collaboration

IMP : Collaboration with 2nd Yr Dramatic Writing and 3rd Yr film students Fall Semester

During weeks 10 to 11 students will produce a collaborative film with 2nd year Dramatic Writing and 3rd year film students. This will be a script written by 2nd year Dramatic Writing student and directed by a 3rd Year film student. The students are responsible for attending the classes and producing the film. You will receive an allotment that is to be used for the budget of the film only. You will be required to do a schedule, budget, cash flow and present all receipts along with your production folder to Gillian Gordon as part of your Producing Practicum assessment.

IMP : Collaboration with 1st Yr Film and 3rd Yr ANDA students Spring Semester

During Spring Semester, each student will produce a film. You can choose from a 1st year film adaptation or a 3rd year commercial /music video from animation and digital arts project.

Allotment

$500 for each project.

PRODUCT

Note: Forms are to be collected from Vaani B at #03-06, signed by Gillian Gordon and then you will have to submit the form to Finance department at #04-18 personally.

87 SECOND YEAR

IMP : DOCUMENTARY PRODUCTION Fall Semester PRDSGT.2100.901

Producing students will research and prepare a documentary film project. They may choose to work with a film student on this project during the Spring Term. They will be expected to prepare a thoughtful, well presented treatment for the project, developed under the supervision of the instructor. Research is done on video.

SUPPLIES

SOUND Supply Allotments (1) 4GB Compact Flash Card No conversions or monetary compensations are allowed within the allotment. Allotments must be picked-up and USED during the semester in PROJECT which you are taking the course. This include (6) 60 min. Mini-DV Tapes students taking an incomplete in the course. Film stock allotments are available from the (6) DVD-R Discs Production Center during normal office hours

NYU Production Insurance Available only with instructor approval.

POST PRODUCTION ALLOTMENT Allotments and Access are provided primarily through the 3rd Floor Post-Production Check Out Counter. Walk-in access is contingent upon availability. Editors are expected to supply their own media hard drives. Final Cut Pro digital editing workstation includes: • Mac Pro Workstation • Final Cut Pro 6 Editing Software • Sony HDV deck(HVR M25P HDV DECK) for Input/output • JVC DT-V100 Multi Format Monitor • (1) Behringer Headphone Amp • (2) Altec Lansing Desk Speakers

88 Equipment Documentary

89 THESIS

MFA International Media Producing Thesis Requirements PRDSGT.2020.901 The Three Step Process: Development - Students will receive a small allotment for optioning a screenplay, literary property or life story in the Fall Term. Students will prepare letters of agreement and draft contracts. In order to receive the funds students must arrange a session with the Chair and Producing Professor by the second week of the Fall Term. They will be required to pitch the idea and outline the potential deal for acquisition of the intellectual property rights to a small committee by week 4. Allotment: S$200.

The Thesis Review takes place in December - the Producer presents their final graduation project to a Committee of Faculty and Industry. The project must be approved by the Chair in writing by 10 October. You will fill in a Thesis Review Form by 3 October at latest. Copies of your script, budget, schedule, time line and creative team must be made available to the Committee at least 7 days before the Thesis Review. This must be a substantial project and it is understood that it may not necessarily be produced during the academic year 2011-2012.

Portfolio Review - End of term. The Producer presents their portfolio of work to a committee as part of the graduation process. They will also pitch and submit details of a new project. This project, should it pass the committee, will receive an allotment of S$2,300 which must be spent on producing the approved project. ______Development

Submit paper work to IMP Administration Office by Week 2

A short story outline, letters of agreement and outlines of potential contracts with writer/author/personage. Students will make a verbal Pitch to Chair and Producing Professors in Weeks 4 and 5.

Allotment: S$200

2. Thesis Review Script/s, budget, schedule, locations, crew, time line, creative package, finance plan, marketing and distribution plan will be sent to the Committee by 31 November.

The Presentations will be made in 45 minute increments to the Committee: Chair, Professors and 1 Industry Expert

Week of December 5, 2011.

The Review is as follows: - The Producer presents ( 1 crucial creative member of your team may be present to take notes) no more than 15 min.

- Visual elements, ‘mood board’, support materials - 5 min. - Questions and Discussion: 15 min

To be clear - the Presentation is the ‘Producer’s Pitch’ it will consist of: Logline Brief Description of the Project Creative Team involved Producer’s Vision

90 Director’s Vision, Time Line re finance, marketing and distribution Mood Board and Visual Elements

Paperwork will include: Script, Storyboards, Production Time Line, Finance Plan, Marketing Plan, Movie Magic Budget, Movie Magic Schedule, Distribution Plan, Short List of Cast with agent contacts and their phone numbers and details, Crew List, Locations, Production Design,Legal documents re Chain of Title (Option agreement etc), any Letters of commitment, interest, from talent,financiers, distributors or any applications for institutional funding.

3. PORTFOLIO Review and NEW Project Presentation A Portfolio Review form may be obtained from the IMP Administration. The Portfolio Review will be scheduled for the first week in May, 2012.

The Portfolio Presentation will be made to a Committee of IMP and Film Faculty.

Detailed materials will be sent to the Committee no later than 7 days in advance of the Review.

1. The Producer must present the following materials: All projects that have been produced at Tisch Asia, on the International Media Producing programme and the production books for each project. Outside projects may be included. These media projects must be viewable on a DVD or accessible by website to the committee by 23 April 2012. If they are performance based works, documentation on DVD or website will be required. A list of screen credits with evidence of your participation as producer and supporting documentation will be required to accompany the Portfolio in addition to your Production Book.

At the Portfolio Review, you will present your Portfolio to the committee and reflect on your work, the producing process, your progress and your future.

2. New Project Presentation: You will pitch and present a new project with the following documentation:

Log Line Synopsis, Short and Long Full and Detailed Budget on Movie Magic (or equivalent industry standard) Full and Detailed Production Schedule on Movie Magic Plan re Interactivity, CGI - that which is applicable to your project. Finance Plan Marketing Plan Distribution Plan Producer Screen Credits and CV CV and Credits of any of creative team attached.

Once approved you may receive your allotment immediately. A full and accurate accounting of expenditure will be required.

Allotment: S$2300

91 Walk-In Equipment

92

Summer Rig:

Summer access to production equipment is limited to: 1) Rigs for approved thesis projects and approval is obtained from the chair and involves a treatment review.

2) “Walk-In” Equipment for approved thesis projects and students must be shooting during the summer. Walk-in equipment includes sound, Lowel / Redhead lighting packages, Manfrotto tripods, and certain types of Mini DV cameras, etc. This equipment is typically used for tests, rehearsals and location scouting.

3) One Rig for Approved Extracurricular Projects - One rig available for rising 2nd Year students. This will be a Digital Rig only and will be available for three day shoots pending the approval of a treatment. If you wish to use this equipment, you must schedule a review of your project’s treatment with the Graduate Chair. If approved, you can bring your completed pick sheet to the Production Center to select from available dates. Pick sheets are available from the first floor Production counter and must be submitted no less than 72 hours in advance. Equipment will be available two weeks after the end of Spring semester and until the end of July, with no exceptions. No extracurricular productions can overlap and there will be no production supplies allotment with this equipment. The rig can be made smaller but it cannot be split between several crews. Walk-in equipment is not available for extracurricular projects and the projects themselves cannot have overlapping shooting dates.

PRODUCTION

93

POST PRODUCTION & DISTRIBUTION

94 CHECKLIST #4:

Post Production & Distribution

Below is a summary of the topics covered in this section. Feel free to use this as a checklist to help you prep for your project.

Budgeting For Post 94 • Create a Line-Item Budget • Get Student Rates & Estimates Post Production Workflow 96 • Plan Post Production Schedule End Titles 96 Distribution 97 • Get Music Rights & Clearance • Hold Screenings • Submit to Festivals

POST PRODUCTION BUDGETING Below is a sample budget for Post Production as well as a brief description of each line item.

EDITORIAL Students in production courses are entitled to edit reservations on non-linear (Avid/Final Cut Pro/ProTools) editing systems. Please refer to the POST PRODUCTION CENTER section for more information on reserving editing time. You may find additional expenses are needed during the editorial, for such things backup hard drives, software, and other items. Any such expenses should be estimated in your editing budget. TAPE, DVD, AND OTHER STOCK Aside from your class allotment of supplies, you may have to purchase additional items, like tape stock for editing and making dubs. Some vendors offer great student discounts so take advantage! Students traditionally purchase recordable CDs and DVDs for backing up their Avid Project files and EDLs (Edit Decision Lists), beta/digibeta/HD stock for final output of the film, and recordable CDs and DVDs for media backup.

