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what does a "scripty" do
- Thread starter salazar
- Start date
I am a script supervisor. It is an all consuming task. My husband calls me the script accountant becuase of all the record keeping involved with notes and line script. However, the biggest challenge BY FAR is continuity. I recently had a talk with a union sript sup. where we compared notes. She and I agreed that 80% of our recommendations on continuity, screen position, etc. are discarded by directors.
So know when you watch a film and catch things that are off, at least 80% of them were caught, and a decision by a higher power prevailed.
So know when you watch a film and catch things that are off, at least 80% of them were caught, and a decision by a higher power prevailed.
Do you use a specific document to log continuity?
If so I'd be fascinated in seeing a copy it's an area where as an indie I've relied too much on my personal script notes. Although I've always been almost flawless, it's bound to catch me out eventually, unless I get a more systemized approach.
If not I'd really like to see a tutorial on script supervision, it's one of those areas that it's easy to mess up with on an indie shoot, where the traditional roles are often ignored.
I'd be glad to post a few pages of my marked script if you like. I can't imagine making a feature without a good, script supervisor.
Lilith - I'm proud to be in the 20% of directors who actually listens to the script supervisor. When I do very low budget movies ($10,000 to $20,000) there are three people I pay even when no one else is getting paid: the first AD, the sound recordist and the scripty.
Lilith - I'm proud to be in the 20% of directors who actually listens to the script supervisor. When I do very low budget movies ($10,000 to $20,000) there are three people I pay even when no one else is getting paid: the first AD, the sound recordist and the scripty.
Yes do it, I mark my scripts as well, but there are always opportunities to learn something new.
Isn't it interesting. Here I am thousands of miles away and I've adopted almost exactly the same working practice. If the budget means that people will be working for deferments, then the two people I've always found a wage for are sound and 1st AD. They are just two important to leave in the hands of someone who is using the shoot to gain experience. Something that is doubly true if the rest of the crew are fairly new to the game.
I must admit I'm more inclined to take your attitude about the script supervisor as well. I think one of the recurring nightmares of indie directing is how many jobs an indie director will take on the one shoot. Often they are doing the work of about six people, usually - Producer, Director, Line Producer, Script Supervisor, Catering Manager, Location Manager and in my case Art Director.
It makes sense to hand one or more of those roles a professional.
Here are five pages from my shooting script. Sandy (the scripty) is the one I use on every movie I make when I can afford her day rate. She's great with the talent and crew and keep me in line. Literally. I have a huge problem with crossing the line - I don't know why. She's really fast, too. When I'm getting over 25 set-ups a day, it's really hard on the scripty to keep up AND keep detailed notes. It's an impossibly hard job.
The straight lines indicate dialogue and action caught on camera - the squiggle means the camera was rolling but the action wasn't photographed. It really helps gives the director and DP a quick reference as to what still needs to covered.
Crossing the line as in screen direction - which way characters are looking so when inter-cut it apperars they are looking at each other.
Here in LA you can't find a script with experience for less than $200 per day which is only $13 per hour (12 hour days). Most charge at least $300 per day.
Crossing the line as in screen direction - which way characters are looking so when inter-cut it apperars they are looking at each other.
Here in LA you can't find a script with experience for less than $200 per day which is only $13 per hour (12 hour days). Most charge at least $300 per day.
I had a trained script supervisor on a shoot last year.. Might still have her notes around somewhere..
I was lucky enough to procure her (as with the rest of the cast and crew) for nothing.. Sadly the film will never be finished.
I was lucky enough to procure her (as with the rest of the cast and crew) for nothing.. Sadly the film will never be finished.
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directorik said:
Forgive my incescent curiosity -
Re: squiggle lines - does this mean the director thinks that the action was captured because the camera was rolling, but the scripty learns from the DP otherwise, that it wasn't shot well or as intended? Or maybe the camera wasn't focused on the required action? Just not sure why it would be noted if it's not usable footage.
Also, is the scripty watching the action live or on a monitor? Or both? Or preferably a monitor if it's available?
Even if the visual portion isn't great, the audio may still be useable..
Perhaps it's that in that particular shot the camera was only on one actor, rather than the whole scene.. etc.
Perhaps it's that in that particular shot the camera was only on one actor, rather than the whole scene.. etc.
You're right, Will. Very often scripty's (and other cast and crew) will work for free.
Media Hero - That mark has nothing to do with artistic choice ("it wasn't shot well or as intended") or a visual mistake - it means the action or dialogue wasn't covered on camera during that specific set up. If on set up "24B" the camera is on Bob when Sally picks up the gun, the scripty will mark that part of the script under "24B" with a squiggle rather than a straight line. Since a scene will be covered from several different angles, that squiggle is a quick, visual note on the page that that particular action (picking up the gun) wasn't actually on camera for that set up.
