Beyond continuity : script supervision for the modern filmmaker / Mary Cybulski.

Format:

Book

Author/Creator:

Cybulski, Mary, author.

Language:

English

Subjects (All):

Performing arts.

Physical Description:

1 online resource (369 pages)

Edition:

Second edition.

Place of Publication:

Taylor and Francis 2023

Summary:

A guide to the craft of script supervising, the updated second edition features practical instruction through real-world examples that demonstrate and explain the skills needed by a professional script supervisor.

Contents:

Cover

Half Title

Title

Copyright

Contents

FOREWORD

ACKNOWLEDGMENTS

Chapter 1: INTRODUCTION

WHAT'S SO GOOD ABOUT BEING A SCRIPT SUPERVISOR?

WHAT A SCRIPT SUPERVISOR DOES

Supervising the Script

In Charge of Continuity

Continuity within a Scene: Matched Action

Continuity between Scenes: Progressive Action

Technical Advisor for the Grammar of Filmmaking

BASIC SCRIPT SUPERVISING SKILLS

Understanding Cinematic Language

Artistic and Personal Sensitivity

Good Organization

Paying Attention

Intensity and Ease

Thick Skin

Chapter 2: GETTING STARTED

BUILDING SCRIPT SUPERVISOR SKILLS

Getting Basic Skills

Putting Your Skills to Work

HOW TO GET A JOB

WHAT SORT OF PROJECTS ARE RIGHT FOR YOU?

Feature Films

Single-Camera Episodic and Serials

Multi-Camera Sitcoms

Mutli-Cam Live/Live-to-Tape

Commercials and Promos

MEETING THE DIRECTOR

MAKING YOUR DEAL

Hourly Rate

Kit Rental

YOU HAVE THE JOB

Knowing the Script

Features

Episodic

Multi-Camera

Commercials

The Production Office

Production Office Staff

Payroll

Assistant Directors

Other Departments

Chapter 3: A NOTE ABOUT DIGITAL WORKFLOW

PAPER IS THE NEW PAPYRUS

TWO CAMPS ABOUT DIGITAL WORKFLOW

EVERYONE USES EVERYTHING

THERE IS NO STANDARD PLATFORM

DEVELOPING YOUR WORKFLOW

DATA BANKS VS. GRAPHIC-BASED FUNCTIONS

How Data Banks Work

What Data Expression Means to Us

How Graphic-Based Functions Work

How Data Banks and Graphic-Based Functions Work Together

Adding More Graphic Elements

Each Application Is Unique

Office Suites

Script Supervising Platforms

Applications for Digital Notation

DESIGNING YOUR PERSONAL SYSTEM

Complexity and Schedule

Keyboard vs. Hand Thinking

Make It Your Own

Connecting the Pieces.

Chapter 4: PREPRODUCTION: BREAKING DOWN THE SCRIPT

MAKING BREAKDOWNS USING DIGITAL APPLICATIONS

About Automated Digital Breakdowns

Too Little Prep Time

OVERVIEW

Breakdowns for Every Movie

Special Breakdowns

Prep Time

Working for Free

YOUR SCRIPT

Your Working Script Is a Trusted Assistant

A Typical Page Format for Feature Films

Formats for Episodic, Live/Live-to-Tape, and Commercials

Live/Live-to-Tape

STARTING THE BREAKDOWNS

Defining the Scenes

PAGE/TIME/SCENE TALLY

Overview of the Breakdown

Using a Spreadsheet

The Basic Idea

The Format

Making the Breakdown

Adding Scene Numbers

Wait to Describe the Action

Formatting and Functions

Scene Count

What Is a Scene?

Page Breakdown

What Is an Eighth of a Page?

Adding the Page Count

Script Timing

Filling in the "To Do" and "Done" Blocks

The Minimum Tally

MASTER BREAKDOWN

Overview

Setting Up a Master Breakdown Form

Scene Numbers

Interior/Exterior

Day/Night

Location

Action (or Description)

Characters

The Importance of Matching Back

Props/Art/Wardrobe/Makeup/Special Effects

Voice-Over/Video and Audio Playback/Visual Effects/TV and Airplane Dialog

Matching

Adding Color

TIME BREAKDOWNS

The Different Uses of Time Breakdowns

Story Beat Breakdown

Setting Up the Breakdown

Logic and Guessing

Day Breaks

Representing the Director's Ideas

The Power of Time Breakdowns

How to Think about Time

Cheating Time

Day Breakdown

SPECIAL BREAKDOWNS

Visual Effects (VFX)

Many Parallel Story Lines

Change in a Character

Weather and the Natural World

Injuries

Complicated Hair and Makeup

The Big Boards

Non-Continuous Time

Post-Modern Time and Place

The Warehouse

WHAT I DON'T DO.

Chapter 5: PREPRODUCTION: NON-BREAKDOWN PREPRODUCTION

REHEARSALS

REWRITES

Flagging Changes in the Script

Changes in Scene Numbers

Scene Number Formatting

Changes in Page Numbers

Color Pages

Kinds of Rewrites

A White Copy of Revised Pages

Tracking Revisions in a Digital Format

THE READ-THROUGH

TECH SCOUTS

THE PRODUCTION MEETING

What Happens at a Production Meeting

Side Conversations

GETTING PHYSICALLY READY FOR THE SHOOT

WHAT'S IN YOUR KIT

A Mobile Office

Paper or Digital?

