Civil Rights
Movements, leaders, victories and the continuing fight for equality.
q2K BHP
Black History Portal
THE BHP WIRE —
HIDDEN TRUTHS
What's New!
Explore the people, places, events, achievements, struggles and stories that shaped our journey.
Movements, leaders, victories and the continuing fight for equality.
Innovation, patents, science, technology and world-changing contributions.
Pioneers, champions, Negro Leagues, records, activism and excellence.
Meet the people whose lives, choices and achievements shaped the journey.
Black towns, communities, institutions and places where history happened.
Moments that changed communities, movements, institutions and the nation.
Katherine Johnson’s mathematical calculations helped guide some of America’s most important early space missions while she confronted the racial and gender barriers faced by Black women in twentieth-century America.
MORE →Reflects the personal views, recollections, and perspective of the author, Mike Davis.
This is a personal recollection on the Move fire on May 13, 1985
A script supervisor (also called continuity supervisor or script) is a member of a film crew who oversees the continuity of the motion picture including dialogue and action during a scene. The script supervisor may also be called upon to ensure wardrobe, props, set dressing, hair, and makeup are consistent from scene to scene. The script supervisor keeps detailed notes on each take of the scene being filmed. The notes recorded by the script supervisor during the shooting of a scene are used to help the editor cut the scenes together in the order specified in the shooting script. They are also responsible for keeping track of the film production unit's daily progress.
The script supervisor credit is typically in the closing credits of a motion picture. The script supervisor is a department head and plays a crucial role in the shooting of a film. It is the script supervisor's job to monitor the camera shots, ensuring the dialogue and action match the corresponding pages of the shooting script. This oversight seeks to maintain coherence between the scenes.[1][2]
The script supervisor is the editor's and writer's representative on set, as well as being the right-hand aide to the director and the director of photography. It is the script supervisor's job to make sure that the film can be cut together after shooting has concluded. In that sense, they back up every department, monitor the script during shooting, and make sure that errors in continuity do not occur that would prevent the film from being able to be compiled smoothly in the editing room.
In pre-production, the script supervisor creates a number of reports based on the script, including a one-line continuity synopsis providing basic information on each scene such as the time of day, day in story order, and a one-line synopsis of the scene. These reports are used by various departments in order to determine the most advantageous shot order and ensure that all departments, including production, wardrobe, set dressing, hair and makeup, are in sync in regard to the progression of time within the story. The script supervisor may also time the script, which is of enormous benefit for the director and the producer, and will often attend a table read or read-through with the cast.
During production, the script supervisor acts as a central point for all production information on a film shoot, and has several responsibilities:
The script supervisor is the primary liaison between the director (who decides what scenes are to be shot) and the editor (who is usually not present during actual filming but needs to have exact records of the filming in order to do the job of cutting the film together). The script supervisor is generally considered as part of the director's team. There is usually only one script supervisor on a given film production. However, on big studio productions, the Main Unit script supervisor will have an assistant and there is usually a Second Unit script supervisor.
Up until the late thirties and early forties, the script supervisor in the American film and television industry was typically called the continuity clerk, script reader or script girl and often there were two people doing the job. One was the "continuity clerk" and one was the "script girl". Individuals performing such duties were either credited with these titles or, more often, not credited at all. During this span of time, many script supervisors were indeed women, a fact that originally spawned the title "script girl." However, over the years, script supervisor positions throughout the American motion picture industry became more thoroughly integrated and formed a better balance among men and women. This fact, coupled with producers' desire to promote gender neutrality in a position that was increasingly taken up by men, produced the gradual change in nomenclature. The gender-specific term has disappeared from film and television credits, but sometimes appears in everyday speech.
The Academy of Motion Picture Arts and Sciences credits Sarah Y. Mason as the first script supervisor, having invented the craft of film continuity for director Albert Parker and the film Arizona in 1918, for which she was credited as "Continuity Girl."[3]
Source: Wikipedia. Article content is retrieved live through the MediaWiki API.
A script supervisor (also called continuity supervisor or script) is a member of a film crew who oversees the continuity of the motion picture including dialogue and action during a scene. The script supervisor may also be called upon to ensure wardrobe, props, set dressing, hair, and makeup are consistent from scene to scene. The script supervisor keeps detailed notes on each take of the scene being filmed. The notes recorded by the script supervisor during the shooting of a scene are used to help the editor cut the scenes together in the order specified in the shooting script. They are also responsible for keeping track of the film production unit's daily progress. The script supervisor credit is typically in the closing credits of a motion picture. The script supervisor is a department head and plays a crucial role in the shooting of a film. It is the script supervisor's job to monitor the camera shots, ensuring the dialogue and action match the corresponding pages of the shooting script. This oversight seeks to maintain coherence between the scenes. The script supervisor is the editor's and writer's representative on set, as well as being the right-hand aide to the director and the director of photography. It is the script supervisor's job to make sure that the film can be cut together after shooting has concluded. In that sense, they back up every department, monitor the script during shooting, and make sure that errors in continuity do not occur that would prevent the film from being able to be compiled smoothly in the editing room. In pre-production, the script supervisor creates a number of reports based on the script, including a one-line continuity synopsis providing basic information on each scene such as the time of day, day in story order, and a one-line synopsis of the scene. These reports are used by various departments in order to determine the most advantageous shot order and ensure that all departments, including production, wardrobe, set dressing, hair and makeup, are in sync in regard to the progression of time within the story. The script supervisor may also time the script, which is of enormous benefit for the director and the producer, and will often attend a table read or read-through with the cast.
