What Do Scripty's Do All Day?

Recently I was invited to speak at a local college about what Script Supervisors do. I was worried the students wouldn't come to class that day since I'm not a director, a producer or some other position people have actually heard of. And those who did show up would either already know what I do, or were just coming to class to get a nap in before lunch.

As it turns out everyone turned out ready for me to speak, so I talked about my life, my experience in film, how I got started, that I love cereal, and everything in-between, but I overshot my audience. I figured they wanted the flash, when they really wanted the mundane. How do you take notes? What do you look for during a shot? How do you prepare for the day? They asked smart questions and it ended up being a great class. Since I get a lot of questions emailed to me I thought I'd consolidate some answers and throw in some class content and share it with everyone.

So, for you students out there or anybody who wondered what we write in our little books here it is. How to fill out an editor log.

First of all, most of my information comes from camera and sound. The camera assistant will tell me what film roll/tape they are on, what film stock they are using, the lens size and any filters, which I write in the appropriate spaces on the log sheet. In exchange for that information I will then give the camera department the scene number (let's say scene 10) Then I will communicate with sound and find out what roll they are on as well.

First shot of the day. I fill in all the information camera has given me, knowing that sometimes at the last minute they will drop in a filter or quick change a lens (but I'm ready for that) I write in the description of the shot. "Master shot of Carly and Leon in dining room" Then fill in the scene number in my log sheet as well.

So, looking from left to right on the log sheet I have filled in the camera roll, sound roll scene number take number (we start on take 1) time we will leave blank until after the shot and I look on my stopwatch and note the duration of the take. Then add in lens, timecode (and clip # for HD) and description.

With regard to timing I time the shot from start of dialogue to finish when I work on features, and action to cut on commercials. This fudges a bit and you'll become better with experience.

And Action...after the first shot is in the can I write down the time in the time slot and then note take 2. I tell the camera assistant "2 up" and so we go. I notate after each take any subtle differences and make notes as to whether the director liked it or not.

Then we go into coverage of scene 10. Our first shot was the Master 2 shot of Carly and Leon now we go into "coverage" of Carly which is a single. So the next scene would be called 10A. I fill in what film roll/tape in the column, sound roll, scene number, take number (one) time (after the shot) lens and the description "Single Carly in dining room"

As we do our next turn around to Leon's coverage. The scene number becomes 10B and I fill in all the information as I did before talking with camera and sound and detailing each take of Leon's coverage.

Each coverage piece of that scene 10 will get it's own number, and or if they change a lens each difference will result in going down the alphabet starting with 10A and continuing on skipping I and O as they look too much like numbers. If you get past Z (which I have had the experience on one movie) we go into AA, AB, AC and so on. I suppose one could get into triple letters but about that time I think the actors would be barricading themselves in their trailers.

Then, it's off to the next scene, let's say scene 20 (as you know all features are shot out of order) And it begins again, I fill in my log sheet with camera information sound and the description of the scene, I assign scene numbers and a letter gets attached for each piece of coverage.

That's just explaining the log sheet. On features you will take notes on lined pages and left had pages too! (that's a another post entirely!)

Add to detailed note taking watching continuity, dialogue, screen direction, production notes, and flirting with the camera assistant (hey, it's not like the grips are going to do it), throw in some trips to craft service and you've kind of got what I do for a living!

Want more info? Cant get enough about log sheets? ScriptE has a great resource of sample reports. Check it out Here

Oh No! Mr. Bill

Yesterday, I felt awful for not posting in awhile (to be fair, I've felt awful several times, but yesterday it finally got to me). There are three really good reasons: a.) I have felt uninspired (and you deserve only what passes for my best), b.) I'm working on my own film project (a.k.a. the life-sucker) and c.) um, well, really it's just a and b.

Then I thought, you know how at the bottom of my site, it says "Yes it's true, you dropped my laptop... but I'm still your fan!" and then there are a bunch of video clips of Bill Murray? I started to realize, that's been there since Script Goddess beginning yet, no one has ever asked about that particular story.

So, since you never asked, here it is (that'll teach you not to ask):

A long time ago, in a place far, far away, (really both those statements are honest truth) I was the young ambitious Script Supervisor and he was, well, Him. When he appeared on set for the first day of filming, I was sitting on an apple box, deep in concentration typing up the day's notes on my laptop. I heard this guy (Mr. Murray) greet all the crew then stopped in front of me, I looked up and he said "Nice!" I smiled and got back to work. To this day I'm not sure what was nice: my laptop, the fact that there was a Script Supervisor on set, or that I'm compact enough to fit on an apple box.

