UNCSA School of Filmmaking Student Handbook Agreement of Understanding

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1 UNCSA School of Filmmaking Student Handbook Agreement of Understanding By signing below, I indicate my agreement to each of the following: I have received and read a copy of the UNCSA School of Filmmaking Student Handbook. (NOTE: The UNCSA School of Filmmaking Student Handbook is available online at I understand that I am responsible for all information contained within the UNCSA School of Filmmaking Student Handbook and those policies and procedures it defines. I also acknowledge that these policies and procedures are subject to revision and alteration, and that these changes may be communicated via electronic dissemination rather than in printed form. I understand that I am expected to abide by the rules, regulations and guidelines set forth in the UNCSA School of Filmmaking Student Handbook, as well as the UNCSA Student Code of Conduct defined in the Campus Life Handbook. Printed Name Signature Date Year: G1 G2 Please sign and return this form to Stephanie Colopy, Head of Production.

2 THE UNIVERSITY OF NORTH CAROLINA SCHOOL OF THE ARTS SCHOOL OF FILMMAKING STUDENT HANDBOOK This will be your handbook for your entire stay at the School of Filmmaking. A new electronic version of the handbook will be issued at the beginning of each academic year. It is the student s responsibility to stay well informed of and current with amendments and modifications to School of Filmmaking policies and procedures. This publication should be kept handy at all times and be present and visible on every set or location. It is the one reference that will be used again and again. This School of Filmmaking Handbook is in addition to the UNCSA Bulletin and the UNCSA Campus Life Handbook for College. Any questions regarding these policies should be directed to the Office of the Dean in the School of Filmmaking.

3 Table of Contents THE SCHOOL OF FILMMAKING General Information Hours of Operation ADMINISTRATION, FACULTY & STAFF Administration Moving Image Archives Production Office Post Production Office Technical Operations.. 2 Animation Faculty Cinematography Faculty Cinema Studies Faculty Directing Faculty Editing & Sound Faculty Film Music Composition Faculty.. 3 Film Production Design Faculty... 3 Producing Faculty 3 Screenwriting Faculty.. 3 IMPORTANT TELEPHONE NUMBERS ON CAMPUS ORGANIZATIONS AND COMMITTEES Campus Organizations Developing a School of Filmmaking Student Organization School of Filmmaking Committees SCHOOL OF FILMMAKING PROFESSIONAL CONDUCT & PROTOCOL University of North Carolina School of the Arts Code of Integrity Criminal Violations & Violations of the UNCSA Student Code of Conduct.. 8 Discrimination & Sexual Harassment Drug & Alcohol Policy Student Grievances & Appeals (Not including grades or continuation in the program) 8 Guest Artist Protocol Food, Beverage & Smoking Policy Use of Facilities, Equipment & Materials Press & Public Relations Cell Phones & Electronic Devices Student Filmmaker Identification Card Requirement Student Responsibility Student Contact Phone Number Requirement Visitor Policy INSTRUCTION General Registration & Enrollment The Undergraduate Program in Filmmaking Independent Study Courses Faculty Advising Attendance Policy Late Return at the Beginning of a Semester. 15 Year Two Portfolio Review Incomplete Coursework Course Evaluations Procedure to Appeal Discontinuation or Decision Not to Be Invited to Return... 16

4 FINANCIAL ASSISTANCE General Note Financial Aid Scholarships & Awards Employment Outside of School Employment On-Campus SECURITY AND SAFETY General Note Inclement Weather SCHOOL OF FILMMAKING STUDENT SERVICES Weekly Call Sheets Student Production Office Film & Video Festivals Writing Contests & Ownership of Screenplays Internships Excused Absence for non-internship related Production Lost & Found Student Mailboxes Faculty & Staff Mailboxes Textbooks Motor Vehicle, Motorcycle & Bicycle Parking Policies Parking Loading Areas Student Health & Counseling Services Administration Conference Room BB&T Lobby Buck Building Exhibition & Archives Use of Theaters for Student Led Production Meetings.. 27 Screening Schedule Special Screenings Student Use of Screening Facilities The Moving Image Archives Semans Library UNCSA Film Network PRODUCTION Copyright of Student Films Student Crewing Requirements Production Office Technical Operations Office The Stages Main Street (Hollywood Blvd) Electrical Needs Pitches and Script Selection Process Screenplay Format State Obscenity Law Casting Screen Actors Guild (SAG) Minors Use of Animals in School Productions Special Developing and Processing Needs

5 Chapel Street House Stunts/Special Effects Explosives and Pyrotechnic Safety Weapons and Firearms Open Flame Policy Rooftop Filming Insert Cars/Driving Shots Gasoline Operated Equipment The Studio Zone On-Campus Location Approvals Filming on School of Filmmaking Stages Filming on Location Visitor Policy Production Support Wardrobe D&P Costume Shop Prop and Flats Sign-Out Props, Weapons/Wardrobe Set Flats, Set Dressing Set Flats Reservations Student Responsibility Purchased Props and Set Dressing SOF Furniture and Materials Return Dates, Reshoots, Pick-up Shots Principal Photography Technical Operations Vehicles Accident/Injury/Illness on Set Accident Involving a School Owned Vehicle Production Documentation Form Signature Procedures Press Kits and Publicity Materials Copies of Student Productions for Cast & Locations Production Parameters Based on Year First Year General First Year Spring Semester 3-Minute Specific Parameters & Guidelines for Second, Third and Fourth Year Productions 69 Cast & Crew Call Call Sheets & Maps Daily Production Reports Safety Meeting Attendance Form. 70 Equipment Safety Loss & Damage Second Year Spring Semester Project Second Year Press Kits Specific Parameters & Guidelines for Third and Fourth Year Productions Film Productions - Exposed Film and Camera Reports Digital Productions - Drives, Media Cards & Camera Reports Accounting and Budgeting Summaries

6 Third Year Production Third Year Press Kits Fourth Year Production Fourth Year Press Kits POST PRODUCTION Post Production Office & Library Post Production Staff Facilities and Equipment Post Policies Post Production Process Year 4 Post-Production Work-flow and Deadlines Year 3 Post-Production Work-flow and Deadlines Research Test Screenings Marketing, Distribution & Research Production Process Poster Development for 4 th Year Film Credit Block for Poster The Trailer and 30 second TV Spots The Research Screening Schedule Changes and Extensions Post Production Protocol for First and Second Year Projects First & Second Year Output for Screening Guidelines for Students Editing First and Second Year Projects in the Post Production Labs 93 Special Developing and Processing Needs Visual FX in Third Year Visual FX in Fourth Year Post Production Equipment Check Out Procedures Post Schedules Drive Space Authorization Additional Hard Drive Spotting Session Picture Lock Format and Title Requirements Titles Use of Standard Format Graphic and Logo Post Production Library Archival Requirements Production Elements Dubbing and Duplication Policy Delivery Elements Scoring Guidelines LEGAL AFFAIRS Personal Projects Use of Copyrighted Work

7 1 THE SCHOOL OF FILMMAKING General Information University of North Carolina School of the Arts School of Filmmaking 1533 S. Main Street Winston-Salem, NC Telephone (336) Administration Fax (336) Student Production Office Fax: (336) Moving Image Archives Fax: (336) Hours of Operation Administrative Offices Monday through Friday: 8:00 a.m. to 5:00 p.m. Moving Image Archives Office / Exhibition Monday through Friday: 9:00 am to 5:00 p.m. Other hours will be scheduled as necessary Instructional Facilities Monday through Friday: 8:00 a.m. to 11:00 p.m. Certain facilities are available only through prior arrangement Post Production Monday through Friday: 8:00 am to 5:00 p.m. Other hours will be scheduled as necessary. Production Office Monday through Friday: 8:00 a.m. to 5:30 p.m. Student Production Office Seven days a week: 6:00 a.m. to 12:00 a.m. Technical Operations Monday through Friday: 8:30 a.m. to 4:30 p.m. Equipment check-out Monday through Friday by appointment only. Note: All offices are closed on state-recognized holidays. Facilities are accessible after regular hours by One Card access to students who have made the appropriate reservations.

8 2 ADMINISTRATION, FACULTY & STAFF Administration Susan Ruskin, Dean Henry Grillo, Associate Dean David E. Elkins, Assistant Dean Renata Jackson, Assistant Dean Lauren Vilchik, Assistant Dean Wade Wilson, Assistant Dean Christa Keen, Administrative Support Assistant Amber Wall, Budget & Purchasing Coordinator Kate Miller, Film Festival & Internship Coordinator Sarah Williams, Director of Administration/Executive Assistant to the Dean Dolores Watson, Academic Programs Manager Moving Image Archives David Spencer, Senior Curator Matt Jones, Associate Curator Eric Self, Exhibition Coordinator Production Office Stephanie Colopy, Head of Production Justin Vanderhyde, Production Coordinator Post Production Office Brian Best, Post Production Technical Officer Timothy Bowman, Post Production Technical Officer Tiger Poston, Post Production Technical Officer Technical Operations Kyle Salter, Technical Operations Manager Bob Massa, Technical Operations Coordinator Animation Faculty Joe Lopina (Department Chair) Stephen Baker Keith Hobgood, Visiting Faculty Cinematography Faculty Thomas Ackerman Janice Arthur, Visiting Faculty (Fall) David E. Elkins (Department Chair) John Le Blanc James Suttles, Adjunct Faculty

9 3 Cinema Studies Faculty Renata Jackson (Department Chair) Dale Pollock David Spencer Directing Faculty Eric Eason Janos Kovacsi (Department Chair) Patrick Read Johnson Tim McCann Editing & Sound Faculty Jay Gallagher Michael Miller John Roberts Julian Semilian Wade Wilson (Department Chair) Film Music Composition Faculty MFA Program Ken Frazell, Visiting Faculty Chris Heckman (Department Chair) Bruno Louchouarn Film Production Design Faculty Dawn Ferry, Visiting Faculty (Fall) Bob Keen Burton Rencher (Department Chair) Mary Ann Zotto Producing Faculty Bob Gosse (Co-Department Chair) Kevin Jones, Creative Producing MFA Faculty Darren Miller Moore, Joann, Visiting Faculty (Fall) Lauren Vilchik (Co-Department Chair) Susan Ruskin Screenwriting Faculty Dona Cooper Bill Mai Laura Hart McKinny Ron Stacker Thompson (Department Chair) Gary Tieche, Screenwriting MFA Faculty

10 4 IMPORTANT TELEPHONE NUMBERS ON CAMPUS Campus Police Dial 55 for Emergencies from any RED campus phone. All other calls for Campus Police: 3321 on any campus phone or (336) Campus Store (336) Dance (336) D&P (336) Drama (336) Filmmaking (336) Financial Aid (336) Fitness Center (336) Health Services (336) IT Help Desk (336) Library (336) Mail Center (336) Music (336) UNCSA Box Office (336) One Card (336) Registrar (336) Residence Life (336) Stevens Center (336) Student Activities (336) Student Life (336) Switchboard (336) Undergrad/Grad (336) Academic Programs Visual Arts (336) Please note that all telephones with the prefix 770, 721, 734 and 631 can be accessed by dialing the four number extension desired from any campus telephone. Example: dialing 1330 from any campus telephone will connect you directly to the School of Filmmaking.

11 5 ORGANIZATIONS AND COMMITTEES Campus Organizations See College Life Handbook - Developing a School of Filmmaking Student Organization Students may wish to start a new organization with fellow students interested in a particular subject or for a specific purpose. Many film schools have organizations ranging from film genre clubs to specialized interest groups. Students wishing to start their own organization should do the following: Prepare a Statement of Purpose and Organization Plan for the organization including membership guidelines and meeting dates. Have a faculty advisor officially sponsor and supervise the activities of the organization. Have a minimum of five School of the Arts students sponsor the organization as Founding Members with one student taking the role of President, another student Vice President and another student Secretary. Have facilities identified for meetings and a schedule of meeting times and special events approved by the University Administrative Manager. The above should be submitted to the Dean, who along with the School of Arts Vice Chancellor for Student Life will review and either approve or disapprove sanctioning the organization. School of Filmmaking Committees Several committees meet on a regular basis to discuss and advise the development of curriculum, general school policies, special events and activities, and other matters. Admissions Committee This committee advises the development and implementation of School of Filmmaking recruitment efforts, and reviews the applications of, and interviews all candidates for admission to the School. It consists of the Dean, Associate Dean, select Assistant Deans, Academic Programs Manager and select faculty and staff. Curriculum Development Committee This committee advises on the development and revision of all curricular matters. It includes the Dean, the Assistant Deans, the Department chairs, the Academic Programs Manager and student representatives.

