LASSN

Los Angeles Script Supervisors networK

LASSN IS A HUB FOR:

Support and resources for local Script Supervisors.

Filmmakers and Film Schools can connect with and learn more about Script Supervisors.

LASSN is comprised of script supervisors from all experience levels; we include union and non-union script supervisors working on a variety of productions.

J.J. Abrams (Director) & Dawn Gilliam (Script Supervisor)
"This organization was founded with the intent of providing a support network for one of the most challenging and autonomous roles in the filmmaking process."

what is a script supervisor?

Script Supervisor is one of the department heads on set. They primarily act as the on-set representative and advocate for post-production and the writer(s). Script Supervisors report directly to the producer(s) and work closely with the director and director of photography to ensure the integrity of both script & footage.

Script supervising requires a highly specialized & arduous skillset used to ensure a successful post-production process. The responsibilities of this position require supervision over the daily (and the cumulative) technical developments of a project’s narrative. This supervision — such as monitoring & accounting for all setups, dialouge, plot points, etc. — ultimately saves production time, money, & overall quality for the final product.

While each department is responsible for its own continuity, one of the most well-known facets of the script supervisor position is continuity. No other department but Script Supervisor monitors continuity of action & dialogue.

The section below titled, “What Does a Script Supervisor Do?” details specific ways we work with various departments. Also, view our section: “Scripting — A Skillset Not A Software” to learn more.

what does a script supervisor do?

The responsibilities of the Script Supervisor permeate multiple departments and are unique to each one. Below is a brief overview of some of the ways in which we work with each department.  

  • Click on any of the tabs below to find out more:

                                       

                                                      The Director
                                                               And 

                                             The Script Supervisor

    Sam Weisman (Director), Brendan Fraser (Actor), Suzan Lowitz (Script Supervisor) discussing a scene from “George of the Jungle”.

     

    Pre-Production: 

    • Collaborates with the Director to establish a relationship and set a procedure for solving potential problems.
    • Provides the director with continuity breakdowns such as: oneliners, exterior/interior breakdowns, day/night breakdown, character breakdowns, page counts, etc.
    • Flags potential narrative continuity issues as changes are made to dialogue, settings, props, action, etc during pre-production.
    •  Maintains knowledge of shooting plans developed during pre-pro such as VFX schedule, shot lists, etc.

    Production:

    • Participates in rehearsals for scene blocking and collaborates with the Director in the design for shooting and cutting.
    • Maintains a shot list and monitors setups.
    • Alerts the Director regarding mismatches after each take.
    • Provide reference for matching frames, possible lighting, and background between coverage.
    • Flag any issues between coverage regarding eyeline, 180 line, or spacial discrepancies. 
    • Passes information to Departments as the continuity changes, stemming from discussion with the Director or rewrites.
    • Collaborates with the Director at the end of shooting each scene to assure that all the necessary coverage is completed before moving on.
    • When necessary, alerts the Director as to need for a bridge or transition shot and may suggest additional shots that contribute to overall design.
    • Record Director circle takes & notes for post-production.
    • Generates owed shots & wild line list for Director reference.

        

                                                          The Actors
                                                               And
                                                    Script Supervisor

        

    Anthony Hopkins (Actor), Anna Dale-Meunier (Script Supervisor) giving script notes.


    Pre-Production:

    • Can provide actor with continuity breakdown for reference.
    • Establish best practices for actor’s needs on-set.

    Production:

    • Monitors rehearsals for actor blocking, interactions with props, potential dialogue issues, etc.

    • Runs lines with actors between setups and takes as needed.

    • Watches each take closely, making written and mental notes to facilitate a proper match between MASTER and COVERAGE. (i.e. screen direction, progression, crossing the line, meter, matching action, etc.).

    • Provides notes regarding continuity of action, dialogue, etc. from circle takes to be recreated in coverage.

    • Reads off-screen, voice over, or sound effect lines for actor as needed.
    • Feeds or shows correct dialogue to actors when different from script or when called for by actor during a take.
    • Can assist with providing character information regarding before/after sequences of the narrative to actors upon request.

       
                                                      The Producers
                                                                And

                                                   Script Supervisor

                                     

    Antoine Fuqua (Producer/Director), Dawn Gilliam (Script Supervisor)

    Pre-Production:

    • Provides script timing for film, scenes, or episodes upon request.
    • Collaborates with the Producer(s) to establish a relationship and set a procedure for solving potential problems.
    • Provides the Producer(s) with continuity breakdowns such as: oneliners, exterior/interior breakdowns, character breakdowns, page counts, etc.
    • Flags potential narrative continuity issues as changes are made to dialogue, settings, props, action, etc during pre-production.

