Student Production Office Forms


These SPO forms are current and updated for the Spring 2024 semester. If you feel a form is unclear or you suspect a form may be out of date, please contact Production Administration for guidance and clarity.



Movie Magic



Call Sheets



Release Forms


Safety Bulletins



Camera Services Department

Lighting and Grip

Production Sound Department

Movie Magic Scheduling and Budgeting


Movie Magic Scheduling and Budgeting are preproduction softwares that help you when it comes time to schedule and budget for your films. With these softwares, you are able to organize and create breakdown sheets, generate production reports, organize shoot days, create strip boards, and more. Learning these softwares is integral to making your films and getting your project approved, as you will be asked to submit many of the items listed above in order to move forward with your project.


As an LMU student, you are able to access Movie Magic Software either in person in the Communications Arts Building, the Brickyard, and the Howard
B. Fitzpatrick Pavilion.

The following rooms are available for accessing Movie Magic Scheduling and Budgeting in person:

Classroom# of Computers Available with Software
CA 106 (SPO)5
CA 20514
BRY 262 12
BRY 283 (SPO)5
HFP 20016

Budgeting and Scheduling Templates

Use your LMU Single Sign On credentials to download budgeting and scheduling templates from Box.


There are no current trainings available. Check back for further updates.


The Student Production office has recorded tutorials for easy reference:

Movie Magic Budgeting
Movie Magic Scheduling


For further questions, help, or to request an in person or virtual tutorial on Movie Magic, please contact the Student Production Office.



During your approval meeting with Production Administration, any script action that reads like a stunt will need to be discussed. If it is determined the action can be achieved safely and without the use of a stunt person, then Head of Production will tell you. However, if the action requires a stunt person or stunt coordinator, then you will be required to you hire them.  


stunt is a physical action requiring an actor to fight, fall, jump, run and, in general, perform in an athletic manner and/or in hazardous situations may require the services of a stunt player to double the actor.  

Many common activities, which may be simple tasks for someone familiar with the tool, toy, appliance or device, can be dangerous to someone unfamiliar with its proper and safe operation. For example, skateboards, manual transmissions, scooters and motorcycles. 


Stunt Coordinator is a stunt player who assumes the responsibility for supervising all the stunt work and all stunt players in a picture. In addition to hiring the stunt performers and arranging for any necessary equipment, the coordinator works with the director and cinematographer to work out the best possible camera angles for each gag to achieve the most effective visual impact. He or she also has the responsibility for keeping all members of the crew and the stunt people safe during filming. 


The performances of all stunts or hazards is preceded by a meeting on the site of the event with all people concerned. This meeting includes a “walk-thru” or “dry-run” with the stunt coordinator and/or special effects crew and all of the persons involved in the event. An understanding of the intended action, possible deviations, and authority to abort should be made clear.  

All stunts and special effects should be reviewed by all participants prior to execution to help ensure that they are performed in the safest manner possible.  

Listed below are some sources for both stunt coordinators and stunt performers:

In addition, below is a current list stunt coordinators who have worked or are willing to work with students: 


Name Phone Union Website 
Alex Bankier(301) 437-6400N/AResume
Bryan Forrest 714-697-7700 non union and union shoots  Personal Website 
Connor Deadrick 310-597-0361 SAG IMDb Page 
Danny Wayne 818-469-0379 DGA/ SAG   
Darren Holmquist 530-604-5492 SAG-E   
Joe Perez 818-625-5450 SAG IMDb Page 
Kristian Lambert 818-310-5715 SAG  
Mathre Lorenceau 818-631-3923 SAG   
Reuben Lee 562-233-0526 SAG IMDb Page 
Ryan Rasberry 916-380-2769 SAG   
Surawit Sae Kang 626-354-4788 SAG  
Tessa Anderson 949-632-8140 SAG  
Tony Sre 562-607-1705 SAG   
Dean Jackman541-227-4433n/aSFTV Alumni
If using a SAG stunt coordinator, it is important to plan in advanced and to understand the proper rates. 

