Everything You Need to Know About Script Superising

Script supervisor is ane of the few positions where you shouldn’t scrimp. Right now you may be thinking “our script knows its job and doesn’t demand a supervisor or a manager.” If so, you’re missing the point.

Another terms for the role of script supervisor is continuity supervisor, which, although used less often, is a more accurate definition of the function. The script supervisor is the person who takes copious notes on the set, which will find their manner to the editor so that post-production runs smoothly. At least, that’southward the primary definition of the job. In reality, theÂÂscript supervisor’s chore is to save the director’s ass, and that job begins non during product, just very early in pre-product. And it ends when the film is completed. So, practice you need a script supervisor for your production? The brusk answer is “yes,” just we know that’s not good enough, so here’s the more detailed answer that should help you brand the right choice:

Robert Moon, who has worked on more than forty projects and is currently the script supervisor for MADtv, explains that, “While there are actually many disparate duties a script supervisor performs, the most of import one is to piece of work every bit the on-set editor to ensure the project can be cut with a minimum of mistakes. He or she is the firewall against heart line mismatches, jumped dialogue, and continuity errors from every department. She is often the only advocate for post-production during principal photography and makes sure the editing squad gets the textile it needs in a manner that is easily understandable and digestible.”

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Script supervisor Robert Moon at work

Pre-Production

When you begin to make your opus, one of your earliest hires should be your script supervisor. Your script supervisor is going to be your details-person; she’s as well going to be your eyes and ears while you’re doing that whole “large picture” thing. A good director will work closely with the script supervisor from the early stages of pre-product through the concluding wrap.

A script that’s properly prepared in pre-production will go a long way toward a smooth production run. Have your script supervisor sit in on all production meetings and read-throughs of the script. A goodÂÂscript supervisor will grab continuity issues in pre-production, and that volition salve time â€Â" and money â€Â" during the product stage. YourÂÂscript supervisor will as well be an important collaborator for shot scheduling and script timing. Although each script supervisor has their ain methods and each script will have different needs, in that location are some basics that are true of well-nigh every script.

Showtime, theÂÂscript supervisor will need a copy of the script to practise breakdowns, including:

• 24-hour interval/night breakdowns
• Timeline synopses
• Continuity
• Specialty breakdowns (pregnancy, weapons, injuries, etc. as needed depending on the script).

The longer your script supervisor has the script, the more breakdowns she’ll be able to practice and that volition salve a lot of endeavor during principle photography. The assistant directors will also work closely with the continuity supervisor. Together, they work on shot lists, schedules and breakdowns.

Robert explains “An enormous amount of work goes into prepping and breaking down a script during pre-production, and I cannot emphasize enough the importance of this prep work. Without it, a script supervisor absolutely cannot properly guard against continuity errors in one case the cameras start rolling.”

Principle Photography

Y'all should ever have a script supervisor on prepare, even if you’re shooting a commercial with no words. Robert explains, “During and immediately after each setup, I write notes to the editor describing the shot, what was covered in each accept, noting any problems with dialogue, sound, continuity, etc., and how long the takes were.

You should always have a script supervisor on set, even if you’re shooting a commercial with no words.

“At the end of each mean solar day, I generate multiple reports that get sent to producers, the studio, post-production, the second AD, etc. There is an Editor’s Log, a Production Report, a Coverage Report, the facing and lined script pages, a Timecode Log and more. In my Production Written report, I listing every setup we completed, the camera and sound rolls used, the screen time that was fully or partially credited, the time differential between the estimated running time and the actual running time, our first shot, wrap time, etc.”

