Script Supervisor Introduction About Me I trained on About Time - - PowerPoint PPT Presentation

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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


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SLIDE 1

Script Supervisor

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SLIDE 2

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
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SLIDE 3

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

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SLIDE 4
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SLIDE 5

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
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SLIDE 6

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
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SLIDE 7

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
Two burning planets lean in to each other D1 Zellin VO 2
  • Int. Orb
In the Orb D1 Zellin VO Rakaya 3
  • Ext. Aleppo
1380 AD. Sunset. Tahira bangs on the door E1 17:10 Tahira 4
  • Int. Doorway/Entrance – Aleppo
Nurse Maryam opens the door to Tahira. She’s been out & up to no good. Maryam lets her in E1 17:11 Nurse Maryam Tahira Voice (OS) Maryam wearing a tunic 5 Int/Ext. Bimaristan/Passageway/Octagonal Courtyard Maryam tells Tahira to stop stealing. Tahira becomes scared at the thought of it getting dark, she believes something is coming for them. E1 17:12 Maryam Tahira Patients Flowers and Plants, water feature. Lanterns ‘Bimaristan Arghun Al-Kamili’ Plaque Maryam wearing a tunic 5A
  • Ext. Bimaristan/Octagonal Courtyard
All is quiet N1 22:30
  • Flowers, plants etc. Water feature ON
Lanterns – lit ‘Bimaristan Arghun Al-Kamili’ Plaque 6
  • Int. Bimaristan/Cell
Tahira is worried they haven’t locked the doors. The Chagaska arrives and takes Maryam. It then moves to Tahira – face to face. N1 22:31 Tahira Maryam Chagaska Flowers, plants etc. Water feature turns OFF Lanterns – blow out ‘Bimaristan Arghun Al-Kamili’ Plaque 7
  • Int. Tardis
The team arrive back in the present day. The Doctor will keep herself busy with Tardis tasks. She realises she’s dropped them back 77 minutes
  • late. Yaz rushes out. The others follow. Dr alone.
The Tardis suddenly loses power. A howl rings through the Tardis. A tattoo-ghost (Zellin) flickers in for a second. Tardis powers up again. She gets an alert to head to Aleppo. D1 14:30 Yaz Ryan The Doctor Graham Zellin Ryan’s mobile Tardis lights go off & then back on again Doctors watch 8
  • Int. Tibo’s Flat - Sheffield
Ryan brings chips round to Tibo’s flat. Distance between them both. Ryan persuades Tibo to let him in. He appears to be taking extra security measures to protect himself D1 15:30 Ryan Tibo Bag of chips Three heavy duty locks & bolts 9
  • Int. Tibo’s Flat
The boys play Fifa – Ryan engrossed, Tibo less
  • interested. Ryan eventually spots Tibo’s
disinterest and offers to make tea. He spots the mess in the kitchen and senses something’s up with Tibo. Tibo tells him to mind his own business, but admits he’s been struggling a bit
  • recently. He also reveals he’s been having a
strange recurring nightmare of a bloke. But the bloke is also appearing in his reality, in his room! Tibo asks Ryan to stay over D1 15:40 Ryan Tibo Bag of chips TV/Fifa Door locked as per sc.8 Lots of empty takeaway boxes on table & bin overflowing Dirty dishes in sink Ryan making tea? 10
  • Ext. Bimaristan/Octagonal – Courtyard
The Dr arrives in the Tardis. The Courtyard a
  • state. She hears Tahira’s voice and follows it
N1 23:30 The Doctor Tahira (OS) Tardis Upturned pots & crushed flowers etc Lanterns ‘Bimaristan Arghun Al-Kamili’ Plaque 11
  • Int. Bimaristan/Passageway/Cell
The Doctor finds Tahira N1 23:32 The Doctor Tahira Scratch marks on wall 12
  • Int. Bimaristan/Cell
The Doctor tries to comfort Tahira but discovers
  • ne of the Chagaska is on the ceiling! It drops
down and roars at The Doctor. Then runs away N1 23:33 The Doctor Tahira The Chagaska Scratches etc here? 13
  • Int. Bimaristan/Passageway
The Doctor tries to follow the Chagaska but it’s disappeared N1 23:34 The Doctor As per sc.11 14
  • Ext. Park Hill Flats
Establisher D1 17:05
  • 15
  • Int. Yaz’s Flat
Sonya impatient. Checks her phone. Yaz rushes & apologies for being late. They hug D1 17:06 Sonya Yaz Sonya’s phone Table laid for 2 people
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SLIDE 8

Questions?

