21 April 2012
06 April 2012
Continuity Supervisor / Script Supervising Notes Take II
A couple months ago I was offered a Scripty position, but was unable to take it due to my internship at the Human Rights Watch and other commitments I had going on. I ended up training someone else in the position and had him come over for a few hours one afternoon so we could go over some material. I typed up some notes for him from the Pat Miller book, but only have hard copies of my lined scripts (ie, the squiggly lined sheets). I'll try to get those up at some point. That being said, I think that this version of notes, albeit short, is much more comprehensive. Having now scriptied before, I can say with certainty that I am much more aware of the more important aspects of scriptying, as opposed to guessing what they might be. Not so say that my previous set of notes don't have anything... noteworthy. Just that this version comes from actually having Scripty experience, where the other set of notes were done in preparation for my first job. The individual I trained last month referred me to a friend who helps organize the Headsets and Highballs division of the Ghetto Film School in the Bronx, and I will be teaching a Script Supervising class to 17 kids one day in April. Once I prepare more stuff for that I'll put it up.
Responsibilities
- Are the eyes and ears on set, and particularly, during shooting
- Pays meticulous attention to details; matches details of the actors performance and dress in scenes that precede and follow a take. This applies to when the camera is rolling and when it is not in order to ensure continuity throughout the scene and film.
o Hair—was the actresses hair over her right ear or left?
o Makeup—did the actress start the scene with faded lipstick and end with lipstick newly applied?
o body movements—did the actor step forward to the right or left? Did he enter the room at a slow or fast pace? Did he step to the right or left after entering the door?
o hand placements—did the actor place his hand on the book or his hip?
o drink levels—how much was in the drink at the beginning of the take and at the end?
o Clothing—was the jacket buttoned or unbuttoned?
o Food etc—was 1/3 of the cigarette burned at the beginning of the take and ½ burned by the end?
o Set—was the door open or closed at the start of the sequence?
o Dialogue—on what word was a puff of a cigarette taken? On what word did the actor pick up the cup?
o Sound—on what word was the crash heard off screen?
o
o
o
- Knows the script well, and is prepared if scenes are filmed out of continuity
- Times each shot; keeps track of each take
- Matches dialogue in the script with dialogue on camera
Why keep track of this information and record all these details? This information will be needed and used by the editor when editing. You are a department of ONE, and the editor, director or AD might ask you specific questions about what has taken place on screen and you will need to know.
Breaking down a script
1. Master scenes
a. Draw a line across the page to separate each master scene.
2. Story chronology/time breakdown
a. Mark each sequence with the chronological time lapses
Ex. 1st day (D-1), 2nd day (D-2), 3rd night (N-3) (might take place two weeks later), 4th day (D-4) (might take place 5 months later)
b. When a sequence takes place later the same day or night, place a plus sign alongside the number
Ex. N-1+, D-3+
Why keep track of the story chronology? This makes for speedy reference and eliminates time-consuming flipping of pages in order to find information needed instantly. You can prepare a story chronology/time breakdown sheet if this will make it easier for you.
3. Time elements/day or night
a. Underline the particular time when indicated ex. A.M., P.M., DAWN, MORNING, EVENING
Why keep track of time elements? Time changes or lapses affect wardrobe, makeup, props etc. Make the notation “light change” at the beginning of the scene for reference, and also mark the page at the point where a light is turned off or a shade is pulled down.
4. Characters’ Physical Distinctions
a. Underline written descriptions of the characters. If there are differences between the characters and the actors make sure these are noted.
5. Overt Action
a. Underline overt action—conspicuous things that the characters do in a scene, e.g., fight, hug, kiss, pace the floor, read etc.
Why underscore overt action? It will apprise you of the business in the scene and will be helpful when shooting is done rapidly and under pressure. These signals are also helpful when breaking up a master scene that runs for several pages.
6. Props
a. Underline references to props (that might be used later) or are used in a scene.
i. Hand props—articles handled by actors such as suitcases, glasses, books etc.
ii. Stage props—articles placed as dressing in a set, such as candlesticks on a table, a vase of flowers on a piano, a sweater on a couch.
7. Back-matching
a. When details carry over from one scene to another, you must make accurate notes on the affected pages. This is direct and indirect continuity.
i. Direct continuity—when a condition or detail carries over from one scene to the next consecutive scene with no time lapse.
1. Scene 1 (EXT). man uses key to open door of house from outside. There is a newspaper under his left arm. The shot cuts as the man puts the key in the lock with his right hand. Scene 2 (INT). man enters house. We must see the man holding the key in his right hand as he comes through the door, holding the newspaper folded exactly as it was on the outside, under his left arm.
*It might be days or weeks, and after several other scenes have been filmed, before Scene 2 is finally shot. But the continuity must remain the same.
ii. Indirect continuity—when a condition or detail does not follow from one scene into the next consecutive scene but carries over into a later scene.