Daily call sheet is a filmmaking term for the schedule supervised and crafted by the assistant director, using the director's shot list, the production schedule and other logistics considerations. It is issued to the cast and crew of a film production to inform them of where and when they should report for a particular day of filming, usually no later than 12 hours before the start of the next work day. Call sheets are a vital part of video production. The start of the day's production schedule is marked by a general and individual call times, the time when people are expected to start work on a film set.
Film editing is the creative and technical part of the post-production process of filmmaking in which shots are combined into sequences that create a finished motion picture. The term is derived from the traditional process of working with film stock but now primarily uses digital technology. The film editor works with raw footage to select, process, and structure the recorded images and sound material to give film its final form. Film editing is often referred to as the "invisible art" because when it is well-practiced, the viewer can become so engaged that he or she is not aware of the editor's work. Film editing is described as an art or skill that is unique to cinema, unlike, for example, cinematography or set design. On its most fundamental level, film editing is the art, technique and practice of assembling shots into a coherent sequence. The job of an editor is not simply to mechanically put pieces of a film together, cut off film slates or edit dialogue scenes. A film editor must creatively work with the layers of images, story, dialogue, music, pacing, and the actors' performances to imagine and the film into a cohesive whole. Editors usually play a dynamic role in the making of a film. An editor must select only the most quality shots, removing unnecessary frames to ensure the shot is clean. Sometimes, auteurist film directors edit their own films, for example, Akira Kurosawa, Bahram Beyzai, Steven Soderbergh, and the Coen brothers. According to Film Art: An Introduction, by Bordwell and Thompson, there are four basic areas of film editing that the editor has full control over. The first dimension is the graphic relations between sequential shots. The shots are analyzed in terms of their graphic configurations, including light and dark, lines and shapes, volumes and depths, movement and stasis. The director makes deliberate choices regarding the composition, lighting, color, and movement within each shot, as well as the transitions between them. Techniques used by editors to establish graphic relations between shots include maintaining overall brightness consistency, keeping important elements in the center of the frame, playing with color differences, and creating visual matches or continuities between shots. The second dimension is the rhythmic relationship between sequential shots. The duration of each shot, determined by the number of frames or length of film, contributes to the overall rhythm of the film. The filmmaker has control over the editing rhythm by adjusting the length of shots in relation to each other. Shot duration can be used to create specific effects and emphasize moments in the film. For example, a brief flash of white frames can convey a sudden impact or a violent moment. On the other hand, lengthening or adding seconds to a shot can allow for audience reaction or to accentuate an action. The length of shots can also be used to establish a rhythmic pattern, such as creating a steady beat or gradually slowing down or accelerating the tempo. The third dimension is the spatial relationship between shots. Editing allows the filmmaker to construct film space and imply a relationship between different points in space. The filmmaker can juxtapose shots to establish spatial holes or construct a whole space out of component parts. For example, the filmmaker can start with a shot that establishes a spatial hole and then follow it with a shot of a part of that space, creating an analytical breakdown. The final dimension that an editor has control over is the temporal relation between shots. Editing plays a crucial role in manipulating the time of action in a film. It allows filmmakers to control the order, duration, and frequency of events, thus shaping the narrative and influencing the audience's perception of time. Through editing, shots can be rearranged, flashbacks and flash-forwards can be employed, and the duration of actions can be compressed or expanded. The main point is that editing gives filmmakers the power to control and manipulate the temporal aspects of storytelling in film. Between graphic, rhythmic, spatial, and temporal relationships between two shots, an editor has various ways to add a creative element to the film and enhance the overall viewing experience. With the advent of digital editing in non-linear editing systems, film editors and their assistants have become responsible for many areas of filmmaking that used to be the responsibility of others. For instance picture editors dealt only with the picture. Sound, music, and (more recently) visual effects editors dealt with the practicalities of other aspects of the editing process, usually under the direction of the picture editor and director. However, digital systems have increasingly put these responsibilities on the picture editor. It is common, especially on lower budget films, for the editor to sometimes cut in temporary music, mock up visual effects and add temporary sound effects or other sound replacements. These temporary elements are usually replaced with more refined final elements produced by the sound, music and visual effects teams hired to complete the picture. The importance of an editor has become increasingly pivotal to the quality and success of a film due to the multiple roles that have been added to their job.
A storyboard is a graphic organizer that consists of simple illustrations or images displayed in sequence for the purpose of pre-visualizing a motion picture, animation, motion graphic or interactive media sequence. The storyboarding process, in its modern form, was developed at Walt Disney Productions during the early 1930s, after several years of similar processes being in use at Walt Disney and other animation studios.
Before the 1921 destruction of Tulsa’s Greenwood District, Black residents had created a remarkable center of business and community life. The district included stores, professional offices, entertainment venues and homes owned by Black citizens. Understanding Greenwood means learning what was built—not only what was burned.
MORE →Shirley Chisholm, elected in 1968.