95 SOUND POST A post-production sound budget consists of two components: the sound design (building soundtracks, adding sound effects, ADR, foley, etc.) and the mix (adjusting levels, mixing down tracks, adding music, etc). Whether you edit the sound yourself or partner up with a professional sound designer, you may need to purchase such supplies as tape stock, as well as pay labor fees and/or rental fees on outside recording facilities. All approved projects have access to post-sound reservations for ProTools and other facilities. See the POST PRODUCTION CENTER SECTION for more information on the facilities that are available to you as part of your postproduction allotment. MUSIC & SCORE Commercial films normally hire composers to create music scores and soundtracks. Film students cut these costs by either scoring their own films, or creating lasting partnerships with friends and fellow students who major in Music & Arts Professions. Both a student film production and a student composer can benefit greatly from the experience! The Department of Film also has a music library of licensed music and sound effects library. Please approach the Post-Production Counter to access these media files. This is copyright- free. Rights & Clearance: When choosing original music for your soundtrack, please make sure you acquire clearance for use of the song, especially if you intend to submit to film festivals. The amount budgeted for this section depends on whether you choose to hire a composer, obtain rights to original music, or purchase royalty free music. Please refer to the DISTRIBUTION section of this handbook for more information on music clearance. Finishing on Film: If you decide to finish your project on film, you can expect additional charges, so budget carefully. First, your negative will have to be cut to match your edit, and an answer print must be created. Answer printing is one of the more expensive lab services offered and is not available in Singapore. Labs also charge for the audio layback, color correction, and other final requirements for going to film. Since the answer print is your ‘master’ copy, you will need to make duplicate prints which will cost more money. This broad overview does not include the cost of digital intermediates and other more advanced lab services that may be necessary to finish the film. Consider all the costs involved before making your decision. Finishing on Video: Many filmmakers finish their films by outputting from the editing system (Final Cut, AVID) to a high-quality master, such as miniDV and DVCam. But even if your film originates on a videotape, sometimes a process called ‘onlining’ is desired. Onlining occurs immediately after you have locked your picture in the edit, and sound has been mixed. This process is similar to a negative cut, in that it ‘matches back’ - by reentering the original raw footage, edit by edit, to restore the best possible resolution and quality for the film. This process is normally budgeted as an hourly charge at a lab or post house, with additional allocations for tape stock, and other lab fees. How you choose to finish your film is equally as important as how you chose to shoot it. Editing digitally means you are editing your film using media files, and the original negative or videotape is archived until needed for matchback purposes (negative cut/onlining). And while digital editing has become the standard, it cannot replace the look and texture of your negative, which is why many people try to finish on film. But going back to film can be cost-prohibitive, so a very acceptable alternative is to finish with a high-quality digital version, output to video. Today there are many new innovations with digital editing technology that can help maximize the quality of the image to a point where it almost mimics the look of film. The following is a series of workflow charts that will demonstrate the different formats and combinations for achieving a finished product. For more information on post, please visit the POST PRODUCTION CENTER section of this handbook.

96 POST PRODUCTION WORKFLOW There are many contributing factors to the look and feel of a film: the shooting format (film/video/HD), the film stock/tape stock, the lenses and filters, the lighting, etc. But how you choose to edit and finish your film also plays a major role in the end result. There are just as many ways to edit your film, as there are to shoot it, so it is important to consider all the possibilities. The following are a number of different workflow combinations that we call postproduction workflow. Depending on which one of these you choose, it will change the overall look and quality of your end product. Some of these options may be also cost-prohibitive, so it is crucial that you plan ahead and know how to work within your means to get your film to its successful completion. The following is a list of different workflow scenarios that can be supported in the Post Production Center: • SHOOT FILM – EDIT DIGITAL – FINISH FILM (using external labs which are not available in Singapore) • SHOOT FILM – EDIT DIGITAL – FINISH VIDEO (Standard Def or HDV or HDCAM) • SHOOT SD VIDEO – EDIT DIGITAL – FINISH VIDEO • SHOOT HD – EDIT DIGITAL – FINISH HDV (HDCAM or HDV or SD) Your finished master can be distributed in any form that you choose, including but not limited to DVD, hard drives, Internet, standard definition, HDV, etc. More detailed information and helpful diagrams are posted on the Post Production Center Blackboard. Stay tuned to this Handbook for future updates to this section, or contacts the Post Production Center for more information. Mastering formats supported by the Dept. of Film: • MiniDV • DVCam • HDCam • HDV1080i • DVD (not recommended for archiving) Distribution formats supported by the Dept. of Film: • MiniDV • DVCam • HDCam • HDV • DVD • VHS For NTSC formats, inquire at the Post Production Checkout window for support.

END TITLES

All projects must have school/departmental recognition as part of the end credits of the film. An example of how it should read is listed below: Produced [Year] New York University Tisch School of the Arts, Asia

97 International Media Producing Name of Class POST PROD DISTRIBUTION As stated in the Tisch School of the Arts Asia Ownership Policy in the front of this book, all student works are owned by the student(s) who created them. Any income from distribution of any student work shall be the property of the student(s) who created the work. All students who create or participate in the creation of a student work are jointly and severally responsible that such work is not libelous, obscene, or otherwise contrary to law. Such students shall also be responsible for obtaining any necessary permission for the use of any copyrighted materials included in such student work. The student who owns each student work grants New York University: • The right to purchase prints or other copies of such student work at cost, whenever, in the University’s sole discretion, such prints or other copies are needed for any University use and; • The right to reproduce, display, or perform prints or copies of student work anywhere and for any reason, without royalty or other payment of any kind to the student(s). In summary, since you own the rights to your film, you have the freedom to distribute or exhibit it in any public or private venue of your choice. With this freedom comes great responsibility, to your cast and crew, sponsors and others who donated time and money to your film. They are counting on you to keep them up- to-date on your progress with the film, and will anticipate the final outcome, premiere screening, and perhaps a copy of the film. While film festivals are the most common outlet for distribution of a student film, there are a few commercial outlets that encourage shorts programming and exhibition. Be sure to investigate all the possibilities. Should you come across an opportunity to make a profit off the distribution of your film, such as a broadcast licensing fee, bear in mind that this will immediately change the status of your film from a ‘student’ endeavor to a commercial one. Upon commercial release, you may have to be responsible for fulfilling any deferred-compensation agreements with your cast or crew, such as the employment of union actors. Whatever the case, it is in your best interest to stay in constant communication with all those involved in the making of your film, and to maintain positive working relationships. The connections you make now will help further your professional filmmaking career.

COPYRIGHT, LICENSING & CLEARANCE

Original Stories, Photos, Footage, and Other Works. If you intend to distribute your film on the festival circuit, or profit from its commercial sale or rental, rights to copyrighted material must be purchased or licensed. The material may be in the public domain if it has been 50 years or more since the author’s death. In such cases, the work will be free to use. But copyrights are often renewed. To check and see if a work is in the public domain, you can visit the Library of Congress online database: www.loc.gov/copyright. If the material is not in the public domain, you must contact the author (often through a representative, agent, attorney, or publisher) to secure a legally binding arrangement granting you permission to use the work.

Music. All music is subject to copyright protection unless it is in the public domain. It is incumbent upon you to determine who owns the copyright of a given piece of music and negotiate a license for its use. This usually involves the exchange of a fee for the exhibition and distribution rights. Generally, songs are owned by the music publisher; recordings are owned by the record company. Synchronization rights must also be secured if the music is recorded as part of a sound track in synchronization with visual images. Festival Rights may not require any payment, but must be negotiated in the same manner as commercial rights. Royalty-free music is available from many sources – search “royalty-free music” on the web. The 98 Department of Film & TV also has a music library of licensed music, located in the Post Production Center. This is for your use, free of charge.

Copyrighted music used in a student film requires written permission from both the publishing company and the record label. The following are music organizations that offer online database search engines for finding out information about a particular song, artist, and album: • COMPASS (Composers and Authors Society of Singapore Ltd): 37 Craig Road, Singapore 089675 +65 6323 6630 • MPS (Music Publishers [Singapore] Ltd): 2 Havelock Road #07-06, Apollo Centre, Singapore 059763 [email protected] • ASCAP: 7920 Sunset Boulevard, Los Angeles, CA 90046, 213-883-1000 • Broadcast Music, Inc. (BMI): 320 West 57th Street, New York NY 10019, 212-586-2000 • American Federation of Musicians: 1500 Broadway, New York, NY 10036 212-869-1330

APPLYING TO FESTIVALS There are hundreds of film festivals out there, both domestic and international, that accept submissions for short films. The quickest and most effective way to find out about these festivals is to register for a service called withoutabox.com, which is an online festival registration system that allows you to research and apply for film festivals online. You can do most of your research on the web, especially through independent filmmaker newsletters like indiewire.com, or filmfestival.com. Just keep track of application deadlines and keep careful inventory of application requirements for each. Most film festival programs are similar in structure, but the application criteria will vary. For festival application deadlines and criteria for NYU’s First Run Film Festival and other festivals please refer to the Festivals section in the beginning of this handbook. PRODUCTION & DISTRIBUTIONUCTION & DISTRIBUTION Once you get accepted to a festival, don’t forget to publicize your film! Find cost-effective ways to promote your festival-run via email, press releases, flyers, and press kits. Spread the good news!

THE POST PRODUCTION CENTER The Post Production Center, located on the 3rd floor supports picture editing, sound editing, mixing, Foley, ADR, and the music/soundtrack recording needs of students. Hours Monday-Saturday 8:00am - 10:00pm Please check the departmental calendar or the bulletin boards for holidays or other limited hours. 3rd Floor Post-Production: Post Production: Ext 724 Yuki Ariandi Chandra Ganesan Ben Goh Director of Production and Post Production: Ext 722 John Burkhart

99 SUPPLIES Most production allotments can be picked up at the Production Center, Monday through Friday, 9AM to 6PM. Supplies cannot be converted into cash or other supplies, except for pre-approved alternatives. You can only sign for your own allotment, so always have your student ID with you.

SUPPLY ALLOTMENTS GRADUATE SUPPLY ALLOTMENTS The Production Office provides supplies for the following Graduate courses: • 1st Year Directing Project • 1st Year MOS Project • 1st Year Documentary & Adaptation Project • 2nd Year Documentary Project • 3rd Year Directing Exercise • Camera Workshop For Shorts • Advanced Camera • Advanced Editing

GENERAL GUIDELINES • The facilities and equipment are for assigned class projects ONLY. • Smoking, eating, and drinking are not permitted in the editing suites or in rooms with equipment. Violators may lose editing privileges. Trash cans are located outside every lab. • When signed into a room, the user is responsible for the room and equipment. If you leave, please lock the room. • Leave rooms clean. Turn off and/or return all equipment. • Help keep the equipment in good shape by reporting any problems that you may have immediately. • Volume levels should be kept down, headphones used, and/or doors should be shut in all rooms when you are working. • If a piece of equipment malfunctions or breaks, do not try to fix it yourself. Report it to a staff member immediately. • Replacement value of damaged, lost, or stolen equipment will be charged to the student except in cases when the student is not at fault. • There is a fine of $10 for every half-hour for overdue equipment return or room check-out. • Students may not use office phones except in an emergency. T PRODUCTION & DISTRIBUTION ROOM SIGN-IN AND SIGN-OUT PROCEDURESOST PRODUCTIDISTRIBUTION Show your ID to a Check Out Area Staff and they will enter you into the computer. Remember that you are responsible for all of the equipment that you have checked out. Those without ID’s must be approved by the Post Production staff. 100 • Check the room when you check in. Report any missing equipment, problems with the room or the equipment immediately to the front desk. • All editing equipment is distributed through the Editing Equipment Desk in each respective area. The equipment is intended for use in the area of which it was given. No equipment should EVER leave the building. • Return all equipment to the desk when the session is done. • Complete a “Damage Report” with a front desk Staff if there are problems with the equipment and/or the room. CHEAT SHEETS Soft copies of the cheat sheets on software and workflows are available on the desktop of each workstation. DIGITAL EDITING ALLOTMENTS and RESERVATIONS The Post Production Center is for assigned projects from a NYU/TSOAA production class ONLY. Editing allotments for the following classes are given ONLY for the semester of the class. All other access is contingent on approval from the Associate Graduate Chair.

