Script Supervisor

Hi,

I have a client who asked me if I have any requests for the script supervisor. As long as they are keeping track of the standard stuff I think I'm fine but is there anything I should specifically mention that will help me in the edit?

Thanks

Is there anything you are missing? They keep track of what camera/take covered what portions of the script. And what are the takes the director liked best. I find that helpful. And those are the basics.


www.shanerosseditor.com

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I'm not missing anything because they haven't started the shoot yet.

I'm not sure I need to spell out his/her job because they should be competent at it - At least I hope I don't have to but if there's anything that is not standard procedure that might help?

hey, Joe.

what Shane said,
BUT,
don't go through a third party.
give them a call and have a chat.

the Editor / Continuity alliance is a good thing to forge.

they may offer you things you hadn't thought of,
or you may tell them you don't need some of the things they think you do,
which makes their life easier.

one thing that comes to mind is colours on the marked up script.
some people use different colours to indicate wides or close-ups.


"I'm not sure I need to spell out his/her job because they should be competent at it"
well, yes, but don't assume anything, really.


nick

Yes, it's not unheard of to see editors marrying their script supervisors. Really.

What Nick said, colours!! I love colors too! Very effective.

- Loren

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Not really a script supervisor thing but how imperative do you feel "room tone" is? Should I insist production get some for each scene?

> Not really a script supervisor thing but how imperative do you feel "room tone" is? Should I insist production get some for each scene?

Professional sound recordists are supposed to get this in every location. But these days they often don't, and you can talk yourself silly -- they ain't gonna listen if they didn't know to do it already. I ask for slates, verbal slates, room tone, camera and sound reports...


www.derekmok.com

Yeah, I'm not sure why but I've had some interesting experiences with sound recordists (one didn't want to get room tone, another had low levels). When pressed on these matters they got all butt hurt. I think they are typically used to being left alone and doing the minimum.

My once a month Media Professionals Group I meet with in Tampa, Florida, last week we had a panel of four (4) sound guys tell their stories and tech stuff. One of the things they said was it is hard to get the director to give them 30 seconds to record a "room tone". Some don't think it's a time killer, and some don't understand why.

yeah, if you want room tone, talk to the AD.

personally i rarely need it.
it's easier and better to fill out a hole from the actual slates,
the natural room tone that is between the words.

For speech, I find the best-matching room tone comes from the interview or synch track itself. Dramatic or documentary, there are always minor changes in acoustic before or afterward, when RT is normally acquired. I don't use deliberately- recorded room tone for anything but MOS shots they're usually recorded around.

Less work matching in rerecording mix.

- Loren

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"I don't use deliberately- recorded room tone for anything but MOS shots they're usually recorded around. "

yes, good point.