After several set-ups if that bit of business from the script hasn't been shot it will be very clear just by looking at the script page. Same thing for a line of dialogue. Sometimes with a scene involving several actors and a lot of action, a line that has been said over and over, take after take, hasn't actually been picked up on camera. A quick look at the marked script and it's obvious.
Also it really helps in editing. I can look at the marked script for the line where Sally picks up the gun. There will be several set ups covering that bit of action and several that don't - I can tell quickly by the squiggle. So when I want to see which shot looks best I know that 24C, 24D and 24H are the three set ups to look at. I know I don't have to look at 24A, 24B, 24E or 24F because that bit of action isn't on camera.
So far all the scripts supervisors I've used prefer to watch the monitor.
Media Hero - That mark has nothing to do with artistic choice ("it wasn't shot well or as intended") or a visual mistake - it means the action or dialogue wasn't covered on camera during that specific set up. If on set up "24B" the camera is on Bob when Sally picks up the gun, the scripty will mark that part of the script under "24B" with a squiggle rather than a straight line. Since a scene will be covered from several different angles, that squiggle is a quick, visual note on the page that that particular action (picking up the gun) wasn't actually on camera for that set up.
After several set-ups if that bit of business from the script hasn't been shot it will be very clear just by looking at the script page. Same thing for a line of dialogue. Sometimes with a scene involving several actors and a lot of action, a line that has been said over and over, take after take, hasn't actually been picked up on camera. A quick look at the marked script and it's obvious.
Also it really helps in editing. I can look at the marked script for the line where Sally picks up the gun. There will be several set ups covering that bit of action and several that don't - I can tell quickly by the squiggle. So when I want to see which shot looks best I know that 24C, 24D and 24H are the three set ups to look at. I know I don't have to look at 24A, 24B, 24E or 24F because that bit of action isn't on camera.
So far all the scripts supervisors I've used prefer to watch the monitor.
As far as crossing the line goes, here is a quick how not to:
draw an imaginary line between the two main subjects on screen (conversation between two folks, subject moving from point a to point b)...always keep the camera on one side of this line and editing will be much easier.
For how the scripty knows to squiggle:
Either what's on the monitor or what the DP says, or botched line in the headphones...whatever, I wouldn't want to do it...I'd pull my hair out.
draw an imaginary line between the two main subjects on screen (conversation between two folks, subject moving from point a to point b)...always keep the camera on one side of this line and editing will be much easier.
For how the scripty knows to squiggle:
Either what's on the monitor or what the DP says, or botched line in the headphones...whatever, I wouldn't want to do it...I'd pull my hair out.
I understand crossing the line - for some reason on set with all the lights and people and hundreds of questions I need to answer, remembering exactly which way an actor was looking during a set up three hours earlier tends to throw me.
Regarding the squiggle: it isn't about a botched line or on camera mistake. I guess I'm not explaining it well. All the squiggle means on a marked script is that bit of action or dialogue wasn't caught on camera on that specific set up. It's about coverage, not mistakes.
Regarding the squiggle: it isn't about a botched line or on camera mistake. I guess I'm not explaining it well. All the squiggle means on a marked script is that bit of action or dialogue wasn't caught on camera on that specific set up. It's about coverage, not mistakes.
Which is all very simple when you've got two static characters. The second you've got three or more, and they are moving, the whole process get radically more complicated.
To be honest this is the main reason I favor floor plans over storyboards. With floor plans you can always tell which side of the line you are -- however, it still doesn't solve the ever present eye-line issue, which can get fiercely complicated.
rik, I was just clarifying for Media Hero as you had covered the why but not the how. So the script sup isn't responsible for marking botched lines or boom mikes in frame or anything?
clive, yes, but we start simple and work our way up...I've crossed the line many times and had to cheat in post by flipping footage to make eyelines match and screen direction seem cohesive. The Steven Katz books on directing show this stuff in great detail, BTW...including where the lines are in groups of people 3 - 300 (basically it boils down to the current interaction on screen and how it relates to the previous and next interactions).
clive, yes, but we start simple and work our way up...I've crossed the line many times and had to cheat in post by flipping footage to make eyelines match and screen direction seem cohesive. The Steven Katz books on directing show this stuff in great detail, BTW...including where the lines are in groups of people 3 - 300 (basically it boils down to the current interaction on screen and how it relates to the previous and next interactions).