دانلود کتاب Beyond Continuity: Script Supervision for the Modern Filmmaker

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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
Episodic
Multi-Camera Sitcoms
Live/Live-to-Tape
Commercials
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
Body Position
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
Neutral Bumpers
UNUSUAL MATCHING SITUATIONS
Full Reverse
Hugs, Kisses and Other Embraces
Vehicles
Behind Camera Travel
Telephone Conversations
Screen Direction and Maps
WHEN ACTORS MOVE THE LINE
Off-Camera Movement
Cutting into Moving Actors
WHEN THE CAMERA MOVES THE LINES
THE POWER OF JUMPING THE LINE
Jumping the Line in Action Sequences
Tension and the Line
Jumping the Line in Dramatic Sequences
WHY THE LINE IS ELUSIVE
Theoretical Editing
Style
Chapter 9: A DAY ON SET
THE CALL SHEET
ARRIVING
Breaking
Call Time
The Truck
SETTING UP FOR THE DAY
Notes
Finding Your Place in the Story
Equipment
Total Paper Workflow
Total Digital Workflow
The Safety Meeting
REHEARSING AND BLOCKING
Private or Director\'s Rehearsal
Blocking or Blocking Rehearsal
Blocking for Department Heads
Various Blocking Styles
The Shot List
The Most Current Script
LIGHTING THE SET
The Crew Has the Set
Continuity on Set
Review and Revise Your Breakdowns
Distribute the Shot List
Running Lines
Power, Internet, Timecode, and Video Feed
Set-Up and Roll Numbers
REHEARSAL
Representing the Editors
Overlapping Dialog
Checking the Dialog for Accuracy and Content
The Dialect Coach
The Master Shot
Set-Up Notes
Rehearsing on Film
ROLLING FILM (AND OTHER MEDIA)
Going on Bells
Where You Sit
Proximity
Video Village
Watching for the Crew
Silence
Privacy
SLATING
History
Timecode
Phonetic Alphabet
Checking the Set-Up and Take Number
Calling the Slate
Tail Slates
Correcting a Mis-Slate
MOS Slates
Slating Multiple Cameras
Pick-Up Slates
Hand Slates
NOTATING THE TIMECODE
TIMING THE TAKE
FIRST SHOT OF THE MORNING
NOTES FOR EACH TAKE
CIRCLED TAKES
LENS INFORMATION
CONTINUITY PHOTOS
How to Think about Continuity Photos
Organizing Your Pictures
Digital Capture and the Crew
DRAWING SET-UP FRAMES
WHAT TO LOOK AT
NOT MATCHING WELL
DELIVERING OFF-CAMERA DIALOG
GIVING NOTES TO ACTORS, DIRECTORS, CREW MEMBERS
MOVING ON TO THE NEXT SET-UP
Before You Move On
What You Need from the Scene
TV and Airplane Dialog
Getting and Distributing Information
Completing Your Notes
Prep for the Next Shot
Turning Around
MOVING ON TO THE NEXT SCENE
LUNCH
THROUGHOUT THE DAY
Comb through Your Story
Reloading the Camera
Film Break
Notating Playback
False Starts and Series Takes
WRAP
Immediate Concerns
End of the Day Notes
Dailies
Homework
THE END OF THE JOB
Final Notes
Hang Out with the Editors
Chapter 10: THE BIG PICTURE
PICK YOUR PROJECTS, FOLLOW YOUR LEADER
ACTORS ARE ANGELS
WORKING OUTSIDE AND WITHIN TRADITIONAL STUDIO STRUCTURE
Below the Line Crew: Transitioning into the Studio System
Working Independently of the Studio System
CHANGING PRODUCTION DYNAMICS
Smartphones: Everyone Makes Movies
Balancing Filmmaking and Data Management
UNIONS, A LIVING WAGE, AND ART
Why Join the Union?
Creative Producers
THE GIRL THING
Legacy
Being Supportive and Assertive at the Same Time
Changing Gender Hires