Have you ever been sitting in a cinema enjoying a film, when you suddenly noticed a mug on the table that hadn’t been there a few seconds ago? Maybe, you spotted the same extra in two separate scenes? Or, you may have noticed the clock in the background of a shot jumping back and forth between two different times?
If you are a real stickler for detail, these errors in continuity probably drive you crazy. Most films have a surprisingly low number of these glaring errors — which is pretty impressive considering the fact that many scenes can take hours or even days to film. A lack of continuity errors in any film is all thanks to the film’s script supervisor. In this article, we’ll examine what a script supervisor actually does, then give you some tips on how to become a script supervisor yourself.
What is a Script Supervisor?
Productions always hire at least one script supervisor who is responsible for every minute detail in the script. The script supervisor, or “scripty,” typically uses a script supervisor form or script supervisor template to keep track of continuity and avoid any errors throughout filming. This includes tracking props, costumes, set decoration, hair, and makeup. The script supervisor is always watching and monitoring. Needless to say, this role requires someone who is sharp-eyed, detail oriented, and super organised.
What is a Script Supervisor?
Let’s get into the nitty gritty of what script supervisor tools and skills professionals actually use throughout the filmmaking process.
Script Breakdown
Before filming begins, the script supervisor needs to break down the script. This will help them to approach the production in an organised way. Many script supervisors use software to break down the script, however it can also be done manually.
So, how do you break down a script?
The best way to create a functional script breakdown is to think about the most logical order of filming, then group scenes together by location, time of day, actors needed, and so on. It’s also vital to note major continuity concerns like a character’s appearance or the state of the set. For instance, if a character ages significantly throughout the film, it will make more sense to group their ‘old’ scenes together. Or, if time passes in the story and a set piece needs to be demolished, painted, or re-arranged, it will make sense to group scenes together based on the set pieces.
The script supervisor will also need to be able to accurately estimate the average shooting time for each scene, so that the assistant directors can create realistic shooting schedules and shot lists.
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If you’re new to the world of filmmaking, you may be surprised by just how easily continuity issues can occur.
The most common continuity errors usually involve misplaced props or magically changing costumes. For instance, if a character is smoking a cigarette in a scene and the cigarette is longer at the end of the scene than it was at the beginning, this would constitute a continuity error. Or, if an had their hair parted on the left, then returned from their lunch break with their hair parted on the right, the script supervisor would be responsible for pointing out the error before filming recommenced.
Other types of continuity errors can include storyline inconsistencies. For instance, if a character buys a dog in the first season of a TV series, they shouldn’t have a line about “wishing they had a pet,” in series three.
Continuity is tracked throughout production by the script supervisor. The script supervisor should take pictures of the frames throughout the scene to keep track of actors and props and their movement throughout the set. This means that if the director decides to reset, the script supervisor can make sure that everything goes back to exactly where it was before. When the final scene is cut together using multiple takes, props and actors should all appear to be in the same position for each take.
The script supervisor should also keep track of the actor’s gestures throughout the scene. So, if an actor puts their chin in their hand on a certain line, they should repeat this motion in each take.
The script supervisor will keep a detailed continuity log that tracks for each take the camera and lens used, the take time, actor positions, prop positions, notable actions taken in the scene, and any errors in the take. This will help the director in future takes of the same scene, and will eventually provide a guide for the editor to use to ensure continuity errors aren’t included in the final cut.
Axis and Eyelines
Axis and eyelines are another element of continuity for which the script supervisor is responsible. The script supervisor should keep track of the camera position and the actors’ eyelines in each scene, to ensure that when the scene is cut together, there is no confusion about where the character is in the set, or what they are looking at.
Slating
On small productions, the script supervisor may be responsible for slating. On larger sets, the second camera assistant and production sound mixer are usually in charge of slating. The slate, or the clapboard, is where all of the information about the take is written to help the post-production team navigate their way through the raw footage. The sound helps the editor to synchronise the sound and video elements.
The script supervisor is responsible for keeping track of the shot and take numbers to ensure their notes match with what is on the slate. This ensures the editors can find and use the best takes in post-production.
