First AD then checks to see if sound is ready to roll. If ready:
After the tape machine is up to speed (.25- 2 seconds):
Second Assistant Cameraman is in front of the camera, ready with the slate for the next take.
After camera is up to speed and focused on slate:
The Second Assistant slaps the marker stick down on the slate board.
When all is settled down and okay:
The actors reenact the action exactly as they did in any first or prior takes.
When the action has gone as far as necessary for the take:
Camera and sound stop rolling immediately. Camera and sound
don't stop until they hear the word "cut".
After the director says "cut" and all has stopped rolling, he will say to the SCRIPT SUPERVISOR, FIRST ASSISTANT CAMERAMAN and the SOUND MIXER:
If he doesn't say, "Print that" the First Assistant Cameraman and the Sound Mixer should not circle the take on their reports (i.e., Camera and Sound Reports, respectively).
The Script Supervisor, First Assistant Cameraman and Sound Mixer circle only the takes that the Director asks to be printed. All three are responsible for keeping accurate reports and noting what should be printed and what should not be printed.
The Script Supervisor is the main authority in giving out the scene numbers, angles and take designations, to the Second Assistant Cameraman and the Sound Mixer, FOR the director.
If the First Assistant Cameraman or the Sound Mixer don't hear what the take is or get confused, they should consult the Script Supervisor, quickly.
If the Script Supervisor gets confused she or he should consult the Director, very quickly.
The Script Supervisor should not get confused, or assign illogical sequences of scene numbers (see Script Supervisor's Hat Write up).
The Script Supervisor is there to clear away confusion.
You may have noticed that the sound was started first and the sound slated BEFORE the camera was even turned on. Which is more expensive, film stock or magnetic tape? Why burn film while slating the audio. The two are lined up in the editing room anyway, the sound just ends up with a longer leader.
These are the concerns of the low budget filmmaker, but should be the concerns of the high budget filmmaker as well - why not?
© 1982, 1988, 1989, 1999 by James R. Jaeger II All Rights Reserved