GRADUATE EDITING EDITING AND RESERVATIONS: • FINAL CUT PRO LAB (#03-27) There is a Final Cut Lab with a total of 12 stations that are primarily used by 1st Year students although 2nd Year, 3rd Year, & Thesis students also have access. 1st Years have priority access during peak editing periods. The stations are reserved for 1st Year students only. • AVID LAB (#03-29) There is a Avid Lab with a total of 8 stations that are primarily used by 2nd Year students although 3rd Year, & Thesis students also have access. 2nd Years have priority access during peak editing periods. The stations are reserved for 2nd Year students only. • SWING LAB (#03-28) Students can use the swing lab should the 1st and 2nd year lab be fully booked. • INDIVIDUAL EDITING ROOMS Individual Editing Rooms are only available for 3rd Year & Thesis students.

RESERVATION REQUESTS To make a reservation request, please approach Post-Production staff or TA. Individual Edit Suites are available. Reservations must be made at least one weekday in advance. Cancellations must be made within 24 hours before booking starts. Reservations can be confirmed immediately by any staff member. Each approved production is allotted a certain number of editing reservations, which may be used at one time or individually throughout the semester. (Your allotment of slots may begin up to two semesters after your production course ends as long as you are still enrolled as a student at NYU). You may make as many walk-in uses of the rooms as you wish. DUB RACK GUIDELINES (3rd FLOOR): Any currently enrolled student, faculty, or staff member in the Department of Film may have access to the Dub Racks. Everyone has a 2-hour limit if others are waiting. At the end of 2 hours, if one wish to continue using a dub rack and no one is waiting, one may come to the front desk and re-sign in for another 2 hour block. 101 WALK-IN USE: Approved students have walk-in access to editing stations if they are not reserved. OVERNIGHT EDITING: During peak editing times at the end of the semester, the editing facilities may be open for overnight editing. Information will be posted at the Editing Equipment Desk at such times. Reservations for overnight editing are usually made in the same way as the regular reservations for your class, but are usually considered above and beyond one’s normal allotment. Dates and times vary by semester and are subject to change. NETWORK STORAGE: Students can use the Film Departments network storage to temporarily keep their media files for transfer purposes. These files are deleted regularly as drive space is limited. Students need to ensure that all their media is backed-up onto their own external firewire drive. STORAGE POLICY: The Department of Film has very limited storage space. Any student work turned in to faculty for review or grading (papers, exams, videotapes, computer discs, films, etc.) should be collected by the student from their professor as soon as possible. The department will only store these materials for up to one semester following the semester the course was taken after which time all materials may be discarded. Equipment should be safeguarded at all times. Everywhere! (Even in the NYU building). Never leave equipment in a car, van, or truck, even if it is locked. Never leave equipment in a locker. Equipment has been stolen under all these conditions. Violation of this rule will be considered negligence and voids your future equipment privileges and insurance coverage. YOUR RESPONSIBILITIES Equipment should be safeguarded at all times. Never leave equipment in a locker. Equipment has been stolen under all these conditions. Violation of this rule will be considered negligence and voids your future equipment privileges. LATENESS AND NO-SHOW POLICIES Lateness and ‘No-Shows’ are taken very seriously, as it affects our ability to guarantee each student’s reservation and equipment. The Production Center processes several check-outs and check-ins each day, and a single incident of lateness can have a serious ripple effect on other check-outs. Cost stated below are in SGD. • All changes of check-out/check-in times are done through the Post-Production Center in advance. • Calling ahead to inform us of any lateness is helpful, but does not negate the late charges in any way. • If you are late for a check-out or check-in, and we are assisting other students, you will be asked to wait until the next available time. The late charge will accrue during the time you wait. • All late penalties are $10 per 1/2 hour. • $25 No Show Penalty. No-shows for scheduled check-outs are charged a flat $25. Incident Reports (Schedule of Fees) Below is a schedule of FEES that apply to procedural violations for all spaces at the Post Production Center. This is by no means a complete list, and violations may be assessed or adjusted on a case by case, item by item basis. All fees are in $Sing.:

102 In order to provide all students with a consistent level of quality accommodations, access and service, the following charges apply to violations of policy, equipment loss and damage to equipment or facilities, etc:

NO SHOW/LATE FEE (3rd Floor)………….…………………………………….....$25.00 • Failure to cancel a reservation at least 24 hours prior to your assigned start time. • Failure to show up on time for your station (note: there is a thirty minute grace period from your start time, after which you will be charged and your station forfeited). LATE EQUIPMENT RETURN FEE ...... ……….……………………. $10.00/half hour • If you fail to return headphones or any other item at the assigned time you will be charged $10 per each half hour until the item is returned. Fees continue to accrue around the clock, 24hrs a day, 7 days a week. CLEANING FEE………..……. $25-$100 per room (or per estimate for gross violations) • You are required to clean up after yourself and place any trash in the hallway receptacles. Anything that you leave for the staff to clean will result in a fine. Depending on the nature of the problem, a Damage to Facility fee may also apply (see below). DAMAGE TO FACILITY ………….……………………………………... $ per estimate • Any damage to the Post Production Center facilities will be assessed and the cost will be passed along to the responsible party. This includes holes in walls etc. LOST/DAMAGED EQUIPMENT.……………………………………….. $ per estimate • The cost of any lost or damaged Production Center equipment will be assessed and passed along to the responsible party.

NOTE: The above are a list of common charges, but please be advised that fees will be charged for any damage, loss or other violation per estimate/assessment. POST PRODUCTION & DISTRIBUTIO GRIEVANCES Whether it be a problem with faculty, staff, fellow students, fines, loss and/or damage to a piece of equipment, every student has the right to file grievances. This is called a ‘Review Board’. It is recommended that the student first approach the Chair to determine if the problem might be addressed in a less formal manner. If it is determined that a committee should be convened, the Chair, and any appropriate faculty or staff member, will meet with the student(s) to discuss and air all sides of the issue. Any financial remuneration or discipline will be administered by the committee once the decision is final. The results of the committee’s decision will be written in memo form and filed with the department as well as distributed to all parties involved with the grievance proceedings. Students also have the option to appeal to the Director of Administration if they are not satisfied with the results of the hearing.

103 THE CLASSES: EQUIPMENT, ALLOTMENT & SUPPLIES

NOTE TO ALL STUDENTS: Production supply allotments and equipment are only available during the semester in which a student is enrolled in a production class. Pick-ups and re-shoots can only be approved if: The student has permission from the Area Manager of Production, or is approved for Thesis access. Equipment and allotments for the Academic Year are not available between the last day of the Spring Semester and the first day of the Fall Semester

POST-GRADUATION USE OF THE FACILITIES& “Graduation,” by University definition, requires: • Completion of the stipulated Graduate points with all distribution requirements met and • Submission of a diploma application card without deletion (a student is not considered graduated if a deletion letter is issued)

Use of Facilities PRIOR to Graduation General All equipment is dedicated to particular classes with very little margin for extra usage. In order for students to use equipment when they are no longer in a production class, they must have an incomplete grade in that class and must secure permission using the Special Consent for Use of Facilities form, available from the Graduate Chair, Film.

Graduate Graduate students, who wish to use the facilities after their 2nd year must get departmental approval, be enrolled as a matriculating student and have thesis approval.

Use of Facilities AFTER Graduation Production There is NO use of production equipment or NYU’s insurance policy after students graduate.

Post-Production There is a one semester grace period for post-production facilities (not counting summer) after students graduate:

104 • Availability - Avid and Pro Tools editing rooms, and the Mix, ADR, and Foley Studios are available on a non-priority basis during the grace period. • Building Access - For access to 3 Kay Siang Road, make arrangements with the Director of Administration You will be given a letter to show the guards for entrance to the building. • Extensions - Extensions past one semester are available on a limited basis. Students can apply by emailing the Graduate Chair, Film.

105 SINGAPORE INFO

DIRECTORY OF FILM & TV VENDORS, OFFICES and OTHER RESOURCES

Below you find a list of suppliers and their contact details so that you can obtain any expendables you may need for your course work. Gloves, Expendables (Tapes, Gels, Diffusion and other misc.) Cine Equipment Pte. Ltd. Cine Equipment Store 10C Jalan Ampas #08-02 Ho Seng Lee Flatted Warehouse Singapore 329513 Tel: (65) 6252 5089 Fax: (65) 6255 1981 Email: [email protected] Remarks: The nearest MRT is Novena, and then you need to take a taxi.

Color checker card, compressed air, swabs, lens cleaning tissues: Cathay Photo 6 Raffles Blvd., Marina Square, 02-215/6 Singapore 039594 Tel.: +65 6339 6188 Email: [email protected] Remarks: The 111 bus will take you from the NYU campus bus stop on Tanglin Road directly to Marina Square Mall. For items such as maglights, gloves and tape measure visit Cine Equip’s store or DIY stores such as Home Fix, which you find in most major malls. There is a Home Fix outlet near Cathay Photo in Marina Square. Cleaning alcohol (Isopropyl) can be found at any Watson’s drugstore in any major mall.

