It has finally come to my ATTENTION ATTENTION that many of the ‘contact’ emails have never made it to the site. I thought WordPress was disposing of and bypassing spam, but while the WP reports showed submission numbers going up up up, the actual messages and newsletter (yet to be written, get off my back) requests reaching me were at a trickle.
I tested the contact form when first starting this site (AOK), and now nearly a year later I tested again. And again !!! Where is?!!!
So non technical me tried, alas slowly trudging the learning curve, to figure out the easy and cheap way to fix this, and have, in frustration and general bummed outed-ness, not been posting as much as I’d like the past couple months.
Finally the issue seems to be resolved. I ask if you have reached out in the past and did not receive an email from us please fill out the contact form again! Thank you and you and you!
Woke up…no alarm…sunrise…. Did not know what day of the week it was.
This sentiment pops up on the Internet, seeing others comment that in lockdown they are losing their bearings. Basic patterns disrupted, unsure as to when things will get back to normal, a certain monotony of days blending together…
This is not uncharted territory for folks in the film industry! After completing a job you might just float around til the next one. But when in production, crew becomes initiated in to a sort of club where the framework of time is lifted, or shifted, in a ‘through sleet or snow or any hour’ kind of way. If not clocking in at a sound stage, and instead doing location work, more than likely schedules will shift, with no natural day of the week or weekend. Circadian rhythms be damned, if we need to shoot all overnights, we shoot all overnights. If we need to shoot 6 days a week, well by golly that’s what we do. If we need to film Wednesday through Sunday, then that’s that. And say goodbye to the 40-hour work week.
Friends and family don’t automatically understand that you can’t meet up after work or for Sunday dinner, or that you can’t plan too far ahead without the caveat “if I’m not working.” They may be shocked that you miss a little calendar marker, or that your bills might be late, or that you aren’t caught up on the news.
They may not understand how with odd and shifting work schedules you can get turned around as to the day of the week, and even if you are off on Sunday you must do laundry, wash dishes, look at mail and paperwork and try to sleep for that 6 a.m. start time on the next day.
They may not understand… until now. At least some folks. Depending on the level of lockdown, some people have been home in a loose loop. Saturday night may not differ much from Monday morning. Home bored, or home busy – cleaning out closets and cabinets, learning an instrument or writing that novel. Working from home in half the time. But missing haircuts, no concerts or shows, nor eating out, no conference room meetings. Sweatpants, and keeping those brassieres in the drawers (this, actually, is pretty good) – all are big adjustments to a whole world’s habits and rituals and normal operations.
For those on the sidelines that didn’t experience any sickness, maybe this was a strange gift, a moment to slow down, catch up, to look inward, to intuitively appreciate simple moments and small things.
It’s almost summer. Businesses begin to open. Production is officially allowed to shake the dust off its shoulders in Texas, but projects have yet to ride over the horizon. People have had to live in the slipperiness of an expanded view of time, and maybe that has changed us in a good way.
Typically a cheat in production world is visual, like faking one location for another, playing with an Actor’s eyeline, or shooting day for night. My favorite cheat happened in secret, long ago.
A very established Actress came to set but forgot her glasses. “I’m blind as a bat.” She and I spent quite some time going over her scene – 2 pages of a phone call, with her character doing most of the talking. Her version of the lines weren’t close enough. These Writers placed clues (not shared with us) into their scripts and wanted the dialogue delivered as written.
Picture’s up. Props handed me a cell phone so I could read the other side of the conversation to our Actress through the phone instead of screaming them out. I was moved away from set for sound. Our Actress dashed over and asked me to read HER lines instead of the ones she was supposed to respond to. A couple takes in a couple sizes and we were done. High five!
This was the only time she wasn’t right on the nose that I saw, and it was kind of fun to sneak through the scene this way. Now a friend comes home from working on a show out of town with a big name Actor, who wore a hidden earpiece and brought his own guy dedicated to feeding him his lines. Is that a cheat? It kinda sounds more like a lie.
Standard Commercials are a different beast, but tend to be easier work for the Script Supervisor than a long project. The “script” may be just storyboards (pictures), a page of narration, voice-overs and/or description. There may be several commercial spots, or framing formats for social media and different sized screens.
