+612 9045 4394
Paperback
Published: 5th June 2000
ISBN: 9780240516134
Number Of Pages: 204
The Continuity Supervisor is a practical guide to the basics of continuity, designed to be of use both to the newcomer and those more experienced. Formerly titled 'The Continuity Handbook: a guide for single-camera shooting, this new edition covers the latest technological changes which affect the Continuity Supervisor.
Avril Rowlands worked at the BBC for any years as a PA. She has been involved in specialised training for the television industry and major film and television colleges. Her highly acclaimed residential courses attract students from major television companies worldwide. She is also a writer and independent television producer.
Benefit from the inside knowledge and expertise of an highly acclaimed teacher and independent producer
Up date yourself on the latest developments in post-production
Discover the various way to lay out a film script
Review of previous edition: 'As production techniques become more sophisticated, maintaining continuity becomes a greater challenge. Books like this one can help. Most independent videomakers will find The Continuity Handbook very helpful. The book is both concise and detailed in its coverage of the single-camera production process, making it a good resource for both the newcomer and the intermediate videomaker' US Videomaker magazine
| Preface | p. ix |
| Acknowledgements | p. x |
| Introduction | p. 1 |
| Out of Sequence Shooting: 1 | p. 4 |
| Story | |
| Scenes in story order | |
| Out of Sequence Shooting: 2 | p. 6 |
| Shooting in story order | |
| Shooting plan | |
| Number of days | |
| Position of locations | |
| Location availability | |
| Actor's availability | |
| Shots in Scenes Out of Order | p. 8 |
| To save time | |
| The Work of Continuity | p. 10 |
| Back to the original story | |
| Setting up: General | p. 12 |
| Scripted or unscripted | |
| The Production Team: 1 | p. 14 |
| Involved in setting up | |
| The Production Team: 2 | p. 16 |
| Involved on set | |
| The Crew | p. 18 |
| Camera crew | |
| Sound crew | |
| Design | |
| Costume and make-up | |
| The Script: 1 | p. 20 |
| Numbering | |
| Colour-coding | |
| Scenes | |
| Time | |
| New scene, new page | |
| The Script: 2 | p. 22 |
| Body of script | |
| Size of script | |
| Scene Breakdown | p. 24 |
| Timing the Script | p. 26 |
| Time chart | |
| Read-through | |
| Booking Facilities | p. 28 |
| Artists and How to Book them | p. 30 |
| Artists | |
| Agents | |
| Auditions | |
| Names and addresses | |
| Scripts and schedules | |
| Hours of work | |
| Supporting Artists | p. 32 |
| 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 | p. 34 |
| Where to find children | |
| Licences | |
| Children and Animals: 2 | p. 36 |
| Regulations | |
| Chaperones and tutors | |
| Animals | |
| Locations: 1 | p. 38 |
| How to find your location | |
| Locations: 2 | p. 40 |
| Accommodation | p. 42 |
| Finding what is available | |
| Finding the hotels | |
| Making the booking | |
| Your own booking | |
| Travel | p. 44 |
| Overseas shooting | |
| Travel in this country | |
| Car parking | |
| Food (or to Location Cater or Not ...) | p. 46 |
| Other types of catering | |
| Other meal breaks | |
| If you are far from civilisation | |
| Insurance | p. 48 |
| Costume and Make-up | p. 50 |
| Costume | |
| Make-up | |
| Props and Design | p. 52 |
| Action props | |
| Design | |
| Shooting Schedule: 1 | p. 54 |
| Cover page | |
| Cast list | |
| Travel | |
| Accommodation | |
| Location and contacts | |
| Shooting Schedule: 2 | p. 56 |
| A day to a page | |
| A week to a page | |
| Rendezvous | |
| Shooting order | |
| Rescheduling | |
| Shooting Schedule: 3 | p. 58 |
| Artists' information pack | |
| Travel information | |
| Daily call sheets | |
| Documentary-Type Productions | p. 60 |
| Research | |
| Learning about new things | |
| 'Find Out All You can About ...' | p. 62 |
| The subject | |
| Other bodies for research | |
| What to Take on Location | p. 64 |
| 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 ... | p. 66 |
| Warm or tropical countries | |
| Cold countries | |
| Specialised Observation | p. 68 |
| Accurate observation | |
| Training in observation | |
| Continuity: a Team Effort? | p. 70 |
| Your Role Within the Unit | p. 72 |
| Avoid being sidetracked | |
| Continuity is your responsibility | |
| Making Mistakes | p. 74 |
| What to do over a mistake | |
| Be positive | |
| Knowledge of the Script | p. 76 |
| Marking up script | |
| A-Z | |
| Keep up to date | |
| Script interleaved with notes | |
| Coverage Planned | p. 78 |
| Important junctions | |
| Circulated shot lists | |
| Shooting script | |
| Storyboard | |
| How to Keep Informed | p. 80 |
| Look at the shot itself | |
| Stick by the director | |
| Master shot then cutaways | |
| Position of the zoom handle | |
| Keep close behind the camera | |
| Look through the viewfinder | |
| Always ask | |
| How to Describe Shots | p. 82 |
| Other Terms Used | p. 84 |
| Camera movements | |
| Abbreviations relating to action | |
| Abbreviations relating to sound | |
