Film Student Handbook Aug 2014

NEW YORK
FILM ACADEMY
-LOS ANGELES-
PRODUCTION HANDBOOK
FILMMAKING PROGRAM
New York Film Academy – Los Angeles - Production Handbook 2
IMPORTANT INFORMATION
THE DEPARTMENT OF FILMMAKING

Welcome to the New York Film Academy
Included in this packet is information to make your career here as smooth as possible. Please take
a moment to review the information in this handbook. You’ll find that much of the information
provided in the handbook will be relevant even after your departure from NYFA.
Below are useful names and contact information:
BUILDINGS
Riverside Building Barham Building Advanced Equipment

(818) 333-3558 (323) 850-0830 Building (Olive)
3300 Riverside Drive 3800 Barham Blvd Suite 509 2101 W. Olive Ave
Burbank, CA 91505 Los Angeles, CA 90068 Burbank, CA 91506
Post Production Annex

(818) 350-3277
210 Pass Avenue
Burbank, CA 91505
NYFA IMPORTANT EMAILS
CEO
Jean Sherlock
jeans@nyfa.edu Film Department Chair
Art Helterbran
Director arthur.helterbran@nyfa.edu
Dan Mackler
dan@nyfa.edu Film Department Associate Chair
Rick Curnutt
Dean of College rick.curnutt@nyfa.edu
Sonny Calderon
sonny.calderon@nyfa.edu Film Department Administrator
Matthew Ladensack
Dean of Students matthew.ladensack@nyfa.edu
Eric Conner
eric@nyfa.edu Film Department Coordinator
Prarthan Joshi
Dean of Academic Advising prarthana.joshi@nyfa.edu
Mike Civille
mike.civille@nyfa.edu
RECOMMENDED TEXTS
Writing
1. Poetics, Aristotle.
2. Writing Short Scripts, William Phillips.
3. Writing the Short Screenplay, Pat Cooper & Ken Dancyger
4. Screenplay, Sid Field
5. Story, Robert McKee
Directing
1. Film Directing, Shot by Shot, Stephen Katz. (We highly recommend this book)
2. Film Technique and Film Acting, V. Pudovkin.
3. On Acting, Sandford Meisner
2. Hitchcock, Francois Truffaut
4. Respect for Acting, Uta Haugen
5. Directing the Documentary, Michael Rabiger
6. Making Movies, Sidney Lumet
7. On Directing, David Mamet
Cinematography
1. The American Cinematographers Manual, Detmers, F.H., ed.
2. The Filmmakers Handbook, Edward Pincus & Steven Ascher.
3. American Cinematographer, monthly periodical
Editing
1. The Technique of Film Editing, Karel Reisz & Gavin Millar.
2. In the Blink of an Eye, Walter Murch
Theory
1. Film Art, David Bordwell & Kristin Thompson.
2. Understanding Movies, Gianetti
3. The Altering Eye, Robert Williams Kolker
4. In the Blink of an Eye, Walter Murch
Production
1. Script Supervising and Film Continuity, Pat Miller
3. Film Budgeting and Scheduling, Ralph Singleton
4. Producing and Directing the Short Film and Video, Peter W. Rea and David K. Irving
5. Shoot to Kill, Christine Vachon
6. The Kid Stays in the Picture, Robert Evans
7. Rebel Without a Crew, Robert Rodriguez
For additional reading suggestions, please visit the Film Library in the Riverside Building (2nd floor).
IMPORTANT NYFA LOS ANGELES

BUILDING REGULATIONS
Universal/Backlot
As NYFA Los Angeles has Backlot Production Workshops inside an active studio, it is
essential to respect the other professional filmmakers while on their premisis. Do not wander
into active offices, do not accost film professionals in the hallways and if you see a celebrity
do not approach them. These film professionals are working within the confines of the
studio and expect you to provide them with professional respect.
Security
Always carry your badge or visitior’s pass when on campus premises. Please be courteous
and cooperative to the staff and security. It is their responsibility to create a safe environment
that we all desire for our school.
ID’s
You must wear your NYFA ID at all times when entering the building and while you are in
classes.
Smoking
Smoking is not permitted in the NYFA buildings. Please see front desk for designated smoke
areas.
Loitering:
Do not hang out in the hallways of the building; noise echoes easily and is a distraction to
the classes in progress. Students may hang out in either the computer lounges or break areas.
Bikes and Skateboards

Bikes are not allowed in any of the NYFA buildings, however skateboards may be carried.
GUIDELINES
ZERO TOLERANCE
RESULT IN DISMISSAL FROM THE PROGRAM.
ABUSE OF EQUIPMENT AND FACILITIES WILL

The following rules will be enforced without exception.

All classes and productions are mandatory. In order to succeed in this workshop you must
always come on time to class. It will be almost impossible to catch up on any missed work. Filmmaking
is a collaborative art; therefore you must demonstrate a professional respect for the equipment and
the people you are working with. All film projects require pre-‐production outside of class. If you need
any help please contact your instructors, the Film Department Coordinators or the Film Department
Chair.

AFA, BFA, MFA, and MA students must be in good academic standing in order to shoot their
Intermediate and Thesis Projects. This includes no failing grades on their academic record and
a grade point average at or above the degree requirement (BFA/AFA: 2.0, MFA/MA: 3.0).

THE NEW YORK FILM ACADEMY maintains an excellent ratio of equipment to students,
nevertheless, when students are irresponsible about returning equipment on time, the other students'
productions suffer.