Sound Effects Library


Sound effects are available 24/7 on both the computer at the RECA OFFICE RESERVATION desk and on the SFTV Avid Nexis server. You can have access to them from all sound studios in SFTV and from room 204 and 205. (Launch Avid Nexis Client Manager, log in using your school credentials, and mount the SFX workspace.) 

These sound library effects are cleared for use in your student projects. You may search for sound effects in three different ways: via Spotlight, the Digibase Browser within Pro Tools, or with the free utility EasyFind. (We recommend EasyFind.) 

There are currently four main libraries: BBC, Sound Ideas, Warner Bros. (cartoon effects), and an extra set donated by Mark Kamps, a dedicated professor at LMU who loved this school very much and passed away in 2007. Please feel free to add a “thanks” to Mark in your credits if you use this library.  

Prop Weapons



PROD 390 / 490 /600 /650 AND SCWR 680 PRODUCTIONS 

The use of prop weapons poses significant risk to student filmmakers therefore the policy on the use of prop weapons must be strictly enforced. The penalties for failure to comply with the policy are severe. 

Here is the link to request a security detail. Please complete, with the exception of the budget number section. In this section, put all zeros (i.e. 00-0-00000-00000-0000). You as a student are responsible to pay DPS for the officer’s full amount of time with either check, money order, or cashier’s check. Payment should be made out to LMU.

Before you receive approval to begin production, you must present any prop weapon to the Production Administration office. They need to inspect any and all prop weapons.  

Blanks, squibs and other pyrotechnic devices may never be used. 

Only non-firing (plugged barrel) replica firearms or rubber guns may be used. No prop weapon may be used that is capable of propelling any sort of projectile. This includes blanks, arrows, darts, pellets, bb’s, etc. 

If you obtain the services of a licensed special effects person, you may hire them to discharge air propelled objects (dust pellets, spark hits, etc.) You must request and receive permission from Production Administration of your intention to do so during your approval meeting. 

The prop weapon can be rented either from LMU Prop Shop (free of charge) or an approved rental house. 

Knives and Sharp-Edged Props

Scenes making use of knives, swords, bayonets, etc. are required to use props made of rubber or similar material (normal eating utensils are exempted). They should be kept in a secure place and only taken out for rehearsal and filming. There is rarely, if ever, a need to have a sharp-edged prop in a film. All knives, swords and the like should have blunt edges. Keep in mind that wood, plastic or rubber weapons may be hazardous if used in a stabbing or lunging mode – in these cases, soft-tipped weapons are more appropriate. 

No other real weapon can be used on set, i.e., tasers, nunchuck, police baton etc.  

Filming On-Campus With A Prop Weapon

Fill out the Mazevo On-Campus Filming Request. Bring the weapon(s) to Public Safety for inspection. Depending on the location and activity to be filmed, you may need to hire a Public Safety (DPS) officer.  

(4-hour minimum)

$31.63 for officers (more than 72 hours notice)

$34.83 for supervisors (more than 72 hours notice)

$38.03 for all (less than 72 hours notice)

Note: Cancellations within 24 hours will incur a four-hour charge per officer at the contracted rate.

Filming Off-Campus With A Prop Weapon

Your permit from the appropriate agency must specify the use of a prop firearm or weapon. Check for restrictions from your specific location. The guidelines given here are accurate in Los Angeles County, which has a fair amount of regulative structure in place because so much filming happens here. 

Notifying the Police

Once you have selected your location, you must determine which police station patrols that area (see the Police Station Locations section). One week before production, meet with either the desk sergeant or the Watch Commander of the precinct covering your location and notify them of your plan for filming with any prop weapon(s) including firearms, knives, etc. They will notify their patrols of your planned activities. They may tell you that you will need to hire an off-duty officer on-set with you. Depending on the particular city, an off-duty LAPD officer gets between $60-$70/hour, usually with at least a four-hour minimum. Visit this link below for a list of approved off-duty police officers for productions. Scroll down to see the police contact list. We recommend Walker Location Services or Pacific Production Services inc. (PPS). Be sure to tell them that you are a student, and ask if they have a student rate.  