Scripts and Notes

Necessary Items

Cases

Watches and Time

Cameras and Image Capture

Working Light

Office Supplies

Other Useful Tools

Weather Gear

Chapter 6: PRODUCTION OVERVIEW: KEEPING THE NOTES

WATCHING SET AND TAKING NOTES

Too Much Information

Start with Pen (or Pencil) and Paper

INTRODUCTION TO THREE KINDS OF NOTES

Every Day, Every Movie

Some Days, Some Projects

On-Set Matching Notes

NOTES USED EVERY DAY, ON EVERY MOVIE

Lined Script

Lining the Script

How Editors Read the Lined Script

Wild Track

Numbering Dialog

Lining a Digital Page

Using Colored Lines

Back Up Your Notes

Examples of Lined Digital Pages

Lining Multi-Camera Shoots

Facing Pages

Setting Up the Facing Page

Describing Camera Moves

Timecodes

3-D

Special Elements

Digital Facing Pages

Notes for Unscripted Productions

Choosing a System

Editors'Daily Log

Generating Editors' Daily Logs from Digital Facing Pages

Script Supervisor's Daily Report

The Correct Time

The Crew's Work Day

The Work That Is Planned for That Day

The Progress Made That Day

The Details of the Day's Work

Digital Daily Production Reports

Production Reports for Commercials, Promotions, and Other Ad Agency Projects

NOTES USED ON SOME DAYS OR SOME MOVIES.

Wild Track Tally

Wild Picture Tally

Owed List

Lined Storyboards

Lining Action Beat by Beat

Visual Effects

ON-SET MATCHING NOTES

Points of Action

Examples of Matching Notes

Working Script Page vs. Final Script Page

Set-Up Frames

SLATING

The American System

Slating for Cross-Cutting Multiple Scenes

Skipped Letters

Slating Added Scenes

Slating Two-Camera Set-Ups

Special Set-Up Distinctions

The British System

European Slates

An American/British Hybrid

Limitations on Making Set-Up Names

CAMERA AND SOUND ROLL NUMBERS

Multiple Cameras

Second Unit

Test Rolls

SETTING UP YOUR BOOK

A Paper-Based Notebook

A Digital Notebook

Chapter 7: PRODUCTION OVERVIEW: MAINTAINING CONTINUITY

WHY WE NEED CONTINUITY

TWO KINDS OF CONTINUITY

Matched Action

Progressive Continuity

WHAT TO MATCH

Checklists for Matching

Dialog

Motion

Motion and Dialog

Motion and Blocking

Body Position

Tone and Pace

Emotional Performance

Makeup and Hair

Costume

Props

Handling Props

Set Dressing

Times of Day and Date

Cars and Other Vehicles

Screen Direction

Background Actors

Nobody is Perfect

Continuity is For Sissies

THINKING LIKE AN EDITOR

Pay Attention to the Cut Points

Different Styles of Coverage

Master and Coverage

Master to Master

Master Only

Multi-Camera and Live/Live-to-Tape

Matched Action between Scenes

How to Find the Cut Points

Easy and Difficult Matches

What Makes a Difficult Match?

Protecting a Difficult Match: Example 1

Protecting a Difficult Match: Example 2

Understanding Dominance and Visibility

Visual

Story

Repetition of Cut

Get Out of Jail

VARIATIONS IN CONTINUITY STYLE

Some Actors Do Not Have a Clue about Matching

CHEATING: WHEN WHAT'S WRONG IS RIGHT.

Some Common Cheats

Repositioning into or out of the Frame

To Add Detail

To Limit or Exaggerate Movement

Cheating Looks

Audacious Cheats

Cheating the Background

Cheating Light

Will This Cheat Work?

Look through the Lens

A Non-Specific, Non-Repeating Background Will Hide a Geographic Cheat

The More the Frame Changes, the More You Can Get Away With

Attitude is Often More Important Than Details

Develop Your Visual Imagination

When You Disagree with a Cheat

Notes for Matching

Chapter 8: THE LANGUAGE AND GRAMMAR OF FILMMAKING

WHAT ARE THE RULES OF FILM GRAMMAR AND WHAT ARE THEY GOOD FOR?

USING FILM GRAMMAR EXPRESSIVELY

WHAT'S IN THE FILM GRAMMAR TOOLKIT

Camera Positions

Sympathetic and Observant Camera Positions

Camera Height

Frame Size

Matching Frame Sizes and Variations

Lens Choices

Depth of Field

Perspective and Cropping

Perspective

Cropping

How Perspective and Cropping Are Used in Coverage

Close and Wide Eyelines

CAMERA MOVEMENT

How the Camera Follows the Action

Matching Camera Movement and Speed

COMPOSITION

THREE DIMENSIONS

WORKING WITH COVERAGE

Factual Information

Subtextual Information

THE 180° LINE

Why the 180° Line Is Important

A Little History of the 180° Line

How the 180° Line Works

Camera Right and Camera Left

Common 180° Line Coverage

Three People in a Line

Three-Person Interrogation

Three in a Triangle of Singles

A Group in a Line

USING THE LINE IN A COMPLICATED SCENE

Breaking the Scene into Beats

Planning the Coverage

Checking Eyelines Using the 180° Line

Big Groups

Courtrooms and Auditoriums

Reading, Writing, and Looking

MAINTAINING SCREEN DIRECTION IN MOTION

Matching Direction in a Chase

Moving Characters toward Each Other

Traveling Objects.

Changing Direction to Reduce Momentum.

Notes:

Description based on print version record.

Other Format:

Print version: Cybulski, Mary Beyond Continuity

ISBN:

0-367-82366-7

1-000-85615-1

9780367823665

OCLC:

1379448711