1. DO NOT LEAVE EQUIPMENT UNATTENDED EVEN FOR A SECOND! Do not leave
equipment unattended, whether in a classroom, car or trunk. You must take the equipment with you
or have a crew member stay in the car with it. When taking a cab, make sure all equipment is out of the
cab!! There have been many instances of stolen equipment and personal belongings because students
refused to heed this warning.
If you neglect your equipment, you will be held financially responsible for loss, theft or damage
to that equipment. If, for example, a light meter has been dropped and broken and no one in the crew
takes responsibility for it, the replacement cost will be divided among the crew.
Due to the high cost of replacing or repairing film and video equipment, students may want to
investigate production insurance for their shoots. Several insurance vendors are listed in the
important phone number section of this handbook.
If equipment malfunctions or is damaged, report it immediately to the equipment room
manager, and fill out an equipment repair form.

2. EQUIPMENT WILL BE CHECKED OUT TO CREWS ONLY. You may not take the
equipment out alone (for safety and security reasons), or at the same time that your crew has another
equipment package. When checking your equipment out you must commit to a check-‐in time.
Returning equipment late will result in a charge of $100 a day.
GUIDELINES (cont.)
3. UNDER NO CIRCUMSTANCES SHOULD YOU KEEP EQUIPMENT BEYOND YOUR
SCHEDULED CHECK-IN TIME. Do not drop off any equipment if equipment room is closed. Please
check in equipment only to cage staff. Repeat; DO NOT leave equipment unattended anywhere in the
building. All bulbs must be returned with your lighting kits. If bulbs burn out during a shoot, they
must still be returned at the end of the shoot.

4. USE OF PROP GUNS AND WEAPONS. In the past students have been arrested and held
in jail overnight for the misuse of prop guns and weapons in their films. The use of prop guns and
other prop weapons are not allowed on any of the following Semester 1 or short term productions:
Mise-‐en-‐Scene, Continuity, Music Video, POV, Backlot Production Workshops and Non-‐Sync projects. If
you plan to use any kind of weapon in your film for advanced/greenlit projects, you must alert the
Film Commission and the Police Precinct where you are shooting. Please be aware that you will most
likely have to hire an officer at your expense if you plan on using a prop weapon outside. The weapon
should only be used when you are actually filming. Keep the weapon out of sight, and make sure that
any passerby understands that you are making a film. At no time may crew or cast play with the prop
or point it at anyone. This is for your safety. Under no circumstances should prop weapons ever be
displayed in the hallways, classrooms or any public areas of New York Film Academy campus
buildings in Los Angeles.

5. TECHNICAL ASSISTANCE - 1-818-333-3564. If you experience equipment problems
you may call the number above before 11 pm, 5-‐days a week. On weekends (til 11pm) please call 1-
818-415-3837. Please double check the problem before calling. The Tech Assistant is not a film
delivery service; he will not come to your location. You will meet with an equipment team member at
the school in the event the problem cannot be solved over the phone.

6. CLASSROOM ETIQUETE. Eating and drinking are not allowed in classrooms. Treat the
furniture and equipment in classrooms with respect. Leave the room clean and tidy.
7. PARKING. The Riverside Building parking lot is available for student use at the rate of
$7/day. Students should speak with the LA Transportation office if they wish to purchase parking. You
can contact them at latransportation@nyfa.edu
NOTE: Students are not to leave any belongings unattended in classrooms or on campus. Neither
NYFA nor Universal Studios can be held responsible for personal belongings that are lost or stolen.
7. PARKING. The Barham Parking lot at Universal Studios is available for

student use at the rate of $85 a month. Students should if they wish to purchase
parking. The visitor spaces as well as the reserved spaces in the parking lot are not
available for student use.
EDITING FACILITIES
1.Students must sign up 24 hours in advance to use the EDITING LAB.

2.EDITING SLOTS ARE 9AM-‐1PM, 1PM-‐5PM, 5PM-‐9PM, and 9PM-‐12AM. Students are only allowed
to sign up for scheduled editing slots. Students will not be allowed to start editing before the
allotted editing slot begins.

3.You must begin putting your materials away 15 minutes before the end of your slot so that the
next person can start their slot on time.

4.No eating, drinking, or smoking in the editing room.

5.Do not touch the wires behind the computers.

6.Report any problems to post production staff or an Instructor immediately.

7.Do not attempt to fix a machine yourself.

8.The editing is for the exclusive use of students and staff of NYFA.

9.Do not invite strangers into our space. Everyone’s security will be at risk.

10. Do not leave your belongings unattended.

11. Keep your cell phone ring to "low." Step outside the lab if you want to take a call.

12. Make sure to pack all your belongings when leaving the editing lab. Collect your trash.

13. You must sign out with post production when you leave.

14. Have your editing hand-‐outs at hand every time you use the editing facilities.

15. Keep all conversations to a minimum and are respectful of all fellow students who are editing.

16. Students must use headphones while editing to keep noise levels to a minimum. If you need to
checkout headphones, see the equipment desk.
NYFA LIBRARY GUIDELINES

Library Circulation Guidelines

As a NYFA student, you may utilize the learning resources of the Library housed in the Riverside
Building (2nd floor). There are several film and acting books, a collection of DVDs/Blu-‐rays,
screenplays, course reserves, and online databases available for students. Below are library
circulation guidelines:

1. Library materials are available to students and staff Monday–Friday from 9:00am–10:00pm and
on Saturday from 8:00am–5:00pm. Library materials may not be taken off the New York Film
Academy premises without proper check out. DVDs/Blu-‐rays may be viewed anytime during the
school’s operation hours in the student lounge or on a school computer.

