Understanding Frame Movement and Efficient Production Reporting Techniques (Full Transcript)

Speaker 1: All right, so movement within the frame. Can everybody see this? I hear a lot of people going right to left, left to right, you know, that kind of thing. One of the things that I found really kind of interesting is that the language on the set from the DP, the director and the AD, all of them kind of sort of may call movement within a frame different things. But we're just going to go through just regular abbreviations. In the day that was revised and here is my one liner. So I put the day chronology, I put the scene number, I put the location and I put a description. I have a one line, one liner. Everybody has a margin. This is not a margin over here. The three hole punch happens about right here. Possibly this could, this information could be three hole punched out. I thought I was doing something by going in and doing my research and going and I put the camera and sound together because in editorial, they put their camera and sound together. Makes sense because this is what they need to sync up. Some people have the camera over here. They got the sound over there. A lot of the layouts, if you really, really, really, really look at the layouts, they don't really, they don't flow. And yes, this is my database that I've created. So my camera is sound and then I have my scene number and then I have my takes. I have that asterisk is instead of the circles, it is the preferred take or it's the printed take. Nowadays they transfer everything so you can kind of think of it as a preferred take and they will pull these takes that you like for their dailies. Here is the, this is a formula in which I write everything. I don't like boxes and squares. It's not visually appealing to me. A lot of people use tables like this, but like this, everything is like this, the whole production report. I don't particularly like it. I have a readable style, I call it, and it's visually appealing to me. So I do my scene number and either if it's complete, it gets a whole number. If it's part, I put the PT right there. I've got the page count, the location, the time that I'm going to credit it. And if it's complete or not, I highlight it in yellow, but here I have old wrestling coverage. I have down here is a deleted page count per yellow trap. I say what the scene numbers are, whatever changes it was. And so I'm going to add one scene remaining totals reflect change. And that's these remaining totals reflect the change. I have what the original was. I have what the revisions was. I have, we had a camera move. We had a lunch, but this formula I keep. That is my formula. And here are my facing pages. I have different facing pages than anyone because some season editor said, can I have this over here and have this over there and have this over there? And I said, fine, sure. And I've always kept it like that. I think one time I've had one editor say, Hey, the way my daily log is set up, they like that set up and ask for that to be my facing page also. And those are my facing pages. I basically type once and, um, and send it to different places.