At Sim Lim Towers and Sim Lim Square, you can obtain electronic items, computer supplies and stock up on DV-cam tapes for your work. The nearest MRT station is Bugis. You can also buy electronic items at the Mustafa Centre in Little India. If you are on a budget, you will find Mustafa very competitive. The nearest MRT is Farrer on the North East Line. For an overview of Singapore’s public transport system, visit: www.sbstransitlink.com.sg

Every quarter of the year, there is a Computer / PC show for electronics and computer related items in town. Media Development Authority (MDA) Main Office 106 140 Hill Street #04-01 MICA Building Singapore 179369 Tel: (65) 6837 9973 Fax: (65) 6336 8023 Quality Service hotline: 1800-8379979

Film processing services are available from: Film Technical Services - http://fts-lab.com/index.htm Blk 3016 Bedok North Ave 1 Singapore 489947 Tel.: +65 62464512 Email: [email protected]

Telecine services are available from: VHQ Post (S) Pte Ltd - www.vhqpost.com 91 Bencoolen Street #04-01 Sunshine Plaza Singapore 189652 Tel.: + 65 6732 8085 Do not contact these service providers without consulting with your tutor first. NYU Tisch Asia has negotiated special rates with these providers and you will not qualify for these discounts unless approved by NYU Tisch Asia.

Telecine services are also available from: Blackmagic Design Singapore – www.blackmagic-design.com/company 11 Stamford Road #03-05 Capitol Building Singapore 178884 Tel: (65) 6338 2696 Paul Stevens: [email protected]

Infinite Frameworks – www.frameworks.com.sg 28 Bukit Pasoh Road (S) 089842 Tel: (65) 6222 7888 [email protected]

Post-Production Services are available from:

107 EditLounge – www.editlounge.com 27b Tanjong Pagar Road Singapore 088450 Tel: (65) 6325 3411 [email protected]

DigiPost – www.digipost.com.sg 516a North Bridge Road Singapore 188740 Tel: (65) 6332 3515 [email protected] [email protected]

TV Standard conversion services (PAL to NTSC) services are available from: 9V Post -www.nine-v.com James Brooks: [email protected] 71B Duxton Road Singapore 089530 Tel: (65) 6227 2958

A & T Audio Visual – www.atav.com.sg 235 Jalan Besar Singapore 208909 Tel: (65) 6396 5225 Email: [email protected]

Surreal Pictures – www.surrealpictures.com.sg 3B Craig Road Singapore 089663 Tel: (65) 6 327 1505 Er Beng Lee – [email protected]

Audio Post-Production services are available from: Yellow Box Studio Pte Ltd - www.yellowboxstudios.com 116A, Telok Ayer Street, Singapore 068585 Tel: (65) 6222 1278 Email: [email protected]

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Splice Studios – www.splicestudios.com Kenn Delbridge, MPSE Supervising Sound Editor [email protected] Tel: (65) 9875 0877 27B Tanjong Pagar Road Singapore 088450

The Gunnery - www.the-gunnery.com Keong Saik Road Singapore 089115 Telephone: +65 6238 5707 Azmi Jaffar: [email protected]

AMX Audiophiles - www.amxaudiophiles.com 15 Bukit Pasoh Road #02-01 Singapore 089829 Tel: (65) 6227 3882 Email: [email protected]

Speakeasy Digital - www.speakeasy-digital.com 115B Commonwealth Drive, #02-00, Singapore 149597 Tel: (65) 6472 2768 Email: [email protected]

For special effects, fire and pyrotechnic services: Jimmy Low Hoong Yee The Stunt Production Blk 74. Whampoa Drive #09-344 Singapore 320074 Tel: (65) 6255 0293 Mobile: (65) 9666 9462 Email: [email protected]

The Photography Society Of Singapore:

109 30 Selegie Road Selegie Arts Centre Singapore 180030 Tel: (65) 63343361 Fax: (65) 63344657 http://www.pss1950.org Weekdays: 2pm to 10pm Saturday and Sunday: 2pm to 6pm Contact person: Goh Kim Hui(PSS Vice President) Members have to take up a Black and White Printing Course before they can use the equipment.

Black & White Printing (English) 4 Lessons SGD$ 160/$260(Mem/Non) They have 5 sets of enlarger with a chemical processing area. Facilities: Darkroom rental, Gallery rental, Classroom rental for arts related activities.

The Safra Photographic Club: SAFRA Mount Faber 2 Telok Blangah Way Singapore 098803 Tel: (65) 63773681 http://safraphotoclub.com Contact person: Andy Tay (Print Club Facilitator) i) Our students can only join them under Term Membership. ii) Members using the darkroom have to complete a Black & White Photography Course. This is to make sure that they know how to handle the equipment.

All chemicals and equipment such as easels, lens etc are provided. Members basically just have to bring their own paper for developing. Registration fees is $96.30 for 2 years. Facilities: A fully equipped studio, conventional darkroom with glazing machines, film dryers and enlargers and a digital darkroom

110 KODAK (SINGAPORE) PTE LIMITED

151 Lorong Chuan Lobby A PRICE LIST #05-01 New Tech Park

Singapore 556741 Tel: (65) 6371 3388 Fax: (65) 6371 3377 16 July 2010

ENTERTAINMENT IM AGING

16MM PROFESSIONAL MOTION PICTURE COLOR NEGATIVE MP-1

IDENT DESCRIPTION PERF CATNO NET PRICE (S$)

KODAK VISION2 50D COLOR NEGATIVE FILM 7201 EI 50 (DAYLIGHT) EI 12 W/80A FILTER (TUNGSTEN) SP457 400FT ON CORE -WB 1R-2994 8997165 199.00 SP455 * 100FT CAMERA SPOOL 1R-2994 8841470 53.00

KODAK VISION2 100T COLOR NEGATIVE FILM 7212 EI 100 (TUNGSTEN) EI 64 W/85 FILTER (DAYLIGHT) SP457 * 400FT ON CORE -WB 1R-2994 1262518 199.00 SP455 * 100FT CAMERA SPOOL 1R-2994 1376250 53.00

KODAK VISION3 200T COLOR NEGATIVE FILM 7213 EI 200 (TUNGSTEN) EI 125 W/85 FILTER (DAYLIGHT) SP457 400FT ON CORE -WB 1R-2994 8646192 205.00 SP455 * 100FT CAMERA SPOOL 1R-2994 1288497 54.00

KODAK VISION3 250D COLOR NEGATIVE FILM 7207 EI 250 (DAYLIGHT) EI 64 W/80A FILTER (TUNGSTEN) SP457 400FT ON CORE 1R-2994 8676264 210.00 SP455 * 100FT CAMERA SPOOL 1R-2994 1382688 55.00

KODAK VISION3 500T COLOR NEGATIVE FILM 7219 EI 500 (TUNGSTEN) EI 320 W/85 FILTER (DAYLIGHT) SP457 400FT ON CORE 1R-2994 1876580 215.00 SP455 * 100FT CAMERA SPOOL 1R-2994 8452062 57.00

KODAK VISION2 EXPRESSION 500T COLOR NEGATIVE FILM 7229 EI 500 (TUNGSTEN) EI 320 W/85 FILTER (DAYLIGHT) SP457 * 400FT ON CORE -WB 1R-2994 1681543 215.00 SP455 * 100FT CAMERA SPOOL 1R-2994 8460438 57.00

NOTE: * Denotes not conventionally stocked items, please confirm availability in advance. 1R Denotes perforated one edge. Process ECN-2 for all the above films.

All Prices indicated are before 40% discount for current students and 20% discount for Alumni

[PRICES EXCLUDE 7% GOODS AND SERVICES TAX] PRICES SUBJECT TO CHANGE WITHOUT PRIOR NOTICE

111

KODAK (SINGAPORE) PTE LIMITED PRICE LIST

151 Lorong Chuan Lobby A #05-01 New Tech Park 16 July 2010 Singapore 556741 Tel: (65) 6371 3388 Fax : (65) 6371 3377

ENTERTAINMENT IM AGING 35MM PROFESSIONAL MOTION PICTURE COLOR NEGATIVE MP-2

IDENT DESCRIPTION PERF CATNO NET PRICE (S$) KODAK VISION2 50D COLOR NEGATIVE FILM 5201 EI 50 (DAYLIGHT) EI 12 W/80A FILTER (TUNGSTEN) SP718 400FT ON CORE BH-1866 1773852 355.00 SP718 *1000FT ON CORE BH-1866 1186014 890.00

KODAK VISION2 100T COLOR NEGATIVE FILM 5212 EI 100 (TUNGSTEN) EI 64 W/85 FILTER (DAYLIGHT) SP718 400FT ON CORE BH-1866 8200701 355.00 SP718 * 1000FT ON CORE BH-1866 8856833 890.00

KODAK VISION3 200T COLOR NEGATIVE FILM 5213 EI 200 (TUNGSTEN) EI 125 W/85 FILTER (DAYLIGHT) SP718 400FT ON CORE BH-1866 1337740 365.00 SP718 * 1000FT ON CORE BH-1866 1265750 915.00

KODAK VISION3 250D COLOR NEGATIVE FILM 5207 EI 250 (DAYLIGHT) EI 64 W/80A FILTER (TUNGSTEN) SP718 400FT ON CORE BH-1866 8986903 370.00 SP718 *1000FT ON CORE BH-1866 8903932 935.00

KODAK VISION3 500T COLOR NEGATIVE FILM 5219 EI 500 (TUNGSTEN) EI 320 W/85 FILTER (DAYLIGHT) SP718 400FT ON CORE BH-1866 8738304 375.00 SP718 *1000FT ON CORE BH-1866 1252709 950.00

KODAK VISION2 EXPRESSION 500T COLOR NEGATIVE FILM 5229 EI 500 (TUNGSTEN) EI 320 W/85 FILTER (DAYLIGHT) SP718 *400FT ON CORE BH-1866 1864040 375.00

NOTE: Denotes not conventionally stocked items, please confirm availability in advance. *Process ECN-2 for all the above films.