Production Administration REQUIRES CONFIRMATION YOU HAVE CONTACTED THE POLICE REGARDING YOUR PROP WEAPON ON SET (usually a business card signed by the officer or an email will work to verify). 

You will also be required to have your crew wear LMU Safety Vests during this portion of your production. These will be provided to you. 

Notify the Neighborhood

It is important that you alert any surrounding residents and business owners of your plans. All the precautions that you take are designed to minimize the danger of someone misunderstanding what’s happening.  


Meet with the Head of Physical Production or Associate Head to have your project approved. 

  1. Fill out the Mazevo On-Campus Filming Request (if shooting on LMU Campus).
    • You must bring the prop firearm to Public Safety for examination.
  2. Fill out FilmLA Permit Application (if shooting in Los Angeles).
    1. Anytime you have a PROP weapon on set, it must be noted on your permit request.  There may be an extra level of police or PSafe notification and paid monitoring 
  3. Rent your prop firearm either from LMU’s Prop Shop or outside vendor.
  4. Meet with the law enforcement authority of the area where you will be filming and receive written confirmation of the meeting. 

The following is the proper procedure for use and handling of prop firearms and must be observed at all times: 

  • A member of the crew shall be designated Prop Master or Weapons Handler and have responsibility for transporting, handling, control, distribution and securing all prop firearms. 
  • The use of prop firearms shall be noted on the Call Sheet. 
  • Before use on set, an announcement will be made to cast and crew that a prop weapon is about to be used. 
  • Treat all firearms (including non-firing replicas and/or rubber guns) as though they were loaded. 
  • Never engage in horseplay with prop firearms or weapons. 
  • Unless being used for rehearsal or filming, the prop must safely be secured. Never leave a prop firearm unattended. 

All city, state and federal guidelines are applicable to LMU student use of prop firearms. 

Studio Teachers


The term “studio teacher” is often misleading. In California, a Studio Teacher is responsible, by law, for the health, safety and moral well-being of the child or children working on the film. The term “welfare worker” is sometimes used.  A Studio Teacher in California is a credentialed secondary teacher who has been certified by the Labor Commissioner as a Studio Teacher. 

 You can’t just use someone who has a teaching credential – not in the State of California.  

As a general rule, a certified Studio Teacher must be present whenever a minor is working.

In addition, the legal guardian or parent of the minor must be present the entire time the child is working – and within sight and sound of the child. Relatives, neighbors or babysitters are not legal substitutes – even if they have written permission from the parent or legal guardian. 

A Studio Teacher has the absolute discretion to remove a minor from a production – without any repercussion – if the Teacher feels that the health, safety and/or moral well- being of the minor(s) may be compromised. Because of this responsibility for the health, safety and moral well-being, the Studio Teacher is required even when school is not in session including weekends. 

If you are using an infant 15 days to six months of age you must also have a Nurse present on the set. You must also provide an “adequate facility” removed from the worksite where the baby can eat and/or sleep without being held. An infant of this age cannot be at the place of employment for more than 2 hours – or work for more than 20 minutes. (Remember, rehearsal time is work time.) An infant cannot be exposed to light of greater intensity than 100 foot-candles for more than 30 seconds at a time.  The use of infants younger than fifteen days is not allowed. 


There are several options when looking to hire a qualified studio teacher.  

  • Local 884 is the IATSE group that represents, among other categories, studio teachers. They have many members that are willing to work on student films.  Their studio teacher referral office is:    818-559-9600. You may also email the office at 
  • Stella Pacifica is a service representing studio teachers, welfare workers, baby wranglers, acting coaches and interpreter.  818-464-5425 
  • Ask your fellow classmates for a referral. They are always a good resource for crew recommendations. 
  • Conrad Hurtt, studio teacher. Contact him by email or phone: (310) 930-5003.
  • On Location Education for studio teacher services.


No one has the authority to “waive” the Studio Teacher requirement. 

A Minor/Studio Teacher Confirmation Form must be filled out and submitted to the Head of Production prior to filming.   