The first shots were hectic and crazy. After a well-deserved lunch break he shouted as I was cruising past him towards set. "Hey, Scripty what's different about me huh?" Now, I had been around the block once or twice before, and responded, "You had lunch?" The crew laughed, and more importantly so did he. (I often wonder why I haven't been fired yet)

During the next set up I noticed he wasn't wearing the jacket he had on in the previous scene. I politely reminded him that he needed his jacket. He began to yell at me about not wanting to wear his jacket and how he could have taken the jacket off between scenes and ranted and raved about this jacket to the point where I was embarrassed that I had asked him to put it on. He walked away and I, stupefied, cleared my head and turned to watch the scene and take notes. As the AD yelled "Last looks" who do I see put on his jacket as he smiled to me! Ohhh You!

At another point during filming, as I was standing taking notes...just after a take...who saunters by and knocks the back of my knees out, almost causing me to fall! It was like having my older brother on set. This was pretty funny to all those who saw it happen...Nice.

The next day we were filming a scene without Mr. Murray. I'm in deep work mode, so unless someone is about to set me on fire, my concentration stays on set. I do however feel someone leaning over my shoulder and breathing down my neck reading from my script. I don't smell lighter fluid, so I ignore it. Then the actor blows a line, and I throw a correction out. The actor questions my answer and the person behind me yells "She's right!" Yes, it was Him!

We worked late into that evening and we all were getting pretty exhausted. Towards the end Mr. Murray came up to me in a well held in anger and said through clenched teeth "How...much...more?" And I told him only a few shots left.

So, as we went to a fast turnaround, everyone pitched in to move stuff, even Mr. Murray. He went for my book bag, which had my laptop sitting in it loose. "Oh," I cried "I can get that!" but too late, he had picked up the bag and out popped my laptop which clattered to the ground in that "don't do this to your laptop" kind of way. He looked at me sheepishly. Fortunately the laptop survived the encounter, and I actually still use it (thank you Apple).

I can't tell you what a joy it was to watch him work, funny irreverent and loved to annoy the scripty! And a true sign of grace greeted the crew at the beginning and end of the show!

As we all were saying our good-bye's, I remember he said to me "I'll see you again!" And I did! Only during one more show and I don't remember him teasing me as much. So, Mr. Murray, even though (or maybe it's because) you fought with me over a jacket, knocked out my knees, breathed down my neck...and dropped my laptop I'm still your fan!

Script Supervising? There's an app for that.

As I've said before years ago I wanted to make a computer program for script supervisors. I figured I would easily become rich and own my own private island in Dubai. So, I told all the techie people I knew about my idea, but no one took the bait. Well, then again, I only knew like two techies, and I didn't try very hard... that might have had something to do with it.

Anyhoo, as a result, whenever I find out about some scripty software, I'm pretty darn happy for the person who came up with the idea and ran with it. Or maybe I'm jealous. Hard to say, I go back and forth...

Here is a new one just on the market and like everything else these days, it's for the iPhone. It's called actionLog Pro and if it does what it says...well, how portable would that be on set? So now, you've got your phone, your iTunes, your Internet, your Magic 8 Ball, your spin the bottle game, and your log book all in one place!

I hope the best for this guy and his idea, and if any of you have a chance to use it, send me feedback so we can post some reviews.

The Vendor Client Relationship

This is so very true! I can identify with the line "We're gonna make it up on the next one" Enjoy!

What If Film Crews Ran The World?

When I started in film and saw how film crews could make anything happen as if by magic, I thought that if there were ever a world crisis, sending a bunch of PA's and a couple of good producers would solve it.

Then a few years ago, I nodded with agreement when I read about the Tsunami in Sri Lanka and Nate Berkus running into a producer. He said in the article: "In that situation where everything and anything's unfamiliar and Annie and I started talking, I learned that she had been a television producer for the BBC," Nate says. "And if there's one thing that makes me feel comfortable, it's a television producer. And I thought, 'Okay, this is somebody who's gonna be organized, have it together, be able to coordinate everything that needs to be coordinated, and we just looked at each other and I think at that moment, there was just kind of a trust there between us."

Of course these days we are in a number of world crises: (in no particular order) Medical, Environmental, Political, Ideological, Financial, and so forthal. (just keeping with the pattern for a moment) If ever we needed to deploy a bunch of really good PA's and some amazing crew it's now. Get some good grips and electrics to work with creating a better use of energy, get some UPM's to go after the economy, get some greenspeople to go after the environment, get some producers to make all the countries work together, send catering to help with the hungry, get some set medics to help with the health crisis....um, well, actually I've only seen set medics hand out band-aids, but I'm sure they have more talent than that. And well, I'm not sure what department would help with religion, but we're a creative bunch we could come up with something.