12 6 Department Chairs Committee The School of Filmmaking holds bi-monthly meetings of the Department chairs committee, including the faculty-chosen Chair of each Discipline: Animation, Art Direction, Cinema Studies, Cinematography, Directing, Editing & Sound, Producing, and Screenwriting. This committee is instrumental to the Dean in helping to set school policy and procedures. Each chair serves for the course of the academic year or longer as determined by the discipline and the Dean. Guest Artist Committee This committee will help determine which Guest Artists will be invited to campus, both during the school year and during Intensive Arts. It will consist of the Dean, an Assistant Dean, faculty, staff, and student representatives. Student Advisory Committee The Student Advisory Committee is comprised of one elected representative from each year in the School of Filmmaking. It is led by a chairman from the third or fourth year, elected by the entire student body. Its purpose is to maintain efficiency in communication between the faculty and student body and to advise the Dean so as to satisfy the needs of the students. It meets at the discretion of the chairman. Other committees are created for special projects, or serve on an as-needed basis.

13 7 SCHOOL OF FILMMAKING PROFESSIONAL CONDUCT & PROTOCOL Students, Faculty and Staff of the School of Filmmaking are expected to conduct themselves as professionals in all aspects of their work and study. As responsible professionals the following is expected: Adherence to all University of North Carolina School of the Arts and School of Filmmaking rules and regulations. Respect for School of the Arts and School of Filmmaking equipment, facilities and property. Protection of the artist's essential rights of freedom of speech and creative expression. Responsibility for obtaining all appropriate permits, permissions and clearances in connection with all production, distribution and exhibition activities. Adherence to US and International Copyright Laws protecting creative work. Adherence to professional standards and appropriate conduct regarding representation of creative work. In submitting assignments and projects for courses, students take responsibility for their work as a whole, and imply that, except as properly noted, the ideas, words, images, material and craftsmanship are their own. Failure to abide by these simple principles of responsible scholarship is dishonest, as is receiving or giving aid on tests, examinations or other assigned work presumed to be independent or original. Plagiarism will not be tolerated, and a student whose work is found to be dishonestly accomplished and submitted as his or her own will be removed from the course with a grade of F. Prohibition of any and all alcohol and controlled substance use and abuse in connection with any School of Filmmaking activity or within any of its facilities or production locations. Prohibition of any discrimination based on race, gender, age, sexual preference, religion or physical disability. Prohibition of any type of mental, physical or sexual harassment, abuse or force of any kind or nature whatsoever. In compliance with the College Life Handbook Code of Conduct, violations of the above prohibitions will not be tolerated in the School of Filmmaking. Anyone who feels that a student, faculty member or staff member is not in compliance with the above code may present the matter in confidence to the Dean. After appropriate and proper investigation, any incidence of breach of this code will be subject to disciplinary action as provided for in the policies and procedures governing the University of North Carolina School of the Arts community. Should a student exhibit behavior that is inconsistent with the educational mission of UNCSA but fails to be covered by this or any other publication, the Dean of the School of Filmmaking shall request an Administrative Hearing. See the Campus Life Handbook for full details regarding this remedy.

14 8 University of North Carolina School of the Arts Code of Integrity See College Life Handbook - Criminal Violations & Violations of the UNCSA Student Code of Conduct See College Life Handbook - Discrimination & Sexual Harassment See College Life Handbook - Drug & Alcohol Policy See College Life Handbook - Student Grievances & Appeals (Not including grades or continuation in the program) Students may register complaints or appeal faculty, staff or other decisions to their faculty instructors, advisors/mentors, Assistant Deans and Dean within the School of Filmmaking. All appeals are heard in confidence and without prejudice. Violations of the College Life Handbook Code of Conduct will be treated separately through the Office of Judicial Affairs. Anonymous complaints or charges will not be considered for any administrative action. Students who feel that they cannot receive a fair or impartial hearing within the School of Filmmaking regarding a grievance or dispute with a faculty member or administrator may elect to have the issue mediated. Either the Director of Judicial Affairs or the Vice Chancellor of Student Life may serve in this role. A student seeking mediation must notify the Dean of the School of Filmmaking of his/her decision to pursue this option. The Office of the Dean will facilitate the arrangements for the mediation conference. All parties involved in the grievance or dispute must agree on the selection of the mediator and may elect to have multiple mediators participate in the mediation session. If mediation fails, formal appeals of the Dean of the School of Filmmaking s decisions may be made in writing to the Provost. Guest Artist Protocol The School of Filmmaking relies significantly on the participation of visiting guest professionals to help prepare students for their careers. Because our ability to attract well-established Guest Artists depends largely on the experience they enjoy at the School of Filmmaking, we expect all of our students to demonstrate both the respect industry professionals deserve, and the humility representative of those who have much to learn. Among the principles of conduct and protocol that we expect from students, faculty and staff are these: Attendance is mandatory at all lectures and screenings featuring the Guest Artist, or the filmed work of the Guest Artist. Students must swipe their One Card through one of the two One Card attendance readers located in the theater lobby upon entering and upon leaving in order to be counted as present. Telling a faculty or staff member or another student that you were present will not be recognized and you will be counted as absent. There are absolutely no exceptions to this policy, since students are required to have their One Cards with them

15 9 at all times. Occasionally it is necessary for the school to schedule Guest Artist events at times when a class is meeting. Students are not excused from class for any purpose without the express permission of the faculty member in charge of the class. Students are not required to attend mandatory Guest Artist events if they are essential to an SOF Production that is filming during the time of the Guest Artist s appearance. However, the producer of the production must provide a list of the crew members who will be absent to Assistant Dean of Production for approval. This must be done by 12:00 pm on the Thursday preceding the Guest Artist s Friday appearance. In the event a Guest Artist appears on campus on a day other than Friday, notification of students working on production must happen 36 hours prior to the Guest Artist appearance. No students are excused from any lectures or screenings unless their absence is approved from such a list. The producer will be notified by sent to their artist.uncsa.edu account with a list of students excused from any Guest Artist event. Only those students listed in the notification will be excused. Last minute requests to excuse students will be handled on a case-by-case basis. Guest Artists are not to be contacted through their places of business unless they specifically authorize students to do so. Students may not request the business or home address or phone number of any Guest Artist from Administration or any faculty member. Guest Artists have been promised that students will not burden them with unsolicited project pitches or submissions of written material, either while they are on campus or through their places of business. For legal and ethical reasons, students and instructors must keep their roles in the School and in the professional world separate. Since Guest Artists often take time out from their busy schedules to visit with us, they are owed the courtesy and respect of punctual attendance. Late arrivals and early departures from Guest Artists' screenings and presentations are unacceptable, and will not be tolerated. Students who violate this policy will face disciplinary action. The classroom is a privileged, protected place dedicated to the free and open examination of issues. This freedom depends on students and faculty respecting the confidential nature of everything said in the classroom or lecture space. Unless the Guest Artist specifically authorizes it in advance, private video or audio tape recording is not permitted. Nothing said by a Guest Artist either in prepared or informal remarks may be quoted outside the classroom, and materials distributed by the Guest Artist may not be duplicated or passed on to others. The School of Filmmaking may record Guest Artist lectures, Q&A sessions with students, and post-screening remarks by Guest Artists. No outside distribution or circulation of these materials will be allowed under any circumstances.

16 10 Food, Beverage & Smoking Policy The following policy will govern all facilities at the School of Filmmaking: All facilities and instructional facilities of the School should be free of mess, trash, litter and the like. Food and beverages can damage facilities and equipment if not properly contained or disposed of. Food and beverages are not allowed in work areas and are not allowed near any equipment--cameras, lights, computers, editing consoles, audio decks, video decks, etc. Please note; craft services for ALL student productions must be kept in the Breezeway outside of the soundstages. No food or beverages are allowed on the soundstages when a student production is in process. Beverages in spill-proof containers are allowed in classrooms, but NO food or beverages whatsoever are allowed in the Main, Babcock, or Gold Theatres. Beverages in open containers are only allowed in the SOF Lobby on the 1st floor of the Administration Building or the designated craft service area (the Breezeway, when soundstages are being used). Spilled beverages can cause irreparable damage to facilities and equipment. Please use every caution to keep coffee, soft drinks, etc. away from the equipment and in closed containers so that spills are avoided. The School of Filmmaking is a smoke free area; therefore, smoking is not allowed in any facility or interior production shooting locations. Smoking is prohibited throughout the School of Filmmaking within 50 feet of the door or any intake vent of any building. In addition, smoking is prohibited inside any School of Filmmaking vehicle during student production use. Gum and other disposable items are to be placed in trash receptacles. Cigarette butts should not be extinguished against any exterior or interior walls of any building, and they should be discarded in proper ash cans. Again, we need everyone's cooperation to maintain a professionally clean and presentable environment. All of us must clean up after ourselves and if necessary, after one another. If you see trash or litter, help us out and dispose of it properly. Absolutely no alcoholic beverages, drugs, illegal or controlled substances of any kind are allowed in instructional, production, postproduction or exhibition areas. NOTE: VIOLATION OF THESE POLICIES WILL RESULT IN SUSPENSION OF EQUIPMENT AND/OR FACILITIES USE PRIVILEGES, AND POSSIBLE TERMINATION FROM THE PROGRAM. Use of Facilities, Equipment & Materials All equipment and facilities may be used only after proper training, and only in connection with sanctioned cultural, community service, archival, production or educational programs of the School of Filmmaking. The materials screened, utilized or developed by the School of Filmmaking for purposes of instruction are designed for educational use only. Use of these materials by students, staff or faculty for any other purpose whatsoever is strictly forbidden.

17 11 Press & Public Relations All media or press inquiries regarding the School of Filmmaking, its students, faculty, staff, Guest Artists and programs should be referred directly to the University of North Carolina School of the Arts Office of Communications and Marketing ( ). Only authorized individuals may represent themselves as official spokespersons for the School. Also, all material, information and documentation regarding the School's programs or activities other than those materials specifically created for publicity and marketing purposes must be reviewed and approved by the Office of the Dean prior to distribution to press or media. The primary contact for media within the School of Filmmaking is the Director of Administration/Executive Assistant to the Dean. Cell Phones & Electronic Devices The use of cell phones and other wireless devices are increasingly ubiquitous in our society. However, they are disruptive, annoying and rude when used in classrooms, screenings or on productions. If cell phones are to be taken to class or screenings, they must be turned off so they do not disturb other students or teaching faculty, or films being screened. Students are not to be excused from class or screenings to answer phones or to complete phone conversations. Students who violate this policy are subject to seizure of their electronic or wireless devices until after classes or screenings are concluded. Use of cell phones on sets and locations can be extremely disruptive and waste time and energy. All working crew, actors and supervisors on School of Filmmaking productions should turn off their cell phones or place them in vibrate mode while filming is taking place. Student Filmmaker Identification Card Requirement The Student Filmmaker Identification One Card is mandatory for all students. Every student at the School of Filmmaking must obtain the Student Filmmaker Identification One Card in order to participate in classroom and production activities, and the card must be carried by the student at all times. One Cards are only valid for the school year within which they were issued. There will be a $10.00 replacement fee for lost cards. All returning students need to acquire a new card at the start of each academic year. Failure by students to have their One Cards in their possession is not a valid excuse for not swiping it at a screening, Guest Artist appearance or other required school activity. Physical presence is not adequate proof of attendance, since faculty, staff and administrators cannot be expected to, nor will they attempt to, recall whether a student attended a specific event or not. Lost One Cards should be reported to the One Card office immediately. A replacement card can be obtained from the One Card office. One Card office hours are Monday Friday, 9:00 am 5:00 pm. After hours, contact Campus Police at They will provide you with a temporary card. Student Responsibility The School of Filmmaking utilizes a paperless system. This means that the majority of information sent to you from us will be disseminated via electronic means rather than on paper. Every student is assigned a UNCSA address. If you do not know yours, contact Information Systems immediately. All memos, Call Sheets, and various other types of information will be sent