Some crew crosses over with movies and TV, but some folks work commercials only.
Generally, Royalty is not the Producer or Director, but the Agency – the Ad Agency, representing the Client, dictating by very expensive consensus. The star of the show is not an Actor, but a product. A famous Actor will get some pampering, but the no-names are basically props to support the thingy.
I finished the year working on a commercial for a cleaning product. We had messy floors, smudgy glass panes and lots of laundry. Crew came from throughout North America.
Near the end of the 3rdday, the young Canadian DP (Director of Photography) asked the American AD (Assistant Director) if the next shot was “the window.” The AD looked surprised and explained that we’re done filming the window pane and are setting up for the table top. They looked at one another in confusion. I stepped in with a bit of interesting but useless to me information that had apparently been years lying in wait for this very moment.
To AD, “He means the martini. In Canada they call it the ‘window’ cuz after wrap crew used to collect their wages at the pay window.”
To DP, “In the States the last shot is the ‘martini,’ named for a Director readying his cocktail for when they call wrap.”
Slang reflecting different priorities. Unless after the pay window came the bar stool!
Actors are fascinating. They lie for a living. Or, lets say, pretend. Yet when they etch in a character’s map with the highways, side roads and dead ends we all encounter on life’s journey, the Actor becomes truth-teller, reflecting our own circumstance and emotion, or eliciting our reaction to such.
Script Supervisor supports the Actor by running lines, then as we roll, by (gently) correcting dialogue, or actions for matching when needed. Sometimes we are the messenger for the Director, dashing on to the set with his or her suggestion, and sometimes the Director is the messenger for us!
Before a challenging scene Actors may isolate themselves, do jumping jacks, listen to music. On There Will Be Blood crew was asked to dress in muted, somber, sepia-type colors to help engage the period and stylistic mood for Actors, you believe? Crew may also be asked to work quietly or even clear the set. Whatever it takes to help the Actor concentrate, live in the role, despite a dozen folks aiming cameras and microphones up their face.
I once worked on a low budget Indie that had a cameo appearance with an interesting odd bird who could go from charming to grossly inappropriate, or merrily singing oldies to politically boisterous, in a flash. He created such a deep back story for his character that he often thought out loud, adlibbing lines that had no context or connection within the actual script.
His last scene was in a bar, shot on location in a small Texas town. Camera was about to roll. “Watch this.”
He pulled out a yellow onion, and bit into it, over and over, right through the papery skin, gagging chunks of it down, producing tears and mucus for what seemed to be an almost B-roll shot.
That’s entertainment. And dedication.
I’ve wondered if this is tried and true, an old performing trick, if Shakespeare stood by in the wings of The Globe , slipping a shallot to an otherwise complacent Juliet. Or if Dreyer had his silent screen Joan Of Arc snack on some scallions to squeak out those glorious black and white tears, in close up.
We were cutting a reel for a friend and needed a slug of black between shots. BASIC. I don’t edit every day and forgot some of the shortcuts, not to mention what’s in the hundred drop down menu options and tweaks.
Oh where oh where is a simple slug of black? Help was no help. It could not be found by poking around the program. After scanning through a couple articles and a tutorial it was revealed to be “black video.” What should’ve taken 2 seconds took 20 momentum-breaking minutes!
I grumble, then must remember this is a slight inconvenience. Let’s saunter down memory lane. Cutting a film used to literally be cutting the film – first a work print – like practice – then cutting up the negative (no going back here) to match it – the commitment. Negative cutting, or conforming, is a whole nother specialized process.
Editing was on a flatbed, a big mechanical desk with ‘monitors’ that projected the film frames (like microfishe), with speakers playing the sound from the magnetic audio tape. Motors kept picture and sound tracks in synch as they ran reel to reel, lying flat on platters – think of a DJ with 6 to 8 turntables.
BTW using a fantasy name generator, my DJ names are:
There were maybe 3 buttons, and a lever for playback. Cut and tape with a splicer. Any effects like fades and dissolves were imagined, and notated on the actual film to mark where to add the effects into the negative cut. You didn’t see your Fade Up until the cut negative was processed at the lab!
