Beyond continuity: script supervision for the modern filmmaker

Cover......Page 1
Half Title......Page 2
Title Page......Page 4
Copyright Page......Page 5
Dedication......Page 8
Table of Contents......Page 12
Foreword......Page 24
 What’s So Good about Being a Script Supervisor?......Page 28
  Supervising the Script......Page 29
  Understanding Cinematic Language......Page 30
  Paying Attention for Long Periods of Time......Page 31
  Intensity and Ease......Page 32
 How to Get a Job......Page 33
 Meeting the Director......Page 34
 Making Your Deal......Page 36
   Production Office Staff......Page 37
   Other Departments......Page 38
  Special Breakdowns......Page 39
 Page/Time/Scene Tally......Page 41
   Setting Up the Columns......Page 43
  Scene Count......Page 45
  Page Breakdown......Page 46
  Script Timing......Page 49
  Filling in the “To Do” and “Done” Blocks......Page 53
  Setting Up a Master Breakdown Form......Page 54
  Scene Numbers......Page 55
  Characters......Page 57
  The Importance of Matching Back......Page 58
  Props/Art/Wardrobe/Make-up/Special Effects......Page 59
  Voice-over/Video and Audio Playback/Visual Effects and TV/Airplane Dialog......Page 60
  The Different Uses of Time Breakdowns......Page 63
   Setting Up the Breakdown......Page 64
   Logic and Guessing......Page 67
   The Power of Time Breakdowns......Page 68
   Cheating Time......Page 69
  Visual Effects (VFX)......Page 71
  Weather and the Natural World......Page 73
  The Big Boards......Page 78
  Non-Continuous Time......Page 82
  The Warehouse......Page 84
  What I Don’t Do......Page 91
 Rehearsals......Page 92
  Changes in Scene Numbers......Page 93
  Kinds of Rewrites......Page 94
  A White Copy of Revised Pages......Page 95
 Tech Scouts......Page 96
 The Production Meeting......Page 97
   Necessary Items......Page 98
   Other Useful Tools......Page 99
  Weather Gear......Page 100
  On-set Matching Notes......Page 101
   Lining the Script......Page 102
   Wildtrack......Page 106
  Facing Pages......Page 107
   Describing Camera Moves......Page 109
   3-D......Page 110
  Editors’ Daily Log......Page 114
   To Record the Crew’s Work Day......Page 116
   To Note the Details of the Day’s Work......Page 120
  Wildtrack Tally......Page 123
  Owed List......Page 127
  Visual Effects......Page 130
  Some Useful Notations......Page 143
  Working Script vs. Final Script Page......Page 144
  The American System......Page 156
  Skipped Letters......Page 165
  Slating Two-Camera Set-ups......Page 166
   Reshoots......Page 167
  The British System......Page 168
  An American–British Hybrid......Page 169
   Multiple Cameras......Page 170
 Setting up Your Book......Page 171
  Progressive Action......Page 173
   Motion Overview......Page 174
   Body Position......Page 175
   Tone and Pace......Page 176
   Make-up and Hair......Page 177
   Props......Page 178
   Set Dressing......Page 179
   Cars and Other Vehicles......Page 180
  Nobody is Perfect......Page 181
  Master and Coverage......Page 182
  Understanding the Cut......Page 183
  Protecting a Difficult Match......Page 185
 Variations in Continuity Style......Page 189
 Cheating, When What’s Wrong is Right......Page 190
   Cheating Looks......Page 191
  Some Cheating Tricks......Page 192
  Notes for Matching......Page 193
 How to Think about Film Grammar......Page 195
  Sympathetic and Observant Camera Positions......Page 196
  Matching Frame Sizes and Variations......Page 198
  Lens Choices......Page 201
   Depth of Field......Page 202
  Perspective and Cropping......Page 203
  Close and Wide Eyelines......Page 204
  Why the 180 Line is Important......Page 205
   Drawing the 180 Line......Page 206
     Three in a Triangle of Singles......Page 208
    A Group Not in a Line......Page 213
    Courtrooms and Auditoriums......Page 215
    Reading, Writing and Looking......Page 217
 Maintaining Screen Direction in Motion......Page 218
  Matching Chase Direction......Page 219
  Moving Two Characters Toward Each Other......Page 220
  Changing Direction......Page 221
  Neutral Bumpers......Page 222
  Telephone Conversations......Page 224
  Full Reverse......Page 225
  Vehicles......Page 226
  Characters Shifting the 180 Line......Page 227
  Cutting into Moving Actors......Page 229
  Coverage for a Shifting 180 Line......Page 230
  Jumping the Line in Action Sequences......Page 231
  Tension in Coverage......Page 232
  Jumping the Line in Dramatic Sequences......Page 233
  Theoretical Editing......Page 234
  Character of Camera Movement......Page 235
 Composition......Page 236
  Factual Information......Page 237
  Subtextual Information......Page 238
  Call Time......Page 240
  Notes......Page 241
  Electronic Equipment......Page 242
  Private Blocking......Page 243
  Various Blocking Styles......Page 244
  Continuity on Set......Page 245
  Set-up and Roll Numbers......Page 246
  Overlapping Dialog......Page 247
  The Dialect Coach......Page 248
  Going on Bells......Page 249
  Where You Sit......Page 250
  Phonetic Alphabet......Page 251
  Checking the Set-up and Take Number......Page 252
  Tail Slates......Page 253
  Pick-up Slates......Page 254
 Notating Time Code......Page 255
 Notes for Each Take......Page 256
 Circled Takes......Page 257
 Continuity Photos......Page 258
 What to Look at......Page 259
 Not Matching Well......Page 260
 Giving Notes to Actors, Directors, Crew Members......Page 261
   TV and Airplane Dialog......Page 262
  Completing Your Notes......Page 263
  Turning Around......Page 264
 Lunch......Page 265
  Notating Playback......Page 266
  Immediate Concerns......Page 267
  Homework......Page 268
  Hang Out with the Editors......Page 269
 Pick Your Projects; Follow Your Leader......Page 270
 The Girl Thing......Page 271
Acknowledgments......Page 273
Index......Page 276