18 12 to your UNCSA address. This information will also be posted on the website and on the Call Board across from the Production Office. It is the student s responsibility to check on a regular basis. Since this same information will be posted on the website as well as the Call Board, no excuses will be accepted regarding the failure to receive information via . You will be held liable for the information just as if it were published on paper. Students should be sure to check at least 24 hours prior to class to determine current assignments, due dates and class activities. It is also the student s responsibility to keep their account cleaned out so that it can receive incoming messages. Students will be held responsible for all information disseminated via even if it bounces back to the original sender because they did not keep their account clean. Students who do not have computers or access may check their at the computer stations in the Student Production Office or at the various check stations located throughout campus. Please note that these stations do not allow printing but printing is available in the Student Production Office. Students are not permitted to send out mass s to faculty, staff, and students either campuswide or SOF-wide. If a student has an that he/she would like distributed to any campus distribution group, it must first be sent to the Assistant Dean of Production for approval. After approval, the will be distributed by the Assistant Dean. Failure to abide by this policy will result in the student losing distribution privileges. Specifically, Information Systems will shut down the student s ability to send s to campus distribution groups. Student Contact Phone Number Requirement All students must file a current contact phone number with the School of Filmmaking Receptionist. We must have the ability to reach you in the event of an emergency, a class cancellation or other important university business. This may be a home phone number or a cell phone number. A Contact Information Update form will be given to all students during Registration at the start of each semester. It should be completed even if there has been no change to a student s contact information. If contact information changes after Registration, students should download the Contact Information Update from under Student Administrative Forms and submit the form to the Receptionist of the School of Filmmaking. Students who fail to hand in this form in a timely manner may face dismissal from the program, since it is essential that the School have the ability to contact all students. Visitor Policy All visitors are required to check in with the Receptionist upon their arrival at the School of Filmmaking. People interested in auditing or visiting a course or set must have the approval of the course instructor. Any individual interested in auditing classes in the School of Filmmaking must have the approval of the Office of the Dean. Unauthorized visits to classrooms are prohibited.

19 13 INSTRUCTION General Registration & Enrollment Requirements The School of Filmmaking requires that all students begin their studies in the Fall semester and follow a yearlong sequence. Based on the nature of the curriculum, students are expected to enroll in all of the required courses offered by the School of Filmmaking for their designated year. Students are not allowed to attend the academic year at the School of Filmmaking as part time students, and therefore must enroll in at least a minimum of 8 credits per semester to maintain full time status. Please refer to the Registrar s pages within the UNCSA Bulletin for further information on policies and procedures, such as the school s Add/Drop Policy: The Undergraduate Program in Filmmaking As an undergraduate student in the UNCSA School of Filmmaking, you must familiarize yourself with all the information found in the Film School pages of the UNCSA Bulletin: These pages contain extremely important information regarding but not limited to: The BFA degree versus the Arts Certificate Standards of Achievement & Evaluation (e.g., minimum GPAs required for each year) Arts Probation & Letters of Concern End of Year Portfolio Review Acceptance into a Concentration Continuance in the Program The Safety Examination Course Requirements (curriculum models by department) and Course Descriptions Independent Study Courses An Independent Study is a course of individualized work proposed by a student to a faculty member on subject matter of particular interest to the student but not currently available within the existing curricula. In order to register for an Independent Study, you must receive written permission from the faculty member under whose guidance you will be working. The Independent Study Approval Form is available on under Administrative Forms. Once the individualized plan of study is delineated on the form, and all signatures and therefore permissions are obtained, you must bring the completed form to the Assistant Dean of Academics in the School of Filmmaking, after which you may register for the course. Be sure to enroll in your guiding faculty member s section number of FIM Note: Enrollment by permission of instructor only. Faculty Advising At the beginning of the first year and the second year, each School of Filmmaking student will be assigned an individual Faculty Advisor. The Advisor will counsel the student in adjusting to the pace and workload at the School of Filmmaking, and will advise the student on discipline options. In the third year (second year for Animation and Production Design), after a student has been accepted into a particular discipline, the student will be assigned a Faculty Mentor in that department who will instruct and advise the student in his/her pursuit of specialized

20 knowledge, and who will play a strong role in advising and mentoring the student in his/her Year Three and Four productions, or Senior Thesis Project. Within the first three weeks of each semester, all students are required to meet with their Faculty Advisor or Mentor to discuss their schedule and curricular work plan for the semester. These meetings are essential, not only for the student to receive guidance in his or her academic career, but to foster a close relationship between faculty and students within the chosen discipline. Students should also contact the Associate Dean if they rarely or never hear from their advisor/mentor. Students should meet with their faculty Advisors/Mentors regularly throughout the academic year. Students should also feel free to make appointments and seek the advice of other members of the faculty who are not their advisors or mentors. Attendance Policy Attendance is mandatory for all classes, production labs, required screenings, guest artist visits, and all other required School of Filmmaking events. However, documented medical reasons or other serious family emergencies serve as legitimate reasons for absence from any of the above. UNCSA Health Services will write notes excusing students from a specific class or event and/or mandating how much time they should take off from school due to a particular illness or injury. Please note that Health Services will not provide notes for students who have already missed class and have asked to be excused after the fact. We encourage our students to seek out Health Services in the event of any illness or injury. For non emergency situations, a student must complete an Excused Absence Request form if they plan to be absent from a class, faculty required event or school required event. This form can be accessed at under Student Administrative Forms. Failure to complete and submit the form as described in the instructions on the form will result in an unexcused absence. Classes, Production Labs, and Course related Required Screenings Any students missing their DLA or FILM classes or failing to do the work in those classes will be prohibited from crewing on any productions until their work in class improves. Production activities may not be used as an excuse to miss other regularly scheduled School of Filmmaking classes. Students are expected to come to class on time. Tardiness (arriving five or more minutes late) shows evidence of poor time management skills, and is both disrespectful and disruptive to the faculty member and other students. Tardiness of fifteen or more minutes to class is considered an unexcused absence. One unexcused absence will lower the student s final course grade by one half letter. Two unexcused absences will lower the student s final course grade by one full letter. Multiple unexcused absences will affect the student s grade, and causes us to question the student s serious commitment to learning. To request an excused absence from class, the student must take responsibility to contact via or phone the faculty member in advance of the class meeting time, in order to notify him or her of the reason for the impending absence. 14

21 15 Guest Artist Visits and Other Required School of Filmmaking Events A student may receive an excused absence from a guest artist screening or workshop if he/she is listed as a crew member on a School of Filmmaking production scheduled during the guest artist s visit. An unexcused absence from guest-artist activities or other required School of Filmmaking event will result in the student receiving an Unprofessional Course of Conduct Citation in his or her file (see School of Filmmaking Student Handbook for Guest Artist Protocol as well as for Unprofessional Course of Conduct policies). Late Return at the Beginning of a Semester State regulations regarding student census and federal regulations pertaining to financial aid prohibit UNCSA from granting approval for a student to return after the 9 th day of classes during any given semester. However, Late Returns to campus prior to the 9 th day of classes may be granted for extenuating circumstances. (Vacation travel plans are not valid reasons for late return.) Students who wish to apply for Late Return must contact the Assistant Dean of Production to request a Late Return Approval form. Application for Late Return must be submitted no later than one month prior to the start of the semester. The student seeking Late Return approval must pay all outstanding tuition, fees and holds by their established deadlines; even if approved for late return, students will not receive an extension on any of those deadlines, nor an extension on course schedule changes (drop/add). If a student returns after the 9 th day of classes he or she will be deregistered from all classes without appeal. Year Two Portfolio Review Continuation in the program from year to year is based upon a number of factors, including: the student s grades, both artistic and academic; assessment of the student s portfolio; his/her ability to interact appropriately and productively within the School community; and availability of institutional resources. Particular emphasis is placed upon the professional demeanor and creative discipline exhibited by the student, and the demonstration of collaborative skills in both classroom discussions and on the set of student productions. At the end of Year Two, those students who are not in Animation or Production Design select 1st and 2nd choice disciplines from among the following options: Cinematography, Directing, Picture Editing & Sound Design, Producing, and Screenwriting, each of which is a two-year program. A student s acceptance into one of the above five disciplines does not guarantee that they will be filling a KEY position on a third or fourth year film or digital production. There are often more students accepted into a discipline than there are films in a given semester. If a student does not serve in a key capacity on a third or fourth year production, their Production Practicum grade will be based on the student serving in support roles on one or more of the productions in

22 16 a given semester. The process of selecting the films and key production teams for these films is very competitive, and does not alter the complete education that students receive. Incomplete Coursework If for some legitimate reason (e.g., medical excuse, family emergency) a student finds him or herself unable to complete the assignments for a particular film course or courses before the end of the semester, the student must contact the instructor for each class affected, discuss with him/her the situation, and together work out a written agreement regarding what coursework is to be completed and by what deadline (if earlier than the end of the following semester). This information should be clearly articulated on a Request for Incomplete Grade form, which is available on under Administrative Forms, and which must be signed by the student and instructor. Failure to complete the course work by the end of the following semester will result in an "F" grade for the course. It is strongly urged that students avoid taking incomplete grades for any reason other than an unavoidable circumstance beyond their control. Course Evaluations Course evaluations are an important part of program assessment in higher education and must be administered on a regular schedule. All students are required to complete scheduled course evaluations for all appropriate courses in which they are enrolled. The failure of a student to complete all course evaluations may result in, but not be limited to, any of the following actions: Being denied access to grades. Being ineligible for an internship. Being ineligible for departmental approval for a grant application. Being ineligible to crew on any production. Procedure to Appeal Discontinuation or Decision Not to Be Invited to Return See Chapter III, Section N Policy to Appeal Decision Not to Be Invited to Return in the UNCSA College Handbook:

23 17 FINANCIAL ASSISTANCE General Note Paying for a university education is an expensive and difficult process that must be planned carefully. Many students pay for their education through a combination of savings, loans and part-time work during their studies. Students at the School of Filmmaking should keep in mind the intensity and requirements of the program as they plan for the financing of their education. The costs for instructional materials, including required textbooks and materials, have been calculated at approximately $1500 for First Year and Second Year School of Filmmaking students, not including the cost of the required laptop computer and software. Estimated instructional costs for Third Year and Fourth Year students will be between $750 and $1000, depending on which discipline they enter. All students must attend both semesters annually since the courses are taught in sequence, and students cannot enroll in the Spring Semester if they have not attended the Fall semester. Students cannot attend classes part-time. Students will also have to fulfill a professional internship requirement that may interfere with their ability to secure full-time employment during one summer break. Students should remember that the amount of time required to both attend and prepare for classes and student productions in the School of Filmmaking is considerable. Particularly in the first two years of the program, a full-time commitment is essential so that the student may succeed. Employment may be necessary for financial reasons, but it must be a second priority, after the student meets his or her educational obligations. Financial Aid Some students at the School of Filmmaking may be eligible for financial aid or may become eligible for financial aid during the course of their studies. School of Filmmaking students should remain in close contact with the Academic Programs Manager and the Office of Financial Aid and make sure to meet all of the financial aid deadlines. See UNCSA Bulletin for further information. Scholarships & Awards Scholarships and awards are provided for academic and creative excellence. For information, contact the Academic Programs Manager (Dolores Watson). No grants or merit scholarships will be available for students on Arts Probation. Employment Outside of School Outside work is an unacceptable excuse for not completing assignments, or not participating fully in the program, including student productions, Guest Artist appearances and required screenings. The School recognizes the financial burden tuition and related costs places on many students, and the necessity for some students to obtain paying part-time jobs. Students must be prepared to provide assurances to their instructors that this outside work will in no way compromise their full participation in the program. If professional opportunities present themselves during the academic year, students must meet with the Dean of the School of

24 18 Filmmaking to discuss specifically the benefits and disadvantages of such employment. No student will be allowed to work on outside productions during the academic year, other than internship and special projects considered part of the curriculum, without the express written approval of the Dean. Employment On-Campus All Film School Students eligible for Federal Work Study are encouraged to work in the Technical Operations Department. While there are other opportunities on campus and in the film school, Tech Ops is the clear choice for all Film Students. Tech Ops is the heart and soul of the film school and the students that work there will maximize their college experience. Tech Ops simultaneously provides the most enjoyable, intellectually stimulating, and technically challenging employment opportunity at UNCSA. The Technical Operations Department offers student workers the opportunity to work hands on and in depth, while learning from the professional staff maintenance, repair, and use, of the grip, electric, sound, and camera equipment in the UNCSA inventory. In addition, the School's Archives frequently hires several students to serve as projectionists and Archives workers. Students need to apply for these positions with the Associate Curator. Certain areas of the School of Filmmaking, such as Administration, the Production Office and the Postproduction Office may also at times hire student workers. Other positions in student services, the dining halls, the library and other areas may also be available at the School of the Arts.