All Prices indicated are before 40% discount for current students and 20% discount for Alumni

[PRICES EXCLUDE 7% GOODS AND SERVICES TAX] PRICES SUBJECT TO CHANGE WITHOUT PRIOR NOTICE

112

You may also want to consider Ilford or Fuji film stock as well. Regardless of the brand of stock you choose, be sure to consider all the characteristics of a particular stock for the best results.

TUNGSTEN BALANCED COLOR NEGATIVE: EASTMAN EXR 7248 (100T) Color Negative Film Tungsten El 100, EI 64 w/ 85 filter Slow speed, fine grain, crisp sharpness, has made this film Kodak’s best seller for years. Based on older film technology (5247 / 7247) but vintage quality, this film is slated for updating to Kodak Vision status.

KODAK VISION2 7212 (100T) Color Negative Film Tungsten El 100, EI 64 w/ 85 filter Vision2 100T is the sharpest color negative motion picture film. With excellent flexibility and extremely fine grain, VISION2 100T Film offers clean and crisp images. And now, 100T Film also includes superior VFX capabilities. So you can shoot all your scenes for digital compositing on the same stock.

KODAK VISION 7274 (200T) Color Negative Film Tungsten El 200, EI 125 w/ 85 filter Remarkable sharpness and fine grain for a 200 EI film. Solid blacks to 1.5 f-stops under exposure. Can easily handle 2.5 stops overexposure. New stock for 1997. This will be the film of choice for all around use and for those who cannot commit to slow or fast film. This film easily replaces 5293 / 7293.

KODAK VISION2 7217 (200T) Color Negative Film Tungsten El 200, EI 125 w/ 85 filter Vision2 200T is highly versatile and reliable. Offering excellent image structure under a wide variety of lighting conditions. And now 200T Film also enables you to shoot all scenes for digital compositing on the same stock. Giving you pristine edges and making VFX easier and more seamless than ever.

KODAK VISION 7277 (320T) Color Negative Film Tungsten El 320, EI 200 w/ 85 filter This film does not have the latitude of Vision 500T or the fine grain and sharpness of Vision 200T. This film was built on the flawed chemistry of older technology (5287 / 7287). It does provide the need for grainy urban images if you underexpose at least 1 f-stop. If you need faster speed go to Vision 500T for its ability to “see in the dark”. If you just want easier lighting set-ups go to Vision 200T.

KODAK VISION EXPRESSION 7284 (500T) Color Negative Film Tungsten El 500, EI 320 w/ 85 filter KODAK VISION2 500T is the start of a new family of films for a new era of filmmaking. With proprietary new technology for superior image structure; more highlight and shadow detail; improved color and skin tone reproduction; clean telecine transfers; and seamless special effects. KODAK VISION2 Film products offer the lowest grain available for clean, crisp images; improved neutral tone scale; and more flexibility in both film and digital postproduction.

113 KODAK VISION2 7218 (500T) Color Negative Film Tungsten El 500, EI 320 w/ 85 filter This film is a high-speed tungsten-balanced color negative camera film with color saturation and low contrast similar to KODAK VISION 320T Color Negative Film 5277 / 7277. It features very wide under and over exposure latitude. It captures enhanced shadow detail while holding black color saturation. This contributes to excellent overall neutrality and flesh-to-neutral tone reproduction. It delivers natural colors and a neutral tone scale across a wide range of exposures.

KODAK VISION 7279 (500T) Color Negative Film Tungsten El 500, EI 320 w/ 85 filter This film has revolutionized film production. It has the greatest latitude of any film ever. As its Characteristic Curve suggests it can be underexposed by 2.5 f-stop with little smokiness in the blacks. It can go 3 f-stops overexposed with little loss of quality. People tend to over light this film. It has the grain level of East-man EXR 200 films.

EASTMAN EXR 7293 (200T) Color Negative Film Tungsten EI 200, EI 125 w/ 85B filter Solid blacks to 1.5 f-stops under exposure. Can easily handle 2.5 stops overexposure. This will be the film of choice for all around use and for those who cannot commit to slow or fast film.

Daylight Balanced Color Negative: EASTMAN EXR 7245 Color Negative Film DAYLIGHT El 50, EI 12 w/ 80A filter This is the sharpest lowest grain film of any manufacturer but it is impossible slow. The film is useful for students indoors unless you have an extensive HMI lighting package or you are shooting in a greenhouse during the day.

KODAK VISION 7246 250D Color Negative Film DAYLIGHT El 250, EI 64 w/ 80A filter This film has a grain structure similar to 7274 and with rich non-milky blacks. It is a fast well-designed film but being daylight balanced it has limited uses. If you like its grain, black detail and sharpness you would find more uses for 7274 which can also be brought indoors without the speed problem.

KODAK VISION2 7205 250D Color Negative Film DAYLIGHT El 250, EI 64 w/ 80A filter Vision2 250D is an advanced, medium-speed film that delivers superior imaging in natural daylight, artificial daylight, and a variety of mixed lighting situations. Expect beautiful flesh tones, accurate color reproduction, and — thanks to its wider latitude — increased detail in shadow and highlight areas.

Color Reversal: EASTMAN EKTACHROME 7240 (Tungsten) TUNGSTEN El 125. Low to medium speed color reversal film with little latitude.

EASTMAN EKTACHROME 7250 (Tungsten) 114 TUNGSTEN El 400. High speed color reversal film with little latitude. Designed for one stop pushing where needed.

EASTMAN EKTACHROME 7239 (Daylight) DAYLIGHT El 160. Medium speed color reversal film with little latitude.

EASTMAN EKTACHROME 7251 (Daylight) DAYLIGHT El 400. High speed color reversal film with little latitude.

Black & White Negative: EASTMAN PLUS-X 7231 Negative Film

DAYLIGHT El 80. Low speed panchromatic negative film suitable for general motion picture photography. Fine grain and medium contrast.

EASTMAN DOUBLE-X 7222 Negative Film

DAYLIGHT El 250. High speed panchromatic negative film for use under adverse lighting conditions or where greater depth of field is required without increasing the illumination. Medium grain with strong contrast.

Black & White Reversal: EASTMAN PLUS-X 7265 Reversal Film (Replaces Reversal Film 7276) DAYLIGHT El 50. Low speed panchromatic reversal films suitable for general motion picture photography. Little latitude. EASTMAN TRI-X 7266 Reversal Film (Replaces Reversal Film 7278) DAYLIGHT El 100. High speed panchromatic reversal film suitable for general motion picture photography. Little latitude.

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Fuji Film Stock Information More detailed specifications for FUJI motion picture film products are available on their website: www.fujifilm.com

F-64D – 35mm Type 8522/16mm Type 8622 For use primarily in bright sunlit conditions, the low speed allows for an exceptionally fine-grained image with wonderful sharpness, saturation and the richest tonality possible without excessive contrast. This stock will render very pleasing flesh-tones, and a beautifully realistic look. The stock is also suitable for film recording with CRT type digital film recorders.

Eterna Vivid 160T – 35mm Type 8543/16mm Type 8643 A motion picture color negative film characterized by intense color, high contrast, and exceptional sharpness. ETERNA Vivid 160 is designed with high-contrast and high-color saturation, enabling it to reproduce crisp images, vibrant and translucent colors, and deep rich blacks for a wide range of expressive dramatic effects. All delivered without sacrificing exceptionally enhanced image sharpness, made possible by optimized versions of Fujifilm’s proprietary motion picture film technologies; this E.I. 160 color negative film is designed for studio work but easily adapts to daylight use at E.I. 100.* An excellent choice for telecine transfer and productions incorporating sophisticated digital effects, ETERNA Vivid 160 provides the filmmaker with a unique and dramatic palette.

Eterna 250D – 35mm Type 8563/16mm Type 8663 Natural color reproduction on location, outdoors, in mixed light... ETERNA250D delivers ample sensitivity, super shadow quality and extremely natural facial tones. Facilitates telecine transfer and digital image processing.

Eterna 250T – 35mm Type 8553/16mm Type 8653 Expanded exposure range for enhanced shadow quality. Warm colors and smooth, consistent gradation enable extremely natural facial tones. Highly suitable for telecine transfer, ETERNA250 can be used seamlessly with high-speed ETERNA500.

Eterna 400T – 35mm Type 8583/16mm Type 8683 Remarkable shadow quality and an exceptional ability to capture images! Fujifilm’s advanced technologies offer fine grain and smooth tonality for natural attractive skin tones. In addition to extended exposure range, this new E.I.400-rated film also offers enhanced telecine characteristics and film scanning response, enabling it to deliver outstanding image quality under a wider range of conditions.

Eterna 500T - 35mm Type 8573/16mm Type 8673 Setting a new standard for motion picture film, this high-speed (E.I. 500) color negative film achieves ultra- fine grain, natural skin tones, and outstanding gray balance. Dramatically improved grain produces natural results for even the most sophisticated studio work, including digital processing and computer graphics treatments. This film’s subtle expressive power and ability to capture extensive detail enable the creator to bring imagination to life.

