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.
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.
Breaking down the script 8
Everything you need to do to prep for a shoot.
Kit and Supplies 3
Let's talk about what supplies you'll need in your kit.
How much is covered under continuity, and what you need to watch for.
These are in the order you'll be running them. and need to be uploaded every night after wrap.
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.
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!
Contracts and Forms 3
How to manage your freelance income.
Pay Rate 4
Daily vs Hourly, Union vs Non, Project type
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.
Some guidelines I like to use on set to effective get my continuity point across, without losing my cool.
OPTIONAL: Tell me how you enjoyed the course 1
Timing (ERT) – Narrative Scripts
Timing a script is very important for production. It helps ADs with their daily scheduling, producers know how many shoot days the project will need, directors on how long a scene should run, and the editor for post. Your timings are essential to the project, so I recommend the rule of three: time each scene or storyboard three times, then choose the average of that number.
For narrative scripts such as features, shorts, and television shows, you should speak the dialogue out loud, and perform some action such as standing, walking across the room, or using a prop. Obviously, if the script is action packed, or vague on movement/blocking, this will be harder to do. Try your best to predict the length of these scenes using a stopwatch. This will become your Estimate Run Time (ERT).
What I usually do:
- Start my stopwatch
- Start the action
- Begin the dialogue
- Give some action a generic :05 seconds on my first read
- Refine for the second and third reads
- Average my timing for that scene
You can also judge a scene’s length based on it’s 8th count (as mentioned in the last lesson). But be wary of this, as some shorter 8ths are heavy action notes. Examples: storm the castle (measuring at 1/8th).
If you are unsure about a specific scene, or get drastically different times for each read through, you can bring this up at the All Hands meeting. Also, ask a producer for a table read if possible to get familiar with the cast’s cadence while speaking.
Bottom line: do your best to as accurate as possible on your timing. Then, once you’ve completed your eighths and ERT, total them up on your breakdown for easy reference.