25 19 SECURITY AND SAFETY CAMPUS POLICE TELEPHONE (336) IN EMERGENCY DIAL 55 ON CAMPUS RED TELEPHONES OR FROM ANY CAMPUS PHONE General Note Faculty, staff and students are urged to exercise every precaution possible to ensure their safety and the safety of others. After dark, students should not walk alone to their cars or dorms. If you need an escort, contact Campus Police by dialing 3321 from one of the red telephones in the School of Filmmaking Village. Phones are located in the following areas: Outside the East entrance to the Administration building (Breezeway) Student Lobby in the Administration building Outside the West entrance to the Administration building East exterior wall of the Administration building (adjacent to Stage 6) Adjacent to the Post Production Technician s office Adjacent to the Post Production Library South exterior wall of the Administration Building South exterior wall of the Film Scoring Stage Outside the East entrance to the Film Scoring Stage Adjacent to the blacktop parking lot First and second floors of the Buck building Outside the entrance to the Archives office in the ACE Complex West side of the ACE Complex Adjacent to the entrance to the Babcock Theater Adjacent to the elevator in the ACE Complex In addition to curricular requirements, students are urged to remain for the duration of required nighttime screenings for security reasons. In addition, students are urged to park only in School of the Arts Parking Lots and NOT on any of the streets surrounding the campus that can be unsafe at night. If you observe anything or anyone that you feel might be a threat to your personal safety or the security of the School, contact Campus Police immediately. Please do not try to fight crime on your own. If you have an emergency, dial 55 on one of the School of the Arts red emergency phones. Inclement Weather Students should be aware of severe weather conditions that may affect their safety and security. This is particularly important for students who live off-campus and must commute to the School of the Arts. The Chancellor is responsible for delayed starts, early closings, and cancellations during the day. In the event that the Chancellor cancels the entire day or delays the opening of

26 20 the school, the School of Filmmaking will make the announcement on the School of Filmmaking voice mail ( ) and will post the announcement on Severe weather conditions may also require the cancellation of School of Filmmaking required evening events including screenings, Guest Artist seminars, and classes. The Chancellor has delegated authority to each of the deans to cancel or delay evening classes or events. Once the decision to close early or cancel required evening classes and/or events has been made, SOF Administration will issue an to all faculty, staff and students notifying them of the cancellation; will post the cancellation on and will announce the cancellation on the School of Filmmaking voice mail You may also tune in to local television and radio stations for weather advisory information and school closings. Students, faculty, and staff should use their best judgment regarding driving conditions. No student, faculty or staff member should ever feel compelled to attend any class or production if they feel they will not be safe on the roads. If a student finds it necessary to miss a class or event due to inclement weather, the student must contact the class instructor or, for Guest Artists and other events required by the Office of the Dean, the Assistant Dean of Production in order to be excused from the class and/or event. Cancellation of production filming, whether on stage or on locations, will take place under only the most extreme weather circumstances. The best advice on how to deal with bad weather on location is to wait it out. In the event that extreme weather makes location or stage shooting hazardous, the Head of Production and the Assistant Dean of Production will have the authority to cancel production. Call sheets will be used to contact key crew members but all crews should check with their producers regarding weather conditions to make sure filming is still scheduled. If the Head of Production or Assistant Dean of Production cancels production, no production is allowed to shoot on stage or on location, no matter the desire or willingness of the crew and actors.

27 21 SCHOOL OF FILMMAKING STUDENT SERVICES Weekly Call Sheets The fundamental method of disseminating relevant information at the School of Filmmaking is through a weekly Call Sheet, which will be distributed via to each student's UNCSA address every Friday for the upcoming week. The Call Sheet will also be posted on the web site at Any revisions to the Call Sheet will be noted by date at the top of the Call Sheet (e.g., revised 9/22/13). Refer to the most recent version of the Call Sheet Any changes in the regular class schedule will be noted in the weekly Call Sheet, along with all school and class meetings, appearances by Guest Artists, and all required and general screenings. The Call Sheet will be posted on white paper. In keeping with film industry protocol, updated call sheets and other schedules will be posted using the standard revision colors of pink, blue, green, yellow, etc. The deadline for submitting information to be placed on the Call Sheet is noon on the Wednesday of the week before the event to be posted. Call Sheet information should be submitted to the School of Filmmaking Receptionist. Student Production Office The Student Production Office is available 6:00 a.m. 12:00 a.m., seven days a week to all School of Filmmaking students. It is located on the first floor of the SOF Administration Building. The Student Production Office has a copier, fax machine, conference table, and Apple imac computers. No food or drink is allowed at the computer stations. It is also available for student productions on a reservation basis. Please see the Head of Production to book this facility. Under no circumstances are students to load additional software onto the computers or to set up private or restricted areas on these computers. Failure to observe this rule will result in the offending student losing all Student Production Office privileges for the remainder of the academic year and may lead to dismissal from the program. Students are allowed to use only the copier in the Student Production Office. If the copier is broken, students will need to use an outside vendor such as Office Depot or Fed Ex Office. Please advise the Production Office if the copier needs repair. Students must provide their own paper for the copier. Remember that use of the Student Production Office copier is a benefit provided by the School of Filmmaking. There is no guarantee of use in the event of copier downtime. It is a student responsibility to maintain the neatness and professional working conditions of the Student Production Office. Any malfunctioning or broken equipment should be reported immediately to the Production Office. Film & Video Festivals The School of Filmmaking hopes to submit as many suitable films as possible to various film and video festivals around the world. First priority will be given to Fourth Year productions deemed

28 22 marketable and worthy of festival consideration, then Third Year productions, and finally Second Year productions that have obtained product and music clearances. Very few First Year productions will be submitted to festivals, since they are primarily class exercises, and those that are must have all rights cleared. The Film Festival & Internship Coordinator will serve as the principal liaison between the festivals, the School of Filmmaking, and the student filmmakers. The School of Filmmaking will determine which films it chooses to formally submit to film festivals, both in the United States and abroad. These formal submissions will be limited to a minimum of five festivals per Fourth Year film, with the School paying all entry fees, duplication costs and mailing and shipping costs. If the work of student filmmakers submitted by the School of Filmmaking wins cash awards at festivals, the key creative participants are allowed to keep the balance of any cash festival awards after the School of Filmmaking has been reimbursed for all of its hard costs. These include the direct budget costs, telecine and duplication costs, and marketing and publicity costs. The award that remains after the School has been reimbursed for its production and marketing costs must be split among the creative team members, including the producer, director, screenwriter, cinematographer, editor and production designer. Any unauthorized submission by a student to a festival of a film owned by the University of North Carolina School of the Arts is a violation of copyright law. Such an action may affect a student s continuance in the program. Writing Contests & Ownership of Screenplays Students are encouraged to consult their screenwriting instructors before proceeding to submit work produced at the School of Filmmaking to a writing contest. Students wishing to submit their work to a writing contest under the auspices of or in any relationship to the School of Filmmaking must have the approval of the Office of the Dean. The University of North Carolina School of the Arts and the School of Filmmaking own all work written in all Screenwriting courses that are produced as part of the Filmmaking curriculum. If a student later wishes to develop one of these copyrighted produced short screenplays into a feature film, or a longer short film, rights will have to be obtained from the School of Filmmaking. UNCSA and the School of Filmmaking control these rights in perpetuity, and an option form will have to be executed before any student or graduate of the School of Filmmaking will be allowed to proceed with the use of copyrighted material. As a rule of thumb, UNCSA and the School of Filmmaking will require a payment of five percent (2.5%) of the gross profits of the second produced film in consideration for licensing the story rights. Screenwriters who write produced projects at the School of Filmmaking retain credit provisions that will accompany their work on any future productions, i.e. "Story by" or "Based on a story by." No financial consideration will accompany these credit provisions, however, since UNCSA and the School of Filmmaking are the sole copyright owners of said produced material. All costs associated with School of Filmmaking productions must be recouped before the writers or any other members of the key creative team (also including, producer, director, cinematographer, editor and production designer) share in any revenues from the exploitation of the productions.

29 23 All unproduced screenplay material and all feature length screenplays worked on or completed by School of Filmmaking students remain the property of the student authors of said material. UNCSA and the School of Filmmaking relinquish any rights to the ownership of said material, even if they were written or prepared in conjunction with required curricular studies. Internships and Outside of School Production Work The School of Filmmaking is committed to helping students secure local, regional, and national internships, available in motion picture and television production. Internships may serve as elective credit toward your total credit-hours for degree. However, the following caveats apply: Year One students and Year Two Generalists will not be given permission to take a leave of absence during the semester in order to participate in an internship or outside production work, paid or not paid. If, however, Year One students or Year Two Generalists wish to be considered for internships or outside production work that takes place during holiday break periods or during the summer, they should contact the Internship Coordinator for the proper paperwork. Year Two Students within a Concentration, Year Three and Year Four Students: In order to be considered for an internship and granted permission for excused absence(s) from your course obligations, you must be in good academic standing: your cumulative GPA must meet the minimum requirements for your class year, and you may not be on Probation. You may request Internships during the academic year for no more than two weeks time per semester. Step One: fill out the top part of the Student Internship Request & Absence form (your data; the company info; duties of the internship, etc.). Step Two: bring this form to the Assistant Dean of Production, who will check your academic standing. If your GPA meets or exceeds our minimum standards, then you may proceed to the next step. Step Three: once approved by the Assistant Dean of Production, you must take this form to your Department Chair, who will assess the quality of the internship; if he or she approves of the internship, then Step Four: bring this form to the Internship Coordinator Kate Miller, for her signature and to receive any additional necessary paperwork. Step Five: for your absence(s) from any class(es) to be considered excused, you must receive permission/signatures from each of your faculty for every course in which you are currently enrolled (both Film and Liberal Arts), as well as your mentor. You must explain in the spaces provided on the form how you will make up the coursework you will miss. Be aware that no faculty member or mentor is obligated to sign and thereby excuse your absence(s)! Step Six: you must bring this completed form back to the Assistant Dean or Production for final review prior to the first date you will be absent. Students who obtain professional internships must remember that they represent the School of Filmmaking and UNCSA. Their work habits must be well organized and conscientious, and they are expected to always behave in a professional manner. A bad experience with one intern will usually discourage a production company or network from ever taking another intern from the

30 24 School of Filmmaking, and therefore such unprofessional conduct during internships may result in disciplinary action being taken against the student. Excused Absences for non-internship-related Production Year One students and Year Two Generalists will not be given permission to take a leave of absence during the semester in order to participate in any non-internship-related production. Year Two Students within a Concentration, Year Three and Four Students: In order to be granted permission for excused absence(s) from your course obligations in order to participate in a non-internship production, you must be in good academic standing: your cumulative GPA must meet the minimum requirements for your class year, and you may not be on Probation. You may request an extended absence for this type of project for no more than two weeks time per semester. Step One: fill out the top part of the Extended Absence Request form (your data; dates and reason for absence, etc.). Step Two: bring this form to the Assistant Dean of Production, who will check your academic standing. If your GPA meets or exceeds our minimum standards, then you may proceed to the next step. Step Three: once approved by the Assistant Dean of Production, you must take this form to your Department Chair, who will assess the quality of the project; if he or she approves, then Step Four: for your absence(s) from any class(es) to be considered excused, you must receive permission/signatures from each of your faculty for every course in which you are currently enrolled (both Film and Liberal Arts), as well as your mentor. You must explain in the spaces provided on the form how you will make up the coursework you will miss. Be aware that no faculty member is obligated to sign and thereby excuse your absence(s)! Step Five: you must bring this completed form back to the Assistant Dean of Production for final review prior to the first date you will be absent. Lost & Found The Lost and Found will function as a service for School of Filmmaking students to retrieve materials and valuables left at the School of Filmmaking. All students should label their materials clearly so that they can be identified. If you see a "lost" item, please take it to the School of Filmmaking Receptionist and the item will be placed in the Lost and Found. If you lose an item at the School of Filmmaking and want to check the Lost and Found, please see the School of Filmmaking Receptionist. If you lose an item in the ACE Exhibition Complex, please see the Archival staff. Campus Police Headquarters is the Lost and Found center for the campus as a whole. All items remaining in the School of Filmmaking Lost and Found will be turned into Campus Police at the end of the academic year.