2. Current students must present their Student ID badge or a driver’s license/passport when
checking out library materials.

3. Students may check out DVDs for 3 days, screenplays for 1 week and books for 2 weeks before the
material is due. Items may be renewed by emailing the Library at library@nyfa.edu or by speaking to a
Library staff member in person.

4. Course reserve books will either be available as Library Use Only items or as 3-‐day checkout items.
Ask a Library staff member the circulation policy of a book you want prior to checkout. Course reserve
DVDs/Blu-‐rays will either be available as Library Use Only items or as a 1-‐day checkout items. These
materials must be returned after screenings/use to allow access for other students.

5. Instructors who require a book or film for classroom purposes have priority when checking out
materials.

Only library staff members may check out materials to students.
PRODUCTION WORKSHOP RULES AND

REGULATIONS

1. Students are not allowed to leave the assigned area. Universal Studios will assign a specific
lot to be used during production workshop. Ask a NYFA staff member if you want to shoot in a
certain area and are not sure if it is part of the perimeter assigned. If you are caught
trespassing on other lots, your crew will be shut down for the day.

2. Keep it safe. Some of the back lots offer interiors, balconies, rooftops, etc. These are sets and
some of the buildings are not as safe as they look. Stunts on rooftops will not be permitted.

3. Trams. In some cases, Universal Studios trams will pass through or close by the location
assigned. Trams always have the right-‐of-‐way. Get out of the tram’s way and don’t make them
wait for you to move. Do not converse or interact with the passengers of the trams in any way.

4. Casting. Students will need to cast actors in their films. NYFA staff members are not to be used
as actors; they have other responsibilities and obligations. We expect filmmakers to
collaborate with students in the acting program for production workshops, and please cast
your actors in advance. Please be sure to make the proper arrangements in the front office if
you are bringing non-‐NYFA actors to the back lot.

5. Props & Wardrobe. Students are allowed to check out props and wardrobe for their
production workshop films. Please make sure to turn in a request form to the Prop Department
on the 5th floor of the Barham Building, at least one day prior.

6. Vehicles. Students cannot drive their own cars onto the lot. Skateboarding and rollerblading
are not allowed on the back lot. Moving vehicles may not be used in any way during a
Production Workshop.

7. Lunch. Students are to remain on the lot for the full day of production workshop, including
lunchtime. There is a lunch truck that usually comes during the lunch break. Make sure you
bring cash to buy food, or bring a packed lunch from home.

8. Keep your area clean. Universal is strict about keeping their locations clean. Always leave
your locations the way you found them.
LOCATIONS

Reminder: always leave your locations better than the way you found them.

The City of Los Angeles and surrounding areas provide an exciting backdrop for your weekend films.

Exteriors: FilmLA can provide a permit for your production within the city of Los Angeles.
Please review the permit procedures document that will be given to you by production
services. If you have specific questions about filming you can contact Luis Valencia –
luis.valencia@nyfa.edu

Interiors: To obtain permission to shoot in interior locations you should contact the building
owner directly. With perseverance, most students are able to find locations at no charge. All
interiors need a location agreement and permit.

Apartments: Most students shoot in their own apartments or in the apartment of a
fellow student in their class.

Shooting at the New York Film Academy: Shooting in the building is permitted under certain
circumstances. For information regarding shoots at the Academy, see the front desk on the 5th
floor of the Barham Building or the Operations Director in the Riverside Building. Under no
circumstances will students be allowed to shoot in the hallways, break rooms, or bathrooms in
NYFA buildings during school hours. If you would like to reserve a classroom, it is essential to
schedule it well in advance, since our facilities are in constant use. You will be required to leave
a $100 deposit via check with the NYFA Bursar Office before you will be allowed in the room.
Please note that some rooms may incure additional costs. The staff member will check the
condition of the classroom before and after your shoot. Any damage to NYFA classrooms will
result the forfeiture of your deposit in addition to any repair costs. Of course, you are
responsible for returning any chairs, tables, etc. that you may have moved during production.
For more information, see page 17.

As always, if you have any trouble or if you are simply looking for advice please do not hesitate to ask
us in the office.
CASTING NYFA ACTING

STUDENTS

There are students at NYFA studying in acting for film programs.

We also maintain a file of headshots you may look through in the library. Even on very short notice
you may find actors that will be available and enthusiastic to work on your production. You MUST
give your actor(s) a copy of your film or your footage if you do not complete editing your film.

Please note that NYFA actors will not be excused from their classes for a student project.
Consequently, only cast NYFA actors in projects that shoot on the weekends; or during non-‐class
hours.

Make a casting notice with description of role and shoot dates. Use your own telephone number and
address. Make sure you specify that only food and transportation be provided. No pay. Remember the
actors are working for free so treat them well.

Here is an example of a casting notice:

“THE SALESMAN”
Seeking three men for 16mm color film “The Salesman”: lead male, 25-‐35, dark hair preferable, a con
artist type, must be able to speak with a Russian accent; male, about 50, graying hair, another con
artist type, must be able to speak with a Russian accent. Also seeking: male, 25-‐35, no accent
necessary, administrator type. Shooting mid-‐October, mostly weekends, in Long Beach.
Call James at 818-‐xxx-‐xxxx or email james@webmail.com to set up an audition.

Please be aware that Acting for Film students cannot miss their own classes to shoot your film
projects.
FILM STOCK
As a film student you will be required to buy your film for all film projects, excluding in-‐class
workshops and exercises. The type of film used will depend on the film project and if you are shooting
interior or an exterior location.