    Production:

    • Monitors & maintains ongoing tally for production of what has been shot and is owed to ensure all necessities are covered.
    • Maintains continuity & advocates for potential coverage to avoid costly reshoots or limited footage options that may lead to poor quality.
    • Supplies Daily Production Reports to the Producer. These reports include:
      • Lunch Report
      • 5pm Report (on case-by-case basis)
      • Daily Progress report – -Cumulative picture running time, Call Time, First Shot, Lunch Break, First Shot after Lunch, Dinner Break, First Shot after Dinner, Wrap Time
      • Copy of the Daily Edit Log, Face Pages, & Lined Script
      • Owed Shot & Wild Line List
    • When necessary, will alert production to red flags. re: getting behind schedule, whether Picture Running Time is going long or short, etc.

    Post-Production:

    • Delivers complete records of the project from start to finish to production.
    • In case of card corruption or lost footage, provides details of coverage by date, scene, card, etc.
    • In the case of reshoots, assists with facilitating coverage that maintains continuity with existing footage.
    • Can help locate specific footage & records from production as needed.

                                               
                                                     Cinematographers
                                                                  And 

                                                     Script Supervisors

    Shea Butler (Script Supervisor) indicating an issue in C-Camera’s frame on a Four-Camera shoot.

    Pre-Production:

    • Collaborates with the DoP to establish a relationship and set a procedure for solving potential problems.
    • Provides the DoP with continuity breakdowns such as: oneliners, exterior/interior breakdowns, character breakdowns, page counts, etc.
    • Flags potential narrative continuity issues as changes that may effect lighting, coverage, etc.
    •  Maintains knowledge of shooting plans developed during pre-pro such as VFX schedule, shot lists, etc.

    Production:

    • Maintains a shot list while tracking coverage.
    • Makes any notes for post from the DoP regarding a setup, scene, or take.
    • Provide reference for matching frames, possible lighting, and background between coverage.
    • Flag any issues regarding eyelines, 180 line, or spacial discrepancies.
    • Keep additional record of setup measurements & elements in case of reshoots or matching aesthetics between scenes, locations, setups, etc.
    • Recommend specific shots to assist with the cut based on record of coverage.
    • Passes information to Departments as the continuity changes, stemming from discussion with the Director or rewrites.
    • Provide information for director’s circle takes as needed.

                                          

                                                               The Editors
                                                                        And 

                                                     The Script Supervisor

                                      

      Holly Tyrer (Script Supervisor) generating edit notes using PeterSkarratt’s digital software & image capture

      Pre-Production:

      • Meet with the Editor to discuss style and learn any special preferences he/she may have regarding the Editor Log, Facing Pages, and Lined Script.

      Production:

      • Confer with the Editor as necessary (Frequently as link between Director and Editor).
      • Controls slate & notes during filming to assure ease locating & logging footage.
      • Advocates for elements during filming that benefit the cut of the film for the edit team
      • Maintains record of all activity during filming for edit team to reference & utilize during assembly of picture.
      • Keeps measurements regarding VFX setups for post.
      • Daily provides edit team with Edit Logs, Lined Script, & Facing Pages

      Post Production:

      • The Script Supervisor remains reasonably available by phone and/or email, even after wrap, to answer editorial questions.
      • May compile the complete script and all facing pages into one chronological document for the Editor. In the case of Episodic productions that are cross-boarded, there maybe one chronological document for each episode.
      • May go from Production into Editorial to supply information during cutting.
      • May supply final timings, scene by scene, when shot.
      • May provide continuity information and/or services for Special Effects Second Unit as in cases with puppets, miniatures, etc.

                                                 
                                                         Assistant Directors    

                                                                       And 

                                                          Script Supervisors

      Heather Killian Detwiler (Script Supervisor) flagging screen direction issues with the 1st AD & the Director of Photography

      Pre-Production:

      • Provides AD team with continuity breakdowns such as: oneliners, exterior/interior breakdowns, day/night breakdown, character breakdowns, page counts, etc.
      • Breakdown for Wild Lines and/or Voice Overs that will be needed based on the script.
      • Establish a relationship and set a procedure for solving potential problems.
      •  Maintains knowledge of shooting plans developed during pre-pro such as VFX schedule, shot lists, etc.

      Production:

      • Daily, provides the Assistant Directors and team with a copy of the Production Report which enables them to fill out their Production Report. The Script Supervisor’s Production Report and the A.D. Production Report are then sent to the Producer and Production Manager via email.
      • Assists the A.Ds daily by providing them up to the minute information so the Call Sheet can be as accurate as possible.
      • Keeps First A.D. apprised of which actors are needed for Wild Tracks or Wild Lines that may be done on the set, thus reducing the Producer’s exposure to high cost ADR.

