Continuity Supervisor, Fourth Edition (Media Manuals)

The Continuity Supervisor......Page 4
Copyright Page......Page 5
Contents......Page 6
PREFACE......Page 10
ACKNOWLEDGEMENTS......Page 11
CHAPTER 1 INTRODUCTION......Page 12
Scenes in story order......Page 15
Actor’s availability......Page 17
To save time......Page 19
Back to the original story......Page 21
Scripted or unscripted......Page 23
Involved in setting up......Page 25
Involved on set......Page 27
Sound crew......Page 29
Costume and make-up......Page 30
Time......Page 31
New scene, new page......Page 32
Size of script......Page 33
CHAPTER 12 SCENE BREAKDOWN......Page 35
Read-through......Page 37
CHAPTER 14 BOOKING FACILITIES......Page 39
Names and addresses......Page 41
Hours of work......Page 42
Don’t get carried away!......Page 43
Licences......Page 45
Animals......Page 47
How to find your location......Page 49
CHAPTER 20 LOCATIONS: 2......Page 51
Yóur own booking......Page 53
Car parking......Page 55
If you are far from civilisation......Page 57
CHAPTER 24 INSURANCE......Page 59
Make-up......Page 61
Design......Page 63
Location and contacts......Page 65
Rescheduling......Page 67
Daily call sheets......Page 69
Learning about new things......Page 71
Other bodies for research......Page 73
Specifically for continuity......Page 75
Cold countries......Page 77
Training in observation......Page 79
CHAPTER 35 CONTINUITY: A TEAM EFFORT?......Page 81
Continuity is your responsibility......Page 83
Be positive......Page 85
Keep up to date......Page 87
Script interleaved with notes......Page 88
Storyboard......Page 89
Keep close behind the camera......Page 91
Always ask......Page 92
CHAPTER 41 HOW TO DESCRIBE SHOTS......Page 93
Abbreviations relating to sound......Page 95
Process shots......Page 97
Very long shots......Page 99
A lot happening in a shot......Page 101
Shots travel in and up......Page 103
Resetting props......Page 105
Checking......Page 107
CHAPTER 49 CONTINUITY OF ACTION......Page 109
CHAPTER 50 CONTINUITY OF ACTION AND DIALOGUE......Page 111
CHAPTER 51 DRAMA SITUATIONS......Page 113
Exceptions......Page 115
Changing direction......Page 117
Polaroid cameras......Page 119
The difficult actor......Page 121
CHAPTER 56 THE COMPLETE SCENE......Page 123
CHAPTER 57 FRED AND MABEL: COVERAGE PLANNED......Page 125
CHAPTER 58 WIDE ANGLE: FRED AND MABEL: SCENE 1......Page 127
CHAPTER 59 WIDE ANGLE: FRED AND MABEL: SCENE 2......Page 129
CHAPTER 60 REMAINING COVERAGE: FRED AND MABEL: SCENE 1......Page 131
CHAPTER 61 REMAINING COVERAGE: FRED AND MABEL: SCENE 2......Page 133
CHAPTER 62 FRED AND MABEL: EDITED SEQUENCE......Page 135
Indirect continuity......Page 137
Which ‘take’ do you match for continuity?......Page 139
Unscripted......Page 141
Locations......Page 143
Public relations......Page 145
The system I use......Page 147
Pens or pencils?......Page 149
Slate/ident......Page 151
Slating according to director’s shooting script......Page 153
The pick-up shot......Page 154
Sound details......Page 155
Shooting on videotape......Page 156
CHAPTER 73 CONTINUITY REPORT SHEET: CAMERA INFORMATION......Page 157
Continuity notes......Page 159
Duration......Page 161
CHAPTER 76 WRITING ON THE SCRIPT......Page 163
Dialogue changes......Page 164
Daily progress report......Page 165
Adding together the duration of the shots......Page 167
Continuity cards......Page 169
CHAPTER 80 COVERAGE/TRAMLINE SCRIPTS......Page 171
Interviews......Page 173
CHAPTER 82 THE REALITIES OF IT ALL......Page 175
Principles of editing......Page 177
The film cutting room......Page 179
Non-linear editing......Page 180
PAs take note!......Page 181
On-line editing......Page 182
Non-linear on-line editing......Page 183
Linear on-line editing......Page 184
What does a PA do?......Page 185
CHAPTER 88 WORKING IN WIDESCREEN......Page 187
Multiple copyright......Page 189
Literary works......Page 191
Take care......Page 192
Photographs......Page 193
Analogue formats......Page 195
Digital formats......Page 197
Component and composite......Page 198
CHAPTER 94 FILM RUNNING TIMES......Page 199