If you wish to buy your film stock from NYFA you can purchase your film in the Equipment room and
pick it up there, or purchase in the Bursar office and pick up in Equipment. You should purchase film
and cards before you check out the camera equipment.

You can pay for film & processing with credit card (Equipment), or credit card, cash or check (Bursar).
In addition, you may set up a student account with Bursar office staff.

100’ Roll Color $35 each (Does NOT include processing)

Film is provided free of charge for the Production Workshops.

SERVICE FEE Production
Workshops

Processing & Telecine $32/100’ Free
Push/Pull processing $5 per stop Free
CD-‐RWs / Blank DVDs $1
1 DVD of your entire coursework 1 copy free
1 DVD of an individual film $15
1 Compilation of films on DVD $25

SAMPLE STUDENT FILM BUDGET

FILM STOCK AND PROCESSING

Mise-En-Scene Film
One Roll Color Film Stock +Processing $67.00
Or, One 16GB CF card (Digital Program) $44.00
Or, One 32GB CF card (Digital Program) $74.00
Or, One 16GB SD card (Digital Program) $30.00

Continuity Film (BFA Filmmaking Only)
Two Rolls Color Film Stock + Processing: $134.00

Montage Film
Three Rolls Color Film Stock + Processing: $201.00

SUBTOTAL FIRST THREE FILMS (Color Film) $402.00*

Non-Sync Film
Ten Rolls Color Film Stock + Processing: $670.00
If you shoot with a digital camera you
can reuse your SD/CF cards.

TOTAL FILM & PROCESSING BUDGET FOR SEMESTER ONE: $550.00 - $1,072.00*

These costs do not include additional expenses a director may choose to incur for props, wardrobe,
effects etc. The quality of your films will depend on how well you tell your story, not how much you
spend. Prices for food and transportation have not been included in these figures.

It is the responsibility of the director to provide food and transportation for cast and crew. If you
promise your actors a copy, you have a professional responsibility to deliver on your obligation.

*If the New York Film Academy’s guidelines are followed for film stock and processing and/or digital
media.

Please note: Students are responsible for purchasing their own SD/CF cards
TELECINE OPTIONS

NYFA offers an exceptional rate on telecine for your initial projects. However there are outside
resources for your advanced projects. Please be aware that Telecine might give you’re a little more
latitude and a crisper image, but it will not magically fix a film shot at the wrong exposure.

Telecine is an expensive process and usually costs up to $400 per hour. Some Telecine Houses do
offer student discounts that average around $225 per hour. What we do is we bulk students’ footage
together and Telecine it in one session to cut down on the individual costs. If you would like us to
handle all of this for you, let us know at the time you turn in your film that you would like the Special
Telecine Option.

IMPORTANT NOTE ON TELECINE: There is no standard price for Telecine. Different companies will
charge different amounts to compete, sometimes as low as $150 per hour. If you call around on your
own, you might find a better deal. Also, if a few students decide to go in on a Telecine session together,
they can probably get a cheaper deal than the NYFA offers. If you do take care of Telecine on your
own, the New York Film Academy will not be responsible for any delays or quality of the transfer
issues. We will provide you with a list of Telecine Houses on request, and you are free to make your
own Telecine arrangements.
CONSULTATIONS

To schedule an advisement session you must contact an instructor directly. Do not wait until the last
week to schedule an advisement with your instructors. Once the consultation is scheduled, you must
bring a Red Card to the consultation and fill it out once the consultation is complete. Red cards can be
picked up at the front desk in any NYFA building.

You should come to advisements prepared. We strongly urge you to have the following items ready:

Script/Story Consultation:
A type written treatment or story idea
A type written script in proper screenplay format
Know thematic and aesthetic objectives—Vague ideas make for long therapy sessions.

Technical Consultation:
Script
Storyboards
Shot list
Stills of proposed locations (ideally 360 degree panorama)
Overhead plan with dimensions for every interior location.
Diagram showing blocking of actors and placement of camera
Location information (i.e., available electricity, time of sunrise & sunset, noise problems, etc..)
List of effects and stunts
Stills of cast (headshots)
Stills or sketches of costumes and props

Production Consultation:
All of the above, plus…
Know special cast restrictions (i.e., school age children have limited hours. Etc.)
Rough Shooting schedule
Script breakdown
Budget
Complete contact list (crew and actors)
Location info (such as bathrooms, nearest restaurant, Highway/subway access, etc.)
Permit list
Parking permits for vehicles
Equipment list
Prop/costume list
Transportation
Food requirements

*Following these guidelines will maximize the effectiveness of your advisements.
UNIVERAL STUDIOS
WARDROBE REGULATIONS
Long Term students have a great opportunity to utilize the Edith Head Props and Wardrobe house at
Universal Studios. In order to use the facilities effective please follow the following procedures:

1. Students must provide a copy of their current student ID (front & Back) along with a letter
verifying that the student is currently enrolled. The letter must also include the title of the project.
2. Student hours are from 7AM to 3PM Monday through Thursday. The check out process must be
completed by 3pm. No student rentals will be allowed after 4pm.
3. Students must bring either check or credit card as a form of payment for both rental and security
deposits. The required security deposit is equivalent to the replacement value of the clothing. Any
outstanding items at the time of return will require payment of loss charges or a 2nd deposit for
replacement value.
4. To pick up your security deposit, students must contact Victoria in the Universal wardrobe billing
office at 818.777.3514 to close out their accounts. Students whose names are listed on the student
verification letter are responsible to close their rental accounts with no exceptions.
5. Students must make sure stock personnel note any prior damages on their paperwork. Once a
rented item leaves the department students become responsible for all losses and damages.
6. All used items must be returned dry-‐cleaned. Any items returned dirty or wrinkled will be charged
a dry-‐cleaning fee.
6. The rental price for students is 50% of the regular (two week rental) rate, with no approval
period. The student price is only in effect if all of the above stated requirements are fulfilled.
7. The minimum rental is $35.00 plus tax.

