Questions about procedure...

[Jay Young]

I wasn't sure where to post this, so I figured other students and first timers may want to know the same thing. I have been reading the 16/35mm Handbook by Verne and Sylvia Carlson (Fantastic book by the way), and it occurs to me to ask a question.

 

When I make my own films, I tell my crew to do things a certain way, usually not industry standard. But, since I have very few crew to work with, I do things that make sense to me. Is the industry standard still the same as it was 40 years ago? Is there a definitive place to go to see the correct way to do things? It seems to me that if things have been done a certain way for the last 80 years, they must have developed as the most efficient way to do them. Let me see if I can elaborate.

 

We know how to load a magazine, set up the shot/scene, the talent knows what to do.

Now, what goes on the log sheet? Why is there a log sheet? Is there a standard log sheet? What happens to the log sheets after principal photography is over?

Who decides which scene numbers go where, or do you just do them in order? What is the proper way to slate for coverage? (from script to slate?)

 

Well, that's just a few questions about procedure, feel free to ignore me.

[David Mullen ASC]

Script Supervisor assigns the letters (and take numbers) to the scene numbers for slates and takes continuity notes. 2nd AC slates and takes notes on the camera reports, a form which is usually provided by the lab. Script Supervisor collects a copy of the camera report at the end of the day, and I also believe, gets a copy of the stock usage log that the loader keeps -- I also believe she or he gets a copy of the sound log that the production mixer keeps during the day.

 

The actual numbering of the script is partially done by the writer and the script software used these days, but often corrected by the 1st AD and the Script Supervisor to create the first shooting draft (white copy).

 

Now slate numbering is done differently outside of the U.S.

 

Let's say that the lab calls and tells you that there's a big scratch on Sc.4B, Tk.2. Well, the script supervisor can find out what camera mag that shot was on, whether there are other usable alternative takes, etc. so everyone can track down the particular piece of equipment used for that shot, and also know whether it needs to be reshot.

[Brian Dzyak]

I wasn't sure where to post this, so I figured other students and first timers may want to know the same thing. I have been reading the 16/35mm Handbook by Verne and Sylvia Carlson (Fantastic book by the way), and it occurs to me to ask a question.

 

When I make my own films, I tell my crew to do things a certain way, usually not industry standard. But, since I have very few crew to work with, I do things that make sense to me. Is the industry standard still the same as it was 40 years ago? Is there a definitive place to go to see the correct way to do things? It seems to me that if things have been done a certain way for the last 80 years, they must have developed as the most efficient way to do them. Let me see if I can elaborate.

 

We know how to load a magazine, set up the shot/scene, the talent knows what to do.

Now, what goes on the log sheet? Why is there a log sheet? Is there a standard log sheet? What happens to the log sheets after principal photography is over?

Who decides which scene numbers go where, or do you just do them in order? What is the proper way to slate for coverage? (from script to slate?)

 

Well, that's just a few questions about procedure, feel free to ignore me.

 

 

I touch on a lot of procedure in the book "What I Really Want to Do: On Set in Hollywood" so you may find a lot of your questions answered there. I'd also recommend the following books which should give you everything you're looking to know:

 

 

 

 

 

Camera Assistant, The: A Complete Professional Handbook (Hardcover)

by Douglas Hart (Author)

Product Details

Hardcover: 421 pages

Publisher: Focal Press (December 27, 1995)

Language: English

ISBN-10: 0240800427

ISBN-13: 978-0240800424

 

The Camera Assistant's Manual, Fourth Edition (Paperback)

by David E. Elkins s.o.c. (Author)

Product Details

Paperback: 512 pages

Publisher: Focal Press; 4 edition ( January 28, 2005 )

Language: English

ISBN-10: 0240805585

ISBN-13: 978-0240805580

 

 

 

Script Supervising and Film Continuity, Third Edition (Paperback)

by Pat P Miller (Author)

Product Details

Paperback: 256 pages

Publisher: Focal Press; 3 edition (December 1998)

Language: English

ISBN-10: 0240802942

ISBN-13: 978-0240802947

 

Continuity Supervisor, Fourth Edition (Media Manuals) (Media Manuals) (Paperback)

by Avril Rowlands (Author)

Product Details

Paperback: 193 pages

Publisher: Focal Press; 4 edition (July 2000)

Language: English

ISBN-10: 0240516133

ISBN-13: 978-0240516134

 

 

Practical Art of Motion Picture Sound, Second Edition (Paperback)

by David Lewis Yewdall (Author)

Product Details

Paperback: 424 pages

Publisher: Focal Press; Paperback and CD-ROM edition ( February 28, 2003 )

Language: English

ISBN-10: 0240805259

ISBN-13: 978-0240805252

 

 

 

Film Scheduling: Or, How Long Will It Take to Shoot Your Movie? (Paperback)

by Ralph S. Singleton (Author)

Product Details

Paperback: 244 pages

Publisher: Lone Eagle; 2 Sub edition (April 1, 1997)

Language: English

ISBN-10: 0943728398

ISBN-13: 978-0943728391

 

 

What I Really Want to Do On Set in Hollywood: A Guide to Real Jobs in the Film Industry (Paperback)

by Brian Dzyak (Author)

Product Details

Paperback: 384 pages

Publisher: Lone Eagle (May 27, 2008)

Language: English

ISBN-10: 0823099539

ISBN-13: 978-0823099535

http://www.whatireallywanttodo.com/contact.htm