1. Scene 8. Woman places pillbox in her purse. Dialogue indicates she must take the pill one hour later. In scenes 9-12, we see the woman in various locals and with different characters. During Scene 13, the woman reaches into her purse and realizes the pillbox is no longer there. In Scenes 9-12 perhaps the purse was emptied and the pillbox was not re-placed inside. You want to prepare your script breakdown with back-matching notes so that you will be prepared in situations where you are shooting out of continuity.
Responsibilities
- Are the eyes and ears on set, and particularly, during shooting
- Pays meticulous attention to details; matches details of the actors performance and dress in scenes that precede and follow a take. This applies to when the camera is rolling and when it is not in order to ensure continuity throughout the scene and film.
o Hair—was the actresses hair over her right ear or left?
o Makeup—did the actress start the scene with faded lipstick and end with lipstick newly applied?
o body movements—did the actor step forward to the right or left? Did he enter the room at a slow or fast pace? Did he step to the right or left after entering the door?
o hand placements—did the actor place his hand on the book or his hip?
o drink levels—how much was in the drink at the beginning of the take and at the end?
o Clothing—was the jacket buttoned or unbuttoned?
o Food etc—was 1/3 of the cigarette burned at the beginning of the take and ½ burned by the end?
o Set—was the door open or closed at the start of the sequence?
o Dialogue—on what word was a puff of a cigarette taken? On what word did the actor pick up the cup?
o Sound—on what word was the crash heard off screen?
o
o
o
- Knows the script well, and is prepared if scenes are filmed out of continuity
- Times each shot; keeps track of each take
- Matches dialogue in the script with dialogue on camera
Why keep track of this information and record all these details? This information will be needed and used by the editor when editing. You are a department of ONE, and the editor, director or AD might ask you specific questions about what has taken place on screen and you will need to know.
Breaking down a script
1. Master scenes
a. Draw a line across the page to separate each master scene.
2. Story chronology/time breakdown
a. Mark each sequence with the chronological time lapses
Ex. 1st day (D-1), 2nd day (D-2), 3rd night (N-3) (might take place two weeks later), 4th day (D-4) (might take place 5 months later)
b. When a sequence takes place later the same day or night, place a plus sign alongside the number
Ex. N-1+, D-3+
Why keep track of the story chronology? This makes for speedy reference and eliminates time-consuming flipping of pages in order to find information needed instantly. You can prepare a story chronology/time breakdown sheet if this will make it easier for you.
3. Time elements/day or night
a. Underline the particular time when indicated ex. A.M., P.M., DAWN, MORNING, EVENING
Why keep track of time elements? Time changes or lapses affect wardrobe, makeup, props etc. Make the notation “light change” at the beginning of the scene for reference, and also mark the page at the point where a light is turned off or a shade is pulled down.
4. Characters’ Physical Distinctions
a. Underline written descriptions of the characters. If there are differences between the characters and the actors make sure these are noted.
5. Overt Action
a. Underline overt action—conspicuous things that the characters do in a scene, e.g., fight, hug, kiss, pace the floor, read etc.
Why underscore overt action? It will apprise you of the business in the scene and will be helpful when shooting is done rapidly and under pressure. These signals are also helpful when breaking up a master scene that runs for several pages.
6. Props
a. Underline references to props (that might be used later) or are used in a scene.
i. Hand props—articles handled by actors such as suitcases, glasses, books etc.
ii. Stage props—articles placed as dressing in a set, such as candlesticks on a table, a vase of flowers on a piano, a sweater on a couch.
7. Back-matching
a. When details carry over from one scene to another, you must make accurate notes on the affected pages. This is direct and indirect continuity.
i. Direct continuity—when a condition or detail carries over from one scene to the next consecutive scene with no time lapse.
1. Scene 1 (EXT). man uses key to open door of house from outside. There is a newspaper under his left arm. The shot cuts as the man puts the key in the lock with his right hand. Scene 2 (INT). man enters house. We must see the man holding the key in his right hand as he comes through the door, holding the newspaper folded exactly as it was on the outside, under his left arm.
*It might be days or weeks, and after several other scenes have been filmed, before Scene 2 is finally shot. But the continuity must remain the same.
ii. Indirect continuity—when a condition or detail does not follow from one scene into the next consecutive scene but carries over into a later scene.
1. Scene 8. Woman places pillbox in her purse. Dialogue indicates she must take the pill one hour later. In scenes 9-12, we see the woman in various locals and with different characters. During Scene 13, the woman reaches into her purse and realizes the pillbox is no longer there. In Scenes 9-12 perhaps the purse was emptied and the pillbox was not re-placed inside. You want to prepare your script breakdown with back-matching notes so that you will be prepared in situations where you are shooting out of continuity.
02 April 2012
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