31 25 Student Mailboxes Each student will receive a mailbox for activities related to the School of Filmmaking. School of Filmmaking mailboxes are different from School of the Arts student mailboxes, where students receive personal mail. Although the School of Filmmaking primarily utilizes for information distribution, students should check their School of Filmmaking mailboxes daily for memoranda, information and mailings. Students who live off campus also need to check their School of Filmmaking mailboxes and their campus mailboxes daily for information pertaining to the School, as well as the campus as a whole. Please note that these student mailboxes are for the routine dissemination of information and communication within the School of Filmmaking and between the various Arts schools, and are to be used for purposes relating to the School of the Arts and School of Filmmaking only. Any unauthorized use of the mailboxes will lead to disciplinary action. Under no circumstances are students to remove materials from any other student s mailbox, or to share the contents of any student s mailbox with other students. Faculty & Staff Mailboxes Students wishing to communicate with faculty through their mailboxes should do so during regular office hours, although the best way to communicate with faculty and staff is in person, or via . The School of Filmmaking Receptionist will take written items from students and see that they are delivered to faculty mailboxes. Students must put the name of the person the item is intended for on the item. Items are not to be left on the Receptionist s chair or desk; they must be given to the Receptionist in person. Students are not allowed in the faculty/staff mailroom. Textbooks Accumulating a library of informative and relevant professional books is an important and valuable tool for any aspiring filmmaker. Textbooks are an accepted part of attending a university, and do not represent an unanticipated cost. If a faculty member requires a textbook for a class, students must purchase it. Faculty will not require textbooks unless they are actively used and discussed as part of the curriculum. Instructors may suggest recommended works for reading, but it is not mandatory for students to buy suggested texts, only required ones. A collection of required texts from the School of Filmmaking will represent an important and valuable reference library for a student's professional career. Motor Vehicle, Motorcycle & Bicycle Parking Policies Students should follow the School of Arts regulations regarding the parking of vehicles. Vehicles are not to be parked in the Studio Village AT ANY TIME, including in front of the Administration Building or ACE Theater Complex. Students are not allowed to park in visitor, faculty or staff parking areas during business hours other than in the designated Loading Areas (see Parking Loading Areas). Please note that some faculty/staff parking spaces are reserved on a 24-hour basis. Be sure to check for signage or the word RESERVED painted on the pavement. Failure to adhere to parking rules and restrictions may result in ticketing, towing, mechanical booting, fines, and other penalties.

32 26 Parking Loading Areas For loading and unloading of equipment, students will be allowed to leave their cars in two designated parking spaces in the blacktop lot adjacent to the Buck Building for no more than 20 minutes while actually loading or unloading equipment. Students who disregard this requirement will be ticketed and may be towed. The space directly in front of the 24-Hour Reserved Parking sign adjacent to Technical Operations is marked off. This is reserved for Technical Operations ONLY. Never park in this space under any circumstances. The Loading Zone is to the right, and three vehicle spaces to the left (indicated by an arrow on the reserved sign) are available for production vehicles to park. Personal vehicles are NEVER allowed to park in these spaces. Any productions or students violating these regulations are subject to booting and/or towing. There is one 20-minute parking space for loading and unloading equipment that is located behind Tech Ops immediately adjacent to the building. Any students loading or unloading equipment from Tech Ops in any other location will be ticketed and may be towed. Student Health & Counseling Services See College Life Handbook - Administration Conference Room The Administration Conference Room (also known as the Fishbowl) is available for student meetings from 8:00 a.m. 5:00 p.m. Monday thru Friday. It is available after-hours and on weekends only with a faculty member present. Submit a Facilities Use Request Form (see Production & Miscellaneous Forms at at least two (2) working days in advance to the School of Filmmaking Receptionist. The form must be signed by a faculty member prior to submitting it to the Receptionist for approval. Availability will be checked and your form will be returned to you as either approved or denied. Remember that simply checking availability is not the same as requesting the facility. Your reservation is not confirmed until you receive an approved form back from the Receptionist. Any student using the Conference Room without a confirmed reservation will be asked to vacate the Conference Room immediately. BB&T Lobby Students may book the BB&T Lobby for meetings, casting sessions, etc., by submitting a Facilities Use Request Form (see Production & Miscellaneous Forms at at least two (2) working days in advance to the Exhibition Coordinator. Availability will be checked and you will be notified if your request has been approved or denied. Buck Building Students may book the classrooms in the Buck Building for meetings, casting sessions, etc. Submit a Facilities Use Request Form (see Production & Miscellaneous Forms at at least two (2) working days in advance to the Head of Production. Availability will be checked and you will receive an concerning whether your request has been approved or denied. This will also include a date and time to check out the key from the Production Office. Keys must be returned to the Production Office by the end of the workday following the date of use. The person(s) whose name(s) appear as a responsible

33 27 party on the request form must make sure that the room is clean, and in the same condition it was found in (desks, chairs, tables in the same location) before returning the key. No desks, chairs, tables, etc., may be left in the hallway following a weekend casting session. Keys will not be issued to a person who is not listed as a responsible party on the Facilities Use Request Form. Responsible parties may include the Producer, the Director or the Person Making the Request. Exhibition & Archives Students are expected to arrive at screenings on time and to treat screenings as professional activities, withholding from talking or making noise and following the School of Filmmaking Food, Beverage, and No Smoking Policy. USE OF THEATERS FOR STUDENT LED PRODUCTION MEETINGS. Student led production and pre-production meetings are not to be held in the ACE Complex. When a meeting is needed, the students must book a Buck classroom through the Head of Production. If the number of attendees for the meeting will be too large for an available classroom (20 plus), the Head of Production and ONLY the Head of Production will coordinate a meeting in one of the theatres in the ACE Complex with the Exhibition Coordinator or Archival Curators. Only 3rd or 4th Year productions will be eligible for meetings to be held in the ACE Complex, and ONLY if there is not space to hold them in a classroom. Theaters in the ACE Complex are only available during regular business hours (9 AM 5 PM), Monday through Friday. Productions wishing to use one of the theaters for production meetings due to the size of their crew, must submit a complete crew list along with their request. Video support is available in every Buck classroom, and any support needs for a meeting in ACE will need to be set up through the Head of Production when they book the space. Requests made without a minimum of 24-hours notice will be denied, and any attempt to use unauthorized video or computer equipment will result in immediate disqualification for that production to use the ACE Complex for the remainder of the school year. Students wishing to use any school facility, classroom or theater must complete a Facilities Request Form. Productions wishing to use one of the theaters for a production meeting must have the Facilities Request form signed by the Head of Production before submitting it to the Associate Curator for signature. Screening Schedule Screenings are an integral part of the curriculum at the School of Filmmaking and students are required to view several films per week during the course of their studies. Students will often view more than the required films per week and frequently see films more than once. The films screened at the School of Filmmaking are a combination of cultural, national, period and stylistic works which reflect the rich diversity of the motion picture arts and industry. The required screenings for each course will be screened one to two times per week in the ACE Exhibition Complex at the School of Filmmaking. Students should check the Call Sheet for exact details and screening locations. Two attendance readers are stationed in the theater lobby one next to Babcock and one next to Main. Either attendance reader can be used, no matter which

34 28 of the three theaters students are attending. Prior to and following every required screening at all three theaters, students must swipe their One Cards to register their attendance. Attendance records will then be made available to the faculty member who has assigned the screening, as well as the Assistant Deans. You must swipe your card upon entering and leaving a screening or required event in order to be marked as present. Telling a faculty or staff member or another student that you were present will not be recognized and you will be counted as absent. There are absolutely no exceptions to this policy, since students are required to have their One Cards with them at all times. Failure to attend required screenings and events may have an impact on a student s continuation in the program. Special Screenings During the year, the School of Filmmaking will hold several special screenings, including workshop screenings, screenings of recently released pictures and other special screening events. Information on these screenings will be available on the Call Sheets, and on the weekly schedule published by the Moving Image Archives. Students requesting a special screening should contact the Associate Curator for the availability of the title requested and permission to hold a screening. The Office of the Dean must approve all such requests. First Year Student Film/School Production Screening Policy Most First Year productions will be screened for internal educational purposes only. This does not exclude screenings for the entire School of Filmmaking, nor does it exclude the use of a First Year production in an instructional setting within the School of the Arts or the general educational field or for fundraising purposes to select members of the general public. In case of special instances, where these films may be used in whole or in part as demonstrations of the school s curricular work, the screenings must have the permission of the Dean. The reason behind this policy is that these projects are meant primarily as educational tools and should not be considered as representative of students' professional work, nor are the proper legal clearances completed on the majority of these productions. Second, Third, & Fourth Year Student Film/School Production Screening Policy Select Spring Semester Second Year Productions and all Third Year and Fourth Year productions must be cleared for screening purposes. Third and Fourth Year productions and those Spring Semester Second Year productions chosen for festival submission must follow established legal procedures regarding business affairs clearances and will be approved for screening only based on proper clearances having been obtained. All screenings of student film and video productions are to be approved by the Office of the Dean. Student Use of Screening Facilities For certain specified assignments, students may need to use certain large screening facilities to screen their work for faculty evaluation and other reasons. Students can book these facilities through the Exhibition Coordinator. Screening facilities can be used only when a qualified faculty or designated staff member is present.

