| Preface |
| Acknowledgements |
| Introduction |
| Out of Sequence Shooting: 1 |
| Story |
| Scenes in story order |
| Out of Sequence Shooting: 2 |
| Shooting in story order |
| Shooting plan |
| Number of days |
| Position of locations |
| Location availability |
| Actor's availability |
| Shots in Scenes Out of Order |
| To save time |
| The Work of Continuity |
| Back to the original story |
| Setting up: General |
| Scripted or unscripted |
| The Production Team: 1 |
| Involved in setting up |
| The Production Team: 2 |
| Involved on set |
| The Crew |
| Camera crew |
| Sound crew |
| Design |
| Costume and make-up |
| The Script: 1 |
| Numbering |
| Colour-coding |
| Scenes |
| Time |
| New scene, new page |
| The Script: 2 |
| Body of script |
| Size of script |
| Scene Breakdown |
| Timing the Script |
| Time chart |
| Read-through |
| Booking Facilities |
| Artists and How to Book them |
| Artists |
| Agents |
| Auditions |
| Names and addresses |
| Scripts and schedules |
| Hours of work |
| Supporting Artists |
| 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 |
| Where to find children |
| Licences |
| Children and Animals: 2 |
| Regulations |
| Chaperones and tutors |
| Animals |
| Locations: 1 |
| How to find your location |
| Locations: 2 |
| Accommodation |
| Finding what is available |
| Finding the hotels |
| Making the booking |
| Your own booking |
| Travel |
| Overseas shooting |
| Travel in this country |
| Car parking |
| Food (or to Location Cater or Not ...) |
| Other types of catering |
| Other meal breaks |
| If you are far from civilisation |
| Insurance |
| Costume and Make-up |
| Costume |
| Make-up |
| Props and Design |
| Action props |
| Shooting Schedule: 1 |
| Cover page |
| Cast list |
| Location and contacts |
| Shooting Schedule: 2 |
| A day to a page |
| A week to a page |
| Rendezvous |
| Shooting order |
| Rescheduling |
| Shooting Schedule: 3 |
| Artists' information pack |
| Travel information |
| Daily call sheets |
| Documentary-Type Productions |
| Research |
| Learning about new things |
| 'Find Out All You can About ...' |
| The subject |
| Other bodies for research |
| What to Take on Location |
| 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 ... |
| Warm or tropical countries |
| Cold countries |
| Specialised Observation |
| Accurate observation |
| Training in observation |
| Continuity: a Team Effort? |
| Your Role Within the Unit |
| Avoid being sidetracked |
| Continuity is your responsibility |
| Making Mistakes |
| What to do over a mistake |
| Be positive |
| Knowledge of the Script |
| Marking up script |
| A-Z |
| Keep up to date |
| Script interleaved with notes |
| Coverage Planned |
| Important junctions |
| Circulated shot lists |
| Shooting script |
| Storyboard |
| How to Keep Informed |
| 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 |
| Other Terms Used |
| Camera movements |
| Abbreviations relating to action |
| Abbreviations relating to sound |
| Other Terms in General Use |
| C/A (Cutaway) |
| Under or over-cranking |
| Process shots |
| Know What to Observe: 1 |
| Close shots |
| Mid shots |
| Wide shots |
| Very long shots |
| Know What to Observe: 2 |
| Intimate situations |
| A lot happening in a shot |
| Priorities |
| Largest moving object |
| The main characters |
| The person speaking |
| Bright colours |
| Shots travel in and up |
| Props |
| Dressing props |
| Resetting props |
| Advance planning |
| Take a Polaroid |
| Write it down |
| Checking |
| Continuity of Action |
| Continuity of Action and Dialogue |
| Drama Situations |
| Crossing the Line |
| Single shots |
| Shots that cut directly onto each other |
| Exceptions |
| Screen Direction |
| Changing direction |
| Drawings and Diagrams |
| Polaroid cameras |
| Rehearsals and Actors |
| Problems with actors |
| The difficult actor |
| The Complete Scene |
| Fred and Mabel: Coverage Planned |
| Wide Angle: Fred and Mabel: Scene 1 |
| Wide Angle: Fred and Mabel: Scene 2 |
| Remaining Coverage: Fred and Mabel: Scene 1 |
| Remaining Coverage: Fred and Mabel: Scene 2 |
| Fred and Mabel: Edited Sequence |
| Direct and Indirect Continuity |
| Direct continuity |
| Indirect continuity |
| Matching Continuity |
| If an actor gets it wrong |
| If the director won't listen |
| Which 'take' do you match for continuity? |
| Shooting on Videotape |
| Scripted |
| Timecode |
| Unscripted |
| Working on Documentary-Type Productions: 1 |
| You will always know something |
| Continuity |
| Shot description |
| Locations |
| Working on Documentary-Type Productions: 2 |
| Basic continuity |
| Interviews |
| Public relations |
| Writing it Down |
| Scripted and unscripted |
| How to organise the paperwork |
| The system I use |
| When You Make Notes |
| Write what you can when you can |
| Pens or pencils? |
| Continuity Report Sheet: General |
| Production details |
| Episode/scene |
| Slate/ident |
| Continuity Report Sheet: Logging the Shots |
| Consecutive number slating |
| Scene number slating |
| Slating according to director's shooting script |
| The take |
| The pick-up shot |
| Continuity Report Sheet: Technical |
| Roll numbers |
| Interior or exterior |
| Sound details |
| Shooting on film |
| Shooting on videotape |
| Continuity Report Sheet: Camera Information |
| Continuity Report Sheet: Continuity |
| Location |
| Continuity notes |
| Continuity Report Sheet: Details of Shooting |
| E/B or T/Code |
| Takes |
| False starts |
| Duration |
| Writing on the Script |
| Dialogue changes |
| Other Paperwork |
| Daily continuity log |
| Daily progress report |
| Timing on Location |
| Timing a rehearsal |
| Adding together the duration of the shots |
| Information for the Editor |
| Typed-up continuity report sheets |
| Continuity cards |
| Coverage/Tramline Scripts |
| Shot Listing |
| Slate number or 'in' and, if possible, 'out' point of timecode |
| Sound |
| The Realities of it All |
| Post Production |
| Editing |
| Principles of editing |
| Editing the Picture: 1 |
| The film cutting room |
| Videotape editing |
| Non-linear editing |
| Editing the Picture: 2 |
| Off-line editing |
| PAs take note! |
| On-line editing |
| Editing the Picture: 3 |
| Non-linear on-line editing |
| Linear on-line editing |
| Editing the Sound |
| What does a PA do? |
| Working in Widescreen |
| Copyright: 1 |
| Protection |
| Simple copyright |
| Multiple copyright |
| Copyright: 2 |
| Photographs |
| Artistic works |
| Music |
| Literary works |
| Take care |
| Post Production Script |
| Use of the script |
| What the script contains |
| Library film |
| Film and Videotape Formats: 1 |
| Film |
| Videotape |
| Analogue formats |
| Film and Videotape Formats: 2 |
| Digital formats |
| Analogue and digital |
| Component and composite |
| Film Running Times |
| Preface |
| Acknowledgements |
| Introduction |
| Out of Sequence Shooting: 1 |
| Story |
| Scenes in story order |
