Speaker 1: One of the things about the work in pre-production, you have an opportunity to show your artistry. And I think the paperwork and how the information is on the page, it can, you can express who you are with fonts, shading, and how you put that information on the page. It's like, you should be making a list of continuity and errors, not circling it on your script. You're the, the, the markings on your script really should have to do with continuity and matching and back matching and things that when you look at your script, you go, aha, when I do my rehearsal, I got to remember that I'm looking out for this and this and this and this and this. See if they even doing it, because you can spend a lot of time breaking down your script, your continuity and any kind of, you know, errors or things that to look out for, but they might change it in rehearsal. You want to put all your continuity notes onto the left-hand side, because if it's all over the page, when the director goes to maybe want to look at your script, it's convoluted with a bunch of markings and stuff and like, and it's distracting. But if the actor comes up and say, Hey, can I look at your script real quick? And you've got like continuity notes and stuff all over the place, you know, have it all on the left-hand side. And if you have a list and you first, when you are doing everything, it's a list. It's a, it's a, it's a continuity and error or questions and errors. You might have questions. You might have, uh, um, um, typos and everything else like that. So it's, it's really kind of neat, um, and your timing is a little long, so just put a pin in that. And I'm going to explain all that. Your timing is a little long. You've got the total scenes correctly. You don't count omitted scenes, but you list them for reference and the, and like I said, it's neat. It looks like either you typed it or whatever, but it would to take it to the next level is to create your own form. Any other, any more questions?

Speaker 2: Yeah. Just off that one point you said, comparing the timings that you've made to when you're actually on set, are you, are you taking the time of the take from like the master of the whole scene and then comparing that time to your time? That's how you do it?

Speaker 1: Pretty much. Cause that's what we do. You know? I mean, sometimes you can, you know, it might be coverage, you know, maybe it's like a long scene. It's a pretty long scene. And, um, uh, sister love, it's like two pages or three pages or whatever. It's a pretty long scene. And so you, you might have to patchwork it, you know, but you add it up. You're not going to be able to know how long a scene is until you see it shot. And then the experience of just being on set and doing these scenes and, and the way that the scenes play out, the timing, uh, um, the timing, the tone, all of that out of experience, you're able to time better and faster or whatever. All right. So Fola, she wrote out three minutes or two minutes and three seconds. She wrote it out. It goes two M three seconds. You gotta go global or universal. The universal for time would be two colon 30. Sarah, you, you did it by hand. So let's, let's get it digitized. And you had 25 scenes and it's 23. Look at that elements on go, go back over the workbook, y'all the little handout that I, that I gave you, you write the omits for reference, but you don't count them in your total scene count and you're close. Your timing was very close. I'm not going to tell y'all the timing until next week. You've done a combination of a one liner ish SCN is not a, um, you know, industry standard abbreviations. Don't make up your own abbreviations people. So SCN is not a, you know, it's, it's seen is your scene number. We, we, SC is seen number. We know we say seen, but we know it's seen number. Okay. You've done kind of saw a one liner and, um, which is, but, but I would say that if you're going to do, and then again, you say seen, and it's not seen it's located, well, actually it's just a remark or it's a one line or it's a description. Um, and if you're going to do that, then you need, this is more like a script supervisor's one liner. I don't know if you have seen one of those or I, well, I always called it a one liner, but you would want to put the location to, if you're going to give them a, a one line and you need the location also, um, your total it's, it's hard to find what the totals are. So I would say, look at the sample because the most important thing out of the timing and what people want to know is the totals. So put them at the top so people can get to it, um, right away.