For a guide on working hours for minors in the entertainment industry, click here.

Minors Policies



A CERTIFIED Studio Teacher AND a Parent/Guardian must be present when a minor is on set.


A minor, by definition, is anyone under the age of eighteen.  The use of children in motion pictures presents logistical and ethical challenges to the filmmaker.  


While there are no national standards regulating the use of children in the entertainment industry, a number of states have adopted rules that are very similar to California’s. 

The California regulations apply to minors who work in California or who are taken out of state to work. They also apply to minors from out-of-state who work in California. If you are working in another state: Check local rules and regulations covering the use of minors. The local film commission can help with this. Any child wishing to work on your student film must possess a current entertainment work permit issued from the state. They must bring the permit to the set with them each day they work. Studio Teachers will want to see these permits before they allow a child to work in your film. It is the responsibility of the minor’s parents to obtain this permit. Be sure to ask whether the child has a permit when you are casting the film. Permits can be obtained at: 

Department of Labor Standards Enforcement 
Entertainment Work Permit Unit 
6150 Van Nuys Blvd. Room 100 
Van Nuys, CA 91401 (818) 901-5484 

Because children working in films have been abused and mistreated– and because the parents of those children could not always be counted on to protect the best interests of the child, the State of California determined that an objective, third party must be present when a child is working. A person whose only concern was to safeguard the welfare of the minor; the Studio Teacher. 

Please refer to the following documents to further review child labor laws for minors:

Child Labor Law Pamphlet

Entertainment Industry Child Labor Law Pamphlet


  • Young children have shorter attention spans than adults and they tire quickly. 
  • The work hours of minors are strictly regulated and vigorously enforced. The total number of hours a child may work are determined by the age of that child (see the chart on the following page). Extension of these hours is not allowed.  
  • Minors can only be employed for the hours permitted by law. Under no circumstances is a minor permitted to begin work before 5:00am nor to work past 12:30am on the weekends, and 10:00pm on the weekdays.
  • The presence of a minor on the set means you and your crew must conduct yourselves professionally and responsibly to insure the safety and well-being of those under your supervision, who are not able to care for themselves. 
  • Minors 16 years of age and older only need Studio Teachers if schooling is required. (Schooling is not required on weekends and during the summer). 

Work Hours of Minors

Ages Time on set Time at work School Rest & recreation Total time with meals 
15 days-
6 mo. 
 2 hours  20 minutes  ——1 hour 
40 min 
2.5 hours 
6 mo.-
2 years 
 4 hours  2 hours  ——- 2 hours 4.5 hours 
2 years-5 years  6 hours  3 hours  ——- 3 hours 6.5 hours 
6 years-
8 years 
 8 hours 4 hours 
6 hours 
3 hours
1 hour
2 hours
8.5 hours 
9 years-
15 years 
 9 hours 5 hours 
7 hours 
3 hours 
1 hour
2 hours 
9.5 hours 
16 years 
17 years 
 10 hours 6 hours 
8 hours 
3 hours 
1 hour
2 hours 
10.5 hours 

The requirements established for the use of minors in motion picture and television production are California state law. 

Failure to comply with these laws could result in Criminal and/or Civil penalties for not only the Producer and Director, but other participants in the production as well. 

For a guide on working hours for minors in the entertainment industry, click here


Prior to rehearsal or filming, the production should perform an initial review of the physical activity, including but not limited to: 

  • the age, heigh, weight and maturity of the minor
  • the physical fitness, coordination, expertise in the planned activity, and film experience of the minor
  • the amount of additional information and movement the minor will be asked to consider (e.g., camera positions, acting, looking over shoulder, waving arms, etc.)
  • how wardrobe or props will affect the actions and/or vision of the minor, the amount of rehearsal and preparation time which has been provided, 
  • the appropriate amount of protective gear or equipment necessary to safely perform the activity
  • the area around the minor during the activity, and any other factors affecting the minor. 

