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
Line! Corrections, Off Camera, and Readings
LINE CORRECTIONS
Since you are the one with the most up to date script, it’s up to you to help actors when they call for line in the middle of a scene. What I like to do at the beginning of the day, once talent is called on set, is to introduce myself to the cast, and let them know who I am and what I can do for them. It usually goes something like this:
“Hi, I’m Hannah, your script supervisor for today/the show. I just wanted to let you know I’m available to give you a line read any time, as long as you call line. I can hear you via your mic, so no need to shout. Just remember: I can only give you a line if you call “line”. Otherwise, I don’t want to interrupt you, for pause or adlib purposes. Does that work for you? Great. And again, my name is Hannah. Very nice to meet you.”
There have been some times where talent is called to set and there is no time to introduce myself to them before we roll. If that’s the case, I simply go up to them after the first take. As long as you intro yourself towards the beginning of the day, then that works.
OFF CAMERA LINES
Some scenes have scripted off camera, voice over, off screen, etc, dialogue written. There is a grey area as to who reads this during the scene, if it’s you or the AD or show runner or the cast member who is off camera. Usually, I like to ask the AD to read the lines, since I’m doing a million other things during the take. If they are opposed, then I do the line read. In very complex scenes, I’ll asked a PA to do the line reading for me. Other times, the cast has asked me to do the line reads if there is a lot of adlibs from the off camera dialogue that we’ve shot on a previous day. I also know the inflections, timings, and tone of cast members on TV shows since I’ve been on them for a few seasons. It really depends, but the bottom line is: have this figured out BEFORE rolling the first take.
LINE READING BEFORE ROLLING
Some cast members might be in need of running their lines beforehand. This is a service you can offer them, and it helps you to get familiar with the dialogue as well. I usually offer this to anyone with a long monologue or someone who is nervous. It’s a nice touch to add to your job, and it helps you to get to know the cast as well. Building that trust with them is so important to help the flow of production and uphold a positive atmosphere on set.
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