Reala 500D – 35mm Type 8592/16mm Type 8692 Fuji Reala 500D is the only 500-speed daylight-balanced negative stock available. Its high speed not only allows for shooting in very low-light daylight conditions but also permits shooting at stops that allow a deeper depth of field. Its speed also helps to compensate for the increased stop required when using anamorphic lenses and the effective light loss that occurs when shooting “over-cranking” for slow motion effects. Also, this is the only stock currently available with Fuji’s patented 4th layer technology. This

116 technology was initially designed to help render colors more accurately, but an unexpected and very useful side effect is the 4th layer’s ability to remove much of the “green spike” that results when uncorrected fluorescent and sodium lights are mixed with daylight-balanced sources Alternate Kodak and Fuji Seller

David Yee_ Sales Manager Bazi Pte Ltd email : [email protected] S'pore H/P : +65 9144 1234 Thai H/P : +66 8110 33779 M'sia H/P : +60 1773 02090 Indo H/P : +62 8581 0606106

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Special Permit Contacts Below are some contacts that you may find useful for special permit locations:

National Parks Board Civil Aviation Authority of Singapore For filming at parks: For filming at Changi airport: Eugene Tan Melvin Leong Email: [email protected] Email: [email protected] Tel: 6465 3370 Tel: 6541 2777

Singapore Land Authority JTC For filming at sites under SLA: For filming at warehouses: 118 Chan Hwei Min (Ms) Angela Tan Email: [email protected] Email: [email protected] Tel: 6323 9219 Tel: 6883 3056

Urban Redevelopment Authority Land Transport Authority For filming at URA-managed carparks: Road closure for filming purposes: Lim Seng Kee (Mr) Ida Sharaa Email: [email protected] Email: [email protected] Tel: 6329 3328 Tel: 18002255582 Or Lim Lay Kheng (Ms) Singapore Police Force Email: [email protected] For road closures Tel: 6329 3426 Razif Mohamed Email: [email protected] For filming at URA sites: Tel: 6478 2082 Jolene Hoon Email: [email protected] Public Utilities Board Tel: 63293251 for filming at reservoirs: Lim Siew Wee (Ms) SMRT Email: [email protected] For filming at bus stops and train stations Tel: 6731 3126 Susan Thng Hp: 9730 0823 Email: [email protected] Or Diana Pang Email: [email protected] Tel: 6331 1130

119 ASEAN INFO Contacts for Film Permit in ASEAN Countries

CAMBODIA MALAYSIA Embassy of Cambodia HIGH COMMISSION OF MALAYSIA Tel.: +65 6341 9785 www.kln.gov.my/perwakilan/singapore Fax.: +65 6341 9201 Telephone : (02) 6235 0111 (main line) Trade Section: +65-62380429 6235 0223/ 6235 0534/ 6235 0667/ 6235 0990/ 6235 2187/ 6235 8849/ LAOS 6235 2153/ 6235 2150 Laos Embassy , Singapore Tele: 21406 SURJAYA RS Phone: +65-62506044 Fax :(02) 6733 6135 Fax: +65-62506014 Email: [email protected] Also: Malaysian Trade Commission MYANMAR Ms Normah Osman Counsellor(Trade) Embassy of the Union of Myanmar Mrs Anis Suriati Bukhari www.mesingapore.org.sg/services.htm Assistant Administrative Officer www.mesingapore.org.sg/contact.htm Tel: +65-62220126 Tel: 67350209 Fax.: +65-6221 5121 Email: [email protected] PHILIPPINES THAILAND EMBASSY OF THE REPUBLIC OF THE Royal Thai Embassy PHILIPPINES http://www.thaiembassy.sg/ www.philippine-embassy.org.sg Telephone: 67372158, 67372644, 67372475, 67372476 Tel. no. (65) 6737-3977 (Ambassador) 63466372 Fax no. (65) 6733-9544 (Commercial) 62259995 Email: [email protected], E-mail : [email protected] [email protected]

BRUNEI Also: HIGH COMMISSION OF BRUNEI OFFICE OF THE COMMERCIAL www.brunei.gov.bn/government/mission.htm COUNSELOR (located across from Tisch Asia on Tanglin Road) 230 Orchard Road, Tel : (65) 733 9055 Fax : (65) 737 5275 #07-234 Faber House Singapore 238854 VIETNAM Fax no. (65) 6734-4539 Vietnam Embassy in Singapore Email: [email protected] www.vietnamembassy-singapore.org Phone: 64625938 INDONESIA Fax: 64689863 (Office) Embassy of Indonesia 64625936 (Consular Office) www.kbrisingapura.com Email: [email protected] Trade Attache Djunari Inggit Waskito Or Tel.: 67375420 [email protected] Fax: 6737 5037 Email: [email protected] Email: [email protected] Reception: Tel 6737 7422 Fax 6737 5037 / 6235 5783

120

APPENDIX

121 Resources: Camera Report

122 Resources: Stripboard

STRIPBOARD

KEY

Lt.Blue/Aqua: Day Exteriors Blue/Dk. Blue: Night Exteriors Black: Indicate breaks between shoot days & days off White: Day Interiors Yellow: Night Interiors

123 Resources: Sound Report Resources:

124 Focus Chart Resources:

125

Scout Sheet : Location Scout Sheet

126 Resources: Location Release Form

LOCATION RELEASE FORM

PROJECT TITLE:

PRODUCTION DATE:

Permission is hereby granted to [YOUR COMPANY/ NAME] to use the property located at

………………………………………………………………………………………………………

………………………………………………………………………………………………………  for the purpose of photographing and recording scenes for the above project produced by [YOUR COMPANY/NAME].

………………………………………………………………………………………………………

………………………………………………………………………………………………………

Permission includes the right to bring personnel and equipment onto the property and to remove them after completion of the work. The permission herein granted shall include the right, but not the obligation, to photograph the actual name connected with the premises and to use such name in the program(s).

The undersigned hereby gives to [YOUR COMPANY/NAME], the absolute right to photograph, record, and exhibit, reproduce, broadcast and distribute, for any lawful purpose, in whole or in part any scenes containing the above described premises.

[YOUR COMPANY/NAME] hereby agrees to hold the undersigned harmless of and free from any and all liability and loss which [YOUR COMPANY/NAME], and/or its agents, may suffer for any reason, except that directly caused by the negligent acts or deliberate misconduct of the owner of the premises or its agents.

The undersigned hereby warrants and represents that the undersigned has full right and authority to solely enter into this agreement concerning the above described premises. The undersigned is over 18 Years of age.

127

The Producer represents that they are covered by Public Liability and Property Damage Insurance through New York University, School of Arts, Tisch Asia

Date:………………………………………………………

Signature:…………………………………………………

Print Name :………………………………………………

FIN/PASSPORT NO.: ……………......

Address:…………………………………………………..

Phone: ……………………………………………………

128

Resources: Talent Release

The following is an example of what a Talent release might look like:

RELEASE AUTHORIZATION TO REPRODUCE PHYSICAL LIKENESS TALENT, SERVICES AND ADVERTISING RELEASE

For value received, I agree and consent that______(Producer Name/Company) and its nominees and assigns may use any motion pictures, still photographs, videotape recordings, magnetic tape recordings, optical recordings, taken of me on ______(Project Title) or any reproduction thereof, in any form, style, or color, together with any writing and/or other advertising and/or publicity material in connection therewith, including the use of my name, as they may select.

I understand that my talents and/or services and any related advertising and publicity materials are to be used in connection with ______(Project Title). This consent and release is given by me without limitations upon any use for projection, playback, reprints, rerun, broadcast, telecast, or publication of every kind, including the advertising and publicity connected therewith. I also agree that the originals and copies there from shall be and remain in the exclusive property of ______(Producer Name/Company) or its nominees and assigns.

I am over twenty-one (21) years of age. If subject is under 21, a parent or guardian must sign this release on behalf of the minor.

______DIRECTOR’S SIGNATURE/DATE TALENT SIGNATURE/DATE

129 Resources: Edit Log Sheet

130 Resources: Script Breakdown

131 Resources: Call Sheet

132 Resources: Budget Top Sheet

133 Resources: Storyboard

Storyboard Template

134

Resources: Storyboard

135 Recommended Reading & Other Resources

General Artis, Anthony. Down & Dirty DV, Volume I: Documentaries. Visit www.downanddirtydv.com, 2006. Rea, Peter and David Irving. Producing and Directing the Short Film/Video. Focal Press, 1996. Pincus, Edward and Steven Ascher. The Filmmakers Handbook. A Plume Book, New American Library, 1984. Adams, William B. The Handbook of Motion Picture Production. New York: John Wiley & Sons, 1977. Wiese, Michael. The Independent Film and Videomaker’s Guide. Revised Edition Boston: Focal Press, 1990. Wilson, Anton. Cinema Workshop. The Basics of Film and Video from the American Cinematographer, Revised Edition, A.S.C., Holding Corp., 1983.

Directing Clurman, Harold. On Directing. New York: MacMillan, 1974. Bare, Richard L. The Film Director. Collier Books, 1971. Katz, Steven D. Film Directing: Shot by Shot. Micheael Wiese Productions, 1991. Mamet, David. On Directing. Viking Press, 1991. Truffaut, Francois. Hitchcock. New York: Simon and Schuster. 1967. Terence, St. John Marner, Ed. Directing Motion Pictures. The Tantivy Press, A.S. Barnes & Co., New York, 1972. Nilson, Vladimir, forward by S.M. Eisenstein. The Cinema As Graphic Art. New York: Hill and Wang.

Producing Baumgarten, Paul, Donald Farber & Mark Fleisher. Producing, Financing and Distributing Film. Revised and Updated, New York: Limelight Editions, 1992. Donaldson, Michael C. Clearance & Copyright, 2nd Edition. Beverly Hills: Silman-James Press, 2003. Goodell, Gregory. Independent Feature Film Production: A Complete Guide from Concept Through Distribution. New York: St. Martin’s Press, 1982. Honthaner, Eve Light. The Complete Film Production Handbook, 3rd Ed. Focal Press, 2001. The Independent Producer: Film & Television. London: Hourcourt, Howlett, Davies, Moskovic, Faber & Faber, 1986. Jolliffe, Genevieve. The Guerilla Film Makers Handbook. Contiuum Books, 2004. Litwak, Mark. Contracts for the Film & Television Industry, 2nd Ed. Los Angeles: Silman-James Press, 1998. Litwak, Mark. Risky Business: Financing & Distributing Independent Films. Los Angeles: Silman-James Press, 2004. Litwak, Mark. Dealmaking in the Film & Television Industry. Los Angeles: Silman-James Press, 2002. Singleton, Ralph S. Film Scheduling Or, How Long Will It Take to ShootYour Movie? Lone Eagle Publish ing. 2nd edition, 1991 Singleton, Ralph S. The Film Scheduling/Film Budgeting Workbook. Lone Eagle Publishing, 1984. Singleton, Ralph S. The Film Scheduling/Film Budgeting Workbook and Movie Production. Lone Eagle Publishing, 1984. Vachon, Christine. Shooting To Kill: How An Independent Producer Blasts Through The Barriers To Make Movies That Matter. New York: Avon Books, 1998. Warshawski, Morrie. Shaking the Money Tree: How To Get Grants and Donations for Film and Video, 2nd Ed. Michael Weise Productions, 2003. Wiese, Michael. Film and Video Budgets. Revised edition. Michael Wiese Productions in conjunctions with Focal Press.1990. Wiese, Michael. Film and Video Financing. Michael Wiese Productions in conjunction with Focal Press, 1991 Curran, Trisha. Financing Your Film - A Guide For Independent Film Producers. Praeger, Westport Conn., London, 1985.