Prior to rehearsal or filming the physical activity, the Director, First Assistant Director and Stunt Coordinator should confer with the minor, minor’s parent/legal guardian and Studio Teacher to review and discuss the activity. 

Rehearsals and filming of the physical activity should take place with the Assistant Director, Stunt Coordinator, Studio Teacher, and parent/legal guardian present. If the situation warrants, a person qualified to administer medical assistance on an emergency basis must be present or readily available at the rehearsal and filming of the activity. 

If any aspect of the activity changes, a new discussion and/or meeting should be held and a new rehearsal should be considered. 

The production shall consider any reasonable request for additional equipment from the minor, parent/legal guardian, or Studio Teacher. 

If a consensus regarding the physical activity is not established, the minor, the minor’s parent or guardian, the Studio Teacher, the Stunt Coordinator or the First Assistant Director may request a re-evaluation of the activity in its entirety. If, after the Studio Teacher, parent, Stunt Coordinator, First Assistant Director and/or the safety professional agree on the planned activity, but the minor expresses apprehension about performing the planned activity, they may refuse to do it. 

Safety Guidelines


“Safety First” is not only a slogan, it is a mandate.  No member of the cast or crew should ever be put in any jeopardy for the purpose of making a shot. There is never a reason to risk anyone’s safety. Nonetheless, many people have been injured and killed on film sets.  

The Safety Meeting

The 1st Assistant Director is the Safety Officer for the production.  However, every person working on a set has an obligation to speak up when they see an unsafe situation. The A.D. should encourage crew members to speak up if they have any concerns.  The A.D. should conduct a safety meeting at the beginning of every shoot day.   

The meeting can be brief and informal but should cover the following items: 

  • Review any specific items that relate to the day’s filming (animals, stunts, smoke effects, etc.)  
  • Refer to any applicable safety bulletins which should be attached to your call sheet. Contract Services Administration Trust Fund (CSATF) is a non-profit organization that administers many programs for the motion picture industry. Here is a link to a list of their safety bulletins. 
  • Demand good housekeeping on the set. Walkways and work areas should be kept free of equipment and debris. While shooting on a sound stage, a four-foot perimeter from the stage wall must be maintained at all times. All exits must be free and clear.  
  • Locate emergency exits as well as the location of fire extinguishers and first aid kit. 
  • Provide designated smoking/vaping areas with butt cans. 
  • Determine a muster area in case evacuation becomes necessary 


The set is a work place and clothing appropriate for the work being done should be worn. Jewelry, loose sleeves, exposed shirt tails, or other loose clothing should not be worn around machinery in which it might become entangled. Long hair should be tied back when working around machinery and or equipment with moving parts. 

Make sure the crew is informed (a note on the call sheet is advised) of clothing requirements (heat, cold, rain, snow, etc.) and that protective equipment such as safety glasses or hearing protection is available when needed. 

Foot Protection 

Per OSHA (Occupational Safety and Health Administration) open toed shoes are not allowed for crew. They, along with high heels (unless they are part of an actor’s costume), are never appropriate for a film set. Sturdy, all weather shoes or boots with slip resistant soles are a smart investment for a film crew member and are strongly recommended. Film sets can go as long as twelve hours. That’s a long time to be on your feet. Wear shoes that are supportive and comfortable. Your muscles and back will thank you!

Hand Protection 

Gloves should be worn when the work involves exposure to cuts, burns, chemical agents or electrical hazards capable of causing injury or impairments. 

Hospitals, Emergency Rooms & On-Set Medics 

As part of SFTV safety requirements, you must list the location of the nearest hospital or emergency room on every call sheet. If your location is more than five miles to the nearest facility, Production Administration may require your production to hire an on-set medic, EMT or trauma nurse.   

LMU Student Health Services EMT alumni are also a good source to find an on-set medic. The rate is $20/hour. A rental fee for their supplies will need to be negotiated. You may contact Dylan Resnick  for a list of available and interested EMT’s. 

In addition, there are several services that provide trained medics such as Event Medics or Set Medics LA. 

You can also contact a local fire station or hospital to inquire about hiring an off-duty EMT or nurse.  

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