Script Supervising and Continuity Lab with Carmen Soriano
Saturday, 08/08/2015 – 09:00 am – 01:30 pm
90 NW 29th St, Miami, Florida 33127,
Miami, Florida 33127
Continuity plays a critical role in filmmaking and it will make the difference between an amateur effort from a professional one. All filmmakers will benefit from a solid foundation in continuity. This is an essential flash lab designed for everyone who wants a fluent understanding of the role and function of the script supervisor, and is aimed at helping both independent filmmakers and future script supervisors alike.
CARMEN SORIANO has been working in the film industry for over 25 years. As a Script Supervisor or Continuity Person, she has done many features, TV series, and commercials in the US, Europe, and Latin America. She has had the opportunity of working with many important directors such as Robert Altman, Guillermo del Toro, Steven Soderbergh, Michael Bay, and Alejandro Amenabar. In addition, she has worked as Production Coordinator, directed a few short films, and produced a feature and short films. She has worked on Pain & Gain, Pan’s Labyrinth, The Others & The Wonder Years.
-What are the script supervisor’s roles and responsibilities during prep and production.
-Timing and breaking down a script
-Script supervision forms
-How to “see” like a script supervisor
-What is the difference between feature films and TV series
-The “axis of action” and basic editing theory
-How the script supervisor can help prevent technical errors
-Handling multiple camera shooting
-What block shooting is and how to prepare for it
-Doing continuity on improvised scenes
-Working as a script supervisor on commercials
-VFX/Creating a digital workflow for effective computer-based editing notes
This lab will fill in any gaps in training you may have, regardless if you have worked on features or short films or have never set foot onto a film set. Useful for the director, actor or any other film professional. Participants interested in becoming Script Supervisors should augment their training with on-set experience as well as observing editors or editing their own work.