So, I guess I hope that if film crews really ran the world they would do greater things than help a bride with her wedding.

My Shadow

I am soo sorry I have been away for awhile! I have started in earnest working on my own project. And boy does my heart go out to those who do independent film. It really is quite the process, sucking up all of your life. So, I will be posting less frequently but please keep the e-mails up!

Two, readers are thinking alike these days and sent me the following e-mails:

Hi,

I came across your website as I was looking for resources on Script Supervising. I've been working in production for over 5 years now, but have recently gotten into Script Supervising and absolutely love it. I've done Script Supervising on a couple of projects now but have never actually had any training in this field. I just bought a copy of Script Supervising and Film Continuity and used that for guidelines on the projects I did. Luckily, both my Directors were impressed with me. Little did they know...

I've been looking for some sort of apprenticeship or training to get more experience. I would love to learn from a pro. Do you have any suggestions?

****

Hi,

Thanks for all the great info on your blog. As a new Scripty, it's
indispensable to hear on-set anecdotes from a veteran. I'm writing to ask if
you would be open to having me shadow you sometime. I've shadowed another
veteran Scripty and would just love to do it again.

I've been Script Supervising for about a year and half now and have 75
non-union days under my belt. Anyhow, as I said, love the blog and figured
I'd ask!


*******

Now this is the true frustration of this career. We are a department of ONE. As other crew members start out in film, say a young camera PA. He or she can start out in that department and learn how to move up to loader, 2nd, 1st, operator and hopfully D.P, all the while learning from their department how to work in film. And as they mature in the world of film they can begin to learn and closely watch how the D.P. handles certain lighting situations, how the D.P. communicates with their crew. They can learn behaviors that as they rise up the camera department ladder they can emulate and strive to become that model D.P. they aspire to be.

Scriptys, well we're just winging it so to speak. Sure we learn through experience from each and every job we do, we take away a note here or a remember to look at the actors jewelry after lunch there. But really when it comes down to set behavior and having someone to emulate. We would have to find a scripty on a big show and hang with them.

Now, I have had the opportunity to spy on scriptys only a couple of times, and it was while I was the 2nd unit script supervisor. But I was so green that I really watched how they did the job, but you know, not really the finite aspects of it, like how they handled sticky screen direction arguments, or how they reminded larger than life egomaniac actors their dialogue, and just how they functioned. What was their set demeanor?

I took only a couple gems away from each scripty. On one film during lunch a crew member asked the scripty "How behind schedule are we" She replied " I keep track of enough shit, that's the AD departments concern" I learned from her I didn't need to know EVERYTHING. Another scripty told me that she wrote everything down on her sides (little script pages) because "I can't remember shit somedays" And I learned that I didn't have to be a computer.

I also ask friends of mine about the scripty's they've worked with, what were they like, what made them seem "amazing". Last night I did the same, I knew a D.P. friend of mine had worked on a low budget film in another state. "What was the scripty like?" and he said "Awful" This peaked my interested, "How exactly" I asked. "Well" He explained "You couldn't get an answer from her, I'd have a question about a previous scene and she either couldn't answer it directly or she'd look at her goofy notes and even she couldn't read them, so we'd have to go and look through playback to answer the question" Of course that did not give me any ideas on how to improve myself, I just hope that scripty was green and that project was a huge learning experience for her.

So, yes, if you can find a willing scripty to shadow it's a great idea, just make sure she/he's a good one or you might learn some bad habits! Other than that, it's working 2nd unit, talking to editors, and gleaning info from others. Oh, and reading this blog might help too. I hope!

How To Work With A Laptop?

I love reader questions, not only because I don't have to write some lame story about my life on the set, but because I hope it's answering some of the burning questions you have out there in cyber space, and that my blog might, just might be of some use to my faithful readers!

Dear Script Goddess:

I am taking the ScriptE training seminar this weekend. I've resisted the transition, fearing I would not be mobile enough to be within ear shot of the director/dp/ad at all moments of the day, to stay on the same page they are on. But my production friends are advising me that I will be losing work over taking my notes by hand. I can see that production loves the jump drive hand-off over copying notes, and delivering or faxing them to the transfer and editor.

I am concerned about how to manage all the stuff that goes with a laptop....cables, switchers, etc. How do you manage to move your portable laptop stand, with all the extra stuff, cables etc. when on location? I've never been one to expect the PA's to move my stuff, and sometimes they are nowhere to be seen when you break a set-up and need to move. Would you please share some detailed thoughts on how to manage sitting near the director with my bulky new laptop stand, and how to move all the stuff around....especially on a hectic location shoot. It seems like my kit will certainly double in weight and bulk. And what if there is room for a scripty to crouch in a small room, but no room for stand and chair? Do you take notes by hand and then type into the program later?