| Other Terms in General Use | p. 86 |
| C/A (Cutaway) | |
| Under or over-cranking | |
| Process shots | |
| Know What to Observe: 1 | p. 88 |
| Close shots | |
| Mid shots | |
| Wide shots | |
| Very long shots | |
| Know What to Observe: 2 | p. 90 |
| Intimate situations | |
| A lot happening in a shot | |
| Priorities | p. 92 |
| Largest moving object | |
| The main characters | |
| The person speaking | |
| Bright colours | |
| Shots travel in and up | |
| Props | p. 94 |
| Dressing props | |
| Action props | |
| Resetting props | |
| Costume | p. 96 |
| Advance planning | |
| Take a Polaroid | |
| Write it down | |
| Checking | |
| Continuity of Action | p. 98 |
| Continuity of Action and Dialogue | p. 100 |
| Drama Situations | p. 102 |
| Crossing the Line | p. 104 |
| Single shots | |
| Shots that cut directly onto each other | |
| Exceptions | |
| Screen Direction | p. 106 |
| Changing direction | |
| Drawings and Diagrams | p. 108 |
| Polaroid cameras | |
| Rehearsals and Actors | p. 110 |
| Problems with actors | |
| The difficult actor | |
| The Complete Scene | p. 112 |
| Fred and Mabel: Coverage Planned | p. 114 |
| Wide Angle: Fred and Mabel: Scene 1 | p. 116 |
| Wide Angle: Fred and Mabel: Scene 2 | p. 118 |
| Remaining Coverage: Fred and Mabel: Scene 1 | p. 120 |
| Remaining Coverage: Fred and Mabel: Scene 2 | p. 122 |
| Fred and Mabel: Edited Sequence | p. 124 |
| Direct and Indirect Continuity | p. 126 |
| Direct continuity | |
| Indirect continuity | |
| Matching Continuity | p. 128 |
| Checking | |
| If an actor gets it wrong | |
| If the director won't listen | |
| Which 'take' do you match for continuity? | |
| Shooting on Videotape | p. 130 |
| Scripted | |
| Timecode | |
| Unscripted | |
| Working on Documentary-Type Productions: 1 | p. 132 |
| You will always know something | |
| Continuity | |
| Shot description | |
| Names and addresses | |
| Locations | |
| Working on Documentary-Type Productions: 2 | p. 134 |
| Costume | |
| Basic continuity | |
| Interviews | |
| Public relations | |
| Writing it Down | p. 136 |
| Scripted and unscripted | |
| How to organise the paperwork | |
| The system I use | |
| When You Make Notes | p. 138 |
| Write what you can when you can | |
| Pens or pencils? | |
| Continuity Report Sheet: General | p. 140 |
| Production details | |
| Episode/scene | |
| Slate/ident | |
| Continuity Report Sheet: Logging the Shots | p. 142 |
| Consecutive number slating | |
| Scene number slating | |
| Slating according to director's shooting script | |
| The take | |
| The pick-up shot | |
| Continuity Report Sheet: Technical | p. 144 |
| Roll numbers | |
| Interior or exterior | |
| Sound details | |
| Shooting on film | |
| Shooting on videotape | |
| Continuity Report Sheet: Camera Information | p. 146 |
| Continuity Report Sheet: Continuity | p. 148 |
| Location | |
| Shot description | |
| Continuity notes | |
| Continuity Report Sheet: Details of Shooting | p. 150 |
| E/B or T/Code | |
| Takes | |
| False starts | |
| Duration | |
| Writing on the Script | p. 152 |
| Dialogue changes | |
| Other Paperwork | p. 154 |
| Daily continuity log | |
| Daily progress report | |
| Timing on Location | p. 156 |
| Timing a rehearsal | |
| Adding together the duration of the shots | |
| Information for the Editor | p. 158 |
| Typed-up continuity report sheets | |
| Continuity cards | |
| Coverage/Tramline Scripts | p. 160 |
| Shot Listing | p. 162 |
| Location | |
| Slate number or 'in' and, if possible, 'out' point of timecode | |
| Shot description | |
| Sound | |
| Duration | |
| Interviews | |
| The Realities of it All | p. 164 |
| Post Production | p. 166 |
| Editing | |
| Principles of editing | |
| Editing the Picture: 1 | p. 168 |
| The film cutting room | |
| Videotape editing | |
| Non-linear editing | |
| Editing the Picture: 2 | p. 170 |
| Off-line editing | |
| PAs take note! | |
| On-line editing | |
| Editing the Picture: 3 | p. 172 |
| Non-linear on-line editing | |
| Linear on-line editing | |
| Editing the Sound | p. 174 |
| What does a PA do? | |
| Working in Widescreen | p. 176 |
| Copyright: 1 | p. 178 |
| Protection | |
| Simple copyright | |
| Multiple copyright | |
| Copyright: 2 | p. 180 |
| Photographs | |
| Artistic works | |
| Music | |
| Literary works | |
| Take care | |
| Post Production Script | p. 182 |
| Use of the script | |
| What the script contains | |
| Library film | |
| Music | |
| Photographs | |
| Film and Videotape Formats: 1 | p. 184 |
| Film | |
| Videotape | |
| Analogue formats | |
| Film and Videotape Formats: 2 | p. 186 |
| Digital formats | |
| Analogue and digital | |
| Component and composite | |
| Film Running Times | p. 188 |
| Table of Contents provided by Syndetics. All Rights Reserved. |
ISBN: 9780240516134
ISBN-10: 0240516133
Series: MEDIA MANUALS
Audience:
Professional
Format:
Paperback
Language:
English
Number Of Pages: 204
Published: 5th June 2000
Publisher: FOCAL PR
Country of Publication: GB
Dimensions (cm): 20.96 x 13.97
x 1.27
Weight (kg): 0.28
Edition Number: 4
Edition Type: New edition
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