Script Supervisor for Commercials & Industrials
PRE-PRODUCTION:
• Script breakdown:
Usually more than once, in order to really understand the dynamics
of the scenes and how they connect to each other and to figure out how to anticipate any technical issues that might arise before we land on set.
For example, if there are flashback/flashforwards or location changes, etc., the connecting scenes are not always shot on the same day, so it is vital to not only keep track of movement/costumes, etc. but also to anticipate issues that might arise if we shoot the end of one scene before we shoot the beginning of that same scene.
PRODUCTION:
• Timekeeper:
This description sounds simple; however, the script supervisor is responsible for submitting 1st shot, last shot before lunch, 1st shot after lunch and last shot at wrap in their production report when they submit it to the production office. This information is used to ensure that all crew members timecards match what the actual production times say hours of filming were. Of course, this does not include the time that it takes for each department to wrap their gear, etc.
• Liaison & Detail Record Keeper:
I work with various departments to ensure continuity. I am the backup continuity for each department, including lighting, set design and anything else that is visible (or audible) on camera.
Besides being a source of information to other departments, I’m also responsible for creating a precise record about what is to be filmed to ensure that everything can be pieced together once production is completed.
• Liaison for the Editor:
I am the eyes for the editor on set.
I make sure that the coverage will edit together seamlessly; that is, that there are no glaring errors in screen direction, eye lines, continuing action, etc.
In addition, I do my best to make sure that my notes contain as much information as possible regarding file names, clip names, audio notes, any commentary that I overhear from the director regarding whether they like it or do not want it.
Although the camera department makes notes regarding technical aspects, I also add as much as I can, if given the information (or if I overhear it), so that everything is contained in one area for record keeping, including lens information, any VFX and technical data/measurements, etc.
• While filming:
- I assign slate numbers to every shot, time every take, take notes describing every shot filmed and do my best to make sure that the camera and sound department are on the same page.
- Prior to rolling, I work with the actors to run lines with them, reminding them of previous action (which hand they used to pick up an object, for example), and by revising the script to match the actors' ad libs or mistakes.
- While rolling, in addition to watching the monitor closely for any continuity errors, I must also follow the script in order to respond to talent if they need the lines recited to them during the scene.
- Everything that happens during each take must be noted in my records not only for the editor, but also for the various departments for them to reference, if needed.
At the end of the day, I:
• Complete daily editorial reports to inform the editor about the day's work. The notes are the bible that the Editor uses to cut together a project.
• Editing time is precious, not to mention expensive, and any way to cut down on fruitless searching for footage is a good thing.
The notes tell the Editor:
- what each shot consists of
- which scene in the script it refers to
- the camera and sound roll it is recorded on
- which takes are complete and usable—and which takes are not, and why.
• Send script reports and logs to the Production Office which are used to communicate the progress of the filming.
This information is closely regarded by the UPM, studio execs, payroll accountants, investors and/or the bond company.