We asked Andra Hayes, a script supervisor with 28 years of experience and more than 120 projects to her proper noun, what she and other professionals practice during a shoot 24-hour interval â€Â" and this is the short answer: “The duties during product tin can be overwhelming. We assign the slate numbers, time each take, record what the shot was, what the camera saw, what happened during the have, whether it was skilful or not, complete or incomplete, if the managing director liked information technology or non, if it is the take to use in editing, what dialogue was said or not said, what dialogue was changed. We keep track of camera rolls and sound rolls for each take. We fill out the edit log which is a summary of everything shot, and the daily report keeps rails of the total number of scenes shot every day, in full or in role, the pages shot, the total screen fourth dimension, the number of set ups shot. Nosotros keep track of what wardrobe each character wore and how they wore it in each scene. We keep runway of the props that were used and how information technology was handled in each scene, hair and makeup for each scene, set dressing, lighting, and track the continuity throughout the film. We keep rails of what was shot and make sure everything that needs to be shot is shot. We watch for matching and continuity for motion and action. We refer to the script as to what is supposed to be shot. We tape changes that are made equally nosotros shoot. We help to make certain things volition menses and work in editing. We take hold of problems, errors and mistakes so they can exist corrected in the field. We follow the story and make certain information technology is adhered to and that there are no conflicting situations. We offer ideas, suggestions and options. We are the Producer’south and Director’southward optics and ears, the Editor’due south abet. We are the rubber valves on fix. We do all or any of the above every bit needed on sets…and more.”

All of these details  ensure that, if a scene is to be continued or re-shot, all of the aspects of the shot can exist replicated. Call back, movies scenes aren’t shot in sequence. A continuation of a scene could be weeks or even months away and everything has to menstruum smoothly.

Mail-Production

Although theÂÂscript supervisor’s job is ordinarily finished around the time that the moving picture goes into post-production, the editor or sound editor could have questions that just the script supervisor can answer. However, if theÂÂscript supervisor took proper notes and the editor tin understand them, there volition exist no need for a text or call during post. Andra explains that “if you practice your task well in the outset 2 stages of product, y'all may not hear a matter during this stage of filmmaking. Your notes volition be then good they will never demand to telephone call yous.” Any good continuity supervisor will of course make himself bachelor during post, only in case there is a communications issue.

What makes a great script supervisor?

Just there’southward more than to this job than only the technical aspects and organizational skills: Although a continuity supervisor is ane of the virtually important crewmembers on the set, they are likewise the one that faces the most resentment, which is something that a script supervisor is going to have to work with. Throughout lodge, people don’t similar being told what to do and that resentment is amplified on a movie set.

Perhaps it’south because the position is most exclusively held by women â€Â" the term “script girl” was derogatively created for the role decades agone. According to the Los Angeles script supervisor union, IATSE Local 871, 94% of its members are female. This is the opposite of what you’ll find in most positions on a fix.

The reason behind this disparity is that, in the olden days of filmmaking, the job required a lot of shorthand in lodge for the script supervisor to keep upwards and since it was mostly women who learned shorthand â€Â" primarily to get jobs every bit secretaries â€Â" it was by and large women who were hired.

Robert tells us that the sexism is adequately obvious to him, stating that, ”There have been shoots where men have come up up to me to express how relieved they were to finally come across a male script supervisor, followed by horrifically sexist remarks about female script supervisors… The recurring theme is their obvious resentfulness at a woman pointing out their mistakes.”

A huge part of theÂÂscript supervisor’s chore is to tell people what they’re doing incorrect. Ego boosting, subtlety and tact are very important tools in the script supervisor’s tool box.

Technology changes the game

Andra explains that “The function itself hasn’t changed. We withal take edit notes and watch for continuity issues. What has inverse is that in that location are more directors that don’t know what to practise with usa or choose not to apply us. But that is them, not us. They don’t realize nosotros are department heads there to help them in making a fabled project. They cutting the wrong corners, don’t heed to onset advice, and ignore the experience of the department. The directors that exercise understand our role employ us and permit us help them make a great project. The thing that has changed is the equipment used, the equipment of other departments, the medium used.”

She goes on to explain, “For other departments, we have to keep upward on their engineering science so we can assemble what nosotros need to pass on to the Editor. For our department, some script supervisors work on practiced ol’ pencil and newspaper, others work digital. They take laptops, iPads, script supervising software or self-made digital forms, video capture, digital photos.” These new technologies all assistance in speeding up the process of making movies and eliminate mistakes, ultimately saving the product a lot of costs in the long run.

Script supervision is a very important aspect of filmmaking and shouldn’t be taken as lightly as it is, so if y'all desire to save your production a lot of coin, you really should hire a script supervisor for the job!

John McCabe is a Los Angeles based screenwriter and manager and owns Never Say Cut Media. He tin be reached at john@neversaycut.com

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Source: https://www.videomaker.com/article/c10/18830-the-role-of-a-script-supervisor-and-why-you-need-one-on-your-next-production

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