For script supervisors

We work the night shift.

Script supervision is a unionized, creative role. Film Continuity is not a replacement for it, and never will be. We're an overnight pass that runs after you wrap, so the next morning starts with a shorter list — not a longer one.

On the union question

Nothing about this tool replaces a script supervisor.

Script supervision is IATSE Local 871 creative work. The live judgment calls — what a reset should look like, what to call for a pickup, when a matched eyeline is a matched eyeline — sit with you, on set, during the shoot. Film Continuity isn't anywhere near those decisions.

What we do sits after wrap. We look at the raw dailies, compare frames across takes, setups, and days, and surface what might be inconsistent. You open the report in the morning and clear the dismissible ones — a glass that changed because a character drank from it, a door that opened because a character walked through it. Flag the real errors for editorial and production. Get on with your day.

If a pass like this ever starts being framed as a replacement, it'll be framed that way by someone who doesn't understand the job. Not by us.

What's waiting in the morning

Side-by-side crops. Severity. A short list you can triage in under an hour.

The overlap cut
A glass full in the wide, half-empty in the close — shot forty minutes apart on set, twenty-five seconds apart in the cut. The kind of thing a twelve-hour day swallows. Grouped with the other Level 02 diffs so you can sweep a whole scene at once.
The watch on the wrist
Between setups in the same scene, or across days on the same story beat. The report shows both frames with the object marked — confirm, dismiss, or add a note visible to editorial and the DP.
The scarf that changed
Level 03 — story-continuous scenes shot days apart. Costume, props, accessories. Usually the ones that hurt the most in the edit and cost the most to fix.
The reset that isn't
Props nudged between takes of the same setup. Strict pixel comparison. Usually the noisiest bucket — we expect you to dismiss most of it. A few are real.
What we don't do

The parts of your job that stay your job.

  • We don't live on set.
    There's no iPad on the slate cart, no app for you to run during takes. We see the footage after wrap, not during.
  • We don't touch your notes.
    Your logbook, script notations, and production reports stay exactly where they are. We don't write into them or try to replace them.
  • We don't page the 2nd AD.
    We don't send anything to callsheet or production. The report is visible to you first; what goes to editorial is your call.
  • We don't decide what's an error.
    We flag candidates. You dismiss, confirm, or annotate. A confirmed error has your name on it, not ours.
For indie, student, and first-feature productions

The only continuity pass you'll ever get.

If your production can't afford a script supervisor, this is the pass you were going to skip. We can't do everything a supervisor does — but we can catch the glass, the watch, the scarf, and most of what hurts in the cut. Upload dailies at wrap. Read the report before your morning.

Walk us through a recent feature you supervised.

We'll run a sample night on footage you've already cleared, and show you the report. No contract, no calendar tool, no pitch deck.