The Shooting Script
During shooting, the script supervisor is also responsible for tracking exactly what has been shot by using a marking system in the script. This process is called ‘lining’ a script.
These lines are a universal code. The number at the top of the lines indicates the shot that is being lined. Straight lines indicate that the action in the script was captured on camera. Wavy lines indicate that the action occurred off-camera. This system ensures that the crew capture everything they need before moving onto another scene.
In addition to the lined script, the script supervisor will take more complex notes about each shot and each take. These script supervisor notes include information about the director’s feelings about whether the take was no good, a hold take (an ok take), or a print take (a great take).
Ultimately, these script supervisor notes are given to the editorial team to make the footage easier to navigate and their job more straightforward.
Production Reports
At the end of every shooting day, the script supervisor is responsible for creating a daily report for the entire team. Most reports include a log of the day’s shooting times and breaks, the pages of the script that were shot, and how much remains to be shot.
Editor’s Notes
The editor receives plenty of information from the script supervisor. This will include a copy of the shooting script, the script supervisor’s notes on continuity, and the production reports.
Why Every Film Needs a Good Script Supervisor
If you are planning an upcoming production and you’re fairly new to the game, you may be wondering — do I need a script supervisor? While small film productions may not need a script supervisor, your film will inevitably suffer without one. Just check out this Vanity Fair video to see what happens without one!
Without some to keep track of continuity, eyelines, and good takes, your film can quickly start to look like it was made by amateurs. It can even become confusing and off-putting for the viewer.
How Do You Become a Script Supervisor?
Interested in finding out how to become a script supervisor? It’s a great role for people who are both organised and creative. Plus, the script supervisor salary in London is pretty decent, averaging at a cool £77,526 per year. Here are some tips on getting into the profession.
Begin as an Assistant on Set
One of the easiest routes to becoming a script supervisor is to start off in an entry role on set. Becoming an assistant production coordinator or a production assistant is an excellent entry point. In this role, you’ll begin to learn your way around a film set. You’ll become familiar with the process of filmmaking, and you’ll be able to observe a script supervisor at work.
If you are lucky, you may find a role as an assistant to a script supervisor, if you’re working on a larger set. Some production companies may even offer a script supervisor internship where you can get valuable experience observing a script supervisor on set.
Take Relevant Film School Courses
Unlike many filmmaking roles, there aren’t really any necessary qualifications required to become a script supervisor. However, in order to understand the role, it can be extremely helpful to learn about the various departments on a film set. This will help you to understand what you need to do to bring everything together as the script supervisor.
Courses in general filmmaking, editing, cinematography, and directing can all be extremely helpful. Editing is a particularly useful course to take, as the script supervisor needs to understand how the shots will be edited together in post-production in order to spot potential problems during filming.
Finding Script Supervisor Job Openings
If you are just starting out, you may be able to find script supervisor job openings online. You may find some luck contacting local film schools to see if any of their student films require a script supervisor. Send these schools a specialised script supervisor cover letter explaining your relevant skills and experience in film. Jobs like office assistant, PA, or theatre stage manager are all examples of roles with transferable skills.
Or, use social media to network with industry professionals and seek out opportunities there. In order to find your way onto a large film set as a script supervisor or a script supervisor assistant, you will usually need to have some connections in the crew that can recommend you for the role, so always seek out networking opportunities when and where you can.
Is Being a Script Supervisor a Good Way into the Film Industry?
Being a script supervisor is quite an accomplishment in itself — it’s basically a one person department, so it can be tricky to work your way up to the role. If you’re dreaming of becoming a director or a producer, starting off as a script supervisor may not be the most practical route.
However, many successful script supervisors do go on to work in other departments on film sets as directors or editors, so you may end up progressing to these roles after many years of script supervising.
Final Thoughts
While the job can be stressful and exhausting, being a script supervisor can also be hugely rewarding. Script supervisors are often overlooked because the job isn’t fancy or exciting — however, the script supervisor is pivotal on set and is responsible for making the whole film come together in the editing room. If you are passionate about films and you have a skill for organisation and multi-tasking, it may be the perfect role for you
