Script Supervisor Introduction About Me I trained on About Time - - PowerPoint PPT Presentation
Script Supervisor Introduction About Me I trained on About Time - - PowerPoint PPT Presentation
Script Supervisor Introduction About Me I trained on About Time with a script supervisor called Zoe Morgan Had no previous FILM/TV experience Contacted the Line Producer to ask if I could do some work experience In at the deep
Introduction
About Me…
- I trained on About Time with a script supervisor called Zoe Morgan
- Had no previous FILM/TV experience
- Contacted the Line Producer to ask if I could do some work experience
- In at the deep end – had to learn everything from scratch.
I didn’t even know what ‘pan’ meant!
- After meeting with Zoe, and spending two weeks doing work experience, I
became her trainee on About Time & then her assistant on Jack Ryan.
- Importance of being a trainee/learning
- Short Films/Low Budget Films – easy ways to gain experience
- First few proper jobs are very scary, but everyone is always very kind and helpful
About the job…
Majority of role is quite technical
- Continuity, camera information, eyelines, matching shots, timings,
reports, paperwork etc But there’s also creative elements
- Finding problems in the script, helping the director with emotional
continuity, suggesting shots, dialogue changes Important characteristics
- Passion for story, attention to detail, working under pressure, being
confident in speaking up when there’s a problem, knowing when to shut up, being sensitive to the environment/scene/mood
Getting a Job
- Initially it’s hard to find work because of lack of experience & not many
people knowing about you
- But the more you work on productions, the more producers, directors etc
you are meeting, who might pass on your details to other productions
- It’s great when you ‘click’ with a Director, and they then request you for
their jobs.
- You will get a call asking about your availability. They might send you the
script to read ahead of interview
- Interview – normally with the director, but producers/LPs can also attend.
Important here to suss how the director likes to work. Eg - how involved they want the Script Supervisor to be.
- If they offer you the job, you’ll then discuss your rate/deal etc
You’ve got the job! Now you start PR PREP
- Timings (This is really important for Production/Schedule)
- Story Days/Timeline (this is really important for Costume/Make-
Up/Schedule)
- Breakdown of script – create a bible for the shoot
- Highlight any issues/errors in script
- Re-Do/make adjustments to all of the above with each new draft
coming in (sometimes you won’t get the shooting script until day before first day of shoot… or even later!)
- Get all paperwork ready for shoot
- Attend rehearsals, production meetings, readthroughs
Example of Breakdown
- Scene number
- Short description of scene
- story days/ times of day
- Characters
- “required” for Props/ Make-
Up/ Costume/ SFX
Dr Who 12 – Continuity Breakdown Episode Seven
Scene Location/Description Story Day Character(s) Required Day One 1- Ext. Distant Galaxy
- Int. Orb
- Ext. Aleppo
- Int. Doorway/Entrance – Aleppo
- Ext. Bimaristan/Octagonal Courtyard
- Flowers, plants etc. Water feature ON
- Int. Bimaristan/Cell
- Int. Tardis
- late. Yaz rushes out. The others follow. Dr alone.
- Int. Tibo’s Flat - Sheffield
- Int. Tibo’s Flat
- interested. Ryan eventually spots Tibo’s
- recently. He also reveals he’s been having a
- Ext. Bimaristan/Octagonal – Courtyard
- state. She hears Tahira’s voice and follows it
- Int. Bimaristan/Passageway/Cell
- Int. Bimaristan/Cell
- ne of the Chagaska is on the ceiling! It drops
- Int. Bimaristan/Passageway
- Ext. Park Hill Flats
- 15
- Int. Yaz’s Flat
Questions?
And so the fun begins… TH THE SHOOT
- Day one of shoot – it’s all about trying to remember everyone’s name
and getting into the ‘rhythm’ of the shoot
- If you haven’t worked with the director before, its about observing
how they like to work. Do they like being bothered?
- Prep your day – check the call sheet, are the story days correct. Check
the scenes your doing – where have the cast been/going, any props?, was it raining? etc
The Script Supervisor’s Day…
Paperwork, paperwork, paperwork!