STUDENT ROOM BOOKING POLICY

Please remember the following when booking and using rooms for casting, rehearsals, or shoots:

1. If you are conducting a casting session, please make sure your sign is clearly printed with the
following information:
• Name of project
• Name of room being used
• Dates and times
• Name of the director of the project
• Phone number someone can be reached at with any questions.

This sign can only be hung on the door of the room being used. Please also provide this
information to the front desk. When your project is done for the day, please make sure to remove the
sign.

2. If you are conducting a casting session, you need to have one person in your group who will act as a
greeter for the entire casting. This person shall always be outside the room if the casting is in the
Barham Building and on the floor's elevator lobby in the Riverside Building. If you do not have a
greeter, you will not be checked into the room.

3. You may only remove furniture from any rooms with permission from a staff member at the front
desk.

4. Please be respectful of your fellow students, faculty, and New York Film Academy staff members
while using the rooms. Although you are using one room, students and faculty may have a class in the
room next door.

5. You are responsible for all parties involved with the use of the room. Please make sure all parties
know the locations of smoking areas. Heavy fines may be incurred by the fire marshal if someone is
smoking in a non-‐smoking area. Please make sure you and all parties are respectful of our neighbors in
any of our buildings.

6. Only the student who has placed the deposit can book the room. Your ID will be checked both when
the room is booked and when you are checking in and out of the room. NO EXCEPTIONS.

7. All room bookings require a refundable deposit at the Bursar's office. The Bursar's office will give
you a receipt of this deposit. Room booking deposits are $100.00 with the following exceptions:

$200.00: Dance Studios #1, #3, #4, Astaire, Rogers, Welles, Lee, Theater #1, #2, and Rooms #5-‐8 in
the Barham Building

$300.00: Toland, Zsigmond, and Eggelston in the Riverside Building.

$300.00: Kaminski, Rooms #9, #10, #12 and #13 in the Barham Building.

STUDENT ROOM BOOKING POLICY

Bookings Not Allowed: Dance Studio #2, Brando, Montalban, Eisenstein, Sorkin, Goldman, and
Ephron in the Barham Building

Bookings Not Allowed: Hitchcock, Ford, DePalma, Miyamoto, Bushnell, Lasseter, Cassavetes (on the
weekends) in the Riverside Building.

Bookings Not Allowed: Dance Studio #2, Brando, Montalban, Eisenstein, Sorkin, Goldman, and
Ephron in the Barham Building

Bookings Not Allowed: Hitchcock, Ford, DePalma, Miyamoto, Bushnell, Lasseter, Cassavetes (on the
weekends) in the Riverside Building.

You will only be able to receive your deposit back if you have your Room Booking Check In/Out form
completely signed by a staff member and bring it in person back to the Bursar's Office.

8. You will need to get written permission from the Chair of your department if you wish to book any
room that requires a $200 or $300 deposit. If you wish to book any of the dance studios (Including
Astaire and Rogers) or theaters in the Barham building, you will need to get written permission from
your Chair and then Sara Blindauer.

Failure to follow these rules may result in your casting, rehearsal, or shoot being shut down
and possibly losing your deposit.

These signs must be typed, printed and hung only in approved areas. When work is completed for the
day, all posted signs must be removed.

When conducting a casting session, students must have one person acting as a greeter for the entire
casting. This greeter will remain outside the room, wrangling all individuals for casting. Students must
speak with Facilities Staff before removing furniture from any rooms.
ON-SET SAFETY GUIDELINES

Safety on set must be your primary concern at all times. As a filmmaker, you are liable and responsible for the
safety of your actors and your crew. Students must take seriously any cast or crewmember that expresses a safety
concern, and deal w ith it immediately. The following are suggestions on how to maintain a safe and effective
production:
1) Film equipment can be hazardous and should be treated with the utmost care. It should only be handled by
professional crew, classmates, or fellow NYFA students that have been properly trained.
2) Use your best judgment when rigging lights, using ladders, dealing with electricity, and camera placement.
3) Use your best judgment and common sense when deciding on a location for your film – if it appears hazardous
or dangerous in any w ay, then it is not a suitable location for your film.
4) When shooting in extreme heat, it is absolutely imperative that you make sure you have plenty of ice and
water o n hand for your cast and crew.
a. You are also required to provide shade (pop-‐up tents or motorhome) for your cast and crew.
b. You must have a first aid kit on hand with appropriate supplies (salt tablets, electrolytes, ice packs) to
deal w ith the possibility of heat stroke.
c. It’s a good idea to have misters to cool off your cast and crew.
5) When shooting in extreme cold, it is absolutely imperative that you make sure you have a heated staging area
for cast, crew, and equipment.
6) The maximum shooting day allowed is twelve hours, excluding meal time, and INCLUDING equipment
wrap.
a. It is imperative to keep your shoot days to twelve hours or less and provide at least a 12-hour
turnaround time.
b. If your crew is required to travel over 30 miles on the shooting day, then the shooting hours must
include travel time
c. Meals are to be served no later than six hours after your w ork day begins. You are not paying meal
penalties to your crew, therefore it is unreasonable to exceed the six hours before breaking for your
meal. A second meal must be provided after 12 hours on set.
d. You are encouraged to provide an assortment of foods and drinks for breakfast.
e. If hiring union employees (ie, SAG), you are required to follow union rules for shooting d ays and
turnaround time.
7) Students must remain within 50 miles of school for all projects EXCEPT the BFA, AFA, or MFA thesis project.
a. If students leave the area for a thesis shoot, they must maintain weekly contact with their instructors
and must return within 6 w eeks of their departure.

