This is the result of my research for my diploma thesis, achieved in June 2013. It follows my previous post (February 9th, 2015).
Solving the Continuity Issues
As everything else, most of the previous issues can easily be solved by increasing and developing the script supervisor’s two most important skills: communication and anticipation.
During S3D film production, the script supervisor has a new colleague: the stereographer. It is important to meet him (or her) to know how the script supervisor can help him and what support he needs on set. This meeting will help identify the important information that must be transmitted in post-production, especially to the editor: camera rigs (side-by-side or beam splitter) and modes (high mode or low mode). This is crucial as it is related to the entire post-production workflow (dailies, data management, proxies, color grading). During the shooting, continuity notes dedicated to the editor (as well as the camera reports in France) are communication tools. They must not be neglected and we recommend to complete them carefully.
As the continuity person on set, meeting the director during pre-production is necessary in order to keep his or her S3D artistic intentions consistent when filming. A depth script is often made from the director and the stereographer meetings, to study and think how stereoscopy can best support the narrative and dramatic effects of the story . It illustrates the director’s intentions. That is why the script supervisor should ask for it and keep it with the script during the shooting. It may be useful to remind the director’s original choices and to help keep them consistent during the principle photography.
You cannot solve a problem if you ignore it. This is the basic of the script supervisor’s anticipation ability.
It needs to be aware of everything that might impact the script supervisor’s work prior to the principle photography. It demands to attend any meeting during preparation time during which technical and artistic issues can be discussed. This includes script readings with other members of the crew or on location meetings during which the shot list may be discussed. It is an efficient way to be prepared before the shooting.
A good script supervisor is a techni-cian who always knows while shooting a single shot, how it matches with the others. It means she or he knows what was the previous shot and what will be the next shot, either they are already shot or not. This is all about anticipation ability. The script supervisor’s anticipation skills have now to be also focused on stereo. It is important for a script supervisor to anticipate the stereo related to the shot list
so that to be able to keep an eye on the stereo consistency. This is particularly important in case the director would change his mind at the very last minute (as every French film director are free to do so, though everyone thought it was decided with storyboarding!).
S3D Script Supervising
As a result, script supervising a S3D film means adapting the continuity notes. This is necessary to facilitate the data manage-ment once the shooting has finished. It helps ensuring an optimal post-production workflow.
The continuity notes, according to the stereographer’s information during prep time, must specify: the rig used, the rig mode, identify the cameras and the memory cards numbers in order not to mix left and right images on the editor’s timeline for example; interaxial distance and convergence. In France, as the script supervisor is in charge of the camera report as well, we would advise to combine the continuity notes with the camera infos so as to decrease the number of reports and keep being efficient on set.
Moreover, it is important to report any technical problem that might impacts the workflow: the synchronization of cameras, focus, and failure on motorized rig while filming; as well as any remark about the stereo from the stereographer.
As the stereographer communicates with the script supervisor, we advise the script supervisor to talk with the stereo-grapher as well. To remind the shot list at appropriate time helps creating a scenic box consistent to the director’s aims and the viewers’ eyes: out-of-the-screen space, the screen plane and the background space. The script supervisor must be ready, thanks to her collaboration with the stereographer and the director of photography, to suggest new shots according to the director’s new state of mind. This is true when the scene implies manipulations in post-production such as VFX, fades or dissolves.
The stereoscopic process influences the filmmaking in a way that impacts the continuity on both technical and artistic points of view. Shooting native S3D permits to be aware of these issues from the early beginning of the project. The script supervisor still has a place within the stereoscopic production: he or she can contribute to ensure the continuity considering stereo in relation with the film.
Now is the time to think about the aesthetic aspects of stereoscopy and how to consider stereoscopic cinema as a cinematic art form instead of stereography as a technical tool within the movie production.
Instead of being only a narrative issue the S3D continuity, due to the stereoscopy, has a strong influence on the film’s aesthetic. It is not only that of the story, it is now that of the image. Indeed, stereoscopy brings another dimension of depth in the image that increases multi-plan storytelling possibilities . This suggests non-narrative continuity focusing on depth. It becomes an opportunity to create stereoscopic-correspondances  from one shot to the next or between two different scenes.
We now face the following issues: what’s the new aesthetic of continuity for S3D films? And what is the artistic script supervisor’s new rôle?
I wish to thank the following people for their time answering all my questions: Laurence Couturier (Script supervisor), Joséphine Derobe (Stereographer), Randi Feldman (Script supervisor), Jeanne Guillot (Stereographer), Perry Hoberman (USC), Phil “Captain 3D” MacNally (Stereographer), Denise Quesnel (Emily Carr University), Ana Maria Quintana (Script supervisor), Denis Rouden (Director of Photography), Mary Anne Seward (Script supervisor), Anne Wermelinger (Script supervisor) and all of Binocle 3D team for taking care of me.
 Denis Rouden, Alain Derobe and Éric Martin, video “Le confort visuel sur le tournage d’Astérix 4” (35 minutes), http://www.dig-it.fr (Dig-it Workshop of January 25th, 2012). (in French)
 Ray Zone, 3D Revolution – the History of Modern Stereoscopic Cinema (University Press of Kentucky, 2012).
 Matt Bristowe & Barry Sandrew, “Post Conversion Evolves”, 3D Creative Summit, London – UK, March 27th, 2013.
Angus Cameron, “The Evolution of Post Conversion”, 3D Stereo Media, Liège – Belgium, December 11th, 2014.
 On the use of Depth Budget and Depth Script, see Clyde Dsouza,’Sanctioning a Depth Budget for 3D Movies’ , 105–108 in Think in 3D: Food for Thoughts for Directors, Cinematographers and Stereographers (Amazon Distribution, 2012). http://realvision.ae/blog/
 Freddie Gaffney, “3D Narratology: Multi-plan Storytelling”, 3D Creative Summit, London – UK, March 28th, 2013.
 Charles Beaudelaire, ‘Correspondances‘, in Les Fleurs du Mal, (Poésies Gallimard,1996), 40.