136 Chamness, Danford. The Hollywood Guide to Film Budgeting and Script Breakdown for Low Budget Fea tures, fifth edition, Revised. The Stanley J. Brooks company, 1988 Behlmer, Rudy, Ed. Memo from David O. Selznick . New York: Viking Press, 1972. Gregory, Mollie. Making Films Your Business. New York, Schocken Books, 1979.

Acting Hagan, Uta.with Haskel Frankel. Respect for Acting. New York: MacMillan, 1973. Moore, Sonia. The Stanislavski System. New York: Viking Press, 1965. Stanislovksi, Constantin. An Actor Prepares. : Theater Arts. Stanislovksi, Constantin. Building a Character. : Theater Arts. Podovkin, V. Film Technique and Film Acting. 4th Printing, New York: Grove Press, 1982.

Writing Field, Syd. The Foundations of Screenwriting. New York: Dell, 1982. Phillips, William H. Writing Short Scripts, Syracuse University Press, 1991. Armer, Alan. Writing The Screenplay for Film and Television. Wadsworth Publishing, Belmont CA. A Division of Wadsworth Inc., 1985. Eisenstein, S. M. The Short Fiction Scenario. A Methuen Paperback, 1988. Seger, Linda. Making a Good Script Great. Samuel French, Hollywood, 1987. Writing - Writing Beyond the Rules. Focal Press, 1991.

Video Millerson, Gerald. Video Production Handbook. Second Edition, Focal Press,1992. Wiese, Michael. Home Video: Producing for the Home Market. Westport, CT: Michael Wiese Film/ Video, 1986. Marsh Independent Video. Straight Arrow. Mathias, Harry and Richard Patterson. Electronic Cinematography: Achieving Photographic Control over the Video Image. Belmont, CA: Wadsworth, 1985. Winston, Brian and Julia Keydel. Working With Video - A Comprehensive Guide To The World of Video Production. A Video Bookshelf Selection, Knowledge Industry Publishing Inc., White Plains, NY, 1986. Huber, David Miles. Audio Production Techniques for Video. A Video Bookshelf Selection, Knowledge Industry Publishing Inc. 1987. Watkinson, John. The Art of Digital Video. Second Edition, Focal Press, 1994. Verna, Tony. Global Television - How To Create Effective Television for the 1990’s. Focal Press, 1993.

Camera Carlson, Verne and Sylvia Carlson. Professional Lighting Handbook. Boston: Focal Press, 1985. Clarke, Charles G., ed. American Cinematographer’s Handbook. Hollywood: American Society of Cinematographers. Almendros, Nestor. Man with a Camera. New York: Simon and Schuster, 1985. Schaffer, D and A. Ritsko. Masters of Light, University of California Press, 1984. Malkiewicz, Kris J. Cinematography: A Guide for Film Makers and Film Teachers. Second Edition. Prentice Hall Press, 1989. Underdahl, Douglas. The 16mm Motion Picture Camera Helpbook. New York: NYU/Reprographics Millerson, Gerald. The Technique of Lighting for Television and Motion Pictures, Second Edition, Boston: Focal Press, 1982. Elkins, David. The Camera Assistant Manual Focal Press, 1991. Fielding, Ray. The Technique of Special Effects Cinematography. 4th Edition, New York: Hastings House, 1985. Samuelson, David. Motion Picture Camera Data. London: Focal Press.

137 Sound Nisbett, Alec. The Use of Microphones, 3rd Ed. Focal Press, 1990. Nisbett, Alec. The Technique of the Sound Studio, 4th Ed. Focal Press, 1979. Alten, Stanley R. Audio In Media. Third Edition, Wadsworth Publishing Company, Belmont, California, A Division of Wadsworth, Inc., 1981. Pendergast, Roy M. Film Music, A Neglected Art, Second Edition, W.W. Norton & Company, 1992. Karlin, Fred and Rayburn Wright. On The Track, A Guide to Contempory Film Scoring. New York: Schirmer Books; London: Collier MacMillan Publishers, 1990. Thomas, Tony. Music for the Movies. South Brunswick: A. S. Barnes, 1973. Anderson, Craig. Midi for Muscians. New York: Amsco Publications, 1986.. Kerner, Marvin M. The Art of the Sound Effects Editor, Focal Press, 1989. Weis, Elisabeth and John Belton, Ed. Film Sound, Theory and Practice. New York: Columbia University Press, 1985. Carlin, Sr., Dan. Music in Film and Video Production. Focal Press, 1991. Mott, Robert L. Sound Effects - Radio TV and Film. Focal Press, 1990.

Editing Rosenblum, R.and Robert Karen. When the Shooting Stops, the Cutting Begins, New York, Da Capo Press, 1979. Dmytryk, Edward. On Film Editing, Focal Press, 1984. Ohanian, Thomas A. Digital Nonlinear Editing. Focal Press, 1992. Reisz, Karel and Gavin Millar. The Technique of Film Editing. Boston: Focal Press, 1968. Hollyn, Norman. The Film Edition Room Handbook, Second Edition, Lone Eagle Publishing, 1990. Rubin, Michael. Nonlinear - A Guide to Electronic Film and Video Editing. Second Edition, A Book from Playground Productions, Los Angeles, CA, Triad Publishing Company, Gainsville, Florida, 1991.

Documentary Gore, Chris. Ultimate Film Festival Survival Guide, 3rd Edition. Lone Eagle Publishing, 2004. Rosenthal, Alan. Writing, Directing, and Producing Documentary Films. Southern Illinois Press, Carbon dale and Edwardsville, Date, 1990. Rabiger, Michael. Directing the Documentary. Boston: Focal Press, 1987. The documentary equivalent to this book. Baddeley, W. Hugh. The Technique of Documentary Film Production, 4th ed. New York: Hastings House, 1975. Ivens, Joris. The Camera and I. M.I.T. Press.

Animation Blair, Preston. Animation & How to Animate Film Cartoons. The Walter Foster artbooks. White, Tony. The Animator’s Workbook.

Crafts Maier, Robert. Location Scouting and Management Handbook - Televison, Film and Still Photography. Focal Press, 1994. Olson, Robert. Art Direction for Film and Television. London: Focal Press, 1993. LoBrutto, Vincent. By Design. Connecticut: Praeger, 1992. Baker, Patsy. Wigs and make-up for Theatre, TV and Film. Focal Press, 1992 Kehoe, Vincent J-R. Special Make-up Effects. Focal Press, 1991. Miller, Pat P. Script Supervision and Film Continuity, 2nd Edition, Focal Press, 1990.

The Industry Bart, Peter. The Gross: The Hits, The Flops, The Summer That Ate Hollywood. St. Martin’s Griffin, 2000. Biskind, Peter. Down and Dirty Pictures: Miramax, Sundance, & the Rise of Independent Film. Simon & Schuster, 2004. 138 Biskind, Peter. Easy Riders, Raging Bull: How the Sex-Drugs-Rock N’ Roll Generation Saved Hollywood. Simon & Schuster, 1999. Jarecki, Nicholas. How 20 Film Directors Got Their Start. Broadway Books, 2001. Kindem, Gorham, ed. The American Movie Industry: The Business of Motion Pictures. Carbondale, IL: Southern Illinois University Press, 1982. Litwak, Mark. Reel Power. New York: William Morrow and Compamy, 1986. Vogel, Harold L. Entertainment Industry Economics. New York: Cambridge University Press, 1986. Mayer, Michael F. The Film Industries: Practical Business/Legal Problems in Production, Distribution and Exhibition. New York: Hastings House, 1978. Pierson, John. Spike, Mike, Slackers & Dykes: A Guided Tour Across A Decade of American Independent Cinema. Hyperion Books, 1995. Polish, Mark. The Declaration of Independent Filmmaking. Harcourt Books, 2005. Squires, Jason. The Movie Business Book. A Touchstone Book, Published by Simon & Schuster, Inc. New York, 1983. Eaker, Sherry, Ed. The Back Stage Handbook for Performing Artists. Revised and Enlarged Edition, Back stage Books, An imprint of Watson-Guptill Publications, New York, 1991

Distribution Reichert, Julia. Doing It Yourself: A Handbook on Independent Film Distribution. New York: The Association of Independent Video and Filmmakers, Inc., 1977. Franco, Debra. Alternative Visions - Distributing Independent Media in a home Video World. The Ameri can Institute Press, Los Angeles, Wash. D.C., New York, 1990. Wiese, Michael. Film and Video Marketing. 1989. Gagney, Alan E. Gagney’s Guide to 1800 International Contests, Festival Publications, Box 10180, Glen dale, CA, 91209. Bowser, Katheryn. The AIVF Guide to International Film & Video Festivals. Third Edition, A Publication of the Foundation for Indenpendent Video and Film, Inc. 1992. 625 Broadway, 9th Floor, New York, NY 10012 (212) 473-3400 The Council On International Nontheatrical Events. The Worldwide Directory of Film & Video Festivals and Events. Fourth Edition, 1993-94, 1001 Connecticut Avenue, NW Suite 1016, Washington, D.C. 20036 (202) 785-1136

Grants Renz, Loren, Ed. The Foundation Directory. 11th Edition, compiled by the Foundation Cen ter, 1987 Warshawski, Morrie. Shaking the Money Tree, How To Get Grants and Donations for Film and Video. Mi chael Wiese Productions, 1994. Niemeyer, Suzanne. Money for Film and Video Artists. ACA Books, American Council for the Arts, New York, New York, Copublished with Allworth Press, 1991. Gibbs, Lissa Ed. National Alliancce for Media Arts and Culture. (NAMAC) Member Directory, 1992.

