By Pat P Miller
This definitive guide explains how a script is reworked right into a movie or tv software. Readers will study the method and craft of the script manager, who guarantees that the continuity of a movie, its logical development, is coherent. The e-book teaches all important script supervising capabilities, together with how to:.prepare, or "break down" a script for shooting.maintaining reveal path and progression.matching scenes and photographs for editing.cuing actors.recording solid takes and printspreparing time and log sheets for editingThis revision of an vintage has been up to date to mirror alterations within the movie in recent times, together with using digital media within the script supervisor's projects. whereas it truly is written for the amateur script author, it might function a priceless source for administrators, movie editors, scriptwriters and cinematographers.
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Extra resources for Script Supervising and Film Continuity, Third Edition
Example text
ItI Electrician (also called Lamp operator-sometimes, facetiously, referred to as ". Men's Costumer: responsible for procuring, fitting, and maintaining the Juicer): on the staff of the gaffer's department; assists with the handling II' wardrobe for male performers. lighting equipment and adjustment of light fixtures. Women's Costumer: responsible for procuring, fitting, and maintaining the Cable Operator: responsible for connecting cable for the sound and cameri' wardrobe for female performers, .
Seated at desk: Chas, Mary, Bert-dial-As Smith moves fg to desk, DI to Tite/4: Smith (stg), Chas, Mary, Bert-dial-Mary rises and exits shot R-L Smith follows. DI to Tite/2: Chas & Bert-dial-Chas rises and exits shot RL--ZI to CU Bert. 1). It is of utmost importance that you observe the scene from the camera's angle, not from the periphery of its vision. Your immediate concern is thrl image that is in the camera frame at any given angle, whether the camera is stationary or moving. Therefore, you must choose the best vantage point fro9 ' which to see and hear every nuance of action and dialogue during the filmingl You may even have to diplomatically ask someone (perhaps even the executive' producer) to move to another spot so that he or she is not blocking your Vl~· sion.
J " WARDROBE OUTLINE _ L--. 7, you will be prepared with the essential data you should have for ready reference when attending the production meeting. Observe the underscoring of master scene captions, names of characters and their distinguishing marks, overt actions, and special details of props and makeup; also study the notations of direct and indirect continuity, story time lapses, lines separating the master scenes, and page count for each master scene. Every script breakdown mandates all the exacting procedures outlined in the previous pages--whether shooting episodic television, a movie made for television, or a four-hour feature film.