35 29 The Moving Image Archives Viewing films on 70mm, 35mm, 16mm, videotape, laserdisc, DVD, Blue-ray and other digital formats is an essential component of the filmmaker's education. The School of Filmmaking is fortunate to have a wonderful film collection in the form of the Moving Image Archives. This resource includes more than 23,000 original 70mm, 35mm, and 16mm film prints, as well as thousands of short films, commercials, documentaries and feature trailers, or previews of coming attractions. The Moving Image Archives also boasts more than 8,000 videocassettes, laserdiscs, and DVD s of classic and current films. Needless to say, as a School intimately involved with the creation of intellectual property, we insist that no copies ever be made of any copyrighted material on loan from the School. Aside from being illegal, unauthorized duplication of copyrighted material undermines the basic fabric of our creative community, and shows a lack of respect for the industry the students are training to enter. The Moving Image Archives offer students the unparalleled opportunity to experience classic and contemporary films in the manner in which they were intended to be seen. Students should avail themselves of this unique opportunity, and see as many films as they can in their time at the School of Filmmaking. Only by studying the work of professional filmmakers can students learn both the possibilities and limitations of their craft, and recognize that there are few new ideas, but many ways of expressing them. Semans Library The Semans Library at the School of the Arts has collections in all subjects which students will become familiar with during general orientation to the School of the Arts. The library carries several periodicals related to film and has a growing collection of literature and resource guides for the film industry that will be used frequently in courses offered at the School of Filmmaking. Students must have their One Card identification card to check out books at the Semans Library. If you would like the library to acquire a book, reference guide or a periodical that you believe is important for your studies, please contact the Office of the Dean. Semans Library has a viewing room where students can screen DVD s, laser discs and VHS copies of films for classroom purposes, research or general viewing. The DVD s, laser discs and VHS cassettes may only be viewed in the library and students must have valid School of the Arts identification to use the viewing room. Viewing room materials may not leave the library at any time. Students may access the American Film Scripts database through the Semans Library page on the uncsa.edu website at library.uncsa.edu/home/node/190. The database offers a tutorial. You may also request training on database use from the Semans Library. UNCSA Film Network The School of Filmmaking hosts the website This website contains valuable student information including the weekly Call Sheet, Time Schedule of Classes, memos, forms,

36 handbooks, faculty/staff/student contact information, and course pages, in addition to interesting articles and publications of interest. Students are required to utilize this website on a regular basis to stay informed of changes to School of Filmmaking policies and procedures as well as to access forms and handbooks as needed. 30

37 31 PRODUCTION What follows is just about everything you need to know, have to know, should know about the way the School of Filmmaking conducts its physical production and post production activities. We say "about" simply because there is always something new to deal with, something we forgot or never dreamed of that will come up with a particular production. But this handbook is our best and most complete basic guide. Read it, refer to it and remember it. It can only help! Copyright of Student Films The UNC Board of Governors and the UNC School of the Arts Intellectual Property Policies establish that a student owns the copyright in the works s/he creates in the course of study at UNCSA. UNCSA retains an automatic license from the student, or students, if a joint work, to use the work for its academic and institutional purposes forever. If a UNCSA financed and completed film is created jointly by more than one student, UNCSA has an exclusive license to control the work for a limited time, so that one student creator cannot prevent another student creator from entering the joint work in competitions, or prevent another student creator from using the work academically or professionally. After the need to control a joint work expires, the exclusive license also expires, and the joint student creators are free to exploit the work as they deem appropriate, according to the copyright laws. The only times UNCSA takes ownership of a student work, is when a student/s has voluntarily transferred his or her rights, in writing, to UNCSA; when a work is created in the course of employment or as a work made for hire; or, if the creation of the work was sponsored by a third party. A later section of this handbook spells out the guidelines governing distribution and exhibition of student work. Failure to abide by these policies will result in dismissal from the program or legal action to protect the rights and interest of the School in the work that it has underwritten in order to train its students. The School has adopted this policy not because it wants to appropriate student work, but because it finances all such work, and must ensure that all work produced at the School meets all legal and liability requirements before it is publicly exhibited for any reason. The protection of the students, the institution and the rights of all those involved in the creation, production and presentation of the works is our primary concern. Students are not allowed to invest their own money into School of Filmmaking productions. The cash budget and production services that the School offers should be more than sufficient to fund production, postproduction and contingency needs. In-kind donations of goods and services are allowed, but cash contributions are not. If you receive an in-kind donation, please get a Gift-In- Kind Donation form for the donor to complete. These are available from in the Production Office. A key element of the School of Filmmaking program is the system of faculty mentoring students, particularly in the Third and Fourth Year disciplines classes and the Third and Four Year productions. It is the responsibility of the student to fully involve the mentor in the planning, execution and follow-through of their production requirements, and to make active use of faculty experience and expertise.

38 32 Student Crewing Requirements All students, at all levels of the program and regardless of concentration, are required to provide crew support on student and School productions. Continuing hands-on involvement in production is at the heart of the conservatory program of the School of Filmmaking. Crewing is graded through a variety of courses and will be an essential factor in determining student success in the program. Students who fail to crew on production in their class year or other class years will find this omission noted in their portfolio reviews, and it may lead to non-continuance in the program or the lowering of the production practicum grade. The following are the minimum required crew hours for second year students on third and fourth year productions. Fall Semester Requirement (Fourth Year Production): Second-Year students: 24 Hours Spring Semester Requirement (Third Year Production): Second-Year students: 24 Hours The following are the minimum required art department crew hours for First-Year students on third and fourth year productions. Fall Semester Art Department Requirement (Fourth Year Production): 12 Hours Spring Semester Art Department Requirement (Third Year Production): 12 Hours All first and second year students must complete and submit a Crew Hours Log (see Production & Miscellaneous Forms at at the conclusion of each semester. This log must list the names of the productions, your position, dates worked, total hours worked and must be initialed by the Producer or Assistant Director of the Production. Failure to submit this log at the end of each semester may affect your continuation in the program. The Head of Production will determine the due date for this log each semester and will all students well in advance of the date. The required crew hours for Third and Fourth year students should be established by the faculty of the student s discipline. Any students missing their DLA or FILM classes or failing to do the work in those classes will be prohibited from crewing on any productions until their work in class improves. Production Office The Production Office is located on the ground floor of the Administration building in the Studio Village. The office houses school production staff and production resources, information and records. Production Office Duties The activities of the Production Office and staff include the following: Facilitate and coordinate all School productions.

39 33 Coordinate pre-production activities and document all production activity. Govern safety procedures and guidelines. Schedule all student productions and production facility use. Maintain student project records. Provide location information and forms. Provide catalogs of local talent. Order raw stock and shipping of exposed stock for processing/telecine. Order other production related supplies and expendables. Personnel Head of Production Schedules and coordinates all school productions; reviews and maintains production paperwork; assists in coordinating production requirements for course assignments, oversees all on-set procedures during production and serves as the School of Filmmaking Safety Officer. Production Coordinator Works closely with the Head of Production to support the logistics of physical production and the relation of the production resources to the curriculum and coordinates all instructional support. Technical Operations Office The Technical Operations Office is located in the Studio Village adjacent to the loading dock. The office includes the equipment check out and testing room, the camera office, equipment repair lab, grip and lighting storage. The hours of operation for the Technical Operations Office are 8:30 a.m. to 4:30 p.m. Monday through Friday. Technical Operations Office Duties Some of the regular activities and concerns of the Technical Operations Office include: Scheduling and confirming the availability of equipment for production use. Checking equipment in and out for all student/class productions. Repair and maintenance of equipment. Training and certification on the use of production equipment. Personnel Technical Operations Manager Supervises the Technical Operations Office; responsible for the overall technical support of production; maintains contact with production vendors. Technical Operations Coordinator Coordinates equipment check outs and maintains the proper use and return of all equipment used on student and school productions; assists Technical Operations Manager. The Stages Several stage facilities are available for student production use. They include: STAGE IV - Studio Village

40 sq. ft. sound stage. STAGE V - Studio Village 2700 sq. ft. sound stage. STAGE VI - Studio Village 8000 sq. ft. sound stage with a state of the art motorized lighting grid for use by Fourth and select Third Year productions ONLY. CAUTION: Make sure all yellow painted areas around electrical boxes are kept clear at all times. All fire lanes indicated with red paint are to be kept clear at all times. Stage VI has a truss lighting grid that can be easily damaged. Both staff and faculty must supervise any use of the lighting grid AT ALL TIMES. All stages are equipped with basic power connects. Do not lean flats stored on stages against walls so that they cover electrical panels or equipment. Grip and electric equipment must be checked out from the Technical Operations Office. Some stages have teaching sets. All stages must be booked through the Production Office. Specific use of any stage space must be defined and approved in advance. Wrap schedules must be met and any extension beyond the scheduled wrap of a stage will not be tolerated and will jeopardize future use of facilities or equipment. The stages all have posted rules for use that will be enforced. All safety rules, policies and procedures must be adhered to while on stage. All productions MUST provide work lights on stages during filming and/or rehearsals whenever house lights are off in order to prevent accident or injury. NO food, drink, or smoking is allowed on the stages. Violations of this policy will result in disciplinary action. NO student, faculty or staff member is allowed on any Stage, including Stages IV, V and VI, between the hours of 12 a.m. and 6 a.m. on any weekday or weekend. There are NO exceptions to this rule, and violations of this policy will result in disciplinary action. Under no circumstances are students or equipment to be placed on the top of any of the stage equipment cages. These cages are not meant to support any additional weight on top. In addition, climbing on top of the cage or placing any equipment on top is a safety violation. The top of the equipment cages on Stages 4, 5, and 6 must be kept completely clear at all times. Violation of this policy will result in disciplinary action. Main Street (Hollywood Boulevard) Main Street in the Studio Village may be booked for production purposes through the Production Office. Electrical Needs The entire Studio Village has been designed to accommodate production. Power connects are available to support production. The Production Office and Facilities Management must approve use of any space, facility or resource.

41 35 The installation of cam-lock pig tails or direct wiring of permanent interior or exterior distribution boxes can only be authorized by the Head of Production at the School of Filmmaking and the University of North Carolina School of the Arts Electrician. The actual installation of the cam-locks or direct wiring can only be performed by members of the Facilities Management Electrical Department. All students and faculty must fill out an On-Campus Electrical Tie-In Request Form (see Production and Miscellaneous Forms at and submit it to the Head of Production and to the UNCSA Electrician, in Facilities Management at least seven (7) working days prior to the needed date of the tie in for approval (in that order). No emergency or rush tie-ins will be done. Facilities Management will charge a fee for tie-ins on all campus shoots and all such fees are to be included in the production budget. Professional electricians must perform off-campus electrical tie-ins. See the Head of Production for referrals and procedures. Pitch, Script Development & Selection Process For Years 3 and 4 The purpose in the School of Filmmaking s Pitch and Script Development Process is to help students make the best short films possible. By starting out with a pitch of a story, then refining that pitch into a first draft and subsequent draft screenplay, students learn the necessary steps in developing an effective and affecting screenplay for a 12 or 15 minute film. In the initial round of pitches, students should focus primarily on the ESSENCE OF THE STORY IDEA itself: the plot, or sequence of events in the script, along with the characters and setting. We will not be concerning ourselves in pitch sessions with budget, casting and production values. The elements of a pitch are common to all types of film stories. They include the hook (an opening with a provocative and relatable emotion), the set-up of the main characters and their world, an enumeration of the escalating series of obstacles, a climax and any final thoughts on how you want to tell your story as a film. The three-act structure does not really work for many short films because there is insufficient screen time to develop the plot and characters. Rather, try looking at each film as a problem posed for a character or characters; how he, she or they work through that problem; and a final resolution in which a character or characters achieve or fail to achieve their goal in solving the problem. Pitches should be concise, short and enthusiastic. Passion is always the strongest selling tool, but it must be accompanied by thoughtful planning and a clear understanding of the story you want to tell. Be prepared for questions, and be open to suggestions and feedback. Each draft of the screenplay for an approved pitch must have the writer s name along with the names of any team members attached to the project listed on the title page; each title page should have a screenplay draft number and date; each script should have numbered scenes and clear explanations of interior and exterior locations. Once screenplay revisions begin, asterisked changes and different colored pages should be used to reflect any changes in stage directions or dialogue.

42 36 All screenplays turned in during the process of development and production need to follow the above guidelines closely. Work that is turned in that fails to meet these basic professional standards will be rejected until properly re-submitted. Faculty Committees and Student Teams Two different Faculty Development Committees will each hear pitches and supervise initial development work for rising Third and Fourth Year student productions. The Fourth Year Development Committee: Dona Cooper, Patrick Johnson, Lauren Vilchik. The Third Year Development Committee: Dona Cooper, Bob Gosse, Tim McCann. Final decisions on all projects approved for Production come from the Script Selection Committee. It considers all screenplays approved for development by the Third and Fourth Year Development Committees, and selects a group of screenplays that will be available to Third and Fourth Year students, respectively, for possible production. There will always be more screenplays than available production slots. The Script Selection Committee: Dean Susan Ruskin; Directing Faculty, Producing Faculty, Screenwriting Faculty, Dale Pollock, Bob Keen, Burton Rencher and Stephanie Colopy. Student Teams: Student teams will choose a project, and stay with it through the further development process. The Student Development Team includes the Writer(s), along with a Producer and Director, if attached. The Student Production Team consists of the Writer(s), Director, Producer, Cinematographer, Production Designer, Editor and Sound Designer. The Student Post Production Team includes the Writer(s), Director, Producer, Editor, Composer, Sound Designer and Visual Effects Designer. Rising Year Four Development Schedule Initial pitches: Friday, Saturday and Sunday of Week 4 of the Fall Semester. Location will be announced. o Any interested Second or Third Year student may sign up for pitches. Students may pitch a maximum of two projects either as the writer or co-writer. o Each slot is for a maximum of 15 minutes and students need to arrive at least 15 minutes before their scheduled pitch time. o Approximately two weeks before the pitches begin Chair Dona Cooper will send out an with information about the required one-sheet that must be submitted for each pitch as well as a link to an online sign-up sheet that students should use to reserve their pitch time slots.