Reference Brook’s Standard Rate Book. Los Angeles: Stanley J. Brooks Company. Union rates and rules. Capogrosso, Eric , Ed. in chief. The 1994/95 Industry Labor Guide. Published and Distributed by the Indus try Labor Guide Publishing Comp. 11717 Kiowa Ave. Suite 104, Los Angeles, CA, 90049, (310) 820-7601. From Outside California, (800) 820-7601. Detmers, Fred, Ed. American Cinematographer Manual, The ASC Press, Hollywood, California, 1986. Hollywood Creative Directory. VNU Business Publications. Litwak, Mark. Contracts for the Film & Television Industry, 2nd Ed. Los Angeles: Silman-James Press, 1998. Maitland, Ian. Film Editing Glossary. Kendal/Hunt Publisher Company, 1990 New York 411 Production Resource, 411 Publishing, Reed Business Information The Entertainment Sourcebook (Production Design), Association of Theatrical Artists and Craftspeople. The Producer’s Masterguide, New York Production Manuel Inc. 611 Broadway, Suite 807, New York, NY 139 10012 The New York Production Guide. 150 5th Ave. New York, NY, 10011, (212) 243-0404. Singleton, Ralph. Filmmakers Dictionary. Lone Eagle Publishing Company, 1986. Konigsberg, Ira. The Complete Film Dictionary. A Meridian Book, 1989. Production Boards and Strips: For Features and Television. Los Angeles: Stanley J. Brooks Company. Ranucci, Karen. Directory of Film and Video Production Recourses in Latin America and the Caribbean

Periodicals/Newsletters: American Cinematographer Creative Screenwriting The Independent Backstage Filmmaker Magazine Film Comment Premiere Variety (Daily or Weekly)

Production Software Adobe Creative Suite (Graphic Imaging) After Effects (Graphic Imaging, Compositing, Animation) Avid Xpress DV (Editing) DVD Studio Pro Final Cut Pro HD (Editing) Final Draft (Screenwriting) EP (Movie Magic) Budgeting EP (Movie Magic) Scheduling EP (Movie Magic) Screenwriting Garage Band (Apple, Sound Editing) iDVD (Apple) iMovie (Apple, Editing)

Internet Sites: Casting/Actors/Talent American Humane Society – NEEDS to reference Film & TV Unit: http://www.americanhumane.org/protecting-animals/programs/no-animals-were-harmed/ Backstage (Casting) – www.backstage.com Breakdown Services (Casting) – www.breakdownservices.com NowCasting (Casting) – www.nowcasting.com Screen Actors Guild (SAG, Union, Casting) - www.sagindie.org Asia Actors Database – SINGAPORE BASE http://aadb.com.sg/home/ Mandy.com - Singapore http://www.mandy.com/1/cast.cfm?jt=sin Fly Entertainment – SINGAPORE BASE http://www.fly.com.sg/ Backstage (Casting) – COSTS MONEY; should note NowCasting (Casting) – NO REFERENCES for Singapore; SHOULD NOTE for US DOMESTIC casting ONLY Screen Actors Guild (SAG, Union, Casting) – CASTING BREAKDOWNS down when selected

Crew/Unions/Guilds American Society of Cinematographers (ASC) - http://www.theasc.com/magazine/ Directors Guild of America (Organization) – www.dga.org IATSE (Performers Union) – www.iatse.org Motion Picture Editors Guild (Organization) – www.editorsguild.com Producer’s Guild of America – www.producersguild.org Writers Guild of America – 2 DIVISIONS: WEST - http://www.wga.org/ EAST - http://www.wgaeast.org/ Both affiliates of the International Federation of Journalists and the International Affiliation of Writers Guilds, as well as an affiliate of the AFL-CIO.

Legal/Clearance/Licensing ASCAP (Music Rights & Clearance) - http://www.ascap.com/index.html BMI (Music Rights & Clearance) - http://www.bmi.com/ Music - http://www.uniquetracks.com Mark Litwak, Entertainment Law Attorney – www.marklitwak.com Volunteer Lawyers for the Arts (VLA) – www.vlany.org

140 Government Resources U.S. Copyright Office (Script Copyright) - http://www.copyright.gov/ NYC Mayor’s Office of Film, Theatre & Broadcasting – www.nyc.gov/film NY Governor’s Office of Film – www.nylovesfilm.com New York State Department of Labor (Child Actors) – www.labor.state.ny.us/child MDA – Media Development Authority http://www.mda.gov.sg/wms.www/index_nonflash.aspx Singapore Film Commission http://www.sfc.org.sg/main.html National Endowment for the Arts – Film/Video/Radio Resources http://www.arts.gov/resources/disciplines/media/resources.html

Technical/Trade Eastman Kodak (Technical) – www.kodak.com\ FUJI Motion Picture Film – www.fujifilm.com Millimeter Online (Technical) - http://millimeter.com/ Triggerstreet (Scripts) – www.triggerstreet.com

Fundraising Film Arts Foundation (FAF – Funding, Grants) – www.filmarts.org National Endowment for the Arts (Funding, Grants) – www.nea.gov New York State Council for the Arts (NYSCA) – http://nysca.org/public/guidelines/electronic_media New York Foundation for the Arts (NYFA) – www.nyfa.org Rockefeller Foundation (Grants/Funding) http://www.rockfound.org The Foundation Center (Grants/Funding) -http://www.fdncenter.org Singapore Film Commission - http://www.sfc.org.sg/main.html

Press/News/Reviews Film Threat (Trade/News) – www.filmthreat.com Indiewire (Trades) – www.indiewire.com Hollywood Reporter (Trade/News) – www.hollywoodreporter.com Variety Weekly/Daily (Trade/News) – www.variety.com The Numbers (Box Office) – www.the-numbers.com Showbiz Data – www.showbizdata.com Millimeter Online - http://digitalcontentproducer.com/ Res Magazine (Technical) - http://www.res.com UNLV Short Film Archives - http://short.filmarchive.unlv.edu Eye for Film - http://www.eyeforfilm.co.uk Rotten Tomatoes - http://www.rottentomatoes.com

Festivals Variety Festival Listings http://www2.variety.com/filmfests/2008/minisite.asp?ShowRanges=a Action on Film International Film Festival - http://www.aoffest.com/ Angelus Student Film Festival - http://www.angelus.org/ Ashland Independent Film Festival - http://www.ashlandfilm.org/ Austin Film Festival - http://www.austinfilmfestival.com/new/ Bermuda International Film Festival - http://www.bermudafilmfest.com/ Boxur Shorts Film Festival - http://www.boxurshorts.com/ Calgary International Film Festival - http://2009.calgaryfilm.com/ Dark Carnival Film Festival - http://www.darkcarnivalfilmfest.com/ DC Shorts Film Festival - http://www.dcshorts.com/ Doorpost Film Project - http://www.thedoorpost.com/ Elevate Film Festival - http://www.elevateexperience.com/ L.A. Comedy Shorts Film Festival - http://www.lacomedyshorts.com/shorts/shorts.htm Mammoth Film Festival - http://www.mammothfilmfestival.com/ Marfa Film Festival - http://www.marfafilmfestival.org/ Myrtle Beach International Film Festival - http://www.myrtlebeachfilmfestival.com/ Napa Sonoma Wine Country Film Festival - http://www.winecountryfilmfest.com/ Ottawa International Animation Film Festival - http://ottawa.awn.com/ Oxford International Film Festival - http://www.oxfordfilms.com/oiff/ Palm Springs Shortfest - http://www.psfilmfest.org/index.aspx Poppy Jasper Film Festival - http://www.poppyjasperfilmfest.org/ Red Rock Film Festival - http://www.ophilia.com/index.html Screamfest Horror Film Festival - http://www.screamfestla.com/ SILVERDOCS - http://silverdocs.com/ Syracuse International Film Festival - http://www.syrfilmfest.com/ Whistler Film Festival - http://www.whistlerfilmfestival.com/

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Film Festival . Com http://www.filmfestivals.com/index.shtml Film Festival Source - http://www.filmfestivalsource.com/ Sundance FILM FESTIVAL - http://festival.sundance.org/2009/ Sundance INSTITUTE - http://www.sundance.org Cannes Film Festival - http://www.festival-cannes.fr/en.html Tribeca Film Festival – http://www.tribecafilmfestival.com South By Southwest Film Festival - http://sxsw.com/ Film Organizations NAMAC - http://www.namac.org/ Film Arts Foundation – www.filmarts.org Motion Picture Association of America (MPAA) – www.mpaa.org Women Make Movies – www.wmm.com Independent Feature Project (Organization) – www.ifp.org International Documentary Association - http://www.documentary.org/ New York Women in Film & TV (NYWIFT) - http://www.nywift.org Association of Independent Video & Filmmakers (AIVF) NOW THE INDEPENDENT - http://www.aivf.org/ Materials for the Arts (MFTA) – www.mfta.org

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NOTES

ACKNOWLEDGEMENTS The 2011-2012 Production Handbook is a publication of the Production Center under the auspices of the Departments of Film and Television at the Kanbar Institute and the International Media Producing, Tisch School of the Arts, New York University. All Rights Reserved.

Edited by Christina S. DeHaven, Stephen Paine David K. Irving & Gillian Gordon

Design & Layout by Vaani B / Raymond Ee

Photography by Tisch Photo Archive

Contributors:

Louis Lavolpe, Rosanne Limoncelli, Amos Katz, John Burkhart, Elizabeth Lyons & NYU Department of Insurance & Risk Management & Department of Film Faculty & Staff

The Production Handbook is an annually-revised publication of the Department of Film. rev.G 21/08/09

143

In Memory of Charles Blackwell (1944 - 2008) Tisch School of the Arts, Singapore Campus 3 Kay Siang Road Singapore 248923 www.tischasia.nyu.edu.sg

144