The following are not allowed in NYFA films unless the projects are greenlit or supervised by your instructors (Digital
Dialogue/Semester One, Intermediate/Year One, Advanced Music Video, Thesis):
1) Prop w eapons, including prop guns, prop knives, or other items used as a fake weapon
2) Stunts
a. You must consult your instructor ahead of time if any physical activity takes place to ensure compliance
Please refer to the Code of Conduct for further guidelines.

ALL STUNTS on greenlit projects must be reviewed by the faculty Chair and Director of the Academy.
1) These include (but are not limited to):
a. Swimming, staged fistfights, driving, riding horses, riding in an open vehicle, riding bicycles,
tripping/falling/chase sequences on foot, boats, etc.
2) Above all, remember that you are responsible for the safety of your cast and crew.
3) Stunts require the filmmaker to hire a stunt coordinator and acquire the proper insurance.
a. Please see Brad Ben-‐Hain, Director of Operations, for further information (brad@nyfa.edu).
b.
ON-SET SAFETY GUIDELINES

The following items are NOT allowed in ANY NYFA student project, at any time:
1) Real weapons, including: guns, knives, tools to be used as a w eapon, martial arts weapons, etc.
o When using prop w eapons on a greenlit or supervised film shoot, the filmmaker should consult their
instructors and production services to follow all permitting guidelines, which may include hiring a safety
officer and acquiring proper insurance.
2) Explosives of any kind, including “blanks,” dynamite, squibs, projectiles, etc.
3) Car mounts and interior/exterior shots of actors driving while acting.
o Students may hire a process trailer to tow a picture car, but must also hire professional insert car drivers
as w ell as a grip and electric crew w ho know how to rig safely
Please refer to the Code of Conduct for further guidelines.
Exhaustion
Shoot-‐related injuries can occur away from the set. Overworked cast and crew and/or short turn-‐around times can lead to
accidents to and from a set due to people falling asleep at the wheel. Restricted hours were put in place by unions to help
curtail those types of accidents from happening. Even though student shoots are not typically union productions, it is the
responsibility of the Producer, Director, and AD to observe industry-‐standard turnaround times when making call times.
Suggest or arrange carpooling for cast/crewmembers to minimize alone time at the wheel.
Hazardous Situations
Common sense must be used when filming. At no time should “getting the shot” be put ahead o f cast or crewmembers’
safety. If a set-‐up is unsafe or a person feels uncomfortable about the safety of a set-‐up, another solution must be found to
achieve the shot. Excluding the concerned person(s) from the shot does not constitute a solution. The Key Grip, A.D., and
Producer are responsible for all on-‐set safety. They have the responsibility as well as the final say in determining if a shot is
unsafe.
Hazardous situations can include:
• Prop w eapons without permits

• Unsafe driving conditions/Actors driving on camera
• Uncontrolled traffic interactions
• Stunts (Must be approved by the Department Chair or NYFA Director)
• Precarious or jerrybuilt rigging or equipment.
• The faculty member in charge of the class must approve all potentially hazardous shots.
Proper Equipment Handling
The majority of equipment-‐related accidents are due to lack of experience/knowledge on how something works or simple
lack of attention. The latter is up to the A.D., Gaffer, Key Grip, and all other crew in a position of authority to monitor and
maintain.
HARD DRIVES/SD CARDS

Due to the extensive amount of footage in both film and High-Definition, you
will be required to have your own media storage to work off of when using
HD cameras and any of our post-production facilities. This will afford you the
opportunity to retain all your footage shot while at the Academy as well as all
finished films.
Any hard drive being used should have the following:
-500 GB’s of space at the minimum
-Firewire 400 or 800 connections
-Formatted in HFS+
We have a limited number of drives available to purchase directly from the
New York Film Academy for $150 USD. Please contact lapost@nyfa.edu with
any questions about hard drives.
Students will have to purchase their own SD cards, excluding class

workshops.
Hard drives and SD Cards are available to buy at the following locations:
1. Fry's Electronics
2. B & H Photo
3. Apple Store
PRODUCTION RESOURCES
STUDIO TEACHERS
Students are required to hire a studio teacher when working with minors.

1. The Studio Teachers Referral Office (818) 559-‐9600. They have a 24 hour hotline (818) 559-‐9797. There are no fees and
no commissions and they specialize in unions and independent films. Their site is quite informative:
http://www.studioteachers.com/teachers.php

