TITLE: PREP SCHEDULE

Updated November, 30, 2010 @ 6:00pm

TUESDAY

2nd _{½ of Crew lunch} All Day

Dec. 1, 2010 PREP DAY 2 – EP. 116 LOCATION SCOUT (EXT/INT Police Station) EPK Interviews with Cast on Stage 2 WEDNESDAY

10:00 AM

Dec. 2, 2010 PREP DAY 3 – EP. 116 TABLE READ on Stage 8

THURSDAY 9:30-10:30 AM

Dec. 3, 2010 PREP DAY 4 – EP. 116 PRODUCER’S CASTING SESSION

FRIDAY 2:00 PM

Dec. 4, 2010 PREP DAY 5 – EP. 116 TONE MEETING

Ep. “ ”

Chapter 3: Your First Day

It is also the script supervisor’s job to fax the lined script (see Figure 3.12 ) and its facing page to the produc- tion offi ce at the end of each day. If this proves to be inconsistent, it is the assistant editor’s job to make sure that the process is ironed out. Without the paperwork, it is very hard to get the dailies prepared in a timely fashion for the editor. You can ask for the associate producer’s help in streamlining this process.

Script Supervisor’s Daily Production Report

EPISODE:

Slate Numbers Shot: (Set-Ups)

Day of Photography Date

Scene Numbers COVERED:

TOTALS: Today

# of SET UPS

# of SCENES COVERED # of PAGES COMPLETED Rough ESTIMATED TIME

Previous To Date

Total in Script To Be Taken

CAMERA WRAP SS/CC OUT TIME COMPANY MOVES Sound Rolls: LUNCH FIRST SHOT CALL TIME FIRST SHOT AM SET UPS Camera Rolls: REMARKS:

50

Make the Cut: A Guide to Becoming a Successful Assistant Editor in Film and TV

The lined script is a copy of the script page with lines drawn from top to bottom denoting which lines of dialog are on or off camera. Note that each line has a scene number and take, which indicates which shots cover that part of the script and where the coverage begins and ends. Hopefully each line has a brief descrip- tion (e.g., A Cam: c.u. Ali; B Cam: 2/shot Michael & Deirdre). This information is valuable during cutting Figure 3.12 Lined script template

Chapter 3: Your First Day

Figure 3.13 Facing page template

because you can tell by the straight line on the page that that bit of dialog is on camera, and the squiggly lines

mean it is off camera. Knowing where the pickup (p.u.) of a scene starts is helpful.

The facing page is fi lled with essential information about what has been shot (see Figure 3.13 ). It is called the

52

Make the Cut: A Guide to Becoming a Successful Assistant Editor in Film and TV

Denoted on the facing page is the slate and take number, timing of each take, whether it was complete or incom- plete, a shot description, the lens that was used, the camera roll, the sound roll, the date shot, and comments. If you are working with Red or P2, there will be a numbering system like card 1 to card 2. During the course of the shoot, there are multiple takes fi lmed of each setup, and only a few are selected for print. For example, the c.u. was shot eight times, but only takes 2 and 3 are selected by the director. These are the circled takes that will be telecined (fi lm to tape), transferred (tape to tape or hard drive), or printed (fi lm negative prepped for develop- ment at the lab) for the editor to cut.

If you are shooting on fi lm, the dailies fi rst go to the lab, where they are either prepped for telecine (digital) or for developing (fi lm). If you are shooting high def, it goes directly to telecine, where the telecine editor transfers the dailies onto a hard drive or tape. He follows the paperwork directives received from camera, sound, and script about which takes were selected to print. The takes that are not circled become the B nega- tive. This hard drive or tape is picked up in the morning by the postproduction assistant (post PA) and deliv- ered to the assistant editor along with the paperwork from the production offi ce.

The second assistant cameraman (2nd AC) keeps a log of all takes shot on the set (e.g., Sc. 33 – 1, – 2, – 3), their timings, whether the takes are complete or incomplete, notes regarding possible focus issues, runouts (when the camera has run out of fi lm during the shooting of a take), lens fl ares, etc. The timings of these shots become important to determine whether the take is complete. A copy of the camera report is sent to telecine and to the production offi ce (see Figure 3.14 ).

Sometimes the B negative is ordered to fi nd a different performance, search for better camera moves, or fi nd a take without negative damage. The 2nd AC fi lls out the camera report, which refl ects the date shot, the camera roll number, and denotes whether it is the A or B camera. He circles the chosen printed takes, and when the scene is complete or at the end of the day, he will confer with the script supervisor to make sure the correct takes have been circled.