Twas a rare luxury for Independents to cut the negative, make a final print, then recut the negative again. All time and money, Baby, so editing decisions were perhaps taken more seriously back then than today. And perhaps because of the abundance of digital footage and choices for todays Editors, the wise ones utilize the blessing of the Script Supervisor’s notes more than ever, finding it faster to scan through a few pages of detailed notes than a few hours of shots. Everyday.
But I digress.
There was an awkward technology gap for a while. Flatbeds were phased out as film was lumpily forging its digital path, different from typical video. “Ooo now’s my chance,” thought this Silly Rabbit, and heard of a rumored unit for sale in town.
I contacted Steve – Hoop Dreams – James, who decided he was too sentimentally attached to his Steenbeck, but graciously invited me to HQ to edit my short film on it. He brought me to the flatbed’s dedicated room. It was covered in potted plants! Did I dream this part? We moved the greenery and removed the fitted plastic cover. I began to edit.
And within an hour it froze up. Steve couldn’t figure out why, and to fix it he’d have to wait for the one guy in the country, James Bond, I kid you not, to make his annual repair rounds to the Midwest.
I then moved away to a town which decades ago declared “film is dead.” And did not finish that short. Woe? No! For it caused me to look at writing more seriously, and stretch from experimental short films to feature length screenplays.
And now technology has become accessible, so that we can shoot and edit in the same day, have several projects in the works at once, can store hundreds of hours of footage, play forever with effects, correct many sound and video issues, pull still shots instantly, and let others around the globe view our progress, all with a few keystrokes. On my teeny laptop, sitting on an end table.
There are still final final steps for “prints” like Blu Ray or DCP, but a whole world has opened up literally at the touch of a few buttons.
Use your power for good, technology! And you dear reader? What’s your Dj name?
A hammer can be used to build or to destroy; it’s in the application. Technology is a tool.
The on set kit bag for the Script Supervisor of yore consisted simply of a stopwatch, pencil, perhaps a colored pencil or pen, and a ruler, for notating on a paper script. The notes were quite important, as was being present on set for corrections, suggestions, and touches to flesh out the story, working shoulder to shoulder with Directors, Actors and Crew. Much information was stored in the Script Supervisor’s head, as memory for matching, or formulas to assess if enough film was in the camera for another take. Because every frame of actual film costs money to print, care was put into every shot.
With Polaroid cameras, continuity pictures became part of the toolset as a visual double-check of wardrobe, hair/ make up, and settings. That shifted to digital still cameras and thus added the digital photo printer to our gear (and added the extra time to print pictures out!). Eventually that drifted into the digital cameras being replaced by phones, and continuity pictures often just taken off the monitor.
As film systems became more digitized so did the Script Supervising workflow, using special software and apps with electronic scripts and forms on our laptops and tablets. Now the formats can be more homogenized (ScriptE or Skarrat anyone?), perhaps more convenient for some who want those notes before the word “wrap” is completely uttered. Even though they may not look at them once the notes are loaded into the editing system. And don’t forget the charging cables and back up batteries, and stands and tables for the machines.
This kit bag is getting heavy!
But external pop-off screen grabs are passé, with converters and down loaders the actual camera footage can be streamed to the Script Sup’s electronic device, and direct screen shots taken from there, to be folded into the script notes. So Script Sup doesn’t even have to sit by the monitors. Now we can capture whole takes, free flowing series of takes that go on and on to replay for the Director to decide what he wanted to match to. And all the dailies can be down loaded too. The expectation, or pressure, to use this ability, along with the blurring of DITs obligations to pull up takes, despite Union rules, make the original Video Assist job passé as well.
Wait what’s happening here? More and different work with the technology, making this feel like a chase rather than a craft.
By now there are 2 to 3 cameras minimum filming simultaneously, perhaps a GoPro or 2 tucked in somewhere for a specific “cool” shot. Oh no! What if the boom dipped into frame, or a camera panned off set into a light, or that prop didn’t land quite where we wanted it too! Don’t reset, just fix it in Post.
And while Post is at it, make that 70 year old Actor look young for a flashback, even if she is now deceased. And with digital mapping who really needs the Actor anyway, and the animated films are no longer cartoons but strive to become photorealistic, so that someday there will be no need for a “set” and no need for on set crew any longer. Progress.