      • Maintains owed shot list & collaborates with A.D. to ensure coverage is completed.
      • Notifies A.D. when coverage is owed before moving on.

                                                         
                                                              The Writer
                                                                    And 

                                                    The Script Supervisor

      Mike Judge (Writer), Tecia Rodela (Script Supervisor) discuss the script.

      Pre-Production:

      • Collaborates with the Writer over any script revisions and how the revisions may impact the script continuity of other scenes.
      • Provides timings for scenes/episodes as needed.
      • Establishes relationship and writer preferences for problem solving.

      Production:

      • Collaborates with the Writer over any script revisions and how the revisions may impact the script continuity of shot and un-shot scenes while filming.

      • Flag for writer dropped or changed dialogue during a take.

      • Keep record of alternate lines or on-set changes.

      • Making notes from writer to edit team.

                       

                                                    The Camera Dept. 

                                                                   And

                                                     Script Supervisor

      Eszter Zakarias (Script Supervisor) with camera operator


      [NOTE: While each department is in charge of maintaining its own continuity, the Script Supervisor oversees continuity by alerting the appropriate person of discrepancies.]

      Pre-Production:

      • Meet with Camera to set up a procedure for checking prints on their reports

      • Script Supervisor establishes best method of communicating the slate to the camera team.

      Production:

      • Creates slate numbering and supplies them to Camera Team for the slate on each setup.

      • Logs general information such as the camera rolls, clip numbers and FPS for every take in the Facing Pages/Edit Log.
      • Writes any specific notes the camera team may request be made to edit team regard a take or setup.
      • Provides reference for matching frame sizes/aesthetics between coverage as needed.
      • Notify camera team of where specific footage can be located as needed.
      • Give information regarding the general timing of a setup to camera team to determine when a card may need to be changed.
      • Passes information to Departments as the continuity changes, stemming from discussion with the Director or rewrites.

      • When the camera roll is switched out, the 2nd AC will give the Script Supervisor their Camera Log so it can be checked against the Edit Log for accuracy.

      • The Script Supervisor will circle the print takes on the Camera Log before handing it off to DIT and the editing team.

                               

                                                      The Sound Dept. 

                                                                  And 

                                                     Script Supervisors

      Lana Marks (Script Supervisor) using a Comtek on set


      [NOTE: While each department is in charge of maintaining its own continuity, the Script Supervisor oversees continuity by alerting the appropriate person of discrepancies.]

      Pre-Production:

      • Meet with Sound to set up a procedure for checking prints on their reports.
      • Script Supervisors establishes best method of communicating the slate to the sound team.
      • Flags voice overs, wild lines, etc. that will need to be recorded.
      • Consult with Sound regarding any of their continuity concerns, as they prepare for filming.

      Production:

      • Creates slate numbers and supplies them to Sound for each set-up.
      • Passes information to Departments as the continuity changes, stemming from discussion with the Director or rewrites.
      • Notifies Sound Mixer of owed Wild Sound, Wild Tracks and Wild Lines and what to label the files.

      • Attends recording of wild lines to maintain records for post.

      • Syncs with timecode from sound to provide timecode records as needed.

      • Writes any specific notes the sound team may request be made to edit team regard a take or setup, or additional notes Script Supervisor may deem pertinent regarding sound.
      • When the sound roll is switched out, the Script Supervisor can check record against the Edit Log for accuracy.
      • The Script Supervisor will receive a copy of, & circle the print takes, on the sound log before handing it off to DIT and the editing team.

                       

           

                                                       Hair & Makeup 

                                                                 And
                                                 Script Supervisors

                      

      Christy Teichmann (Script Supervisor) relaying script information

      [NOTE: While each department is in charge of maintaining its own continuity, the Script Supervisor oversees continuity by alerting the appropriate person of discrepancies.]

      Pre-Production:

      • Provide Time and Continuity Chronology to HMU to assure that they concur as required. i.e/ whether a scene is day or night and/or a new day; whether there is a change in hairstyle or makeup, whether HMU will need to show progression of hair and makeup throughout the script chronology if a character ages or gets injured.
      • Script Supervisor may often request to be added to the continuity photos folder the team may establish for additional records.
      • Consult with Make-up and Hair regarding any of their continuity concerns, as they prepare for filming.

      Production:

      • Watches each take closely, making written and mental notes to facilitate a proper match between MASTER and COVERAGE. (i.e. screen direction, progression, crossing the line, meter; {i.e. matching action: Did the action and dialogue occur in the same exact way each time? Were the props and wardrobe positions correct? What about the length of the cigarette and its ash? Or, how long should that burning candle be?}).
      • Passes information to Departments as the continuity changes, stemming from discussion with the Director or rewrites.