- Slate
- Continuity Sheet
- Mark Up Script
- Print Log
- Progress Report
Continuity Sheet
- Slate/Scene
- Camera/Sound/FX info
- Set/location
- Shot description
- Takes/Comments
- Dialogue covered
- PROD. COMPANY
EPISODE / SCENE SLATE
SHOOT DAY DATE TURN OVER LOCATION CAMERA A CAM B CAM SOUND- ADD. INFO
1 2 3 4 5 6 7 8 9 10
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Mark Up Script
- Slate Number
- Single/Multi Camera?
- Short description
- Selected takes
- Straight line/Squiggly line
- Changes to action/dialogue
- INT. HALLWAY, AMY’S HOUSE - DAY 3. 06.20.
55 55 They sit on the floor, backs against the wall, close. AMY MARLOW You don’t fancy women now, do you? He smiles at her. MARLOW Evie Williams told me this thing: gender’s who you go to bed as - sexuality’s who you go to bed with and I want to go to bed with you. AMY MARLOW (gently) Well you’re not going to. She rests her head against his shoulder. AMY MARLOW (CONT’D) Can’t you just role play Nick Marlow for the rest of your life? We could pretend. He says nothing. AMY MARLOW (CONT’D) Except that’s what you did. MARLOW Not everything. I didn’t pretend everything.
- Pause. She sits back up.
AMY MARLOW You know what this feels like? It’s like you’ve had an affair with another woman - but that woman is
- you. And affairs make people very
very selfish. They just think about themselves. They sit in silence. She takes his hand. A noise on the stairs. Martha. Half-asleep, a cuddly toy in her hand, she just comes and snuggles right in to Marlow, sitting on his lap, her legs across her mum. He holds them both close. Two Spirits - Part one - Shooting script 71.
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SILENT WITNESS XXII - BLOCK 1 DAILY PRINT LOG
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Progress Report
- Basic Information for the
Day
- Scenes shot/part/completed
- Slates used, set ups, cam
rolls, sound rolls
- Running totals of scenes,
pages & timings
- Estimated running time
- Any notes for production
- Pick Up List
SWXXII - Block 1 SCRIPT SUPERVISOR’S DAILY REPORT
DATE Thursday 12th April 2018 SHOOT DAY 8 UNIT CALL 12:00 1ST SHOT AM 12:38 LUNCH/SUPPER Continuous Day 1ST SHOT PM- EST. WRAP
- Ext. Street; Ext. Army Barracks; Int. Cramer’s Car
- EST. TIME
- ACT. TIME
- EST. TIME
- ACT. TIME
- +0:05
- +0:02
- EST. TIME
- ACT. TIME
- EST. TIME
- ACT. TIME
PRODUCTION/SET NOTES:
Questions?
Beyond the paperwork…
TWO-HANDER DIALOGUE SCENE - What to look out for?
- Rehearse – let the director know if they’ve got any dialogue wrong &
make note of any changes. Note down blocking & any prop action.
- Start shooting it – Keeping an eye on the action, making sure it
matches each take, noting any changes.
- Letting the editor know (via the paperwork) anything important, eg if
a take is NG, what was wrong with it, or if the director particularly liked it
- Any other department notes – VFX, Costume, Sound etc
Spotting Mistakes
- Costume/Make-Up
- Eyelines
- Props
- Action/ Position of Actors
- Dialogue
The Fun Part!
Although the Script Supervisor is a vital technical role, it can also be a really creative one too You are one of the only
- ther people on set who
has a full script (and probably one of the very few that’s actually read it!) That means you are vital to a director, as when he is focusing on executing a complicated technical shot, you are there to remind him of the story. Where has the character been before this scene? Were they crying? Laughing? Were they in a hurry? Also, while shooting the scene, would it be useful to have a variation in performance for the edit? Suggesting shots: Eg Will the director need a cutaway of the engagement ring?
Questions?
Homework!
Watch either About Time or The Theory of Everything and think about the following…
- Different type of shots
- Timeline
- Prop continuity
- Emotional continuity
- Spot any mistakes?