NLE Tips – Week 4


Apple FCP X and Lined Scripts

Feature film editing is facilitated by the information coming from the script supervisor’s notes and adjusted script. This is frequently called a “lined script” because the supervisor will draw vertical lines with notations that indicate which angles and takes cover specific sections of every scene. In addition, editors developed another notation of horizontal lines that separate the dialogue. This was the basis of the original Ediflex Script Mimic process that eventually found its way into Avid as Script Integration and Script Sync. (Click on any image for an expanded view.)df_nle4_4_sm

There are a couple of simple ways to adapt this concept to Apple Final Cut Pro X. A few methods have been proposed, but the easiest and fastest method for me is to use markers. The first step is to take the printed script with the script supervisor’s notations and add the horizontal line notation that splits up the dialogue.

df_nle4_2_smStart at line 1 on page one and you’ll eventually end up with 1,000 or more at the end of the last page. Other numbering conventions are fine. Ideally this could be added to the script by the supervisor before the start of the production. If not, you or the assistant editor (if you are lucky enough to have one) will need to do this. You can add as many lines as you want to, depending on how granular you want the division of the dialogue to be. This could be with every carriage return of the printed script or it could be just between every paragraph.

When the camera files are imported and logged into the FCP X event, you’ll need to add scene and take information. This can be done by renaming the clip name or (which I prefer) by entering it into the scene/take columns (or both). As each clip is reviewed, add markers at every point within the clip that matches the position of the horizontal divisions made to the script dialogue. Rename these markers to match the numbers assigned on the written script.

df_nle4_3_smWhen you’ve gone through this process for each file that covers the scene, you will have scene/take information that matches the supervisor’s vertical lines and markers that align with the horizontal separation. Under each clip, there’s now a list of markers, which you’ve labelled to match the script lines. By clicking on one of these, you can instantly jump to that point in the dialogue within any given clip.

In a lengthy scene, if you want to see all the coverage options that are available for a particular line of dialogue somewhere in the middle of the scene, all you have to do is go to the corresponding numbered marker closest to that line of dialogue. If that number is “201” for example, simply click on the marker labelled “201” within each clip and you can successively review each angle and take at that point.

Naturally you can leverage FCP X’s capabilities by creating favorites and smart collections based on these choices, but script lining and using markers is a good and easy starting point.

©2014 Oliver Peters