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SLIDE 9

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

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SLIDE 10

The Script Supervisor’s Day…

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SLIDE 11
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SLIDE 12

Paperwork, paperwork, paperwork!

  • Slate
  • Continuity Sheet
  • Mark Up Script
  • Print Log
  • Progress Report
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SLIDE 13

Continuity Sheet

  • Slate/Scene
  • Camera/Sound/FX info
  • Set/location
  • Shot description
  • Takes/Comments
  • Dialogue covered
PRODUCTION PATRICK MELROSE
  • PROD. COMPANY
LITTLE ISLAND PRODUCTIONS DIRECTOR EDWARD BERGER

EPISODE / SCENE SLATE

SHOOT DAY DATE TURN OVER LOCATION CAMERA A CAM B CAM SOUND
  • ADD. INFO
INT EXT LENS ROLL: DAY NIGHT FOCUS SYNC MOS SET: STOP P/B G/T FILTER W/T: WEATHER: FPS CAM ROLL TAKE TIME COMMENTS EDITOR / CONTINUITY NOTES

1 2 3 4 5 6 7 8 9 10

DIALOGUE/ACTION COVERS:

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SLIDE 14

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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SLIDE 15

Print Log

  • Quick Summary for the

assistant editor

SILENT WITNESS XXII - BLOCK 1 DAILY PRINT LOG

SLATE PT. SC. TAKES /SELECTS CAM ROLL SND ROLL FPS DESCRIPTION/COMMENTS

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SLIDE 16

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
22:00 UNIT WRAP 21:47 LOCATION(S) 1. Kendal Avenue, Acton W3 2. West Acton Community Centre, Churchill Gardens, Acton, W3 0JN SET(S)
  • Ext. Street; Ext. Army Barracks; Int. Cramer’s Car
WEATHER Cloud & rain SCENES SCHEDULED 194, 28, 42, 64, 66, 68, 86, 67pt, 88, 90 SCENES COMPLETED 194, 28, 42, 64, 66, 68, 86, 67pt, 88, 90 SCENES PART COMPLETED SCENES ADDED TO SCHEDULE SCENES DROPPED FROM SCHEDULE SCENES ADDED TO SCRIPT SCENES CUT FROM SCRIPT SLATE NUMBERS SET-UPS TODAY SET-UPS TO DATE CAMERA ROLL(S) SOUND ROLL(S) 113-129 17 135 A23-A26 8 PART ONE TOTALS SCENES PAGES
  • EST. TIME
  • ACT. TIME
+/- EST. TIME ESTIMATED 102 62 6/8 63:45 PREVIOUS 22 16 7/8 17:42 18:46 TODAY 8 1 7/8 1:53 2:10 +0:17 SHOT TO DATE 30 18 6/8 19:35 20:56 +1:21 REMAINING 72 44 PG 44:10 CURRENT RUNNING TIME 65:06 SCENE 28 42 63 66 68 86 87pt 88 90 PAGE 3/8 1/8 1/8 2/8 1/8 1/8 2/8 2/8 2/8
  • EST. TIME
0:30 0:10 0:05 0:13 0:12 0:08 0:10 0:12 0:13
  • ACT. TIME
0:40 0:10 0:10 0:13 0:12 0:08 0:10 0:12 0:15 OVER/UNDER +0:10
  • +0:05
  • +0:02
PART TWO TOTALS SCENES PAGES
  • EST. TIME
  • ACT. TIME
+/- EST. TIME ESTIMATED 95 60 1/8 63:57 PREVIOUS 19 15 3/8 16:11 16:43 TODAY 1 3/8 0:30 0:45 +0:15 SHOT TO DATE 20 15 6/8 16:41 17:28 +0:47 REMAINING 75 44 3/8 47:16 CURRENT RUNNING TIME 64:44 SCENE 194 PAGE 3/8
  • EST. TIME
0:30
  • ACT. TIME
0:45 OVER/UNDER +0:15

PRODUCTION/SET NOTES:

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SLIDE 17

Questions?

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SLIDE 18

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
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SLIDE 19

Spotting Mistakes

  • Costume/Make-Up
  • Eyelines
  • Props
  • Action/ Position of Actors
  • Dialogue
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SLIDE 20

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?

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SLIDE 21

Questions?

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SLIDE 22

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?
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SLIDE 23

The End!