Introduction 3
What is a Script Supervisor, and how do you become one? First, take a quick quiz to see how much you know about this department. Then I'll introduce the job, and what to expect from this course.
- Script Supervisor Pre-Quiz 3 questionsQuiz1.1
- Welcome to Script Supervising 04 minLecture1.1
- What to Expect From this Course 02 minLecture1.2
Pre-Production 4
Find out what types of projects a script supervisor can work on, tips on interviewing with a director, and what to expect at an All Hands meeting. Then take a quiz to see what you learned.
- Type of projects 06 minLecture2.1
- Interviewing with the Director 05 minLecture2.2
- All Hands Meeting 04 minLecture2.3
- Pre-production quiz 3 questionsQuiz2.1
Breaking down the script 8
Everything you need to do to prep for a shoot.
- DOWNLOAD: Breakdown TemplateLecture3.1
- Reading then Re-Reading 09 minLecture3.2
- Breakdown Categories, Eighths, and ERT 06 minLecture3.3
- Timing (ERT) – Narrative Scripts 03 minLecture3.4
- Timing (ERT) – Commercials 03 minLecture3.5
- Distro Formatting (Google Drive/Dropbox Setup) 03 minLecture3.6
- Table Reads 03 minLecture3.7
- Breaking down the script quiz 4 questionsQuiz3.1
Kit and Supplies 3
Let's talk about what supplies you'll need in your kit.
- Essentials for the Handwritten Script Supervisor 06 minLecture4.1
- Essentials for the Digital Script Supervisor 10 minLecture4.2
- What Production Supplies 02 minLecture4.3
Continuity 11
How much is covered under continuity, and what you need to watch for.
- Dialogue 06 minLecture5.1
- Line! Corrections, Off Camera, and Readings 05 minLecture5.2
- Match Action 04 minLecture5.3
- Prop Continuity 03 minLecture5.4
- Hand Gestures 02 minLecture5.5
- Block Shooting 04 minLecture5.6
- Frame Matching 05 minLecture5.7
- The 180 Line 02 minLecture5.8
- Timing Takes 04 minLecture5.9
- Shorthand 02 minLecture5.10
- Continuity quiz 5 questionsQuiz5.1
Reports 10
These are in the order you'll be running them. and need to be uploaded every night after wrap.
- DOWNLOADS: Reports TemplatesLecture6.1
- Lunch Report 02 minLecture6.2
- Progress Report 02 minLecture6.3
- Editors Log 02 minLecture6.4
- Facing Pages 02 minLecture6.5
- Lined Script Pages 02 minLecture6.6
- Full Report/Photo Log 02 minLecture6.7
- Wild Track Log 01 minLecture6.8
- Secondary Reports 02 minLecture6.9
- Reports quiz 2 questionsQuiz6.1
A Day in the Life 15
From arriving at call time, to running your wrap reports, this is a day in the life of a script supervisor.
- Getting Materials 02 minLecture7.1
- Where to Set Up 02 minLecture7.2
- Prepping Materials 03 minLecture7.3
- Rehearsals & Blocking 03 minLecture7.4
- First Shot + Shot List 02 minLecture7.5
- Flipping the World 02 minLecture7.6
- Scene Complete & Owed Shots List 02 minLecture7.7
- Line Reading with Talent 02 minLecture7.8
- Circle Prints 03 minLecture7.9
- How to Take a Break 02 minLecture7.10
- Matching to Previous Scenes 02 minLecture7.11
- Dialogue, Alts, and Adlibs 04 minLecture7.12
- Lunch Report & First Shot After 02 minLecture7.13
- Daily Wrap Reports 02 minLecture7.14
- A Day in the Life Quiz 4 questionsQuiz7.1
Slating 5
- Slating basics (narrative) 03 minLecture8.1
- Advanced Slating 03 minLecture8.2
- Commercial Slating 02 minLecture8.3
- Time Code 02 minLecture8.4
- Slating Quiz 2 questionsQuiz8.1
Floor plans 1
Get ready to draw some bird's eye view layouts of the scene you're shooting. It's a lot of fun!
- Drawing a Floor Plan 02 minLecture9.1
Contracts and Forms 3
How to manage your freelance income.
- What Should Be in Your Contract 02 minLecture10.1
- Payroll vs Invoice Jobs 03 minLecture10.2
- Kit Rental Forms 05 minLecture10.3
Pay Rate 4
Daily vs Hourly, Union vs Non, Project type
- Guaranteed Hours 02 minLecture11.1
- Meal Penalties & Overtime 02 minLecture11.2
- Union jobs vs Non-Union jobs 01 minLecture11.3
- Flat Rate vs Hourly 02 minLecture11.4
Networking and landing a job 2
It's all about who you know, your reputation, and how to keep the momentum going when you're a freelancer.
- Tips to Landing the Next Job 02 minLecture12.1
- How to juggle more than one job opportunity at a time 02 minLecture12.2
Communication 1
Some guidelines I like to use on set to effective get my continuity point across, without losing my cool.
- How to Effectively Communicate Continuity Errors 02 minLecture13.1
Workshops 10
- Welcome! 01 minLecture14.1
- Breakdown 20 minLecture14.2
- Lunch Report 07 minLecture14.3
- Progress Report 10 minLecture14.4
- Editors Log 04 minLecture14.5
- Facing Pages 06 minLecture14.6
- Lined Script Pages 06 minLecture14.7
- Full Report (+ Photo Log) 02 minLecture14.8
- Wild Track Log 04 minLecture14.9
- Secondary ReportsLecture14.10
Congrats! 1
- You’re finished with the course! Now what?Lecture15.1
OPTIONAL: Tell me how you enjoyed the course 1
- Feedback on the course 6 questionsQuiz16.1
Dialogue
Dialogue is one of the most important things you’ll need to watch for on set. You might even be one of the only ones who has a script in front of them, has read the scene, and knows the plot. It’s up to you to make sure everything the writer wrote is accounted for, and make notes of all edits, alts, and adlibs to the dialogue.
When you get to set on day one, ask the director how important verbatim dialogue is to them. See if any lines are fact based, as those are usually a must for verbatim reads. If the scene or commercial spot is more comedy themed, or the talent is a comedian, then chances of adlibs instead of scripted dialogue is high.
When the take is rolling, follow alone with the dialogue while also paraphrase typing any alts. I find it easier to do this if I’m mouthing the dialogue with the talent. Remember, it’s your most important job to watch for dialogue. Most of the time I’ll get comments about how helpful it is to be saying the dialogue along with the cast, (instead of being laughed at for how silly I look mouthing the words).
If there is a tele-prompt operator on set, make sure to introduce yourself to them, and ask to have them sit near you as well. Any and all changes to dialogue need to be done ASAP, so having good communication with a tele-prompt operator is key for flow on set.
After the director calls cut, make sure to tell them about any dialogue issues. If it’s minor word alts, such as “okay” vs “yeah”, I might not mention those. But if there are plot points missing, I absolutely mention these dialogue issues as soon as possible. If I’m not sure, I wait for a good time to tell the director before they call action on the next take. It’s all about finding the right way to communicate with the director so that you can give your notes, be heard, and the talent can make the corrections without it coming last minute.
Remember, don’t give the actors any line notes/corrections unless you get permission from the director first.
Something I try to avoid, unless we are going very fast, is to give talent a note right before action. Give an actor a few seconds (preferably minutes) to get the line right in their mind before another take happens.
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