43 37 o The required one-sheet needs to be ed Dona Cooper, Lauren Vilchik, and Patrick Johnson (the members of the Fourth Year Committee) by 5:00 PM three days before the day of their pitch. o The one-sheet should include the following info: DAY OF PITCH: MAIN CONTACT PERSON: CELL PHONE # for contact: TITLE: (Use a working title, no untitled. You can change it on your first draft.) LOGLINE: In a SHORT ONE-PAGE summary include key story info such as: What is the world of this story? (Time, place, style, values, etc.) Who is the protagonist/s? (Who is the central person with a problem and what is person s life situation, world view, needs and desires, etc.?) What is the core dilemma for the protagonist and what inner/outer conflicts drive him/her to make tough decisions with significant consequences within the world of the story (even if comedic)? Are there any surprises, twists or reveals that impact the ending? What is the resolution of the story and how do you want the audience to feel at the end? How does your story dramatize the theme? o Students will not be allowed to pitch if their one-sheet is not received by 5 p.m. at least three days prior to their scheduled pitch. o During their pitches, the Fourth Year Development Committee may approve the pitch for First Draft development at this point, or it may suggest a re-pitch of the idea taking the notes of the Development Committee into consideration. In some cases, the pitch may be rejected entirely, at which point the student(s) involved will be given the opportunity to pitch one new idea at the re-pitch session. Re-pitches: Saturday of Week 5 of the Fall Semester. o As in the first round of pitches, Dona Cooper will send out an with a link to an online sign-up sheet that students should use to reserve their pitch time slots. o A list of all pitches approved for development will be distributed to School of Filmmaking students and faculty, and the Screenwriting Faculty will assign a Screenwriting Faculty Mentor to each Student Development Team that has a pitch approved. Delivery of First Draft Screenplays: By 5 p.m. on Friday of Week 9 of the Fall Semester.

44 38 Prior to this deadline, Student Development Teams must work with their Screenwriting Faculty Mentor before sending the formal First Draft to Dona Cooper. Students must their first draft to Dona Cooper who will forward the scripts to Assistant Dean Elkins for posting on uncsafilm.net. Each script must have the draft number and date clearly marked on the title page or it cannot be posted online. The Development Committee will meet and review all submitted screenplays. The resulting notes will be conveyed to each by their Screenwriting mentor. Online Posting of First Draft Screenplays: By 5 p.m. on Monday, of Week 10 of the Fall Semester. The Fourth Year Development Committee will meet at the end of Week 10 of the Fall Semester to review all scripts for further development. o Consensus notes will be relayed to Student Development Team members during the week via the Screenwriting mentors for each project. Delivery of Second Draft Screenplays: By 5 p.m. on Friday of Week 15 of the Fall Semester. Prior to this deadline, Student Development Teams must continue working with their Screenwriting Faculty Mentor before sending the formal Second Draft to Dona Cooper. Students must their second draft to Dona Cooper who will forward the scripts to Assistant Dean Elkins for posting on uncsafilm.net. Each script must have the draft number and date clearly marked on the title page or it cannot be posted online. Online Posting of Second Draft Screenplays: By 5 p.m. on Monday, of Week 16 of the Fall Semester. The Script Selection Committee Meeting will be held on Monday of the Week of Intensive Arts. o The Fourth Year Script Selection Committee (all directing, producing, screenwriting faculty as well as Susan Ruskin, Dale Pollock, Burton Rencher, Bob Keen and Stephanie Colopy) will meet to discuss all posted Second Draft screenplays, and will vote on the GREEN, YELLOW and RED LIGHT status of all scripts. (GREEN LIGHT means that the script has been approved to move ahead to the Team Presentation stage, YELLOW LIGHT means that significant notes need to be addressed in order to be considered for the Team Presentation stage, and RED LIGHT means that the script is not approved to move forward.) o Dona Cooper will the Selection Committee s decisions to all students, faculty and staff. These decisions are not subject to appeal.

45 39 o Every Student Development Team whose script receives a GREEN or YELLOW light will meet with their screenwriting mentors in order to discuss the committee s notes and begin working on their third draft. Third Draft Development will take place over the Winter Break. Delivery of Third Draft Screenplays: By 5 p.m. on Tuesday of Week 1 of the Spring Semester. o Students must their third draft to Dona Cooper who will forward the scripts to Assistant Dean Elkins for posting on uncsafilm.net. Each script must have the draft number and date clearly marked on the title page or it cannot be posted online. The Script Selection Committee Final Vote will be on Monday of Week 3 of the Spring Semester. o The Fourth Year Script Selection Committee will vote on all third drafts and each script that receives a majority of positive votes will be approved to move to the Team Presentation stage. o Dona Cooper will send out an a link to an online sign-up sheet that to all teams approved for the Team Presentation process. o Each team should sign up for one of the 15-minute time slots and send a complete list of key crew members to Dona Cooper TWO DAYS before the Team Presentations begin. Production Teams will deliver their presentations to the committee on Friday of Week 3 of the Spring Semester o The Fourth Year Development Committee, as well as Susan Ruskin, Stephanie Colopy, Burton Rencher and Bob Keen, will hear the team presentations and vote on which receive a final GREEN LIGHT which means they are approved for production. o If there are any unresolved questions about the scripts which do not receive a final GREEN LIGHT, the same group of faculty and staff will hold a run-off team presentation to complete the slate of Fourth Year films. Production Teams will deliver their final run-off presentation to the committee on Wednesday of Week 4 of the Spring Semester o Dona Cooper will send out a list of the full slate of Fourth Year films approved for production to all students, faculty and staff. Rising Year Three Development Schedule Initial pitches: Friday, Saturday and Sunday of Week 6 of the Fall Semester. Location will be announced.

46 40 o Any interested First, Second or Third Year student may sign up for pitches. Students may pitch a maximum of two projects either as the writer or co-writer. o Each slot is for a maximum of 15 minutes and students need to arrive at least 15 minutes before their scheduled pitch time. o Approximately two weeks before the pitches begin Chair Dona Cooper will send out an with information about the required one-sheet that must be submitted for each pitch as well as a link to an online sign-up sheet that students should use to reserve their pitch time slots. o The required one-sheet needs to be ed Dona Cooper, Bob Gosse and Tim McCann (the members of the Third Year Committee) by 5:00 PM three days before the day of their pitch. o The one-sheet should include the following info: DAY OF PITCH: MAIN CONTACT PERSON: CELL PHONE # for contact: TITLE: (Use a working title, no untitled. You can change it on your first draft.) LOGLINE: In a SHORT ONE-PAGE summary include key story info such as: What is the world of this story? (Time, place, style, values, etc.) Who is the protagonist/s? (Who is the central person with a problem and what is person s life situation, world view, needs and desires, etc.?) What is the core dilemma for the protagonist and what inner/outer conflicts drive him/her to make tough decisions with significant consequences within the world of the story (even if comedic)? Are there any surprises, twists or reveals that impact the ending? What is the resolution of the story and how do you want the audience to feel at the end? How does your story dramatize the theme? o Students will not be allowed to pitch if their one-sheet is not received by 5 p.m. at least three days prior to their scheduled pitch. o During their pitches, the Third Year Development Committee may approve the pitch for First Draft development at this point, or it may suggest a re-pitch of the idea taking the notes of the Development Committee into consideration. In some cases, the pitch may be rejected entirely, at which point the student(s) involved will be given the opportunity to pitch one new idea at the re-pitch session. Re-pitches: Saturday of Week 8 of the Fall Semester.

47 41 o As in the first round of pitches, Dona Cooper will send out an with a link to an online sign-up sheet that students should use to reserve their pitch time slots. o A list of all pitches approved for development will be distributed to School of Filmmaking students and faculty, and the Screenwriting Faculty will assign a Screenwriting Faculty Mentor to each Student Development Team that has a pitch approved. Delivery of First Draft Screenplays: By 5 p.m. on Friday of Week 12 of the Fall Semester. Prior to this deadline, Student Development Teams must work with their Screenwriting Faculty Mentor before sending the formal First Draft to Dona Cooper. Students must their first draft to Dona Cooper who will forward the scripts to Assistant Dean Elkins for posting on uncsafilm.net. Each script must have the draft number and date clearly marked on the title page or it cannot be posted online. The Development Committee will meet and review all submitted screenplays. The resulting notes will be conveyed to each by their Screenwriting mentor. Online Posting of First Draft Screenplays: By 5 p.m. on Monday, of Week 13 of the Fall Semester. The Third Year Development Committee will meet at the end of Week 13 of the Fall Semester to review all scripts for further development. o Consensus notes will be relayed to Student Development Team members during the week via the Screenwriting mentors for each project. Delivery of Second Draft Screenplays: By 5 p.m. on Monday of Week 6 of the Spring Semester. Prior to this deadline, Student Development Teams must continue working with their Screenwriting Faculty Mentor before sending the formal Second Draft to Dona Cooper. Students must their second draft to Dona Cooper who will forward the scripts to Assistant Dean Elkins for posting on uncsafilm.net. Each script must have the draft number and date clearly marked on the title page or it cannot be posted online. Online Posting of Second Draft Screenplays: By 5 p.m. on Friday, of Week 6 of the Spring Semester. The Script Selection Committee Meeting will be held on Monday of Week 8 of the Spring Semester. o The Third Year Script Selection Committee (all director, producing, screenwriting faculty as well as Susan Ruskin, Dale Pollock, Burton Rencher, Bob Keen and Stephanie Colopy) will meet to discuss all posted Second Draft screenplays, and will vote on the GREEN, YELLOW and RED LIGHT status of all scripts. (GREEN LIGHT means that the script has been approved

48 42 to move ahead to the Team Presentation stage, YELLOW LIGHT means that significant notes need to be addressed in order to be considered for the Team Presentation stage, and RED LIGHT means that the script is not approved to move forward.) o Dona Cooper will the Selection Committee s decisions to all students, faculty and staff. These decisions are not subject to appeal. o Every Student Development Team whose script receives a GREEN or YELLOW light will meet with their screenwriting mentors in order to discuss the committee s notes and begin working on their third draft. Third Draft Development will take place over the next two weeks. Delivery of Third Draft Screenplays: By 5 p.m. on Wednesday of Week 9 of the Spring Semester. o Students must their third draft to Dona Cooper who will forward the scripts to Assistant Dean Elkins for posting on uncsafilm.net. Each script must have the draft number and date clearly marked on the title page or it cannot be posted online. Online Posting of Third Draft Screenplays: By 5 p.m. on Friday, of Week 9 of the Spring Semester. The Script Selection Committee Final Vote will be held on Monday of Week 11 of the Spring Semester. o The Third Year Script Selection Committee will vote on all third drafts and each script that receives a majority of positive votes will be approved to move to the Team Presentation stage. o Dona Cooper will send out an a link to an online sign-up sheet that to all teams approved for the Team Presentation process. o Each team should sign up for one of the 15-minute time slots and send a complete list of key crew members to Dona Cooper TWO DAYS before the Team Presentations begin. Production Teams will deliver their presentations to the committee on Friday of Week 11 of the Spring Semester o The Third Year Development Committee, as well as Susan Ruskin, Stephanie Colopy, Burton Rencher and Bob Keen, will hear the team presentations and vote on which receive a final GREEN LIGHT which means they are approved for production. o If there are any unresolved questions about the scripts which do not receive a final GREEN LIGHT, the same group of faculty and staff will hold a run-off team presentation to complete the slate of Third Year films.