2. Stella Pacific (562) 867-‐0700 Ask for Frankie. stellapacific@yahoo.com

3. Rhoda C. Fine: (818) 363-‐6736 rhoda@thestudioteachers.com

4. Mandy Friedrich: (818) 981-‐8388 or cell (818) 486-‐6958; movieteacher@yahoo.com

STUNT COORDINATORS

1. Erik Matuschek
stuntdude007@yahoo.com
818-‐231-‐2611
http://stuntdude.com

2. John W usah
johnwusah@gmail.com
626-‐825-‐9706

3. Ragnhild Bjoerge:
ragnhild.bjorge@hotmail.com
818-‐292-‐3968

4. Tom Proctor
tomproctorstunts@gmail.com
310-‐968-‐5319

5. Kevin Manning
rhinestonekevin@yahoo.com
817-‐304-‐1757

6. James Logan
highfall007@gmail.com
323-‐829-‐6227

SOUND

1. Chrs Thueson: chris.thueson@gmail.com
2. Doug Beatty: 323-‐639-‐3684; doug@digitalladder.com

MAKE UP/HAIR

1. LEON KLIMA: leonklima@gmail.com
New York Film Academy - Los Angeles

Equipment Policies and Procedures
March 2014

1. Equipment Room Contact Information

Main Equipment Room
Location: 2101 W. Olive Ave. Email: laequipment@nyfa.edu
Burbank, CA 91506 Phone: 818-‐306-‐5410

Hours: Monday-‐Friday 7am-‐11pm
Saturday and Sunday 8am-‐6pm

Riverside Equipment Room
Location: 3300 W. Riverside Dr. Email: laequipment@nyfa.edu
Burbank, CA 91505 Phone: 818-‐333-‐3564

Barham Equipment Room
Location: 3800 Barham Blvd. Suite 509 Email: laequipment@nyfa.edu
Los Angeles, CA 90068 Phone: 818-‐333-‐3595

Equipment Manager/Equip. Safety Director
Kirill Yusim
kirill.yusim@nyfa.edu

1. General Rules

• Students are required to purchase film stock for all assignments shot on film,
EXCEPT Production Workshops and in-‐class projects, including those on the
Backlot.
• Proper attire, including closed-‐toed-‐shoes, must be worn on-‐set and in the
Equipment Room at all times. Students in unsafe attire will be asked to leave
Equipment Room.
• If a member of a crew is mishandling equipment, fellow students must notify
the Equipment Staff immediately.
• Equipment, including cameras, cannot be transported in anything other than
the cases provided.
• Lenses cannot be cleaned with anything other than professional lens cleaner
and tissue. (Available upon request.)

• Hardcopies of film permits and insurance policies must be with Production
on-‐location at all times.
• When filming in dusty, dirty or sandy locations, Equipment Staff must be
notified in advance. Sand and other environmental conditions are harmful to
equipment.
• Students may NOT shoot in or around the school grounds without written
approval from the school’s directors. If a student would like to shoot on-‐
campus, they should email the Director of Operations: brad@nyfa.edu
• Failure to adhere to these rules will result in an Equipment Hold. While
on hold, students may not checkout equipment or items from the
library, they may not use post-production facilities, and they may not
screen films at NYFA.

Students’ Equipment Liability and Paying for Loss and Damage

• Students are responsible for any lost, damaged, or stolen gear.
• The entire crew is responsible for the care of equipment.
• For Intermediate and Thesis Productions, the Director of the film is
financially responsible for lost, damaged, and stolen gear.
• Lost, damaged, or stolen gear must be paid for or replaced by the student. If
the student elects to replace the gear, the Equipment Manager must approve
the make, model and condition of the new equipment.
• If items are lost, damaged, or stolen, the responsible student(s) will be issued
a bill via email, payable to the Bursar’s Office. Until the bill is paid or the gear
is replaced, students will be on Equipment Hold.

Theft and Theft Prevention

• Report stolen equipment immediately to the Equipment Manager or the
Director of Operations.
• Equipment should NEVER be left unattended, especially in vehicles.
• Equipment should NOT be kept in vehicles overnight. Most thefts occur from
locked vehicles that are unguarded!
• If shooting outdoors, at least one crewmember must guard equipment.
• Thieves often work in teams to distract and steal equipment.
• Equipment must be stored securely each night, indoors.
• Students are financially responsible for stolen equipment.
• Students found to have lost gear due to negligence may be suspended or
prohibited from graduating, and they will incur financial penalties.

Greenlight Process (Intermediate and Thesis Films)

To be considered “Greenlit,” signatures from the Bursar, Producing Instructor,
Directing Instructor, Equipment Manager, and under some circumstances, the
Department Chair, must be obtained on the Greenlight Form. Follow the following
steps:

Step 1: Signature must be obtained at Bursar and Registrar’s Offices.
Step 2: Instructor Approval: Students will get greenlight approval from their
Producing and Directing instructors during greenlight meeting/crew
participation class.
Step 3: When scheduling a Thesis Checkout Time with the Equipment Staff, students
must obtain signature of the Equipment Manager.
Step 4: Complete NYFA Safety Compliance Checklist, which is part of the greenlight
process and is provided by instructor.
Step 5: A scanned copy of production binder and hard copy of the greenlight form
are given to the Film Department Coordinator. The Film Department
Coordinator will sign your greenlight form. At this point, you will be
considered officially greenlit.
Step 6: Make a copy of your greenlight form and keep it. You will need to submit it
to the Equipment Staff when checking out your equipment.

Checkout Procedures

Familiarize yourself with the procedures below so that your Checkout and Check-‐In
are as smooth as possible.

Before your Checkout
The equipment room can be a very busy place, and therefore Checkouts are given
specific time slots. It is important that you know your Checkout/Check-‐In times and
that you arrive on time.

-‐For most introductory group projects, the date and time will be pre-‐determined.
Please check your class schedule for checkout times. Instead, contact Equipment the
week before your checkout to confirm.
-‐For THESIS projects, you will set up a Checkout and Check-‐In time with an
Equipment Manager. This can be done 4 weeks in advance, and NO LATER than 7
days before your intended checkout. If you attempt to schedule a time less than 7
days in advance, Equipment may NOT be able to accommodate.
NOTE: Timeslots for checkouts are subject to availability; it is recommended that
you schedule as soon as possible.
REQUEST ANY ADDITIONAL EQUIPMENT. Each program and project comes with
a standard package of gear, that, so long as the greenlight process is adhered to, will
be provided.