I did recently hear that VTR operators hate it when scripty asks to borrow a cable for downloading video stills, and when moving to the next location, drops the cable for him to wrangle.

Thanks for sharing your ideas!!!!


As I have stated before I do use my laptop on any and all stage shoots, but when it comes to location work, I do it old fashioned. Mainly because I'm old and hate lugging stuff around.

That said I did round up some professional laptop users to give you a better perspective:

Reagan says:

The only basic cable you need is your power cord to your laptop and maybe a cube tap. If you want to do video capture, make sure you have your own cables. Don't rely on VTR. And yes, they probably will get angry at you for using their cables. All my equipment: laptop, file folder, cables/switcher, extra battery, laptop stand, and printer if needed fit all in my back pack. (I got my backpack from REI since their backpacks are bigger than standard ones.) I'm in my 30's and my back can still handle the load I have to carry. When my back can't take it any more, I'll switch to a small rolling cart or bag. I can get up and move just as fast as with paper and pen. I have my own script bag, which is very helpful on moves. I just shove everything loose in there and easily move to the next location.

Production and editing love the electronic notes. I email them out to everyone who needs them. I just purchased the Internet connect card to be able to email paperwork out when I'm at a location where there isn't any wireless signal.

Getting up and moving isn't as tough as you might think. If I'm connected to the monitors and we have to move, I just unhook everything from my laptop and leave it on the VTR cart as we roll to the next location. None of the VTR's I've worked with ever minded me leaving my cords on their cart as we moved. Now, if I didn't gather them up every night, then they would probably get angry. And depending on where you are, sometimes you won't be able to do video capturing. I just put, no image.

The camera department will most likely get angry if you try to get a feed directly from the back of the camera. I've heard of scriptys who have gotten yelled at for it.

If we're on the process trailer, I usually take my laptop and the sides with me. I write down the info on the sides and after cut, I just transfer them to the laptop. If it's raining and there isn't a pop up tent, I put my laptop away in my waterproof bag and take notes on my waterproof paper, then transfer the notes later. Since laptops do make a little noise, and if we're very close to the mic, I just turn it off and take notes on the sides. When we're moving onto another set up, I turn it back on and transfer the info. I do save everything to a 4GB flash drive after every set up. And I also research where the closest Best Buy is from the location just in case I need to run out and grab another laptop if my primary one happens to die. (I did have a back up, but the mother board finally died on me after 6 years.)

I now have started carrying a small complete script which I take notes on more than sides. I still have the full script in my file folder just in case something happens to my laptop and I need the script. Both work and fits perfectly in my backpack. Also everyone says I look like I've going hiking.

I was a little scared at first to trust my laptop, but I soon got confident that it can handle what I do to it and the environments I take it in.

Tony says:

Hello Scripty,

Cabling all depends on the job.

If you have a VTR operator on the job, they should handle your cable for you. Of course, we should be grateful and friendly but cabling is their job.

If there is no VTR then the local 600 person (CAM IN NY) will run the my cables.

Non-union - anything goes.

As far as weight. I'm now working with an InStand computer stand, which is very stable and easily portable and light. If I have to leave one set and quickly move to the next for rehearsal. I put on my back pack, unplug the video cables, pick up my stand and move. I can do the entire move in the same time it took me to pack away my old binder in the past. Another plus is that I can stand or sit to work. My stand can be clamped to a car rig or process trailer and it even has a hood so I can work in direct sunlight without any glare.

I'm also able to get away from the click clack of blackberries in video village (if I need to) and move my stand just off camera onto set. This is particularly valuable when I need to read off-camera lines, or feed lines, or to get closer to a director that uses her own monitor or stands beside camera and watches the onboard monitor of the camera.

My computer is fastened securely to my stand via heavy duty velcro, so I often just close the lid and carry it fastened to my stand. Whomever wrote the question saw all this at the ScriptE demo 2 day training seminar we held in LA this past weekend. Script Supervisors can now get a 5% discount on all InStands and accessories purchased through the equipment page on the ScriptE website:

http://www.scriptesystems.com/DigitalScriptSupervisorEquipmentKit.aspx

As far as size - even a 15" laptop is smaller and lighter than a full 4" binder. With my Instand, I can stand to work and fit in spaces where I could never work with a paper script.

Hope that helps! As always anyone else is free to comment!