49 43 Production Teams will deliver their final run-off presentation to the committee on Wednesday of Week 12 of the Spring Semester o Dona Cooper will send out a list of the full slate of Third Year films approved for production to all students, faculty and staff. Screenplay Format Screenplays should be typed in a 12-point simple font with a left margin of 1.5 inches. All scripts must contain a properly formatted title page that includes the title, writer(s) name, draft number and date of the draft. (Note: scripts will not be accepted or posted online without a proper title page) Each scene has a slug line that indicates INT. or EXT., the location and time of day in caps. Skip two lines and write the action taking place, filling the entire line. The character's name is written in caps on space 21, and the dialogue fits underneath between spaces Parentheticals, if needed, fit underneath the character name between spaces The first time a character appears, his or her name must be in caps. Camera directions should be avoided. When necessary they must be in caps. Transitions such as FADE TO: or DISSOLVE TO: fit on space 41. CUT TO: is an implied transition and not needed. If standard format is followed, each page equates to roughly one screen minute. This rule of thumb may vary greatly given the complexity of the action described. Revised draft pages must be color-coded and right hand margin asterisks should be used to indicate revised lines. Color Code pages are: white, blue, pink, yellow, green, goldenrod, buff, salmon, cherry, tan, gray and ivory in that order. Shooting script must be submitted with final paperwork. Screenwriting faculty will provide students with examples of the proper and required professional format for screenplays. Screenplays handed in as assigned work or submitted for consideration as potential student productions that do not conform to the professional standard format will not be read or considered. When handing in screenplays approved from pitches for consideration in Second, Third and Fourth Year, students should prepare one title page. The title page should have the title, the author s/authors name(s), and any attached director or producer. All scripts should be paper clipped, and not stapled or bound in a folder. Screenplays not delivered properly, as described above, will not be considered for production. The first story meeting on each project will be

50 44 based on the screenplay originally submitted for consideration. Do not revise or re-write a screenplay before the first story meeting. State Obscenity Law Students must be aware of the North Carolina State Laws regarding obscenity. These are quite detailed and complex, and copies of the State Obscenity Rider, Section , Article 26, "Offenses Against Morality," are on file with the Dean's Office. Basically, under North Carolina law, it is unlawful for any person or institution, particularly state universities, "to intentionally disseminate obscenity," including material that "depicts or describes in a patently offensive way sexual conduct." Sexual conduct is described as "vaginal, anal or oral intercourse, whether actual or simulated, normal or perverted, or masturbation, excretory functions, or lewd exhibition of uncovered genitals, or an act or condition that depicts torture, physical restraint by being fettered or bound, or flagellation of or by a nude person or a person clad in undergarments or in revealing or bizarre costume." Violations of this statute in the preparation of motion pictures is considered a misdemeanor, punishable by imprisonment for up to one year and a fine of up to one thousand dollars ($1,000). Employing or permitting a minor (anyone under 18) to engage in any of the above activities is a Class I felony offense. Even employing an adult to depict a minor in a sexual situation is considered an equally serious offense. Obviously, as a film school, we must balance First Amendment rights with the particular restrictions of being a state-funded educational institution. In no way will the School of Filmmaking jeopardize its funding and obligations to the taxpayers of North Carolina simply to justify a student s claim to creative expression. Students should be aware that gratuitous adult nudity is discouraged and subject to review by the Dean. Any overt sexual activity or depiction of sexual acts involving nudity in School of Filmmaking productions is strictly prohibited. Casting NOTE: If the Actor is a minor, a copy of the birth certificate must be turned in with the Minor Release Form. The Student Production Office has a file of actors in the community including headshots, and contact information. Auditions are held at the beginning of the school year with various regional university drama departments and actors in areas such as Charlotte and Greensboro. No actors from outside the School of Filmmaking may be cast in any student project without the producer first notifying the Production Office and completing the appropriate paperwork. Discuss the need for make-up days and re-shoots with your actors when casting your production, and determine their availability. The Production Office will try to accommodate the production when possible but cannot schedule production around your actor s availability. Students are strongly encouraged to not cast actors from out of state or who live more than 50 miles from the school within the state. Some general Do s and Don ts when working with talent agencies and professional casting agents:

51 45 Always be mindful that professional agents and agencies work for their clients to obtain income-producing work that results in a commission for the agent. Fortunately, many have chosen to assist the School and its students whenever possible. Please help nurture and strengthen these relationships with our local casting professionals by observing these basic rules: Submit your notices and/or specifications to the casting agencies as soon as possible (and never with less than one week s notice). Breakdowns and script synopses must be specific, concise and readable. It is mandatory that you include information concerning specific locations, day and time of audition and potential shoot days. The casting agents and agencies should never be contacted to act as a mediator between the production staff and the actor. The agency s responsibility is to get the actor to the audition. From that point on, the production staff should communicate directly with the actor concerning costume fittings, rehearsals and call times. ALL ACTORS WHO VOLUNTEER THEIR SERVICES IN A STUDENT FILM SHOULD RECEIVE CREDIT (IF A SPEAKING ROLE), AND A COPY OF THE COMPLETED FILM IF ACTING IN A PRINCIPAL ROLE. EXTRAS AND BIT PLAYERS SHOULD NOT BE PROMISED COMPLIMENTARY COPIES OF STUDENT FILMS. To preserve cordial relations with the local acting community and as a sign of professional behavior, students must fulfill obligations to send promised copies of work in which actors have appeared in principal roles for School of Filmmaking productions. Failure to supply actors with promised copies of their work will result in the loss of filmmaking privileges for the remainder of the year, and/or the subsequent year. Screen Actors Guild (SAG) If you wish to use a SAG member in a production, please contact the Production Office no later than two weeks in advance for assistance, as there are many restrictions and concerns that can and will affect your production. You may find the appropriate forms in the School of Filmmaking Production Office. With the assistance of the Head of Production, you will be required to complete the necessary SAG paperwork. This Paperwork must reach the SAG office no later than 10 days prior to the shoot date. Because of the numerous steps necessary and the nature of the reports and paperwork involved, SAG actors may not be used in First Year productions. Minors First Year students are not allowed to cast minors in Spring Semester productions under any circumstances. The use of minor actors and performers in School of Filmmaking productions is permitted in 2 nd, 3 rd and 4 th Year productions, but special care and caution must be employed to ensure the safety and happiness of such minors while engaged in filmmaking activities. Basically, the School of Filmmaking follows the Screen Actors Guild procedures concerning the working hours of minors. Minors less than six (6) years of age are permitted to work no more than six (6) hours daily, excluding meal periods. Minors who are at least six years old but not yet nine (9)

52 46 years old cannot work for more than eight (8) hours daily, excluding meal periods. Minors who are at least nine years old but not yet 16 years old cannot work for more than nine (9) hours daily, excluding meal periods. Finally, minors who have reached the age of 16 but are not yet 18 cannot work for more than 10 hours daily, excluding meal periods. The workday for any minor actor, that is anyone under the age of 18, shall not begin earlier than 6 a.m. and shall end no later than 10 p.m. on evenings proceeding school days. On evenings preceding non-school days, the minor s workday shall end no later than 12:00 a.m. on the morning of the non-school day. Second, Third and Fourth Year filmmakers are allowed to cast minors who work on school days only if they obtain the signature(s) of the teacher and/or principal at the student s school. See the appropriate Minor Release from School form (see Production & Miscellaneous Forms at At all times when minors are employed on School of Filmmaking productions, a parent or legal guardian for the minor MUST be in attendance on set or at the location. Violation of any of the above rules or regulations will result in the minor being dismissed from the production and the remainder of the production canceled. Special care must always be taken regarding the behavior of young minors on the set. Language and gestures must be monitored. A film set or location is a very dangerous place, with sharpedged equipment, many electrical conductors and very hot and fragile equipment present. It is the producer s responsibility to ensure that minors are kept in an area away from the main filmmaking activities until their presence is required, and that adequate supervision of young minors, in conjunction with parents and guardians, is always maintained. Use of Animals in School Productions The School of Filmmaking is committed to protecting animals and preventing their abuse during the production of student films, and will continue to exercise this responsibility with diligence. Trained animals may be used in the School of Filmmaking productions. However, all script scenes involving animals must be submitted to the Production Office and approved at least two weeks prior to the production. Once approved, the producer must contact the NC Forsyth County Chapter of the American Humane Society (Mark Uren, Executive Director, ext. 105 or Muren@forsythhumane.org) prior to the commencement of any work involving animals and provide the details of the production (including where, when, how long the animal will be on set, who the handler will be, etc.) and encourage them to visit the set to ensure the animal is being treated properly. The School believes it is important to maintain this liaison in the interest of assuring responsible, decent, and humane treatment of animals. Mistreatment of animals in connection with production will not be tolerated and will result in disciplinary action and, potentially, criminal prosecution.

53 47 Special Developing and Processing Needs See Post Production section. Chapel Street House See School of Filmmaking Safety Handbook 17_safety_handbook.pdf Stunts/Special Effects See School of Filmmaking Safety Handbook 17_safety_handbook.pdf Explosives and Pyrotechnic Safety See School of Filmmaking Safety Handbook 17_safety_handbook.pdf Weapons and Firearms The School of Filmmaking will establish and maintain a collection of metal, rubber and plastic weapons and firearms suitable for filming purposes. These will be the only firearms and weapons allowed on campus and for use in any School of Filmmaking production, on or off campus. This collection of weapons will be stored in a locked and secured location by the Head of Production. The Head of Production and the Assistant Dean of Production are the only ones who can authorize the use of weapons in any School of Filmmaking production. At the completion of the relevant scenes, the Weapons Wrangler will secure the weapon for return to the Head of Production. Off campus use of weapons is limited to third and fourth year productions only. Any third or fourth year in class exercise using weapons will be limited to on campus filming only. Weapons or anything resembling a weapon are not permitted in any year one or year two class exercise or production. All productions using weapons must follow the following guidelines. Any student production authorized to use weapons must have a separate Weapons Wrangler as a member of the Art Department crew. The Weapons Wrangler must be the only one handling the weapon between rehearsals and takes and will maintain control of the requested weapon until actual filming begins. The weapon must be kept in a closed container when not in use on the set. Campus Police (if on campus) or Winston Salem Police (if off campus), must be notified of the filming dates that you will be using weapons. Police must sign the weapons release form granting approval for the use of weapons either on campus or off campus. The set must be locked down with traffic cones and warning signs posted that prop weapons are being used. A police officer must be present to oversee the use of the prop weapons. While the weapon is on set, it is the responsibility of the Weapons Wrangler to know the whereabouts of the weapon at all times. The only persons permitted to handle the

54 48 weapons are the actor using the weapon, the producer, the director, and the Weapons Wrangler. Do not attempt to adjust, modify or repair a firearm. All state and federal laws and guidelines are applicable when using firearms. While the weapon is on set, it is the responsibility of the Weapons Wrangler to know the whereabouts of the weapon at all times. The only persons permitted to handle the weapons are the actor using the weapon, the producer, the director, and the Weapons Wrangler. For further information, see the School of Filmmaking Safety Handbook 17_safety_handbook.pdf Open Flame Policy See School of Filmmaking Safety Handbook 17_safety_handbook.pdf Rooftop Filming See School of Filmmaking Safety Handbook 17_safety_handbook.pdf Insert Cars/Driving Shots See School of Filmmaking Safety Handbook 17_safety_handbook.pdf Gasoline Operated Equipment See School of Filmmaking Safety Handbook 17_safety_handbook.pdf The Studio Zone For Third and Fourth Year productions only, the School of Filmmaking has established a studio zone within which all production must take place. The zone will extend to a 30 mile radius out from the School of Filmmaking, which is at its center, excluding any filming in Virginia or South Carolina. Year Two Productions shooting off campus must stay within the Forsyth County border. Violations of shooting outside these zones will result in suspension or cancellation of the production, and disciplinary action being taken against the student filmmakers. However, if a third or fourth year production can demonstrate a legitimate reason why it needs to go beyond the 30 mile limit, the Producer of the production must submit a written request to the Head of Production and the Assistant Dean of Production, at least two weeks prior to the start of principle photography. The maximum zone in all cases should not extend beyond a 50 mile radius from the School of Filmmaking excluding any filming in Virginia or South Carolina. Requests for shooting beyond the 30 mile zone will be handled on a case by case basis.

55 The Studio Zone 49

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