Script Supervisor questions

Hi, I'm still looking for a scripty for my short, and I know there are a few here who feel that that is a vital position which should be paid. Yet others I know feel you can find someone who isn't necessarily experienced and will work as a scripty unpaid or for low pay and still do a good job.

So, the thing is I've never worked with a scripty before - so I am not sure what to look for. I'm getting some bites as I'm looking for one, but regardless of whether you think they should be experienced and paid or not, what should I want? I'm leaning toward getting someone who's super organized and detail-oriented with some related experience (not as scripty) or who has just started out as scripty, but before I proceed and contact these people, I want to know what I should expect. All I know is that they keep track of continuity and timing and coverage - but not sure how they do that. I want to at least sound like I know what I am doing and what I want, since I'm producing and directing (LOL). I've looked on the internet and only found cursory descriptions of a scripty's responsibilities.

Also, a filmmaker I know had shared with me some documents from a shoot - these are samples of what she got from her scripty on a project - and I can't make any sense out of them! And I don't mean it's because of the handwriting - I'm confused about the lines and arrows and numbering - all I know is it's supposed to show which shots covered certain parts of the script but my brain can't seem to decipher it. Can anyone tell me how to read these?

Scripty-1.jpg



Scripty-2.jpg
 
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I’ve been producing and/or directing and/or editing movies for
many years. I can’t tell you exactly what they do. I don’t even
bother to pretend I know what I’m talking about when I speak to a
scripty. They know their job - I know mine. I just let them do
their thing.

I can, however, tell you how to read that marked script.

The scene is A1. Every time the camera set up changes the AC will
add a letter; A1A, A1B, A1C, and this scripty notes each take; AIH
has two takes, A1J, only one. Notice that there were four takes of
A1S.

The number at the top of the vertical line is the number on the
slate “AIB1”. The line means everything from where the horizontal
line starts to the next horizontal line is, is covered on that
shot.

For example: shot A1B is an ECU - extreme close up - that starts
when “He turns to the clock...” and ends when “and goes back to
bed.” A1F is the shot of that one line: “The drawer falls...”
They did four takes. You will see that shot A1F2 starts with the
“CRASH” but continues all the way down the page - no horizontal
line indicating the end of the shot.

Those vertical lines with the arrows (A1F2) means that shot
continues to the next script page.

You see A1G2? That as the two horizontal lines indicating the
start and end of that shot. From Emmett’s line through the action
“...behind the door.” That means that on the slate the editor will
see A1G2 and it will cover only that action and two lines.

But scene A1F1 will cover the scene from the crash and onto the
next page - likely a master shot.

As the director you and look at the action paragraph “Emmett
surveys the room.” and see all 11 vertical lines. That means that
paragraph was covered from 11 different camera set ups.

Look at the line “Emmett reaches for his night table...” there are
5 lines running through it - that means that action was covered
from 5 different camera set ups.

It’s much more complicated writing it all down than if I were in
the room with you and could point.

The second page is a little detail on the shot.

A1H - take 1 is listed as “good”. So is take 2
A1J - take 1 notes the sheet music.

Here is the marked script from the scripty I usually use. Her
pages are a little more clear than one you have.

Page70.jpg

Page71.jpg

Note the squiggle lines on the page. This means the camera didn’t
catch that specific action. For example 53A is a shot of Peggy. So
when Waldon is speaking the camera does no see him. That way as
the director you can look at the script and see quickly if you
have the coverage you need.

Look at the line in scene 53: “Cooking a Thanksgiving turkey.” You
can see that the camera wasn’t on Waldon on 53A but did catch him
on camera on 53, 53D and 53D
 
I know there are a few here who feel that that is a vital position

Scripty is definitely an indispensable person to have on your crew! I oughtta know, three features and I've never had one... :(

Course, I've never had a DP or gaffer, either. Small towns, you use words like that and people's eyes glaze over.

Maybe someday...
 
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