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by Avril Rowlands
Continuity Supervisor, 4th Edition
Half Title
Copyright Page
Table of Contents
Preface
Acknowledgement
Introduction
Out of Sequence Shooting: 1
Story
Scenes in story order
Out of Sequence Shooting: 2
Shooting in story order
Shooting plan
Number of days
Position of locations
Location availability
Actor’s availability
Shots in Scenes Out of Order
To save time
The Work of Continuity
Back to the original story
Setting Up: General
Scripted or unscripted
The Production Team: 1
Involved in setting up
The Production Team: 2
Involved on set
The Crew
Camera crew
Sound crew
Design
Costume and make-up
The Script: 1
Numbering
Colour-coding
Scenes
Time
New scene, new page
Scene Breakdown
Timing The Script
Time chart
Read-through
Artists and How to Book Them
Artists
Agents
Auditions
Names and addresses
Scripts and schedules
Hours of work
Supporting Artists
Definition of a supporting artist
Definition of a walk-on
Where to obtain supporting artists and walk-ons
Don’t get carried away!
Children and Animals: 1
Where to find children
Licences
Children and Animals: 2
Regulations
Chaperones and tutors
Animals
Locations: 1
How to find your location
Accommodation
Finding what is available
Finding the hotels
Making the booking
Your own booking
Travel
Overseas shooting
Travel in this country
Car parking
Food (or To Location Cater or Not . . .)
Other types of catering
Other meal breaks
If you are far from civilisation
Insurance
Props and Design
Action props
Design
Shooting Schedule: 1
Cover page
Cast list
Travel
Accommodation
Location and contacts
Shooting Schedule: 2
A day to a page
A week to a page
Rendezvous
Shooting order
Rescheduling
Shooting Schedule: 3
Artists’ information pack
Travel information
Daily call sheets
Documentary-Type Productions
Research
Learning about new things
‘Find Out All You Can About . . .’
The subject
Other bodies for research
What to Take on Location
Scripts, schedules, call sheets, artists’ information packs etc.
Anything to do with the production
Stationery and forms
Miscellaneous
Specifically for continuity
. . .And Don’t Forget The Boots. . .
Warm or tropical countries
Cold countries
Specialised Observation
Accurate observation
Training in observation
Your Role within The Unit
Avoid being sidetracked
Continuity is your responsibility
Making Mistakes
What to do over a mistake
Be positive
Knowledge of The Script
Marking up script
A-Z
Keep up to date
Script interleaved with notes
Coverage Planned
Important junctions
Circulated shot lists
Shooting script
Storyboard
How to Describe Shots
Other Terms Used
Camera movements
Abbreviations relating to action
Abbreviations relating to sound
Other Terms in General Use
C/A (Cutaway)
Under or over-cranking
Process shots
Know What to Observe: 1
Close shots
Mid shots
Wide shots
Very long shots
Priorities
Largest moving object
The main characters
The person speaking
Bright colours
Shots travel in and up
Props
Dressing props
Action props
Resetting props
Costume
Advance planning
Take a Polaroid
Write it down
Checking
Continuity of Action
Continuity of Action and Dialogue
Drama Situations
Crossing The Line
Single shots
Shots that cut directly onto each other
Exceptions
Screen Direction
Changing direction
Drawings and Diagrams
Polaroid cameras
Rehearsals and Actors
Problems with actors
The difficult actor
Fred and Mabel: Coverage Planned
Wide Angle: Fred and Mabel: Scene 1
Wide Angle: Fred and Mabel: Scene 2
Remaining Coverage: Fred and Mabel: Scene 1
Remaining Coverage: Fred and Mabel: Scene 2
Fred and Mabel: Edited Sequence
Direct and Indirect Continuity
Direct continuity
Indirect continuity
Matching Continuity
Checking
If an actor gets it wrong
If the director won’t listen
Which ‘take’ do you match for continuity?
Shooting on Videotape
Scripted
Timecode
Unscripted
Working on Documentary-Type Productions: 1
You will always know something
Continuity
Shot description
Names and addresses
Locations
Working on Documentary-Type Productions: 2
Costume
Basic continuity
Interviews
Public relations
Writing It Down
Scripted and unscripted
How to organise the paperwork
The system I use
When You Make Notes
Write what you can when you can
Pens or pencils?
Continuity Report Sheet: General
Production details
Episode/scene
Slate/ident
Continuity Report Sheet: Logging The Shots
Consecutive number slating
Scene number slating
Slating according to director’s shooting script
The take
The pick-up shot
Continuity Report Sheet: Technical
Roll numbers
Interior or exterior
Sound details
Shooting on film
Shooting on videotape
Continuity Report Sheet: Camera Information
Continuity Report Sheet: Continuity
Location
Shot description
Continuity notes
Continuity Report Sheet: Details of Shooting
E/B or T/Code
Takes
False starts
Duration
Other Paperwork
Daily continuity log
Daily progress report
Timing on Location
Timing a rehearsal
Adding together the duration of the shots
Information for The Editor
Typed-up continuity report sheets
Continuity cards
Coverage/Tramline Scripts
Shot Listing
Location
Slate number or ‘in’ and, if possible, ‘out’ point of timecode
Shot description
Sound
Duration
Interviews
The Realities of It All
Post Production
Editing
Principles of editing
Editing The Picture: 1
The film cutting room
Videotape editing
Non-linear editing
Editing The Picture: 2
Off-line editing
PAs take note!
On-line editing
Editing The Picture: 3
Non-linear on-line editing
Linear on-line editing
Editing The Sound
What does a PA do?
Copyright: 1
Protection
Simple copyright
Multiple copyright
Post Production Script
Use of the script
What the script contains
Library film
Music
Photographs
Film and Videotape Formats: 2
Digital formats
Analogue and digital
Component and composite
Film Running Times
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