• Should students desire equipment in addition to the standard package, it may
be provided, pending availability.
• Additional equipment MUST be requested in advance!
• It is recommended that any requests be submitted to Equipment at least 7
days in advance.
• Requests made less than 24 hours before a checkout may not be honored.

The Day of Your Checkout
• Equipment must be checked out and returned by the full crew. Moving large
amounts of gear with an insufficiently small crew is unsafe and impractical.
If the crew is not present, students will not be allowed to checkout gear.
• Students must arrive on time. A minimum of 3 NYFA crew signatures are
required for all camera checkouts.
• It is the students’ responsibility to thoroughly check their equipment during
the checkout; do not checkout damaged gear; report it to Equipment
Staff immediately.
• Any equipment problems must be noted before the gear leaves the
equipment room to avoid charges.
• As the equipment is checked, students fill out and sign Checkout Paperwork
and the Checkout Agreement provided by Equipment Staff. This paperwork
must be satisfactorily completed and returned to Equipment Staff
before any gear is removed from preparation bays!
• Give yourself sufficient amount of time to properly prep and checkout gear.
Suggested times:
1. Intro Packages -‐ 1 hour
2. Intermediate Packages -‐ 1-‐2 hours
3. Advanced Packages -‐ 2-‐3 hours NOTE: Students must have a
liftgate truck if using a Chapman or Fisher dolly. Students
without a liftgate will NOT be allowed to checkout a dolly.
Note that a ramp is not a substitute for a lift gate.

After checkout has been completed, students may park their car/truck in the
loading dock and begin to load their vehicle.

Loading Dock Procedures (at Olive Equipment Building)
Upon arrival at the new Olive Equipment Building please check in with equipment
staff for permission to park your truck in the loading dock. All crew must use street
parking on either Olive Ave. or N. Keystone Street.

The Day of Your Check-In
If you are to be late to your scheduled check-‐in for any reason, call the equipment
room as soon as possible to let them know.
Equipment returned after the due date will incur a $100/day late fee. Equipment
returned One to Four hours after the scheduled check-‐in time will incur a $50 fee.
After 4 hours, a full day’s late fee will apply.
As with Checkouts, a full crew must assist with Check-‐Ins.
NOTE: Depending on the size of the equipment package, it may not be possible for
Equipment Staff to accept a Check-‐In too near the time the Equipment Room
closes. For example, on weeknights, 3-‐Ton packages WILL NOT be accepted
after 8:30pm.

Lost or Damaged Items
Equipment staff will examine returned gear. If any items are missing or returned
damaged, students will be notified by email within two business days of check-‐in. In
the case of missing items, students will have 2 business days from receiving the
email notification to return them. After that, a late fee of $100/day, not to exceed
the value of the missing equipment, will take effect. In the case of damaged gear
or when missing items are not returned, please see Item 3: Students’ Equipment
Liability and Paying for Lost/Damaged/Stolen Gear.

Reshoots

Reshoots should not be relied upon as an extra shooting day. However, in certain
cases, you may request to reshoot using the EQUIPMENT REQUEST FORM. This form
allows you to shoot after your allotted shooting time. Please follow the below steps
to obtain permission to reshoot. NOTE: All equipment available for primary shoot
dates may NOT be available during re-‐shoots.

Students must obtain the Equipment Request Form in the equipment room. With
the Equipment Manager, schedule an equipment Checkout and Check-‐In time. All
requests must be processed at least 48 hours in advance.
Students are required to obtain approval from their instructor for reshoots.
Student must visit the film department coordinator for department approval, with
all paperwork filled out properly. Paperwork includes lists of crew members, check-‐
out times, instructor approval, and a list of equipment needed.
Last, students must obtain final signature from Equipment for checkout.
Approval from the Director of NYFA is needed for advanced packages shooting with
the RED Epic Camera.

Basic Safety

Each student must complete a safety compliance class BEFORE being allowed to
checkout or use equipment. At the safety compliance class, they will be issued an
on-‐set Safety Pamphlet that is to be read and understood thoroughly before
working on set.

Film Student Handbook Aug 2014

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NEW YORK

THE DEPARTMENT OF FILMMAKING

Below are useful names and contact information:

Riverside Building Barham Building Advanced Equipment

Post Production Annex

NYFA IMPORTANT EMAILS

IMPORTANT NYFA LOS ANGELES

Bikes and Skateboards

7. PARKING. The Barham Parking lot at Universal Studios is available for

NYFA LIBRARY GUIDELINES

PRODUCTION WORKSHOP RULES AND

CASTING NYFA ACTING

SAMPLE STUDENT FILM BUDGET

7. The minimum rental is $35.00 plus tax.

STUDENT ROOM BOOKING POLICY

STUDENT ROOM BOOKING POLICY

ON-SET SAFETY GUIDELINES

ON-SET SAFETY GUIDELINES

Hazardous situations can include:

• Prop w eapons without permits

Proper Equipment Handling

HARD DRIVES/SD CARDS

Students will have to purchase their own SD cards, excluding class

New York Film Academy -­ Los Angeles

and tissue. (Available upon request.)

prohibited from graduating, and they will incur financial penalties.

loading dock and begin to load their vehicle.

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New York Film Academy - Los Angeles