The production sound mixer (soundman) or his assistant keeps a log of all takes shot on the set, their timings, and notes regarding NG (not good) sound, BG (background) noise, and preferred takes for sound. He also records wild tracks and wild lines. These wild tracks will be denoted on his sound report and hopefully cross-referenced

on the facing page of the lined script (see Figure 3.15 ).

When the scene is fi nished, the soundman will confer with the script supervisor to confi rm the chosen takes. Note that he has cir- cled the chosen takes to be printed.

On most fi lms, the script supervisor is responsible for making sure that camera, sound, and script notes are in accord. The paperwork from these three departments are sent to the telecine editor at the end of the day’s shoot, and copies are sent to the editing room via the production offi ce. The post producer chooses the post facility where the fi lm gets transferred, onlined, and fi nished. This is also the facility where the VFX are created for the fi nal version of the fi lm and where the online is color corrected (timed) to become the fi nal air master (color-timed master, or CTM).

Wild tracks are sound record- ings without picture to be used for BG presence.

Chapter 3: Your First Day

Unfortunately , mistakes happen on the set. For example, Sc. 33 – 1 and 33 – 2 are circled by sound, and takes 2 and 3 are circled by camera, and the script supervisor has circled all three takes. The mistake is missed on the set, and it is up to the telecine editor to defer to the paperwork provided by the script supervisor, thereby printing all three takes. When in doubt, it is a good idea to transfer all the takes in question. For example, if Figure 3.14 Camera report template

54

Make the Cut: A Guide to Becoming a Successful Assistant Editor in Film and TV

sound circles take 1 but no one else does, make sure it gets transferred anyway. The script supervisor is usually correct, but better safe than sorry. The assistant editor must determine the takes that should have been printed and order them as a B negative after digitizing the dailies.

Chapter 3: Your First Day

Figure 3.16 Telecine report template

The telecine editor or his assistant generate paperwork for the dailies they transfer. This report includes com- ments about fl ares, negative dirt or scratches, hairs in the gate, and focus issues (see Figure 3.16 ). They will include a negative discrepancy report when there is serious damage.

56

Make the Cut: A Guide to Becoming a Successful Assistant Editor in Film and TV

Green Post Sound Turnover Specs. We require:

A Quicktime Movie with a Visual Time Code Burn in. DV Codec 720x480 or

1 DVCAM videocassette with Visual Time Code Burn in and 48K Audio or

DVD Video can be substituted as long as they have a Visual Time Code Burn In

Production audio and Temp ADR on CH 1 FX ( no music ) on CH 2

SMPTE time Code on CH 3 a.k.a Address Track VITC on lines 12-14

Time Code Window Burn in the Upper Right EDLs:

The EDL should be in CMX 3600 format and put on a CD-R as well as e- mailed to [email protected].

OMF:

Documentation:

We ask for a copy of the Lined script as well as a copy of all sound reports and telecine logs. Call (818) 555-0100 with any questions.

The EDL needs to be for Audio only, include scene/take, and with sound roll number and sound roll Time Code. The sound roll number should reflect the production rolls of the dailies, i.e. have the same name.We also ask for a second EDL with Address Track Time Code for trouble shooting.

The OMF needs to be OMF 2.0, Consolidated and Embedded with at least 300 frame handles, AIFC Audio format. Please try to keep the OMF file and Media files folder together in one folder. If you reach the "2 GB FIle Size Limit" break up the OMF by Act, or break the Act up into sections.

Figure 3.17 Spec sheet templates (SFX and MX)

When the negative discrepancy report indicates damage, it is a red fl ag for you and must be acted on immedi- ately. Production will want to know if the editor can cut around the damage. The assistant editor must digitize the scene in question as soon as possible, inform the editor that there is negative damage, and prepare the dailies so the editor can cut the scene as soon as he can. The editor will cut around the damage and show the scene to the director and producer. It will then be determined whether the scene needs to be reshot. The answer is time sensitive. The production might lose the actor that day, or the set might be scheduled to be torn down.

The cause of the negative damage needs to be identifi ed quickly. If it is a camera problem, then that camera will need to be replaced. If it is a lab or telecine issue, then different adjustments will be made. Remember, all prob- lems and solutions come down to time and money, and production is hoping for no reshoots and no extra costs .