      • Makes note of any information Hair & Make-Up may want to communicate to post.

      • Flags any continuity issues that may arise between scenes & setups.

                               

                                                     The Costume Dept. 

                                                                    And

                                                    The Script Supervisor

                              

      Barry Caldwell (Script Supervisor), Johnny Depp (Actor) in costume

      [NOTE: While each department is in charge of maintaining its own continuity, the Script Supervisor oversees continuity by alerting the appropriate person of discrepancies.]

      Pre-Production:

      • Provide Time and Continuity Chronology to Wardrobe to assure that they concur as required. i.e. whether a scene is day or night and/or a new day; whether there is a change in wardrobe, whether wardrobe will need to show progression of wear throughout the script chronology.

      • Script Supervisor may often request to be added to the continuity photos folder the team may establish for additional records.
      • Consult with Wardrobe regarding any of their continuity concerns, as they prepare for filming.

      Production:

      • Watches each take closely, making written and mental notes to facilitate a proper match between MASTER and COVERAGE. (i.e. screen direction, progression, crossing the line, meter; {i.e. matching action: Did the action and dialogue occur in the same exact way each time? Were the props and wardrobe positions correct? What about the length of the cigarette and its ash? Or, how long should that burning candle be?}).
      • Passes information to Departments as the continuity changes, stemming from discussion with the Director or rewrites.

      • Makes note of any information Hair & Make-Up may want to communicate to post.
      • Flags any continuity issues that may arise between scenes & setups.

                                  

        

                                                           The Art Dept.
                                                                   And 

                                                     Script Supervisors

                                    

      Toni Crey (Script Supervisor) with zombie set-dress

      [NOTE: While each department is in charge of maintaining its own continuity, the Script Supervisor oversees continuity by alerting the appropriate person of discrepancies.]

      Pre-Production:

      • Provide Time and Continuity Chronology to Art Department to assure that they concur as required, (i.e. whether a scene is day or night; or whether the season/year/era is a factor in the script chronology.)
      • Consult with Art, Props and Set Dressing regarding any of their continuity concerns, as they prepare for filming.
      • Script Supervisor may often request to be added to the continuity photos folder the team may establish for additional records.

      Production:

      • Watches each take closely, making written and mental notes to facilitate a proper match between MASTER and COVERAGE. (i.e. screen direction, progression, crossing the line, meter; {i.e. matching action: Did the action and dialogue occur in the same exact way each time? Were the props and wardrobe positions correct? What about the length of the cigarette and its ash? Or, how long should that burning candle be?}).
      • Passes information to Departments as the continuity changes, stemming from discussion with the Director or rewrites.
      • Makes note of any information Hair & Make-Up may want to communicate to post.
      • Flags any continuity issues that may arise between scenes & setups.


      INSIDE THE CRAFT:

      Ingrid
      Ingrid Urich-Sass (Script Supervisor)


      Production & Script Supervisors:
      (Not An Entry-Level Role)

      Did you know Los Angeles production companies (until the 1980s) paid to train early script supervisors for union work, plus a mandatory year of mentorship!? This investment was due to the cost-&-quality benefit for production correlated with an expert script supervisor on set. 

      Lack of supervision over script and footage lead to alarming or costly errors for early Hollywood projects (both on set and in post-production); consequently, the role & responsibilities of a Script Supervisor were born!  

       Script Supervising is NOT an entry-level position, and deficient script supervisors pose a liability to production. However, unlike other department heads (ex. a Cinematographer or Assistant Director learning as an A.C. or P.A. respectively), the Script Supervisor position has no entry-level department roles, thus the need for specialized training. 

      lassn adminISTRATORS

      SARAH GARRETTSON

      “Hi everyone, I’m Sarah Garrettson. After being raised in Germany and going to University in the Netherlands, I’m thrilled to have found my place as a digital script supervisor and one of the founding admins of the Los Angeles Script Supervising Network.”

      sarah.garrettson@gmail.com

      ROB GOODWIN

      “Hi, this is Rob Goodwin. Thank you for visiting my bio. I’m a script/continuity supervisor and administrator of the LASSN Facebook page.”

      robfg13@gmail.com

      Tai Weinman

      “Hello everyone! My name’s Tai Weinman. I’m a former high school teacher who relocated from New Jersey to California to transition into a career as a script supervisor.  I’m a trained & digital script supervisor working in film, episodics, & commercials. I’m also very proud to be the union (IATSE Local 871) representation on our LASSN admin team!”

      taiw202@gmail.com